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Item type:Publication, The judgment of taste and the formalism undertaking in the arts(2024-03-28)One of the main reflective activities that have fascinated every human, since pre-Historic times, is about the production and evaluation-critique of a work of art. Art is almost as old as man. It is a form of work, and this work is an activity peculiar to mankind. Man takes possession of the natural elements by transforming it. Man, also dreams working his magic upon nature of being able to transform objects and give them newform by magical means this is the production of what works means in reality, where man is, from the outset a magician. Few questions need to be established to proceed: What are the procedures to follow to analyze a work of art, what inductive processes has to take into consideration and how to establish a detachment between the work of art and the judgement of it or how to evaluate this subjective experience? This paper present two main areas for discussion; first, it establishes definitions of terms and concepts related to “Significant Form”, “Form”, “Formalism”, and “Aesthetics”; and second, the evaluation of the ‘Significant Form’ in a work of art by using Feldman methos; reaching a conclusion based on the evidence of three work of art presented.1 - Some of the metrics are blocked by yourconsent settings
Item type:Publication, The conspicuous colour blue—‘lapis lazuli’—in the history of art(2024-04-01)Colour plays a fundamental role in human perception and its effects on cognition and behaviour have intrigued generations of researchers. The intent of this two-part paper is to provide a wider understanding of the history and evolution from its early beginnings. It also analyses the diverse characteristics of plant-based colours and minerals that produce this intriguing colour called, ‘blue’. Although a large amount of research has been conducted in this domain, the psychological processes through which colour operates, have not been explored comprehensively. As a result, the field has observed certain conflicting results. The first part of this article studies the colour ‘blue’ as a pigment. Besides, it also offers some early development of the colour ‘blue’ in the light spectrum set by the initial developments in the history of science. The second part examines how ‘blue’ has long proven a problem for artists. There are a few materials that are blue in their natural state, that can serve as pigments for painters. During the Renaissance period, artists used a pigment called natural ultramarine (Lapis-Lazuli), lauded for its rich and striking appearance to capture the great beyond, this mineral was introduced by Venetian merchants and brought originally from the mines of Afghanistan, located in the remote province of Badakhshan. It is very common when religion, science, and the arts meet to apply philosophies which are interwoven around historical and social events to present science as human, relevant and a lively endeavour. Finally, this paper brings to a conclusion a short briefing of the works of two of the most expressive artists, Giotto and Titian, and the usage of lapis lazuli - (Ultramarine) in the development of their colour palette.2