- Industry: Art history
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In painting, tone refers to the relative lightness or darkness of a colour (see also Chiaroscuro). One colour can have an almost infinite number of different tones. Tone can also mean the colour itself. For example, when Van Gogh writes 'I exaggerate the fairness of the hair, I even get to orange tones, chromes and pale citron-yellow', he is referring to those colours at a particular tonal value. In his famous theory of painting, the French painter Georges Seurat describes how colour (teinte) and tone (ton) can be used to create particular emotional effects: 'Gaiety is obtained through the use of dominant luminosity in tone; of prevailing warmth in colour. ' The term seems to have come into widespread use with the rise of painting directly from nature in the nineteenth century, when artists became interested in identifying and reproducing the full range of tones to be found in a particular subject. This in turn led to an interest in colour for its own sake and in colour theory. However, tone is also a musical term and its use in relation to painting reflects the theory that painting can be like music, that became increasingly important from about 1870. From about that time the painter JAM Whistler, for example, made paintings using a very limited range of closely related tones of just one or two colours, and gave them musical titles. This kind of painting is known as tonal painting. In 1908, in his A Painter's Notes, Henri Matisse wrote: 'When I have found the relationship of all the tones the result must be a living harmony of all the tones, a harmony not unlike that of a musical composition. '
Industry:Art history
Italian Neo-Expressionist group. The term was coined by the critic Achille Oliva in his texts for an exhibition he organised in 1979 in Genanzzano titled Le Stanze. The leading Italian Transavanguardia artists were Sandro Chia, Francesco Clemente, Enzo Cucchi, Nicolo de Maria and Mimmo Paladino.
Industry:Art history
A large-scale contemporary art exhibition that occurs every three years. Like a biennial it is often attached to a particular place and is typified by its national or international outlook. The Tate Triennial showcases new developments in British art and is always curated by a different person, often a director of another art institution. Other triennials include the Asia-Pacific Triennial of Contemporary Art, which was established in 1993, is the only major international exhibition to focus on art from Asia, the Pacific and Australia.
Industry:Art history
壁畫技術約十三世紀在義大利從開發和完善在文藝復興的時間。兩件外套的石膏應用到一堵牆，讓它幹。在第二個設計繪製的大綱。若要使這幅畫，牆上對應于一天的工作面積新鮮貼和設計折回與揭露了部分加入。這一領域然後在仍濕，使用水性漆髹上。油漆吸收到成為一個組成部分它，從而使之成為一種持久的壁畫技術的濕灰泥。灰泥是乾燥，但乾燥的石膏上畫整幅壁畫是容易剝落時，可以做一些觸摸。
Industry:Art history
超現實主義 automatist 技術開發的 Max Ernst 從 1925 年所作的繪圖中。摹拓品是摩擦的法語單詞。安永的靈感來自古代的木地板，木紋的木板鋪了許多年的洗滌而加劇。仿木紋的模式建議對他奇怪的圖像。他捕捉到這些由鋪設的地板上的紙張和他們然後揉軟鉛筆。結果表明上住著像鳥一樣的生物高尚的神秘森林和恩斯特刊登在 1926 年的這些圖紙集合題為所有奈楚麗 (自然歷史)。他接著，使用範圍更廣的紋理表面和快速適應技術的油畫，它調用 grattage (刮)。在 grattage 畫布準備用一層或更多的漆然後放置在紋理物件，然後刮過去。在安永的森林和鴿子樹似乎已創建的刮了一條魚的骨幹。
Industry:Art history
在 1909 年由義大利詩人菲利波托馬索 Marinetti 發起的藝術運動。2 月 20 日，他發表了他未來主義宣言巴黎報紙費加羅報 》 的頭版上。現代主義運動未來主義是在其過去的退格外激烈。這是因為在義大利的過去文化重量覺得作為特別壓迫性。在宣言 》，Marinetti 稱我們將免費義大利從她無數的博物館，包括她像無數墳場。未來學家相反提議是慶祝現代世界的工業和技術的藝術： ' 我們聲明 — — 新的美、 速度的美。一汽車輛賽車 — — 比敗勝利更美麗。' (A 慶祝在巴黎羅浮宮博物館裡的古希臘雕塑）。未來學家繪畫用 Neo-Impressionism 和立體主義的元素來創建表示的活力、 能量和運動，現代生活的想法的成分。首席演出者們鎮流、 Boccioni、 塞弗。Boccioni 是主要雕刻家，以及畫家。
Industry:Art history
藝術作出的一個預先確定的系統，往往包括機會的元素。實踐有它的根在 Dada，然而它是先鋒演出者哈樂德 · 科恩時，他用電腦控制的機器人在 1960 年代後期中生成繪畫的第一次生成藝術從業者上考慮。更多最近特納獎得主基斯 · 泰森建造的 ArtMachine，一個複雜遞迴系統，生成泰森，使作品詳細的命題。生成藝術是主要用來指某一種藝術作網，特別是因為演出者設計的程式，可以訪問和控制的公眾。生成藝術也是與進程藝術相關聯的。
Industry:Art history
從日常的生活，通常規模小，主題的繪畫作品。特別是在荷蘭開發在十七世紀，最通常與農民生活或在小酒館喝酒的場景。在英國霍加現代道德主體是一種特殊類型的在她們的坦率和經常咬社會諷刺。在稍後十八世紀中，例如莫蘭 G、 H 莫蘭和惠特利出現了更簡單的風俗畫。成為了在維多利亞時代的威爾基的出色地熟練，但深為感傷工作成功後非常受歡迎。風俗畫是五個流派之一或繪畫，在十七世紀建立的類型。
Industry:Art history
流派或類型的繪畫，編纂了十七世紀的法國皇家科學院。按降冪排列流派是重要性的歷史、 肖像、 體裁、 風景和靜物。此同盟表中，層次結構的流派，被稱為基於人萬物的尺度的概念 — — 風景和靜物是最低的因為他們並不涉及人類的主題。歷史上是最高的因為它涉及與最崇高的人類歷史事件和宗教。
Industry:Art history
Term coined by the British critic and poet Herbert Read in 1952. He used the phrase in a review of the British pavilion at the Venice Biennale of that year. The British contribution was an exhibition of the work of the group of young sculptors that had emerged immediately after the Second World War in the wake of the older Henry Moore. Their work, and that of Moore at that time, was characterised by spiky, alien-looking or, twisted, tortured, battered or blasted looking human, or sometimes animal figures. They were executed in pitted bronze or welded metal and vividly expressed a range of states of mind and emotions related to the anxieties and fears of the post-war period. The artists were Robert Adams, Kenneth Armitage, Reg Butler, Lynn Chadwick, Geoffrey Clarke, Bernard Meadows, Eduardo Paolozzi and William Turnbull. A sculpture by Moore was outside the pavilion. Of their work Read wrote: 'These new images belong to the iconography of despair, or of defiance; and the more innocent the artist, the more effectively he transmits the collective guilt. Here are images of flight, or ragged claws "scuttling across the floors of silent seas", of excoriated flesh, frustrated sex, the geometry of fear. ' The quotation within Read's text is from the poet TS Eliot's 'Prufrock'. Read's image of 'ragged claws "scuttling"' may have referred to Meadows's Black Crab 1952.
Industry:Art history
