Academic literature on the topic 'Impressionism (Art)'
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Journal articles on the topic "Impressionism (Art)"
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Yamash, Yurii, Inna Prokopchuk, Mariana Pelekh, Olena Padovska, and Olena Zherebetska. "Theme of Flowers as a Sign of Impressionism on the Example of the Work of Ivan Trush (1869-1941)." Herança 7, no. 1 (December 29, 2023): 126–35. http://dx.doi.org/10.52152/heranca.v7i1.812.
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The end of the 19th and the beginning of the 20th century in art are associated with light and color in Europe, which were characteristic of the artistic philosophy of Impressionism. Prominent representatives of this movement created artworks based on a new approach to color choices and subject matter, including the depiction of real landscapes and floral compositions. The relevance of this research is driven by the need to study the artistic representation of floral compositions by the Ukrainian artist I. Trush through the prism of Impressionist stylistic elements. The research aims to identify the features of Impressionist philosophy in the works of I. Trush through a comparison of the artist's body of work with that of Impressionist contemporaries in the field of visual arts. In this research, scientific methods such as description, systematization, analysis, comparison, cultural-historical analysis, and generalization were employed. As a result of this scientific investigation, the fundamental characteristic traits of Impressionism as an art style in visual arts were studied, as well as the particular features that distinguish this artistic movement from previous artistic philosophies. The research also analyzed the conceptual framework of the term "Impressionism" and its origins. Furthermore, it examined the characteristic traits and features of the works of the Ukrainian painter I. Trush and Impressionist artists, allowing for the integration of the distinctive traits and features of Impressionism in the artist's work through comparison. Through the comparative analysis conducted in this scientific work between Impressionists and the artistic output of I. Trush, the involvement of the Ukrainian artist in the broader Impressionist movement was highlighted. This research can be utilized by scholars and art historians for further exploration of Impressionism as an artistic movement and its influence on the development of Ukrainian art.
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Ozturk, Fatma, and Ozlem Berksan. "A study for the impact of impressionism period’s coloring, style and mode on fashion designers." Global Journal of Arts Education 5, no. 2 (November 15, 2015): 40. http://dx.doi.org/10.18844/gjae.v5i2.243.
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Impressionism is a result of scientific and social developments’ influence on art and cultural movements during 1870’s. Impressionism, as being the brand new and the most important development in art during 19th century, has represented the modern painting with a strict separation from former understanding of art. While other art movements of 19th century have been maintained the relations or bore trace from classical understanding, impressionists severed all these ties. Instead of observing the nature in a realistic manner, they used impressions of observing it on art.Fashion in the most general sense, is representing the change. Whereas, fashion has been seen as the synonym of dressing, it involves all the aspects of human life. The Belle Epoque Era (1890-1914) that comprised a coy eroticism in fashion overlaps with the Impressionism period. It was a period characterized by an extensive freedom, economic growth and scientific development in Europe. New daily sport clothes and expensive night dresses were the source of inspiration in fashion. Trains and cars made it possible to spend time at the outside for everybody and new fashion styles adopted for social activities.This study is intended to analyze Impressionism Period’s impact on fashion designers. The clothes of the period are going to be investigated from the view point of their color, style, models and accessories. Keywords: Fashion, art, impressionism, belle epoque
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Gu, Ranran. "Explore the similarity of impressionist music and impressionist painting." Highlights in Art and Design 2, no. 3 (April 24, 2023): 24–26. http://dx.doi.org/10.54097/hiaad.v2i3.7547.
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The 19th, the end of the century, impressionist painting and impressionism music in the background of innovation, the development of impressionism witnessed the transformation of western traditional art and the rise of modern art, in the history of western art left a heavy, painting, music and other art genres, discipline fusion reached a new step. This paper analyzes and compares the subject matter, structure and expression techniques of impressionist painting and music, explores the similarities of two different arts, and explores the important role of the interaction and integration of art in the development of art.
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Surat, Irina Z. "On Osip Mandelstam’s Poem “Impressionism”." Studia Litterarum 6, no. 3 (2021): 166–83. http://dx.doi.org/10.22455/2500-4247-2021-6-3-166-183.
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This article focuses on Osip Mandelstam’s poem “Impressionism”. The main objective of this work is to analyze the key motifs and images of the poem and to offer an integral, non-contradictory reading of the poem based on its immediate context as well as on the specific features of Mandelstam’s poetics. Mandelstam treated impressionism with great enthusiasm considering it an innovative phenomenon in art; impressionism in its broad meaning most fully corresponded with his idea of the life-giving capacities of art as reflected in this poem. The article discloses the plot of the gradual immersion in the world of an impressionist painting in Mandelstam’s poem. A verse-by-verse analysis of the text complemented by the parallel reading of the fragments of Mandelstam’s prose, and also with impressionist paintings the poet was familiar with as a backdrop, allows me to define the particularities of Mandelstam’s symphonic and solid perception of plastic arts, including impressionist painting. The article shows how the antinomies of Mandelstam’s creative art affect the poetic text. “Impressionism” is not a reflection of specific motifs of particular paintings but a cocreative effort of resurrecting reality in art that Mandelstam thought to be the art’s prime purpose.
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Jiao, Shizuo, and Xuanjian Zhu. "Post-impressionism: implicit salute towards its predecessors." Journal of Education, Humanities and Social Sciences 1 (July 6, 2022): 302–7. http://dx.doi.org/10.54097/ehss.v1i.675.
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Post-impressionism, as one of the world's most popular schools of art, was focused mostly on its influence on its descendants. However, this paper examines the undiscovered aspect of post-impressionism by giving a perspective on its relations with its predecessors rather than its influence on its successors. It studies the forms and flows of post-impressionist paintings. Comparisons, investigations, and observations were made during the period. It is also reviewed in the thesis about the previous articles on comparisons between post-impressionism and its contemporaries as ukiyo-e paintings. Between post-impressionism and its ensuing schools, such as the art nouveau, these comparisons are made to illustrate the influence. The investigation pointed out that there have always been relationships and similarities between post-impressionism and its predecessors, either implicit or explicit ones. The work could endorse further studies on post-impressionism and break the common sense on post-impressionism that it only had an impact on its posts and was not influenced much by its predecessors.
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Liu, Jiabei. "Explore the Influence of Impressionism on Post-Impressionism: Taking Van Gogh's Works as an Example." Journal of Education, Humanities and Social Sciences 31 (April 27, 2024): 135–39. http://dx.doi.org/10.54097/3qjw2990.
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Impressionism is a pivotal movement in the history of Western art. It revolutionizes the traditional approach to Western painting. This artistic movement emphasized the spontaneous, direct, and visual representation of natural light and its effect on colors, shapes, and textures. Impressionism is a special kind of non-traditional art without a doubt. Vincent van Gogh is one of the most famous impressionist artists. He has many special characteristics: swirl-like brushstrokes, painting themes that are full of compassion and suffering consciousness, and bold and exaggerated colors. Van Gogh's works often express different emotions through strong contrast and bright colors. His works are very distinctive and full of beauty. He is also one of the most representative impressionist artists. This article will use the survey method and document retrieval method to discover the specialties of impressionism works through Van Gogh's paintings. After the discovery, this article has found three main specialties of impressionism: colors, unrealistic descriptions, and nature elements. In conclusion, this article has discovered why impressionist artworks are so special and so ‘impressive’ through the research.
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Li, Jie. "Dialogue on Artistic Expression: A Study of Oriental Elements in 19th-Century Impressionism." Journal of Education, Humanities and Social Sciences 31 (April 27, 2024): 151–59. http://dx.doi.org/10.54097/nskets35.
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As one of the most significant art movements in the 19th century, Impressionism broke down conventional boundaries, laying the foundation for today’s artistic styles to flourish. This paper aims to explore the integration of Oriental elements of Impressionism and to reveal the influence of cultural exchange on art movements. The introduction section provides a comprehensive overview of Impressionism, focusing on the research goals that revolve around Oriental aspects. The paper utilises an exhaustive approach, including a literature review, artwork analysis, and examination of historical records, ensuring a thorough exploration of Oriental influences. The structure of this paper acts as a guide for readers, highlighting unique contributions such as exploring little-known Eastern elements and interpreting artworks from new perspectives. By deeply studying the historical background of Impressionism, this paper discusses the interests in Eastern art and its influences on the Western art movement in the 19th century, examines the channels of cultural exchange, and analyses the reception of Oriental elements through case studies. At the same time, the influences of oriental traditions and elements such as brushwork, composition, and calligraphy on the natural depiction, colour application, daily life, symbolism, and character representation of Impressionist paintings are also discussed. In conclusion, this paper summarises the key findings and contributions and emphasises the importance of Oriental elements in Impressionist art.
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Zavyalova, Anna E. "Konstantin Somov’s Early Works and Impressionism: A New View on the Issue." Observatory of Culture 18, no. 4 (October 11, 2021): 409–15. http://dx.doi.org/10.25281/2072-3156-2021-18-4-409-415.
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The article reveals literary (Emile Zola’s novel “L’Œuvre”, Richard Muther’s work “History of Painting in the 19th Century”), literary and artistic (magazines “Mercure de France”, “L’Ermitage”, “La Revue Blanche”, “La Plume”) and artistic (exhibits of the French art exhibition of 1896) sources of Konstantin Somov’s acquaintance with the art of French impressionism at the beginning of his independent activity (before leaving for Paris in the late 1890s). There are also identified sources of phenomena in his work that are similar to impressionism only externally. These issues become the subject of special consideration for the first time. The scientific novelty of the work lies in the fact that it first reveals that the artist did not address to impressionism in the period before his departure to France, as it has been long believed. To study the tasks set, the article involves sources of personal origin (letters and diaries of K.A. Somov and his friend A.N. Benois), as well as A.N. Benois’s articles of the 1890s, published on the pages of the magazine “World of Art”. The author comes to the conclusion that K.A. Somov did not turn to the artistic method of the impressionists in his work at that time, since the information he had been able to get from the identified sources was of a verbal and theoretical nature. Black-and-white reproductions of impressionist paintings in literary and art magazines and in Muther’s “History of Painting in the 19th Century” had not provided sufficient information for the artist. The phenomena similar to impressionism in Somov’s works are based on the study of nature, the heritage of the old European artists, the art of the Barbizonians, J.-F. Millet, W. Turner.
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Yan, Zhiqi, Zidi Guo, and Miao Guo. "On the Combination of Oil Painting Techniques and Modern Illustration Art." Highlights in Art and Design 4, no. 1 (August 28, 2023): 118–21. http://dx.doi.org/10.54097/hiaad.v4i1.12015.
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Oil painting represents the mainstream of modern Western painting art. The development history of Western painting art cannot be separated from the evolution of the style, subject matter and techniques of oil painting. Since its emergence, oil painting has experienced several style periods, including classicism, Romanticism, Impressionism, abstraction and so on. Among them, Impressionism, which was born in the middle of 19th century, played an important role in the history of western oil painting. It changed the style and way of oil painting popular in the past few centuries with new color theory and creative techniques. Impressionism emphasized the intuitive observation and real performance of the painting object. Since then, painting is no longer limited to the spiritual transmission of the author, and "what you paint is what you see" has gradually become one of the creation principles of Western oil painting. This paper analyzes the paintings of famous Impressionist painters with examples, sums up how Impressionist paintings skillfully use light, shadow and color to create, and discusses its referential significance for modern illustration.
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Skorobogacheva, Ekaterina Aleksandrovna. "Genesis of Russian Impressionism and its first interpretations." Pan-Art 3, no. 4 (November 8, 2023): 231–35. http://dx.doi.org/10.30853/pa20230037.
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The aim of this research is to identify the specific features of the artistic language of Russian Impressionism. The article presents the content of this stylistic direction, distinguishing it from the general concept of "impressionism." The characteristics of Russian Impressionist art are revealed in its "dialogue" with both Western and Eastern painting, within the chronological framework of the late 19th to the first half of the 20th century. It is determined that the combination of Impressionist language with other styles, including realism, remains significant in both the latter half of the 20th century and contemporary Russian culture.
Dissertations / Theses on the topic "Impressionism (Art)"
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Mauney, Nancy Jewell. "An architecture of impressionism : an abstraction of the principles of impressionistic painting into a set of principles of impressionist architecture." Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/23423.
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Storskog, C. C. "Literary Impressionisms. Resonances of Impressionism in Swedish and Finland-Swedish Prose 1880-1900." Doctoral thesis, Università degli Studi di Milano, 2015. http://hdl.handle.net/2434/261135.
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This dissertation aims to locate and draw out resonances of impressionism in Swedish and Finland-Swedish prose at the end of the nineteenth century, a field hitherto overlooked in the critical debate on literary impressionism. Through the initial examination of the use of the term in an international context comprising the Scandinavian scene, the aim is to show the many alternative accesses to literary impressionism. By focusing on three landmark discussions on the theme in the Nordic countries of the late nineteenth-century (Herman Bang, the Kristiania Bohème, August Strindberg) the inclusive, wide-ranging Scandinavian understanding of the relationship between impressionism and literature is introduced. Accordingly, the texts thereafter chosen for closer scrutiny are intended to disclose this extensive interpretation of impressionist writing: Helena Westermarck’s short story Aftonstämning (Evening Mood) from 1890 is read as an example of interart transposition, i.e., as a piece of prose adopting a theme, as well as the compositional aesthetics, of painterly impressionism; Stella Kleve’s novels and short stories are instead seen as indicative of the narrative modes of a literary impressionism drawing on theatrical representation, as in Bang’s impressionist poetics, but also present textual features such as the ‘metonymic mode’ and ‘delayed decoding’, elements central to the international approach to impressionist prose. The concluding analysis of fictional impressionists in the prose of authors such as Gustaf af Geijerstam, Mathilda Roos, and Georg Nordensvan advances a many-sided portrait of the impressionist painter while remaining true to this study’s pluralistic approach to literary impressionism by including a discussion of K. A. Tavaststjerna’s Impressionisten (The Impressionist) from 1892, whose protagonist is not an artist but a hypersensitive, impressionable subject. This last section also investigates how fiction is used to convey a critical discussion of the means and methods of painterly impressionism, as well as the function of the use of the visual arts in the texts.
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Wong, Sau-mui Alice, and 黃秀梅. "Fashioning food in impressionist painting." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B46599058.
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This thesis explores the various roles of food in Impressionism by examining paintings of food so as to sort out their relationship with one another and their linkage to modern life in Paris in the 19th century. Food was related to spectacle, class reconfiguration, gender relations, consumerism and capitalism, and leisure, all of which were part of the revolution of modernity in Paris. By analyzing Impressionist images of food production, display and consumption in relation to these modern social and historical developments, the thesis explores the relationship between food and people, meaning the social dimension of food culture. In addition to standard art historical approaches, two research methods are especially important. First is to understand the general historical context of food imagery by examining 19th-century cookbooks, novels and treatises related to food, and popular visual culture including posters, menus, and prints. Second is to identify and analyze particular food motifs by studying recipes, statistics, and dictionaries of food.
Five chapters deal with five aspects of food. Chapter one talks about the crystallization of food into spectacle as a result of the conspicuous consumption facilitated by the construction of Les Halles, the central food market. Chapter two examines two different kinds of food production – rural agriculture and urban artisan cuisine – as expressions of two dissimilar attitudes towards labor, linked to competing conceptions of time as continuous and discontinuous. Chapter three raises the issue of sociability, where the pleasure of eating can only be obtained through the engendering of a semi-private space linking private eating to public identity. Chapter four shows how the coalescing of food and women in Impressionism intensifies the pleasures of visually and physically consuming the female body, while paradoxically entrapping male viewers in desire. Whereas these first four chapters emphasize social aspects of food, chapter five shows how food affected the interiority of particular artists, demonstrating the embodiment of psychological traits in Impressionist still lifes of food.
Overall, the thesis shows that Impressionist paintings of food actively interpreted and defined modern food culture as a continuous process of spectacularization and systemization, and that they consciously draw parallels between food consumption and visual consumption as similar processes of pleasurable consumption. By revealing that Impressionist food imagery sometimes does not comply with other Impressionist genres in interpreting modernity, the thesis opens new ways of thinking about both food culture and Impressionism.published_or_final_version
Fine Arts
Master
Master of Philosophy
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Barry, Marie Porterfield. "Lesson 17 Part 1: Reactions to the Modern World-Introduction and Impressionism." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/18.
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DiMarco, Christa Rose. "Painting in Paris: Vincent van Gogh, 1886-1888." Diss., Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/350384.
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Art HistoryPh.D.
In Painting in Paris: Vincent Van Gogh, 1886-1888, Christa DiMarco explores the two-year period Van Gogh lived and worked in Paris. The paintings the artist made in The Netherlands, where he lived prior to Paris, and those he produced in Arles, where he moved afterward, usually receive scholarly attention. The imagery from the artist’s time in the capital is generally marginalized. DiMarco considers how and why the artist used a brighter palette and energetic brushwork while painting in Paris. Considering that his artistic practice spanned only a decade from 1880 to 1890, the artist’s time in the capital represents a significant period of growth in terms of his engagement with the art market, his exposure to avant-garde imagery, and his understanding of Symbolist theory in the visual arts. Van Gogh accomplished significant goals in Paris, though some of his well-developed imagery does not necessarily figure into discussions regarding the canonical paintings of the artist’s body of work. Attention to the Paris-period not only locates Van Gogh’s pictorial development within the context of the Impressionists and Neo-Impressionists, but also establishes the ways in which the artist diverged from the artistic aims of the Parisian avant-garde, such as Claude Monet and Camille Pissarro, as he developed his Symbolic approach.
Temple University--Theses
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Barry, Marie Porterfield. "Lesson 17 Part 2: Reactions to the Modern World-Post-Impressionism and Expressionism." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/19.
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This lessons covers the difference between impressionism and expressionism. Post-impressionism is represented through artworks by Vincent Van Gogh, Paul Gauguin, Paul Cèzanne, and Henri de Toulouse-Lautrec. Expressionism is represented through artworks by Edvard Munch, Henri Matisse, Ernst Ludwig Kirchner, and Vassily Kandinsky.
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Marre, Oriane. "La réception de l’avant-garde artistique dans la presse politique en France, de l’impressionnisme au fauvisme (1874-1905)." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040074.
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Cette thèse a pour objet la réception de l’avant-garde artistique dans la presse politique pendant les trente premières années de la Troisième République en France. Dans la perspective d’analyser la politisation non de la scène artistique mais de sa perception, nous nous proposons d’étudier la notion d’avant-garde artistique à travers le prisme du politique, de rechercher ce que les contemporains politisés des artistes considèrent comme un art à l’avant-garde. Nous nous sommes intéressés à la période longue, de 1874 à 1905, de l’impressionnisme au fauvisme. La première exposition du groupe impressionniste intervient sur la scène parisienne après la proclamation de la Troisième République le 4 septembre 1870, l’échec de la tentative de restauration monarchique de l’automne 1873 mais avant le vote de l’amendement Wallon le 30 janvier 1875 qui officialise la République. Sa réception s’inscrit dans le contexte de l’instauration puis de l’enracinement de la République en France, du passage des républicains de l’opposition au gouvernement. L’analyse de la réception des mouvements artistiques qui se développent à la fin des années 1880 permet quant à elle d’appréhender la perception du paysage artistique par le monde politique, de la gestion de l’État par les républicains modérés à l’accession au gouvernement des radicaux, intransigeants des années 1870. La presse politique, qui n’a pas vocation à discourir sur l’art mais constitue un miroir quotidien présentant une hiérarchie des événements dont elle garde la trace, nous est apparue un médium très pertinent afin de mettre à jour les réactions des spectateurs politisés dont les articles contiennent en filigrane les empreintesIn this thesis we study how the artistic avant-garde was perceived by the political press in France during the first thirty years of the Third Republic. We propose to question the notion of avant-garde by studying it through the political prism, trying to ascertain what the artists’ politically aware contemporaries used to consider avant-garde art. We do not focus on the political commitments of the artists, but on the way their art was perceived. We chose to consider a rather long period of time, ranging from 1874 to 1905, from Impressionism to Post-impressionism. The first exhibition of the impressionist group took place just after the Third Republic was proclaimed, on the 4th of September 1870, and the unsuccessful attempt to restore the Monarchy in 1873, but before the Wallon amendment voted in 1875, which formalized the establishment of the Republic. We study its reception both in the wake of the establishment of the Republic and as this political regime settles in France, when the Republicans cease to be part of the opposition and start leading the country. Analysing the reception of the art movements emerging in the late 1880’s allows us to grasp how the political audience reacted to the artistic production from the Moderate Republican government to the Radicals’ – formerly called intransigeants in the late 1870’s. Although the purpose of the political press was not to discuss art per se, it still reported artistic and political events, hierarchically presenting them on a daily basis. Acting as a powerful tool to explore the expectations and reactions of its intended politically aware readers, the political press remains a very relevant source for art historians
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Bas, Judith Hall. "Post-Impressionist Woolf." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1998. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M.A.)--Kutztown University of Pennsylvania, 1998.Source: Masters Abstracts International, Volume: 45-06, page: 2840. Typescript. Abstract precedes thesis as preliminary leaves [1]-2. Includes bibliographical references (leaves 104-106).
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Muente, Tamera Lenz. "Repose, Reflections, and “Girls in Sunshine”: Frederick Carl Frieseke’s Paintings of Women, 1905–1920." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1147531632.
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Grodzinski, Veronika. "French Impressionism and German Jews : the making of modernist art collectors and art collections in Imperial Germany 1896-1914." Thesis, University College London (University of London), 2005. http://discovery.ucl.ac.uk/1444726/.
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This interdisciplinary thesis is the first dedicated study of German Jewish patronage of French Impressionist and post-Impressionist art in Wilhelmine Germany. It investigates the disproportionately strong impact of German Jewish patronage from three perspectives. It examines the significance of Paul Cassirer's modernist art dealership, the prominence of German Jewish art collectors and their modernist art collections and the presence of German Jewish sponsorship at the Nationalgalerie Berlin, the Pinakothek Munich and the Stadelsche Kunstinstitut in Frankfurt am Main. First it examines Impressionism as the 'painting of modern life' in its original French context, focussing on French Jewish dealer-patrons and collectors whose association with French modernist artists influenced not only its iconography, but also involved French Jews in modern art promotion and marketing. The French model serves as a basis for understanding the reception of such art amongst a liberal circle of Germans and German Jews. The study examines the Wilhelmine reaction to French modernism and shows how antagonism toward Jews and France was often linked and interpreted by conservatives as 'alien elements' in nationalist Germany, thus highlighting Impressionism as a threat of a new Weltanschauung. This thesis suggests that although some German Jews acculturated to the dominant Wilhelmine culture, the championing of modernist art actually emphasized their Jewishness and their role as the 'Other' in German society, despite their patriotism. Yet, in the long run, German Jewish taste for the avant-garde had as much influence on German modernism as German taste had on Jews. The study hypothesizes that German Jews embraced French Impressionism as an 'iconography of inclusion' that coincided with their own experience of modern life and thus their patronage served as a component in the construction of their secular identities. The study concludes that strong German Jewish patronage changed the modern art market irrevocably and by doing so it was not only a turning point for the writing of modern art histories, but also for the reassessment of German Jewish cultural identities, thereby proving that the history of modernist European art patronage encompassed also a history of ideas.
Books on the topic "Impressionism (Art)"
More sourcesBook chapters on the topic "Impressionism (Art)"
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Dombrowski, André. "Impressionism and Globalization." In Historical Narratives of Global Modern Art, 19–30. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003247678-4.
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David, Gill. "Expressionism or Impressionism? A Split Syzygy." In Art and Soul: Rudolf Steiner, Interdisciplinary Art and Education, 117–38. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-17604-4_7.
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Lucy, Martha. "Impressionism and the Mirror Image." In A Companion to Nineteenth-Century Art, 263–79. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2018. http://dx.doi.org/10.1002/9781118856321.ch16.
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Kimber, Gerri. "Use of Literary Impressionism." In Katherine Mansfield and the Art of the Short Story, 26–32. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137483881_6.
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Bullen, J. B. "P.G. Konody, ‘Art and Artists – More Post-Impressionism at the Grafton’." In Post-Impressionists in England, 368–72. London: Routledge, 2024. http://dx.doi.org/10.4324/9781032699707-84.
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Bullen, J. B. "Charles Ricketts, Tost-Impressionism at the Grafton Gallery' Pages on Art, 1913, pp. 149-64." In Post-Impressionists in England, 201–8. London: Routledge, 2024. http://dx.doi.org/10.4324/9781032699707-41.
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Heywood, Ian. "From Impressionism to Opticality: An Episode in the Sensory History of Art." In Sensory Arts and Design, 225–38. New York: Bloomsbury Academic, 2017. |: Routledge, 2020. http://dx.doi.org/10.4324/9781003086635-16.
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Bullen, J. B. "G.R.H., ‘Art Notes: “The Revolution in Art”’." In Post-Impressionists in England, 179–83. London: Routledge, 2024. http://dx.doi.org/10.4324/9781032699707-35.
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Bullen, J. B. "Julius Meier-Graefe, Modern Art." In Post-Impressionists in England, 53–59. London: Routledge, 2024. http://dx.doi.org/10.4324/9781032699707-8.
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Bullen, J. B. "Frank Rutter, ‘An Art Causerie’." In Post-Impressionists in England, 396–99. London: Routledge, 2024. http://dx.doi.org/10.4324/9781032699707-91.
Full textConference papers on the topic "Impressionism (Art)"
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Maslennikova, Svetlana Fedorovna. "FORMATION OF PROFESSIONAL COMPETENCIES FOR FUTURE BACHELORS OF TOURISM IN THE PROCESS OF TRAINING." In All-Russian scientific and practical conference with international participation. Publishing house Sreda, 2021. http://dx.doi.org/10.31483/r-97839.
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The article reveals some aspects of mastering professional competencies by students studying in the direction of training 43.03.02. Tourism, in the process of studying the course "World culture and art". On the example of the work of the French impressionist artist E. Manet, the originality of the artistic direction "impressionism" and its characteristic features are shown.
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Kim, Minseo, and Jeounghoon Kim. "Comparative analysis of Dutch art and impressionism through an interdisciplinary method." In 2017 10th International Congress on Image and Signal Processing, BioMedical Engineering and Informatics (CISP-BMEI). IEEE, 2017. http://dx.doi.org/10.1109/cisp-bmei.2017.8302048.
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Kovats, Gizella. "THE PRESENCE OF IMPRESSIONISM IN ART AS A PURE STATE OF CREATION." In 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b41/s12.006.
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Campanella, Renzo, and Flavia Dragoni. "ART AND SCIENCE PARALLEL PATHS IN THE DEVELOPMENT OF THE HUMAN THOUGHT. IS ART AN ANTICIPATION OF THE SCIENTIFIC DISCOVERIES?" In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/vs07.08.
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Both in art and in science one can identify paths of development that lead in the same direction. This parallel development can be proposed on the basis of a comparison between the evolution of painting and the development of the theories of physics, recognizing, for example, a conceptual parallelism between the birth of perspective and the Galilean scientific method, as well as between impressionism and quantum mechanics. Another case in which it is evident that art and science move in the same direction is the drastic change in the perception of space-time operated simultaneously with the relativity of Einstein and the birth of Cubism. These considerations may however remain mere speculations if not supported by observations that are in some way measurable. These can be found in the "drip" paintings by Jackson Pollock, who intended to deal with the rhythms of nature. His paintings are perfectly describable as fractals, although the definition of fractal geometry, which is certainly the most accurate way to describe natural phenomena mathematically, was given by Mandelbrot twenty years after Pollock�s death. All this suggests that human thought can evolve in unison, albeit in different ways in the different fields in which it expresses itself, and that the artistic description of nature can anticipate the scientific description.
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Beris, Yeter, and İsmail Erim Gulacti. "Influences of Japanese prints on European printmaking (in the case of Degas-Manzi partnership)." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p69.
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Contemporary artists have included classical methods together with innovative digital printing technologies to their artistic manufactures and thus their technological production interactions have been reflected on current art as well. Today’s artists have also been in collaboration with each other by involving the digital printing technologies which kept advancing during the recent 20 years in their works of art just like Degas and Manzi did in their relationships of production partnerships in 19th Century. Besides, those opinions which originated from modernism ideas and movements consist of the core of this cooperation post Industrial Revolution era. Therefore, the concept of nationalism, the devastating consequences of the world wars and the latest industrial and technological advancements have all transformed human life irreversibly. Consequently, during this transformation era, various significant movements of art such as Impressionism and Expressionism emerged in the 20th century and representatives of those art movements substituted such a lot of printmaking practices in their works of art. None of those mentioned above took place in other previous movements of art. They reflected their points of view that they display social movements and none of the other artists who represent other senses of art have ever exhibited such a lot of printmaking practices. Thus, various printing technologies which present a new laboratory environment to the artists. As a result of this, printing technologies have been preferred as a sort of new artistic media value and it started to take its prominent place in collections of art as well as in museums during artistic presentations. Within this context, this article aims at studying the phenomenon of art by considering how it has changed during the historical process by examining those works of art which reveal these variations. Common production and working techniques in traditional printmaking, contributions of the technological advantages to the artistic manufacture. Besides, periodical innovations will be examined and presented by introducing an updated point of view to the topic within the content of this article that contain some citations from the second part of the thesis titled “Effects of fine art printmaking on the phenomenon of contemporary art”.
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Wan, Zhengfa. "Image, Impressionism and Imagism." In 2022 International Conference on Social Sciences and Humanities and Arts (SSHA 2022). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220401.014.
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Du, Guangyu, Lei Dong, Fabio Duarte, and Carlo Ratti. "Wanderlust: 3D Impressionism in Human Journeys." In 2021 IEEE VIS Arts Program (VISAP). IEEE, 2021. http://dx.doi.org/10.1109/visap52981.2021.00012.
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Litwinowicz, Peter. "Impressions of San Francisco." In ACM SIGGRAPH 97 Visual Proceedings: The art and interdisciplinary programs of SIGGRAPH '97. New York, New York, USA: ACM Press, 1997. http://dx.doi.org/10.1145/259081.259396.
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COROIU, PETRUTA-MARIA. "GEORGE ENESCU AND HIS POST-IMPRESSIONIST SYMPHONIC PROFILE." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s12.003.
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Alex, Marylyn, Burkhard C. Wünsche, and Danielle Lottridge. "Perceptions of Colour Pickers in Virtual Reality Art-Making." In WSCG 2023 – 31. International Conference in Central Europe on Computer Graphics, Visualization and Computer Vision. University of West Bohemia, Czech Republic, 2023. http://dx.doi.org/10.24132/csrn.3301.8.
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Virtual reality art is reshaping digital art experiences, especially with the recent release of multiplayer 3D art applications, but may elicit different first impressions across different age groups which can impact their uptake. In particular, popular colour pickers based on HSV colour spaces may appeal differently to younger and older adults. We investigate first impressions of colour selection when shown with a discrete picker or a continuous HSV picker via an online survey with 63 adults and 24 older adults. We found that the discrete picker was seen as having more positive hedonic qualities overall; there were no differences between perceptions of adults and older adults. We discuss the implications of our findings for colour selection tools in virtual reality art-making.
Reports on the topic "Impressionism (Art)"
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Yatsymirska, Mariya. KEY IMPRESSIONS OF 2020 IN JOURNALISTIC TEXTS. Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11107.
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The article explores the key vocabulary of 2020 in the network space of Ukraine. Texts of journalistic, official-business style, analytical publications of well-known journalists on current topics are analyzed. Extralinguistic factors of new word formation, their adaptation to the sphere of special and socio-political vocabulary of the Ukrainian language are determined. Examples show modern impressions in the media, their stylistic use and impact on public opinion in a pandemic. New meanings of foreign expressions, media terminology, peculiarities of translation of neologisms from English into Ukrainian have been clarified. According to the materials of the online media, a «dictionary of the coronavirus era» is provided. The journalistic text functions in the media on the basis of logical judgments, credible arguments, impressive language. Its purpose is to show the socio-political problem, to sharpen its significance for society and to propose solutions through convincing considerations. Most researchers emphasize the influential role of journalistic style, which through the media shapes public opinion on issues of politics, economics, education, health care, war, the future of the country. To cover such a wide range of topics, socio-political vocabulary is used first of all – neutral and emotionally-evaluative, rhetorical questions and imperatives, special terminology, foreign words. There is an ongoing discussion in online publications about the use of the new foreign token «lockdown» instead of the word «quarantine», which has long been learned in the Ukrainian language. Research on this topic has shown that at the initial stage of the pandemic, the word «lockdown» prevailed in the colloquial language of politicians, media personalities and part of society did not quite understand its meaning. Lockdown, in its current interpretation, is a restrictive measure to protect people from a dangerous virus that has spread to many countries; isolation of the population («stay in place») in case of risk of spreading Covid-19. In English, US citizens are told what a lockdown is: «A lockdown is a restriction policy for people or communities to stay where they are, usually due to specific risks to themselves or to others if they can move and interact freely. The term «stay-at-home» or «shelter-in-place» is often used for lockdowns that affect an area, rather than specific locations». Content analysis of online texts leads to the conclusion that in 2020 a special vocabulary was actively functioning, with the appropriate definitions, which the media described as a «dictionary of coronavirus vocabulary». Media broadcasting is the deepest and pulsating source of creative texts with new meanings, phrases, expressiveness. The influential power of the word finds its unconditional embodiment in the media. Journalists, bloggers, experts, politicians, analyzing current events, produce concepts of a new reality. The world is changing and the language of the media is responding to these changes. It manifests itself most vividly and emotionally in the network sphere, in various genres and styles.
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Butler, John M. Bitemark Analysis. Gaithersburg, MD: National Institute of Standards and Technology, 2022. http://dx.doi.org/10.6028/nist.ir.8352-draft.
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This report summarizes a review of the scientific foundations of bitemark analysis conducted by the National Institute of Standards and Technology (NIST). Bitemark analysis typically involves examining patterned injuries left on a victim or object at a crime scene, identifying those injuries as bitemarks, and comparing those marks with dental impressions from a person of interest. This review specifically focuses on pattern injuries found on human skin. Over 400 sources were considered via literature searches and input from previous efforts by the National Institute of Justice Forensic Technology Center of Excellence. Our NIST review also utilized input from an October 2019 Bitemark Thinkshop organized by the Center for Statistics and Applications in Forensic Evidence (CSAFE) where experts and stakeholders associated with bitemark analysis were convened to discuss key issues. Based on this input, our study found a lack of support for three key premises of the field: 1) human dentition is unique at the individual level, 2) this uniqueness can be accurately transferred to human skin, and 3) identifying characteristics can be accurately captured and interpreted by analysis techniques. Furthermore, our review noted a lack of consensus among practitioners on the interpretation of bitemark evidence as well as thoughts on how to move the field forward. If the field seeks to advance, the key takeaways provided in this review are starting points for areas needing improvement, not an exhaustive list of specific shortcomings.
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Yatsymirska, Mariya. MODERN MEDIA TEXT: POLITICAL NARRATIVES, MEANINGS AND SENSES, EMOTIONAL MARKERS. Ivan Franko National University of Lviv, February 2022. http://dx.doi.org/10.30970/vjo.2022.51.11411.
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The article examines modern media texts in the field of political journalism; the role of information narratives and emotional markers in media doctrine is clarified; verbal expression of rational meanings in the articles of famous Ukrainian analysts is shown. Popular theories of emotions in the process of cognition are considered, their relationship with the author’s personality, reader psychology and gonzo journalism is shown. Since the media text, in contrast to the text, is a product of social communication, the main narrative is information with the intention of influencing public opinion. Media text implies the presence of the author as a creator of meanings. In addition, media texts have universal features: word, sound, visuality (stills, photos, videos). They are traditionally divided into radio, TV, newspaper and Internet texts. The concepts of multimedia and hypertext are related to online texts. Web combinations, especially in political journalism, have intensified the interactive branching of nonlinear texts that cannot be published in traditional media. The Internet as a medium has created the conditions for the exchange of ideas in the most emotional way. Hence Gonzo’s interest in journalism, which expresses impressions of certain events in words and epithets, regardless of their stylistic affiliation. There are many such examples on social media in connection with the events surrounding the Wagnerians, the Poroshenko case, Russia’s new aggression against Ukraine, and others. Thus, the study of new features of media text in the context of modern political narratives and emotional markers is important in media research. The article focuses review of etymology, origin and features of using lexemes “cмисл (meaning)” and “сенс (sense)” in linguistic practice of Ukrainians results in the development of meanings and functional stylistic coloring in the usage of these units. Lexemes “cмисл (meaning)” and “сенс (sense)” are used as synonyms, but there are specific fields of meanings where they cannot be interchanged: lexeme “сенс (sense)” should be used when it comes to reasonable grounds for something, lexeme “cмисл (meaning)” should be used when it comes to notion, concept, understanding. Modern political texts are most prominent in genres such as interviews with politicians, political commentaries, analytical articles by media experts and journalists, political reviews, political portraits, political talk shows, and conversations about recent events, accompanied by effective emotional narratives. Etymologically, the concept of “narrative” is associated with the Latin adjective “gnarus” – expert. Speakers, philosophers, and literary critics considered narrative an “example of the human mind.” In modern media texts it is not only “story”, “explanation”, “message techniques”, “chronological reproduction of events”, but first of all the semantic load and what subjective meanings the author voices; it is a process of logical presentation of arguments (narration). The highly professional narrator uses narration as a “method of organizing discourse” around facts and impressions, impresses with his political erudition, extraordinary intelligence and creativity. Some of the above theses are reflected in the following illustrations from the Ukrainian media: “Culture outside politics” – a pro-Russian narrative…” (MP Gabibullayeva); “The next will be Russia – in the post-Soviet space is the Arab Spring…” (journalist Vitaly Portnikov); “In Russia, only the collapse of Ukraine will be perceived as success” (Pavel Klimkin); “Our army is fighting, hiding from the leadership” (Yuri Butusov).
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Дирда, Ірина Анатоліївна, Марина Вікторівна Малоіван, and Анна Олександрівна Томіліна. The peculiarities of headlines in English discourse through the examples from Daily Mail and the New Yorker. Видавнича група «Наукові перспективи», May 2023. http://dx.doi.org/10.31812/123456789/7074.
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The paper in question outlines the main peculiarities of the phenomenon of headlines in terms of English discourse. Headlines are thought to be a critical component of journalism and media, as they shape initial readers’ impressions of a story serving as the first point of their contact. Using a corpus of headlines from various English-language publications (to be more precise, those of The Daily Mail and The New Yorker) the paper studies the linguistic features and strategies used in them. According to the conducted analysis it has been revealed that a range of linguistic devices, such as puns, alliteration, and rhyme are typical for headlines the use of which is justified by the desire to grab readers’ attention and make the headline more catchy. Additionally, headlines frequently employ exaggeration, hyperbole, and sensationalism to appeal to readers’ emotions and generate clicks. However, the study also finds that headlines can vary significantly across different genres and publications. For example, tabloid newspapers tend to prioritize sensationalism and entertainment value, while more serious publications tend to employ more understated and informative headlines. The relevance of the study is determined as well by the significant expansion of the influence of the media on society, as well as the growing interest in the methods by which this influence is strengthened. Overall, the paper sheds light on the complex and multifaceted phenomenon of headlines implemented in English discourse. By understanding the linguistic and rhetorical strategies employed in headlines, readers can better assess the accuracy and credibility of the suggested information and gain a more nuanced understanding of current events.
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Graham, Timothy, and Katherine M. FitzGerald. Bots, Fake News and Election Conspiracies: Disinformation During the Republican Primary Debate and the Trump Interview. Queensland University of Technology, 2023. http://dx.doi.org/10.5204/rep.eprints.242533.
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We used Alexandria Digital, a world leading disinformation detection technology, to analyse almost a million posts on X (formerly known as Twitter) and Reddit comments during the first Republican primary debate and counterprogrammed Tucker Carlson and Donald Trump interview on the 23rd of August. What we did: • Collected 949,259 posts from the platform X, formerly known as Twitter. These posts were collected if they contained one of 11 relevant hashtags or keywords and were posted between 8:45pm and 11:15pm EST on 23rd August 2023. • Collected 20,549 comments from two separate Reddit threads. Both were discussion threads dedicated to the first Republican primary Debate and the Tucker Carlson and Donald Trump interview from r/Conservative and r/politics. • This methodology allowed us to capture narratives and conduct analysis of coordinated behaviour that occurred immediately before, during, and after the Republican primary debate and the airing of the Tucker Carlson interview of Donald Trump. What we found: • A coordinated network of over 1200 accounts promoting the conspiracy theory that Donald Trump won the 2020 United States presidential election that received over 3 million impressions on the platform X; • A sprawling bot network consisting of 1,305 unique accounts with a variety of clusters; • Some of the largest clusters were coordinated troll networks in support of Donald Trump; a coordinated network of misleading news outlets, and a clickbait Pro-Trump bot network. • No coordinated activity was found on Reddit during the Republican Primary Debate or in discussion of the Tucker Carlson and Donald Trump interview. What does this mean? • X is flooded with platform manipulation of various kinds, is not doing enough to moderate content, and has no clear strategy for dealing with political disinformation. • A haven for disinformation. While pre-Musk Twitter previously managed to moderate harmful conspiracy theories such as QAnon, X is now a safe space for conspiracy theorists and political disinformation. • That no evidence of coordinated influence activity was found on Reddit suggests the extensive rules and moderation either prevented or removed coordinated activity from the platform. • Worrying trends. Given the prevalence of mis- and disinformation during the debate and interview, the leadup to the US 2024 Presidential Election is likely to witness a surge of information disorder on the platform. • Trump is back. The reinstatement of Donald Trump’s X account has emboldened conspiracy theorists and the far right, who are interpreting this as a sign that the reason why Trump was suspended (incitement to violence) validates election fraud disinformation and activism. • Anything goes. The lack of a freely available Twitter Application Programming Interface (API) means that researchers, journalists, and regulators cannot monitor disinformation on X and hold the platform to account.
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Canadian Impressions. Inter-American Development Bank, February 2011. http://dx.doi.org/10.18235/0006443.
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Canadian Impressions pays tribute to Canada and Calgary, Alberta, home of the 52nd Annual Meeting of the Board of Governors of the Inter-American Development Bank. Twelve Canadian artists who were selected in an open call, present a total of 34 prints in various techniques from etching to monotype. Among the participating artists are: Briar Craig, Delio Delgado, René Derouin, Katie Fife, Joscelyn Gardner, Michel Gautier, Vanessa Hall-Patch, Miriam Rudolph, Tracy Lynn Templeton, Todd Treme, Oscar Danilo Vargas and Laura Widmer.