Since professional Go players Lee Sedol and Jie Ke were beaten by AlphaGo which was developed by Google's sister company Deepmind, the artificial technology be- hinds it, deep learning (DL), has been ...drawn attention to people all over the world. Although the goal of this research is just to simply classify paintings of 10 impressionists, by using a convolutional neural network (CNN), there is something interesting found during the research to suggest that how powerful deep learning is. For the author himself, he cannot do that and even his friends who learning impressionists. The dataset is acquired from the Kaggle (Impressionist_Classifier_Data), which helps for this research to classify Impressionist painters into 10 categories including Camille Pisarro, Childe Hassam, Claude Monet, Edgar Degas, Henri Matisse, John Singer- Sargent, Paul Cezanne, Paul Gauguin, Pierre-Auguste Renoir, Vincent van Gogh. This research starts with introducing convolutional neural networks (CNNs) including convolutional layer, filters, pooling layer, fully connected layer. Then, based on the test result of the classifier, the author shows accuracy, loss graphof the training session, accuracy, precision, recall, macro f1-score, confusion matrix and unexpected findings of the classifier. The accuracy of the classifier is around 95 percent in training, 60 percent in validation and 83 percent in testing. The author found that even though he changed color of the test painting and transfer the style of painting, the classifier can still predict correctly.
The second performance of Debussy's String Quartet, given by the Ysaye Quartet on an all-Debussy program during the 1894 salon of "La Libre EsthŽtique" in Brussels, offers an ideal context for a ...critical reexamination of his musical and aesthetic affinities at this pivotal moment. In the first place, a view to the salon's other three concerts, which honored Beethoven alongside recent works by Societe Nationale composers, encourages reconsideration of Debussy's own response to the "great tradition" in the work he ironically designated "Opus 10." But at the same time, due regard to his other contemporaneous compositional obsessions, as exemplified in the works programmed alongside the Quartet, raises the question as to how such self-conscious dialogue with Classical models related to more pressing, post-Wagnerian musical negotiations. Pursuit of this question through analysis of the first movement's reconfigured sonata form ultimately suggests ways to distinguish, from amid the myriad post-Impressionist artists on view in the "Free Aesthetic" salon itself, those painters whose visual explorations most tellingly paralleled Debussy's own "games" with musical syntax and expression in the early 1890s.
This paper describes the teaching method we developed to help students understand the complimentary color contrast of light and shadow of impressionists, using Monet's painting, "The Cave at ...Paul=Domoa," part of the collection of the Museum of Modern Art in Ibaraki. In this method, firstly we analysed the composition of this painting from the viewpoint of color and confirmed that light and shadow are expressed as complementary color contrast. Based on this, students undertook two activities. The first was an activity in which students made a collage by selecting colors in complementary relation from 93 shades of colored paper of the Japanese color laboratory. In the next activity, students drew pictures using colored pencils while considering the difference between the highlighted parts and shadowed parts. This teaching method seemed to help students understand the thinking and methods of impressionist painters. An evaluation of the data of the students indicated that this method was effective.
This review paper discusses the construct of child and adolescent psychopathy and outlines controversy about the topic as well as some of the reasons that it might be developmentally appropriate. ...Past research has suggested that child psychopathy may be inapplicable to youth because the symptoms cannot be reliably distinguished from features of normative adolescent development. Concerns have also been raised regarding the possibility that the syndrome does not closely resemble the adult construct of psychopathy. We conclude that there is some truth to both sides of this story. Research shows that child psychopathy has a considerable degree of reliability and construct validity; however, there are also some important developmental differences. Furthermore, emerging evidence indicates potential changes in psychopathic symptoms over time and the important role of protective factors. Although, current research suggests that the concept of child psychopathy may be like an impressionist painting (i.e., clearer from a distance but messier as one gets closer), we argue this is not necessarily problematic from a developmental perspective. However, we conclude that a rigorous set of research studies will be needed to further advance our understanding of child psychopathy and the way it manifests itself over time.
인상주의 회화의 화면등가의 법칙에 기반 한 패션디자인 연구 이신영; Shin Young Lee
Fashion & textile research journal,
08/2013, Letnik:
15, Številka:
4
Journal Article
Odprti dostop
This study reviews the principles for the techniques of Impressionist paintings as well as analyzed contemporary fashion designs with a focus on a motif-building technique based on the laws of a ...screen equivalent as a visual formative approach. We provide design principles based on fashion design painting techniques. Previous research on the laws of the screen equivalent of Impressionist paintings were studied and a qualitative analysis was conducted on fashion design cases from 2011, 2012 S/S and F/W collections. The analysis resulted in the following outcomes. First, the development of new motifs were found directly correlated to the creativity of design if it was a motif-building design. Second, in the selected fashion design cases, cutting lines and details were covered by motifs and their shapes collapsed in regards to overall visual uniformity so that specific details were hard to identify. Third, clothing shapes are recognized the changing colors of motifs and not through construction pattern lines; therefore, the expressions of diverse visual forms were available without being disturbed by construction pattern lines. This is deemed equivalent to an Impressionist painting style that depicts shapes with colors instead of lines. Lastly, the cases covered in this study have created new visual aspects that replace the stereoscopic spatial depth of clothes with a ``sensuous surface``. The pleasures derived from the sensuous surface are deemed equivalent to the visual pleasures created by Impressionist paintings.
Twelve post-impressionistic paintings were manipulated along two dimensions: degree of realism (figurative vs. abstract) and colour (colour vs. black-and-white). The resulting 48 pictures were rated ...by three groups of twenty subjects each, on a number of rating scales. The three groups differed as to their expertise in art. Analyses of variance on the mean liking scores indicated that the negative effects of changing the original pictures to abstract or black-and-white versions decreased with increasing expertise. This differential impact of the experimental manipulations confirmed hypotheses about changes in taste due to artistic training.
Abstraction of stylistic concepts Hartley, Jeffrey; Homa, Donald
Journal of experimental psychology. Human learning and memory,
01/1981, Letnik:
7, Številka:
1
Journal Article
Two experiments with 150 undergraduates studied the acquisition of style recognition in a category abstraction paradigm. Ss initially classified 18 impressionist paintings, according to artist, into ...categories of 3-9 examples, followed by a transfer test given immediately or after a 2-wk delay. In the transfer test, Ss attempted to classify the old paintings seen during learning, new paintings by these artists, and paintings by other artists. The prediction that experience with more examples of a style would yield greater classification accuracy for new examples of that style was confirmed. Classification accuracy for new paintings was unaffected by the delay, although significant forgetting occurred for the old paintings. A measure of conceptual structure, derived from the multidimensionally scaled space, was found to be significantly correlated with transfer performance. It is concluded that the ability to recognize painting style is affected by variable manipulations found to be effective in the abstraction of information from ill-defined categories. (32 ref)
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