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"Shades and shadows in art"
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Painting, science, and the perception of coloured shadows : 'the most beautiful blue'
\"Many artists and scientists - including Buffon, Goethe, and Philipp Otto Runge - who observed the vivid coloured shadows that appear outdoors around dawn and dusk, or indoors when a candle burns under waning daylight, chose to describe their colours as 'beautiful'. Paul Smith explains what makes these ephemeral effects worthy of such appreciation - or how depictions of coloured shadows have genuine aesthetic and epistemological significance. This multi-disciplinary book synthesises methodologies drawn from art history (close pictorial analysis), psychology and neuroscience (theories of colour constancy), history of science (the changing paradigms used to explain coloured shadows), and philosophy (theories of perception and aesthetic value drawn from Wittgenstein and Merleau-Ponty). This title will be of interest to scholars in art history, art theory, and the history of science and technology\"-- Provided by publisher.
Book
A short history of the shadow
Stoichita's compelling account untangles the history of one of the most enduring challenges to beset Western art - the depiction and meanings of shadows. \"discriminating, inspired interrogation... dazzling analysis\"—Marina Warner, Tate Magazine \"Ambitious and a pleasure to read... a thoroughly worthwhile book.\"— Times Higher Education Supplement
eBook
Shadows : the depiction of cast shadows in western art
Cast shadows have been exploited in art to enhance the impression of the surrounding light as well as that of the solidity of the casting objects. They can contribute to the mood of the scene, and can reveal the presence of features outside the space represented, but as Professor Gombrich points out, they appear only sporadicaly and have been more frequently ignored or suppressed in Western art. Gombrich touches on the ambiguous nature of shadows in myth, legend, and philosophy, and briefly analyses the factors governing their shape: the location and form of the light source, the shape of the illuminated object and that of the surface on which the shadow falls, and the position of the viewer. Early Renaissance painters such as Masaccio and Campin, intent on a faithful rendering of visual reality, did incorporate shadows in their art, but artists of Leonardo's time largely avoided painting them, and it was not until early in the seventeenth century that painters - particualrly Caravaggio and Rembrandt - were again interested in the effects of shadows. In subsequent centuries artists of the Romantic, Impressionist and Surrealist movements exploited the device of the cast shadow to enhance the realism or drama of their images.
Book
A short history of the shadow
Stoichita's compelling account untangles the history of one of the most enduring challenges to beset Western art - the depiction and meanings of shadows.
eBook
Shadow-makers : a cultural history of shadows in architecture
\"The making of shadows is an act as old as architecture itself. From the gloom of the medieval hearth through to the masterworks of modernism, shadows have been an essential yet neglected presence in architectural history. Shadow-Makers tells for the first time the history of shadows in architecture. It weaves together a rich narrative - combining close readings of significant buildings both ancient and modern with architectural theory and art history - to reveal the key places and moments where shadows shaped architecture in distinctive and dynamic ways. It shows how shadows are used as an architectural instrument of form, composition, and visual effect, while also exploring the deeper cultural context - tracing differing conceptions of their meaning and symbolism, whether as places of refuge, devotion, terror, occult practice, sublime experience or as metaphors of the unconscious. Within a chronological framework encompassing medieval, baroque, enlightenment, sublime, picturesque, and modernist movements, a wide range of topics are explored, from Hawksmoor's London churches, Japanese temple complexes and the shade-patterns of Islamic cities, to Ruskin in Venice and Aldo Rossi and Louis Kahn in the 20th century. This beautifully-illustrated study seeks to understand the work of these shadow-makers through their drawings, their writings, and through the masterpieces they built \"-- Provided by publisher.
Book
The Semiotics of Light and Shadows
Lighting and shadows are used within a range of art forms to create aesthetic effects. Piotr Sadowski’s study of light and shadow in Weimar cinema and contemporaneous visual arts is underpinned by the evolutionary semiotic theories of indexicality and iconicity. These theories explain the unique communicative and emotive power of light and shadow when used in contemporary indexical media including the shadow theatre, silhouette portraits, camera obscura, photography and film. In particular, Sadowski highlights the aesthetic and emotional significance of shadows. The ‘cast shadow’, as an indexical sign, maintains a physical connection with its near-present referent, such as a hidden person, stimulating a viewer’s imagination and provoking responses including anxiety or curiosity. The ‘cinematic shadow’ plays a stylistic role, by enhancing image texture, depth of field, and tonal contrast of cinematic moments. Such enhancements are especially important in monochromatic films, and Sadowski interweaves the book with accounts of seminal Weimar cinema moments. Sadowski's book is distinctive for combining historical materials and theoretical approaches to develop a deeper understanding of Weimar cinema and other contemporary art forms. The Semiotics of Light and Shadows is an ideal resource for both scholars and students working in linguistics, semiotics, film, media, and visual arts.
eBook
Grasping shadows : the dark side of literature, painting, photography, and film
Grasping Shadows offers the most thorough examination of the cultural uses of shadows. Exploring a myriad of major literary and artistic evocations of shadows, Grasping Shadows puts forth a unifying theory for how shadows function and how they transformed our relationship to darkness and light.
eBook
Apparition, Körper, Bild
Gemeinsame Eigenschaft der Werke aus der Malerei der Frührenaissance und dem Film der 1920er bis 1940er ist die perspektivische Darstellung körperlich-räumlicher Gebilde. Inwiefern, so die Frage, die das Buch stellt, ruft das Helldunkel, auch chiaroscuro genannt, ein Bewusstsein für Verlebendigung des im Bild Wiedergegebenen hervor. Die Natur wird nicht nur täuschend echt dargestellt, es wird auch die Möglichkeit ihrer Erfahrbarkeit thematisiert. Die Spannung zwischen zwei Aspekten des Helldunkel findet sich in beiden Epochen: Dem Skulpturalen einerseits, das die Figur vom Bildgrund löst und ihr statische Festigkeit, Plastizität verleiht. Der malerischen Dimension des Grundes andererseits, welche die Objektivierung entschärft, die Figur in den Tiefenraum einbettet und sie durch die Auflösung der Körpergrenzen bewegt erscheinen lässt. Dies wird im Film durch die tatsächliche Bewegung noch deutlicher. So wird das chiaroscuro mit seinen vertiefenden darstellerischen Möglichkeiten in einem Bereich beschrieben, der bisher in der Kunstgeschichte wenig erschlossen ist.
eBook
Peter Adsett's 'frame-work' invites US to join in
Peter Adsett says - firmly - 'meaning in my work is generated in the process of painting'.1 His 'givens' are: paint, stretcher/frame, linen, wall and shadow. By 'shadow' he means the real one cast by a work, or a faux shadow which he sometimes adds by painting it on the canvas. And by 'frame' he means either the usual four pieces of wood or his own framing lines applied to the linen itself. His work is reductive and is composed of his givens. To these are added: proportion and, crucially, the impressions of the viewer. Impressions go beyond what we would get looking straight on; we need to look sideways as well. We are invited to walk around to see what we can see.
Journal Article