Contrasts Of Form
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Author | : Magdalena Dabrowski |
Publisher | : Museum |
Total Pages | : 298 |
Release | : 1985 |
Genre | : Art |
ISBN | : |
Magdalena Dabrowski retraces the course of geometric abstract art in our century, she divides the years from 1910 to 1980- into five spans. The first: Origins of the Nonobjective - Cubism, Futurism, Cubo-Futurism. The second: Surface to space - Suprematism, de Stiji, Russian Constructivism. Then, Internation constructivism, followed by Paris-New Yourk connection and finally, Nonfigurative tendrncies.
Author | : John Elderfield |
Publisher | : |
Total Pages | : 8 |
Release | : 1985 |
Genre | : Art, Abstract |
ISBN | : |
Author | : |
Publisher | : |
Total Pages | : 0 |
Release | : 1985 |
Genre | : Art, Abstract |
ISBN | : |
Author | : Magdalena Dabrowski |
Publisher | : |
Total Pages | : |
Release | : 1985 |
Genre | : Art, Abstract |
ISBN | : |
Author | : Magdalena Dabrowski |
Publisher | : Museum |
Total Pages | : 282 |
Release | : 1985 |
Genre | : Art |
ISBN | : |
Magdalena Dabrowski retraces the course of geometric abstract art in our century, she divides the years from 1910 to 1980- into five spans. The first: Origins of the Nonobjective - Cubism, Futurism, Cubo-Futurism. The second: Surface to space - Suprematism, de Stiji, Russian Constructivism. Then, Internation constructivism, followed by Paris-New Yourk connection and finally, Nonfigurative tendrncies.
Author | : Mariusz Stanowski |
Publisher | : CRC Press |
Total Pages | : 225 |
Release | : 2021-06-09 |
Genre | : Science |
ISBN | : 100039364X |
The book Theory and Practice of Contrast completes, corrects and integrates the foundations of science and humanities, which include: theory of art, philosophy (aesthetics, epistemology, ontology, axiology), cognitive science, theory of information, theory of complexity and physics. Through the integration of these distant disciplines, many unresolved issues in contemporary science have been clarified or better understood, among others: defining impact (contrast) and using this definition in different fields of knowledge; understanding what beauty/art is and what our aesthetic preferences depend on; deeper understanding of what complexity and information are in essence, and providing their general definitions. Complexity means integration, value and goodness - concepts that seem to be neglected today. The book also has a high degree of integration/complexity, although each chapter introduces a new issue. The last chapter: "Binary Model of the Universe" draws attention to the need for including in physics the analysis of our mind and the resulting new possibilities, which include the mentioned (digital) model of the universe. Despite the difficult issues raised here, this study is written in accessible language and may be interesting not only for scientists and academics.
Author | : |
Publisher | : |
Total Pages | : 288 |
Release | : 1985 |
Genre | : |
ISBN | : |
Author | : Matthew Affron |
Publisher | : |
Total Pages | : 56 |
Release | : 2007 |
Genre | : Art |
ISBN | : |
Between 1912 and 1914, Fernand Léger executed a large cycle of works known as the Contrasts of Forms. The series embraces the genres of landscape, still life, and figure, but at its core are numerous arresting compositions that sweep aside observation to focus on formal principles. The common denominator is a complex vocabulary of mingled cones, cylinders, cubes, and planes, vigorously outlined and scrubbed with color (in the paintings) or with black ink and white gouache (in the works on paper). The Contrasts of Forms are essential to two great chapters in the history of modern art in the years before the First World War: first, the development of cubism, and second, the emergence of abstract art. Curated by Léger scholar Matthew Affron and organized by the University of Virginia Art Museum, this tightly focused exhibition unites two landmark paintings with eleven works on paper from major museums and private collections. Fernand Léger: Contrasts of Forms was presented at the University of Virginia Art Museum from January 19 to March 18, 2007, and will be at the Fogg Art Museum, Harvard University Art Museums, from April 14 to June 10, 2007. The full-color catalogue features two essays. Affron examines the logic of the Contrasts of Forms and the importance of this cycle in shaping the character of Léger's art. Maria Gough (Stanford University) focuses on the drawings and on Léger's notion of abstraction.
Author | : Magdalena Dabrowski |
Publisher | : ABRAMS |
Total Pages | : 288 |
Release | : 1990-08-01 |
Genre | : |
ISBN | : 9780810960244 |
Author | : Adrienne Lehrer |
Publisher | : Routledge |
Total Pages | : 474 |
Release | : 2012-11-12 |
Genre | : Language Arts & Disciplines |
ISBN | : 113647580X |
Recently, there has been a surge of interest in the lexicon. The demand for a fuller and more adequate understanding of lexical meaning required by developments in computational linguistics, artificial intelligence, and cognitive science has stimulated a refocused interest in linguistics, psychology, and philosophy. Different disciplines have studied lexical structure from their own vantage points, and because scholars have only intermittently communicated across disciplines, there has been little recognition that there is a common subject matter. The conference on which this volume is based brought together interested thinkers across the disciplines of linguistics, philosophy, psychology, and computer science to exchange ideas, discuss a range of questions and approaches to the topic, consider alternative research strategies and methodologies, and formulate interdisciplinary hypotheses concerning lexical organization. The essay subjects discussed include: * alternative and complementary conceptions of the structure of the lexicon, * the nature of semantic relations and of polysemy, * the relation between meanings, concepts, and lexical organization, * critiques of truth-semantics and referential theories of meaning, * computational accounts of lexical information and structure, and * the advantages of thinking of the lexicon as ordered.