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Showing 1 to 10 of 10 (0.035 seconds)Spelling suggestions: "subject:"park rothko"" "subject:"park rothkos""
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Visions de l'âme : du sublime et du « numineux » dans l’oeuvre de Mark Rothko / Visions of the soul : on the sublime and the « numinous » in Mark Rothko’s work / Visiones del alma : de lo sublime y lo "numinoso" en la obra de Mark RothkoCañadas Salvador, Helena 25 September 2017 (has links)
Nous partons de la présentation de l'oeuvre de Mark Rothko et d’une analyse quirévèle en elle les « risques du sublime », ce qui nous permet alors d’adopter un point de vue esthétique. Attirant l'attention sur l’acte nécessaire du spectateurcontemporain s’il veut découvrir un sens à son expérience des oeuvres d’art, nouscherchons à forger de nouvelles voies de compréhension. La réflexion vise ainsi àmontrer la manière dont le sublime et l’approche apophatique de la mystique peuventnous aider à mieux comprendre l‘attitude nouvelle exigée par la peinture moderne. Il faut comprendre que nous devons nous disposer à (ou pour) l’oeuvre, sans chercher à lui attribuer un sens. Il faut accepter d’être d’abord désorientés et apprendre à reconnaître ensuite d'autres relations possibles entre l’oeuvre et soi-même, pour finir par voir d’un oeil éminemment spirituel. De sorte qu’il s’agit au final d’apprendre à vivre l’oeuvre de Rothko et un certain type d'art contemporain en intégrant des modes nouveaux d’accès à cette peinture, tout en vérifiant une expérience proche du religieux, bien que séculaire. / Using the presentation of Mark Rothko’s work and an analysis unveiling the "risks of the sublime" in it, we advance through an aesthetic approach. Focusing on thenecessary act that the contemporaneous viewer must engage in to find a meaning inthe experience of the paintings; our aim is to forge new ways of understanding. This consideration reveals how the sublime and an apophatic mystic help us understand a new and needed appreciation for modern art. By becoming fully open and available to the painting without searching to assign a sense and accepting to be disorientated at first, we arrive at other possible relationships and we can see with an eminently spiritual vision. Thus, we learn to live Rothko’s works and too, contemporary painting, suggesting new ways of access and evincing an experience that can be religious, while remaining secular. / Partimos de la presentación de la obra de Mark Rothko y de un análisis que nosdescubre los "riesgos de lo sublime" en ella, para tomar después un punto de vistaestético. Dirigiendo la atención al necesario acto que el espectador contemporáneodebe realizar para encontrar un sentido en su experiencia con las obras, buscamosforjar nuevas vías de comprensión. La reflexión, entonces, pretende descubrir cómolo sublime y una mística apofática podrían ayudarnos a entender esa nueva actitudque pide la pintura moderna. Entender que debemos disponernos a la obra, sinbuscar un sentido para atribuirle, aceptando una desorientación primera, para llegar a aceptar otras relaciones posibles y ver finalmente con una visión eminentemente espiritual. Así, aprender a vivir la obra de Rothko y de un cierto tipo de arte contemporáneo proponiendo nuevos modos de acceso y constatando unaexperiencia que pude ser religiosa, aunque secular.
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En Studie i Rött : Hur beskrivs, uppfattas och kopplas färg samman med innehåll i Mark Rothkos abstrakta målningar? / A Study in Scarlet : How are color and content connected, described and understood in Mark Rothkos abstract paintings?Frisk, Mattias January 2008 (has links)
<p>Undersökning av färgen i förhållande till innehåll i Mark Rothkos abstrakta verk. Studien innefattar en undersökning i hur man skriver om färg i anslutning till Rothkos abstrakta målningars innehåll och huruvida färg kan avgöra betydelser.</p> / <p>A study about color in relationship to content in Mark Rothko’s abstract paintings. It includes a research in how people write about color when discussing Mark Rothko´s paintings and how that is related to content. It also looks at color in relationship to meaning.</p>
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En Studie i Rött : Hur beskrivs, uppfattas och kopplas färg samman med innehåll i Mark Rothkos abstrakta målningar? / A Study in Scarlet : How are color and content connected, described and understood in Mark Rothkos abstract paintings?Frisk, Mattias January 2008 (has links)
Undersökning av färgen i förhållande till innehåll i Mark Rothkos abstrakta verk. Studien innefattar en undersökning i hur man skriver om färg i anslutning till Rothkos abstrakta målningars innehåll och huruvida färg kan avgöra betydelser. / A study about color in relationship to content in Mark Rothko’s abstract paintings. It includes a research in how people write about color when discussing Mark Rothko´s paintings and how that is related to content. It also looks at color in relationship to meaning.
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Anish Kapoor: The Formation of a Global ArtDuffy, Owen 25 April 2013 (has links)
This study intends to investigate British artist Anish Kapoor’s stylistic formation in relationship to globalization, positing its history as a multiplicity, comprised of several competing localisms, including: minimalism; the traditions of modern painting; and the artist’s own personal diasporic narrative. It will demonstrate how Kapoor is a transgressive global artist, concerned not only with rethinking the longstanding question of artistic form, but also with the enduring process central to the cultural formation of subjects. Overall, this thesis will propose that Kapoor’s art in particular can be comprehended by the special liminal position it occupies between such polarities as modern and postmodern art, painting and sculpture, East and West, national and trans-national, and local and global. By transgressing the borders that demarcate these discourses, Kapoor’s art enters an in-between state; through both formal and thematic strategies, his sculptural forms orchestrate viewers so they are able to move beyond distinct, fixed, and stabile meanings and view the works as eminently open to the different perspectives and radically diverse discourses they engage, making them truly global works of art.
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An Econometrics Analysis of Mark Rothko's Auction ResultsZheng, Jiahong 01 January 2018 (has links)
This paper investigates the factors that influence hammer price in fine art auctions. Unlike previous studies, this thesis focuses solely on Mark Rothko’s abstract painting auction results, which eliminates pricing variation from multiple artists or painting genres. Using a freshly constructed database that covers all Rothko auction records from 1985 to 2017, this thesis affirms the presence of declining price anomaly. Auction house experts’ pre-sale estimates are shown to be largely unbiased with a marginal downward pricing tendency. Furthermore, size is a statistically significant variable that affects hammer price and Rothko’s vertical compositions are favored in the auction market.
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Beyond the easel : the dissolution of abstract expressionist painting into the realm of architecture / Dissolution of abstract expressionist painting into the realm of architectureCostello, Eileen Elizabeth 05 April 2013 (has links)
A defining feature of American abstract expressionist painting is its enormous size and scale. Heroic ambition, the vast American landscape, and the sense of "something big" happening in American painting are often cited as determining factors in this phenomenon. This dissertation examines how Jackson Pollock, Barnett Newman, and Mark Rothko not only painted large-scale canvases but, following trends in modern architecture, shifted their painting towards the construction of architectural environments, thus promoting the transformation of painting from a window in the wall to a wall without a window. The artist and architect Tony Smith, a close friend and colleague of these painters, played an active role in encouraging their interest in modern architecture. As a result of their investigations into the physical, as well as conceptual, limits of the canvas, these artists shifted the viewer’s experience from a perceptual experience of pictorial space to a physical encounter with actual space. In contradiction to the notion of the purely optical, one could describe this as a somatic viewing experience, tactile and active, which anticipated specific concerns of 1960s minimalism. This achievement redefines Pollock's, Newman's, and Rothko's legacy to the subsequent generation of artists and places their production into a broader historical framework. / text
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Cesta do nitra Martina H. / A Journey into the Mind of Martin H.Helán, Martin Unknown Date (has links)
The main aim of my thesis was to re-establish their former individual creation. When rendering images, I came from my heart that emotionally involved in deciding the final constellation of colors. The resulting series of images is processed oil painting technique using mainly medium formats. The composition of paintings based on geometric abstraction and draw on previous work by increasing the details of their own earlier paintings. The operational objective was to search for color variations that inherently express different emotional states. The work focuses primarily on finding harmonious interplay of color tones.
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The Sublime as an Aesthetic Experience of Art : The Aesthetic Experience of Mark Rothko's Abstract PaintingsHaviland, Vendela January 2022 (has links)
The following work investigates the nature of the aesthetic experience of the abstract expressionist paintings of Mark Rothko. I suggest that the aesthetic experience in relation to his paintings best is understood in terms of the sublime. To support my position, I discuss the impact of abstraction in comparison to figuration in art on our aesthetic experience. Abstraction in art, I suggest, provides the basis for an aesthetic experience where the viewer can enjoy the visual features and composition free from connecting any depicted imagery to our physical world. This, I hold, provides the basis for a unique type of aesthetic experience. Further, I suggest that the visual complexity in the abstract paintings of Mark Rothko, as well as the aesthetic appeal of his artworks, provides a sense of great magnitude and depth whilst captivating our aesthetic attention. The notion of abstraction allows our minds to never reach a final conclusion as to what type of object we are perceiving. The artistically refined manner in which the artworks are presented captivates our aesthetic attention, allowing us to fully perceptually engage in the limitless sense of depth and visual complexity of his paintings. This, I suggest, provides an encounter in which we through means of perception encounter the idea of a complete form of which magnitude we can never fully comprehend. I argue that this suggests that the aesthetic experience of the abstract expressionist paintings of Mark Rothko best is understood as that of the sublime.
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Jackson Pollock, 1930-1955 : the influence of the Old MastersRoncone, Natalie Maria January 2011 (has links)
The imagery in Jackson Pollock's three extant sketchbooks which date from c.1934-1939 is dependent on that of other artists, especially El Greco, Rubens and Tintoretto. By 1947 however, the painter achieved a mature synthesis, distinctly his, which influenced contemporary painting, and was seminal for the work of a number of artists of the succeeding era. This dissertation is an attempt to document the phases of Pollock's artistic style from the early 1930s through to the middle 1950s, and to investigate the forces which may have catalyzed his temperament and precipitated his late style. The early sketchbooks begun in c.1934 represent Pollock's engagement with the art of the Old Masters and the teaching techniques of Thomas Hart Benton that utilized works from the Renaissance. The third sketchbook from c.1937-1939 induced him to re-examine the work of the Old Masters in a dialectical approach which incorporated new masters with old, but remained preoccupied with the sacred imagery found in the first two books. It is a resolution of these seemingly opposing modes of representation which produced several influential paintings in the early 1940s, including Guardians of the Secret and Pasiphae. At the same time these works display structural emulations related to those of Old Master paintings that would become increasingly prominent in Pollock's art. The canvases of 1947-1950, produced in what is commonly termed the “Classic Poured Period,” appear to represent a quantum leap beyond the concerns of Old Master works and European precedents. By this point Pollock had developed a fluency and assurance in his use of color and line that seems to extend further than the studied paradigmatic repetitions of his early sketchbooks. However, despite the radically new technique his paintings still exhibit pictorial and formal infrastructures derived from Renaissance paintings which were absorbed into Pollock's new idiom with surprising ease. In 1951 Pollock enters what Francis V.O'Connor termed as ‘his fourth phase'. The Black paintings of 1951-1953 betray a further exploration and adaptation of Old Master ideas, both iconographic and aesthetic and were created in Triptychs and Diptychs, typical altarpiece formats. With these paintings Pollock's forms acquired a confident plasticity and invention derived from the sculptural practices of Michelangelo, and progressively fewer individual images are quoted verbatim. An understanding of Pollock's early preoccupation with old Master painting is essential to comprehend the formation of the aesthetics of much of his later art. Significantly the underlying infrastructure remains fixed to old Master precedents and it was precisely these models of Renaissance and Baroque art which became the medium through which his mature synthesis was achieved.
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Research: ROTHKO : - ett arbete om att lära känna sig själv genom någon annan / Research: ROTHKO : - about getting to know yourself through someone elseaf Malmborg, Solith January 2017 (has links)
This thesis project examines both inner and outer circumstances of knowledge in an attempt to emphasize the importance of personal reflection. I search for answers on how to communicate feelings through colour and form by studying Mark Rothko and the abstract expressionism. A personal reflection is made parallelly to expand my own understanding of the subject and my own role in relation to it. I also explore painting as amethod of deepening my understanding of Rothko. Mark Rothko is both subject of study and tutor as I give myself the task of translating his art into my own design. The result offers thoughts and ideas on the significance of the work of hand, the use of colour and the meaning of intention, which I claim are important aspects when aiming for emotional results. However I also reflect upon the fact that the communication remains individual and that it is therefore problematic to confirm success in this matter. / Detta är ett undersökande arbete som vänder sig både inåt och utåt. Det är en djupdykning i Mark Rothkos konstnärskap som sker parallellt med en personlig reflektion. Inledningsvis handlar det om att arbeta i gränslandet mellan konst och design och hurdet kan se ut. I förlängningen handlar det om hur den konstnärliga historien kan fungera som inspiratör och vägledare för innebörd och uttryck i formgivningen. Genom att studera den abstrakta expressionismen och Mark Rothko söker jag svar på hur känslomässig kommunikation kan ske genom färg och form. Förutom litterär research utför jag också en praktiskt undersökning där jag använder måleriet som en metod för att förstå mitt studieobjekt; Mark Rothko. Målet är att översätta Mark Rothkos konst till min design. Det handlar om att studera, internalisera och applicera. Resultatet bjuder in till en diskussion om handlagets, färgens och intentionens betydelse för formgivningen, där jag hävdar att dessa aspekter är viktiga för ett emotionellt berörande resultat, men att kommunikationen förblir individuell.
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