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| 2008 December 12, 20:37 | OPTICS AND REALISM IN RENAISSANCE ART |
he article focuses on the emergence of an almost photographic realism, or ars nova, in paintings after 1425 at the dawn of the Renaissance. Contemporary artist David Hockney came up with a controversial theory, claiming that Renaissance paintings look realistic because artists used lenses and mirrors to project images onto canvases or similar surfaces and then trace and paint over the results. As part of an examination of this theory, other scholars and the author have used optical and computer-vision techniques to evaluate two of van Eyck's paintings that Hockney and his collaborator Charles Falco, a physicist at the University of Arizona, adduce as evidence. For a number of historical and technical reasons, Hockney envisions a camera obscura based not on a lens but on a concave mirror. Van Eyck's Portrait of Giovanni Arnolfini and His Wife (1434) is a key exhibit in Hockney's theory. To find the focal length of van Eyck's mirror, the author used a computer method developed by Antonio Criminisi of Microsoft Research in Cambridge, England, Martin Kemp of the University of Oxford and Sing-Bing Kang of Microsoft Research in Redmond, Wash. He was thereby able to adjust the radius of curvature of the mirror to "unwarp" the painted image. The depicted mirror, turned around, could not have been used as a projection mirror for the full painting. In fact, manufacturing a mirror from a blown-glass sphere that could have been used would have been beyond the capabilities of Renaissance technology. Other evidence throws doubts on the suggestion that van Eyck painted the Arnolfini portrait under a projection onto the oak panel. A projected image obeys the laws of perspective, but the perspective lines of the floor, window casement and other features in the painting do not meet at a vanishing point as they should. The perspective is consistently inconsistent. Plačiau  |
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| 2008 December 12, 20:34 | Landscape with bridges |
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Profiles the late Japanese artist Hokusai, who painted colorful wood-cuts in the 1830s, when he was in his seventies. Reputation for landscape paintings; Commercial art basis of works; How Hokusai was taken more seriously in Europe than in Japan. Plačiau |
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| 2008 December 12, 20:26 | FINDING CHINA |
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This section presents galleries across China, the U.S. and Europe that feature contemporary Chinese art. Plačiau |
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| 2008 December 06, 20:39 | STRIPES, DRIBBLES, HAIRY BALLS |
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Comments on the art on display in the Museum of Modern Art in New York City. Description of various exhibits and paintings that are deemed contemporary art; Video of soccer player David Beckham sleeping; Thoughts about the painting "One" by Jackson Pollock; Criticism of modern art and what is considered art. Plačiau |
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| 2008 November 28, 13:06 | Appreciating oils |
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The article discusses the art market in China. China's modern art is a product of and a commentary on the country's huge economic and social changes. It reflects the economy in another way, too: the art market is hot. The prices of works by many contemporary Chinese artists, who have emerged since the end of the Cultural Revolution in 1976, have doubled or tripled, says Johnson Chang, curator of the Hanart TZ Gallery in Hong Kong. Meanwhile, ShanghART and Beijing's Red Gate Gallery, as well as Hong Kong's Hanart and the Schoeni Art Gallery, founded by Manfred Schoeni, a Swiss entrepreneur, have supported and exhibited dozens of Chinese painters over the past decade. Hitherto, demand for modern Chinese art has come principally from foreigners. In future, however, the greatest potential may lie in China itself, as the growing middle class starts collecting art to display both its wealth and taste. Plačiau |
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| 2008 November 05, 12:05 | Looking for GOOD ART |
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The article features some online guides to art resources. Art images on the Web represent one of the first and last frontiers in terms of pools of knowledge: millions of historic art images served and more to come. Projects initiated by art librarian members of the Visual Resources Association, the Art Libraries Society of North America (ARLIS) and ARLIS organizations around the world have implemented visual databases comprised of cataloged artwork accompanied by a digital image. Cultural institutions throughout the world commonly use the practice of digital watermarking of images. For current information on art image copyright, mainly from the U.S. perspective, see Copyright & Art Issues, compiled by Christine L. Sundt, visual resources curator at University of Oregon. Other perspectives and links on copyright and art images can be found through the VRA Intellectual Property Rights Committee and International Federation of Library Associations and Institutions' Information Policy: Copyright and Intellectual Property. Resource guides are particularly useful as starting points, describing content and organization, site maintenance, selectiveness, search tools and sometimes the qualifications of site editors. Most of these guides refer to one another. For ease of use and organization, look first at The Digital Librarian by Margaret Vail Anderson. The University of Michigan's Mother of All Art and Art History Links Page sports a top-level section titled Image Collections and Online Art. All the pages of this guide contain annotated links organized into categories relevant to the section topic. Plačiau |
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| 2008 October 30, 17:39 | Outsider art |
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Presents insights of so-called Outsider art which is often the art springing from deranged minds. View of psychologists of the twentieth century about the art; Description of the work created by intuitive artists; Opinion of French artist and collector Jean Dubuffet about the art. Plačiau |
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| 2008 October 28, 07:52 | HITLER A Gift for Evil--But Not for Art. |
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Reports that two of Adolf Hitler's watercolor artworks are being show at the exhibition, 'Prelude to a Nightmare: Art, Politics and Hitler's Early Years in Vienna, 1906-1913,' at the Williams College Museum of Art in Massachusetts. Comments of the curator of the museum, Deborah Rothschild, on what the works show about the art behind the Third Reich; Analysis of one of the watercolors, 'Mountain Chapel.' Plačiau |
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True, it never really went away. But abstraction is in the midst of a revival, flaunting its brilliant past as it reconfigures itself for the future 
