Complex networks constructed by fractals have many applications in many fields, such as the data center networks and fractal antennas. In this paper, we consider a kind of evolving networks modeled ...on the classical fractal, Durer Pentagon, whose nodes are all the solid pentagons in the construction of Durer Pentagon up to stage t. In this network, two nodes are neighbors if and only if the intersection of their corresponding pentagons is a line segment. Using self-similarity and renewal theorem, we obtain the asymptotic formula on average path length (APL) of our evolving network.
•We construct a special evolving fractal network by using Durer Pentagon.•We show that the limit of standardized average geodesic distance from all words to the empty word exists.•We find the relation between standardized average geodesic distance from all words to the empty word and the entire network.•We obtain the asymptotic formula on average path length of our network: limt→∞d¯tt=128115.
In ca. 1502, Dürer created an engraving known to history with the title
, which is considered one of his first artistic peaks given its technical mastery and compositional power. The piece bears ...witness to an important chapter of the artist’s relationship with Antiquity and with the graphic proposals of his contemporary Italian colleagues. Owing to the research that arose from the important 2012 exhibition
, this study intends to shed light on the reasons for which this artwork should be re-evaluated as an expression of the ‘new awareness’ of Nuremberg’s cultural environment of the time, so much so that it expresses this specific environment’s eager desire for self-affirmation. Dürer’s engraving became a manifesto of the
in the North. The various elements that constitute the original compositional idea must therefore be considered within the specific context that promoted its creation. To this end, it is also necessary to reflect upon the actual title, the name by which the artist himself referred to his work:
AN ARTISTIC NATURE Swift, Helen
Ars orientalis,
01/2023, Letnik:
53
Journal Article
Recenzirano
Kōno Michisei's (1895–1950) Self-Portrait (1917) is celebrated as a masterpiece of Taishō-period (1912–1926) painting in Japan but remains little-known overseas. This article seeks to reintroduce and ...contextualize this rare example of a Japanese oil painting in an American collection with an exploration of the artist's conception of his self-portrait between the dynamic currents of Taishōperiod yōga (Western-style painting) and his own worldview. Kōno stood on the fringes of the Tokyo avant-garde as artists sought to overcome the naturalism advocated by the academy in pursuit of an art more true to the individual. After years of studying prints of the old masters amid the rural environs of his hometown, Nagano, and inspired by a uniquely spiritual outlook, in Self-Portrait, Kōno synthesized the grand portrait mode of Albrecht Dürer (1471–1528) with his own conception of artistic beauty to create a highly idiosyncratic expression of the self
The article concentrates on showing elements present in culture, literature and art of the Middle Ages. These parts of mediaeval culture are discernible in Albrecht Dürer's graphic The Sea Monster, ...also known as the Wonder of the Sea. It was created by late Gothic-Renaissance author living at the turning point of both artistic epochs. The article consists of a description of the copperplate engraving, discussion on the contexts present in literature and mediaeval sources, analogies of artistic motifs and symbolic contents, meanings of the title which was already mentioned by Dürer. The deliberations show the world of monsters, hybrids, sea-monsters known from sources long before the creation of this engraving. Depictions of hybrids and other mentioned creatures were widely used earlier for example in the Early Christian art, Merovingian art, Romanesque art. Examples from these epochs are quoted. Especially important are moralistic mentions of sea hybrids in the literary works of Heinrich Seuse, a 14th century prolific theologian and exponent of Rhineland mysticism. His statements can serve as a good example of commonly known practices. There are also discussed ways of perceiving art and its fantastic and fabulous world both in earlier examples and in the statements of a 19th century artist. This comparison shows what is constant in art regardles of epoch and what changes during the long period of artistic development. The questions of relation of art to nature were discussed, too. The analysis of the world depicted on the print shows a community of plots and motifs which appear in the works of art of different techniques, epochs and artistic regions. Gothic man of letters and artists, for example illuminators, engravers created their own marine world. Their aim was to teach and instruct the reader, add colour to their visual works of art or to their verbal statements. Graphic artists draw their motifs from the artistic achievements of other fields of arts and knowledge.
Resumen: La historiografía artística de la Edad Moderna, plasmada en tratados, paragonae, discursos y correspondencias entre humanistas, permite a los historiadores del arte reconstruir y analizar ...distintos aspectos de la producción artística italiana de esa época. En el caso de los territorios del Norte de Europa, la ausencia de esta documentación no permite precisar con claridad de detalle fenómenos análogos para los pintores flamencos o acerca de la llamada escuela alemana hasta las primeras décadas del siglo XVI. La poca documentación conservada imposibilita una definición profunda de los aspectos teóricos y estéticos ligados a la producción de los artistas. Además, la estructura gremial del Norte disuadía el proceso de individualización de los artistas. Alberto Durero, artista vinculado a la corte de Maximliano I y posteriormente a la corte de Carlos V, se considera el primer autor de tratados teóricos sobre la creación artística al Norte de los Alpes. Gracias a sus viajes a Italia, Durero entró en contacto con las corrientes de pensamiento acerca de la teoría del arte, que le llevaron a redactar varias publicaciones: Proyecto para el tratado sobre la pintura(1508-1513), Los cuatro libros sobre medidas. Instrucciones de medir con compás y regla(1525) y Cuatro libros sobre las proporciones humanas (1528). El objetivo de este estudio es analizar los tres tratados mencionados con una atención especial a las recomendaciones del autor respecto a la formación del artista. A partir del corpus dureriano, traducido por Bialostocki en 1954 ,este estudio permitirá revisar la difusión y aplicación de las sugerencias en el ámbito de los artistas durante las primeras décadas del siglo XVI.Abstract: The artistic historiography of the Modern Age, formed by theoretical treatises, paragonae, speeches and correspondence between humanists, permit the Historians of art to reconstruct and to analyse various aspects of Italian artistic production. In the case of Northern Europe, the absence of that kind of documentation does not allow to precise clear analogous phenomena for Flemish painters or for German school, until the early decades of the sixteenth century. Not much preserved documentation makes impossible to define well theoretical and aesthetic aspects relate to the artistic production. Besides, the guild structure on the Northern Europe dissuades the process of artists individualization. Albrecht Durer, connected to the court of Maximlian I and to the Charles V court artist, is considered as the first author of artistic theoretical treaties on the North of the Alps. Thanks for the trip to Italy, Dürer came into contact with modern art theory, which resulted in writing several treaties: Project for the Treatise on Painting (1508-1513), Four Books on Measurement. Instructions for Measuring with Compass and Ruler (1525) and Four Books on Human Proportion (1528). The aim of this study is to analyse the three mentioned treaties with special attention on the author's recommendations for appropriated formation of the artist. The base is the Durer´s corpus, translated by Bialostocki in 1954. This study will review the dissemination and implementation of Durer´s suggestions for artists during the first decades of the sixteenth century.
Abstract
In this paper, Greedy Algorithms such as Kruskal’s, Prim’s, Boruvka’s, Reverse-delete Algorithm were applied on different types of graphs like Mobius-Kantor graph, Durer graph, Golomb graph ...to find the (MST).
The article explores the role of Albrecht Dürer's famous watercolour The Hare (1502) in the work of Sigmar Polke (1941–2010) who is considered one of the most prominent artists active in Rhineland in ...the post-war period. In his work, Polke repeatedly used visual materials from everyday life in West Germany, which he inserted as objets trouvés or as references and paraphrases into his paintings and other images. In art-historical and art-critical literature, Polke's quotations of The Hare have been interpreted primarily in terms of the artist's supposedly critical attitude either towards the mimetic character of Dürer's study or towards the misuse of the Old Master's imagery in consumer society. This article argues that the reflective potential of the presence of Dürer's Hare in Polke's work goes far beyond mere reference to the Renaissance artist and his study of nature. It will be shown that Polke's reference to the Hare also comments on working methods of colleagues such as Joseph Beuys, Konrad Lueg and Dieter Roth. By paraphrasing Dürer's Hare, Polke also reflects on the relationship between art and everyday life, blurring and questioning the established hierarchies.
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