CERAMICS-ART AND PERCEPTION最新文献_第2页

Instantaneous Art? Investigating Frank Stella’s Moroccan Paintings with a Short-Exposure Experiment 瞬时艺术吗?用短曝光实验研究弗兰克·斯特拉的摩洛哥绘画

4区艺术学

CERAMICS-ART AND PERCEPTION Pub Date : 2020-06-08 DOI: 10.1163/22134913-bja10001

S. D. Winter, Nathalie Vissers, Christophe Bossens, J. Wagemans

{"title":"Instantaneous Art? Investigating Frank Stella’s Moroccan Paintings with a Short-Exposure Experiment","authors":"S. D. Winter, Nathalie Vissers, Christophe Bossens, J. Wagemans","doi":"10.1163/22134913-bja10001","DOIUrl":"https://doi.org/10.1163/22134913-bja10001","url":null,"abstract":"In his search to create ‘instantaneously capturable’ paintings, Frank Stella started to use Day-Glo alkyd paints as a vehicle to communicate his simple, striped designs. Up till now, art criticism has neglected the visual impact of these fluorescent colours on this concept of ‘instantaneous art’. By presenting participants with Stella’s designs (fluorescent and conventional variants) for short presentation times (8 to 12 ms), we aimed to find out whether fluorescent colour combinations are seen faster (i.e., yield better performance in identifying the specific design) than their conventional counterparts. In general, participants were very good in identifying the correct design among distractors, which means that the pattern and colour combinations based on Stella’s work do seem to be ‘instantaneously capturable’. However, Stella’s formula for ‘instantaneous’ paintings is not identical for the different combinations. When exploring fluorescence in combination with other aspects of the design (colour and pattern), we found two effects that seemed to predict performance. First, performance seemed to depend on specific design patterns. Second, fluorescence seemed to interact with specific colour combinations in predicting performance. The red/yellow designs yielded better performance for the fluorescent variants, while the opposite was found for the green/orange designs. Contrast differences in luminance between the two colours of each colour combination might explain part of the results. On the other hand, the effect of fluorescent colours might have been watered down by the confusion between the hand-printed fluorescent colours and the computer display used for the identification task, which only showed conventional colours.","PeriodicalId":42895,"journal":{"name":"CERAMICS-ART AND PERCEPTION","volume":"2 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-06-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87853084","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

Crossmodal Associations between Cinema with Elements of Comic and Tragic and Texture Touch 电影与喜剧、悲剧元素的跨模式关联与质感触觉

4区艺术学

CERAMICS-ART AND PERCEPTION Pub Date : 2020-06-08 DOI: 10.1163/22134913-bja10004

M. Iosifyan

引用次数: 2

Frans van Mieris’s Painting Technique as One of the Possible Sources for Willem Beurs’s Treatise on Painting 弗朗斯·范·米耶里斯的绘画技巧是威廉·伯尔斯《绘画论》的可能来源之一

4区艺术学

CERAMICS-ART AND PERCEPTION Pub Date : 2020-06-04 DOI: 10.6084/M9.FIGSHARE.12295721.V1

C. Pottasch

引用次数: 4

‘Colouring’ — Material Depiction in Flemish and Dutch Baroque Art Theory “着色”-佛兰德语和荷兰巴洛克艺术理论中的材料描述

4区艺术学

CERAMICS-ART AND PERCEPTION Pub Date : 2020-04-22 DOI: 10.1163/22134913-bja10005

Lisa Wiersma

{"title":"‘Colouring’ — Material Depiction in Flemish and Dutch Baroque Art Theory","authors":"Lisa Wiersma","doi":"10.1163/22134913-bja10005","DOIUrl":"https://doi.org/10.1163/22134913-bja10005","url":null,"abstract":"Seventeenth-century painters were masters at painting objects and beings that seem tangible. Most elaborate was painting translucent materials like skins and pulp: human flesh and grapes, for instance, require various surface effects and suggest the presence of mass below the upper layers. Thus, the viewer is more or less convinced that a volume or object is present in an illusionary space. In Dutch, the word ‘stofuitdrukking’ is used: expression or indication of material, perhaps better understood as rendering of material. In English, ‘material depiction’ probably captures this painterly means best: it includes rendering of surface effects, while revealing the underlying substance, and it implies that weight and mass are suggested. Simple strokes of paint add up to materials and things that are convincingly percieved. At first glance, material depiction hardly seems a topic in early-modern art theory, yet 17th-century painters are virtually unequalled as regards this elaborate skill. Therefore, 17th-century written sources were studied to define how these might discuss material depiction, if not distinctly. This study concerns one of many questions regarding the incredible convincingness of 17th-century material depiction: besides wondering why the illusions work (Di Cicco et al., this issue) and how these were achieved (Wiersma, in press), the question should be asked why this convincingness was sought after. Was it mere display of ability and skill? And how was material depiction perceived, valued and enjoyed? First, contemporary terminology is determined: the seemingly generic term ‘colouring’ signified the application of convincing material depiction especially — which is not as self-evident as it sounds. Second, and extensively, the reader will find that convincing or appealing material depiction was considered a reference to religion and natural philosophy.","PeriodicalId":42895,"journal":{"name":"CERAMICS-ART AND PERCEPTION","volume":"56 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74456959","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 5

Does ‘Action Viewing’ Really Exist? Perceived Dynamism and Viewing Behaviour “动作观看”真的存在吗?感知动力和观看行为

4区艺术学

CERAMICS-ART AND PERCEPTION Pub Date : 2020-03-01 DOI: 10.1163/22134913-20191128

Hanna Brinkmann, Louis Williams, E. McSorley, R. Rosenberg

{"title":"Does ‘Action Viewing’ Really Exist? Perceived Dynamism and Viewing Behaviour","authors":"Hanna Brinkmann, Louis Williams, E. McSorley, R. Rosenberg","doi":"10.1163/22134913-20191128","DOIUrl":"https://doi.org/10.1163/22134913-20191128","url":null,"abstract":"Throughout the 20th century, there have been many different forms of abstract painting. While works by some artists, e.g., Piet Mondrian, are usually described as static, others are described as dynamic, such as Jackson Pollock’s ‘action paintings’. Art historians have assumed that beholders not only conceptualise such differences in depicted dynamics but also mirror these in their viewing behaviour. In an interdisciplinary eye-tracking study, we tested this concept through investigating both the localisation of fixations (polyfocal viewing) and the average duration of fixations as well as saccade velocity, duration and path curvature. We showed 30 different abstract paintings to 40 participants — 20 laypeople and 20 experts (art students) — and used self-reporting to investigate the perceived dynamism of each painting and its relationship with (a) the average number and duration of fixations, (b) the average number, duration and velocity of saccades as well as the amplitude and curvature area of saccade paths, and (c) pleasantness and familiarity ratings. We found that the average number of fixations and saccades, saccade velocity, and pleasantness ratings increase with an increase in perceived dynamism ratings. Meanwhile the saccade duration decreased with an increase in perceived dynamism. Additionally, the analysis showed that experts gave higher dynamic ratings compared to laypeople and were more familiar with the artworks. These results indicate that there is a correlation between perceived dynamism in abstract painting and viewing behaviour — something that has long been assumed by art historians but had never been empirically supported.","PeriodicalId":42895,"journal":{"name":"CERAMICS-ART AND PERCEPTION","volume":"46 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82155441","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 4

Perspective on Canaletto’s Paintings of Piazza San Marco in Venice 卡纳莱托的威尼斯圣马可广场绘画透视

4区艺术学

CERAMICS-ART AND PERCEPTION Pub Date : 2020-01-21 DOI: 10.1163/22134913-20191131

C. Erkelens

{"title":"Perspective on Canaletto’s Paintings of Piazza San Marco in Venice","authors":"C. Erkelens","doi":"10.1163/22134913-20191131","DOIUrl":"https://doi.org/10.1163/22134913-20191131","url":null,"abstract":"Perspective plays an important role in the creation and appreciation of depth on paper and canvas. Paintings of extant scenes are interesting objects for studying perspective, because such paintings provide insight into how painters apply different aspects of perspective in creating highly admired paintings. In this regard the paintings of the Piazza San Marco in Venice by Canaletto in the eighteenth century are of particular interest because of the Piazza’s extraordinary geometry, and the fact that Canaletto produced a number of paintings from similar but not identical viewing positions throughout his career. Canaletto is generally regarded as a great master of linear perspective. Analysis of nine paintings shows that Canaletto almost perfectly constructed perspective lines and vanishing points in his paintings. Accurate reconstruction is virtually impossible from observation alone because of the irregular quadrilateral shape of the Piazza. Use of constructive tools is discussed. The geometry of Piazza San Marco is misjudged in three paintings, questioning their authenticity. Sizes of buildings and human figures deviate from the rules of linear perspective in many of the analysed paintings. Shadows are stereotypical in all and even impossible in two of the analysed paintings. The precise perspective lines and vanishing points in combination with the variety of sizes for buildings and human figures may provide insight in the employed production method and the perceptual experience of a given scene.","PeriodicalId":42895,"journal":{"name":"CERAMICS-ART AND PERCEPTION","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-01-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88822147","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Abstracts from the 7th Visual Science of Art Conference (VSAC) Leuven, Belgium, August 21st–24th, 2019 第七届视觉艺术科学会议(VSAC)， 2019年8月21 - 24日，比利时鲁汶

4区艺术学

CERAMICS-ART AND PERCEPTION Pub Date : 2019-11-29 DOI: 10.1163/22134913-20190704

{"title":"Abstracts from the 7th Visual Science of Art Conference (VSAC) Leuven, Belgium, August 21st–24th, 2019","authors":"","doi":"10.1163/22134913-20190704","DOIUrl":"https://doi.org/10.1163/22134913-20190704","url":null,"abstract":"There are two types of perspective relevant to human vision, photographic and visual perspective. Photographic perspective results from projection of the three-dimensional world on two-dimensional surfaces such as canvases and retinae. Photographic perspective is widely applied in drawings and paintings to create an illusion of depth. Visual perspective is a property of the space that we, human beings, perceive through vision. Photographic perspective is two-dimensional, visual perspec- tive three-dimensional. Paintings of perspective scenes are interesting objects of study because both types of perspectives play a role in the creation of depth. A previous study showed that Canaletto and other vedutisti applied perspective related to visual space.Paintings of Piazza San Marco in Venice are analysed in the current study. These paintings are of particular interest because of the Piazza’s extraordinary geometry and the fact that Canaletto and his followers produced dozens of paintings from almost identical viewing positions. Buildings and patterns are directed to three horizontally separated vanishing points. Perspective is extremely veridical in a number of paintings. It is hard to imagine how such accuracy could have been obtained without the help of a camera. In other paintings the quality of perspective is poorer and perspective is completely wrong in number of paintings, suggesting that those paintings are not of Canaletto. People have been painted twice to four times too large on all the paintings. The large sizes suggest that people were added later, aiming to portray San Marco as a more intimate plaza than it is.","PeriodicalId":42895,"journal":{"name":"CERAMICS-ART AND PERCEPTION","volume":"7 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82820363","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Konrad Lange on ‘the Illusion of Materials’ in Painting and Visual Arts: Revisiting a Psychoaesthetic Theory of the Perception of Material Properties 康拉德·兰格论绘画和视觉艺术中的“材料幻觉”:重新审视材料属性感知的心理美学理论

4区艺术学

CERAMICS-ART AND PERCEPTION Pub Date : 2019-10-28 DOI: 10.1163/22134913-20191126

David Romand

{"title":"Konrad Lange on ‘the Illusion of Materials’ in Painting and Visual Arts: Revisiting a Psychoaesthetic Theory of the Perception of Material Properties","authors":"David Romand","doi":"10.1163/22134913-20191126","DOIUrl":"https://doi.org/10.1163/22134913-20191126","url":null,"abstract":"In the present article, I discuss the concept of ‘the illusion of materials’ (die Stoffillusion) as it was elaborated in the late 19th and early 20th centuries by the German aesthetician and art historian Konrad Lange (1855–1921). Here I intend to revisit a remarkable theory of the psychological mechanisms that underlie the aesthetic experience of mimesis in painting and, more generally speaking, in visual arts. First, I deal with the historical background of Lange’s contribution by saying a word about the German-speaking psychoaesthetic paradigm as it developed between the mid-19th century and WWI. Second, I discuss the basic tenets of Lange’s ‘illusionistic aesthetics’ (Illusionsästhetik), the view according to which the experience of the beautiful lies in a process of ‘conscious self-delusion’ (bewusste Selbsttäuschung) by which means the contemplating subject mentally oscillates between ‘semblance’ and ‘reality’. Third, I analyze Lange’s theoretical way of conceiving the illusion of materials by showing that he identified it as one of the seven chief categories of aesthetic illusions and by insisting on his distinction between the ‘subjective’ non-aesthetic illusion and the ‘objective’ aesthetic illusion of materials. Fourth, I show how Lange conceived the place of the illusion of materials in aesthetic experience in general and in the contemplation of painting and sculpture in particular. In a fifth, concluding part, I deal with the significance of Lange’s ideas on the illusion of materials today by highlighting their close relation to Daniel Arasse’s conception of painting contemplation as a dialectics of ‘the pictorial’ and ‘the iconic’, while also suggesting that they may be very fruitful within the context of current experimental psycho- and neuroaesthetic research.","PeriodicalId":42895,"journal":{"name":"CERAMICS-ART AND PERCEPTION","volume":"67 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83855767","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

The Art of Shaping Materials 塑造材料的艺术

4区艺术学

CERAMICS-ART AND PERCEPTION Pub Date : 2019-10-28 DOI: 10.1163/22134913-20191116

Filipp Schmidt

引用次数: 9

Problems and Paradoxes of Painting and Perception 绘画与感知的问题与悖论

4区艺术学

CERAMICS-ART AND PERCEPTION Pub Date : 2019-09-11 DOI: 10.1163/22134913-20191142

R. Pepperell

引用次数: 5