The objective of this study is to investigate and to simulate the gaze deployment of observers on paintings. For that purpose, we built a large eye tracking dataset composed of 150 paintings ...belonging to 5 art movements. We observed that the gaze deployment over the proposed paintings was very similar to the gaze deployment over natural scenes. Therefore, we evaluate existing saliency models and propose a new one which significantly outperforms the most recent deep-based saliency models. Thanks to this new saliency model, we can predict very accurately what are the salient areas of a painting. This opens new avenues for many image-based applications such as animation of paintings or transformation of a still painting into a video clip.
In this beautiful and richly illustrated book, the acclaimed
author of Blue and Black presents a fascinating
and revealing history of the color green in European societies from
prehistoric times to ...today. Examining the evolving place of green
in art, clothes, literature, religion, science, and everyday life,
Michel Pastoureau traces how culture has profoundly changed the
perception and meaning of the color over millennia-and how we
misread cultural, social, and art history when we assume that
colors have always signified what they do today. Filled with
entertaining and enlightening anecdotes, Green shows that
the color has been ambivalent: a symbol of life, luck, and hope,
but also disorder, greed, poison, and the devil. Chemically
unstable, green pigments were long difficult to produce and even
harder to fix. Not surprisingly, the color has been associated with
all that is changeable and fleeting: childhood, love, and money.
Only in the Romantic period did green definitively become the color
of nature. Pastoureau also explains why the color was connected
with the Roman emperor Nero, how it became the color of Islam, why
Goethe believed it was the color of the middle class, why some
nineteenth-century scholars speculated that the ancient Greeks
couldn't see green, and how the color was denigrated by Kandinsky
and the Bauhaus. More broadly, Green demonstrates that the
history of the color is, to a large degree, one of dramatic
reversal: long absent, ignored, or rejected, green today has become
a ubiquitous and soothing presence as the symbol of environmental
causes and the mission to save the planet. With its striking design
and compelling text, Green will delight anyone who is
interested in history, culture, art, fashion, or media.
Yellow Gladding, Jody; Pastoureau, Michel
04/2023
eBook
From the acclaimed author of Blue , a
beautifully illustrated history of yellow from antiquity to the
present In this richly illustrated book, Michel
Pastoureau-a renowned authority on the history of ...color and the
author of celebrated volumes on blue, black, green, and red-now
traces the visual, social, and cultural history of yellow. Focusing
on European societies, with comparisons from East Asia, India,
Africa, and South America, Yellow tells the intriguing
story of the color's evolving place in art, religion, fashion,
literature, and science. In Europe today, yellow is a discreet
color, little present in everyday life and rarely carrying great
symbolism. This has not always been the case. In antiquity, yellow
was almost sacred, a symbol of light, warmth, and prosperity. It
became highly ambivalent in medieval Europe: greenish yellow came
to signify demonic sulfur and bile, the color of forgers, lawless
knights, Judas, and Lucifer-while warm yellow recalled honey and
gold, serving as a sign of pleasure and abundance. In Asia, yellow
has generally had a positive meaning. In ancient China, yellow
clothing was reserved for the emperor, while in India the color is
associated with happiness. Above all, yellow is the color of
Buddhism, whose temple doors are marked with it. Throughout,
Pastoureau illuminates the history of yellow with a wealth of
captivating images. With its striking design and compelling text,
Yellow is a feast for the eye and mind.
Fauve painters "discovered" African and Oceanic sculpture in 1905, when Vlaminck collected several wooden figures and a mask. Derain then studied Oceanic works in London, and Matisse struggled to ...paint a small figurai statue he purchased in fall 1906. Fauve interests in shallow-relief, relatively naturalistic, and surface-ornamented sculptural objects suggest conformity with turn-of-the-century artistic and scientific ideas conflating heterogeneous strains of so-called primitive material culture. The dominant conceptual framework of "primitivism," however, has tended to limit art historical understandings of external formal influences on modernism, which can be gleaned by closely examining the particular objects the Fauves appropriated.
Gražina Vitartaitė is one of the most prominent representatives of Lithuanian Colorist Painting School during the last few decades. Therefore the article considers the peculiarities of her creative ...potential and working methods; studies their sources and connections with French Impressionism, Fauvism and Lyrical Abstractionism; analyzes the influence of Čiurlionis and Japanese art on her artistic style. The painter’s approach to the Lithuanian history and her fascination with its nature are studied as well. She idiosyncratically treats landscape as the embodiment of pagan deities and the mirror of human soul. The peculiarities of her coloring system is determined by the traditions of Impressionism, Fauvism and Lithuanian national art and the natural environment of Lithuania. The article pays special attention to Vitaraite’s artistic expression, its evolution from plot painting to metaphorical musical plastic language; discusses its main stylistic features, motives and artistic means of expression.
Artificial Intelligence (AI) is becoming more popular in various fields, including the area of art creation. Advances in AI technology bring new opportunities and challenges in the creation, ...experience, and appreciation of art. The neural style transfer (NST) realizes the intelligent conversion of any artistic style using neural networks. However, the artistic style is the product of cognition that involving from visual to feel. The purpose of this paper is to study factors affecting audience cognitive difference and preference on artistic style transfer. Those factors are discussed to investigate the application of the AI generator model in art creation. Therefore, based on the artist’s encoding attributes (color, stroke, texture) and the audience’s decoding cognitive levels (technical, semantic, effectiveness), this study proposed a framework to evaluate artistic style transfer in the perspective of cognition. Thirty-one subjects with a background in art, aesthetics, and design were recruited to participate in the experiment. The experimental process consists of four style groups, including Fauvism, Expressionism, Cubism, and Renaissance. According to the finding in this study, participants can still recognize different artistic styles after transferred by neural networks. Besides, the features of texture and stroke are more impact on the perception of fitness than color. The audience may prefer the samples with high cognition in the semantic and effectiveness levels. The above indicates that through AI automated routine work, the cognition of the audience to artistic style still can be kept and transferred.
The classic and provocative account of how art changed irrevocably with pop art and why traditional aesthetics can't make sense of contemporary art A classic of art criticism and philosophy, After ...the End of Art continues to generate heated debate for its radical and famous assertion that art ended in the 1960s. Arthur Danto, a philosopher who was also one of the leading art critics of his time, argues that traditional notions of aesthetics no longer apply to contemporary art and that we need a philosophy of art criticism that can deal with perhaps the most perplexing feature of current art: that everything is possible.An insightful and entertaining exploration of art's most important aesthetic and philosophical issues conducted by an acute observer of contemporary art, After the End of Art argues that, with the eclipse of abstract expressionism, art deviated irrevocably from the narrative course that Vasari helped define for it in the Renaissance. Moreover, Danto makes the case for a new type of criticism that can help us understand art in a posthistorical age where, for example, an artist can produce a work in the style of Rembrandt to create a visual pun, and where traditional theories cannot explain the difference between Andy Warhol's Brillo Box and the product found in the grocery store. After the End of Art addresses art history, pop art, "people's art, " the future role of museums, and the critical contributions of Clement Greenberg, whose aesthetics-based criticism helped a previous generation make sense of modernism. Tracing art history from a mimetic tradition (the idea that art was a progressively more adequate representation of reality) through the modern era of manifestos (when art was defined by the artist's philosophy), Danto shows that it wasn't until the invention of pop art that the historical understanding of the means and ends of art was nullified. Even modernist art, which tried to break with the past by questioning the ways in which art was produced, hinged on a narrative.
Previous studies of William Carlos Williams have tended to look only for the literary echoes in his verse. According to Bram Dijkstra, the new movements in the visual arts during the 1920s affected ...Williams's work as much as, if not more than, the new writing of the period. Dijkstra catches the excitement of this period of revolutionary art, reveals the interactions between writers and painters, and shows in particular the specific and general impact this world had on Williams's early writings.
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