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Journal articles on the topic 'Pictoriality'

Author: Grafiati
Published: 4 June 2021
Last updated: 18 February 2022

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1

Davis, Whitney. "Visuality and Pictoriality." Res: Anthropology and aesthetics 46 (September 2004): 9–31. http://dx.doi.org/10.1086/resv46n1ms20167637.

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2

Picart, Caroline Joan ("Kay") S. "Memory, Pictoriality, and Mystery." Philosophy Today 41, no. 9999 (1997): 118–26. http://dx.doi.org/10.5840/philtoday199741supplement69.

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3

Gottschling, Verena. "Functional versus real space: Is pictorialism hopeless?" Behavioral and Brain Sciences 25, no. 2 (April 2002): 193–94. http://dx.doi.org/10.1017/s0140525x02340044.

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Pylyshyn raises hot topics like the number and kinds of pictorialist theories there are and their explanatory power. Pylyshyn states that pictorialists have only two possibilities – they can posit either “only functional” images or “really spatial” images – and that neither of these possibilities is convincing or sufficient in explanatory power for empirical and theoretical reasons. Is pictorialism, in principle, untenable?
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4

Davis, Whitney. "Scale and Pictoriality in Ancient Egyptian Painting and Sculpture." Art History 38, no. 2 (March 22, 2015): 268–85. http://dx.doi.org/10.1111/1467-8365.12149.

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5

Sonesson, Göran. "From mimicry to mime by way of mimesis: Reflections on a general theory of iconicity." Sign Systems Studies 38, no. 1/4 (December 1, 2010): 18–66. http://dx.doi.org/10.12697/sss.2010.38.1-4.02.

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Practically all theories of iconicity are denunciations of its subject matter (for example, those of Goodman, Bierman and the early Eco). My own theory of iconicity was developed in order to save a particular kind of iconicity, pictoriality, from such criticism. In this interest, I distinguished pure iconicity, iconic ground, and iconic sign, on one hand, and primary and secondary iconic signs, on the other hand. Since then, however, several things have happened. The conceptual tools that I created to explain pictoriality have been shown by others to be relevant to linguistic iconicity. On the other hand, semioticians with points of departure different from mine have identified mimicry as it is commonly found in the animal world as a species of iconicity. In the evolutionary semiotics of Deacon, iconicity is referred to in such a general way that it seems to be emptied of all content, while in the variety invented by Donald the term mimesis is used for a particular phase in the evolution of iconic meaning. The aim of this article is to consider to what extent the extension of iconicity theory to new domains will necessitate the development of new models.
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6

Ha, Joon Soo. "Study on Pictoriality in the Mise-en-Scène of Andrei Tarkovsky's Film." Journal of Basic Design & Art 19, no. 1 (February 28, 2018): 579–92. http://dx.doi.org/10.47294/ksbda.19.1.44.

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7

Perica, Blaženka. "Slika i antislika – Julije Knifer i problem prezentacije." Ars Adriatica 7, no. 1 (December 19, 2017): 379. http://dx.doi.org/10.15291/ars.1386.

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The collection of texts Image and Anti-Image – Julije Knifer and the Problem of Representation is based on multi- and transdisciplinary research conducted by Croatian and international critics and theoreticians. They have investigated the contemporary sensibility for the questions of image and pictoriality by referring to a common starting point: the oeuvre of one of the most important Croatian artists – Julije Knifer. In their analysis of Knifer’s paintings since the early 1960s, which revolve around a single motif – the “meander” – which the artist has repeated and varied throughout his artistic career, the authors have followed the changing reception of his work from the supremacy of the high modernist image concept, such as postulated in Greenberg’s formalistic theory, until today, when theoretical proposals have become essentially different. In his introduction to the project, editor Krešimir Purgar has stressed the importance of new perspectives that Knifer’s work may offer if viewed in the context of new disciplines such as visual studies and image science. The 21 articles, grouped into five thematic sections, aim at clarifying and expanding the references of Knifer’s “meander” by taking diverse informative and original approaches that have this recent image theory as their starting point. In the context of Croatian scholarly output, this publication is notable for having accomplished a rare blend between monographic material and a series of interdisciplinary, scholarly-theoretical studies based on extremely varied perspectives, resulting in a valuable comparative miscellany, a contribution both to the actualisation and new positioning of Knifer’s art and to our insight into various analytic and interpretative approaches related to the present state of art theory. Such an approach assigns a special place to the image, to pictoriality and visuality. The theoretical perspectives of image science and the heterogeneous, plural strategies of research developed within the new image studies (image science, visual studies) assimilate and expand rather than replace the previously accepted methods, common in traditional theoretical approaches to the discipline of art history.
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8

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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9

Bobylev, B. G. ""He is still waiting – when will the native steppe..." ("Vsyo zhdet on – skoro l’ step’ rodnaya…"): the poem "Emshan" by A. N. Maikov (to the 200th anniversary of the poet’s birth)." Russian language at school 82, no. 3 (May 21, 2021): 44–52. http://dx.doi.org/10.30515/0131-6141-2021-82-3-44-52.

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This article provides a philological analysis of A. N. Maykov’s poem "Emshan". The purpose of this work includes demonstrating the poet’s stylistic and diverse craftsmanship, revealing the semantic, sonic, and rhythm-melodic refrains in the poem’s text, and a deeper understanding of its content. This has required using the methods of slow reading, historical and linguistic commenting, as well as the line-by-line, rhythmic-semantic, and immanent analysis. The results show that Apollon Maykov’s poetry is distinguished by a harmonious combination of pictoriality and expressiveness, the recreation of personal external and internal worlds in their unity and interpenetration, and the masterful use of the entire rhythmic-melodic palette of a Russian verse. The author of this article emphasizes the need to acknowledge this great Russian poet and his achievements, to popularize his creative heritage, and to conduct a more thorough and extensive study of his work at schools.
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10

Morselli, Elisa. "The affective notes of represented space as motors of emotional and sensorial response." SHS Web of Conferences 64 (2019): 01013. http://dx.doi.org/10.1051/shsconf/20196401013.

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The following essay proposes to investigate the perceptual and emotional aspects related to the visualization of architectural images. The field of research is limited to a well-defined category: figurative representations as the photographic and digital images of contemporary architecture. In particular, two types will be analysed: the un-built architecture produced by Studio MIR and Bloomimages compared with the photographed built architecture. Using figurative images as a tool of reading, the aim of this work is to identify and classify three types of affective spaces capable of generating a specific kind of perception, producing a sensorial classification of atmosphere for architecture. The study of the Psychology of Art, as well as Aesthetics and Neuroaesthetics can be a valuable tool in understanding the phenomena of the present, considering the marked pictoriality of these images. The application of the analytic methodology, developed in these disciplines, can suggest a new way of "looking" at the project, paying attention to the representation of the atmospheres, which characterizes the experience of felt space. Keywords: Affective Space, Perception, Representation, Aesthetics, Atmospheres, Design Research, Generators.
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11

Enyedi, Delia. "Voiceless Screams: Pictorialism as Narrative Strategy in Horror Silent Cinema." Acta Universitatis Sapientiae, Film and Media Studies 19, no. 1 (March 1, 2021): 66–76. http://dx.doi.org/10.2478/ausfm-2021-0005.

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Abstract As a complementary condition to narrative, the notion of pictorialism in film is rooted in the first decades of the medium. In their quest to demonstrate the capturing and restoring of images with various devices, early filmmakers selected views with pictorial qualities in the long-standing tradition of painting, transferring them on film in the form of non-narrative shots. The evolution of fictional narratives in silent cinema displaced the source of inspiration in theatre, assimilating its nineteenth-century tradition of pictorialism. Thus, the film audiences’ appeal for visual pleasure was elevated with balanced elements of composition, framing and acting that resulted in pictorially represented moments actively engaged in the narrative system. The paper explores the notion of “pictorial spirit” (Valkola 2016) in relation to that of “monstration” (Gaudreault 2009) aiming to describe the narrative mechanism of provoking fear by means of pictorially constructed cinematic images in a selection of short-length horror silent films belonging to the transitional era, consisting in The Haunted House/The Witch House (La Maison ensorcelée/La casa encantada, Segundo de Chomón, 1908), Frankenstein (J. Searle Dawley, 1910) and the surviving fragments of The Portrait (Портрет, Vladislav Starevich, 1915).1
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Chinita, Fátima. "Roy Andersson’s Tableau Aesthetic: A Cinematic Social Space Between Painting and Theatre." Acta Universitatis Sapientiae, Film and Media Studies 15, no. 1 (October 1, 2018): 69–86. http://dx.doi.org/10.1515/ausfm-2018-0004.

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Abstract The article examines three films by Roy Andersson, Songs from the Second Floor (Sånger från andra våningen, 2000), You, the Living (Du levande, 2007), and A Pigeon Sat on a Branch Reflecting on Existence (En duva satt på en gren och funderade på tillvaron, 2014). The Swedish director depicts the human condition afflicted by the loss of its humanity through a personal style that he calls “the complex image,” a tableau aesthetic that instigates social criticism, and is dependent upon long shots, immobility, unchanging shot scale, and layered compositions. The author establishes a connection between artistic and social space and scrutinizes the challenges that this “complexity” poses for the film viewer from an intermedial perspective in which cinema enters into a dialogue with two other art forms: painting and theatre. Four specific issues are discussed: (1) the intertwining of reality and artificiality as a “hyperreality;” (2) the visual compositions which are simultaneously self-contained and entirely open, highlighting a tension between volume and surface; (3) the opposition between stasis and movement, conveying a meaningful social contrast and the characters’ angst; (4) the pictoriality of the image.
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Apele, Diāna. "THE CREATIVE INFLUENCE OF PABLO PICASSO ON THE WORKS OF LATVIAN ARTISTS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 26, 2017): 15. http://dx.doi.org/10.17770/sie2017vol4.2417.

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Pablo Picasso is one of the Western modern culture creators of the first part of the 20th century. Picasso has influenced numerous artists directly or indirectly – both the followers of Western school and artists here, in Latvia. The main topic of this research is Pablo Picasso's influence on Latvian artists, specifically – Visvaldis Ziediņš, Rūdolfs Pinnis and Aleksandrs Dembo. Picasso stands out for exceptionally virtuosic style – it was characteristic of him to begin each new work as an individual wholeness, experimenting with graphic forms, colours, textures, lines, volumes, playing with relations of dark and light and work's emotional atmosphere. Similarly, in the works of all three artists, the experiments with graphic forms and textures and virtuosic plays with relations of dark and lights and emotions are perceptible. Sharp sense of epoch, refined means of expression, depth of thinking, pictoriality, freedom of inspiration, nonconformity, intellectually difficult practice, lyrism, lightness and looseness, expressivity, spirituality – this is the common denominator of the artists – V. Ziediņš, R. Pinnis and A. Dembo. For all these prominent artists, Picasso’s creative work was not an object of imitation, but rather a launch pad to start acquiring the experience they were fascinated by. Research aim: to characterize creative work of the great Spanish artist Pablo Picasso and analyse his creative influence in the works of Latvian artists. Research methods: theoretical: the analysis of the study fields literature and internet resources.
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14

Panchenko, Daria V. "Visual metaphors as a vector of the poetic text analysis." Literature at School, no. 2, 2020 (2020): 98–108. http://dx.doi.org/10.31862/0130-3414-2020-2-98-108.

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Digital technologies continue to change the modern human’s perception, especially intensively affecting the younger generation. The most serious manifestation of the ongoing processes was the cultural request for effects, not meanings, formed at the turn of the XX–XXI centuries. In this regard, literature as an art that generates and conveys meanings is rapidly losing its relevance and value among young people. However, digital art, a modern computer graphic that fascinates the Internet users and especially adolescents with its emphasized effect, is quite capable of serving literature as a kind of guide to the word, as it contains a large number of metaphors that are “synonymous” to the poems included in the school literary education curriculum. This article is devoted to the search for new ways of “reading” and understanding texts through visual images. The purpose of the article is to consider the possibilities of using digital visual formats while teaching literature. The material used for the research is the work of designers and digital artists on the popular Internet photo hosting sites: visual metaphors. The main research methods are theoretical (analysis of philosophical, literary sources in accordance with the methodological setting of the study) and experimental (testing the developed educational material in literature lessons). When studying poetry, the article proposes to include in the content of the lessons the analysis of the artistic imagery of metaphors from the standpoint of literature and pictoriality as a new means of modern communication. The author describes in detail the example of the study of A.S. Pushkin’s poem “The Prophet” and an excerpt from V.V. Mayakovsky’s poem “A Cloud in Trousers”, within the framework of which visual metaphors act as the vector of analysis, leading to a comparison of texts and design artwork, the identification of additional meanings that enrich the understanding of images, and a holistic interpretation of works.
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15

Charitonidou, Marianna. "Frank Gehry’s Self-Twisting Uninterrupted Line: Gesture-Drawings as Indexes." Arts 10, no. 1 (February 22, 2021): 16. http://dx.doi.org/10.3390/arts10010016.

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The article analyses Frank Gehry’s insistence on the use of self-twisting uninterrupted line in his sketches. Its main objectives are first, to render explicit how this tendency of Gehry is related to how the architect conceives form-making, and second, to explain how Gehry reinvents the tension between graphic composition and the translation of spatial relations into built form. A key reference for the article is Marco Frascari’s ‘Lines as Architectural Thinking’ and, more specifically, his conceptualisation of Leon Battista Alberti’s term lineamenta in order to illuminate in which sense architectural drawings should be understood as essential architectural factures and not merely as visualisations. Frascari, in Eleven Exercises in the Art of Architectural Drawing: Slow Food for the Architects’s Imagination, after having drawn a distinction between what he calls ‘trivial’ and ‘non-trivial’ drawings—that is to say between communication drawings and conceptual drawings, or drawings serving to transmit ideas and drawings serving to their own designer to grasp ideas during the process of their genesis—unfolds his thoughts regarding the latter. The article focuses on how the ‘non-trivial’ drawings of Frank Gehry enhance a kinaesthetic relationship between action and thought. It pays special attention to the ways in which Frank Gehrys’ sketches function as instantaneous concretisations of a continuous process of transformation. Its main argument is that the affective capacity of Gehry’s ‘drawdlings’ lies in their interpretation as successive concretisations of a reiterative process. The affectivity of their abstract and single-gesture pictoriality is closely connected to their interpretation as components of a single dynamic system. As key issues of Frank Gehry’s use of uninterrupted line, the article identifies: the enhancement of a straightforward relationship between the gesture and the decision-making regarding the form of the building; its capacity to render possible the perception of the evolution of the process of form-making; and the way the use of uninterrupted line is related to the function of Gehry’s sketches as indexes referring to Charles Sanders Peirce’s conception of the notion of ‘index’.
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Ann Kusnerz, Peggy. "Pictorialism in Japan." History of Photography 28, no. 4 (December 2004): 387. http://dx.doi.org/10.1080/03087298.2004.10441346.

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Wood, Scott E., and Rubin Battino. "Explaining Entropy Pictorially." Journal of Chemical Education 78, no. 3 (March 2001): 311. http://dx.doi.org/10.1021/ed078p311.3.

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18

Goodman, Helen. "Elizabeth Buehrmann: American pictorialist." History of Photography 19, no. 4 (December 1995): 338–42. http://dx.doi.org/10.1080/03087298.1995.10443589.

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19

Sonesson, Göran. "The meaning of meaning in biology and cognitive science: A semiotic reconstruction." Sign Systems Studies 34, no. 1 (December 31, 2006): 135–213. http://dx.doi.org/10.12697/sss.2006.34.1.07.

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The present essay aims at integrating different concepts of meaning developed in semiotics, biology, and cognitive science, in a way that permits the formulation of issues involving evolution and development. The concept of sign in semiotics, just like the notion of representation in cognitive science, have either been used too broadly, or outright rejected. My earlier work on the notions of iconicity and pictoriality has forced me to spell out the taken-forgranted meaning of the sign concept, both in the Saussurean and the Peircean tradition. My work with the evolution and development of semiotic resources such as language, gesture, and pictures has proved the need of having recourse to a more specified concept of sign. To define the sign, I take as point of departure the notion of semiotic function (by Piaget), and the notion of appresentation (by Husserl). In the first part of this essay, I compare cognitive science and semiotics, in particular as far as the parallel concepts of representation and sign are concerned. The second part is concerned with what is probably the most important attempt to integrate cognitive science and semiotics that has been presented so far, The Symbolic Species, by Terrence Deacon. I criticize Deacon’s use of notions such as iconicity, indexicality, and symbolicity. I choose to separate the sign concept from the notions of iconicity, indexicality, and symbolicity, which only in combination with the sign give rise to icons, indices, and symbols, but which, beyond that, have other, more elemental, uses in the world of perception. In the third part, I discuss some ideas about meaning in biosemiotics, which I show not to involve signs in the sense characterised earlier in the essay. Instead, they use meaning in the general sense of selection and organisation, which is a more elementary sense of meaning. Although I admit that there is a possible interpretation of Peirce, which could be taken to correspond to Uexküll’s idea of functional circle, and to meaning as function described by Emmeche and Hoffmeyer, I claim that this is a different sense of meaning than the one embodied in the sign concept. Finally, I suggest that more thresholds of meaning than proposed, for instance by Kull, are necessary to accommodate the differences between meaning (in the broad sense) and sign (as specified in the Piaget–Husserl tradition).
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20

Tye, Michael. "REPRESENTATION IN PICTORIALISM AND CONNECTIONISM." Southern Journal of Philosophy 26, S1 (March 26, 2010): 163–83. http://dx.doi.org/10.1111/j.2041-6962.1988.tb00471.x.

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21

Wotipka, Paul. "Ocularity and irony: pictorialism inVillette." Word & Image 8, no. 2 (April 1992): 100–108. http://dx.doi.org/10.1080/02666286.1992.10435830.

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22

Sailor, Rachel. "Pictorialism in the American West." UW National Parks Service Research Station Annual Reports 36 (January 1, 2013): 150–52. http://dx.doi.org/10.13001/uwnpsrc.2013.4009.

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Early twentieth century (1900-1945) photography of northwestern Wyoming (including the Teton and Yellowstone areas) fits into a paradigm of regional photographic production that either conforms to the documentary or pictorial aesthetics most common in the era. Pictorial photography, especially, links the region to larger trends in the nation and can be analyzed to uncover previously unexamined assumptions about the value of photographic aesthetics and regional production within the milieu of fine art photography in the United States prior to WWII.
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23

Burke, Christopher. "Isotype representing social facts pictorially." Information Design Journal 17, no. 3 (December 31, 2009): 211–23. http://dx.doi.org/10.1075/idj.17.3.06bur.

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In developing Isotype, Otto Neurath and his colleagues were the first to systematically explore a consistent visual language as part of an encyclopedic approach to representing all aspects of the physical world. The pictograms used in Isotype have a secure legacy in today’s public information symbols, but Isotype was more than this: it was designed to communicate social facts memorably to less educated groups, including schoolchildren and workers, reflecting its initial testing ground in the socialist municipality of Vienna during the 1920s. The social engagement and methodology of Isotype are examined here in order to draw some lessons for information design today.
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24

Vedel, Karen Arnfred. "The Performance of Pictorialist Dance Photography." Nordic Theatre Studies 29, no. 1 (December 27, 2017): 138. http://dx.doi.org/10.7146/nts.v29i1.102972.

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Looking to the widely disseminated pictorialist photos of Waldemar Eide (Norway) and Henry B. Goodwin (Sweden) featuring the Russian ballerina Vera Fokina and the Swedish ballerina Jenny Hasselquist, the article is an enquiry into the role of the dancer in the pictorialist studio and the contribution of pictorialist photography to the turning point when the aesthetics of dance was being re-considered, the dancing body reconfigured, and photography emerged into an art form in its own right. Taking inspiration from the socio-material approach of photography historian Elizabeth Edwards, the analysis downplays the question of content in favor of a focus on the material practices in the photographic studio at the level of the photographer as well as the dancer-model posing before the camera. Placed within a discourse of new materialism, performance and performativity, it moreover considers the resulting photos as material objects that perform in continuing processes of meaning production. An example of the latter discussed at the end of the text is Harald Giersing’s abstract painting ’The Dancer’ based on a photo of Jenny Hasselquist as The Dying Swan.
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Vedel, Karen Arnfred. "The Performance of Pictorialist Dance Photography." Nordic Theatre Studies 29, no. 1 (January 27, 2018): 138. http://dx.doi.org/10.7146/nts.v29i1.103314.

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Looking to the widely disseminated pictorialist photos of Waldemar Eide (Norway) and Henry B. Goodwin (Sweden) featuring the Russian ballerina Vera Fokina and the Swedish ballerina Jenny Hasselquist, the article is an enquiry into the role of the dancer in the pictorialist studio and the contribution of pictorialist photography to the turning point when the aesthetics of dance was being re-considered, the dancing body reconfigured, and photography emerged into an art form in its own right. Taking inspiration from the socio-material approach of photography historian Elizabeth Edwards, the analysis downplays the question of content in favor of a focus on the material practices in the photographic studio at the level of the photographer as well as the dancer-model posing before the camera. Placed within a discourse of new materialism, performance and performativity, it moreover considers the resulting photos as material objects that perform in continuing processes of meaning production. An example of the latter discussed at the end of the text is Harald Giersing’s abstract painting ’The Dancer’ based on a photo of Jenny Hasselquist as The Dying Swan.
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Lista, Giovanni. "Gerhard Richter, un peintre néo-pictorialiste." Ligeia N° 117-120, no. 2 (2012): 3. http://dx.doi.org/10.3917/lige.117.0003.

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Latorre, Jorge. "Pictorialism in Spanish Photography: ‘Forgotten’ Pioneers." History of Photography 29, no. 1 (March 2005): 60–71. http://dx.doi.org/10.1080/03087298.2005.10441354.

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Schiltz, Katelijne. "Visual Pictorialism in Renaissance Musical Riddles." Journal of the Alamire Foundation 4, no. 2 (September 2012): 204–21. http://dx.doi.org/10.1484/j.jaf.1.102970.

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Fiedler, Klaus, and Wolfram Schenck. "Spontaneous Inferences from Pictorially Presented Behaviors." Personality and Social Psychology Bulletin 27, no. 11 (November 2001): 1533–46. http://dx.doi.org/10.1177/01461672012711013.

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Costantini-Cornède, Anne-Marie. "Pictorialité et pictorialisme dans Prospero's Books de Peter Greenaway." Études anglaises 55, no. 2 (2002): 157. http://dx.doi.org/10.3917/etan.552.0157.

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Cornell, Daniell. "Camera Workand the fluid discourse of pictorialism." History of Photography 23, no. 3 (September 1999): 294–300. http://dx.doi.org/10.1080/03087298.1999.10443333.

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Delaney, Michelle Anne. "Collecting pictorialism at the Smithsonian 1896–1959." History of Photography 24, no. 1 (March 2000): 31–36. http://dx.doi.org/10.1080/03087298.2000.10443358.

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Toh, Charmaine. "Pictorialism and Modernity in Singapore, 1950–60." Southeast of Now: Directions in Contemporary and Modern Art in Asia 2, no. 2 (2018): 9–31. http://dx.doi.org/10.1353/sen.2018.0013.

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Fosson, A., and M. Quan. "Pictorially displayed metaphors as an assessment instrument." Journal of Family Therapy 8, no. 1 (1986): 35–43. http://dx.doi.org/10.1046/j..1986.00702.x.

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Kim Jeongsuk. "Recuperating Pictorialism: Leigh Hunt’s The Story of Rimini." English & American Cultural Studies 15, no. 1 (April 2015): 57–80. http://dx.doi.org/10.15839/eacs.15.1.201504.57.

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36

Lacour, Claudia Brodsky. ""Is That Helen?" Contemporary Pictorialism, Lessing, and Kant." Comparative Literature 45, no. 3 (1993): 230. http://dx.doi.org/10.2307/1771503.

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Crinson, Mark. "Pictorialism and industry: Alvin Langdon Coburn in Manchester." History of Photography 30, no. 2 (June 2006): 155–72. http://dx.doi.org/10.1080/03087298.2006.10442857.

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Cantrell, Pamela. "Writing the Picture: Fielding, Smollett, and Hogarthian Pictorialism." Studies in Eighteenth Century Culture 24, no. 1 (1995): 69–89. http://dx.doi.org/10.1353/sec.2010.0293.

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Rocco, Vanessa. "Pictorialism and Modernism at the DresdenInternationale Photographische Ausstellung." History of Photography 33, no. 4 (November 17, 2009): 383–402. http://dx.doi.org/10.1080/03087290903040498.

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Morita, Hiromi, and Takatsune Kumada. "Effects of pictorially-defined surfaces on visual search." Vision Research 43, no. 17 (August 2003): 1869–77. http://dx.doi.org/10.1016/s0042-6989(03)00300-6.

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Bertini, Marco, Alberto Del Bimbo, Giuseppe Serra, Carlo Torniai, Rita Cucchiara, Costantino Grana, and Roberto Vezzani. "Dynamic Pictorially Enriched Ontologies for Digital Video Libraries." IEEE Multimedia 16, no. 2 (April 2009): 42–51. http://dx.doi.org/10.1109/mmul.2009.25.

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Fosson, Abe, and Bryan Lask. "Pictorially displayed family patterns as an assessment instrument." Journal of Family Therapy 10, no. 1 (1988): 65–74. http://dx.doi.org/10.1046/j..1988.00300.x.

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Parks, Theodore E., and Irvin Rock. "Illusory Contours from Pictorially Three-Dimensional Inducing Elements." Perception 19, no. 1 (February 1990): 119–21. http://dx.doi.org/10.1068/p190119.

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Denney, Colleen. "The Role of Subject and Symbol in American Pictorialism." History of Photography 13, no. 2 (April 1989): 109–28. http://dx.doi.org/10.1080/03087298.1989.10442177.

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Purghé, Franco. "Illusory Contours from Pictorially Three-Dimensional Inducing Elements: Counterevidence for Parks and Rock's Example." Perception 22, no. 7 (July 1993): 809–18. http://dx.doi.org/10.1068/p220809.

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In 1990 Parks and Rock claimed that, in pictorially three-dimensional (3-D) inducing patterns, an illusory figure does not emerge if a clear occlusion event is not present. A new pictorially 3-D pattern is presented which contradicts this claim. Two experiments were carried out. The first was aimed at ascertaining the presence of an illusory figure in the new 3-D pattern; the second was aimed at offering evidence that in Parks and Rock's pattern the disappearance of the illusory figure could be due to local interferences caused by the line elements in contact with the inducing borders. The results tend to contradict Parks and Rock's conclusions.
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46

Stillinger, Jack. "Pictorialism and Matter-of-Factness in Coleridge's Poems of Somerset." Wordsworth Circle 20, no. 2 (March 1989): 62–68. http://dx.doi.org/10.1086/twc24042837.

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Strong, David Calvin. "Sidney Carter and Alfred Stieglitz: The Canadian Pictorialist Exhibition (1907)." History of Photography 20, no. 2 (June 1996): 160–62. http://dx.doi.org/10.1080/03087298.1996.10443642.

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Valkola, Jarmo. "Slowly Moving Bodies: Signs of Pictorialism in Aki Kaurismäki’s Films." Baltic Screen Media Review 3, no. 1 (November 1, 2015): 44–63. http://dx.doi.org/10.1515/bsmr-2015-0023.

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Abstract Aki Kaurismäki is arguably the best-known Finnish filmmaker, owing largely to his feature films such as Crime and Punishment (Rikos ja rangaistus, Finland, 1983), Calamari Union (Finland, 1985), Shadows in Paradise (Varjoja paratiisissa, Finland, 1986), Hamlet Goes Business (Hamlet liikemaailmassa, Finland, 1987), Ariel (Finland, 1988), The Match Factory Girl (Tulitikkutehtaan tyttö, Finland, 1990), I Hired a Contract Killer (Finland/ Sweden, 1990), La vie de bohéme (Finland/France/ Sweden/Germany, 1992), Take Care of Your Scarf, Tatiana (Pidä huivista kiinni, Tatjana, Finland/Germany, 1994), Drifting Clouds (Kauas pilvet karkaavat, Finland, 1996), Juha (Finland, 1999), The Man Without a Past (Mies vailla menneisyyttä, Finland, 2002), Lights in the Dusk (Laitakaupungin valot, Finland, 2006) and Le Havre (Finland/France, 2011). A large body of his work has been made in Finland, but also in countries like France and Great Britain. Besides feature films, he has also made documentaries and short films, as well as musical films with the group Leningrad Cowboys. In a broader context, Kaurismäki has a unique place in Finnish and international film history, as well as in media and communication culture. Kaurismäki’s cultural context includes elements that have been turned into national and transnational symbols of social communication and narrative interaction by his stylisation. The director’s cinematic strategy investigates and makes choices evoking a social understanding of characters that has special communicative value. Kaurismäki’s films have been scrutinised for over thirty years.
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Pérez Calero, Gerardo. "EL FOTÓGRAFO-PICTORIALISTA ANTONIO PORTELA Y EL PINTOR GONZALO BILBAO EN EL MADRID DEL NOVECENTISMO." Laboratorio de Arte, no. 28 (2016): 499–510. http://dx.doi.org/10.12795/la.2006.i.01.26.

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Jorge-Villar, S. E., I. Rodríguez Temiño, H. G. M. Edwards, A. Jiménez Hernández, J. I. Ruiz Cecilia, and I. Miralles. "The Servilia tomb: an architecturally and pictorially important Roman building." Archaeological and Anthropological Sciences 10, no. 5 (December 26, 2016): 1207–23. http://dx.doi.org/10.1007/s12520-016-0450-9.

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