1.
Stanton MacDonald-Wright
–
Stanton MacDonald-Wright, was a modern American artist. He was a co-founder of Synchromism, an abstract, color-based mode of painting. Stanton MacDonald-Wright was born in Charlottesville, Virginia in 1890 and he spent a privileged adolescence in Santa Monica, California, where his father ran a seaside hotel. An amateur artist as well as a businessman, Macdonald-Wrights father encouraged his development from a young age. Stantons older brother, Willard Huntington Wright, was a writer and he and fellow student Morgan Russell studied with Canadian painter Percyval Tudor-Hart between 1911 and 1913. MacDonald-Wright collaborated with Russell in painting abstract synchromies and staged Synchromist exhibitions in Munich in June 1913, in Paris in October 1913, and in New York in March 1914. While in Europe, Macdonald-Wright met Matisse, Rodin, and Gertrude and Leo Stein, and Thomas Hart Benton, who called Stanton the most gifted all-around fellow I ever knew. He and Russell returned to the United States hopeful of acclaim, however, I still adhered to the fundamental laws of compsiition and created my pictures by means of color-form, which, by its organization in three dimensions, resulted in rhythm. They held another Synchromist exhibition in New York in 1916 and received significant promotion, in 1916, Willard and Stanton were key organizers of the prestigious Forum Exhibition of Modern American Painters in New York. Macdonald-Wright exhibited his work at Alfred Stieglitzs famed 291 gallery in New York in 1917, yet the sales and the renown that he had hoped for did not materialize, and his financial situation grew desperate. Acknowledging that he would never be able to secure a living in New York, in 1922, he became the head of the Los Angeles Art Students League. He also became involved in theater, serving as the director of the Santa Monica Theater Guild as well as writing and directing plays, designing sets. Macdonald-Wright was a significant presence and a personality in the Los Angeles art scene for the next several decades. After World War II, MacDonald-Wright became interested in Japanese art and culture and he taught art for many years at UCLA and also kept studios in Kyoto and Florence. By the early 1950s, Macdonald-Wrights work had fallen into relative obscurity. C. in 1967, married three times, MacDonald-Wright died in Pacific Palisades, California in 1973, at the age of eighty-three. Hoopes, Donelson F. Stanton Macdonald-Wright, Paintings, 1903-1973, Los Angeles, Arco Center for Visual Art,1979. New York, Hudson Hills Press,1990, Synchromism and American Color Abstraction, 1910-1925. Color, Myth, and Music, Stanton Macdonald-Wright and Synchromism, raleigh, North Carolina Museum of Art,2001
Stanton MacDonald-Wright
–
Synchromy No. 3, 1917, oil on canvas, 39 x 38 in. (99.1 x 96.5 cm),
Brooklyn Museum
Stanton MacDonald-Wright
–
Airplane Synchromy in Yellow-Orange, 1920, oil on canvas,
Metropolitan Museum of Art
2.
Metropolitan Museum of Art
–
The Metropolitan Museum of Art, colloquially the Met, is located in New York City and is the largest art museum in the United States, and is among the most visited art museums in the world. Its permanent collection contains two million works, divided among seventeen curatorial departments. The main building, on the edge of Central Park along Manhattans Museum Mile, is by area one of the worlds largest art galleries. A much smaller second location, The Cloisters at Fort Tryon Park in Upper Manhattan, contains a collection of art, architecture. On March 18,2016, the museum opened the Met Breuer museum at Madison Avenue in the Upper East Side, it extends the museums modern, the Met maintains extensive holdings of African, Asian, Oceanian, Byzantine, Indian, and Islamic art. The museum is home to collections of musical instruments, costumes and accessories, as well as antique weapons. Several notable interiors, ranging from first-century Rome through modern American design, are installed in its galleries, the Metropolitan Museum of Art was founded in 1870. The founders included businessmen and financiers, as well as leading artists and thinkers of the day and it opened on February 20,1872, and was originally located at 681 Fifth Avenue. The Met maintains extensive holdings of African, Asian, Oceanian, Byzantine, the museum is also home to encyclopedic collections of musical instruments, costumes and accessories, and antique weapons and armor from around the world. A number of interiors, ranging from 1st century Rome through modern American design, are permanently installed in the Mets galleries. In addition to its permanent exhibitions, the Met organizes and hosts traveling shows throughout the year. The director of the museum is Thomas P. Campbell, a long-time curator and it was announced on February 28th,2017 that Campbell will be stepping down as the Mets director and CEO, effective June. On March 1st,2017 the BBC reported that Daniel Weiss shall be the acting CEO until a replacement is found, Beginning in the late 19th century, the Met started to acquire ancient art and artifacts from the Near East. From a few tablets and seals, the Mets collection of Near Eastern art has grown to more than 7,000 pieces. The highlights of the include a set of monumental stone lamassu, or guardian figures. The Mets Department of Arms and Armor is one of the museums most popular collections. Among the collections 14,000 objects are many pieces made for and used by kings and princes, including armor belonging to Henry VIII of England, Henry II of France, Rockefeller donated his more than 3, 000-piece collection to the museum. The Mets Asian department holds a collection of Asian art, of more than 35,000 pieces, the collection dates back almost to the founding of the museum, many of the philanthropists who made the earliest gifts to the museum included Asian art in their collections
Metropolitan Museum of Art
–
The Metropolitan Museum of Art
Metropolitan Museum of Art
Metropolitan Museum of Art
–
The facade of the Met dominates the city's "
Museum Mile ".
Metropolitan Museum of Art
–
The Great Hall
3.
Morgan Russell
–
Morgan Russell was a modern American artist. With Stanton Macdonald-Wright, he was the founder of Synchromism, a style of abstract painting that dates from 1912 to the 1920s. Russells synchromies, which analogized color to music, were an early American contribution to the rise of Modernism, Russell was born and raised in New York City. He initially studied architecture and, after 1903, became friendly with the sculptor Arthur Lee, for whom he posed as a model and with whom lived with for a time. From 1903 to 1905, he studied sculpture at the Art Students League with Lee and James Earle Fraser, with financial help from Gertrude Vanderbilt Whitney, whom he met at the League in January 1906, he traveled to Europe to study art in Paris and Rome. Mrs. Whitney was one of the earliest and staunchest believers in Russells talent, in 1907, after returning to New York City, Russell studied painting at the New York School of Art with the noted Ashcan painter Robert Henri, among others. Returning to Paris in 1909, he studied at Matisse’s art school, frequented Gertrude Steins salon, and met Picasso and Rodin. In Paris, Russell met Stanton Macdonald-Wright, an expatriate, in 1911. Inspired by their experience of Delacroix, the Post-Impressionists, and the Fauves, Russell, in June of the same year, they held their first Synchromist exhibition at Der Neue Kunstsalon in Munich, followed four months later by another exhibition at Galerie Bernheim-Jeune in Paris. Russell also began exhibiting at the Salon des Indépendants in 1913, Synchromism was an early innovation in pure abstraction, which was developed primarily by Russell with contributions from Stanton Macdonald-Wright. Russell and Macdonald-Wright had high hopes for acclaim and financial success when they introduced Synchromism to the New York art world. Though Russell exhibited in the famous Armory Show in New York in 1913 and in the prestigious Forum Exhibition of Modern American Painters in 1916, those hopes were never met. Synchromism, the subject of a long, adulatory chapter, is presented in the book as the point in the evolutionary process of Modernism. At no time did Wright acknowledge that he was writing about his own brother and his friend, also, by overstating his case, Wright did little long-range good for the cause he was promoting, but his well-reviewed book did bring some informed attention to the two painters. For a time, their names appeared more frequently in the art press, and even H. L. Mencken bought a Synchromist painting, which he later donated to the Baltimore Museum of Art. By 1920, Russell and Macdonald-Wright had gone their separate ways, Macdonald-Wright moved back to his native California, married well, and established a successful niche for himself as a charismatic figure in the Los Angeles art world. Russell, who was a cross-dresser, never ceased painting, either, Synchromism was seldom discussed in art-history textbooks and was not the subject of any major exhibitions before the late 1950s. Gallery exhibitions of Russells work were infrequent, after spending almost four decades in France between 1909 and 1946, Russell retired to the United States after the war and converted to Catholicism in 1947
Morgan Russell
–
Cosmic Synchromy (1913-14). Oil on canvas, 41.28 cm x 33.34 cm. In the collection of the
Munson-Williams-Proctor Arts Institute.
Morgan Russell
–
Morgan Russell, 1913-14, Synchromy in Orange, To Form, oil on canvas
Morgan Russell
–
Digitized letter by Morgan Russell, 1923, from the Jean Gabriel Lemoine Material Relating To Morgan Russell at the Archives of American Art, Smithsonian Institution
4.
Munson-Williams-Proctor Arts Institute
–
The Munson-Williams-Proctor Arts Institute is a regional fine arts center founded in 1919 and located in Utica, New York. The institute has three divisions, Museum of art Performing arts School of art The museum of art has a substantial permanent collection of internationally recognized works. They are exhibited in the Munson-Williams-Proctor Arts Institute Museum of Art Building and it is an International-style building designed by architect Philip Johnson and completed in 1960. A model of the building was exhibited in the United States Pavilion at the Brussels Worlds Fair of 1958 and it is a 60,000 sqft square and supported by eight external ferro-concrete piers, or two on each side. The exterior structural members are clad in bronze and black Canadian granite, the windowless cube is set above windowed office areas recessed in a dry moat, giving a floating effect. The interior features a two story central courtyard, illuminated by a skylight, known as the Edward Wales Root Sculpture Court and it also holds an auditorium seating 271. It was listed on the National Register of Historic Places in 2010, next-door is a Victorian-era Italianate mansion called Fountain Elms, listed on the National Register of Historic Places in 1972. It houses the MWPAI decorative arts collection and it is connected to the Museum of Art building by an education wing built in 1995. The museum has a collection of European and American art. PrattMWP is accredited by the National Association of Schools of Art and Design, Middle States Association, and New York State Education Department
Munson-Williams-Proctor Arts Institute
–
Munson-Williams-Proctor Arts Institute
5.
Art movement
–
Art movements were especially important in modern art, when each consecutive movement was considered as a new avant-garde. According to theories associated with modernism and the concept of postmodernism, the period of time called modern art is posited to have changed approximately halfway through the 20th century and art made afterward is generally called contemporary art. Postmodernism in visual art begins and functions as a parallel to late modernism, the postmodern period began during late modernism, and according to some theorists postmodernism ended in the 21st century. During the period of time corresponding to modern art each movement was often considered a new avant-garde. Also during the period of time referred to as modern art movement was seen corresponding to a somewhat grandiose rethinking of all that came before it. Generally there was a commonality of visual style linking the works, postmodernist theorists posit that the idea of art movements are no longer as applicable, or no longer as discernible, as the notion of art movements had been before the postmodern era. There are many theorists however who doubt as to whether or not such an era was actually a fact, the term refers to tendencies in visual art, novel ideas and architecture, and sometimes literature. In music it is common to speak about genres and styles instead. See also cultural movement, a term with a broader connotation, as the names of many art movements use the -ism suffix, they are sometimes referred to as isms. 20th-century Western painting Art periods List of art movements Post-expressionism Western art history the-artists. org Art movements since 1900, 20th-Century Art Compiled by Dr. Witcombe, Sweet Briar College, Virginia. WebMuseum, Paris Themes index and detailed glossary of art periods
Art movement
–
History of art
Art movement
–
Jacques-Louis David,
The Coronation of Napoleon, (1806),
Musée du Louvre,
History painting
Art movement
–
Eugène Delacroix,
Liberty Leading the People 1830,
Romanticism
Art movement
–
Thomas Cole, The Course of Empire: The Savage State 1836,
Hudson River School
6.
United States of America
–
Forty-eight of the fifty states and the federal district are contiguous and located in North America between Canada and Mexico. The state of Alaska is in the northwest corner of North America, bordered by Canada to the east, the state of Hawaii is an archipelago in the mid-Pacific Ocean. The U. S. territories are scattered about the Pacific Ocean, the geography, climate and wildlife of the country are extremely diverse. At 3.8 million square miles and with over 324 million people, the United States is the worlds third- or fourth-largest country by area, third-largest by land area. It is one of the worlds most ethnically diverse and multicultural nations, paleo-Indians migrated from Asia to the North American mainland at least 15,000 years ago. European colonization began in the 16th century, the United States emerged from 13 British colonies along the East Coast. Numerous disputes between Great Britain and the following the Seven Years War led to the American Revolution. On July 4,1776, during the course of the American Revolutionary War, the war ended in 1783 with recognition of the independence of the United States by Great Britain, representing the first successful war of independence against a European power. The current constitution was adopted in 1788, after the Articles of Confederation, the first ten amendments, collectively named the Bill of Rights, were ratified in 1791 and designed to guarantee many fundamental civil liberties. During the second half of the 19th century, the American Civil War led to the end of slavery in the country. By the end of century, the United States extended into the Pacific Ocean. The Spanish–American War and World War I confirmed the status as a global military power. The end of the Cold War and the dissolution of the Soviet Union in 1991 left the United States as the sole superpower. The U. S. is a member of the United Nations, World Bank, International Monetary Fund, Organization of American States. The United States is a developed country, with the worlds largest economy by nominal GDP. It ranks highly in several measures of performance, including average wage, human development, per capita GDP. While the U. S. economy is considered post-industrial, characterized by the dominance of services and knowledge economy, the United States is a prominent political and cultural force internationally, and a leader in scientific research and technological innovations. In 1507, the German cartographer Martin Waldseemüller produced a map on which he named the lands of the Western Hemisphere America after the Italian explorer and cartographer Amerigo Vespucci
United States of America
–
Native Americans meeting with Europeans, 1764
United States of America
–
Flag
United States of America
–
The signing of the
Mayflower Compact, 1620.
United States of America
–
The
Declaration of Independence: the
Committee of Five presenting their draft to the
Second Continental Congress in 1776
7.
Artists
–
An artist is a person engaged in one or more of any of a broad spectrum of activities related to creating art, practicing the arts or demonstrating an art. The common usage in everyday speech and academic discourse is a practitioner in the visual arts only. The term is used in the entertainment business, especially in a business context, for musicians. Artiste is a variant used in English only in this context, use of the term to describe writers, for example, is valid, but less common, and mostly restricted to contexts like criticism. Wiktionary defines the noun artist as follows, A person who creates art, a person who makes and creates art as an occupation. A person who is skilled at some activity, a person whose trade or profession requires a knowledge of design, drawing, painting, etc. The adjectival Latin form of the word, technicus, became the source of the English words technique, technology, in ancient Greece sculptors and painters were held in low regard, somewhere between freemen and slaves, their work regarded as mere manual labour. The word art derives from the Latin ars, which, although literally defined, means skill method or technique, and conveys a connotation of beauty. During the Middle Ages the word artist already existed in countries such as Italy. An artist was able to do a work better than others, so the skilled excellency was underlined. In this period some artisanal products were more precious and expensive than paintings or sculptures. With the Academies in Europe the gap between fine and applied arts was definitely set, Artist is a descriptive term applied to a person who engages in an activity deemed to be an art. An artist also may be defined unofficially as a person who expresses him- or herself through a medium, the word is also used in a qualitative sense of, a person creative in, innovative in, or adept at, an artistic practice. Art historians and critics define artists as those who produce art within a recognized or recognizable discipline, contrasting terms for highly skilled workers in media in the applied arts or decorative arts include artisan, craftsman, and specialized terms such as potter, goldsmith or glassblower. The term may also be used loosely or metaphorically to denote highly skilled people in any activities, as well— law, medicine, mechanics, or mathematics. Often, discussions on the focus on the differences among artist and technician, entertainer and artisan, fine art and applied art, or what constitutes art. The French word artiste has been imported into the English language where it means a performer, use of the word artiste can also be a pejorative term. The English word artiste has thus a range of meaning than the word artiste in French
Artists
–
Johann Wolfgang von Goethe, German artist known for his works of poetry, drama, prose, philosophy, visual arts, and science.
8.
Color
–
Color or colour is the characteristic of human visual perception described through color categories, with names such as red, yellow, purple, or blue. This perception of color derives from the stimulation of cells in the human eye by electromagnetic radiation in the spectrum of light. Color categories and physical specifications of color are associated with objects through the wavelength of the light that is reflected from them and this reflection is governed by the objects physical properties such as light absorption, emission spectra, etc. By defining a color space, colors can be identified numerically by coordinates, there may also be more than three color dimensions in other color spaces, such as in the CMYK color model, wherein one of the dimensions relates to a colours colorfulness). The photo-receptivity of the eyes of species also varies considerably from our own. Honeybees and bumblebees for instance have trichromatic color vision sensitive to ultraviolet but is insensitive to red, papilio butterflies possess six types of photoreceptors and may have pentachromatic vision. The most complex color vision system in the kingdom has been found in stomatopods with up to 12 spectral receptor types thought to work as multiple dichromatic units. The science of color is sometimes called chromatics, colorimetry, or simply color science and it includes the perception of color by the human eye and brain, the origin of color in materials, color theory in art, and the physics of electromagnetic radiation in the visible range. Electromagnetic radiation is characterized by its wavelength and its intensity, when the wavelength is within the visible spectrum, it is known as visible light. Most light sources emit light at different wavelengths, a sources spectrum is a distribution giving its intensity at each wavelength. Although the spectrum of light arriving at the eye from a given direction determines the color sensation in that direction, in each such class the members are called metamers of the color in question. The table at right shows approximate frequencies and wavelengths for various pure spectral colors, the wavelengths listed are as measured in air or vacuum. A common list identifies six main bands, red, orange, yellow, green, blue, Newtons conception included a seventh color, indigo, between blue and violet. It is possible that what Newton referred to as blue is nearer to what today is known as cyan, the color of an object depends on both the physics of the object in its environment and the characteristics of the perceiving eye and brain. Some objects not only light, but also transmit light or emit light themselves. This effect is known as color constancy, opaque objects that do not reflect specularly have their color determined by which wavelengths of light they scatter strongly. If objects scatter all wavelengths with roughly equal strength, they appear white, if they absorb all wavelengths, they appear black. Opaque objects that reflect light of different wavelengths with different efficiencies look like mirrors tinted with colors determined by those differences
Color
–
Colored pencils
9.
Sound
–
In physics, sound is a vibration that propagates as a typically audible mechanical wave of pressure and displacement, through a transmission medium such as air or water. In physiology and psychology, sound is the reception of such waves, humans can hear sound waves with frequencies between about 20 Hz and 20 kHz. Sound above 20 kHz is ultrasound and below 20 Hz is infrasound, other animals have different hearing ranges. Acoustics is the science that deals with the study of mechanical waves in gases, liquids, and solids including vibration, sound, ultrasound. A scientist who works in the field of acoustics is an acoustician, an audio engineer, on the other hand, is concerned with the recording, manipulation, mixing, and reproduction of sound. Auditory sensation evoked by the oscillation described in, sound can propagate through a medium such as air, water and solids as longitudinal waves and also as a transverse wave in solids. The sound waves are generated by a source, such as the vibrating diaphragm of a stereo speaker. The sound source creates vibrations in the surrounding medium, as the source continues to vibrate the medium, the vibrations propagate away from the source at the speed of sound, thus forming the sound wave. At a fixed distance from the source, the pressure, velocity, at an instant in time, the pressure, velocity, and displacement vary in space. Note that the particles of the medium do not travel with the sound wave and this is intuitively obvious for a solid, and the same is true for liquids and gases. During propagation, waves can be reflected, refracted, or attenuated by the medium, the behavior of sound propagation is generally affected by three things, A complex relationship between the density and pressure of the medium. This relationship, affected by temperature, determines the speed of sound within the medium, if the medium is moving, this movement may increase or decrease the absolute speed of the sound wave depending on the direction of the movement. For example, sound moving through wind will have its speed of propagation increased by the speed of the if the sound and wind are moving in the same direction. If the sound and wind are moving in opposite directions, the speed of the wave will be decreased by the speed of the wind. Medium viscosity determines the rate at which sound is attenuated, for many media, such as air or water, attenuation due to viscosity is negligible. When sound is moving through a medium that does not have constant physical properties, the mechanical vibrations that can be interpreted as sound can travel through all forms of matter, gases, liquids, solids, and plasmas. The matter that supports the sound is called the medium, sound cannot travel through a vacuum. Sound is transmitted through gases, plasma, and liquids as longitudinal waves and it requires a medium to propagate
Sound
–
A
drum produces sound via a vibrating membrane.
Sound
–
Audio engineers in R&D design audio equipment
Sound
–
U.S. Navy
F/A-18 approaching the sound barrier. The white halo is formed by condensed water droplets thought to result from a drop in air pressure around the aircraft (see
Prandtl-Glauert Singularity).
Sound
–
Human ear
10.
Painting
–
Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, Painting is a mode of creative expression, and the forms are numerous. Drawing, gesture, composition, narration, or abstraction, among other aesthetic modes, may serve to manifest the expressive, Paintings can be naturalistic and representational, photographic, abstract, narrative, symbolistic, emotive, or political in nature. A portion of the history of painting in both Eastern and Western art is dominated by motifs and ideas. In art, the term painting describes both the act and the result of the action, the term painting is also used outside of art as a common trade among craftsmen and builders. What enables painting is the perception and representation of intensity, every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity, thus, the basic means of painting are distinct from ideological means, such as geometrical figures, various points of view and organization, and symbols. In technical drawing, thickness of line is ideal, demarcating ideal outlines of an object within a perceptual frame different from the one used by painters. Color and tone are the essence of painting as pitch and rhythm are the essence of music, color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but in the East, some painters, theoreticians, writers and scientists, including Goethe, Kandinsky, and Newton, have written their own color theory. Moreover, the use of language is only an abstraction for a color equivalent, the word red, for example, can cover a wide range of variations from the pure red of the visible spectrum of light. There is not a register of different colors in the way that there is agreement on different notes in music. For a painter, color is not simply divided into basic, painters deal practically with pigments, so blue for a painter can be any of the blues, phthalocyanine blue, Prussian blue, indigo, cobalt, ultramarine, and so on. Psychological and symbolical meanings of color are not, strictly speaking, colors only add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music is analogous to light in painting, shades to dynamics and these elements do not necessarily form a melody of themselves, rather, they can add different contexts to it. Modern artists have extended the practice of painting considerably to include, as one example, collage, some modern painters incorporate different materials such as sand, cement, straw or wood for their texture. Examples of this are the works of Jean Dubuffet and Anselm Kiefer, there is a growing community of artists who use computers to paint color onto a digital canvas using programs such as Adobe Photoshop, Corel Painter, and many others. These images can be printed onto traditional canvas if required, rhythm is important in painting as it is in music
Painting
–
The
Mona Lisa, by
Leonardo da Vinci, is one of the most recognizable paintings in the world.
Painting
–
Chen Hongshou (1598–1652), Leaf album painting (
Ming Dynasty)
Painting
–
Circus Sideshow (
French: Parade de cirque),
Georges Seurat, 1887–88
Painting
–
Cave painting of aurochs, (
French: Bos primigenius primigenius),
Lascaux,
France,
prehistoric art
11.
Composer
–
A composer is a person who creates or writes music, which can be vocal music, instrumental music or music which combines both instruments and voices. The core meaning of the term refers to individuals who have contributed to the tradition of Western classical music through creation of works expressed in written musical notation, many composers are also skilled performers, either as singers, instrumentalists, and/or conductors. Examples of composers who are well known for their ability as performers include J. S. Bach, Mozart. In many popular genres, such as rock and country. For a singer or instrumental performer, the process of deciding how to perform music that has previously composed and notated is termed interpretation. Different performers interpretations of the work of music can vary widely, in terms of the tempos that are chosen. Composers and songwriters who present their own music are interpreting, just as much as those who perform the music of others, although a musical composition often has a single author, this is not always the case. A piece of music can also be composed with words, images, or, in the 20th and 21st century, a culture eventually developed whereby faithfulness to the composers written intention came to be highly valued. This musical culture is almost certainly related to the esteem in which the leading classical composers are often held by performers. The movement might be considered a way of creating greater faithfulness to the original in works composed at a time that expected performers to improvise. In Classical music, the composer typically orchestrates her own compositions, in some cases, a pop songwriter may not use notation at all, and instead compose the song in her mind and then play or record it from memory. In jazz and popular music, notable recordings by influential performers are given the weight that written scores play in classical music. The level of distinction between composers and other musicians varies, which issues such as copyright and the deference given to individual interpretations of a particular piece of music. In the development of European classical music, the function of composing music initially did not have greater importance than that of performing it. The preservation of individual compositions did not receive attention and musicians generally had no qualms about modifying compositions for performance. In as much as the role of the composer in western art music has seen continued solidification, for instance, in certain contexts the line between composer and performer, sound designer, arranger, producer, and other roles, can be quite blurred. The term composer is often used to refer to composers of music, such as those found in classical, jazz or other forms of art. In popular and folk music, the composer is usually called a songwriter and this is distinct from a 19th-century conception of instrumental composition, where the work was represented solely by a musical score to be interpreted by performers
Composer
–
French composer
Louis-Nicolas Clérambault composing at the keyboard
12.
Musical note
–
In music, the term note has three primary meanings, A sign used in musical notation to represent the relative duration and pitch of a sound, A pitched sound itself. Notes are the blocks of much written music, discretizations of musical phenomena that facilitate performance, comprehension. In the former case, one note to refer to a specific musical event, in the latter. Two notes with fundamental frequencies in an equal to any integer power of two are perceived as very similar. Because of that, all notes with these kinds of relations can be grouped under the pitch class. However, within the English-speaking and Dutch-speaking world, pitch classes are represented by the first seven letters of the Latin alphabet. A few European countries, including Germany, adopt an almost identical notation, the eighth note, or octave, is given the same name as the first, but has double its frequency. The name octave is also used to indicate the span between a note and another with double frequency, for example, the now-standard tuning pitch for most Western music,440 Hz, is named a′ or A4. There are two systems to define each note and octave, the Helmholtz pitch notation and the scientific pitch notation. Letter names are modified by the accidentals, a sharp ♯ raises a note by a semitone or half-step, and a flat ♭ lowers it by the same amount. In modern tuning a half step has a ratio of 12√2. The accidentals are written after the name, so, for example, F♯ represents F-sharp, B♭ is B-flat. Additional accidentals are the double-sharp, raising the frequency by two semitones, and double-flat, lowering it by that amount, in musical notation, accidentals are placed before the note symbols. Systematic alterations to the seven lettered pitches in the scale can be indicated by placing the symbols in the key signature, explicitly noted accidentals can be used to override this effect for the remainder of a bar. A special accidental, the natural symbol ♮, is used to indicate an unmodified pitch, effects of key signature and local accidentals do not accumulate. If the key signature indicates G♯, a flat before a G makes it G♭, though often this type of rare accidental is expressed as a natural. Likewise, a sharp sign on a key signature with a single sharp ♯ indicates only a double sharp. Assuming enharmonicity, many accidentals will create equivalences between pitches that are written differently, for instance, raising the note B to B♯ is equal to the note C
Musical note
–
Names of some notes without accidentals
Musical note
–
The note A or La
13.
Symphony
–
A symphony is an extended musical composition in Western classical music, most often written by composers for orchestra. Symphonies are scored for string, brass, woodwind, and percussion instruments which altogether number about 30–100 musicians, Symphonies are notated in a musical score, which contains all the instrument parts. Orchestral musicians play from parts which contain just the music for their instrument. A small number of symphonies also contain vocal parts, the word symphony is derived from the Greek word συμφωνία, meaning agreement or concord of sound, concert of vocal or instrumental music, from σύμφωνος, harmonious. The word referred to a variety of different things, before ultimately settling on its current meaning designating a musical form. In late Greek and medieval theory, the word was used for consonance, as opposed to διαφωνία, in the Middle Ages and later, the Latin form symphonia was used to describe various instruments, especially those capable of producing more than one sound simultaneously. Isidore of Seville was the first to use the word symphonia as the name of a two-headed drum, in late medieval England, symphony was used in both of these senses, whereas by the 16th century it was equated with the dulcimer. In German, Symphonie was a term for spinets and virginals from the late 16th century to the 18th century. 16, published in 1607, Lodovico Grossi da Viadanas Sinfonie musicali,18, published in 1610, and Heinrich Schützs Symphoniae sacrae, op. 6, and Symphoniarum sacrarum secunda pars, op,10, published in 1629 and 1647, respectively. Except for Viadanas collection, which contained purely instrumental and secular music, the opera sinfonia, or Italian overture had, by the 18th century, a standard structure of three contrasting movements, fast, slow, fast and dance-like. It is this form that is considered as the direct forerunner of the orchestral symphony. The terms overture, symphony and sinfonia were widely regarded as interchangeable for much of the 18th century, when composers from the 17th century wrote pieces, they expected that these works would be performed by whatever group of musicians were available. A performance of the piece might be done with a basso continuo group as small as a single cello, during the 18th century, the symphony was cultivated with extraordinary intensity. It played a role in areas of public life, including church services. Since the normal size of the orchestra at the time was quite small, laRue, Bonds, Walsh, and Wilson trace the gradual expansion of the symphonic orchestra through the 18th century. At first, symphonies were string symphonies, written in just four parts, first violin, second violin, viola, occasionally the early symphonists even dispensed with the viola part, thus creating three-part symphonies. A basso continuo part including a bassoon together with a harpsichord or other chording instrument was also possible, the first additions to this simple ensemble were a pair of horns, occasionally a pair of oboes, and then both horns and oboes together
Symphony
–
Symphonies are extended compositions written for
orchestra. Pictured here is a performance of the 8th Symphony of
Gustav Mahler in the Kölner Philharmonie. The orchestra is the Wuppertaler Sinfonieorchester, conducted by Heinz-Walter Florin.
14.
Musical scale
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In music theory, a scale is any set of musical notes ordered by fundamental frequency or pitch. A scale ordered by increasing pitch is a scale. Some scales contain different pitches when ascending than when descending, for example, the Melodic minor scale. Due to the principle of equivalence, scales are generally considered to span a single octave. A musical scale represents a division of the space into a certain number of scale steps. A measure of the width of each scale step provides a method to classify scales, based on their interval patterns, scales are put into categories including diatonic, chromatic, major, minor, and others. A specific scale is defined by its interval pattern and by a special note. The tonic of a scale is the selected as the beginning of the octave. Typically, the name of the scale specifies both its tonic and its interval pattern, for example, C major indicates a major scale with a C tonic. Scales are typically listed from low to high, most scales are octave-repeating, meaning their pattern of notes is the same in every octave. An octave-repeating scale can be represented as an arrangement of pitch classes. The distance between two notes in a scale is called a scale step. The notes of a scale are numbered by their steps from the root of the scale, for example, in a C major scale the first note is C, the second D, the third E and so on. Two notes can also be numbered in relation to other, C and E create an interval of a third. A single scale can be manifested at many different pitch levels, for example, a C major scale can be started at C4 and ascending an octave to C5, or it could be started at C6, ascending an octave to C7. As long as all the notes can be played, the octave they take on can be altered, the pitch distances or intervals among the notes of a scale tell us more about the sound of the music than does the mere number of tones. The notes of a scale form intervals with each of the notes of the chord in combination. A 5-note scale has 10 of these intervals, a 6-note scale has 15, a 7-note scale has 21
Musical scale
–
Ascending and descending
chromatic scale Play (
help ·
info)
15.
Music
–
Music is an art form and cultural activity whose medium is sound organized in time. The common elements of music are pitch, rhythm, dynamics, different styles or types of music may emphasize, de-emphasize or omit some of these elements. The word derives from Greek μουσική, Ancient Greek and Indian philosophers defined music as tones ordered horizontally as melodies and vertically as harmonies. Common sayings such as the harmony of the spheres and it is music to my ears point to the notion that music is often ordered and pleasant to listen to. However, 20th-century composer John Cage thought that any sound can be music, saying, for example, There is no noise, the creation, performance, significance, and even the definition of music vary according to culture and social context. There are many types of music, including music, traditional music, art music, music written for religious ceremonies. For example, it can be hard to draw the line between some early 1980s hard rock and heavy metal, within the arts, music may be classified as a performing art, a fine art or as an auditory art. People may make music as a hobby, like a teen playing cello in a youth orchestra, the word derives from Greek μουσική. According to the Online Etymological Dictionary, the music is derived from mid-13c. Musike, from Old French musique and directly from Latin musica the art of music and this is derived from the. Greek mousike of the Muses, from fem. of mousikos pertaining to the Muses, from Mousa Muse. In classical Greece, any art in which the Muses presided, Music is composed and performed for many purposes, ranging from aesthetic pleasure, religious or ceremonial purposes, or as an entertainment product for the marketplace. With the advent of recording, records of popular songs. Some music lovers create mix tapes of their songs, which serve as a self-portrait. An environment consisting solely of what is most ardently loved, amateur musicians can compose or perform music for their own pleasure, and derive their income elsewhere. Professional musicians sometimes work as freelancers or session musicians, seeking contracts and engagements in a variety of settings, There are often many links between amateur and professional musicians. Beginning amateur musicians take lessons with professional musicians, in community settings, advanced amateur musicians perform with professional musicians in a variety of ensembles such as community concert bands and community orchestras. However, there are many cases where a live performance in front of an audience is also recorded and distributed. Live concert recordings are popular in classical music and in popular music forms such as rock, where illegally taped live concerts are prized by music lovers
Music
–
A painting on an Ancient Greek vase depicts a music lesson (c. 510 BC).
Music
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Jean-Gabriel Ferlan performing at a 2008 concert at the collège-lycée Saint-François Xavier
Music
–
The composer
Michel Richard Delalande, pen in hand.
Music
–
Funk places most of its emphasis on rhythm and
groove, with entire songs based around a
vamp on a single chord. Pictured are the influential funk musicians
George Clinton and
Parliament Funkadelic in 2006.
16.
Wassily Kandinsky
–
Wassily Wassilyevich Kandinsky was a Russian painter and art theorist. He is credited with painting one of the first recognised purely abstract works, born in Moscow, Kandinsky spent his childhood in Odessa, where he graduated at Grekov Odessa Art school. He enrolled at the University of Moscow, studying law and economics, successful in his profession—he was offered a professorship at the University of Dorpat—Kandinsky began painting studies at the age of 30. In 1896 Kandinsky settled in Munich, studying first at Anton Ažbes private school and he returned to Moscow in 1914, after the outbreak of World War I. Kandinsky was unsympathetic to the theories on art in Communist Moscow. There, he taught at the Bauhaus school of art and architecture from 1922 until the Nazis closed it in 1933. He then moved to France, where he lived for the rest of his life, becoming a French citizen in 1939 and he died at Neuilly-sur-Seine in 1944. Kandinskys creation of work followed a long period of development. He called this devotion to beauty, fervor of spirit. Kandinsky was born in Moscow, the son of Lidia Ticheeva and Vasily Silvestrovich Kandinsky, Kandinsky learned from a variety of sources while in Moscow. He studied many fields while in school, including law and economics, later in life, he would recall being fascinated and stimulated by colour as a child. His fascination with colour symbolism and psychology continued as he grew, in 1889, he was part of an ethnographic research group which travelled to the Vologda region north of Moscow. In Looks on the Past, he relates that the houses and churches were decorated with such shimmering colours that upon entering them and this experience, and his study of the regions folk art, was reflected in much of his early work. The artist is the hand plays, touching one key or another. Kandinsky was also the uncle of Russian-French philosopher Alexandre Kojève, in 1896, at the age of 30, Kandinsky gave up a promising career teaching law and economics to enroll in the Munich Academy where his teachers would eventually include Franz von Stuck. He was not immediately granted admission, and began learning art on his own and that same year, before leaving Moscow, he saw an exhibit of paintings by Monet. He was particularly taken with the style of Haystacks, this. Later, he would write about this experience, That it was a haystack the catalogue informed me and this non-recognition was painful to me
Wassily Kandinsky
–
Wassily Kandinsky, c. 1913 or earlier
Wassily Kandinsky
Wassily Kandinsky
–
Der Blaue Reiter (1903)
Wassily Kandinsky
–
Early-period work, Munich-Schwabing with the Church of St. Ursula (1908)
17.
Abstract art
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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. Western art had been, from the Renaissance up to the middle of the 19th century, underpinned by the logic of perspective, the arts of cultures other than the European had become accessible and showed alternative ways of describing visual experience to the artist. By the end of the 19th century many artists felt a need to create a new kind of art which would encompass the fundamental changes taking place in technology, science and philosophy. The sources from which individual artists drew their theoretical arguments were diverse, Abstract art, non-figurative art, non-objective art, and nonrepresentational art are loosely related terms. They are similar, but perhaps not of identical meaning, Abstraction indicates a departure from reality in depiction of imagery in art. This departure from accurate representation can be slight, partial, or complete, even art that aims for verisimilitude of the highest degree can be said to be abstract, at least theoretically, since perfect representation is likely to be exceedingly elusive. Artwork which takes liberties, altering for instance color and form in ways that are conspicuous, total abstraction bears no trace of any reference to anything recognizable. In geometric abstraction, for instance, one is unlikely to find references to naturalistic entities, Figurative art and total abstraction are almost mutually exclusive. But figurative and representational art often contains partial abstraction, both geometric abstraction and lyrical abstraction are often totally abstract. It is at level of visual meaning that abstract art communicates. One can enjoy the beauty of Chinese calligraphy or Islamic calligraphy without being able to read it, in Chinese painting, abstraction can be traced to the Tang dynasty painter Wang Mo, who is credited to have invented the splashed-ink painting style. While none of his paintings remain, this style is seen in some Song Dynasty Paintings. A late Song painter named Yu Jian, adept to Tiantai buddhism and his paintings show heavily misty mountains in which the shapes of the objects are barely visible and extremely simplified. This type of painting was continued by Sesshu Toyo in his later years, another instance of abstraction in Chinese painting is seen in Zhu Deruns Cosmic Circle. The painting is a reflection of the Daoist metaphysics in which chaos, in Tokugawa Japan some zen monk-painters created Enso, a circle who represents the absolute enlightenment. Usually made in one spontaneous brush stroke, it became the paradigm of the minimalist aesthetic that guided part of the zen painting, three art movements which contributed to the development of abstract art were Romanticism, Impressionism and Expressionism. Artistic independence for artists was advanced during the 19th century, patronage from the church diminished and private patronage from the public became more capable of providing a livelihood for artists. Expressionist painters explored the use of paint surface, drawing distortions and exaggerations
Abstract art
–
Wassily Kandinsky,
Kandinsky's first abstract watercolor, 1910.
Abstract art
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Robert Delaunay, 1912–13, Le Premier Disque, 134 cm (52.7 in.), Private collection.
Abstract art
–
James McNeill Whistler,
Nocturne in Black and Gold: The Falling Rocket (1874),
Detroit Institute of Arts. A near abstraction, in 1877 Whistler sued the art critic
John Ruskin for libel after the critic condemned this painting. Ruskin accused Whistler of "ask[ing] two hundred
guineas for throwing a pot of paint in the public's face."
Abstract art
–
Henri Matisse,
The Yellow Curtain, 1915. With his
Fauvist color and drawing Matisse comes very close to pure abstraction.
18.
Vortex
–
In fluid dynamics, a vortex is a region in a fluid in which the flow rotates around an axis line, which may be straight or curved. The plural of vortex is either vortices or vortexes, vortices form in stirred fluids, and may be observed in phenomena such as smoke rings, whirlpools in the wake of boat, or the winds surrounding a tornado or dust devil. Vortices are a component of turbulent flow. The distribution of velocity, vorticity, as well as the concept of circulation are used to characterize vortices, in most vortices, the fluid flow velocity is greatest next to its axis and decreases in inverse proportion to the distance from the axis. Once formed, vortices can move, stretch, twist, a moving vortex carries with it some angular and linear momentum, energy, and mass. A key concept in the dynamics of vortices is the vorticity, conceptually, the vorticity could be observed by placing a tiny rough ball at the point in question, free to move with the fluid, and observing how it rotates about its center. The direction of the vorticity vector is defined to be the direction of the axis of rotation of this imaginary ball while its length is twice the angular velocity. The local rotation measured by the vorticity ω → must not be confused with the velocity vector of that portion of the fluid with respect to the external environment or to any fixed axis. In a vortex, in particular, ω → may be opposite to the angular velocity vector of the fluid relative to the vortexs axis. In theory, the u of the particles in a vortex may vary with the distance r from the axis in many ways. Ω → =, r → =, u → = Ω → × r → =, ω → = ∇ × u → = =2 Ω →. In this case the vorticity ω → is zero at any point not on that axis, Ω → =, r → =, u → = Ω → × r → =, ω → = ∇ × u → =0. In the absence of forces, a vortex usually evolves fairly quickly toward the irrotational flow pattern. Irrotational vortices are also called free vortices, for an irrotational vortex, the circulation is zero along any closed contour that does not enclose the vortex axis, and has a fixed value, Γ, for any contour that does enclose the axis once. The tangential component of the velocity is then u θ = Γ2 π r. The angular momentum per unit mass relative to the axis is therefore constant. However, the ideal irrotational vortex flow is not physically realizable, indeed, in real vortices there is always a core region surrounding the axis where the particle velocity stops increasing and then decreases to zero as r goes to zero. Within that region, the flow is no longer irrotational, the vorticity ω → becomes non-zero, the Rankine vortex is a model that assumes a rigid-body rotational flow where r is less than a fixed distance r0, and irrotational flow outside that core regions
Vortex
–
Vortex created by the passage of an
aircraft wing, revealed by colored smoke.
Vortex
–
Vortices evidenced by milk in a cup of coffee
Vortex
–
The
Crow Instability of a jet aeroplane's
contrail visually demonstrates the vortex created in the atmosphere (gas fluid medium) by the passage of the aircraft.
Vortex
–
The cloud vortex
Saturn's hexagon is at the north pole of the planet
Saturn.
19.
Harmonies
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In music, harmony considers the process by which the composition of individual sounds, or superpositions of sounds, is analysed by hearing. Usually, this means simultaneously occurring frequencies, pitches, or chords, the study of harmony involves chords and their construction and chord progressions and the principles of connection that govern them. Harmony is often said to refer to the aspect of music, as distinguished from melodic line. In popular and jazz harmony, chords are named by their root plus various terms, in many types of music, notably baroque, romantic, modern, and jazz, chords are often augmented with tensions. A tension is an additional member that creates a relatively dissonant interval in relation to the bass. Typically, in the common practice period a dissonant chord resolves to a consonant chord. Harmonization usually sounds pleasant to the ear when there is a balance between the consonant and dissonant sounds, in simple words, that occurs when there is a balance between tense and relaxed moments. The term harmony derives from the Greek ἁρμονία, meaning joint, agreement, concord, from the verb ἁρμόζω, to fit together, the term was often used for the whole field of music, while music referred to the arts in general. In Ancient Greece, the term defined the combination of contrasted elements, in the Middle Ages the term was used to describe two pitches sounding in combination, and in the Renaissance the concept was expanded to denote three pitches sounding together. Aristoxenus wrote a work entitled Harmonika Stoicheia, which is thought the first work in European history written on the subject of harmony, the underlying principle behind these texts is that harmony sanctions harmoniousness by conforming to certain pre-established compositional principles. Current dictionary definitions, while attempting to give concise descriptions, often highlight the ambiguity of the term in modern use, ambiguities tend to arise from either aesthetic considerations or from the point of view of musical texture (distinguishing between harmonic and contrapuntal. The view that modern tonal harmony in Western music began in about 1600 is commonplace in music theory and this is usually accounted for by the replacement of horizontal writing, common in the music of the Renaissance, with a new emphasis on the vertical element of composed music. Modern theorists, however, tend to see this as an unsatisfactory generalisation, as Carl Dahlhaus puts it, It was not that counterpoint was supplanted by harmony but that an older type both of counterpoint and of vertical technique was succeeded by a newer type. And harmony comprises not only the structure of chords but also their movement, like music as a whole, harmony is a process. Descriptions and definitions of harmony and harmonic practice may show bias towards European musical traditions, pitch simultaneity in particular is rarely a major consideration. Nevertheless, emphasis on the precomposed in European art music and the written theory surrounding it shows considerable cultural bias, the conception of musics that live in oral traditions as something composed with the use of improvisatory techniques separates them from the higher-standing works that use notation. Yet the evolution of harmonic practice and language itself, in Western art music, is and was facilitated by this process of prior composition, some traditions of Western music performance, composition, and theory have specific rules of harmony. This model provides that the seventh and ninth are not dissonant
Harmonies
–
Barbershop quartets, such as this US Navy group, sing 4-part pieces, made up of a melody line (normally the lead) and 3 harmony parts.
Harmonies
–
Rameau 's 'Traité de l'harmonie' (Treatise on Harmony) from 1722.
Harmonies
–
Example of implied harmonies in
J.S. Bach's Cello Suite no. 1 in G, BWV 1007, bars 1-2. Play (
help ·
info) or Play harmony (
help ·
info)
20.
Fauvism
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While Fauvism as a style began around 1900 and continued beyond 1910, the movement as such lasted only a few years, 1904–1908, and had three exhibitions. The leaders of the movement were Henri Matisse and André Derain, the paintings of the Fauves were characterized by seemingly wild brush work and strident colors, while their subject matter had a high degree of simplification and abstraction. Fauvism can be classified as a development of Van Goghs Post-Impressionism fused with the pointillism of Seurat and other Neo-Impressionist painters. Other key influences were Paul Cézanne and Paul Gauguin, whose employment of areas of saturated color—notably in paintings from Tahiti—strongly influenced Derains work at Collioure in 1905, in 1888 Gauguin had said to Paul Sérusier, How do you see these trees. So, put in yellow, this shadow, rather blue, paint it with pure ultramarine, Fauvism can also be seen as a mode of Expressionism. Moreaus broad-mindedness, originality and affirmation of the potency of pure color was inspirational for his students. Matisse said of him, He did not set us on the right roads and this source of empathy was taken away with Moreaus death in 1898, but the artists discovered other catalysts for their development. In 1896, Matisse, then an art student, visited the artist John Peter Russell on the island of Belle Île off the coast of Brittany. The next year he returned as Russells student and abandoned his earth-colored palette for bright Impressionist colors, later stating, Russell was my teacher, Russell had been a close friend of Vincent van Gogh and gave Matisse a Van Gogh drawing. In parallel with the discovery of contemporary avant-garde art came an appreciation of pre-Renaissance French art. Another aesthetic influence was African sculpture, of which Vlaminck, Derain, many of the Fauve characteristics first cohered in Matisses painting, Luxe, Calme et Volupté, which he painted in the summer of 1904, whilst in Saint-Tropez with Paul Signac and Henri-Edmond Cross. The artists shared their first exhibition at the 1905 Salon dAutomne, Henri Rousseau was not a Fauve, but his large jungle scene The Hungry Lion Throws Itself on the Antelope was exhibited near Matisses work and may have had an influence on the pejorative used. Vauxcelles comment was printed on 17 October 1905 in Gil Blas, a daily newspaper, the pictures gained considerable condemnation—A pot of paint has been flung in the face of the public, wrote the critic Camille Mauclair —but also some favorable attention. Matisses Neo-Impressionist landscape, Luxe, Calme et Volupté, had already exhibited at the Salon des Indépendants in the spring of 1905. Art history History of painting Neo-Fauvism Visual arts Western painting Gerdts, the Color of Modernism, The American Fauves. Spivey, Virginia, Fauvism, Smarthistory at Khan Academy Whitfield, Fauve Painting from the Permanent Collection at the National Gallery of Art Fauvism, The Wild Beasts of Early Twentieth Century Art Rewald, Sabine. New York, The Metropolitan Museum of Art Gelett Burgess, The Wild Men of Paris, Matisse, Picasso and Les Fauves,1910
Fauvism
–
Henri Matisse, Portrait of Madame Matisse (The
Green Stripe), 1906,
Statens Museum for Kunst,
Copenhagen, Denmark
Fauvism
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Press clipping, Les Fauves: Exhibition at the
Salon d'Automne, in L'Illustration, 4 November 1905
Fauvism
–
Henri Matisse.
Woman with a Hat, 1905.
San Francisco Museum of Modern Art.
Fauvism
–
Henri Matisse,
Luxe, Calme et Volupté, 1904, oil on canvas, 98 x 118.5 cm,
Musée d'Orsay, Paris, France
21.
Orphism (art)
–
The meaning of the term Orphism was elusive when it first appeared and remains to some extent vague. The Orphists were rooted in Cubism but moved toward a pure lyrical abstraction, more concerned with the expression and significance of sensation, this movement began with recognizable subjects but was rapidly absorbed by increasingly abstract structures. Orphism aimed to dispense with recognizable subject matter and to rely on form, the movement also aimed to express the ideals of Simultanism, the existence of an infinitude of interrelated states of being. The decomposition of spectral light expressed in Neo-Impressionist color theory of Paul Signac, Robert Delaunay, Albert Gleizes, and Gino Severini, all knew Henry personally. Henry would take the step in bringing emotional associational theory into the world of artistic sensation. The underlying theory behind Neo-Impressionsim would have an effect on the works produced in the coming years by the likes of Robert Delaunay. Indeed, the Neo-Impressionists had succeeded in establishing a scientific basis for their painting in the domain of color. The Cubists were to do so in both the domain of form and dynamics, and the Orphists would do so with color too, the Symbolists had used the word orphique in relation to the Greek myth of Orpheus, who they perceived as the ideal artist. Apollinaire had written a collection of quatrains in 1907 entitled Bestiaire ou cortège d’Orphée, within which Orpheus was symbolized as a poet, for both Apollinaire and the Symbolists who preceded him, Orpheus was associated with mysticism, something that would inspire artistic endeavors. The voice of light that Apollinaire mentioned in his poems was a metaphor for inner experiences, though not fully articulated in his poems, the voice of light is identified as a line that could be colored and become a painting. The Orphic metaphor thus represented the power to create new structures and color harmonies. The term Orphism was coined by poet and art critic Guillaume Apollinaire at the Salon de la Section dOr in 1912, during his lecture at the Section dOr exhibit Apollinaire presented three of Kupkas abstract works as perfect examples of pure painting, as anti-figurative as music. An Orphic painters works should convey an aesthetic pleasure, but at the same time a meaningful structure. According to Apollinaire Orphism represented a move towards a completely new art-form, kandinskys detailed theoretical essays described the correlations between color and sound. Fernand Léger and Marcel Duchamp, as they tended towards abstraction, were included as Orphists in the writings of Apollinaire. Apollinaire stayed with the Delaunays during the winter of 1912, becoming close friends, Apollinaire wrote several texts discussing their work to promote the concept of Orphism. In March 1913 Orphism was exhibited to the public at the Salon des Indépendants, and in Montjoie Apollinaire argued for the abolition of Cubism in favour of Orphism, ‘If Cubism is dead, long live Cubism. The kingdom of Orpheus is at hand and this exhibition marked a turning-point in Apollinaire’s relation with R. Delaunay, following some remarks in an argument with Umberto Boccioni about the ambiguity of the term ‘simultaneity’
Orphism (art)
–
Robert Delaunay, Simultaneous Windows on the City, 1912,
Kunsthalle Hamburg
Orphism (art)
–
František Kupka,
Katedrála (The Cathedral), 1912-13, oil on canvas, 180 x 150 cm,
Museum Kampa,
Prague,
Czech Republic
Orphism (art)
–
Robert Delaunay, Champs de Mars. La Tour rouge. 1911.
Art Institute of Chicago.
Orphism (art)
–
The last section of
La prose du Transsibérien et de la Petite Jehanne de France, 1913, a collaborative
artists' book by
Blaise Cendrars and
Sonia Delaunay-Terk.
22.
Pitch (music)
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Pitch can be determined only in sounds that have a frequency that is clear and stable enough to distinguish from noise. Pitch is a major attribute of musical tones, along with duration, loudness. Pitch may be quantified as a frequency, but pitch is not a purely objective physical property, Pitch is an auditory sensation in which a listener assigns musical tones to relative positions on a musical scale based primarily on their perception of the frequency of vibration. Pitch is closely related to frequency, but the two are not equivalent, frequency is an objective, scientific attribute that can be measured. Pitch is each persons subjective perception of a wave, which cannot be directly measured. However, this not necessarily mean that most people wont agree on which notes are higher and lower. Sound waves themselves do not have pitch, but their oscillations can be measured to obtain a frequency and it takes a sentient mind to map the internal quality of pitch. However, pitches are usually associated with, and thus quantified as frequencies in cycles per second, or hertz, by comparing sounds with pure tones, Complex and aperiodic sound waves can often be assigned a pitch by this method. According to the American National Standards Institute, pitch is the attribute of sound according to which sounds can be ordered on a scale from low to high. That is, high pitch means very rapid oscillation, and low pitch corresponds to slower oscillation, despite that, the idiom relating vertical height to sound pitch is shared by most languages. At least in English, it is just one of many deep conceptual metaphors that involve up/down, the exact etymological history of the musical sense of high and low pitch is still unclear. There is evidence that humans do actually perceive that the source of a sound is slightly higher or lower in vertical space when the frequency is increased or reduced. The pitch of tones can be ambiguous, meaning that two or more different pitches can be perceived, depending upon the observer. In a situation like this, the percept at 200 Hz is commonly referred to as the missing fundamental, Pitch depends to a lesser degree on the sound pressure level of the tone, especially at frequencies below 1,000 Hz and above 2,000 Hz. The pitch of lower tones gets lower as sound pressure increases, for instance, a tone of 200 Hz that is very loud seems one semitone lower in pitch than if it is just barely audible. Above 2,000 Hz, the pitch gets higher as the sound gets louder, theories of pitch perception try to explain how the physical sound and specific physiology of the auditory system work together to yield the experience of pitch. In general, pitch perception theories can be divided into place coding, place theory holds that the perception of pitch is determined by the place of maximum excitation on the basilar membrane. However, a purely place-based theory cannot account for the accuracy of pitch perception in the low, temporal theories offer an alternative that appeals to the temporal structure of action potentials, mostly the phase-locking and mode-locking of action potentials to frequencies in a stimulus
Pitch (music)
–
In musical notation, the different vertical positions of notes indicate different pitches. Play top (
help ·
info) & Play bottom (
help ·
info)
23.
Brightness
–
Brightness is an attribute of visual perception in which a source appears to be radiating or reflecting light. In other words, brightness is the perception elicited by the luminance of a visual target and it is not necessarily proportional to luminance. This is a subjective attribute/property of an object being observed and one of the color appearance parameters of color appearance models, brightness refers to an absolute term and should not be confused with Lightness. The adjective bright derives from an Old English beorht with the same meaning via metathesis giving Middle English briht, the word is from a Common Germanic *berhtaz, ultimately from a PIE root with a closely related meaning, *bhereg- white, bright. Brightness was formerly used as a synonym for the term luminance. As defined by the US Federal Glossary of Telecommunication Terms, brightness should now be used only for non-quantitative references to physiological sensations and perceptions of light, a given target luminance can elicit different perceptions of brightness in different contexts, see, for example, Whites illusion. With regard to stars, brightness is quantified as apparent magnitude, brightness is, at least in some respects, the antonym of darkness. The United States Federal Trade Commission has assigned a meaning to brightness when applied to lamps. When appearing on light bulb packages, brightness means Luminous flux, Luminous flux is the total amount of light coming from a source, such as a lighting device. Luminance, the meaning of brightness, is the amount of light per solid angle coming from an area. The table below shows the ways of indicating the amount of light. The term brightness is used in discussions of sound timbres. Luma Luminance Luminosity Media related to brightness at Wikimedia Commons Poyntons Color FAQ
Brightness
–
Decreasing brightness with depth (underwater photo as example)
24.
Saturation (color theory)
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Colorfulness or saturation in colorimetry and color theory refers to the perceived intensity of a specific color. Colorfulness is the visual sensation according to which the color of an area appears to be more or less chromatic. Chroma is the relative to the brightness of a similarly illuminated area that appears to be white or highly transmitting. Therefore, chroma should not be confused with colorfulness, saturation is the colorfulness of a color relative to its own brightness. A highly colorful stimulus is vivid and intense, while a less colorful stimulus appears more muted, with no colorfulness at all, a color is a “neutral” gray. Any color can be described using three color appearance parameters — colorfulness, lightness, and hue, saturation is one of three coordinates in the HSL and HSV color spaces. The saturation of a color is determined by a combination of light intensity, the purest color is achieved by using just one wavelength at a high intensity, such as in laser light. If the intensity drops, then as a result the saturation drops, to desaturate a color of given intensity in a subtractive system, one can add white, black, gray, or the hues complement. CIELUV The chroma normalized by the lightness, s u v = C u v ∗ L ∗ =132 +2 where is the chromaticity of the white point, and chroma is defined below. Nevertheless, this provides a reasonable predictor of saturation. S a b = C a b ∗ C a b ∗2 + L ∗2100 % where Sab is the saturation, L* the lightness and C*ab is the chroma of the color. CIECAM02 The square root of the colorfulness divided by the brightness, M is proportional to the chroma C, thus the CIECAM02 definition bears some similarity to the CIELUV definition. An important difference is that the CIECAM02 model accounts for the conditions through the parameter FL. Different color spaces, such as CIELAB or CIELUV may be used, the naïve definition of saturation does not specify its response function. However, both color spaces are nonlinear in terms of perceived color differences. It is also possible—and sometimes desirable—to define a quantity that is linearized in term of the psychovisual perception. The transformation of to is given by, C a b ∗ = a ∗2 + b ∗2 h a b = arctan b ∗ a ∗ and analogously for CIE L*C*h. The chroma in the CIE L*C*h and CIE L*C*h coordinates has the advantage of being more psychovisually linear, and therefore, chroma in CIE1976 L*a*b* and L*u*v* color spaces is very much different from the traditional sense of saturation
Saturation (color theory)
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Original image, with relatively muted colors
Saturation (color theory)
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L*C*h (
CIELAB) chroma increased 50%
Saturation (color theory)
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HSL saturation increased 50%; notice that changing HSL saturation also affects the perceived lightness of a color
Saturation (color theory)
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CIELAB lightness preserved, with a * and b * stripped, to make a
grayscale image
25.
Impressionists
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Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s. The Impressionists faced harsh opposition from the art community in France. The development of Impressionism in the arts was soon followed by analogous styles in other media that became known as impressionist music. Radicals in their time, early Impressionists violated the rules of academic painting and they constructed their pictures from freely brushed colours that took precedence over lines and contours, following the example of painters such as Eugène Delacroix and J. M. W. Turner. They also painted scenes of modern life, and often painted outdoors. Previously, still lifes and portraits as well as landscapes were painted in a studio. The Impressionists found that they could capture the momentary and transient effects of sunlight by painting en plein air, the Impressionists, however, developed new techniques specific to the style. The public, at first hostile, gradually came to believe that the Impressionists had captured a fresh and original vision, even if the art critics and art establishment disapproved of the new style. In the middle of the 19th century—a time of change, as Emperor Napoleon III rebuilt Paris, the Académie was the preserver of traditional French painting standards of content and style. Historical subjects, religious themes, and portraits were valued, landscape, the Académie preferred carefully finished images that looked realistic when examined closely. Paintings in this style were made up of brush strokes carefully blended to hide the artists hand in the work. Colour was restrained and often toned down further by the application of a golden varnish, the Académie had an annual, juried art show, the Salon de Paris, and artists whose work was displayed in the show won prizes, garnered commissions, and enhanced their prestige. The standards of the juries represented the values of the Académie, represented by the works of artists as Jean-Léon Gérôme. In the early 1860s, four young painters—Claude Monet, Pierre-Auguste Renoir, Alfred Sisley and they discovered that they shared an interest in painting landscape and contemporary life rather than historical or mythological scenes. A favourite meeting place for the artists was the Café Guerbois on Avenue de Clichy in Paris, where the discussions were led by Édouard Manet. They were soon joined by Camille Pissarro, Paul Cézanne, during the 1860s, the Salon jury routinely rejected about half of the works submitted by Monet and his friends in favour of works by artists faithful to the approved style. In 1863, the Salon jury rejected Manets The Luncheon on the Grass primarily because it depicted a woman with two clothed men at a picnic. While the Salon jury routinely accepted nudes in historical and allegorical paintings, the jurys severely worded rejection of Manets painting appalled his admirers, and the unusually large number of rejected works that year perturbed many French artists
Impressionists
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Claude Monet,
Haystacks, (sunset), 1890–1891,
Museum of Fine Arts, Boston
Impressionists
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Pierre-Auguste Renoir, Dance at Le Moulin de la Galette (
Bal du moulin de la Galette),
Musée d'Orsay, 1876
Impressionists
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Édouard Manet,
The Luncheon on the Grass (Le déjeuner sur l'herbe), 1863
Impressionists
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Alfred Sisley, View of the Saint-Martin Canal, Paris, 1870,
Musée d'Orsay
26.
Cubism
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Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related movements in music, literature and architecture. Cubism has been considered the most influential art movement of the 20th century, the term is broadly used in association with a wide variety of art produced in Paris during the 1910s and extending through the 1920s. The movement was pioneered by Georges Braque and Pablo Picasso, joined by Andre Lhote, Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Fernand Léger and Juan Gris. A primary influence that led to Cubism was the representation of form in the late works of Paul Cézanne. The impact of Cubism was far-reaching and wide-ranging, Cubism spread rapidly across the globe and in doing so evolved to a greater or lesser extent. In essence, Cubism was the origin of a process that produced diversity. In France, offshoots of Cubism developed, including Orphism, Abstract art, in other countries Futurism, Suprematism, Dada, Constructivism, De Stijl and Art Deco developed in response to Cubism. Other common threads between these movements include the faceting or simplification of geometric forms, and the association of mechanization. Cubism began between 1907 and 1911, Pablo Picassos 1907 painting Les Demoiselles dAvignon has often been considered a proto-Cubist work. Georges Braques 1908 Houses at L’Estaque prompted the critic Louis Vauxcelles to refer to bizarreries cubiques, Gertrude Stein referred to landscapes made by Picasso in 1909, such as Reservoir at Horta de Ebro, as the first Cubist paintings. A second phase, Synthetic Cubism, remained vital until around 1919, english art historian Douglas Cooper proposed another scheme, describing three phases of Cubism in his book, The Cubist Epoch. Douglas Coopers restrictive use of terms to distinguish the work of Braque, Picasso, Gris. Alternative interpretations of Cubism have therefore developed, wider views of Cubism include artists who were later associated with the Salle 41 artists, e. g. John Berger identifies the essence of Cubism with the mechanical diagram. The metaphorical model of Cubism is the diagram, The diagram being a symbolic representation of invisible processes, forces, structures. A diagram need not eschew certain aspects of appearance but these too will be treated as not as imitations or recreations. During the late 19th and early 20th centuries, Europeans were discovering African, Polynesian, Micronesian, artists such as Paul Gauguin, Henri Matisse, and Pablo Picasso were intrigued and inspired by the stark power and simplicity of styles of those foreign cultures. Around 1906, Picasso met Matisse through Gertrude Stein, at a time when artists had recently acquired an interest in primitivism, Iberian sculpture, African art and African tribal masks. Picassos paintings of 1907 have been characterized as Protocubism, as seen in Les Demoiselles dAvignon
Cubism
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Pablo Picasso, 1910, Girl with a Mandolin (Fanny Tellier), oil on canvas, 100.3 x 73.6 cm,
Museum of Modern Art, New York
Cubism
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Pablo Picasso,
Les Demoiselles d'Avignon, 1907, considered to be a major step towards the founding of the Cubist movement
Cubism
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Pablo Picasso, 1909-10, Figure dans un Fauteuil (Seated Nude, Femme nue assise), oil on canvas, 92.1 x 73 cm,
Tate Modern, London
Cubism
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Paul Cézanne, Quarry Bibémus, 1898-1900,
Museum Folkwang,
Essen,
Germany
27.
Cloisonnism
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Cloisonnism is a style of post-Impressionist painting with bold and flat forms separated by dark contours. The term was coined by critic Edouard Dujardin on the occasion of the Salon des Indépendants, artists Émile Bernard, Louis Anquetin, Paul Gauguin, Paul Sérusier, and others started painting in this style in the late 19th century. The name evokes the technique of cloisonné, where wires are soldered to the body of the piece, filled with powdered glass, many of the same painters also described their works as Synthetism, a closely related movement. In The Yellow Christ, often cited as a quintessential cloisonnist work, in such works he paid little attention to classical perspective and boldly eliminated subtle gradations of color — two of the most characteristic principles of post-Renaissance painting. The cloisonnist separation of colors reflects an appreciation for discontinuity that is characteristic of Modernism, Émile Bernard chronology The Volpini Exhibition,1889 Cloisonnism at ArtFacts
Cloisonnism
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Paul Gauguin,
The Yellow Christ (Le Christ jaune) 1889, oil on canvas
Albright-Knox Art Gallery,
Buffalo, New York
Cloisonnism
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Émile Bernard Self-portrait with portrait of Gauguin, dedicated to Vincent van Gogh. Bernard, 1888
Cloisonnism
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Émile Bernard, Breton Women in the Meadow, August 1888. Bernard exchanged this one with Gauguin who brought it to
Arles in autumn 1888 when he joined Van Gogh, who was fond of this style. Van Gogh painted a copy in watercolor to inform his brother Theo about it.
Cloisonnism
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Vincent van Gogh, Breton Women and Children, November 1888 (watercolor after Bernard).
28.
Synthetism
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Synthetism is a term used by post-Impressionist artists like Paul Gauguin, Émile Bernard and Louis Anquetin to distinguish their work from Impressionism. Earlier, Synthetism has been connected to the term Cloisonnism, the term is derived from the French verb synthétiser. Paul Gauguin, Émile Bernard, Louis Anquetin, and others pioneered the style during the late 1880s, synthetist artists aimed to synthesize three features, The outward appearance of natural forms. The artist’s feelings about their subject, the purity of the aesthetic considerations of line, colour and form. The confusing title has been associated with impressionism. Synthetism emphasized two-dimensional flat patterns, thus differing from impressionist art, Paul Sérusier - Talisman Paul Gauguin - Vision After The Sermon, La Belle Angele, The Loss of Innocence Émile Bernard - Buckwheat Harvest Charles Laval - Going to Market Cuno Amiet - Breton Spinner
Synthetism
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The Talisman, by
Paul Sérusier, one of the principal works of the Synthetist school
Synthetism
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Poster of the 1889 Exhibition of Paintings by the
Impressionist and Synthetist Group, at Café des Arts, known as the
The Volpini Exhibition, 1889.
Synthetism
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Paul Gauguin, Les Alyscamps, (1888),
Musée d'Orsay,
Paris
Synthetism
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Paul Sérusier, The Talisman (with the forest landscape of love in Pont-Aven) 1888
29.
Paris
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Paris is the capital and most populous city of France. It has an area of 105 square kilometres and a population of 2,229,621 in 2013 within its administrative limits, the agglomeration has grown well beyond the citys administrative limits. By the 17th century, Paris was one of Europes major centres of finance, commerce, fashion, science, and the arts, and it retains that position still today. The aire urbaine de Paris, a measure of area, spans most of the Île-de-France region and has a population of 12,405,426. It is therefore the second largest metropolitan area in the European Union after London, the Metropole of Grand Paris was created in 2016, combining the commune and its nearest suburbs into a single area for economic and environmental co-operation. Grand Paris covers 814 square kilometres and has a population of 7 million persons, the Paris Region had a GDP of €624 billion in 2012, accounting for 30.0 percent of the GDP of France and ranking it as one of the wealthiest regions in Europe. The city is also a rail, highway, and air-transport hub served by two international airports, Paris-Charles de Gaulle and Paris-Orly. Opened in 1900, the subway system, the Paris Métro. It is the second busiest metro system in Europe after Moscow Metro, notably, Paris Gare du Nord is the busiest railway station in the world outside of Japan, with 262 millions passengers in 2015. In 2015, Paris received 22.2 million visitors, making it one of the top tourist destinations. The association football club Paris Saint-Germain and the rugby union club Stade Français are based in Paris, the 80, 000-seat Stade de France, built for the 1998 FIFA World Cup, is located just north of Paris in the neighbouring commune of Saint-Denis. Paris hosts the annual French Open Grand Slam tennis tournament on the red clay of Roland Garros, Paris hosted the 1900 and 1924 Summer Olympics and is bidding to host the 2024 Summer Olympics. The name Paris is derived from its inhabitants, the Celtic Parisii tribe. Thus, though written the same, the name is not related to the Paris of Greek mythology. In the 1860s, the boulevards and streets of Paris were illuminated by 56,000 gas lamps, since the late 19th century, Paris has also been known as Panam in French slang. Inhabitants are known in English as Parisians and in French as Parisiens and they are also pejoratively called Parigots. The Parisii, a sub-tribe of the Celtic Senones, inhabited the Paris area from around the middle of the 3rd century BC. One of the areas major north-south trade routes crossed the Seine on the île de la Cité, this place of land and water trade routes gradually became a town
Paris
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In the 1860s Paris streets and monuments were illuminated by 56,000 gas lamps, making it literally "The City of Light."
Paris
Paris
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Gold coins minted by the Parisii (1st century BC)
Paris
–
The
Palais de la Cité and
Sainte-Chapelle, viewed from the Left Bank, from the
Très Riches Heures du duc de Berry (month of June) (1410)
30.
Thomas Hart Benton (painter)
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Thomas Hart Benton was an American painter and muralist. Along with Grant Wood and John Steuart Curry, he was at the forefront of the Regionalist art movement and his fluid, sculpted figures in his paintings showed everyday people in scenes of life in the United States. Benton was born in Neosho, Missouri, into a family of politicians. He had two sisters, Mary and Mildred, and a younger brother, Nathaniel. His mother was Elizabeth Wise Benton and his father, Colonel Maecenas Benton, was a lawyer, known as the little giant of the Ozarks, Maecenas named his son after his own great-uncle, Thomas Hart Benton, one of the first two United States Senators elected from Missouri. Given his fathers career, Benton spent his childhood shuttling between Washington, D. C. and Missouri. His father sent him to Western Military Academy in 1905-06, hoping to shape him for a political career, growing up in two different cultures, Benton rebelled against his fathers plans. He wanted to develop his interest in art, which his mother supported, as a teenager, he worked as a cartoonist for the Joplin American newspaper, in Joplin, Missouri. With his mothers encouragement, in 1907 Benton enrolled at the The School of The Art Institute of Chicago, two years later, he moved to Paris in 1909 to continue his art education at the Académie Julian. His mother supported him financially and emotionally to work at art until he married in his early 30s and his sister Mildred said, My mother was a great power in his growing up. In Paris, Benton met other North American artists, such as the Mexican Diego Rivera and Stanton Macdonald-Wright, influenced by the latter, Benton subsequently adopted a Synchromist style. After studying in Europe, Benton moved to New York City in 1912, during World War I, he served in the U. S. Navy and was stationed at Norfolk, Virginia. His war-related work had an effect on his style. He was directed to make drawings and illustrations of shipyard work and life, later in the war, classified as a camoufleur, Benton drew the camouflaged ships that entered Norfolk harbor. Benton later said that his work for the Navy was the most important thing, so far, at age 33, Benton married Rita Piacenza, an Italian immigrant, in 1922. They met while Benton was teaching art classes for an organization in New York City. The couple had a son, Thomas Piacenza Benton, born in 1926, and they were married for almost 53 years until Thomas death in 1975. Rita died eleven weeks after her husband, on his return to New York in the early 1920s, Benton declared himself an enemy of modernism, he began the naturalistic and representational work today known as Regionalism
Thomas Hart Benton (painter)
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Picture of Benton
Thomas Hart Benton (painter)
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Camouflage pattern of the British ship S.S. Alban as documented by Thomas Hart Benton
Thomas Hart Benton (painter)
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People of Chilmark (Figure Composition), 1920, in the
Hirshhorn Museum collection in Washington, D.C.
Thomas Hart Benton (painter)
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In 1920, Benton depicted three landmarks in New York City's
Madison Square within his painting New York, Early Twenties.
