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Journal articles on the topic 'Sculpture Sculpture Nature in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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1

Voss-Andreae, Julian. "Quantum Sculpture: Art Inspired by the Deeper Nature of Reality." Leonardo 44, no. 1 (2011): 14–20. http://dx.doi.org/10.1162/leon_a_00088.

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The author, a sculptor with a background in physics, describes sculptures he creates inspired by quantum physics. He argues that art such as the presented sculptures can indicate aspects of reality that science cannot and therefore has the potential to help liberate us from the deep impact the paradigm of classical physics continues to have on our every perception of reality.

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Portnova, Tatiana. "Dance in Sculpture of the Early 20th Century." Sculpture Review 68, no. 4 (2019): 22–34. http://dx.doi.org/10.1177/0747528420901915.

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This article is concerned with the ratio of plastic arts as exemplified by sculptural works depicting dances of the early 20th century. Special attention is paid to the Greek motives in the Russian art of this period, which became the subject of inexhaustible aesthetic and artistic interest. The representation of ancient dance motifs, their figurative image and the nature of antiquity in sculptural plastics, various approaches to the interpretation of ancient plots and themes, the role and significance of the “antique” component in their artistic structure are considered in the article. The st

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Simpson, Pamela H. "Butter Sculpture: The History of an Unconventional Medium." Sculpture Review 68, no. 4 (2019): 40–59. http://dx.doi.org/10.1177/0747528420901917.

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With its roots in ancient food molds and table art for Renaissance banquets, butter sculpture in the United States debuted during the centennial and flourished in the first quarter of the twentieth century. As the dairy industry moved from farm to regional cooperative creameries and eventually to national brands, butter sculpture appeared at fairs and expositions. Both amateur and professional sculptors used this unusual medium for busts and portraits, dairy-related subjects, and models of buildings. The ephemeral nature of the medium and the novelty of food as art drew crowds to exhibits adve

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Zheng, Jane. "“Aesthetic regime” in urban entrepreneurialism: public art venues in Shanghai." Asian Education and Development Studies 8, no. 2 (2019): 109–25. http://dx.doi.org/10.1108/aeds-03-2017-0026.

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Purpose The purpose of this paper is to understand urban sculpture venues that emerged in the recent decade and their connections to the on-going entrepreneurial urban policies and urban strategies in Shanghai. How does this phenomenon relate to Shanghai’s urban policies? How does urban sculpture development reflect the nature and characteristics of the urban sculpture authority? Design/methodology/approach Case study is the major research method used to achieve an in-depth understanding of the developmental processes, mechanisms and characteristics of urban sculpture projects. Three cases wer

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Sommer, Robert. "Art from Flotsam." Boom 3, no. 1 (2013): 56–62. http://dx.doi.org/10.1525/boom.2013.3.1.56.

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For thirty years Northern California hosted several informal galleries in which local people constructed unsigned sculpture from flotsam. The work received considerable media publicity. The premier gallery was in Emeryville, but several other locations around the Bay were used, along with subsidiary galleries in Arcata and North Bend, OR. All these tidal galleries have become state parks, nature reserves, or otherwise closed to sculpture-building. Given the creative energy of people in the area, future galleries in other tidal locations are likely to arise.

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6

Tagliaferro, Linda. "Blending Art and Nature the Nasher Sculpture Center." Sculpture Review 61, no. 2 (2012): 28–33. http://dx.doi.org/10.1177/074752841206100204.

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7

Gyurkovich, Magdalena. "THE CITY AS A FREE ART GALLERY. THE RELATIONSHIP BETWEEN THE EXHIBIT AND THE EXHIBITION SPACE." Space&FORM 2020, no. 46 (2021): 25–46. http://dx.doi.org/10.21005/pif.2021.46.b-02.

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The city is an artwork in itself, as its urban and architectural structure creates unique spaces that offer emotions and experiences on various scales. Details and sculptures are used to build the city’s nature and recognisability. The paper presents an approach to the city as an exhibition, where the relationship between the environment and the displayed object is created. What is the contemporary role of these works of art, such as sculpture, in urban space? Do they only fill the space or commemorate historical facts, or were they consciously arranged in relationship with their surroundings

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Chittenden, Tara. "Sculpture in a Spin: Surfaces in Deformation in Mat Collishaw’s The Centrifugal Soul." Art and Perception 7, no. 2-3 (2019): 211–37. http://dx.doi.org/10.1163/22134913-20191111.

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In The Centrifugal Soul, Mat Collishaw utilises the principles of the zoetrope to create a sculpture where birds and plants appear as ghostly forms suspended outside of the sculpture’s tangible base. The technique of the zoetrope allows for the temporal aspects of a 3D-printed topology to transform perceptions of movement from space to space and from form to form as well as to choreograph an overall composition of space and the dance of display. The intersection of the material arts with optical and natural sciences encourages a sophisticated choreography of viewer perceptions that calls not o

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Cheglakov, Aleksandr Dmitrievich. "The pursuance of naturalness as one of the key trends in the sphere of modern wooden sculpture: domestic practice." Культура и искусство, no. 6 (June 2021): 44–50. http://dx.doi.org/10.7256/2454-0625.2021.6.36004.

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This article is dedicated to modern trends in the art of wooden sculpture. The key question raised in the article consists in drawing the line between art and craft. The problem of distinguishing between these two terms is one of the crucial issues of the theory of art. Having examined the works of multiple contemporary artists in the genre of wooden sculpture, the author comes to the conclusion that the fundamental difference between craft and artistic wooden sculpture is the pursuance of naturalness by the artists, work with unfinished wood, fixation of the natural the beauty of the material

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Harissman, Harissman, Elvis Elvis, and Rica Rian. "ARBY SAMAH : MAESTRO SENI PATUNG ABSTRAK DI INDONESIA." Gorga : Jurnal Seni Rupa 8, no. 2 (2019): 445. http://dx.doi.org/10.24114/gr.v8i2.16143.

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AbstrakPenelitian ini membahas tentang penelusuran Arby Samah yang dikenal sebagai pelopor seni patung abstrak di Indonesia, serta mengungkap alasan Arby Samah memilih berkarya patung. Tujuan penelitian ini adalah untuk mengetahui sosok Arby Samah sebagai perintis seni patung abstrak di Indonesia, dan sangat berjasa dalam perkembangan seni patung di Indonesia serta Sumatera Barat khususnya. Kajian teori menggunakan seleksi dan fokus gejala berdasarkan jiwa zaman, menitikberatkan pada perspektif historis mempunyai dua dimensi: aspek masa kini, dan Aspek masa lampau. Metode yang digunakan dalam

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Wango, Kamau. "‘The Soul of my Sculptures’ - A Contemplative Analysis of The Work of Naftal Mageto Momanyi." East African Journal of Arts and Social Sciences 2, no. 1 (2020): 116–33. http://dx.doi.org/10.37284/eajass.2.1.218.

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Despite the significant resurgence of expressive creativity through works of art in various disciplines particularly painting and sculpture, the underlying inspiration and subsequent endeavour for self-expression by artists, be it derived from experiences, observation of events and occurrences, imaginative compositions or even from the subconscious mind or surrealism, is often not very well articulated among the artistic audience or general public. This is in view of the general consensus among creative artists that works of Art are composed or created to be inherently expressive of something

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Keylin, Vadim. "Corporeality of Music and Sound Sculpture." Organised Sound 20, no. 2 (2015): 182–90. http://dx.doi.org/10.1017/s1355771815000060.

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This article aims to sketch a theory of sound sculpture, one that would explain the variety of forms this artistic practice might take on and define it in relation to other art forms. My hypothesis is that in order to do this we must focus on the traits of sound sculpture connecting it to music rather than on those separating the two. A useful instrument to analyse this connection is Harry Partch’s concept of corporeal music. In contrast to Western classical music, which he viewed as abstract and devoid of life, Partch envisioned a music that would emphasise the physicality of sound-making and

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Davis, Charlotte. "Grinling Gibbons in context: the vitality of English seventeenth-century sculptural production." Sculpture Journal: Volume 29, Issue 3 29, no. 3 (2020): 299–312. http://dx.doi.org/10.3828/sj.2020.29.3.4.

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Since the beginning of the twentieth century there has been a small but significant number of studies dedicated to Grinling Gibbons. In the mid-century Gibbons’s establishment in the broader public consciousness can be traced in the emergence of children’s books and school plays that mythologized his life and career. Yet all publications, both scholarly and juvenile, are united in their presentation of Gibbons as the only sculptor of significance to have emerged in late seventeenth-century England. I argue that this is an inaccurate portrayal of the period, and one that was not shared by his c

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Bulycheva, Elena I. "Sergey Timofeyevich Konenkov’s Mythopoetics." Observatory of Culture 18, no. 1 (2021): 55–65. http://dx.doi.org/10.25281/2072-3156-2021-18-1-55-65.

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The article deals with the features of mythopoetic models in S.T. Konenkov’s sculpture. Despite the fact that monographs, albums, dozens of articles are devoted to the maestro’s works and they are quite well studied, the nature of the mythologism of S.T. Konenkov’s artistic thinking has not been fully revealed. In the ideological context of Soviet art studies, which were based on the methodology of the “social history of art”, only the fact of the sculptor’s deep interest in archaic folk traditions was noted, while this topic can be considered as a natural manifestation of the myth-making proc

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15

Malvern, Sue, and Eckart Marchand. "Sculpture in Arcadia." Studies in the History of Gardens & Designed Landscapes 29, no. 1-2 (2009): 1–12. http://dx.doi.org/10.1080/14601170701806908.

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16

Bigliardi, Victoria. "The Reincarnation of the Aura." International Journal of Semiotics and Visual Rhetoric 1, no. 1 (2017): 72–80. http://dx.doi.org/10.4018/ijsvr.2017010108.

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In 1935, Walter Benjamin introduced the aura as the abstract conceptualization of uniqueness, authenticity, and singularity that encompasses an original art object. With the advent of technological reproducibility, Benjamin posits that the aura of an object deteriorates when the original is reproduced through the manufacture of copies. Employing this concept of the aura, I outline the proliferation of plaster casts of sculptures in 18th- and 19th-century Europe, placing contextual emphasis on the cultural and prestige value of originals and copies. Theories of authenticity in both art history

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17

Oh, Seung-Jun, and Koang-Chul Wi. "A Basic Research for Preservation of Works Exhibited in the Outdoor Sculpture Park - A Scientific Analys is of Painted Work ‘Conversion’ Exhibited in the Cheonmasan Sculpture Park -." Journal of Conservation Science 37, no. 4 (2021): 391–401. http://dx.doi.org/10.12654/jcs.2021.37.4.08.

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Outdoor sculptures of modern art works are being damaged and deteriorated as they are exposed to the outdoor environment due to the nature of exhibition in the outdoor environment, but secure of basic data through the measures for conservation and advanced researches still remain in the early stage. The surface of “Conversion” which is exhibited in the Busan Cheonmasan Sculpture Park has been exfoliated and deteriorated due to outdoor exhibition for a long time, so systematic conservation and management of works are considered necessary. Prior to the conservation and management, this study con

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18

Bank, Dorothy Juhlin. "StickWork in Nature: Sculpture by Patrick Dougherty." Sculpture Review 70, no. 1 (2021): 8–13. http://dx.doi.org/10.1177/07475284211010717.

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19

Demir, Canan. "Views of students in sculpture workshop lessons regarding waste material use and recycle products." Global Journal of Arts Education 5, no. 1 (2015): 31. http://dx.doi.org/10.18844/gjae.v5i1.57.

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Students in sculpture workshop lessons use various materials as allowed by the technical knowledge and pattern within artistic production process. The used materials may be waste materials as well as ready purchased materials. Students contribute to artistic production process, nature and social responsibilities while using waste materials. With this research, 1 year experience of future visual arts instructors regarding waste material use in sculpture workshop lessons and their views regarding this are tried to be determined. It is supposed that the students’ using the waste materials in educ

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20

Titenkov, Yehor. "Application of eco-technologies in modern sculpture and land-art objects." Bulletin of Lviv National Academy of Arts, no. 40 (July 1, 2019): 83–88. http://dx.doi.org/10.37131/2524-0943-2019-40-11.

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Topical issues of the development of environmental technologies and it’s application in contemporary art have been explored, with particular emphasis on sculptural practices and land-art objects. In fact, it has been found that the Ukrainian scientists have addressed rather indirectly to the problem of environmental trends in the context of contemporary art objects. It should be noted that the vast majority of research is limited to the generic characteristics of eco-design and does not focus on the artistic and stylistic features of this phenomenon in general and in art in particular. The his

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21

Pandey, Anjali. "WOMEN AS GODDESS IN INDIAN ART." International Journal of Research -GRANTHAALAYAH 4, no. 3 (2016): 205–8. http://dx.doi.org/10.29121/granthaalayah.v4.i3.2016.2804.

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In India, we find the worship of great mother in varying forms. The Female figures from Indus civilization indicate the fertility cult. , the early records of terracotta sculpture are the evidences. Since IInd century A.D. Devi Durga, Lakshmi and Matraka are remain popular and worshipped. The goddess on a lion depicted first time in Kushan Period. Some of the goddess is the anthromorphic personification of nature. The Yakshis are the nature goddess. In Folk societies, socialization, education, recreation and communication of new ideas moral values and knowledge are inculcated by the women. The

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22

Lodder, Christina. "Sculpture at the “Last Futurist Exhibition of Paintings ‘0.10’ (Zero-Ten)”." Experiment 18, no. 1 (2012): 140–65. http://dx.doi.org/10.1163/221173012x643080.

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Abstract This article explores the “Last Futurist Exhibition of Paintings ‘0.10’” (1915) as a key moment when Russian painters began to work seriously in three dimensions, exploring the nature of materials, questioning the relationship between art and reality, and ultimately laying the foundation for the subsequent emergence of the Constructivist movement. The exhibition revealed an important strand in Russian creative thinking and practice concerning sculpture and the nature of artistic materials.

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Tacha, Athena. "Chaos and Form: A Sculptor's Sources in Science." Leonardo 35, no. 3 (2002): 239–45. http://dx.doi.org/10.1162/002409402760105208.

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In the 1960s the author sought to rethink the basic concepts of sculpture-space, matter, gravity and light-by studying the theories of relativity and quantum physics, the connection of space to time and matter to energy, and the relationship of all these to gravity. Subsequently, trying to understand the fundamental forms in nature, she discovered a continuity underlying them: Spirals are not only forms of growth or turbulence, but are also the link between spheres (forms of balance and minimum volume/energy) and waves (forms of energy/motion). Flow phenomena shaped the new style of her landsc

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Niittynen, Miranda. "Interspecies Blendings and Resurrections: Material Histories of Disability and Race in Taxidermy Art." Canadian Journal of Disability Studies 9, no. 2 (2020): 103–38. http://dx.doi.org/10.15353/cjds.v9i2.627.

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   This paper analyzes the contemporary art practice of rogue taxidermy. Specifically, I look at the rogue taxidermy of Sarina Brewer, an artist who utilizes sensationalist aesthetics and representations found in historical sideshows alongside unconventional forms of taxidermy to critique historical and contemporary forms of body display. I discuss the material histories that informed and shaped the practice of taxidermy and how taxidermy was (and continues to be) bound up with a complex history of human and nonhuman animal exploitation. I analyze the interconnections between

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Wolfe, Dylan, and Kelly Russell. "Garden/Art: The Nature-Based Sculpture Program of the South Carolina Botanical Garden." Environmental Communication 4, no. 2 (2010): 237–49. http://dx.doi.org/10.1080/17524031003755341.

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Kakkar, Shruti. "NATURE OF AESTHETIC CLASSICAL THINKING IN SECULAR SANSKRIT LITERATURE." International Journal of Research -GRANTHAALAYAH 7, no. 11 (2019): 268–73. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3751.

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English: The Ramayana and the Mahabharata are considered epics, which are two representative texts of the advanced tradition of Indian literature. Their study gives the knowledge of the state of art prevailing at that time. By the time of "Ramayana" and "Mahabharata", there had been substantial development of painting, sculpture and architecture. Hindi: रामायण और महाभारत को महाकाव्य माना जाता है जो भारतीय साहित्य की उन्नत परम्परा के दो प्रतिनिधि ग्रन्थ हैं। इनके अध्ययन से उस समय प्रचलित कला की स्थिति का ज्ञान होता है। ''रामायण'' और ''महाभारत'' काल तक चित्रकला, मूर्तिकला व वास्तुकला का पर

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Neal, Robert. "Adorning nature: emblematic sculpture in the early eighteenth‐century garden." Studies in the History of Gardens & Designed Landscapes 29, no. 1-2 (2009): 44–56. http://dx.doi.org/10.1080/14601170701806973.

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28

Coombes, Rebecca. "Art libraries in a city: present and possible cooperation in leeds." Art Libraries Journal 18, no. 3 (1993): 32–37. http://dx.doi.org/10.1017/s0307472200008439.

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In addition to an art library which is part of the public library service, the city of Leeds, in the north of England, is the home of two universities and an art college, and of the Henry Moore Centre for the Study of Sculpture, in each of which significant art library collections can be found. Each library has cooperative links, if only of a limited nature, with one of the other five, but cooperation involving all five libraries is lacking. As a first step, regular meetings are suggested; other possible developments might include an information booklet, a periodicals union list, a Conspectus

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Bray, Anne. "The Community Is Watching, and Replying: Art in Public Places and Spaces." Leonardo 35, no. 1 (2002): 15–21. http://dx.doi.org/10.1162/002409402753689263.

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The author describes her public-art projects and installa-tions, in which she has em-ployed various combinations of video, photography, audio, sculpture and performance, often in collaboration with artist Molly Cleator. The pieces spectacularize unresolved conflicts between the artists regarding what is personally truthful as compared to what society dictates, especially concerning the “three deviants”: women, art and nature. The artists question who defines these related realities and how. The author has also offered hundreds of artists a forum called L.A. Freewaves, a media arts organization

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Beneš, Mirka. "Inventing a Modern Sculpture Garden in 1939 at the Museum of Modern Art, New York." Landscape Journal 13, no. 1 (1994): 1–20. http://dx.doi.org/10.3368/lj.13.1.1.

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Marinkov, Jelena. "Autopoetic sculpting of Stevan Raičković: Poetic self-consciousness in the poem cycle 'Razgovor sa ilovačom' and the poem 'Iz mraka te, pesmo, zovem, iz ničega'." Zbornik radova Filozofskog fakulteta u Pristini 51, no. 2 (2021): 37–54. http://dx.doi.org/10.5937/zrffp51-29713.

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In this paper, we have analyzed the manifestations of poetic self-consciousness in the poetry of Stevan Raičković in the poem cycle Razgovor sa ilovačom and in the poem from the poetry collection Verses, Iz mraka te, pesmo, zovem, iz ničega. By semantically shaping the motif of the loam, the poetic complementarity between the poem and the cycle was established-the ideal of the poem as sculpture and the meta-lyrical reflection of the poet, evoked by observing the transformation of his own character into a bust. The poem Iz mraka te, pesmo, zovem, iz ničega evokes a symbolic attempt to sculpt th

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Voss-Andreae, Julian. "Unraveling Life's Building Blocks: Sculpture Inspired by Proteins." Leonardo 46, no. 1 (2013): 12–17. http://dx.doi.org/10.1162/leon_a_00478.

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Inspired by proteins, the molecular building blocks of life, the author's presented work re-creates the first step of the emergence of three-dimensional bodies from one-dimensional DNA. Utilizing an algorithmic approach as his point of departure, the artist follows his vision freely, creating sculptures that bring life's isolated components emotionally back to life. In this sequel to an earlier Leonardo article on the inception of his protein-inspired sculptures, the author presents the unfolding of his vision: Large-scale works of increasing formal and conceptual complexity display the emerge

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Peroń, Małgorzata. "„Poetyckie Dyptyki” w poezji ks. Janusza St. Pasierba." Colloquia Litteraria 16, no. 1 (2014): 7. http://dx.doi.org/10.21697/cl.2014.1.01.

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‘Poetic diptychs’ in Fr. Janusz St. Pasierb’s poetry ‘Poetic diptychs’ distinguish themselves from a group o Fr. Janusz St. Pasierb’s poems inspired by the art of painting. These dual poems refer to the same branches of art (painting, sculpture, architecture) as a general rule. The dual sequences are put in the volumes next to each other. Apart from the subject matter they are linked by similar characteristics and nearly identical formulation of their titles. References to art are a pretext to ponder upon in a theological, existential and metapoetic manner. Dual nature of the voice points to m

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Sheringham, Olivia, Janetka Platun, Caoimhe McAvinchey, and Alison Blunt. "Globe’s encounters and the art of rolling: home, migration and belonging." cultural geographies 27, no. 2 (2019): 177–99. http://dx.doi.org/10.1177/1474474019879100.

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This article explores the multiple and multifarious encounters of and with Globe, a 1-metre-diameter copper spherical sculpture hosting four cameras that has been rolled by the artist Janetka Platun and others in London, Shrewsbury and Delhi. Situating Globe in relation to Janetka’s art practice and the wider ‘art of rolling’, and extending broader debates about globality, encounter and relational aesthetics, the article argues that Globe’s journeys generated ‘meaningful content’ beyond an aesthetic moment of interaction by inspiring people to share stories, ideas and reflections on home, migr

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Thein, Karel. "Gods and Painters: Philostratus the Elder, Stoic Phantasia and the Strategy of Describing." Ramus 31, no. 1-2 (2002): 136–45. http://dx.doi.org/10.1017/s0048671x00001417.

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I shall comment upon the way the elder Philostratus, author of Imagines, inscribes both the art of painting and his own interpretation of 65 particular paintings within a larger framework, which is composed of nature on the one hand, and the human perception of nature on the other. To get to this framework in a slightly oblique way, I will start with a brief reminder of Philostratus' often neglected classification of the arts.In his Life of Apollonius of Tyana 8.7, Philostratus takes notice of the established opposition between the mechanic and the liberal arts (τέχναι βάναυσοι and τέχναι σοϕα

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Maddaluno, Raffaella. "Between Earth and Sky: Art and Architecture in Dialogue in the Work of Rui Chafes and Camilo Rebelo." ATHENS JOURNAL OF ARCHITECTURE 7, no. 4 (2021): 483–98. http://dx.doi.org/10.30958/aja.7-4-4.

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In a former hotel, bought and remodeled by a seed Portuguese producer, in Switzerland, in one of the underground spaces, an architect and a sculptor, also Portuguese, worked together to give life to an egg-shaped space. A space born from the need to give hospitality to a sculpture, Semente by Rui Chafes, has become a pretext for the reflection on numerous themes; the creative and process interaction between art and architecture, the symbolic force of a form like the egg, the possibility of creating a place inside the space and out of time. This collaboration opens the doors to a second chance

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Svetlov, Igor. "Hungarian Sculpture of the Late Twentieth Century. At the Intersection of Romanticism and Pop Art." Scientific and analytical journal Burganov House. The space of culture 15, no. 4 (2019): 108–35. http://dx.doi.org/10.36340/2071-6818-2019-15-4-108-135.

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Developing intensively and in its own way throughout the 20th century, Hungarian sculpture has gained recognition as one of the leading European schools. Much in its creative image was determined between the two world wars when romantic tonality, combining dynamic activity and plastic flexibility, became a high priority. Romantic pantheism made itself felt in the artistic works of the Hungarians, successfullyshown at the All-Union Art Exhibition in Moscow in 1957-1958. The appeal to the motives and forms of nature enriched the human modulus of Hungarian sculpture.The period between 1960-1970 i

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Maiste, Juhan. "Miks kõneleb Laokoon kirjasõnas ja ei kõnele marmoris?" Baltic Journal of Art History 11 (November 30, 2016): 9. http://dx.doi.org/10.12697/bjah.2016.11.02.

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In this article, the author focuses on the work called Laocoön, which was one of the most popular subjects for 18th century art writers. The first description of the work was provided by Pliny the Elder who, in the 36th volume of his Naturalis historia, calls it the best work of the art in the world – be it painting or sculpture. Pliny identifies three artists from Rhodes – Hagesandros, Polydoros and Athenedorus – as the authors of the Laocoön Group. After the sculpture was found in the vicinity of the Basilica of Santa Maria Maggiore, the Laocoön has repeatedly aroused the interest of art his

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Sparkes, Brian A. "IV Luxury Items." New Surveys in the Classics 40 (2010): 75–94. http://dx.doi.org/10.1017/s0017383510000732.

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The uneven survival of material evidence from Greek antiquity has tended to guide interest and research towards the diferent forms and functions of sculpture (Chapters II and III) and of vase-painting (Chapters V and VI). They have been preserved in such numbers that, although we have only a fraction of the total output, we can study the ways in which they developed over the centuries against the social, economic, and political background and in the diferent parts of the Greek world. This has encouraged a tendency towards positivism and has had the unfortunate outcome of considering them as th

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Dogan, Recep. "The Soul’s Need to Connect with God through the Language of Art: Analysis from an Islamic Perspective." Review of European Studies 10, no. 2 (2018): 60. http://dx.doi.org/10.5539/res.v10n2p60.

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Human beings express their emotions through the language of art; it is therefore both the spirit of progress and one of the most important means of developing emotions. Consequently, those who cannot make use of this means are incomplete in their maturation. Ideas and other products of the imagination can be given tangible form with the magical key of art. By means of art, humanity can exceed the limits of the earth and reach feelings beyond time and space. Beauty in the realm of existence can be recognized through art. Moreover, the great abilities inherent in human nature can be understood a

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Georgescu Paquin, Alexandra. "Public data art’s potential for digital placemaking." Tourism and Heritage Journal 1 (June 27, 2019): 32–48. http://dx.doi.org/10.1344/thj.2019.1.3.

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Data-based public art is an innovating new form of digital art which presence is increasing in the cities datascape. Data as a medium provides a special relationship with time and space by connecting the context of data mining to the one of its exhibition. The virtual component of data art opens an augmented space, where the different dimensions of data are mediated. This essay analyses how this new artform can contribute to a creative and digital placemaking of a city by offering a special sensory experience as well as renewing the storytelling of its space. Three case studies support the ana

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Athanassaki, Lucia. "Sponsoring the Arts: Melic Perspectives." Classica - Revista Brasileira de Estudos Clássicos 31, no. 2 (2018): 9–29. http://dx.doi.org/10.24277/classica.v31i2.740.

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This paper explores the melic poets’ take on art and its sponsors. Since much has been written on the relationship of epinician poets with their patrons, this paper broadens the focus of enquiry to include other melic genres and, in addition to the verbal, to look at the visual arts as well, i.e. melic representations of communities that sponsor songs and of communities or individuals that sponsor other art-forms such as sculpture, architecture, and precious objects. Taking as starting point Xenophon’s depiction of Simonides in Hiero, I discuss epigrams XXVII and XXVIII Page and relevant testi

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Rogers, James R. "Mathematics as Art: The Missing Standard." Mathematics Teacher 92, no. 4 (1999): 284–85. http://dx.doi.org/10.5951/mt.92.4.0284.

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Mathematics, rightly viewed, possesses not only truth, but supreme beauty—a beauty cold and austere, like that of sculpture, without appeal to any part of our weaker nature, without the gorgeous trappings of painting or music, yet sublimely pure, and capable of a stern perfection such as only the greatest art can show. The true spirit of delight, the exaltation, the sense of being more than man, which is the touchstone of the highest excellence, is to be found in mathematics as surely as in poetry. What is best in mathematics deserves not merely to be learnt as a task, but to be assimilated as

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Banik, Sanjukta, and Malay Mukhopadhyay. "Rock carving on Ayodhya Hill: an avenue for geoheritage, geoconservation and environmental sensitization." ENSEMBLE 2, no. 2 (2021): 123–31. http://dx.doi.org/10.37948/ensemble-2020-0202-a014.

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The present paper aims to throw light on the environmental sensitivity illustrated through art on a hill signifying interface of nature and culture .Ayodhya Hill in Purulia district, displays an aspect of aesthetic attachment of humans with nature in the form of in-situ rock cut sculpture ‘Pakhi Pahar’which has transformed the bare hill into a piece of art. For the past three decades the hill has been sculpted by a group of local artists, creating around 65 birds.Even the boulders lying on the foot of the hill are sculpted, to save these fragile components of nature from stone quarrying and cr

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Portnova, Irina V. "Russian Animalism in Relation to Other Genres of Fine Art in the History of Russian Culture of the 18th—19th Centuries." Observatory of Culture 17, no. 6 (2021): 606–15. http://dx.doi.org/10.25281/2072-3156-2020-17-6-606-615.

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The article deals with the historical-cultural topic of relations of the Russian animalism with other genres of fine art of the 18th and 19th centuries. When the features of animalistic art were identified as a peculiar and characteristic phenomenon open to interaction, animalism became an original page of Russian culture. The author refers to this topic in connection with the small number of complex studies in the field of animalism. The purpose of the article is to consider the specific features of animalism, as a characteristic original phenomenon of Russian artistic culture, in the context

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Joshi, Shobhana. ""RANGA IN LITERATURE"." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1–2. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3612.

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The whole of nature and human society; The sensitive creator, living between them, connects their relationship with them, taking experience. A world of its own emotions and thoughts, of dreams and fantasies, of hopes and aspirations is created, which is internal. With his keen desire for expression, he chooses some medium for communication. This medium can be painting, music, sculpture, literature, anything. But the medium of every art is different and in every medium there is autonomy of expression. The color-line shape in the picture, the melody-rhythm in music, the word-symbol in poetry, th

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Mateus, M., C. Silva, O. Nogueiro, and J. Redondo. "The Sexuallity in Ancient Greece." European Psychiatry 24, S1 (2009): 1. http://dx.doi.org/10.1016/s0924-9338(09)71178-2.

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It is often assumed that sexuality in the classical world was experienced in a free manner, without the censorship imposed during the midle ages. We also know that this culture is characterized by the symbolism and implicit messages, present in the speech, art, literature, always targeting a knowledge that would allow the spirit to achieve a higher level and be more perfect. But how was sexuality actually experienced by these people? What were their interests, what were their fears, and how were they transmitted? How did they related affection and sexuality? Using the metaphor of representatio

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Maxwell, Susan. "The Pursuit of Art and Pleasure in the Secret Grotto of Wilhelm V of Bavaria." Renaissance Quarterly 61, no. 2 (2008): 414–62. http://dx.doi.org/10.1353/ren.0.0004.

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AbstractThe Grottenhof is a small garden surrounded by painted loggias in the Munich Residence, a palace that served as the seat of the Wittelsbach Dukes of Bavaria beginning in the sixteenth century. Completed between 1582 and 1589, the garden contains an elaborate grottoed fountain, sculpture, and paintings based on Ovid’s Metamorphoses. The pictorial program of the painted loggias combines images of mythological ardor with illusionistic interlopers from everyday court life who make punning references to the pursuit of love. The sources for the garden can be found in Italian and French proto

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McMahon, Margot. "Transforming Nature." Leonardo 51, no. 3 (2018): 306–7. http://dx.doi.org/10.1162/leon_a_01530.

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Interpretations of human, plant and animal forms define the sculptures and drawings of MargotMcMahon. Humans, plants and animals symbolizing lifeforms may be fused into organic interpretations in bronze, ciment Fondu, aluminum, stone or wood. These sculptural symbols, in natural materials, emphasize the importance of interdependent and unique evolved forms of nature.

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Fisković, Igor. "Još o romaničkoj skulpturi s dubrovačke katedrale." Ars Adriatica, no. 5 (January 1, 2015): 39. http://dx.doi.org/10.15291/ars.516.

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Medieval Dubrovnik was rich in Romanesque figural and decorative sculpture but only a small group of fragmentary carvings has been preserved to date due to the fact that the town suffered a devastating earthquake in 1667. The earthquake completely destroyed the monumental Cathedral of the Assumption of the Virgin which had been considered “la piu bella in Illyrico” on the basis of its sculptural abundance. Archaeological excavations undertaken beneath the present-day Baroque Cathedral, consecrated in 1713, unearthed several thousand fragments of high-quality sculptures. Their analysis has conf

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