- Отрасли: Art history
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Il termine apparve negli anni '50 e faceva riferimento all'uso di un'amalgama densa in cui spesso venivano inseriti altri tipi di materiale, tra i quali sabbia, fango, cemento e conchiglie. La pittura materica venne resa famosa da un gruppo di artisti belgi e olandesi di cui facevano parte Bram Bogart, Jaap Wagemaker, Bert de Leeuw, René Guiette e Marc Mendelson. Il loro intento era quello di sottolineare la natura della pittura e dei suoi materiali. Altri artisti la cui opera è spesso associata alla pittura materica sono il pittore e scultore francese Jean Dubuffet, l' artista spagnolo Antoni Tàpies ed il pittore americano Julian Schnabel.
Industry:Art history
Si riferisce ad un'opera d'arte concepita in modo specifico per un determinato luogo e che mantiene un' interrelazione con esso. Se tolta da quel luogo perderebbe tutta o una parte essenziale del suo significato. Site-specific viene spesso usato in riferimento a delle installazioni, come nel caso delle installazioni site-specific e la Land Art è site-specific quasi per definizione.
Industry:Art history
Entropy is the inevitable and steady deterioration of a system or society. The concept is articulated by the Second Law of Thermodynamics (the tendency for all matter and energy in the universe to evolve towards a state of inert uniformity). In an art context the term became popular in late 1960s New York when the artist Robert Smithson used the term entropy in reference to his contemporaries, the Minimalist artists Donald Judd, Sol Le Witt, Dan Flavin and Larry Bell, whose highly simplified and static work he considered embodied the concept.
Industry:Art history
An intaglio technique in which a metal plate is manually incised with a burin, an engraving tool like a very fine chisel with a lozenge-shaped tip. The burin makes incisions into the metal at various angles and with varying pressure which dictates the quantity of ink the line can hold—hence variations in width and darkness when printed. The technique of engraving metal dates from classical antiquity as a method of decorating objects. However it was not until about 1430 in Germany that engraved plates began to be used for making prints. Photoengraving is a process using acid to etch a photographically produced image onto a metal plate that can then be printed from.
Industry:Art history
In printmaking any process used to create a raised or depressed surface. It is sometimes used to create false plate-marks in lithographs or screenprints.
Industry:Art history
The age of Queen Elizabeth I (reigned 1558-1603) saw a flowering of the arts in Britain not least in the plays of Shakespeare. Painting flourished too, although principally in the form of portraiture. The Queen herself took a keen interest in her portraits, guiding artists such as Hilliard and Gheeraerts in the creation of stylised images of immense elegance, wealth and power. This artificial and decorative style became characteristic of Elizabethan painting in general. Highly skilled artists often remained anonymous as in The Cholmondeley Ladies.
Industry:Art history
The most common examples of electronic media are video recordings, audio recordings, slide presentations, CD-ROM and online content. The term also incorporates the equipment used to create these recordings or presentations; television, radio, telephone, computer. Much of the theory surrounding the use of electronic media by artists is based on Walter Benjamin's seminal essay of 1936, The Work of Art in the Age of Mechanical Reproduction, which discussed the democratisation of art, freed from its confines as a unique entity thanks to the development of photographic reproduction and forms such as cinema, where there is no unique original.
Industry:Art history
A series of identical impressions from the same printing surface. Since the late nineteenth century the number of prints produced has usually been restricted and declared as a 'limited edition'; before this prints were often produced in as many numbers as the process would allow. Modern artists' prints are usually limited to a specified number, anything between 2 and 1,000 or more. Sometimes the quantity is dictated by the process—the plate wears out—but more commonly it is restricted by the artist or publisher, in which case the printing surface is usually destroyed. Editioned prints are usually signed, numbered, and often dated by the artist. An edition of twenty-five will be numbered 1/25, 2/25, etc. These are usually accompanied by a number of proof prints, identical to the edition; those produced for artist are marked 'AP' (artist's proof), those for the printer or publisher 'PP' (printer's proof). A number of working proofs may also be made. 'Bon à tirer' (good to print) proofs provide a standard to guide the printer.
Industry:Art history
French term meaning school of fine arts. The original Ecole des Beaux Arts emerged from the teaching function of the French Académie Royale de Peinture et de Sculpture, established in Paris in 1648 (see Academy). In 1816 the Académie Royale school moved to a separate building and in 1863 was renamed the Ecole des Beaux Arts. The basis of the teaching was the art of ancient Greece and Rome, that is, classical art. But anatomy, geometry, perspective and study from the nude were also part of the curriculum. In 1663 the Académie founded the Prix de Rome, a hugely prestigious prize that gave winners a prolonged visit to Rome to study classical art on the spot. In 1666 the Académie also founded a branch in Rome to provide teaching and a base for these students. Subsequently most major French cities established their own Ecole des Beaux Arts. The Prix de Rome was abolished in 1968 as a result of the student revolt of that year. By the end of the nineteenth century the Ecole des Beaux Arts had become deeply conservative and independent, rival schools sprang up in Paris, such as the Académie Julian and the Académie Colarossi. The Ecole remained the basic model for an art school until the foundation of the Bauhaus in 1919. (See also Black Mountain College. ) Most of the illustrious names in French art passed through the Ecole up to and including some of the young Impressionists.
Industry:Art history
This term is associated with the artists who documented the harsh realities of British life during the Depression in the 1930s. In a decade dominated by mass unemployment and social deprivation, a new radicalism took hold of European politics and artists responded to these events by adopting a realist style that was easily understood. They believed that both the dominating art movements of the time, Abstraction and Surrealism, were too obscure to communicate effectively. In Britain those who shared these beliefs congregated at the Artists International Association (AIA) and the Euston Road School. Some of these artists worked with Mass-Observation, an organisation set up to record the daily lives of ordinary working people.
Industry:Art history
