Color, Facture, Art and Design: Artistic Technique and the Precisions of Human Perception
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Color, Facture, Art and Design seeks to understand art and design from the aspect of materials, construction and the senses. It contends that this element is omitted from art and design theory as a product of the division of labour and alienation as it operates within the realms of theory and art history. It investigates the "beauty" of art based on the somatic "magic" of the physical body and its relationship to nature, arguing that the sensual affect of expert artistic combinations of art materials in some paintings exploits a bridge between the intricacies of human sentience and the external world. Art is thus more accurately located next to the sciences of language, mathematics, physiology and psychoanalysis. As the "pure mathematics" of the discipline, this materialist definition of fine-art develops guidelines for architecture, design, cultural-studies and ultimately social change.
“enlightenment” and conscious self awareness. These problems are interwoven with economic and social relations, unconscious sense and feeling that adjusts the dominant living unit, the family, accordingly. In the days of larger communal cooperation workers functioned together as one whole communal entity to feed and shelter all the other members of the group. This was the responsibility of all for all. One enormous family unit turned economically just as the economic unit today consists of one or
technical knowledge regarding grounds, pigments and stretchers. His early works such as, Holy Family 1803 and Venus and Adonis 1803-5 consist of techniques that are not very different from those of other painters of the period such as Barry and Haydon. In contrast to Turner’s later works the layer underneath the paint of his early works, the ground, is thin and just sufficient to cover and protect the canvas. Holmes traced the technical development of this when: “we find that Turner’s youthful
object-choice towards his mother, but at the same time he also behaves like a girl and displays an affectionate feminine attitude towards his father and an affectionate object choice towards his mother, but at the same time he also behaves like a girl and displays an affectionate feminine attitude to his father and a corresponding jealousy and hostility to his mother.”… “In my opinion it is advisable in gender, and quite especially where neurotics are concerned, to assume the existence of the
technologies, and the realities of modern life. Acknowledging the significance of modern design, in 1930 SAD invited the Deutscher Werkbund(DWB) to exhibit in Paris. Amongst the DWB designers on show were Walter Gropius, Marcel Breuer, Herbert Bayer, and László Moholy-Nagy. Although the SAD continued after the Second World War its position never regained the vitality and sense of purpose of its earlier years. 20. Prouvé’s approach to design and making was systematic. Both the design process and
genre painter.” This author then describes the paintings as like “crushed pearls melted together,” and says that later Vermeer’s lost some of their “magic”. There is then a brief mention of the broad strokes and variation of textures, with which that statement goes some way toward explaining how Vermeer differs from his contemporaries, but the question of the pearly glow and magic is not explained. Also in a recent National Gallery press release on Vermeer: “The unprecedented degree of