منابع مشابه
Amateur Means in Cubism? the Use of Ripolin® by Pablo Picasso
The introduction of non-artistic materials and techniques in Cubism is not a complete invention, contrary to what the traditional historiography of this artistic movement would want to make us think. Contemporary do-it-yourself practices – amateur handicraft – with which Georges Braque and Pablo Picasso had been in contact while living in the workingclass neighborhood of Montmartre, have encour...
متن کاملWhen a Picasso is a "Picasso": the entry point in the identification of visual art.
We investigated whether art is distinguished from other real world objects in human cognition, in that art allows for a special memorial representation and identification based on artists' specific stylistic appearances. Testing art-experienced viewers, converging empirical evidence from three experiments, which have proved sensitive to addressing the question of initial object recognition, sug...
متن کاملترجمه و نقد کتاب the justification of science and the rationality of religious belife
چکیده ندارد.
15 صفحه اولNeural art appraisal of painter: Dali or Picasso?
One can infer an artist's identity from his or her artworks, but little is known about the neural representation of such elusive categorization. Here, we constructed a 'neural art appraiser' based on machine-learning methods that predicted the painter from the functional MRI activity pattern elicited by a painting. We found that Dali's and Picasso's artworks could be accurately classified based...
متن کاملPablo Picasso (1881–1973). Guernica (1937). Oil on canvas, 350 cm x 782 cm
ABOUT THE COVER " I t isn't up to the painter to define the symbols, " said Pablo Picasso when asked to explain his celebrated mural, Guernica. " ….The public who look at the picture must interpret the symbols as they understand them. " Picasso himself did not know what the work would turn out to be when he was commissioned to paint the center-piece for the Spanish Pavilion of the 1937 World's ...
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ژورنال
عنوان ژورنال: Critique d’art
سال: 2014
ISSN: 1246-8258,2265-9404
DOI: 10.4000/critiquedart.15341