Schools of art represent one of the building blocks of art history. The notion of a school of art emerged in artistic discourse and disseminated across various countries in Europe during the early ...modern period. Whilst a school of art essentially denotes a group of artists or artworks, it came to be configured in multiple ways, encompassing different meanings of learning, origin, style, or nation, and mediated in various forms via academies, literature, collections, markets and galleries. Moreover, it contributed to competitive debate around the hierarchy of art and artists in Europe. The ensuing fundamental instability of the notion of a school of art helped to create a pluriform panorama of both distinct and interconnected artistic traditions within the European art world. This edited collection brings together 20 articles devoted to selected case studies from the Italian peninsula, the Low Countries, France, Spain, England, the German Empire, and Russia.
Auge um Auge, Blick um Blick: Sehen ist keine objektive Konstante. Die optische Wahrnehmung unterliegt stets einem Wandel, sie ist determiniert von historisch variablen Kontexten. Schon lange vor ...Social Media und Instagram gibt es verschiedene visuelle Zugänge zur Welt sowie forcierte Blickregime. Astrit Schmidt-Burkhardt bietet diverse Einblicke in die Sphäre des Schauens. Anhand von Beispielen und Bildquellen aus den letzten dreihundert Jahren spannt sie einen Bogen von Religion und Politik über die Kunst, Technik, Wissenschaft bis hin zum leeren Blick der Toten. Die erhellenden, anregenden und überraschenden Perspektiven eröffnen eine interdisziplinäre Kulturgeschichte des Sehens.
The symbolic meaning of plants, their relevance to religion and the metaphorical provocations in the order of knowledge, culture and political power underline the role of plants as something more ...than passive objects. Current theoretical and artistic discourses have been seeking access to the world independently of man by focusing on the nonhuman other. The contributors to this volume examine the historical, philosophical and scientific findings that generate this idea. In what way are such perspectives manifest in contemporary art? Do artists develop a particular approach that enables nonhuman life forms like plants, insects or animals to have an impact?
A history of the reception of Chinese painting from the
sixteenth century to the present What is Chinese painting?
When did it begin? And what are the different associations of this
term in China and ...the West? In Chinese Painting and Its
Audiences , which is based on the A. W. Mellon Lectures in the
Fine Arts given at the National Gallery of Art, leading art
historian Craig Clunas draws from a wealth of artistic masterpieces
and lesser-known pictures, some of them discussed here in English
for the first time, to show how Chinese painting has been
understood by a range of audiences over five centuries, from the
Ming Dynasty to today. Chinese Painting and Its Audiences
demonstrates that viewers in China and beyond have irrevocably
shaped this great artistic tradition. Arguing that audiences within
China were crucially important to the evolution of Chinese
painting, Clunas considers how Chinese artists have imagined the
reception of their own work. By examining paintings that depict
people looking at paintings, he introduces readers to ideal types
of viewers: the scholar, the gentleman, the merchant, the nation,
and the people. In discussing the changing audiences for Chinese
art, Clunas emphasizes that the diversity and quantity of images in
Chinese culture make it impossible to generalize definitively about
what constitutes Chinese painting. Exploring the complex
relationships between works of art and those who look at them,
Chinese Painting and Its Audiences sheds new light on how
the concept of Chinese painting has been formed and reformed over
hundreds of years. Published in association with the Center for
Advanced Study in the Visual Arts, National Gallery of Art,
Washington, DC Please note: All images in this ebook are presented
in black and white and have been reduced in size.
•ICC++ is explainable and content-based image retrieval method.•ICC++ is based on compositional patterns for semantic understanding of art historical images.•Introducing Web Gallery of Art 500 ...(WGA500) dataset - to encourage further research in this domain.•Rigorous evaluations against traditional methods, deep features & SOTA methods.•Our method outperforms SOTA, while has an advantage over deep features in terms of explainability.
Image compositions are helpful in the study of image structures and assist in discovering the semantics of the underlying scene portrayed across art forms and styles. With the digitization of artworks in recent years, thousands of images of a particular scene or narrative could potentially be linked together. However, manually linking this data with consistent objectiveness can be a highly challenging and time-consuming task. In this work, we present a novel approach called Image Composition Canvas (ICC++) to compare and retrieve images having similar compositional elements. ICC++ is an improvement over ICC, specializing in generating low and high-level features (compositional elements) motivated by Max Imdahl’s work. To this end, we present a rigorous quantitative and qualitative comparison of our approach with traditional and state-of-the-art (SOTA) methods showing that our proposed method outperforms all of them. In combination with deep features, our method outperforms the best deep learning-based method, opening the research direction for explainable machine learning for digital humanities. We will release the code and the data post-publication.
Some of the recent acquisitions by the Rijksmuseum include: Jesus and the Canaanite Woman, Northern Netherlands?, c. 1550-55Oil on oak panel, 85 x 67 cm, Inscribed, on the reverse: Rap Sanc: Vrbino. ...pinx. / 1510; Model: Willem Danielsz van Tetrode (Delft c. 1525-1580 Westphalia), Rome or Florence, c. 1562-66 Cast: anonymous, Florence (?), c. 1560-1620 Écorché (flayed figure)Bronze, with warm brown organic patina, h. 43.5 cm; Rembrandt Harmensz van Rijn (Leiden 1606-1669 Amsterdam)The Standard Bearer, 1636Oil on canvas, 120.5 x 97.5 cm, Signed and dated, lower left: Rembrandt f/1636; Maria van Oosterwijck (Nootdorp 1630-1693 Uitdam)Vanitas Still Life, c. 1675, Oil on canvas, 82 x 105 cm.
I am pleased to announce that Konsthistorisk Tidskrift/Journal of Art History has been granted the highest ranking in The Norwegian Register for Scientific Journals, Series and Publishers, which ...rates scholarly publishing channels around the world on a bibliometric scale from 0 to 2. 1 The journal is one of only 20 international journals on art history that has been acknowledged as a level 2 publication. The promotion to level 2 is testimony to the journal's position as a prominent publishing channel that reaches an international readership and acknowledges the journal as the leading peer-reviewed periodical on art history in the Nordic countries.
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