Relevant bibliographies by topics / Pictorial references

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

Academic literature on the topic 'Pictorial references'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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Journal articles on the topic "Pictorial references"

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Wierzbowska, Ewa M. "« Elle peint comme elle chante... »." Quêtes littéraires, no. 5 (December 30, 2015): 79–87. http://dx.doi.org/10.31743/ql.240.

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The large part of Marie Krysinska’s poetry is pictorial in the intrinsic way. The range of the references to painting, both explicit and implicit, is not less significant than the musical references. Being a musician, Krysinska is as well sensitive to the colours and lines, she makes one hear and see her poetic images. This ability lets her create “images en l’air” whose pictorial intensity is varying, from the impression to the ekphrasis. Through different painting references Krysinska reveals her rooting in the culture, enters into the continuum of aesthetic reflection, involves herself in a dialogue between arts – which incessantly lasts throughout the ages – on the synchronic and diachronic level. Consciousness which diffuses through the poetic-pictorial work of art is consequently complex and heterogenic, both individual and collective. Pictoriality becomes a code, cultural and emotional, which reinforces the work of imagination and lets one feel a twofold aesthetic satisfaction.
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Bertho, Sophie. "Dominando a imagem: funções da pintura na narrativa." Caligrama: Revista de Estudos Românicos 20, no. 1 (2015): 109. http://dx.doi.org/10.17851/2238-3824.20.1.109-124.

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<p> Este artigo tem por objetivo examinar as referências ao pictural na literatura e, especialmente, definir as funções da presença do quadro de pintura na narrativa. Com base na obra de Marcel Proust, <em>À la Recherche du temps perdu</em>, são analisadas as referências à pintura para se definir quatro tipos de função: psicológica, retórica, estrutural e ontológica, que são exemplificadas com excertos de Proust e comparadas a outras obras da literatura francesa. Conclui-se que as diferentes funções que a referência ao pictural exerce em um romance se distinguem por operarem no nível da recepção ou da produção, sendo que a função ontológica, a mais complexa, ultrapassa essa distinção e atinge o metadiscurso, revelando em uma outra arte, a pintura, a essência da arte primeira, a literatura. </p><p>This essay investigates the pictorial references in literature and especially defines the role of the presence of paintings in the narrative. These pictorial references are analyzed in order to define four types of functions: psychological, rhetorical, structural and ontological, which are exemplified with Proust excerpts and compared to other works of French literature. The different functions of the pictorial references are operating in the novel at reception or production level, and by Proust the ontological function, more complex, beyond this distinction reaches metadiscourse, revealing in another art, painting, the essence of the first art, literature. </p>
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Bednarski, Aleksander. "Ekphrastic Insets in Welsh-Language Fiction 1992-2016: An Overview." Lublin Studies in Modern Languages and Literature 44, no. 2 (2020): 27. http://dx.doi.org/10.17951/lsmll.2020.44.2.27-39.

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<p>Compared with Anglophone literatures, Welsh-language fiction has to date received little attention in the context of the rapidly developing intermedial and interart studies. The purpose of the article is to provide a preliminary mapping of pictorial insets in Welsh-language fiction in the period 1992-2016. The novels considered in the article include some of the milestones in the development of Welsh fiction and provide a representative sample of the literary production from the period in question. The article identifies and lists the sources of ekphrastic insets scattered throughout the texts, grouping them into descriptive ekphrases, references, pictorial models and spatio-contextual ekphrases.</p>
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Giusti, Giulio L. "Pictorial Imagery, Camerawork and Soundtrack in Dario Argento’s Deep Red." Acta Universitatis Sapientiae, Film and Media Studies 11, no. 1 (2015): 159–79. http://dx.doi.org/10.1515/ausfm-2015-0021.

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Abstract This article re-engages with existing scholarship identifying Deep Red (Profondo rosso, 1975) as a typical example within Dario Argento’s body of work, in which the Italian horror-meister fully explores a distinguishing pairing of the acoustic and the iconic through an effective combination of elaborate camerawork and disjunctive music and sound. Specifically, this article seeks to complement these studies by arguing that such a stylistic and technical achievement in the film is also rendered by Argento’s use of a specific art-historical repertoire, which not only reiterates the Gesamtkunstwerk-like complexity of the director’s audiovisual spectacle, but also serves to transpose the film’s narrative over a metanarrative plane through pictorial techniques and their possible interpretations. The purpose of this article is, thus, twofold. Firstly, I shall discuss how Argento’s references to American Hyperrealism in painting are integrated into Deep Red’s spectacles of death through colour, framing, and lighting, as well as the extent to which such references allow us to undertake a more in-depth analysis of the director’s style in terms of referentiality and cinematic intermediality. Secondly, I will demonstrate how and to what extent in the film Argento manages to break down the epistemological system of knowledge and to disrupt the reasonable order of traditional storytelling through the technique of the trompe-l’oeil in painting.
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Schwind, Jean. "The Benda Illustrations to My Ántonia: Cather's “Silent” Supplement to Jim Burden's Narrative." PMLA/Publications of the Modern Language Association of America 100, no. 1 (1985): 51–67. http://dx.doi.org/10.2307/462200.

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The publishing history of My Ántonia emphasizes what is implicit in the novel's numerous references to pictorial art: the pictures in the first edition of My Ántonia are not dispensable decorations but an essential part of Cather's text. The Benda illustrations (which Cather independently commissioned against the strong opposition of her publishers at Houghton Mifflin) reinforce the central fiction of the novel, in which “editor” Cather introduces My Ántonia as the work of “author” Jim Burden. Presenting My Ántonia as a critically edited or “supplemented” text, Cather hints that W. T. Benda's series of drawings is her most important addition to the “substance” of Jim's text. In her introduction to Jim's narrative, Cather suggests that Jim Burden's literary vision is faulty and in need of correction. Cather offers this corrective by providing a pictorial subtext that offsets the romantic bias of My Ántonia and exposes Jim Burden's limitations as an author.
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Bryl, Mariusz. "Obraz Artura Grottgera „Modlitwa konfederatów barskich przed bitwą” (pod Lanckoroną?): historia, literatura, ogląd." Artium Quaestiones 31, no. 1 (2020): 369–400. http://dx.doi.org/10.14746/aq.2020.31.12.

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The subject of the paper is a painting by Artur Grottger, which has not yet been the subject of close art historical analysis, hindered by the complicated history of the painting as a material object: from its creation (1861–63) and being exhibited in Vienesse Kunstverein in 1864 (titled Das Gebet vor der Schlacht. Episode aus der vergangenen Zeit in Polen), via its appearances and disappearances in the arena of history, till its present status of an object in a private collection, whichlimits its accessibility. The reconstruction of the process of constituting its present title (The Bar Confederates Pray Before the Battle of Lanckorona), reveals the problematic status of the reference to the specific battle fought during the Bar Confederation (1768–1772). The confrontation of the pictorial presentation with a real course of the battle of Lanckorona (23 May 1771) proves that it was not Grottger’s imperative to reconstruct in a probabilistic manner neither the place nor the course of the specific historical event. The analysis of the common for the artist and its public cultural competence, whose basis during that epoch was literature, does not yield an unequivocal identification of specific historical figures or literary motifs as references for the painting. This probabilism of heteronomous, historical and literary references, increases the autonomy of Grottger’s painting as a visual medium. Following the tenet of art historical hermeneutics that it is not contextual references but the pictorial potential activated by the artist that defines the actual status of the represented event, the subject of the next part of the text is the vision-oriented logic of the painting. The main reference is Michael Brötje’s theory, according to which the surface of the painting (not the material, covered with paint, picture plane – die Flache – but immaterial, invisible instance – die Ebene) constitutes the ultimate instance for both represented reality, which it transcends and whose boundaries it establishes, and for the spectator, who confronts this reality in the process of viewing with the pictorial surface and its boundaries. In the process of viewing, which consists in the interaction between structural properties of the painting and the postulated by the viewer relating to the surface, the spectator experiences, as his or her own, the truth about the confederates’ origin, their connection with nature, their religiosity, rootedness in the motherland, death as their destiny, and their devotion to the ultimate absolute instance. The very experience, residing in the medium, ultimately determines the status of the heteronomous in relation to the painting, historical and literary references.
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MASSETI, MARCO. "Pictorial evidence from medieval Italy of cheetahs and caracals, and their use in hunting." Archives of Natural History 36, no. 1 (2009): 37–47. http://dx.doi.org/10.3366/e0260954108000600.

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Cheetahs (Acinonyx jubatus) and caracals (Caracal caracal) have been used for hunting in the Near and the Middle East since antiquity. In Iran and India the caracal was mainly trained for hunting birds, but in Europe this practice was rare, and is documented only in southern Italy and Sicily by iconographic evidence as far back as the eleventh and twelfth centuries. However, no bone remains of the species have been found so far by the archaeozoological exploration of Italian medieval sites, nor are there any known literary references for the use of caracals for hunting.
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Brisman, Shira. "Nachrichten aus Nürnberg: The Annunciation as an Epistolary Address." Zeitschrift für Kunstgeschichte 79, no. 2 (2016): 193–210. http://dx.doi.org/10.1515/zkg-2016-0017.

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Abstract When, around the turn of the fifteenth century, the art of northern Europe developed a pictorial motif whereby an angel delivers the news of the Incarnation in the form of a sealed document, the material properties of ink and wax metaphorically evoked the unique properties of the inscription of divine form upon Mary’s virginal body. The social impact of this communication, the dissemination of the message to a community of recipients, could be strengthened by references to the re-transmittable nature of the announcement, as enforced by other indicators of sociability detectable in different portions of the narrative scheme. The Tucher Altarpiece in Nuremberg and Michael Wolgemut’s altarpiece for the cathedral of St. Mary in Zwickau present two examples of uses of the epistolary Annunciation that may have influenced Albrecht Dürer, who employs the motif in his woodcut series The Life of the Virgin, which also contains, along with this pictorial form of broad address, more narrowly articulated messages to his contemporaries in the form of written words.
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García Santos, José María, Sandra Sánchez Jiménez, Marta Tovar Pérez, Matilde Moreno Cascales, Javier Lailhacar Marty, and Miguel A. Fernández-Villacañas Marín. "Tracking the glossopharyngeal nerve pathway through anatomical references in cross-sectional imaging techniques: a pictorial review." Insights into Imaging 9, no. 4 (2018): 559–69. http://dx.doi.org/10.1007/s13244-018-0630-5.

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Sari, Ecy Kartika, Zahtamal Zahtamal, Nurlisis Nurlisis, Novita Rany, and Winda Septiani. "EFEKTIVITAS MEDIA BERGAMBAR DAN PENYULUHAN METODE CERAMAH TANYA JAWAB (CTJ) TERHADAP PERILAKU MAKAN, AKTIVITAS FISIK DAN POLA TIDUR REMAJA UNDERWEIGHT TAHUN 2019." Al-Tamimi Kesmas: Jurnal Ilmu Kesehatan Masyarakat (Journal of Public Health Sciences) 8, no. 2 (2020): 118–30. http://dx.doi.org/10.35328/kesmas.v8i2.542.

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Underweight or lack of weight is state of being caused by the lack of energy intake compared with the amount og eergy expended. A lack of energy intake or consumption of essential nutrients needed by the body can be lowered activity was done by teenager. The result of the preliminary survey they that were undertaken in the senior high school 13 and 1 At Pekabaru, would be in the low teens 33 should be run as soon as many as 20 a teenager slipped to only their second underweight. The study aims to know about the effectiveness of media pictorial and counseling with the methods talk question and answer to behavior eat, physical activity dan sleep patterns undeweight teenagers in 13 and 1 Senior High School At Pekanbaru City. the kind of research used is (quasi experiment) with nonequivalent group pre-test post-test design. The Research is done at the July 2019. The population in this research is the entire fourth grade VII, VIII and IX. Use sampling tehniques is non random sampling. Instrumen on the study using by questionnaires, and data anlysis be done in univariat and bivariat. The results of study by test wicolxon and Mann Whitney test, and showed there were differences in the effectiveness of the pictorial media and counseling on question and answer lectures on changes in eating behavior, physical activity and sleep patterns of underweight adolescents in 13 and 1 Senior High School At Pekanbaru City. Schools should provide adequate outreach facilities such as picture books and powerpoints. So that counseling can be carried out smoothly and without obstacles.
 
 Keywords : Eating Behavior, Physical Activity, Sleep Patterns, Underweight
 References : 49 References (2010-2016)
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Dissertations / Theses on the topic "Pictorial references"

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Gassen, Fernanda Bulegon. "Notações pictóricas para imagens fotográficas : as refeições ao ar livre e os espaços compartilhados na série de foto-eventos Convescotes." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/102307.

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A presente pesquisa tem como objeto de estudo a produção artística intitulada Convescotes, série de foto-eventos realizados em espaços ao ar livre, tendo a fotografia como seu modo de apresentação. Assim, a série de fotografias envolve a proposição de eventos comensais para ter como retorno uma imagem desse espaço de tempo compartilhado. Para tal feita, a pintura de Claude Monet Le déjeuner sur l´herbe apresenta-se como a grande referência e como o ponto de partida para tais situações serem construídas. Com o intento de construir uma reflexão acerca do processo de trabalho Convescotes, assumiuse o formato de fascículos para o texto que figura a presente tese, sendo a mesma organizada em três partes. A formatação em três fascículos independentes possibilita a sua leitura encadeada assim como também oferece lugar para leituras cruzadas, as quais apresentam as dimensões do processo de trabalho Convescotes. O primeiro fascículo apresenta as imagens que fundamentaram a pesquisa, tanto no âmbito de elaboração dos Convescotes quanto no das reflexões teóricas suscitadas por eles. Na arquitetura textual do segundo fascículo tomei partido do formato epistolar, através do envio de seis cartas a companheiros que me ajudaram a pensar os elementos que compõem os Convescotes. Para Claude Monet foram enviadas cartas que dialogam com os elementos formadores do processo, como o piquenique, a amizade e os espaços ao ar livre. Com Roland Barthes, a escrita investigou a fotografia e o modo como ela habita meu processo, estendendo-se aos projetos de uma série de outros artistas. Já no terceiro fascículo esta pesquisa apresenta uma abertura teórica para as questões disparadas nas cartas escritas para Monet e para Barthes, sendo a mesma mediada por outros pensadores e artistas. As cartas e as notas se relacionam por meio de uma espécie de correspondência numérica; a primeira desenvolve-se por meio de uma conversa mais informal e a segunda constitui-se de uma reflexão apoiada em outros pensadores, sejam eles da imagem ou dos conceitos.<br>This study has as its object the artistic production called Picnics, a series of photo events outdoors, which have photography as their form of presentation. Thus, the series of photos involves the proposal of eating events to have as a return a photo of this shared time frame. In order to achieve that, Claude Monet’s painting Le dejeuner sur l’herbe presentes itself as the major reference and the point of departure for the eating events to take place. Aiming at reflecting on the Picnics work process, we turned to the fascicle format for this dissertation, which is divided into three parts. The format of three independent fascicles makes a sequenced reading possible. It also provides room for crossed readings, which demonstrate the dimensions of the Picnics work process. The first fascicle introduces the images that support the study regarding the elaboration of the Picnics as well as the theoretical considerations that emerge from them. In the textual architecture of the second fascicle, I made the choice for the epistolar format, based on the letters sent to peers, which have helped me think about the elements that constitute the Picnics. To Claude Monet, letters that dialogue with the constituting elements of the process, such as the picnic, the friendship, and the outdoors, were sent. As for Roland Barthes, the study investigated photography and the way it is part of my artistic process, and extended itself to the projects of a series of other artists. In the third fascicle, this research study presentes a theoretical opening to the issues found in the letters written to Monet and Barthes, mediated by other intellectuals and artists. The letters and the notes are related through a numeric correspondence, in which the former unfolds as a more informal conversation and the latter constitutes a reflection based upon other intellectuals, whether their objects be images or concepts.
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Stewart, Heather, and heather stewart@deakin edu au. "Beyond the analogon; the 'transfer of the referent' :bthe relationship between the external world experienced through culturally generated perceptual models constructed in the human mind, and the transfer of these images, via visual language, onto referents." Deakin University, 1994. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20071120.120343.

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Within 20th. Century art, the concept of the ‘normative’ image, as an attribute of things, has been challenged. As a consequence, paintings must now picture the ‘real’ world in other ways, incorporating knowledge and meaning beyond the analogon. Such descriptive representations were revealed as paradigmatic, rather than incontrovertible fact. Dependent on pre-conceived notions of stereotypicality, these descriptive images relied on surface illumination. My thesis explores images of things in the world as culturally inspired and information based. I examine paintings and sculptures of other cultures, such as black African, and other historical periods such as the Medieval, which reveal metonymously the basis for variations in representations of the ‘real’ world. The new enhanced representations which Modern artists created in their work were denigrated as deviant from the absolute ‘normative’ or regarded as distortions for purely mannerist and stylistic reasons. Postmodern research has reassessed them as multiple or extended imagings in whose facture new knowledge and human responses can be incorporated. These new forms of representation can be regarded as theoretical constructs rather than stylised depictions of appearance. In this way referents are transferred through the mind onto objects and vistas in the real world to align with our developed view of the physical world and better our understanding of humanity’s symbiotic relationship with nature.
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Kilian, Julie. "Traditional and Christian elements in contemporary pictorial African art in South Africa with special reference to the works of John Muafangejo, Azariah Mbatha and Dan Rakgoathe." Thesis, Rhodes University, 1987. http://hdl.handle.net/10962/d1012635.

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Art is the outward, visual manifestation of the undying soul of a people. The genius displayed in the day to day articles produced in traditional tribal society is equally present in the art produced by the Contemporary African Artist. The Contemporary African Artist finds himself in an interesting position, in that he is, at one time, a part of two different worlds, two different cultures, has taken place, the and his art provides evidence of the acculturation that coming together of indigenous, traditional African culture and 'European' or 'Western' culture. It follows that the contemporary African artist's work would display characteristics and elements derived from both of these worlds, since art is not created in a vacuum, but is, invariably, the outward, visible expression and symbol of an artist's environment, culture, emotional and intellectual responses and his beliefs. The study of Contemporary African Art reveals that despite the many divergences from the traditional or classic forms, a great many traditional influences and characteristics still persist in the same. An analysis of Contemporary African Art will also show that a significant body of works bear a marked influence of Christian teachings and biblical themes, as well as the influence of exposure to various forms of Swedish Medieval, Byzantine, Romanesque and Carolingian art.
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Du, Plessis Daniel. "Recycled realities : the exploration of source matieral in contemporary pictorial art." Diss., 1995. http://hdl.handle.net/10500/16688.

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The use in pictorial art of visual reference to prototypes and conventions in encoding reality forms the crux of the theoretical research. The theoretical component complements the practical research, which focuses on the interplay between perceptions of 'reality' and visual conventions in landscape art. The existence of diverse realities, based on individual ideological and sociocultural perspectives, is acknowledged. In encoding these realities, artists may draw on a reservoir of stylistic, formal and conceptual prototypes. Visual reference constitutes an allegorical procedure because the artist refers to an antecedent text in the representation of a particular 'reality'. Pictorial signs also rely on conventions to convey meaning. Both the perception and the artistic recreation of different realities may thus be regarded as recycling processes. In a world saturated with visual information, reference to prototypes is a powerful procedure which assists contemporary pictorial artists in the creation of meaningful images of current realities.<br>Art History, Visual Arts & Musicology<br>M.A. (Fine Arts)
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Books on the topic "Pictorial references"

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Brown, Paul Martin. Wild orchids of Florida: With references to the Atlantic and Gulf Coastal Plains. University Press of Florida, 2005.

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Puntos de referencia: Reference points : 19.39°-99.28°. Miriam Libhaber, 2012.

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1937-, Brinkmann John, and Briggs Larry 1944-, eds. Guitars, guitars, guitars: A pictorial reference manual. All American Music Publishers, 1988.

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Sampson, Shirley L. Rosemeade pottery: A pictorial reference and price guide. Sanders Printing Co., 1986.

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Guappone, Carmen A. United States decorated stoneware: A pictorial reference price guide. Published and distributed by Guappone Publishers, 1988.

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Poorman, Kevin. Common objects and their impressions: A pictorial reference for investigators. Institute of Police Technology and Management, University of North Florida, 2004.

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Nelson, Gil. The Trees of Florida: A Reference and Field Guide (Reference and Field Guides) (Reference and Field Guides). Pineapple Press, Inc., 1998.

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Nelson, Gil. The Trees of Florida: A Reference and Field Guide (Reference and Field Guides) (Reference and Field Guides). Pineapple Press, Inc., 1998.

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Bernd, Degen, ed. Discus: A reference book. 2nd ed. T.F.H. Publications, 1991.

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Ellen, Supnick, ed. The wonderful world of cookie jars: A pictorial reference and price guide. L-W Book Sales, 1995.

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Book chapters on the topic "Pictorial references"

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Voltolini, Alberto. "How Demonstrative Complex Pictorial Reference Grounds Contextualism." In Further Advances in Pragmatics and Philosophy. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-72173-6_7.

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"References." In The Mixtec Pictorial Manuscripts. BRILL, 2010. http://dx.doi.org/10.1163/ej.9789004187528.i-572.90.

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"References." In Pictorial Atlas of Soil and Seed Fungi. CRC Press, 2010. http://dx.doi.org/10.1201/ebk1439804193-b1.

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"References." In Pictorial Atlas of Soil and Seed Fungi. CRC Press, 2002. http://dx.doi.org/10.1201/9781420040821.bmatt1.

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"Textual references, pictorial representations and context." In The Tekenu and Ancient Egyptian Funerary Ritual. Archaeopress Publishing Ltd, 2019. http://dx.doi.org/10.2307/j.ctvr00x8s.11.

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Lopes, Dominic. "Pictorial Reference." In Understanding Pictures. Oxford University Press, 2004. http://dx.doi.org/10.1093/acprof:oso/9780199272037.003.0006.

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Tamisier, Thomas, and Fernand Feltz. "Intelligent Agent for Modeling and Processing Decisional Workflows in Logistics." In Modern Entrepreneurship and E-Business Innovations. IGI Global, 2013. http://dx.doi.org/10.4018/978-1-4666-2946-2.ch014.

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The authors present the design and some implementation trials of Atlas, a new reasoning and decision making assistant used for processing complex and heterogeneous procedural workflows. Benefiting from a multicore implementation, Atlas includes different solving engines that are selected according to the intrinsic complexity of the problem being processed. The operational knowledge of Atlas is accessed through 2 different views. In an analytical view, the knowledge is modeled on elementary if-then rules, which are processed by a resolution engine written in the Soar architecture. A synthetic view offers a pictorial representation of all the knowledge, and in particular, shows the inter-dependence of the rules and their procedural references. In addition to allowing an efficient processing, the system checks the coherence of the knowledge and produces a justification of the decision with respect to relevant operational procedures.
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Kulvicki, John. "Character, Content, and Reference." In Modeling the Meanings of Pictures. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198847472.003.0002.

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Pictures are profitably understood as having character, content, and referents. All of these are kinds of meaning. Following Kaplan (1989), character is a function from a context to a content, and in different contexts, pictorial characters yield different pictorial contents. Content is a function from circumstances of evaluation to extensions. Pictorial content is purely attributive, in that it does not include particular individuals, and in that sense, it is like the content of a description. It is neither definite nor indefinite, but communicative uses of pictures can determine definiteness. Pictures can thus refer in the manner of definite or indefinite descriptions. This constitutes a semantic frame within which the rest of the book investigates varieties of pictorial meaning.
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"22Spatial vision within egocentric and exocentric frames of reference." In Pictorial Communication In Real And Virtual Environments. CRC Press, 1991. http://dx.doi.org/10.1201/9781482295177-33.

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Dietrich, Nikolaus. "Narrative, Experience, and the Image." In Experience, Narrative, and Criticism in Ancient Greece. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198848295.003.0013.

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This chapter addresses the issue of narrative and experience from the perspective of ancient images, and with a focus on sculpture, a medium which does not seem particularly appropriate for pictorial narrative. As a first step, it discusses this evident lack of congruence between pictorial narrative and sculpture, and show ways in which narrative can, nevertheless, function in sculpture. For this purpose, it introduces a general distinction between two kinds of image-related ‘presence’ with reference to the case of the Knidian Aphrodite. This distinction then serves as a hermeneutical tool in the discussion of the chapter’s main categorical focus, namely the incomplete copies of sculptural groups. The analysis of this phenomenon of the Imperial Era focuses on strategies of involving the viewer in the pictorial narrative and thus reinforcing the immersive power of sculpture. Finally, it discusses the intentional creation of voids within the image, as observed in incomplete copies, in the larger context of the visual culture of the Imperial Era, notably through a parallel with the theatrical medium of pantomime.
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Conference papers on the topic "Pictorial references"

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Álvarez Gallego, Isabel, and Silvia Blanco Agüeira. "Estrellas sobre fondos cambiantes: convocando la luz." In LC2015 - Le Corbusier, 50 years later. Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.980.

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Resumen: Tras crear y desarrollar durante siete años diecinueve poemas manuscritos, que hoy en día son considerados síntesis de su pensamiento, Le Corbusier publicó en 1955 su Poème de l´Angle Droit. Al estudiar este poema reconocemos en él los principales temas presentes en su trayectoria, así como algunos elementos —la espada, la nube y la estrella— que aparecen en su obra pictórica y arquitectónica. La presente comunicación pretende desvelar las conexiones que se establecen entre uno de estos elementos en concreto, como es la imagen de la estrella, y su incorporación al proceso de proyecto lecorbusieriano. Se trata de analizar cómo este tema, que se repite de forma obsesiva, configura imágenes que permanecen en las estrategias arquitectónicas que llevó a cabo el maestro suizo. La estrella habla de faro, de guía, de motor dentro de un proceso de viaje. Es el elemento que representa la movilidad del cosmos, que rige ese carácter de repetición ligado al arte; una señal que guía al viajero y define el itinerario que deben seguir sus pasos, que nos hace pensar en una brillante luz y en la distancia entre lo real y lo imaginado. Y, sobre todo, es la referencia presente en edificios, que condensaban así reflexiones que daban coherencia y unidad a las distintas opciones del proyecto. Abstract: Following a seven year period dedicated to the creation and development of nineteen manuscript poems, which today are considered a synthesis of his thinking, in 1955 Le Corbusier published his Poème de l´Angle Droit. The study of this poem reveals the principal themes that dominated his trajectory, as well as a series of elements, namely the sword, the cloud and the star, which appear in his pictorial and architectural work. This paper aims to shed light on the connections established between one of these elements in particular —the star— and its incorporation into Lecorbuserian method of architectural design. It seeks to analyse how this item is repeated obsessively, forming images which remain rooted in the architectural strategies developed by the Swiss architect. The star speaks of a lighthouse, a guide, a driving force that spurs on the journey. It is the element that represents the mobility of the cosmos, which governs the nature of repetition linked to art; a signal that guides the traveler and traces the route their steps must take them, leading us to think of a bright light and the distance that separates the real and the imagined. And above all, it is the reference in those buildings that condensed the reflections that gave coherence and unity to the various project options. Palabras clave: estrella; cosmos; proyecto; mirada; símbolo; proceso creativo. Keywords: star; cosmos; project; gaze, symbol; creative process. DOI: http://dx.doi.org/10.4995/LC2015.2015.980
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