art - Jonathan Milburn on Diigo

30 Dec 09

the great painting by Botticelli
an allegory
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- no art historian has ever been able to develop an interpretation that satisfies all the other scholars
- no consensus about why they are there or what they are up to
- we are encouraged to let our imagination write the script.
- The Revival Of Paganism In Art
- Western painting developed under the sponsorship of the Church
- But by the midpoint (C.1482) of what we call the Italian Renaissance artists began to turn to painting the things which Christianity had kept secret above all the legends and stories of the pagan world. Although intended for a private owner rather than a public space, La Primavera is the first great counterimage to the Christian icons and symbols of Western art.
- its task was to envision the stories and spirit of the New Testament
- So why did they cling to their myths? Perhaps because neither philosophy nor science could explain what a human being was and, what human life is, as well as myths could.
- invented by the ancient Greeks
- Homer and Hesiod, and later (when the Roman conquerors appropriated the Greek gods) Virgil and Ovid, told the mythical stories in unforgettable poems which still move audiences.
- A myth quite simply is a story which serves a purpose: to explain the origins of something (Tintoretto's Origins of the Milky Way) to justify something, or to serve as a warning (Titian's Diana and Actaeon) or an example or a symbol. Such a story is usually easy to understand, involving strong and simple emotions and clear and basic relationships.
- The great myths illustrate and explain to each generation something about the order of the world and the relationships between gods and humans. They also serve as the paradigms of human excellence. Thus Alexander copied Achilles, and Caesar copied Alexander, and Pope Julius copied Caesar.
- The ancient Greeks emphasized that these unions produced gods and goddesses who are symbols of those humanizing features which distinguish men from other animals.
- For almost a thousand years the stories of the pagan gods were banished from the public mind.
- It was only during the Renaissance that patrons like the Medici and his circle of humanist scholars began to rediscover the legacy of Greece and Rome. In attempting to envision this pagan world they were faced with a huge problem. For visually, it was a lost world.
- Mythology soon became a justification for Renaissance and Post-Renaissance artists to paint with a new freedom and boldness denied them by Christianity.
- In his legendary bonfires of the vanities he urged the citizens to burn all pagan works.
- We must turn to Venice if we wish to see the real flourishing of the pagan vision in art.
- distinguished above all by mastery of color and an intuitive response to nature.
- mood became the primary subject of their art. Atmosphere composed of light and shadow softened and unified landscape and the figures in it. Such painting not only gives immediate pleasure to the eye, but acts like music upon the moods, provoking thought and memory in the same way that a work of music does.
- focused on the sensuous surface of things, on color and texture.
- the new use of mythology
- Giorgione
- Manet's Le Déjeuner sur l'herbe (Picnic on the Grass), loosely suggested by Giorgione's Concert Champêtre (see above), spelled the death knell of the mythological nude
- No supernatural or religious connotations were necessary to make the paintings of the Impressionists the most popular paintings the world has ever known.
- list of important paintings and artists
- Joseph Phelan.

25 Nov 09

Painting in Oil in the Low Countries and Its Spread to Southern Europe | Thematic Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art

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oil painting art

the virtuoso handling of the medium on panel by early Netherlandish painters such as Jan van Eyck and Rogier van der Weyden in the fifteenth century that represented a turning point in its eventual adoption as the major painting medium in Europe in the sixteenth century. By then, Jan van Eyck had been incorrectly credited with the "invention" of oil painting.
oil painting are recorded as early as the twelfth century in Northern Europe
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- extraordinary realism with brilliant color
- soft, seamless shadows essential for the suggestion of three-dimensional form,

Islamic art - Wikipedia, the free encyclopedia

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islamic art

Islamic art developed from many sources: Roman, Early Christian art, and Byzantine styles were taken over in early Islamic art and architecture; the influence of the Sassanian art of pre-Islamic Persia was of paramount significance; Central Asian styles were brought in with various nomadic incursions; and Chinese influences had an important effect on Islamic painting, pottery, and textiles."^[4]
The arabesque in Islamic art is often used to symbolize the transcendent, indivisible and infinite nature of Allah.
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- the use of geometrical floral or vegetal designs in a repetition known as the arabesque.
- Most Sunni and Shia Muslims believe that visual depictions of any living beings generally should be prohibited.^{[citation needed]} Nonetheless, human portrayals can be found in all eras of Islamic art. Human representation for the purpose of worship is considered idolatry and is duly forbidden in Islamic law, known as Sharia law. There are also many depictions of Muhammad, Islam's chief prophet, in historical Islamic art.^[9]^[10]
- Through the edifices, the effect of varying cultures within Islamic civilization can be illustrated. The North African and Spanish Islamic architecture, for example, has Roman-Byzantine elements, as seen in the Alhambra palace at Granada, or in the Great Mosque of Cordoba.
- Perhaps the most important expression of Islamic art is architecture, particularly that of the mosque
- Oriental carpet
- Syria
- The first Islamic dynasty to establish itself in Spain (or al-Andalus) was that of the Spanish Umayyads. As their name indicates, they were descended from the great Umayyads of Syria. After their fall, the Spanish Umayyads were replaced by various autonomous kingdoms, the taifas (1031-91), but the artistic production from this period does not differ significantly from that of the Umayyads.
- A series of military victories by Christian monarchs had reduced Islamic Spain by the end of the 14th century to the city of Granada, ruled by the Nasirid dynasty, who managed to maintain their hold until 1492.
- Islamic book painting witnessed its first golden age in the thirteenth century, mostly from Syria and Iraq. Influence from Byzantine visual vocabulary (blue and gold coloring, angelic and victorious motifs, symbology of drapery) combined with Mongoloid facial types in 12th-century book frontispieces

14 Oct 09

Ernest Lee Major (1864-1950)

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art painting 1864-1950

08 Oct 09

How to Write a PhD Thesis

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art research

In an experimental thesis, the Materials and Methods
chapter is often the easiest to write – just write down what you did; carefully, formally and in a logical
order.
How do you make an outline of a chapter?
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- Assemble all the figures that you will use
  in it and put them in the order that you would use if you were going to explain to someone what they
  all meant
- Once you have found the most logical order, note
  down the key words of your explanation. These key words provide a skeleton for much of
  your chapter outline.

working papers in art and design, volume 1

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art research

06 Oct 09

AAH Students - Art historical news, resources, events and discussion...

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art history

05 Oct 09

Wotan - Wikipedia, the free encyclopedia

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art myth philosophy jung wotan

Wotan, the High German variant of Wōden, the Continental West Germanic god corresponding to Norse Odin
Wotan is the title of an essay on Wotan by Carl Jung included in Notes of the Seminar Given in 1928–1930.
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- W.O.T.A.N. is an acronym for Will Of The Aryan Nation, created by David Lane

04 Oct 09

29 Sep 09

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art photography

The Course of Empire - Wikipedia, the free encyclopedia

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art painting

25 Sep 09

working papers in art and design, volume 1

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ritual art performance

As Gilles Deleuze has suggested in a discussion with Michel Foucault, the relationship between theory and practice can be understood as "a system of relays within a larger sphere, within a multiplicity of parts that are both theoretical and practical"
challenged traditional choreographic practices that celebrate the authority of the choreographer as the only valid method through which dances can be made.
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- Instead I suggested that movement improvisation in performance offers alternative routes for the creation of movement-based performance, through the use of "instant composition", a technique of exercising choice within the "present moment" of the dance.
- Documentation in art practice has been frequently discussed in relation to its role as distribution tool.
- Discussing the ontology of performance ⁶, Phelan presents a statement that almost sounds as a manifesto: "Performance’s only life is in the present.
- The critique of documentation
- as a vehicle through which attempts have been made to make permanent the temporary despite itself is not totally unjustified, at least as far as academic contexts are concerned ⁷. The painful debates around assessing outcomes of research conducted in academic institutions carry striking evidences of how dominant some inappropriate positions about art practice have been. Such positions perpetuate out-of-date hierarchical systems which exclude alternative forms of "knowledge". Yet the purpose of this paper is neither to analyse current institutional practices nor the development of arguments for and against the accompanying agendas; rather it is to contemplate new roles that documentation is currently in a position to play due to how it has shaped itself into a body of diverse practices that respond to a variety of needs and purposes around artistic work. This includes frameworks that allow documentation to develop as a critical space in its own right where the issues/concerns of the work are addressed only through appropriate forms and without necessarily employing reproduction. Another option is to develop frameworks that make possible the integration of documentation practices within the work itself.

24 Sep 09

working papers in art and design, volume 1

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practice-based research art

my natural tendency is to try and frame the student’s project in such a way that it offers the potential to exhibit the features listed in Table 1.
in some cases I have found that the proposed work could not be straitjacketed into this mould. Here, I shall call these creative-production projects.
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- Problems seem to arise when the candidates’ primary interest is in producing artefacts, i.e., in creative production, and when their practice is closely associated with their self-identification as creators
- the artefacts arising from the research cannot simply be conceived as by-products or exemplification of "know-how". Instead, they are objects of value in their own right
- doctoral study is mainly seen as an opportunity to develop as creators and to produce more satisfactory work.
- what one is dealing with is a topic of interest
- creative objectives (e.g., work dealing with breast cancer) that resist, throughout the programme of work, reduction to single problem and its solution.
- This is not to suggest that the selection is self-indulgent.
- although artefacts are produced, their novelty, shared interest and usefulness may not be easily demonstrated or assessed.
- project’s topic of interest and goal may change as the work progresses
- Normally, however, there comes a point in such a project when a problem is found, defined and followed through to the realisation of a solution.
- While in a typical problem-solving project the "know-how" exemplified in the artefacts is of central interest because it can be reused, in creative-production projects there is no general interest or utility in this "know-how".
- Table 2 illustrates how creative production projects relate to the norms of problem-solving projects.
- A creative-production project may comprise some problem solving and, indeed, it may involve cultural theory, cultural history and scientific research, inter alia.
- it is important that the outcomes of this activity are reported.
- Nevertheless, it is inappropriate to view the contribution to knowledge made through these activities as the primary goal of the activity
- In a creative-production project this knowledge is a by-product of the process rather than its primary objective
- there is no generally agreed methodology for this demonstration
- The primary research methodology is problem-solving itself, which often, in practice, cannot be fully explicated.
- Rather, the student is expected to provide a persuasive case for the worthiness of research problem, the rationality of the steps taken to solve it and their execution. In short, although there is no overarching methodology there is an overarching ethic of self-conscious, informed and systematic problem selection and solution.
- characteristic of technological and design problem-solving in general
- The Norms of Creative-production Projects
- creative-production project
- the work can be described as a response to a set of on-going issues, concerns and interests expressed through one or more artefacts.
- these issues, concerns and interests should be manifested through the creative-productions, i.e., the artefacts produced
- whether useful or not, the important attribute of the artefact is that it should contribute to human experience.
- the criterion to be met is that the work makes a contribution to human experience.
- student will frame a problem that will become the primary research focus.
- the research problem, once set, will change as the work progresses and may only be properly defined in the writing up of the thesis.
- encouraged to focus on describing the "know how" reified in the solution (i.e., the destination rather than the journey) and on demonstrating, rationally and empirically, that this knowledge solves the research problem. In so far as the problem-solving process is described, this will tend to take the form of a means-end analysis: that is to say, a technical procedure, a "calculus of decision" (Schön, 1983:47), to be measured by its effectiveness in achieving pre-established goals.
- What matters is the existence of a valid problem, the demonstration of its solution and the abstraction of the reusable "know how" embodied in it.
- As noted earlier, Schön sees reflection as the primary cognitive mechanism for dealing with the unexpected and, through the resolution of the unexpected, for learning.
- There is, then, an argument for suggesting that the practitioner could benefit if reflection was recorded and then reported more systematically.
- The Shape of a Creative-production Project
- grounded in a practitioner’s current practice and realised in future projects
- begin with reflection on past practice and appreciative system
- painter might choose to explore narrative in static imagery
- Instead, in creative-production, multiple issues and goals may be appropriate and it should be acknowledged that these may change, grow, and be given different emphasis as the work proceeds.
- sets out to provide a valid rationale that affirms the direction of making, at the moment that making commences.
- opportunities to reflect in and on action and practice will arise at the completion of work episodes.
- Here the artist or designer should reflect back on the issues, goals and appreciation surfaced in the preparation stage, and subsequent stages. At the end of the project there should be a final reflective stage. Here, the researcher should reflect both on the project as a whole in relation to the issues explored, the work produced, development in appreciative system, and the reflection on action and practice itself.
- Pre-, within- and post- project reflections will provide the primary material for communicating and sharing experience with peers, together with descriptive records of the work and decisions made
- Reporting a Creative-production Project
- setting out all the knowledge relevant (and irrelevant) to the project to bound the research question
- Having established the question or problem, one can proceed to describe the method of testing or solution, the application of this method, the results, and, finally, the discussion of the results
- may involve some examination of theory and knowledge additional to that set out in the review
- multiple and changing issues are explored, theory and knowledge is accrued, and different strategies employed to further the work.
- Pre-project reflection on practice (including identification of issues, concerns and interests to be worked with in the project)
  Review of theory, knowledge and information (relevant to identified issues, concerns and interests)
  Reframing of issues, concerns and interests (in response to material found in the review)
  summary of a work episode (i.e., to place subsequent description into context, e.g., when it occurred, what the objectives were, who was involved, how long it lasted, what the outcomes were, etc.)
  reflection on the work episode (i.e., focussing on moments of reflection-in-action and practice, supported by records of working)
  Post-project reflection on action and practice (i.e., on the project as a whole)
  Reflection on reflection on action and practice (i.e., critical reflection on one’s work-focussed reflection)
  Accumulated theory and knowledge
  Description (records) of designing
  Analysis of reflection-in-action and -practice
- cyclic process of reflection draws upon theory, knowledge, records of designing and analysis of reflection-in-action and -practice as appropriate,
- reflection should be central to the discipline of creative-production. This will involve recording creative production in a way that captures moments of reflection-in-action and -practice (i.e., material for reflection on action and practice). This emphasis on the underlying experience of creative production has implications both for the shape of the research programme and the form of its reporting, and I have sketched out patterns for each that I hope to work from in future projects.

working papers in art and design, volume 1

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art research

Contemporary Aesthetics is an international, interdisciplinary, peer- and blind-reviewed online journal of contemporary theory, research, and application in aesthetics.

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art research

22 Sep 09

Creativity & Practice Research Group: Background

Fine Art at the University of Dundee.

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practice PhD research art

THE INTERRELATIONS
BETWEEN PERCEPTION, CREATIVITY AND SKILL
through
study of the knowledge practices of fine art
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- art and anthropology
- a practice-based approach to teaching and learning
- Both art and anthropology may be considered as ways of exploring how
  the knowledge that people have of the world around them is generated,
  organised and transferred.
- The fundamental premise of this approach is that knowing, along with perceiving,
  learning, remembering and imagining, is a social activity that goes on
  within the context of people's mutual involvement in a richly structured
  environment.
- Ray Lucas and Sandra McNeil

21 Apr 09

Magic realism - Wikipedia, the free encyclopedia

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art magic realism

"what happens when a highly detailed, realistic setting is invaded by something 'too strange to believe'."

12 Apr 09

Amy Bennett

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art

Jonathan Milburn's Library tagged art → View Popular

Mythology in Art

Painting in Oil in the Low Countries and Its Spread to Southern Europe | Thematic Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art

Islamic art - Wikipedia, the free encyclopedia

Ernest Lee Major (1864-1950)

How to Write a PhD Thesis

working papers in art and design, volume 1

AAH Students - Art historical news, resources, events and discussion...

Wotan - Wikipedia, the free encyclopedia

Between Philosophy and Social ... - Google Books

Forests: The Shadow of Civilization - Google Books

Universal right - Google Books

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The Course of Empire - Wikipedia, the free encyclopedia

working papers in art and design, volume 1

working papers in art and design, volume 1

working papers in art and design, volume 1

Contemporary Aesthetics is an international, interdisciplinary, peer- and blind-reviewed online journal of contemporary theory, research, and application in aesthetics.

Creativity & Practice Research Group: Background

Magic realism - Wikipedia, the free encyclopedia

Amy Bennett

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