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Journal articles on the topic 'Painted music'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Bence, John. "GCSE and Early Music." British Journal of Music Education 8, no. 1 (1991): 3–14. http://dx.doi.org/10.1017/s0265051700008020.

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In 1985 the National Early Music Association published a report on Early Music in Schools. This painted a gloomy picture on most fronts but reminded us that the National Criteria in GCSE offered us a chance to use early music in new ways. Unfortunately, in general, we have taken little advantage of these opportunities, and this article examines some of the reasons for this.

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Starkey, Andrew, Kate Steenhauer, and Jack Caven. "Painting Music: Using artificial intelligence to create music from live painted drawings." Drawing: Research, Theory, Practice 5, no. 2 (2020): 209–24. http://dx.doi.org/10.1386/drtp_00033_1.

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This article describes the development of artificial intelligence (AI) techniques that monitor a painting or drawing evolving in real time and produce musical notes that relate to the individual elements of art as the artwork develops on the canvas. The article describes the practical approach required to capture the artwork unfolding in real time and then describes the framework used to develop the correlations between visual art and music. The AI technique exploits these areas of similarity within the two distinct artforms in order to respond to the live-painted elements and produce musical

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Valls, Maria del Mar. "The painted ceiling of Santa Maria de Llíria and its dancing images." Early Music 47, no. 1 (2019): 25–40. http://dx.doi.org/10.1093/em/caz005.

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JACOBSON, DANIEL. "Lotte Lehmann on Der Rosenkavalier Perspectives from Her Spoken and Painted Interpretations." Opera Quarterly 8, no. 2 (1991): 47–58. http://dx.doi.org/10.1093/oq/8.2.47.

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5

Salvant, Johanna, Julie Barten, Francesca Casadio, et al. "László Moholy-Nagy’s Painting Materials: From Substance to Light." Leonardo 50, no. 3 (2017): 316–20. http://dx.doi.org/10.1162/leon_a_01430.

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This article presents results from an extensive scientific examination of the painting materials used by László Moholy-Nagy. The artist employed modern materials, such as metals and plastics, alongside more traditional artists’ oil paint and canvas, creatively manipulating these diverse media to generate a unique visual vocabulary. This study highlights the intimate link between the material properties and the expressive content of Moholy-Nagy’s painted works.

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Singh, Kanak Lata. "A Study on Cultural Sustainable Tourism in Context of Painted Scrolls." Academic Research Community publication 2, no. 2 (2018): 7. http://dx.doi.org/10.21625/archive.v2i2.248.

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India is known for its reach in Art and Culture. Cultural tourism provides a major contribution to the development of the country from different aspects. Apart from supporting the Indian economy, cultural tourism also helps in preserving and developing unique art traditions which are slowly dying out due to negligence. patachitra, the painted scroll of Bengal is one of them. The patachitra tradition is an essential part of intangible heritage based on tour practices. Patuas, as they are known as a community, chiefly represent a group of artists wandering with their painted scrolls and narratin

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Baral, Raj Kumar. "Nature as a Healer against Anthropocentric Disposition in Anita Desai's Fire on the Mountain." Batuk 7, no. 1 (2021): 80–87. http://dx.doi.org/10.3126/batuk.v7i1.35350.

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In her novel Fire on the Mountain, Anita Desai, by making her characters burn the images related to the ill and superstitious law of the anthropocentric world, intends to revere the natural world, which for her possesses healing capacity to revive the dying identity. Nanda Kaul, the protagonist and her great-granddaughter, finds pleasure with nothing else but with the barrenness, stillness, calmness and voice of silent breeze and music of nature itself. The fresh air of the quiet breeze in the naturally painted house wins the heart of the protagonist over the stale air of the electric fan in t

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Smith, Brian Reffin. "Science and Art: The Painted Surface." Leonardo 48, no. 5 (2015): 499. http://dx.doi.org/10.1162/leon_r_01133.

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Carbon, Claus-Christian, and Vera M. Hesslinger. "On the Nature of the Background Behind Mona Lisa." Leonardo 48, no. 2 (2015): 183–84. http://dx.doi.org/10.1162/leon_a_00980.

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One of the many questions surrounding Leonardo’s Mona Lisa concerns the landscape visible in the portrait’s background: Does it depict an imagination of Leonardo’s mind, a real world landscape or the motif of a plane canvas that hung in Leonardo’s studio, behind the sitter? By analyzing divergences between the Mona Lisa and her Prado double that was painted in parallel but from another perspective the authors found mathematical evidence for the motif-canvas hypothesis: The landscape in the Prado version is 10% increased but otherwise nearly identical with the Louvre one, which indicates both p

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Taylor, Richard P., Adam P. Micolich, and David Jonas. "The Construction of Jackson Pollock's Fractal Drip Paintings." Leonardo 35, no. 2 (2002): 203–7. http://dx.doi.org/10.1162/00240940252940603.

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Between 1943 and 1952, Jackson Pollock created patterns by dripping paint onto horizontal canvases. In 1999 the authors identified the patterns as fractal. Ending 50 years of debate over the content of his paintings, the results raised the more general question of how a human being could create fractals. The authors, by analyzing film that recorded the evolution of Pollock's patterns as a function of time, show that the fractals resulted from a systematic construction process involving multiple layers of painted patterns. These results are interpreted within the context of recent visual percep

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Rahmani, Aviva. "The Music of the Trees: The Blued Trees Symphony and Opera as Environmental Research and Legal Activism." Leonardo Music Journal 29 (December 2019): 8–13. http://dx.doi.org/10.1162/lmj_a_01055.

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The Blued Trees project is a transdisciplinary thought experiment, physically manifested across miles of the North American continent. It melds ideas about music, acoustics, art and environmental policy. Hundreds of GPS-located individual trees in the path of proposed natural gas pipelines were painted with a sine wave sigil. Each “treenote” contributed to an aerially perceivable composition employing the local terrain. The score is the formal skeleton for systemic changes challenging several laws. A mock trial explored how this project might open new directions in legal activism for Earth rig

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12

Wegman, Rob C. "Music and musicians at the Guild of Our Lady in Bergen op Zoom, c. 1470–1510." Early Music History 9 (October 1990): 175–249. http://dx.doi.org/10.1017/s0261127900001029.

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Marian guilds and confraternities proliferated in fifteenth-century Brabant. They gave expression to the pride, devoutness and community spirit of the urban middle classes. Their chapels were invested with all the riches their members could afford: altarpieces, stained-glass windows, painted statues, silk and velvet cloth, gold and silverware, and other expensive ornaments. But the jewel in the crown for every confraternity was polyphony. Prestigious Marian confraternities such as those at 's-Hertogenbosch, Bergen op Zoom and Antwerp were among the major musical establishments of the Low Count

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Chau, Albert Wai-Lap, and Chung-Fang Yang. "Personality Perception of Painted Faces in Beijing Opera." Empirical Studies of the Arts 18, no. 1 (2000): 33–42. http://dx.doi.org/10.2190/jmwx-xuyx-a1pv-pkk0.

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Gilbert, Scott F., and Sabine Brauckmann. "Fertilization Narratives in the Art of Gustav Klimt, Diego Rivera and Frida Kahlo: Repression, Domination and Eros among Cells." Leonardo 44, no. 3 (2011): 221–27. http://dx.doi.org/10.1162/leon_a_00166.

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Fertilization narratives are powerful biological stories that can be used for social ends, and 20th-century artists have used fertilization-based imagery to convey political and social ideas. In Danae, Gustav Klimt used an esoteric stage of early human embryos to indicate successful fertilization and the inability of government repression to stifle creativity. In Man, Controller of the Universe, Diego Rivera painted a mural of a man controlling an ovulating ovary, depicting Trotsky's view that society will rationally regulate human fertilization. His former wife, Frida Kahlo, refuted this view

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Zaidel, Dahlia W., and Peter Fitzgerald. "Sex of the Face in Western Art: Left and Right in Portraits." Empirical Studies of the Arts 12, no. 1 (1994): 9–18. http://dx.doi.org/10.2190/1bal-be93-j5ud-2wdx.

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The relationship between observers' taste and the sitter's face orientation as function of sitter sex in painted portraits was investigated. The historical tendency in portraiture is that the sitter's left side of the face is more likely than the right to be turned towards the viewer and this side bias is stronger with women than with men. Correctly oriented and reversed museum portraits were viewed by subjects who gave ratings of “liking” the portrait as a whole (Experiment 1) and for “attractiveness” of the sitter (Experiment 2). Only portraits of women showed a left-right difference with ri

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Hioki, Naoko Frances. "Depictions of the Journey to the Heavenly Realm in Early Modern Catholic and Japanese Buddhist Iconography." Religion and the Arts 20, no. 1-2 (2016): 135–59. http://dx.doi.org/10.1163/15685292-02001007.

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This article works to identify an intersection of the Catholic and Buddhist pictorial traditions with regard to the symbolism of the journey to the spiritual world. In both Christian and Buddhist traditions, the river/ ocean is a popular symbol that designates the border between this world and the other world. A work of western-inspired Japanese folding screens known as Yōjin Sōgakuzu (Europeans Playing Music) is an outstanding example that makes use of the symbolism of the river to allude to one’s pilgrimage to the other world in the guise of a secular waterfront scene. The folding screens we

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Ballester, Jordi. "Music iconography and innovation in the decoration of painted ceilings in the 15th-century Iberian peninsula." Early Music 47, no. 1 (2019): 41–55. http://dx.doi.org/10.1093/em/caz001.

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ECKERT, CLAUDIA M., and ELLEN YI-LUEN DO. "Special Issue: Understanding, representing, and reasoning about style." Artificial Intelligence for Engineering Design, Analysis and Manufacturing 20, no. 3 (2006): 163–65. http://dx.doi.org/10.1017/s0890060406060148.

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Style is a word that people think they understand. Most people recognize artifacts like buildings and clothes as being exemplars of particular styles, and they know words like Rococo and Art Deco as names for styles. They can recognize stylistic similarities not only in one sort of artifact but also across wide ranges of different things, such as buildings, furniture, artworks, clothes, music, and even manners. However, “style” is a slippery notion: the word has been used in a variety of senses since the ancient Greeks first thought about the differences in how people wrote or painted, and it

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Móricz, Klára. "Sensuous Pagans and Righteous Jews: Changing Concepts of Jewish Identity in Ernest Bloch's Jézabel and Schelomo." Journal of the American Musicological Society 54, no. 3 (2001): 439–91. http://dx.doi.org/10.1525/jams.2001.54.3.439.

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Abstract Disappointed in the reception of his opera Macbeth and torn between what he considered opposing French and German musical aesthetics, Ernest Bloch, together with his librettist and friend Edmond Fleg, turned to Jewish topics under the influence of another friend, the anti-Semite Robert Godet. Relying on archival documents and musical analysis, this article traces the development of Bloch's assumed Jewish identity from his projected opera Jézabel through his violoncello rhapsody Schelomo. Although both works display similar stylistic characteristics, the change between what is conceive

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Stork, David G. "Did Hans Memling Employ Optical Projections When Painting Flower Still-Life?" Leonardo 38, no. 2 (2005): 155–60. http://dx.doi.org/10.1162/0024094053722435.

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David Hockney has recently hypothesized that some early Renaissance painters employed optical devices such as concave mirrors to project images of a scene or part of a scene onto their supports, which they then traced or painted over. As one of many examples, he has claimed that Hans Memling (ca. 1440–1494) built an optical projector to create his Flower Still Life, specifically when rendering its carpet. The author's perspective analysis on the image of this carpet shows that, while there is a “break” in perspective consistent with refocusing or tipping of an optical projector, there are also

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21

Martens, Peter. "How Near Will You Hear? A Response to Benadon, "Near-unisons in Afro-Cuban Ensemble Drumming"." Empirical Musicology Review 11, no. 2 (2017): 202. http://dx.doi.org/10.18061/emr.v11i2.5473.

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Fernando Benadon (2016) shines a strong objective light onto slight but noticeable timing perturbations in Afro-Cuban drumming practice, coining the term near-unisons to describe non-simultaneous attacks that are perceived as such, but that are also perceived to correspond to the same point on an abstract isochronous grid. I speculate that these data uncover an aspect of the music that will most likely be perceived qualitatively rather than quantitatively—an element of style rather than one of structure—but that the quantitative approach taken here is a crucial first step toward the stylistic

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Weitz, Shaena B. "Propaganda and Reception in Nineteenth-Century Music Criticism: Maurice Schlesinger, Henri Herz, and the Gazette musicale." 19th-Century Music 43, no. 1 (2019): 38–60. http://dx.doi.org/10.1525/ncm.2019.43.1.38.

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In the mid-1830s, Henri Herz (1803–88) was an internationally renowned pianist, but his reputation today, for the most part, is that of a second-rate musician who wrote trivial variations on opera themes. This enduring picture of Herz was painted first in France in 1834 by the Gazette musicale. The Gazette’s campaign has been understood by modern scholars as a conspicuous moment in a broad aesthetic shift away from French salon music and toward high German Romanticism, and the Gazette has garnered praise for its prescience. But a closer examination of the Gazette’s articles, the events surroun

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Francis, Suzanne Marie. "Liszt at the Piano: The Impact of Iconography on mid-Nineteenth Century Musicology." Studia Musicologica 55, no. 1-2 (2014): 131–44. http://dx.doi.org/10.1556/6.2014.55.1-2.9.

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By the time of his death in 1827, the image of Beethoven as we recognise him today was firmly fixed in the minds of his contemporaries, and the career of Liszt was beginning to flower into that of the virtuosic performer he would be recognised as by the end of the 1830s. By analysing the seminal artwork Liszt at the Piano of 1840 by Josef Danhauser, we can see how a seemingly unremarkable head-and-shoulders bust of Beethoven in fact holds the key to unlocking the layers of commentary on both Liszt and Beethoven beneath the surface of the image. Taking the analysis by Alessandra Comini as a sta

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Muller, Stephanus. "Apartheid Aesthetics and Insignificant Art." Journal of Musicology 33, no. 1 (2016): 45–69. http://dx.doi.org/10.1525/jm.2016.33.1.45.

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Stephanus Le Roux Marais (1896−1979) lived in Graaff-Reinet, South Africa, for nearly a quarter of a century. He taught music at the local secondary school, composed most of his extended output of Afrikaans art songs, and painted a number of small landscapes in the garden of his small house, nestled in the bend of the Sunday’s River. Marais’s music earned him a position of cultural significance in the decades of Afrikaner dominance of South Africa. His best-known songs (“Heimwee,” “Kom dans, Klaradyn,” and “Oktobermaand”) earned him the local appellation of “the Afrikaans Schubert” and were fa

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Behrens, Roy R. "The Role of Artists in Ship Camouflage During World War I." Leonardo 32, no. 1 (1999): 53–59. http://dx.doi.org/10.1162/002409499553000.

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Experiments in ship camouflage during World War I were necessitated by the inordinate success of German submarines (called “U-boats”) in destroying Allied ships. Because it is impossible to make a ship invisible at sea, Norman Wilkinson, Everett L. Warner and other artists devised methods of course distortion in which high-contrast, unrelated shapes were painted on a ship's surface, thereby confusing the periscope view of the submarine gunner.

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Kozyra-Paulska, Beata. "mystery Sonatas by Heinrich ignaz Franz Biber as an example of metatextuality in instrumental music from the Baroque era." Notes Muzyczny 1, no. 15 (2021): 9–23. http://dx.doi.org/10.5604/01.3001.0014.9569.

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The article is devoted to Mystery Sonatas (also known as Rosary Sonatas) by Heinrich Ignaz Franz Biber and the aspect of metatextuality in these pieces. The text includes an outline of the composer’s biography, a description of the origin and circumstances in which the Sonatas were written, and an explanation of the essence of metatextuality and its connections with Biber’s works, taking into consideration rhetoric, symbolism and scordatura. Referring to Polish and foreign literature on the subject, the author finds interesting dependencies between sonatas and emblems, she describes sound resu

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Bass, John. "Would Caccini approve?" Early Music 36, no. 1 (2008): 81–94. http://dx.doi.org/10.1093/em/cam120.

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Abstract Although it is known that improvisation was an important part of musical performance in the 16th and 17th centuries, studying how extemporaneous elements were incorporated into real-world situations has proven to be difficult. Improvisers, by nature, do not record what they do, but there is evidence that points to some of these individuals attempting to document their approach to music, namely in ornamentation manuals and individual pieces with written-out embellishment. Among these sources is British Library Ms. Egerton 2971, a 37-folio volume probably dating from the second or third

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McLaughlin, John P., and Kimberly E. Murphy. "Preference for Profile Orientation in Portraits." Empirical Studies of the Arts 12, no. 1 (1994): 1–7. http://dx.doi.org/10.2190/mud5-7v3e-ybn2-q2xj.

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Artists who have painted portraits overwhelmingly represented the sitter in some degree of profile, emphasizing one cheek. When the sitter was female, the left cheek was shown with much greater frequency than the right. However, in forced-choice judgments between original and mirror-reversed portraits, versions emphasizing the right cheek were preferred by male and female, dextral and sinistral subjects, irrespective of the sitter's sex. This may result from a left visual-field perceptual bias attributable to hemispheric specialization or from changing cultural biases.

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Pounders, Lisa A. "Transformation through art: exploring Jung's view of art and the relevance of Charlotte Salomon's Life? or Theater?" International Journal of Jungian Studies 8, no. 2 (2016): 110–26. http://dx.doi.org/10.1080/19409052.2016.1140065.

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ABSTRACTThis paper explores Jung's concepts regarding art, the significant role of creativity in his notion of individuation, and art's relationship to transformation. As an illustration, it introduces Charlotte Salomon – a German Jewish artist who was murdered in the gas chambers at Auschwitz in 1943 – and her unique surviving opus, Life? or Theater? – a fictionalized autobiographical play-like work of art combining painted images, written words, and music. Applying Jung's theories as a lens, it broadly analyzes Salomon's work and considers it in light of Jung's distinction between psychologi

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Underhill, Justin. "The Twilight of Presence: Pictorialized Illumination in Leonardo da Vinci’s Last Supper." Leonardo 52, no. 1 (2019): 44–53. http://dx.doi.org/10.1162/leon_a_01343.

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This essay explores the relationship between pictures and the lighting conditions in which they were originally viewed. The theoretical interrelationship between brightness, illumination and depiction is explored in a case study of Leonardo da Vinci’s Last Supper mural at the refectory of Santa Maria delle Grazie in Milan. Advanced rendering software allows for the reconstruction of the refectory as it stood when Leonardo painted The Last Supper and demonstrates the complex interaction between light and space in the mural. This analysis illustrates how digital humanities might bridge tradition

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Nagy, Dániel. "Velázquez, Wagner and the Red Skull. Intermediality and the Genesis of Meaning in a Particular Scene of Captain America: The First Avenger." Acta Universitatis Sapientiae, Film and Media Studies 19, no. 1 (2021): 117–31. http://dx.doi.org/10.2478/ausfm-2021-0008.

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Abstract In the 2011 superhero movie, Captain America: The First Avenger (produced by Marvel Studios, directed by Joe Johnston) the main opponent of the title character is a Nazi officer, Johann Schmidt, who turns out to be a kind of superhuman entity, the Red Skull. Throughout the movie, viewers can follow the process of him gradually leaving behind his identity as a Nazi officer, and presenting himself as the leader of the occult-high-tech terrorist organization, the Hydra. At a certain point we can see him visited by one of the scientists working for him, Doctor Zola, whom he puts wise to h

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Lakhani, Fayha, Hanh Dang, Peter Selz, and Tamira Elul. "Morphometrics Show Sam Francis’s Painted Forms Are Statistically Similar to Cells in Biological Tissues." Leonardo 49, no. 3 (2016): 274–75. http://dx.doi.org/10.1162/leon_a_00960.

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The paintings of the abstract expressionist artist Sam Francis contain vivid biomorphic forms. One influence for Francis may have been microscopic images of biological tissues he observed in premedical courses prior to becoming an artist. Using two morphometric measurements common in cell biology, the authors show that forms in Francis’s paintings are statistically similar to cells in biological tissues that resemble his paintings. This study highlights specific similarities between forms in Francis’s paintings and biology. It also presents a novel application of biological morphometrics that

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Poirier, Theresa. "A Compilation of Song Lyrics Relating to the Family." Canadian Journal of Family and Youth / Le Journal Canadien de Famille et de la Jeunesse 10, no. 1 (2018): 499–504. http://dx.doi.org/10.29173/cjfy29385.

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Five years ago, I began a quest for enjoyment which has evolved and expanded into an epic journey. A ukulele for X-mas quickly gave way to the guitar. While attaining a degree as a sociologist, at 55 years of age, I blossomed to become a musician, poet, author, artist, and performer. With nearly 160 completed pieces of music alone, I have amassed a portfolio any artist would be proud to have. I have composed songs for a Metis language webpage, and painted a wall mural at MacEwan University. I have had song lyrics and stories published. I hold my own on the same stages with some of Edmonton’s f

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Woodfield, Ian. "The Keyboard Recital in Oriental Diplomacy, 1520–1620." Journal of the Royal Musical Association 115, no. 1 (1990): 33–62. http://dx.doi.org/10.1093/jrma/115.1.33.

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The giving of gifts or ‘bribes’ in return for official favours was an immutable fact of life in oriental society that Europeans who travelled to the East in the service of religious or commercial interests had no choice but to accept. Permission to open a trading station or a mission would rarely be granted unless the request were accompanied by a present of some substance. The initial gift, moreover, would inevitably inspire many demands for similar treatment by subordinate officials in whose hands lay considerable power to disrupt the ordered patterns of daily life. The choice of suitable ob

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Jasiński, Tomasz. "Muzyka obrazu. Impresja na temat Riepina." Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 16, no. 1/2 (2019): 273. http://dx.doi.org/10.17951/l.2018.16.1/2.273-287.

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<p>Jakkolwiek malarstwo ma zasadniczo inną naturę niż muzyka, która w przeciwieństwie do nieruchomego obrazu rozwija się w czasie, to zdarza się, że dzieło sztuki malarskiej wkracza – w trakcie aktu percepcji – w ów obcy sobie, a immanentny muzyce wymiar. Gdy uważnie wpatrujemy się w obraz, kontemplujemy go z największą intensywnością, angażując wiedzę, erudycję, pamięć, myśl, uruchamiając jednocześnie całą naszą wyobraźnię, to przy takiej właśnie percepcji widniejące na płótnie postacie, widoki, sceny mogą przejść w sferę temporalności. Patrząc bowiem na roztaczające się przed nami znak

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Johnson, Carol Siri. "The Evolution of Illustrated Texts and Their Effect on Science: Examples from Early American State Geological Reports." Leonardo 41, no. 2 (2008): 120–27. http://dx.doi.org/10.1162/leon.2008.41.2.120.

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In the 19th century, printing methods made significant advances that allowed mass production of illustrated texts; prior to that time, illustrated texts were expensive and rare. The number of illustrated texts thus rose exponentially, increasing the rate of information transfer among scientists, engineers and the general public. The early American state geological reports, funded by the state legislatures, were among the pioneering volumes that used the new graphic capabilities in the improved printing processes for the advancement of science. They contain thousands of illustrations—woodcuts,

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Vilkner, Nicole. "The Opera and the Omnibus: Material Culture, Urbanism and Boieldieu's La dame blanche." Cambridge Opera Journal 32, no. 1 (2020): 90–114. http://dx.doi.org/10.1017/s0954586720000130.

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AbstractIn the summer of 1828, the Entreprise générale des Dames Blanches launched a fleet of white omnibuses onto the streets of Paris. These public transportation vehicles were named and fashioned after Boieldieu's opéra comique La dame blanche (1825): their rear doors were decorated with scenes of Scotland, their flanks painted with gesturing opera characters, and their mechanical horns trumpeted fanfares through the streets. The omnibuses offered one of the first mass transportation systems in the world and were an innovation that transformed urban circulation. During their thirty years of

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Meavilla Seguí, Vicente, and Antonio M. Oller Marcén. "Matemáticas puras y mixtas en una cenefa atribuida al artista mahonés Pascual Calbó Caldés (1752 - 1817)." Studium, no. 24 (September 22, 2019): 127–46. http://dx.doi.org/10.26754/ojs_studium/stud.2018242604.

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El artista menorquín Pascual Calbó Caldés (1752 – 1817), autor de una enciclopedia científica que ha llegado hasta nosotros con el nombre de Obras didácticas, pintó en el salón de la Casa Vidal (Mahón, calle de Isabel II, nº 21) una cenefa en la que aparecen representaciones alegóricas de la escultura, pintura, arquitectura, astronomía, música, literatura, matemáticas y agricultura. En este artículo mostramos algunos detalles relativos a las alegorías de las matemáticas (lado este) y la astronomía (lado sur) que pueden escapar al ojo del observador común. Palabras clave: Pascual Calbó, M

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Sonika. "RAINBOW OF COLOURS – THE PAHARI MINIATURE PAINTING”." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1–4. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3534.

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Indian miniatures are in the art world a class by themselves. ‘Miniature’ generally refers to a painting or illumination, small in size, meticulous in detailing and delicate in brushwork1. Indian Miniature Painting has a long history of over thousand years and presents a comprehensive record of the religious and emotional feelings of the Indian people. These paintings show the Indian genius in its pure form. Its inspiration is rooted in the people’s hearts, keeping close to their poetry, music and drama. The great merit of this art is the exquisite delicacy of drawing with decorative details.

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Chatterjee, Anjan, Bianca Bromberger, William B. Smith, Rebecca Sternschein, and Page Widick. "Artistic Production Following Brain Damage: A Study of Three Artists." Leonardo 44, no. 5 (2011): 405–10. http://dx.doi.org/10.1162/leon_a_00240.

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We know little about the neurologic bases of art production. The idea that the right brain hemisphere is the “artistic brain” is widely held, despite the lack of evidence for this claim. Artists with brain damage can offer insight into these laterality questions. The authors used an instrument called the Assessment of Art Attributes to examine the work of two individuals with left-brain damage and one with right-hemisphere damage. In each case, their art became more abstract and distorted and less realistic. They also painted with looser strokes, less depth and more vibrant colors. No unique p

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Laarmann, Frauke. "Hendrick Cornelisz. van Vliet: Het gezin van Michiel van der Dussen." Oud Holland - Quarterly for Dutch Art History 113, no. 1-2 (1999): 53–74. http://dx.doi.org/10.1163/187501799x00599.

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AbstractSince I998 the Stedelijk Museum Het Prinsenhofin Delft owns a family portrait by Hendrick Cornelisz van Vliet. Signed in full and dated I640, the painting shows a wealthy and — in view of the details—Catholic family with five children. It predates Van Vliet's well-known architectural paintings by more than a decade, and is therefore very significant for our knowledge of his early oeuvre. In this article, however, attention is focused on the painting's unusual position in the pictorial and iconographic tradition of the North Netherlandish family portrait. We see a husband and wife with

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Latto, Richard. "Turning the Other Cheek: Profile Direction in Self-Portraiture." Empirical Studies of the Arts 14, no. 1 (1996): 89–98. http://dx.doi.org/10.2190/198m-911x-pr9g-u18e.

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The spatial organization of the forty-seven self-portraits in the exhibition “Face to Face: Three Centuries of Artists' Self-Portraiture” held at the Walker Art Gallery, Liverpool, was analyzed and compared with previously published studies, all of which have obtained their data predominantly from non-self-portraits. In the seventeenth century there was a significant asymmetry in self-portraits for both the direction of profile, with most paintings showing the right profile, and the direction of lighting, with most paintings showing the light coming from the left of the painting. Both these as

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Zharkikh, T. V. "Musical Stained-glasses by Olivier Messian." Aspects of Historical Musicology 14, no. 14 (2018): 23–35. http://dx.doi.org/10.34064/khnum2-14.02.

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Background. As it is well-known from the statements by O. Messiaen himself in conversations with K. Samuel [10; 7], the French composer had the phenomenon of “colored hearing” associated with the effect of synesthesia. A prerequisite in modern performing art, as in the work of a musicologistresearcher, is the introduction to the worldview of an author-composer. The study of Messiaen’s synesthetic associations helps the interpreter to expand his timbre range in connecting with emotional “immersion” in the essence of the work, and the researcher of his music – to interpret correctly (often – to

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Kölbl-Ebert, Martina. "Sketching Rocks and Landscape: Drawing as a Female Accomplishment in the Service of Geology." Earth Sciences History 31, no. 2 (2012): 270–86. http://dx.doi.org/10.17704/eshi.31.2.n436w6mx3g846803.

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Women as amanuenses have played an important role in early British geology. Among their varied tasks often was the sketching and drawing of fossils, landscape and outcrops. Such drawings served several purposes. They were used to give an idea of landscape and outcrops in publications or to figure new species in palaeontological papers, but they also served as proxies for individual fossils in dialogues conducted by means of letters. Mary Anning used them to advertise new finds to potential buyers, while Mary Buckland painted huge displays to be used in her husband's lectures. Drawing was part

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Petrovic, Andrej. "General." Greece and Rome 68, no. 1 (2021): 165–72. http://dx.doi.org/10.1017/s0017383520000340.

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Materiality of ancient text – written, painted, scratched, or carved – is a topic dear to my heart, and I find the visual dimension of ancient writing fascinating for many reasons. Like many Classicists, I also find a great joy in puzzling out the meanings of the lettered lines, arched like dancing serpents, on archaic Greek vases. If one pauses in front of an interesting pot in a museum, it is very easy to forget the time and the rest of the exhibition, as the somersaulting shapes of the continuous script reveal first their letters, then words, rewarding the reader's patience with a short sen

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BERGERON, KATHERINE. "Verdi's Egyptian spectacle: On the colonial subject of Aida." Cambridge Opera Journal 14, no. 1-2 (2002): 149–59. http://dx.doi.org/10.1017/s0954586702000101.

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In June 1867 Ismail Pasha, the new Viceroy of Egypt, arrived in Paris to represent his country at the Exposition universelle. The Egyptian pavilion, erected on a large corner of the Champs de Mars, featured a marvellous collection of architectural spaces that included a pharaoh's temple, a mediæval palace ‘richly decorated in the Arabic style’, and a modern-day bazaar showing all manner of merchants and artisans at work. If the temple, designed by the French archaeologist Auguste Mariette, was intended to display artefacts from the most remote corners of Egypt's history, other spaces transport

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Jones, Mark. "Lucia di Lammermoor." Psychiatric Bulletin 14, no. 9 (1990): 556–57. http://dx.doi.org/10.1192/pb.14.9.556.

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Some 40 years had passed since the death of Mozart, and Donizetti had made a name for himself with Anna Bolena and L'Elisir d'Amore. His music is certainly more fragile than Mozart's and his originality lies in his use of melody which is masterfully constructed to evoke humour, sentimentality and tragedy. In Lucia his musical canvass is, perhaps, the greatest he ever painted. Based on a story by Sir Walter Scott, it tells of the love of Lucia for Edgar of Ravenswood, who is the last of a rival household. In order that the Lammermoors' fortunes can be retrieved, Lucia's brother, Lord Henry Asht

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Zipes, Jack. "The art of daydreaming: How Ernst Bloch and Mariette Lydis defied Freud and transformed their daydreams through writing and art." Book 2.0 10, no. 2 (2020): 217–31. http://dx.doi.org/10.1386/btwo_00031_1.

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We all dream. Even my dog dreams; he whines when he dreams, perhaps because his dreams are as filled with anxiety as my own sometimes are. Dreams – bad dreams and nightmares, particularly – can be profoundly unsettling and disturbing. They can shock and terrify us because they cannot be controlled: they are their own narrators, and the only way we can resolve their penetrating stories is by attempting to interrupt them. Only by jolting ourselves and waking up, we can enlighten ourselves and come to light, and only by generating daydreams, we can counteract the malign influences of bad dreams a

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Fleming, Simon D. I. "The patterns of music subscription in English, Welsh and Irish cathedrals during the Georgian era." Early Music 48, no. 2 (2020): 205–23. http://dx.doi.org/10.1093/em/caaa024.

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Abstract The quality of the music produced at Britain’s cathedrals during the 18th century has generally been accepted to have been poor, and there has been much written on the reluctance of deans and chapters to invest financially in the choirs. However, an analysis of the music purchased by such groups through subscription paints a very different picture, with some deans and chapters investing heavily in the acquisition of new music for their choir’s use. Ultimately, an analysis of the subscription lists attached to the collections of sacred music does not paint the full picture in regards t

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Budziarek, Zuzanna. "The Italian harpsichord between the 16th and the 18th centuries. A musical instrument and a work of art." Notes Muzyczny 2, no. 10 (2018): 45–71. http://dx.doi.org/10.5604/01.3001.0012.9812.

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The present article is aimed at collecting and organising the knowledge about harpsichords and similar instruments which were made on the territory of today’s Italy between the 16th and the 18th centuries. The analysis of the instruments from the Italian Peninsula will cover their exterior (instrument as a work of art) and typically technical features (disposition, rage, tuning, etc.). An addition to the text are the illustrations presenting construction-related and decorative details. The article is addressed to both harpsichordists and early music performers. Harpsichords, virginals and Ital

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