Myth, Fable And Fairy Tale Art From “The Golden Age Of Illustration”

Piet Mondrian (born March 7, 1872) was a Dutch painter who played a pioneering role in bringing art forms, such as ‘Neo-Plasticism’ and ‘Cubism,’ into limelight. The brain mechanisms that process temporal structure in music (tempo, rhythm and meter) have been less investigated than those that underlie pitch perception. These elements could be regarded as … Continue reading “Myth, Fable And Fairy Tale Art From “The Golden Age Of Illustration””

Piet Mondrian (born March 7, 1872) was a Dutch painter who played a pioneering role in bringing art forms, such as ‘Neo-Plasticism’ and ‘Cubism,’ into limelight. The brain mechanisms that process temporal structure in music (tempo, rhythm and meter) have been less investigated than those that underlie pitch perception. These elements could be regarded as a temporal ‘hierarchy’ somewhat analogous to pitch interval, melody and harmony in the pitch domain. Impaired detection of rhythmic changes has been described in left temporoparietal stroke and left hippocampal sclerosis, while other studies have not demonstrated laterality differences. However, functional imaging studies have demonstrated activity in the lateral cerebellum and basal ganglia during the reproduction of a rhythm, and there may be distinct representations for sequences with time intervals in integer ratios (more common in music) compared with non-integer ratios. The observed activation of motor structures suggests that the perception and production of rhythm may share brain circuitry, though this is likely to apply to rhythm in other auditory and visual domains as well as music. The brain basis for metrical processing remains poorly defined, and indeed, this is difficult to assess reliably in musically naive subjects. In a temporal lobectomy series, Liegeois-Chauvel et al found metrical impairments following left and right anterior temporal lobe resections. Neither Ayotte et al nor Peretz found stroke patients with heterogeneous left and right hemisphere strokes to be impaired relative to neurologically normal control subjects, while Schuppert et al found that both left and right hemispheric stroke patients were impaired relative to controls. Composition: Most activity (drawing marks) occurs in the upper portion of the drawing. Emphasis: Created by strong contrast: e.g., explicit detail and vague marks, light value and dark value. Balance: Asymmetrical. The artist used colour (yellow) in the negative space to balance the detailed drawing in the positive space. An intensive study of the position of the American musical theater, this course examines contributions to musical thought, and traces the development of the musical style from its origins to the present through musical study and analysis, historical research, and critical interpretation. Later in Nuenen in 1880, Van Gogh immersed himself in drawing and painting. One of his major works, The Potato Eaters (Dutch De Aardappeleters) (spring, 1885), was recognized after his father’s death at which he grieved deeply. In the same year, he moved to Paris. It was the same time he moved from dark tones to a bright color palette when Theodorus (or Theo), his brother suggested to him to use bright colors to make his paintings more saleable. This is where Vincent discovered Impressionism and Neo-Impressionism styles of painting. In 1888, he moved to Arles, France, where he created another famous piece, Flowering Orchards, while his unsettled mental state deteriorated further. During the last few years of his life, he did not paint much because of his deepening depression. He was getting depressed with every passing hour and with every new painting. Around December 1888, there was a major shift in his mental state, which resulted in his self-destruction and suicide.

Trade, White Columns Gallery, New York, February 4-March 12, 2005. (Catalogue; curated by Matthew Higgs). Contemporary artist Michael Cheval demonstrates how the Surrealism movement of the 1920s has influenced modern-day art with his imaginative Absurdist” paintings that grew in popularity in the early 2000s. Like many of the early Surrealists, Cheval uses music and poetry to inspire the subjects he paints in his mesmerizing, often metaphorical paintings. Miu, A. C., & Balteş, F. R. (2012). Empathy manipulation impacts music-induced emotions: A psychophysiological study on opera. PloS one, 7(1), e30618. Wigram, T. (2002). Indications in music therapy: Evidence from assessment that can identify the expectations of music therapy as a treatment for autistic spectrum disorder (ASD); meeting the challenge of evidence based practice. British Journal of Music Therapy, 16(1), 11-28. Naifeh, Steven, and Gregory White Smith. Jackson Pollock: An American Saga (includes artist’s statements). New York: Clarkson N. Potter, 1989. Music has a profound connection to our personal memories. Listening to an old favorite song can take you back years to the moment that you first heard it. A 2009 study done by cognitive neuroscientist Petr Janata at the University of California, Davis, found a potential explanation for this link between music and memory by mapping the brain activity of a group of subjects while they listened to music. Whitney Museum of American Art, New York. Nature in Abstraction: The Relation of Abstract Painting and Sculpture to Nature in Twentieth-Century American Art. 14 January – 16 March 1958. Traveled to the Phillips Collection, Washington, DC, 2 April – 4 May 1958; Fort Worth Art Center Museum, TX, 2 – 29 June 1958; Los Angeles County Museum of Art, CA, 16 July – 24 August 1958; San Francisco Museum of Art, CA, 10 September – 12 October 1958; Walker Art Center, Minneapolis, MN, 29 October 14 December 1958; City Art Museum, St. Louis, MO, 7 January – 8 February 1959. Catalogue by John I. H. Baur. Whitney Museum of American Art, New York. Abject Art: Repulsion and Desire in American Art. Selections from the Permanent Collection. 23 June – 29 August 1993. Catalogue with texts by Jack Ben-Levi et al. Wigram, T., & Gold, C. (2012). The Religion of Evidence-Based Practice: Helpful or Harmful to Health and Wellbeing? In R. MacDonald, G. Kreutz & L. Mitchell (Eds.), Music, Health & Wellbeing (pp. 164-182). Oxford: Oxford University Press. Knight, Christopher. Imagination at Play in the Improvisations” (Ace Gallery exhibition review). Los Angeles Times, 20 April 2001: illustrated.

The exterior edges show the wooden structure which underlies the quillwork. A variety of traditional design motifs including star patterns, circles, moose, flora, fauna, and waves cover the surface. The overall design is symmetrical. Colours are generally cool except for a few areas of earth tones. Forms: The repeated geometric forms are identical in size, shape, colour, and texture. The forms are dramatized by light which falls on them. Movement: The non-stable appearance of the forms, as if they were caught in a moment of incomplete action, creates tension. Rose, Barbara translated by Elisabeth Jappe. Ellsworth Kelly: Der scharf eingestellte Blick.” Ellsworth Kelly: Gemälde und Skulpturen 1966-1979. Exh. cat. Baden-Baden: Staatliche Kunsthalle Baden-Baden, 1980: 7-36. Metell, M., & Stige, B. (2015). Blind spots in music therapy. Toward a critical notion of participation in context of children with visual impairment. Nordic Journal of Music Therapy, Advance online publication. 1-19. Abstract Art uses a visual language of shape, form, color and line to create a composition which may exist with a degree of independence from visual references in the world. The artist applied the paint fairly thinly (the canvas surface is evident in some places). She used very small brushes to create the fine detail. Painter. A German American, Hofmann was a leading Abstract Expressionist painter and was considered to be one of the greatest twentieth century teachers. He directed his own school in Munich and taught at both the University of California at Berkeley and his own school in New York. Hofmann’s talent was recognized in retrospectives at the Baltimore Museum of Art (1954), the Whitney Museum of Art (1957), and the Museum of Modern Art (1963). Halkin, Talya. Gallery-Going” (New York Studio School exhibition review). New York Sun, 23 January 2003: illustrated. Built in the early 1900s, this small building in Logan Square used to be a place where trolly riders could stop to rest during their journey. Logan Square Preservation took the building over in 2010, turning it into a community art space. Comfort Station regularly hosts art exhibitions, live music and film screenings while providing a public meeting place for neighborhood residents of all ages. Eaton, Nicole D., Sam Hunter and Joseph Ketner et al. A Conversation with Sam Hunter and Joseph D. Ketner.” A Defining Generation: Then and Now, 1961 and 2001. Waltham, Massachuetts: The Rose Art Museum, Brandeis University, 2001: 61-72. Examining how and why artists investigated the expressive capacities of line, color, and texture, Taking Shape highlights a number of abstract movements that developed in North Africa and West Asia, as well as the Arab diaspora. Across these regions, individual artists and artist collectives grappled with issues of authenticity, national and regional identity, and the decolonization of culture. Drawn from the collection of the Barjeel Art Foundation based in Sharjah, United Arab Emirates, the exhibition features nearly 90 works by a diverse group of artists such as Etel Adnan, Shakir Hassan Al Said, Kamal Boullata, Huguette Caland, Ahmed Cherkaoui, Saloua Raouda Choucair, Rachid Koraïchi, Mohamed Melehi, and Hassan Sharif, among others. On view are works produced by artists from countries including Algeria, Egypt, Iraq, Jordan, Kuwait, Lebanon, Morocco, Palestine, Qatar, Sudan, Syria, Tunisia, and United Arab Emirates. Curated and organized by Suheyla Takesh, Curator at the Barjeel Art Foundation, and Lynn Gumpert, Director of the Grey Art Gallery at New York University, the exhibition will be on view from January 14 through April 4, 2020.

Repetition versus Variety: There is a definite pattern in the sculpture in terms of the vertical poles and the size, shapes, and origin of the small pieces that decorate them. On the other hand, in the same piece the artist explores variety in all of the above components. Barr, Alfred H., Jr. Painting and Sculpture Collections, July 1, 1955 to December 31, 1956.” The Bulletin of The Museum of Modern Art 24, no. 4 (Summer 1957): pp. 3-40. Albright-Knox Art Gallery, Buffalo, NY. Abstract Expressionism: The First and Second Generations in the Albright-Knox Art Gallery. 19 January – 20 February 1972. Catalogue. Montage is a film editing technique in which a series of short shots are sequenced to condense space, time, and information. B.arnitz, J.acqueline. In the Galleries: Ellsworth Kelly.” Arts Magazine (May-June, 1965). Guild Art Gallery, New York. Drawings, Small Sculptures, Watercolors. 16 March – 4 April 1936. Govan, Michael and Lynn Zelevansky. The Broad Contemporary Art Museum at the Los Angeles County Museum of Art. Los Angeles County Museum of Art, 2008: 15, 38, 178. In music, pitch is used to construct melodies (patterns of pitch over time), chords (the simultaneous presentation of more than one pitch) and harmonies (the simultaneous presentation of more than one melody). Brain activity during the analysis of melodies occurs in the anterior and posterior superior temporal lobes bilaterally, typically with greater activation of the right hemisphere. Brain lesions that involve the superior temporal lobe in the right hemisphere tend to disrupt the perception of melodies more than comparable lesions of the left hemisphere. Though by no means absolute, this contrasts with the left hemisphere emphasis for the processing of verbal information. In Western tonal music, melodies are constructed using keys where only certain notes are allowed within every octave, and the analysis of key information involves additional areas in the medial frontal cortex. This dimension has no precise analogue in speech or other types of complex sound. However, certain aspects of pitch sequence processing such as expectancy and the violation of harmony involve the right hemisphere analogue of Broca’s area in the inferolateral frontal lobe. Unlike most of the portraits that Andy Warhol made after 1970, The American Indian (Russell Means) is less about immortalizing a celebrity or endowing a well-paying client; the painting belongs to Warhol’s theme of big American topics.” In fact, it’s quite unlikely that Warhol himself chose Means as a portrait subject. Given his famous question to friends and dealers—Gee, what should I paint?”—and his tendency to readily follow their suggestions, it’s more probable that someone at Ace Gallery, Warhol’s West Coast representation in Venice, California, conceived the idea. Means theorized that someone at Ace conducted a brief survey among American Indians in California and Canada asking who they thought should represent their culture today, and Means was their choice. Means was a logical selection, as he was the most prominent member of the American Indian Movement (AIM), which was formed to promote the freedom of Native Americans to follow their traditional ways and to call national attention to their oppressed state.