Relevant bibliographies by topics / Figurative abstraction

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

Academic literature on the topic 'Figurative abstraction'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Figurative abstraction"

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Maxia, Laura. "Samuel Beckett Entre Abstraction et Figuration: Une critique (1990-2010)." Samuel Beckett Today / Aujourd'hui 23, no. 1 (2012): 245–59. http://dx.doi.org/10.1163/18757405-023001016.

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Over the last twenty years, Francophone studies have redefined Beckett's style by copmparing it with modern arts models. Far from unanimous, this reception works on a graduated scale, ranging between two opposites: abstraction and figuration. The key issue in this divergence is 'representation,' a matter inherently effecting the conceptions of figurative and abstract arts as well as language. After arguing that language is inescapably figurative, I will opt for a flexible concept of figuration, with the capacity to mould itself on the traits of the 'undoing-doing' Beckettian style.
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Holmberg, Sheryl Morang. "Abstracting a Deeper Meaning: How Three Sculptors Use Abstraction in Their Figurative Work." Sculpture Review 67, no. 3 (2018): 8–19. http://dx.doi.org/10.1177/074752841806700302.

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Durkin, Celia, Eileen Hartnett, Daphna Shohamy, and Eric R. Kandel. "An objective evaluation of the beholder’s response to abstract and figurative art based on construal level theory." Proceedings of the National Academy of Sciences 117, no. 33 (2020): 19809–15. http://dx.doi.org/10.1073/pnas.2001772117.

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Does abstract art evoke a different cognitive state than figurative art? To address this question empirically, we bridged art theory and cognitive research and designed an experiment leveraging construal level theory (CLT). CLT is based on experimental data showing that psychologically distant events (i.e., occurring farther away in space or time) are represented more abstractly than closer events. We measured construal level elicited by abstract vs. representational art and asked subjects to assign abstract/representational paintings by the same artist to a situation that was temporally/spati
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Rycroft, Simon. "Art and micro-cosmos: kinetic art and mid-20th-century cosmology." cultural geographies 19, no. 4 (2012): 447–67. http://dx.doi.org/10.1177/1474474012447538.

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Recent work by cultural geographers on visual art has emphasized performative and participatory aspects focusing upon the embodied and multi-sensory experience of encountering and being part of a work of art. Research on non-figurative art has much to offer in elucidating the relationships and distinctions between representation, non-representation and abstraction. Non figurative artists were representing or enacting a new kind of materiality, one that was putative, in process and ever changing. That materiality was based upon the adoption of a mid-20th-century cosmology and inspired by recent
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de la Cuétara, Isabel. "Emotional Development in People with High Capacities: Induction of Emotions through Pictorial Abstraction." Sustainability 12, no. 15 (2020): 5912. http://dx.doi.org/10.3390/su12155912.

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The goal of this work was to help the researcher that studies emotions in people with high capacities (HCs) to understand and intervene in the socio-emotional aspects of this group, considering the features of their profile that present a certain specificity. The International Affective Picture System (IAPS) developed by Lang, and based on the dimensional theory of emotions, was applied using abstract works by Kandinsky and Mondrian as emotional stimuli. The study was conducted with university students not classified as HC, to represent the normative group and enable the establishment of compa
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Wooley, Christine A. "Held in Checks: Du Bois, Johnson, and the Figurative Work of Financial Forms." Publications of the Modern Language Association of America 134, no. 3 (2019): 524–39. http://dx.doi.org/10.1632/pmla.2019.134.3.524.

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This essay investigates the personal check as it appears in two novels, W. E. B. Du Bois's The Quest of the Silver Fleece and James Weldon Johnson's he Autobiography of an Ex-Coloured Man. In these novels, checks move money between a wealthy white individual and an African American; a close analysis of the check's form and function shows how Du Bois and Johnson revise mid-nineteenth-century connections among feeling, money, and social change by exploiting, rather than challenging, the abstraction of this financial form. The checks in Du Bois and Johnson present the logic of reparations. In doi
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Bragina, Natalia, and Vladislav Stepanov. "PHILOSOPHICAL INTERPRETATION OF SYMBOLISM OF ČIURLIONIS’ PAINTINGS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 25, 2018): 360–71. http://dx.doi.org/10.17770/sie2018vol1.3196.

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The art of M.-K. Čiurlionis is unique and at the same time emblematic of the culture of the art nouveau period. A deep connection of his art to Lithuanian folklore was combined with his fascination with European philosophical trends of the turn of the 19th - 20th centuries. The aim of this article is to identify the cross-cutting themes (leitmotifs) in the artist’s works and, with the help of this, to reveal the philosophical basis of his works. The methods of research are the study and analysis of both individual Čiurlionis’ paintings and his artistic production in general, as well as the ana
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Pleshivtsev, Alexander, and Tatiana Pakunova. "Formation and development of technotopia as a concept of the figurative and stylistic direction of innovative architectural activity." E3S Web of Conferences 244 (2021): 05015. http://dx.doi.org/10.1051/e3sconf/202124405015.

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Purpose: to analyze the modern display of utopian ideas in architectural activity for the development of innovative directions of organization and forming of the object environment, to identify and define the features of technotopia as a figurative and stylistic direction that combines idealistic and pragmatic principles in architectural creativity. Methods and materials: empirical and theoretical methods of analogy and abstraction focused on analyzing the properties, possibilities and conditions that determine the features of utopian ideas displayed in architectural creativity. A method of ge
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Murillo Ligorred, Víctor, and Alfonso Revilla Carrasco. "La educación artística a través de las ciudades de Gerhard Richter: materialidad, agencia y memoria tras la II Guerra Mundial." Arte y Políticas de Identidad 22 (June 24, 2020): 98–116. http://dx.doi.org/10.6018/reapi.433951.

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El presente trabajo aborda la obra de Gerhard Richter desde su relación con la representación de la ciudad. Richter trae al frente un tipo de pintura basado en la interpretación de algunas urbes europeas desde la abstracción que traen al frente la presentación en planta, de vistas cenitales, que configuran sus espacios. Esta desfiguración de lo característico de un lugar, conecta la tradición figurativa con los nuevos lenguajes gestuales en la segunda mitaddel siglo XX. Las revisiones de la ciudad a partir de la abstracción e sus planos enlazan con la memoria enterrada bajo sus ruinas, proveni
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París Romia, Gemma. "Arte como Simulacro de una Realidad Lejana en la Obra de Gerhard Richter." Barcelona Investigación Arte Creación 8, no. 2 (2020): 101. http://dx.doi.org/10.17583/brac.2020.3580.

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This paper investigates the links that the artist Gerhard Richter establishes between photography and painting throughout his artistic career, initiated on 60ths. Since then, Richter's goal has been to build images, whether pictorial or photographic, whether blurry or sharp, geometric, abstract or figurative. The world that Richter paints is made up of banal situations, by anonymous people, by familiar landscapes, and that makes us feel comfortable as spectators, because it seems that Richter is creating a file of known places, moments with which we can connect from our subjectivity. Most part
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Dissertations / Theses on the topic "Figurative abstraction"

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Angiboust, Sylvain. "Le cinéma d'action américain contemporain : une abstraction figurative." Aix-Marseille 1, 2010. http://www.theses.fr/2010AIX10103.

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Le cinéma est naturellement un cinéma de l'action parce qu'il enregistre mécaniquement le mouvement des corps et les inscrits dans un cadre fictionnel. Le genre du film d'acion se constitue en présentant une action excessive et selon une esthétique spectaculaire. Les genres du cinéma classique (western, burlesque, film musical, film de guerre. . . ) sont tous à leur manière des films d'action. Ils sont tributaires du mode de l'action qui est une façon propre au cinéma de raconter des histoires par le mouvement. De façon plus singulière, le film d'action devient à partir des années soixante/qua
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Mészáros, Flóra. "Hungarian Artists in Abstraction-Creation." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040088.

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Cette thèse se focalise sur le groupe artistique international Abstraction-Création, créé pour servir de forum à l’art non figuratif à Paris entre 1931-1936. Au fil des années, il a eu une centaine de membres, y compris certains artistes hongrois, notamment Étienne Béothy, Alfred Reth, Lajos Tihanyi et Ferenc Martyn, tandis que László Moholy-Nagy était membre sans vivre à Paris. Ce n’est que dans les années 1970 que les premières recherches approfondies ont été menées sur Abstraction-Création. Depuis, l’activité d’Abstraction-Création n’a été que rarement étudiée, sa structure, ses objectifs o
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Grando, Bezerra Angela Maria. "Cicero Dias : figuration imaginative et abstraction construite [1928-1958]." Paris 1, 2002. http://www.theses.fr/2002PA010508.

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Ce travail se propose de mener une interprétation minutieuse de l'oeuvre du peintre brésilien Cicero Dias [1907-] pour la période qui va des années 20 aux années 50. Le peintre a traversé le siècle et sa longue carrière qui débute à Rio de Janeiro s'est déroulée entre le Brésil et la France. Son départ précipité du pays en 19371 sous le régime de la dictature Vargas, pour un séjour à Paris qui dure depuis cette date, fait qu'il laisse derrière lui une quantité importante de ses oeuvres et un discours partial de la critique qui célèbre sans modération son côté régional. Nous chercherons tout d'
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Sfar, Jinène. "L'espace non figuratif dans la scène théâtrale tunisienne contemporaine : approche plastique." Thesis, Montpellier 3, 2015. http://www.theses.fr/2015MON30023/document.

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Avec les avant-gardistes, la scène théâtrale occidentale a rompu avec l’image scénique figurative et l’illusion d’un espace présent qui représente un temps. En Tunisie, le théâtre, art implanté au début du XXe siècle (ce qui coïncide avec la naissance de l’art contemporain), a eu recours au départ à des dispositifs scéniques figuratifs imitant le quotidien tunisien. Mais dès les années soixante, le regard du metteur en scène tunisien, ayant côtoyé de près celui du plasticien, commence la recherche de sa propre voie esthétique avec l’emprunt d’un héritage oriental précolonial et plus généraleme
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Flexas, Oliver Albert. "Apreciación estética de estímulos abstractos y figurativos: datos conductuales y registros cerebrales." Doctoral thesis, Universitat de les Illes Balears, 2013. http://hdl.handle.net/10803/128273.

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- Introducció Les investigacions d’aquesta tesi s’emmarquen en la feina del grup Evolució i Cognició Humana (EvoCog), centrat en l’estudi dels trets específics dels éssers humans des d’un enfocament evolutiu-cognitiu. La capacitat moral i l’apreciació estètica són dos dels principals trets funcionals exclusius de l’espècie humana, i degut a que no deixen indicis fòssils directes, suposen un repte per a l’estudi de la cognició humana i la seva evolució. Per això el grup EvoCog centra els seus esforços en algunes de les incògnites d’aquests dos trets a través del projecte “La naturalesa moral i
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Coatleven-Brun, Angélique. "La peinture prise aux Lettres : ou comment définir une troisième structure visuelle en art." Phd thesis, Université Michel de Montaigne - Bordeaux III, 2012. http://tel.archives-ouvertes.fr/tel-00748596.

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La présente recherche s'attache à mettre en relief l'un des aspects particuliers de l'art : la peinture.Il s'agit, à la suite d'une pratique personnelle cultivée depuis plu¬sieurs années et explorant les relations complexes entre expression plastique et intégration de la lettre écrite, de réfléchir sur l'entité singulière qu'est l'écriture.C'est alors que, conjuguant le travail plastique et le travail de recher¬che, se conduit cette étude dont l'objectif se fonde et se développe autour de la question des rapports texte/image au sein des œuvres peintes traversant et construisant l'ensemble de l
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Park, Mee-Jung. "De la figuration à l'abstraction dans la peinture de l'école de New-York des années 1930 et 1940." Paris 8, 1998. http://www.theses.fr/1998PA081408.

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L'expressionnisme abstrait considere comme le premier mouvement artistique specifiquement americain a influence de facon determinante les mouvements artistiques aux etats-unis et dans le monde entier. La periode de maturite de ce mouvement artistique, c'est-a-dire a partir des annees cinquante, a fait l'objet de beaucoup plus de recherches que celle de sa naissance. Etant donne que cette periode de formation a ete negligee par les critiques, il nous a semble important de la traiter. En effet, les annees trente et quarante, que notre etude abordons, sont l'epoque de formation de l'expressionnis
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Cléren, Marie. "Entre figuration et abstraction, danse et poésie plastiques : échanges et influences entre les peintres, les chorégraphes et les librettistes entre 1909 et 1933, en France, Allemagne, Italie et Suisse." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040133.

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Phénomène protéiforme, l’abstraction picturale a bouleversé le monde des arts à l’aube du XXᵉ siècle. En Europe, de la Belle époque aux Années folles, les peintres d’avant-garde ont croisé le chemin de poètes et de chorégraphes avec lesquels ils partageaient le même désir de changement. Sous l’égide de mécènes ou d’amateurs éclairés, leurs collaborations ont donné naissance à des spectacles d’un genre nouveau où les frontières entre les différentes disciplines se trouvent abolies. Associer la peinture, art de l'espace, à la danse, qui y introduit le temps, soulève quelques questions qui ont fa
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Lauterio, Ryan. "Kingdom Compossible." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1821.

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Does God exist? Can we know for sure? What might it mean to know this? Furthermore what might it look like to make works of art while also seeking to find answers to these questions? This thesis details my personal experiences growing up in a world steeped in postmodernism and my move to answer such questions while looking to develop a meaningful, clear worldview and body of work. I have turned my focus on specific episodes in my life, which significantly illuminate a progression of thinking and experience. Together these thoughts and experiences have become the impetus for both questions and
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Campos, Beatriz Pinheiro de. "Quirino Campofiorito e Mário Pedrosa: entre a figuração e a abstração. A crítica de arte e o surgimento da arte abstrata no Brasil (1940 a 1960)." Universidade Federal de Juiz de Fora, 2013. https://repositorio.ufjf.br/jspui/handle/ufjf/2298.

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Submitted by isabela.moljf@hotmail.com (isabela.moljf@hotmail.com) on 2016-08-04T19:17:16Z No. of bitstreams: 1 beatrizpinheirodecampos.pdf: 34924654 bytes, checksum: 5922820685f778576f36653d79804b53 (MD5)<br>Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-08-05T11:52:14Z (GMT) No. of bitstreams: 1 beatrizpinheirodecampos.pdf: 34924654 bytes, checksum: 5922820685f778576f36653d79804b53 (MD5)<br>Made available in DSpace on 2016-08-05T11:52:14Z (GMT). No. of bitstreams: 1 beatrizpinheirodecampos.pdf: 34924654 bytes, checksum: 5922820685f778576f36653d
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Books on the topic "Figurative abstraction"

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Paulson, Ronald. Figure and abstraction in contemporary painting. Rutgers University Press, 1990.

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Briot, Marie-Odile. Nécessité de la peinture: De la liberté de l'art moderne : abstraction, figuration. Cercle d'art, 1994.

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From figuration to abstraction. Arts & Education, 1992.

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Gallery, Sidney Janis, Haags Gemeentemuseum, and Seibu Bijutsukan, eds. Mondrian: From figuration to abstraction. Thames and Hudson, 1988.

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Mondrian, Piet. Mondrian: From figuration to abstraction. Tokyo Shimbun, 1987.

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Mondrian, Piet. Mondrian: From figuration to abstraction. Tokyo Shimbun, 1987.

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Gertsman, Elina, ed. Abstraction in Medieval Art. Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789462989894.

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Abstraction haunts medieval art, both withdrawing figuration and suggesting elusive presence. How does it make or destroy meaning in the process? Does it suggest the failure of figuration, the faltering of iconography? Does medieval abstraction function because it is imperfect, incomplete, and uncorrected-and therefore cognitively, visually demanding? Is it, conversely, precisely about perfection? To what extent is the abstract predicated on theorization of the unrepresentable and imperceptible? Does medieval abstraction pit aesthetics against metaphysics, or does it enrich it, or frame it, or
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Visualising the Neolithic: Abstraction, figuration, performance, representation. Oxbow Books, 2012.

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Lacomme, Daniel. Figuration & abstraction dans le dessin et la peinture. Bordas, 1994.

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Abstraction, figuration: Langage et signification de la peinture. Editions Cerle d'art, 1988.

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Book chapters on the topic "Figurative abstraction"

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Perini, Giovanna. "Hogarth’s Visual Mnemotechnics: Notes on Abstraction as an aide-mémoire for Figurative Painters." In Memory & Oblivion. Springer Netherlands, 1999. http://dx.doi.org/10.1007/978-94-011-4006-5_98.

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Benton, Charlotte. "Introduction." In Figuration/Abstraction. Routledge, 2017. http://dx.doi.org/10.4324/9781315094083-1.

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Hornstein, Shelley. "Invisible topographies and deafening silences: looking for the Memorial to the Victims of the Deportation in Paris." In Figuration/Abstraction. Routledge, 2017. http://dx.doi.org/10.4324/9781315094083-10.

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Murawska-Muthesius, Katarzyna. "Oskar Hansen, Henry Moore and the Auschwitz Memorial debates in Poland, 1958–59." In Figuration/Abstraction. Routledge, 2017. http://dx.doi.org/10.4324/9781315094083-11.

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Lindgren, Liisa. "The return to nature: Finnish monumental sculpture in the 1950s and 1960s." In Figuration/Abstraction. Routledge, 2017. http://dx.doi.org/10.4324/9781315094083-12.

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Ursprung, Philip. "Continuity: Max Bill’s public sculpture and the representation of money." In Figuration/Abstraction. Routledge, 2017. http://dx.doi.org/10.4324/9781315094083-13.

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"Documents." In Figuration/Abstraction. Routledge, 2017. http://dx.doi.org/10.4324/9781315094083-14.

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"Document source acknowledgements." In Figuration/Abstraction. Routledge, 2017. http://dx.doi.org/10.4324/9781315094083-15.

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"Biographies." In Figuration/Abstraction. Routledge, 2017. http://dx.doi.org/10.4324/9781315094083-16.

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Fowkes, Reuben. "Soviet war memorials in Eastern Europe, 1945–74." In Figuration/Abstraction. Routledge, 2017. http://dx.doi.org/10.4324/9781315094083-2.

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