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"Eye in art History 18th century."
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Becoming yellow
In their earliest encounters with Asia, Europeans almost uniformly characterized the people of China and Japan as white. This was a means of describing their wealth and sophistication, their willingness to trade with the West, and their presumed capacity to become Christianized. But by the end of the seventeenth century the category of whiteness was reserved for Europeans only. When and how did Asians become \"yellow\" in the Western imagination? Looking at the history of racial thinking, Becoming Yellow explores the notion of yellowness and shows that this label originated not in early travel texts or objective descriptions, but in the eighteenth- and nineteenth-century scientific discourses on race.
eBook
Describing Art – An Interdisciplinary Approach to the Effects of Speaking on Gaze Movements during the Beholding of Paintings
Ever since the Renaissance speaking about paintings has been a fundamental approach for beholders, especially experts. However, it is unclear whether and how speaking about art modifies the way we look at it and this was not yet empirically tested. The present study investigated to the best of our knowledge for the first time in what way speaking modifies the patterns of fixations and gaze movements while looking at paintings. Ninety nine university students looked at four paintings selected to cover different art historical typologies for periods of 15 minutes each while gaze movement data were recorded. After 10 minutes, the participants of the experimental group were asked open questions about the painting. Speaking dramatically reduced the duration of fixations and painting area covered by fixations while at the same time increasing the frequencies of fixations, gaze length and the amount of repeated transitions between fixation clusters. These results suggest that the production of texts as well-organised sequences of information, structures the gazes of art beholders by making them quicker, more focused and better connected.
Journal Article
The Benslimane’s Artistic Model for Females’ Gaze Beauty: An Original Assessment Tool
Background
The aim of this paper is to analyze the aesthetic characteristics of the human females’ gaze using anthropometry and to present an artistic model to represent it: “The Frame Concept.” In this model, the eye fissure represents a painting, and the most peripheral shadows around it represent the frame of this painting. The narrower the frame, the more aesthetically pleasing and youthful the gaze appears.
Materials and Method
This study included a literature review of the features that make the gaze appear attractive. Photographs of models with attractive gazes were examined, and old photographs of patients were compared to recent photographs. The frame ratio was defined by anthropometric measurements of modern portraits of twenty consecutive Miss World winners. The concept was then validated for age and attractiveness across centuries by analysis of modern female photographs and works of art acknowledged for portraying beautiful young and older women in classical paintings.
Results
The frame height inversely correlated with attractiveness in modern female portrait photographs. The eye fissure frame ratio of modern idealized female portraits was similar to that of beautiful female portraits idealized by classical artists. In contrast, the eye fissure frames of classical artists’ mothers’ portraits were significantly wider than those of beautiful younger women.
Conclusion
The Frame Concept is a valid artistic tool that provides an understanding of both the aesthetic and aging characteristics of the female periorbital region, enabling the practitioner to plan appropriate aesthetic interventions.
Level of Evidence III
This journal requires that authors assign a level of evidence to each article. For a full description of these Evidence-Based Medicine ratings, please refer to the Table of Contents or the A3 online Instructions to Authors.
www.springer.com/00266
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Journal Article
Learning to Look: Visual Expertise across Art and Science in Eighteenth-Century France
Through an examination of the work of the author and collector Antoine-Joseph Dezallier d'Argenville and of the dealer Pierre Remy, this essay articulates the ways in which notions of connoisseurship, taste, and order intersected in the collecting of both naturalia and art in eighteenth-century France. It suggests that what brought things like gardens, shells, and paintings together was a concern with visual expertise, with outlining and deploying practices of specialized diagnostic looking; and, second, that this interest in the enskillment of vision arose from the practices and spaces of collecting and display—on the one hand, the commercial world of the dealer, the sales auction, and the sales catalog; on the other, the cabinet or the collection as a space for learning to look. Natural history textbooks and auction catalogues both served as guides to looking, outlining a complex hierarchy of visual expertise that ranged from the curieux to the amateur to the connoisseur. Cabinets functioned not only as accumulations or assemblages of objects, but also as spaces for learning to see in expert ways and for articulating notions of order and taste.
Journal Article
Filial Enchaînements Metastasio, ‘Per quel paterno amplesso’ (Arbace), Artaserse, Act II
In the eighteenth century, the Italian operatic canon was, it seems, literary rather than musical: it was Metastasio. [...]while Rousseau advised young composers seeking inspiration to 'prend le Métastase & travaille', Charles Burney felt his 'musical annals' were completed only by study of Metastasio's letters.1But the narrative of literature's pre-eminence over music is, of course, not so simple, as the story of an aria from Metastasio's most celebrated opera, Artaserse, might show. Farinelli's preference for playing galant lovers may well have prompted the shift in textual emphasis from senatorial concern for king and state to focus on the beloved.3Although one might also note that Vinci's setting, with a double interpolated 'addio' after 'l'idol mio', lingering on an imperfect cadence as his thoughts (and gaze?) turn to his lover, shows how neatly a composer could manipulate textual focus if he chose (Ex.1).Ex. The opening to Hasse's (and perhaps sometimes Vinci's) aria seems to have inspired a number of subsequent composers, even though the text they set was Metastasio's original. [...]Carl Heinrich Graun in 1743 (Ex. 4), Domingo Terradellas in 1744 (Ex. 5), Baldassare Galuppi in 1749 (Ex. 6), and J.C. Bach in 1760 (Ex. 7) all open with versions of the falling motif on 'questo' and sometimes on 'quel'.5Ex. The notion that Farinelli's fame, as much as Hasse's compositional felicity, might have prompted later imaginings of the aria is not unreasonable: as Reinhard Strohm and Hilary Poriss have both pointed out, singers readily adopted arias associated with more famous predecessors, hoping the lustre of past glory would burnish their performances and win audience respect by association.7Composers, too, reimagined some of these famous arias in instrumental arrangements.8Why should similarities between different settings of the same text not also be seen as a demonstration of consanguinity?
Journal Article
The Shape of Knowledge: Children and the Visual Culture of Literacy and Numeracy
In 1787 an anonymous student of the Perth Academy spent countless hours transforming his rough classroom notes into a beautifully inscribed notebook. Though this was an everyday practice for many Enlightenment students, extant notebooks of this nature are extremely rare and we know very little about how middle class children learned to inscribe and visualize knowledge on paper. This essay addresses this lacuna by using recently located student notebooks, drawings, and marginalia alongside textbooks and instructional literature to identify the graphic tools and skills that were taught to Scottish children in early modern classrooms. I show that, in addition to learning the facts of the curriculum, students participated in educational routines that enabled them to learn how to visually package knowledge into accessible figures and patterns of information, thereby making acts of inscription and visualization meaningful tools that benefitted both the self and society.
Journal Article
\Vertical Perspective Does Not Exist\: The Scandal of Converging Verticals and the Final Crisis of Perspectiva Artificialis
In this paper I address the question of why the everyday experience of seeing verticals converge remained taboo in Western visual culture until the late nineteenth century and in painting until the 1920s. I argue that perspective theory was fused to a pre-Copernican, architectural model of space and a static model of vision based on Enlightenment optics rather than physiology. The dynamism of modernity and technologies of embodied vision such as the stereoscope exposed the covert assumptions of perspective orthodoxy. Efforts to rescue three-point perspective by invoking the station-point for viewing risked exposing perspective painting as just another peepshow art.
Journal Article
Who Is a Beautiful Maiden without Eyes? The Metamorphosis of a Zohar Midrashic Image from a Christian Allegory to a Kabbalistic Metaphor
The cultural origins of the medieval Jewish belief in the Shekhinah as an independent feminine divine presence has been the subject of an important scholarly debate in the field of Jewish mysticism during the last decade. At the crux of this debate stands the question concerning the possible influence of the revival of the praxis of devotions to Mary, during the High Middle Ages, on the emergence of the medieval Jewish belief in the Shekhinah as a feminine divine presence. The conclusion that this revival was indeed what influenced the evolution of the Jewish belief in the Shekhinah is supported by the combination of two facts: the lack of any detailed discussions concerning the belief in a feminine divine presence in Jewish sources prior to the 12th century CE compounded by the fact that at that very same time and in that very same cultural context, Marian worship flourished. Here, Weiss illuminates the complexity of this subject based on a philological examination of the manner in which a unique Zoharic phrase was formed in the junction between the Christian world in northwest Europe and the Jewish kabbalistic world of the northern Iberian peninsula.
Journal Article
Concepts of Fascination, from Democritus to Kant
This study presents a historical-systematic outline of the conceptual history of fascination. The argumentation is oriented to the term “fascination” and takes into consideration the variance of the scientific explanations and basic theoretical approaches linked to it. For the period of the Greek Antique up to the eighteenth century this article distinguishes four transitive approaches: the substance-based, the epistemological, the psychological and the erotic approach. A fifth approach, which is derived from the epistemological approach, defines fascination as intransitive. It dates from the eighteenth century and is the basis of the modern concepts of fascination.
Journal Article