Relevant bibliographies by topics / Classic artwork

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Classic artwork'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 February 2022

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Journal articles on the topic "Classic artwork"

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Schirripa Spagnolo, Giuseppe, Lorenzo Cozzella, Maurizio Caciotta, Roberto Colasanti, and Gianluca Ferrari. "Painting authentication by means of a biometric-like approach." ACTA IMEKO 4, no. 3 (2015): 65. http://dx.doi.org/10.21014/acta_imeko.v4i3.260.

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<p>Artwork counterfeiting is a wide problem in the art market, both for private subject and museums. For this reason, it is important introducing innovative authentication solutions, based on state-of-the-art technologies. In particular, in this paper, the proposed solution is based on a mobile architecture, starting from the consideration that nowadays mobile phones include quality photo and video cameras, access to wireless networks and the internet, GPS assistance and other innovative systems. The proposed solution uses smartphones as simple, robust and efficient sensor for artworks a
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Sanicheva, Elizaveta V. "“A King, Riding” by Klaas de Vries as an Artwork of the 20th Century." Observatory of Culture, no. 5 (October 28, 2014): 57–65. http://dx.doi.org/10.25281/2072-3156-2014-0-5-57-65.

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Considers the scenic oratorium “A King, Riding” by contemporary Dutch composer Klaas de Vries. It was composed after his own libretto based on the “Waves” novel by Virginia Woolf, which is a classic example of the stream of consciousness literature. The libretto and the opera work are studied as a part of rich and powerful mixture of different contemporary styles, manners, techniques and retrospections, such as impressionism, expressionism, neoclassicism. Its performance of 1996 in Brussels directed by Christoph Marthaler is also analysed.
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Sapitri, Ria. "PERANCANGAN TYPEFACE ALFABET MEMANFAATKAN AKSARA INCUNG SEBAGAI SUMBER IDE GAGASAN." Jurnal Teknologi Dan Sistem Informasi Bisnis 2, no. 1 (2020): 57–68. http://dx.doi.org/10.47233/jteksis.v2i1.92.

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Typeface is a "appearance" that forms the characteristics of a collection of letters so that it distinguishes it from other types of letters. Typeface artwork is considered capable of providing new inspiration to introduce one of Kerinci's local wisdoms, the incung script. Visually, incung script has the beauty of a form of writing style that is slanted, curved and broken beheaded. The basic shape of each incung alphabet is formed by sharp lines so that it seems stiff and classic. Based on the description above, the author's interest arises to introduce or familiarize the incung script back to
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Trowell, Ian. "Counter-realities and conflicted place: Gee Vaucher’s The Feeding of the Five Thousand in the punk art tradition." Punk & Post-Punk 9, no. 3 (2020): 397–424. http://dx.doi.org/10.1386/punk_00036_1.

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This article celebrates and critically examines Gee Vaucher’s artwork for the Crass album The Feeding of the Five Thousand (1978), drawing upon the enduring fascination that the work retains. Vaucher’s work is complex, disconcerting and mesmeric, and my intention is to pin down the facets of the work that achieve these qualities. The work sits in a tradition of collage and montage taken up in British punk and post-punk scenes, and I examine a selection of classic punk artworks in comparison to Dada artworks that represent the origins of radical montage art. Whilst acknowledging the established
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Loughmiller-Cardinal, Jennifer A., and Dmitri Zagorevski. "MAYA FLASKS: THE “HOME” OF TOBACCO AND GODLY SUBSTANCES." Ancient Mesoamerica 27, no. 1 (2016): 1–11. http://dx.doi.org/10.1017/s0956536116000079.

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AbstractAmong the specialized types of Late Classic Maya vessels (a.d. 550–900) are small bottle-shaped containers known as “flasks.” Current interpretations of their uses, for example as poison bottles or medicine bottles, are speculative. In some cases, such interpretations rely on analogical comparisons with other Native American containers based on their formal similarities of shape or construction. This paper presents research on basic construction methods of flasks, a set of correlations between the various social mediation roles in which such flasks are depicted in Classic-period artwor
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Haikal, Yusuf. "The Actualization of Characters and References in The Classic Arabic Literature Criticism." Jurnal CMES 14, no. 1 (2021): 24. http://dx.doi.org/10.20961/cmes.15.1.48323.

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<p>This study aims to give an overview, review and actualize referral sources in the literary criticism of classical Arabic along with the figures from the source of the referral, which is expected to help and enrich the knowledge and insight for learners criticism in Arabic literature. The method used is descriptive qualitative and the study of literature. Through this method the data and studies taken from various sources of literature are then described and presented in the form of words based on the focus of the book which became the main reference. From the discussion, it could be c
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Mohammad, Mahizan Hijaz, and Aznan Omar. "Colonial Architecture on Local History Through Glass Sculpture." Idealogy Journal of Arts and Social Science 6, no. 1 (2021): 17–26. http://dx.doi.org/10.24191/idealogy.v6i1.250.

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The aim of this paper is to study the aspect of colonial building that relates to local history. The history of tin mining is to be acknowledged and understand as important to the local. Local history has been part of important aspect in a developing community. It signifies engagement of the link between the present and the past. It helps the community to learn about the events that has happened and in the Malaysian context, the history of the British colonial is the most relevant for it is visibility due to the architectural ruin that is on location. The method applied is Critical Self reflec
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Pogorelova, Inga Viktorovna. "Bach, Bukowski, genesis." Litera, no. 4 (April 2021): 198–204. http://dx.doi.org/10.25136/2409-8698.2021.4.32719.

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The object of this research is the references to the German composer of the XVIII century – Johann Sebastian Bach in poetry of the classic of modern American literature Charles Bukowski. Special attention is given to the poetic-semiotic and ontological aspects of Bach’s motif in the poetic works of C. Bukowski. The author meticulously examines the nature of mentioned references, categorizing them as the three narrative-ontological types or hypostases, in which the German composer appears in the poetry of C. Bukowski, namely: Bach-ideal, Bach-background, and Bach-father figu
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Wagner, Christiane. "Artworks and the Paradoxes of Media-Transmitted Reality." AM Journal of Art and Media Studies, no. 20 (October 15, 2019): 71. http://dx.doi.org/10.25038/am.v0i20.324.

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This article analyzes selected classic art that influences contemporary images. The basis of this study is an analysis of the transformation of long-established and internationally-recognized artwork through digital technology and social media. This investigation also highlights the symbolic meaning behind the representation and reproduction of media images concerning the political impact of global visual culture.Visual culture consists of images of reality that are constantly being reconfigured. Thus, the visual arts develop consensually, based on democratic ideals and freedom of expression.
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Koziołkiewicz, Elżbieta. "Okładki polskich wydań utworów Jane Austen po 1989 roku." Przegląd Humanistyczny 63, no. 2 (465) (2019): 91–104. http://dx.doi.org/10.5604/01.3001.0013.5510.

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The graphic designs proposed by Polish publishers cannot be compared neither in number, nor in diversity to those presented by Margaret C. Sullivan in Jane Austen Cover to Cover: 200 Years of Classic Book Covers. Nevertheless, they are a valuable and still undiscussed source of knowledge on the Polish reception of Austen’s novels. Further information on this subject is provided in the first part of the paper by a compilation of book series in which some or all of the texts by Austen have appeared since the 1990s. The analysis of the book covers takes into consideration the relation between the
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Dissertations / Theses on the topic "Classic artwork"

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Castronovo, Joseph Anthony Jr 1950. "Reading hidden messages through deciphered manual alphabets on classic artwork." Diss., The University of Arizona, 1998. http://hdl.handle.net/10150/282678.

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Decipherment is the tool used to uncover several types of hand signs that played vital roles in the creation of hidden messages in classic artwork. A 3,100 B.C. bas-relief of The 'Kaph' Telescope, formerly named The Narmer Palette, and Michaelangelo Buonarrotte's Battle of Cascina of 1506 were two key works of art that show certain similarities even though separated by 4,500 years. It is evident that Renaissance humanists provided artists with certain knowledge of the ancients. Results of incorporating a number of minor works of art showed that the competence of ancient Egyptians, Cretans and
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Svärd, Fanny. ""As if they're daring you to desire them" : En studie av de antika skulpturernas roll i filmen "Call me by your name"." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-353509.

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This Bachelor’s thesis examines the use of ancient bronze statues in the 2017 film Call me by your name by director Luca Guadagnino. Various scenes which feature ancient statues are examined individually using semiotic analysis. The scenes are examined individually, first described on a denotative level, then analyzed on a connotative level. The theoretical stand point is based on the studies of art works in film. Key theoretical concepts used are ”in between-ness” which is a state in which change in narrative is made possible through looking at art, and ”parallels”, a means of which to make a
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Košatová, Barbora. "Parafráze klasického uměleckého díla - didaktická transformace a aplikace tématu do výuky výtvarné výchovy." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-342442.

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IN ENGLISH This thesis has the character of theoretical studies on the topic paraphrase a classic work of art and its subsequent didactic applications for that grade school. It solves the problems of paraphrasing in the visual arts. It characterizes the aspects related to the topic, such as analysis and structure of a work of art. It focuses on the theory of shape as the basic building blocks of artwork and associated topics, which are: quotes, interpretation, image transformations and alterations. Art work is a continuation of a previous bachelor thesis, which dealt with the issue of land. It
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Books on the topic "Classic artwork"

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Toboso, Yana. Yana Toboso artworks: Black butler. Yen Press, 2010.

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Brilliant, Richard. My Laocoön: Alternative claims in the interpretation of artworks. University of California Press, 2000.

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Nagib, Lúcia. Realist Cinema as World Cinema. Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462987517.

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This book presents the bold and original proposal to replace the general appellation of ‘world cinema’ with the more substantive concept of ‘realist cinema’. Veering away from the usual focus on modes of reception and spectatorship, it locates instead cinematic realism in the way films are made. The volume is structured across three innovative categories of realist modes of production: ‘noncinema’, or a cinema that aspires to be life itself; ‘intermedial passages’, or films that incorporate other artforms as a channel to historical and political reality; and ‘total cinema’, or films moved by a
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Stampolidēs, Nikolaos Chr. Aegean waves: Artworks of the early Cycladic culture in the Museum of Cycladic Art at Athens. Skira, 2007.

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E, Basten Fred, ed. The lost artwork of Hollywood: Classic images from cinema's golden age. Watson-Guptill Publications, 1996.

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The Lost Artwork of Hollywood: Classic Images from Cinema's Golden Age. Watson-Guptill Publications, 1996.

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Lewis, Carroll. Lewis Carroll's Alice's Adventures in Wonderland: With Artwork by Yayoi Kusama (A Penguin Classics Hardcover). Penguin Classics, 2012.

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Artists, Disney Storybook. Learn to Draw Mickey Mouse & Friends Through the Decades : Celebrating Mickey Mouse's 90th Anniversary: A retrospective collection of vintage artwork ... classic characters. Walter Foster Publishing, 2018.

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Lea, Susan. Fantastic forgeries: Paint like Van Gogh : a step-by-step course to painting Van Gogh's classic artworks. 2017.

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Calligraphy techniques: An essential beginner's guide to classic alphabets, with over 40 projects and 400 photographs and artworks. 2013.

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Book chapters on the topic "Classic artwork"

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Mullik, Gopalan. "Vedic Cosmology and the Notion of Correlative Opposites: An Indian Paradigm of Thought and Its Influence on Artworks." In Explorations in Cinema through Classical Indian Theories. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-45611-5_3.

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Flach, Sabine. "Moving is in Every Direction." In Bewegungsszenarien der Moderne. Universitätsverlag WINTER, 2021. http://dx.doi.org/10.33675/2021-82537264-10.

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Traditionally, art history divided the arts into four genres: painting and sculpture, poetry and music. Hence the art-historical canon was dominated by a strict division into the arts of space and those of time. Movement (both of an internal and externalized kind) did not find a place within this classificatory corset. In 1766, Gotthold Ephraim Lessing framed the classical art-theoretical approach through his famous text ‚Laocoon: An Essay on the Limits of Painting and Poetry‘, in which he splits the arts into those unfolding in time and those unfolding in space. Lessing’s ‚Laocoon‘ is the founding text defining poetry and music as time-based, sculpture and painting as space-orientated. By 1900, this strict system of classification and hierarchization began to dissolve, giving way to cross-border experiments in the arts of the twentieth century up to the present day. This overturning of classical genre divisions between the static and the dynamic arts, between sculpture, installation, and performance enables us to examine artworks as variations of movement in terms of ‚constellations between scene and scenario‘. Furthermore, the development of movement as an artform implies the activation of the audience in participatory arts practice.
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Guerra, Paula. "Ceremonies of Pleasure." In Advances in Multimedia and Interactive Technologies. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-5696-1.ch006.

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The importance of music concerts is all too revealing of a complex and malleable framework which operates at aesthetic, artistic, and emotional levels. We are faced here with a new type of relationship with music, in a way that we find not only the classic takes on music as an artwork to be admired, or as a collective identity-building activity, but also as a way in which festival “stages” serves as observatories of youth, cultural and artistic practices, and values in contemporary Portugal. This chapter addresses these questions via the analysis of the mobile photo-sharing application Instagram deposited by the managers of the page of Paredes de Coura's Festival—Portuguese music festival—between 2015 and 2017, and it is from here that the author will try to understand and analyze the dynamics underlying the festival as an immersive experience.
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Donkor, Kimathi. "Africana Andromeda." In Classicisms in the Black Atlantic. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198814122.003.0007.

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The Tate’s national collection of British art includes work about the Greek myth of Andromeda who, according to the Roman poet, Ovid, was an Ethiopian princess rescued from death by Perseus. This chapter explores this racialized, gendered narrative and Andromeda’s suppressed African heritage through writing, reading, digital design, painting, photography, and drawing. How do British, Classical, and Black identities interact through art, and how are such processes mediated through a complex history characterized by colonialism and slavery, as well as by independence, struggle, and settlement? Informed by the disruptive spirit of Frantz Fanon, the author’s studio practice responds to Tate artworks, like Henry Fehr’s monumental sculpture, as well as to whiteness in Burne-Jones’ and Turner’s paintings. The author’s own artwork Rescue of Andromeda is proposed as demonstrative of how critical reading and studio methodologies can facilitate new art celebrating ascendant black womanhood, whilst contributing to debates about artistic tradition and popular culture.
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Goldhill, Simon. "Discipline and Revolution: Classics in Victorian Culture." In Victorian Culture and Classical Antiquity. Princeton University Press, 2011. http://dx.doi.org/10.23943/princeton/9780691149844.003.0001.

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This book explores the dynamics of Classics in the nineteenth-century, focusing on art, opera, and fiction and how artworks come to stand for a self-aware statement about modernity—through the classical past. It raises new questions and new understandings in three major areas of scholarship: nineteenth-century studies, Classics, and the so-called Reception Studies. It examines the discipline of Classics and its place in Victorian culture, as well as some very strong challenges to the Classics as a story, which constitute a need for a major revision of the account. In particular, it considers the relationship between Classics and sexuality. It also discusses the most important revolution of the nineteenth century, and how this affects our understanding of a discipline as a discipline: the loss of the dominant place of Christianity in Victorian Britain.
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Crawford, Matthew R. "Seeing the Salvation of God." In The Eusebian Canon Tables. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198802600.003.0008.

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In eighth-century Armenia a new genre of literature emerged consisting of commentary on the artwork that usually accompanies the Eusebian paratext. This chapter examines what these sources reveal about the way these images functioned paratextually in relation to the fourfold gospel. It first surveys the artistic developments that occurred across the diverse cultural traditions that transmitted the Eusebian apparatus. It next introduces Step‘anos of Siwnik’ and Nerses Šnorhali, the authors of the two treatises under consideration, and gives an overview of their interpretative approach. The latter part of the chapter turns to explain the functioning of the method and purpose of these commentaries by comparison with the theorization of memory in the classical rhetorical tradition. It argues that the commentaries model the use of the artwork as a mnemotechnical program intended as a preparatory exercise instructing the reader in the proper theological context within which the fourfold gospel is situated.
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Seeley, William P. "Concepts and Categories of Art: A Very Brief Primer." In Attentional Engines. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190662158.003.0004.

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Chapter 3 expands on the discussion of categories of art. The chapter evaluates four models for a theory of concepts for categories of art: a classical account derived from traditional, definitional theories of art; a prototype theory derived from Kendall Walton’s canonical discussion of categories of art; an exemplar theory derived from Morris Weitz’s anti-essentialism; and a knowledge-based account derived from Arthur Danto and Noël Carrol’s cognitivist theories of art. The chapter continues with a discussion of artworks and artifact concepts and concludes by arguing that a knowledge-based account of concepts provides the best model for understanding the structure of categories of art. and their role in our engagement with artworks.
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Hansen, Miriam Bratu. "Max Ophuls and Instant Messaging." In The Moving Eye. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190218430.003.0006.

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This chapter explores the public character of film and is informed by the ideas of Jürgen Habermas, Alexander Kluge, and Oskar Negt about the public sphere, Öffentlichkeit in German. It takes as its prime example the 1932 film Liebelei, by the Austrian director Max Ophuls, whose opening scene it interprets as a paradigm of the visuality and relay of gazes made possible by classical cinema. The author argues for the necessity of reformulating the thesis of Walter Benjamin about the reproducibility of the artwork to account for the contemporary digital media environment. The chapter concludes with speculation about the future of film exhibition and its survival as a form of sponsored or niche culture.
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Wue, Roberta. "The Shanghai Painted Fan." In Art Worlds. Hong Kong University Press, 2014. http://dx.doi.org/10.5790/hongkong/9789888208463.003.0002.

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Addresses Shanghai painting through the fashionable painted fan. Often overlooked because of its modest size and ambitions, the fan’s identity as a mobile image and object of self-adornment boosted its popularity in late Qing Shanghai, appealing to consumer tastes for flamboyant display and conspicuous consumption. This chapter examines the ways in which the painted fan embodied Shanghai School painting through the use of popular subjects, dynamic styles and compositions, and its fusion of accessory and artwork. The fan is also examined as a fashionable and sought-after commodity, retailed and distributed through Shanghai’s glamorous fan and letter-paper shops, contributing to the growth of the city’s vigorous art market for an urban middle-class clientele.
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Gjerdingen, Robert O. "A Sickly Young Woman Speaks Elegant Harmony to One of the Immortals." In Child Composers in the Old Conservatories. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190653590.003.0017.

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In the 1930s, the harmony classes at the Paris Conservatory were still segregated by gender. Jacques de La Presle was a teacher of “women’s harmony,” and in 1938 his student Colette Boyer won a first prize in the annual women’s harmony contest. The test bass had been composed by Henri Busser. Boyer’s realizations exhibit an elegance and refinement that must have impressed the judges. Henri Busser’s own realization of his bass is perhaps not quite as good as Boyer’s. Although the trauma of WWII led her to abandon music and seek refuge as a nun, her small artworks produced for the contests and classes in harmony remain testaments to her great talent. She knew nothing of the kind of harmony classes taught today in North America, but she was a minor master of the art of harmony as a living expression of a great European tradition.
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