The theory of geometry is developed from Leyton's fundamental laws of memory storage, and this book shows that these laws determine the structure of paintings.
Author: Michael Leyton
Michael Leyton has developed new foundations for geometry in which shape is equivalent to memory storage. A principal argument of these foundations is that artworks are maximal memory stores. The theory of geometry is developed from Leyton's fundamental laws of memory storage, and this book shows that these laws determine the structure of paintings. Furthermore, the book demonstrates that the emotion expressed by a painting is actually the memory extracted by the laws. Therefore, the laws of memory storage allow the systematic and rigorous mapping not only of the compositional structure of a painting, but also of its emotional expression. The argument is supported by detailed analyses of paintings by Picasso, Raphael, Cezanne, Gauguin, Modigliani, Ingres, De Kooning, Memling, Balthus and Holbein.
This book recounts some of that rich history in relation to corresponding developments in conservation practice.
Author: Stephen Hackney
Publisher: Getty Publications
The first truly comprehensive analysis of the history, practice, and conservation of painting on canvas. Throughout its long history in Western art, canvas has played an influential role in the creative process. From the Renaissance development of oil painting on canvas to the present day—through Impressionism, Abstract Expressionism, and other art historical movements—the use of canvas has enhanced the scale of painting, freedom of brushwork, and spontaneity in technique. This book recounts some of that rich history in relation to corresponding developments in conservation practice. Rather than concentrating on the familiar concerns of cleaning and varnish removal, this volume considers the preservation of a painting’s structure. By focusing on recent studies on the fundamental nature of canvas and its mechanisms of deterioration, the book explains new approaches to the conservation of both contemporary and historical art—including reversible, passive, and preventive treatments, particularly with respect to lining. Written by Stephen Hackney, a conservation practitioner and leader in conservation research, On Canvas is the first book to take a comprehensive look at this important subject and is destined to become an invaluable resource for the field.
... speech of art and esthetics language art criticism , esthetics , art history and
past art In a discussion of Lévi - Strauss ' s distinction between art and science ,
the point was made that event and structure are in opposition , and therefore
If their worst fears are indeed founded then what would be lost at the end - point
of the processes of development would more than the collection of paintings and
poems , songs and the ideas which continue to instruct and move US . We shall ...
an Structure as an Artistic Means of Expression An increasingly structural
treatment of pictorial themes becomes noticeable with Cézanne and Cubism . But
only in concrete painting does structure appear as a self - sufficient aesthetic
Theories on the structure of paint— ings and the distribution of forces within the painting structure explained elsewhere help explain the structural requirements
fillers must fulfil to ensure their long—term stability (Mecklenburg, 1982; Meck— ...
Author: Joyce Hill Stoner
Category: Antiques & Collectibles
Conservation of Easel Paintings is the first comprehensive text on the history, philosophy and methods of treatment of easel paintings integrating theory with practice. A guide to necessary background knowledge in technical art history, artists " materials, interviews with artists, scientific methods of examination and documentation precedes sections that present varying approaches and methods for treatment. This book concludes with the history and treatment of frames and a section featuring issues of preventive conservation, storage, shipping, exhibition, display, wall colours, and lighting. Extensive bibliographies at the end of each section point readers to additional resources. Conservation of Easel Paintings will be of use in the training of conservation students and will provide generations of practicing paintings conservators and interested art historians, curators, directors, collectors, dealers, artists, and students of art and art history with valuable information.
Materials, Structures and Deterioration Mechanisms John Winter. tomb nos . 1
and 3 at Mawangdui ( S. Wang 1975 ) . Tomb no . 1 , especially , yielded a rich
harvest of silk fabrics in addition to a painted banner . Silk is considered to have ...
Author: John Winter
This text covers the historical techniques of painting in Japan, China and Korea.
THE STRUCTURE OF PAINTINGS Paintings have undergone many changes in
form , appearance and character throughout history . Yet there are basic
structural components common to all paintings whether they be 40 , 000 year old
Author: Allan Byrne
Publisher: Craftsman House
Conserving Paintings is not a book on how to paint. Nor is it a book that chastises contemporary artists for using non-traditional materials and techniques. Instead, Conserving Paintings presents artists with basic technical and conservation information in order that they can prepare their works of art with a high chance of surviving unchanged for future audiences. All too often it is the lack of basic structural information at the construction phase that results in artists producing works of art which incorporate features destined to cause early deterioration. Conserving Paintings also addresses the need for post-production care of works of art. The general acceptance of unnecessary damage to recently completed works of art is unfortunately widespread, with many artists accepting damage to their works as standard procedure. This should not be the case - a damaged work of art should be an exception rather than the norm. Though Conserving Paintings is intended primarily for artists, the information presented in this book is also valuable for those responsible for the care of paintings in public collections, for corporate or private collectors and for individuals who own works of art.
Author: Solomon R. Guggenheim MuseumPublish On: 1963
In terms of intellectual conclusions , it was clear to them that the structure of a painting made it a tangible reality in itself , a reality free from the objects it had
begun by representing . This lesson became the premise of all formal abstract art
102 Were fifteenth century painters interested in promoting and demonstrating
the versatility and wider applicability of their craft ? Several factors suggest that
they were not . Lorne Campbell has researched the structures and regulations of
Author: Annette LeZotte
This volume contains a statistical study of 287 Early Netherlandish paintings with domestic setting. The results of the statistical study are compared to information culled from fifteenth and sixteenth century household inventories to suggest that painters and their workshops manipulated depictions of domestic settings.
tioned certain harmonic proportions in music which are important . This happens
at the acoustical level . But acoustics are not music . For instance , in painting you
can use different colours and you may know the chemical structure of a certain ...
Mangold was most interested , however , in the structure of his paintings and in
exploring the nature of the part - to - whole relationship in painting . Part of the structure of Mangold ' s early paintings was based on the fact that his building ...
Author: Michael Auping
Publisher: Albright-Knox Art Gallery
Category: Art, American
Looks at works by Albers, Kelly, Stella and Marden, and discusses their approach to art
Author: Thomasine Kimbrough KushnerPublish On: 1983
After solving the problems of describing the manifest structure of a work of art so
that any two people can agree on the descriptive features , we need to determine
what function the structure fulfills . Is the structure simply a structure per se in the
The text discusses the physical principles behind the colors seen and how these change with illumination, the various types of paint and binders used in both old and modern paintings, and the optics and microscopic structure of paint films.
Author: W.Stanley Jr. Taft
Publisher: Springer Science & Business Media
The physics and materials science behind paintings: the pigments, binders, canvas, and varnish that go into making a painting appear the way it does. The text discusses the physical principles behind the colors seen and how these change with illumination, the various types of paint and binders used in both old and modern paintings, and the optics and microscopic structure of paint films. Chapters on dating, binders, and dendochronology have been contributed by experts in the respective fields.
Author: ICOM Committee for Conservation. Paintings: Scientific Study, Conservation and RestorationPublish On: 2008
Introduction Theoretical studies on the structure of paintings and the distribution
of forces within the painting structure have been carried out since the early 1980s
( Mecklenburg 1982 ) . Nevertheless they are rarely considered when planning ...
Author: ICOM Committee for Conservation. Paintings: Scientific Study, Conservation and Restoration
This volume consists of papers presented at the first conference devoted to preparatory layers used by artists
In Kirscho we actually showed how the structure of paintings could be described
with formal grammars . In building a grammatical description for artworks , it
seems suitable to start , as we have , within the twentieth century . Art of our era is
Wittgenstein Jules Olitski ' s new paintings are executed in a soak - and - spray
technique ( mostly spray ) of his own invention . I want to begin this essay by
comparing their structure with that of paintings by Noland and Stella , both of
whom in ...