Impressionism was called “The New Painting” and just what did the nineteenth-century artistic world mean by that? Cohn, Marjorie B. and Clare I. Rogan. Touchstone: 200 Years of Artists’ Lithographs. Exh. cat. Cambridge, Massachusetts: Harvard University Art Museums, 1998: 76, 87. Vink, A.C., Zuidersma, M., Boersma, F., de Jonge, P., Zuidema, S.U., & Slaets, J.P. (2014). Effect of music therapy versus recreational activities on neuropsychiatric symptoms in elderly adults with dementia: An exploratory randomized controlled trial. Journal of the American Geriatrics Society, 62(2), 392-393. Museum of Fine Arts, Houston, TX. A Spirited Vision: Highlights of the Bequest of Caroline Wiess Law to the Museum of Fine Arts, Houston. 22 February – 25 April 2004. Catalogue. A bicycle is shown from more than one point of view. Something is draped over the bicycle in each view. The bicycle is old; it has a twisted wheel. Some very light lines appear on the surface as if the artist had begun drawing the bicycle there, but they remain incomplete. There are smudges and blots of yellow paint on the paper surface. Mixing your poster paint with PVA is an excellent way to thicken it. It also has the added advantage of making colours much stronger and glossier. You will be able to make the most of that lovely creamy silky paint. Washing up liquid may sound like a bizarre choice, but when added to poster paint it adds a lustrous shiny finish. You can even water the paint down with a mixture of water and washing up liquid to blow incredible paint bubbles on to the surface of your paper to get some dreamy backgrounds going as well as making an artistic, joyful mess. How to Paint Like Jackson Pollack. Jackson Pollack (1912-1956) was an abstract artist master. His aggressive, innovative technique led to wonderful, energetic paintings. Lines: Lines curve and flow through the image. They are graceful as opposed to dramatic or violent. Shapes: The shapes echo the lovely curves and rhythms of the lines. When contemporary artists tackle Christian subjects today, they often do so in an iconoclastic, ironic, disrespectful or subversive fashion. Think of the Italian artist Maurizio Cattelan’s satirical sculpture La Nona Ora (1999), in which Pope John Paul II lies on a red carpet, crushed by a meteorite that has just plummeted from the heavens; or Piss Christ (1987), a photograph by the American artist Andres Serrano, in which a small plastic crucifix is submerged in a glass of urine. Abraham Pietersz Van Kalraat (1642-1722) (also known as Van Calraet) was a Dutch Golden Age Painter who started his career as an artist painting fruit, but is now also known for his excellent paintings of horses in landscapes. This image of two horses shows Van Kalraat’s attention to detail, and fondness for painting these wonderful animals.
When I was in Paris 2005, I could not visit the Louvre. But the Louvre came with sound recording equipment, which were kindly provided by the French. Found the “Mona Lisa” and began recording background sound created numerous visitors who came to see the masterpiece. The logic was simple. Allow myself to be noted that any masterpiece has the property of highly structured information field. Man – this is also, at its basis, the field structure. There is a contact of two field structures â human and masterpiece. This is probably the power of art. The sounds published the people who were in the masterpiece (talk, the shuffling of feet, etc.) were very valuable to me, they were correlated associated with him. Subjecting these records complicated transformation process, I managed to get some incredible sound. Many are led into shock – these sounds there is a clear identification with the portrait of “Mona Lisa.” Similar records I’ve made in the famous sculpture of Venus. As a result, based on these records, I had three works – “Knowledge”, “Flow” and “Communication”. Paintings: Thomas Nozkowski and Ron Janowich, Cava Gallery, Philadelphia, January 3-February 1, 1986. Metell, M., & Stige, B. (2015). Blind spots in music therapy: On a critical notion of participation in music therapy in context of children with visual impairment. Nordic Journal of Music Therapy, Advance online publication. Perreault, John. Selected 20th Century American Self Portraits. Exh. cat. New York: Harold Reed Gallery, 1980. Music’s universality and its ability to deeply affect emotions suggest an evolutionary origin. Previous investigators have found that naltrexone (NTX), a μ-opioid antagonist, may induce reversible anhedonia, attenuating both positive and negative emotions. The neurochemical basis of musical experience is not well-understood, and the NTX-induced anhedonia hypothesis has not been tested with music. Accordingly, authors administered NTX or placebo on two different days in a double-blind crossover study, and assessed participants’ responses to music using both psychophysiological (objective) and behavioral (subjective) measures. They found that both positive and negative emotions were attenuated. They conclude that endogenous opioids are critical to experiencing both positive and negative emotions in music, and that music uses the same reward pathways as food, drug and sexual pleasure. Their findings add to the growing body of evidence for the evolutionary biological substrates of music. Cool, still, quiet, largely as a result of the colours and repetition of similar shapes.