art journal

Kazimir Malevich, White on White, 1918. Critics derided Malevich’s art as a negation of everything good and pure: love of life and love of nature. Malevich responded that art can advance and develop for art’s sake alone, saying that “art does not need us, and it never did”. (From Wikipedia)

Kazimir Malevich, White on White, 1918.

Critics derided Malevich’s art as a negation of everything good and pure: love of life and love of nature. Malevich responded that art can advance and develop for art’s sake alone, saying that “art does not need us, and it never did”. (From Wikipedia)

8 months ago - 1

In art, immorality cannot exist. Art is always sacred, even when it takes for a subject the worst excesses of desire. Since it has in view only the sincerity of observation, it cannot debase itself

Auguste Rodin

9 months ago

V.S. Ramachandran’s 10 principles of art

derived in part from Gestalt insights

  1. Peak shift
  2. Perceptual Grouping and Binding
  3. Contrast
  4. Isolation
  5. Perceptual problem solving
  6. Symmetry
  7. Abhorrence of coincidence/generic viewpoint
  8. Repetition, rhythm and orderliness
  9. Balance
  10. Metaphor

www.imprint.co.uk/rama/art.pdf

9 months ago
Venus of Hohle Fels, dated between 35,000 and 40,000 years ago.

Venus of Hohle Fels, dated between 35,000 and 40,000 years ago.

9 months ago
egonschiele: self-portrait, 1910 - egon schiele

egonschiele:

self-portrait, 1910 - egon schiele

(Source: nationalbaseballhalloffame)

9 months ago - 85
Franz Messerschmidt (1736 –1783)

Franz Messerschmidt (1736 –1783)

9 months ago - 2

The discovery that … cells respond selectively to lines of specific orientation was a milestone in the study of the visual brain. Physiologists consider that orientation selective cell are the physiological building blocks for the neural elobaration of forms, though none of us knows how complex forms are neurologically constructed from cells that respond to what we regard to be the components of all forms. In a sense, our quest and our conclusion is not unlike those of Modrian, Malevich and others. Modrian thought that the universal form, the constituent of all other more complex forms, is a straight line; physiologists think that cells that respond specifically to what some artists at least consider to be the universal form are the very ones that consitute the building blocks which allow the nervous sutem to represent more complex forms. I find it difficult to believe that the relationship between physiology of the visual cortex and the creations of artists is entirely fortuitous.

Zeki about Hubel and Wiesel’s discovery (from the book Age of Insight by Eric Kandel)

9 months ago

From the book - Age of Insight by Eric R. Kandel

According to Alois Riegl, Art is incomplete without the perceptual and emotion all involvement of the viewer.

Inclusion of a viewer’s response to art led to the birth of Modernism in art. Aesthetic response to art, as put forth by the German art historian, Erwin Panofsky, appears in 3 levels, all of which rely on the viewer’s memory.

1. Pre-iconographical interpretation - Concerned with intrinsic elements of painting such as line, color, pure form, subject matter and emotion. On this level, the viewer’s interpretation is based on practical, intuitive experience of the elements, without recourse to any factual or cultural knowledge.
2. Iconographical interpretation - Concerned with the meaning of forms and their expression in universal frames of reference.
3. Iconological interpretation - Deals with viewer’s response to art in the more restricted cultural contexts of country, culture, class, religion and period in history.
9 months ago
Andre Brouillet, A Lesson on Hysteria by Jean-Martin Charcot (1887)

Andre Brouillet, A Lesson on Hysteria by Jean-Martin Charcot (1887)

9 months ago
(by Rao, Viju)

(by Rao, Viju)

1 year ago - 3

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