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Space and light in painting: The T'a...
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Quynh, Nguyen.
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Space and light in painting: The T'ang and the Five Dynasties, Paul Klee, Yves Tanguy and a personal study (with); (Original works);
紀錄類型:
書目-電子資源 : Monograph/item
正題名/作者:
Space and light in painting: The T'ang and the Five Dynasties, Paul Klee, Yves Tanguy and a personal study (with); (Original works);/
作者:
Quynh, Nguyen.
出版者:
Ann Arbor : ProQuest Dissertations & Theses, : 1988,
面頁冊數:
337 p.
附註:
Source: Dissertation Abstracts International, Volume: 49-09, Section: A, page: 2508.
Contained By:
Dissertation Abstracts International49-09A.
標題:
Art education. -
電子資源:
http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8824438
Space and light in painting: The T'ang and the Five Dynasties, Paul Klee, Yves Tanguy and a personal study (with); (Original works);
Quynh, Nguyen.
Space and light in painting: The T'ang and the Five Dynasties, Paul Klee, Yves Tanguy and a personal study (with); (Original works);
- Ann Arbor : ProQuest Dissertations & Theses, 1988 - 337 p.
Source: Dissertation Abstracts International, Volume: 49-09, Section: A, page: 2508.
Thesis (Ed.D.)--Teachers College, Columbia University, 1988.
This thesis does not seek to unify or generalize the concepts of space and light in painting. Rather, it presents three historical cases, and the case of the writer.Subjects--Topical Terms:
547650
Art education.
Space and light in painting: The T'ang and the Five Dynasties, Paul Klee, Yves Tanguy and a personal study (with); (Original works);
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Sponsor: Justin Schorr.
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This thesis does not seek to unify or generalize the concepts of space and light in painting. Rather, it presents three historical cases, and the case of the writer.
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The first chapter assesses the painting of the T'ang Dynasty and the Five Dynasties (618-960 A.D.), which used the landscape to depict the Tao. In Taoist thought, space in painting is a Void for pictorial elements to associate freely in, though with respect to the three-distance rule: the high, the low, and the near plane. This kind of space is highlighted by the monochromatic technique that depicts subtle light without shadow, to dramatize the metaphysical space.
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The second chapter focuses on Klee's paintings, where space and light are based upon the construction of perspective space, rational and irrational, and upon the interaction of several planes. As a result, Klee's space is both abstract and concrete, dynamic and static, representing the artist's cosmic thinking. The light in Klee's works is a color-space relationship. That is, each color by itself has a unique, potential energy of illumination, brilliancy, and "reflectance," depending on the size of space it occupies.
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The third chapter investigates space and light in the Surrealist paintings of Tanguy. Whether the picture is of an underwater scene or a landscape, the space in Tanguy's painting always conforms to perspective representation. As such, the ground plane and the horizon are highly present or suggested. Over Tanguy's landscapes runs a directional light both realistic and mystical. The cast shadow enhances space and light in Tanguy's painting has inspired some art historians and critics to cite some enigmatic sources from the cultural and psychological origins of the artist.
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The fourth chapter presents the writer's seventeen studies. Each study states some general idea of construction. An actual painting carries out these ideas and is elucidated by a short statement on the study's outcome. The studies attempt to show the illumination, luminosity, and radiance of the light quality on an extended space.
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The goal of this thesis, while it investigates some historical instances, emphasizes creative practices.
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