body and dress
My history teacher often liked to say that contemporary art after Raphael's Madonnas are just beautiful. It 's a statement that hits the sign, because through this new relationship which is established between religion and beauty, resurrects an idea fundamentally pagan art. Michelangelo was the artist who most effectively highlights what has by now become a requirement was inevitable. The transition from symbol to allegory is a return to fundamental conditions of the greek-roman history. We know that ancient people, except for Greece, it is the body suit. Dress to the body are added the elements that the animal did not. Only the animal nature is naked, while the dignity of man is manifested through its membership of the dress, ceremonial dress exactly. Then the body through the dress sacralization. Only the Greeks had intended to see the naked body of the essential elements of belonging to a divine geometry. If the point of view of Judaism, the Egyptian, Assyrian Babylonian World, the naked body is profane, in the greek world that we have a profanity sacralized purifying the body without additional elements. The whole pagan world has a problem then stripped the body as a vision diametrically opposed to other civilizations. Once at Christianity in terms of representation is a mixture of Judaism and paganism, it was immediately placed the issue of representation, resolved in part through the medieval symbolism, but as a problem back in the Renaissance. Since then the Christian must proceed in contradictory terms, for while Judaism tends to cancel the representation of God, because God is not a human figure, on the other hand, the influence of Greek culture leads to the representation of Christ on the cross. Although the appearance of the cloth, we are in the presence of the maximum of sacredness represented in terms of paganism. E 'of this that you realize Michelangelo. Radicalizing the comparison depicts Christ without cloth, making it in fact belong to the Greek tradition. On the next dressing naked by the attitude of the Counter has little sexual phobia of the Church. What with the Council of Trent had put the issue of membership. If you look at it from that perspective we see that, through the way till you get to the Baroque, the appearance of the dress is imposed so as to become the true subject of painting. After donning of Michelangelo's nudes, the garment becomes sacred value. To find the question of the cloth should arrive today with fashion that shows a type of woman exalted in the nudity and dressing. Fashion shows us a woman solemn, chaste, and even asexual. The posture and the clothes they create distance, feel and produce at the same time become taboo. The paradox of fashion is to induce freedom recludendo the body, making it once again become somewhat sacred. The naked and the dress come together in the body.
Just as with the music, the colors may be agreed between them. Unlike the musical notes should be noted that the sum of two or more colors can not be separated once obtained. For chromatic means that colors have the ability to communicate with each other, creating a visual relationship stable. For example, the ratio of yellow and purple color is an agreement with two, other arrangements can be obtained from the chromatic colors in the chromatic disc. As the full meaning of a word is expressed in relation to other words, just a color is to be considered in relation to other colors. psychological influence of color.
Of all the aspects regarding the color, the psychological is by far the most attractive, not least because it allows us a greater understanding of ourselves. The latter part of the walk that we allowed ourselves within the world of color is that somehow piece together the speeches made earlier about the relationship between physiological optics, physics and psychology of color. Among all possible paths that give access to the world of color has been chosen the middle one, because while this discussion would not be trivial, on the other hand, the walk that we have granted, had to bring us back home for lunch. Knowing that color is a sensation produced by a type of electromagnetic waves will not prevent anyone to take brush in hand and continue to paint as he did before stumbling on these topics. Greater awareness can only help to improve the relationship between us and what we are doing. Everyone in life we \u200b\u200bused instruments that could make us move quickly to places that we should then explore on your own. Access to knowledge that the world offers us, is to put that in your backpack is absolutely necessary to address that need exploration to be undertaken in individual key. It 'should in these cases, use of tools that can make us do without much hesitation towards the goal, because it is always quite useful to apply the principle of the scientific method to life: to get the most with the least effort possible. This book is certainly not a gospel, but the fact that it was written to serve some purpose, it should at least make it useful to curiosity. I am among those who do not believe that we can learn to play guitar in 24 hours, as I do not think that some painting courses before they can serve you appropriate the tools necessary to give life to composing an opera. E 'wrong to believe that the painters were naive. Art has always been a way to say the least. Among the Impressionists and operation of color TV is the difference in the diversity of tools and not in the principle of mixing of light. To say that the first impressionism and pointillism then offered the important technology tools to move forward, one account is accurate. The works that have shaped the history of art that have never been any thing to hang on the wall. The psychological influence of color is given by the result of complex brain which science has been able to give only a partial explanation. As scientific progress has eroded the banks of the mystery surrounding the workings of the brain, many obscure points remain to testify to the complexity of mechanisms that regulate the operation of this extraordinary machine that puts us in touch with ourselves and the world. What can not be denied is the influence that color has on our lives. The tendency to make the color of a dispute over taste is the main reason for the superficiality with which it tends to undermine the foundations of true color quality. Any approach that consigns the color under the "more or less nice" is not intended to have any luck. Through the color communicate intentions. Color can create magic and mystery, to be sensual and material, identify joy and introspection. The key difference terminology only darkness and clarity; when a language contains a third color, it is always the red. At the first level the distinctions appear only simpler. The number of colors that we can recognize with certainty does not exceed the number of six, these are the three primary and secondary connecting them. The four dimensions of color known to us, that are yellow, blue, red and gray scales. The Maori have three thousand names of colors but this does not mean that they all receive. On the contrary, have more color names is unable to assimilate those who belong to different structures. In the scale of perception is the form to be treated first, because the perception that it goes right to the thing without being influenced by the color. We grasp the meaning of a look but do not remember the color of your eyes. On the other hand, the perception of color is delayed in children and in adults is often subject to confusion, especially for what concerns the spectral colors. Speaking about the radiant energy of colors, we decided to force their sympathy, we went to investigate the mutations that make a sensory stimulus of a light wave, we have focused inside the vortex which is a signal of an electrochemical sensation constant, then return to the simplicity of a chair painted red. The photons of light and the red chair are two sides of the same coin. Represent the two worlds: the visible and hidden. Are not those real images we can see through the lens of a microscope? Be aware that what happens on the surface is the result of much more complex mechanisms, it gives us a measure of how the reality remains largely unknown to us. It's OK to go back to choose curtains that go with the wall, on the other hand, our daily existence has its burdens, but perhaps we need the reflection that not everything that seems to us there, as not everything consider anything that is invisible. The colors are not a property of materials. This apparently simple and obvious statement goes below a shocking truth: without the light color does not exist. We can pick up an object, follow the contours with your fingers, to receive this item feel smooth or rough, hot or cold, whatever that is illuminated by the light or put in a dark room. Things are in a different way to the color, not being a material property does not follow us if we bring him into the room. Our sweater is red because of the light. In the presence of dark to black. If the light does not contain the wavelengths of red our lawns with trees and mountains would appear as gray cement. Without these words, can the color does not influence our psyche and our behavior? Psychology of color. Let us approach to psychology Color is an example that clarifies the influence of color on our choices. The bowl of fruit. You are faced with a jar of fruit. The discomfort you feel in not knowing, because the vessel is there and what he meant by this act who put him in your room, is a state of amazement that concern manifests itself in purple. Purple is the color of anxiety and discomfort. The awareness that the fruit was put there for a good psychic is represented by the sensitivity of the blue. The conscious appreciation of the gesture is completed by the blue sphere represents the ego. The self-affirmation anticipates that the gesture, saying that "I'm hungry, I want" that is green in color psychology is the possession of our faculties, the value of self-centered feeling in the middle of an action to perform. The decision to take a fruit instead of another is given by yellow corresponds to the ability of selective choice. Contact with the result that being chosen is symbolized from orange color corresponds to the maximum viability of touch with reality. The red symbolizes the movement of the material chosen to consume the fruit with yellow and got the orange. This example is rather easy to remember the map of our intentions, which is valid to define the path that we do every day to achieve a goal, regardless of whether you choose a fruit or an object acquistare.Il purple. The purple (not to be confused with the purple) is not a color of the visible spectrum, is therefore a self-produced color by the brain. The fact that you get to mix between blue and red means that there is a conflict between two different energies. What is generated in the viola is an opposition, a sort of dominance of one color over the other. It 'just a small amount of red because it assumes a reddish purple, just a little' blue because the blue will become dominant. Referring to speeches made earlier, two opposing energies should be balanced, in the case of purple that does not happen. It was in the presence of a precarious balance. The viola takes this sense of unease because of its instability. We can be sure that there is a high number of people who recognize the purple with certainty, giving this color to a different name. The inactivity of the color purple as oscillating between hot and cold is the reason for the emergency that occurs. When the children through their drawings show discomfort, often do so violates the coloring of the parties concerned by this anxiety. If it's mouth and face the discomfort is in the word, if the affected are the hands of the urgency that is expressed on a peaceful contact with the world and with the blue-cose.Blu. The sensible reality is symbolized by the blue, corresponding geometrically to the circle representing the size of the ego. Although the blue calls directly to its complement, orange, a color is not active. Its location in the left hemisphere of the brain and the definition of cool color blue to make the maximum insight. This color of psychic sensitivity is better than any other that is due at the thought. The symbol of the circle shows the closed and implosive, little inclined to materialism. E 'of blue that we become greedy in old age: is the desire for peace and tranquility. We can define it as the color of the non-appearance, enhances intimacy, may be a sound intellectual. Thought of as blue is not yet completed though, the path towards personal experiences. Although this color shows the detachment from the material, which expresses the urgency is reassuring because in the process of connecting with verde.Il green. Green is the color of growth and full awareness of self. Across the green is to manifest an accentuation of personality that can lead to selfishness. In addition to being the color of constancy and recognition of its value, through the green is also manifested a sense of ownership. It 's a color that normally comes in a fleeting coloristic choices of the individual. With the green express our awareness of being part of the world and knowing how to relate with the situations that occur from time to time. That slight turn in on itself, as cold color, is the way that green has to draw energy from the sphere of needs that are still satisfied in the knowledge of what can be raggiungere.Il yellow. It 's the maximum brightness and color as such binds the triangle geometrically. The yellow represents the sublimation of matter by light. In this color we associate knowledge and intelligence. Since the color of selectivity, its rational component is undeniable. The yellow indicates the choice to be made, and this preceded his master's gesture makes him aware action. In clear opposition to the darkness, expresses the joy of life, manifesting in the form of conviviality. At this color is given the task to draw a way forward with optimism and rationality. Its unique central role of color in the visible spectrum makes it warm and cold at the same time. Its nature is evident in relation to contingent situations. It can be cool and rational in the presence of black, as can be warm and friendly atmosphere in the presence of bianco.L 'orange. Accomplished by selectively choosing the yellow, orange, comes into direct relation with the materiality of the world. With the orange manifest strength and energy. This is a color that can make a strict break with the doubt. As a symbol of evolution, is attributed to the ability to complete the path that leads from thought to matter. The orange has a youthful freshness and energy of disruptive innovations. Red. Red is by definition a coloristic stable dimension. In this color known to all civilizations in the world such as red, is assigned the value of a word used to indicate something reliable and structural. Materiality, strength and endurance are the characteristics of the red, because it is able to take energy from direct and dispose of. In red ripen the intentions cultivated through the blue, green, yellow. Since the maximum stay of color retinal and occupying an important role in the visible spectrum, more than in any other the value of its specificity. Symbolically connected to the square and cube, embodies strength and stability in the relationship with the other colors. With red completes the direct action began with the orange. The path that has allowed us, through the example of the jar of fruit, the relation between color and individual approach, it was concluded with the energy of the digestive red. Of course, all known colors have a psychological impact on us but some more than others, determine the true influences. This depends on their character, degree of brightness and their position within the visible spectrum. It 'been said that the first stage, the man recognizes the clear and dark. The white and black are the polarity by which it moves this oscillation between day and notte.Il white. White is the sum of all the colors of the visible spectrum, is obtained by projection of colored lights and not a mixture of pigments. As has been said, Newton with his prism important experiment has shown that white light of the Sun contains the colors of the rainbow. Psychologically, the white is a color active. Manifest through the white purity and energy. The strength of radiation makes it a color that can conquer space. The white associate the genesis and the leavening of gravity. The knowledge that the white other colors are included, results in acceptance of reassuring mondo.Il black. To say that black is the negativity is simplistic. And 'no doubt the color of greatest gravitational weight. To associate the black darkness and the absence of color. His passivity can also be seen as functional to the exaltation of the other colors. Defined color actor, is the only one able to make an actual cancellation of the body. Black is the exaltation of the word monologue. We dress in black to indicate negativity but not to enhance her face, verbal and expressive area of \u200b\u200bthe body. Sum obtained by subtractive color, has an ambivalent meaning, because while it expresses an undeniable liabilities, the other is transformed into functional support to 'exaltation of parti.Il brown. Other color is decidedly ambivalent brown, against which there is often, wrongly, a negative attitude. The brown in the world of children is the joy of living, healthy and peaceful contact with earthly things: the materiality of lived through the senses. The negativity of brown are related mostly to the ebb and introspection that are generated in old age, when the brown is not perceived as genuine contact with things, is bound to orange off. The result is a sort of closure activity propulsion of Orange, a loss of vigor in touch with reality. A reading of this kind carries the brown to be used in abundance. Older people are often hungry blue and brown when there is no active vitality that the color embodies. The negative aspects are associated with the amount of brown. The occasional use of this color meanings does not necessarily introspective. Brown is often the way we keep in touch with the genuine values \u200b\u200bof life. Emergencies will always occur, not only in the case of brown, exacerbated by the use of certain colors than pink altri.Il. It 's a color live badly compromised. The rose has the distinction of being hated or loved. Its meaning refers to the idea of \u200b\u200bperfection, the use of pink binds to non-random choices, it is never a substitute for another color. The typical characteristics of the pink as the color that refers to the female world, is not sufficient to make him loved by all women, since the acceptance of the pink as adults often depends on the presence or no presence in childhood and adolescence. Studies have shown a degree of importance that you become greedy when this color of rose has accompanied the development of adolescent femininity. In these cases, the pink tends to recall the past, proposing it as a possible solution to the need for delicacy and femininity. The highly symbolic nature places him outside of the choices istintive.Il violet. Not to be confused with purple, violet is the last color of the visible spectrum. This means that after the electromagnetic waves of violet light are manifested in another way. The tan in the summer we are proud of what often is seen as next step to violet color. Violet is associated with the charm of the deep. It 'a mystic color and elusive. Its location in the visible spectrum, near the non-color, enhancing its ethereal characteristics that make the purple color of a specific use and not for mass consumption. In contrast to red as the value of permanent retinal, not impone.Suscita feelings of belonging rather immaterial. The reasons why the purple is rarely used in everyday living in these very characteristics that make him a kind of region, which draw on in times of bisogno.Tra red and violet is therefore includes the transmission of electromagnetic waves in the light which is manifested to us in the form of color. The psychological and physical reactions are directly related to the wavelengths and frequencies of color. It can easily be deduced that the psychological issues stem mainly from the position of the colors in the visible spectrum. Applications of color. It happens to everyone to watch the commercials on television, and the obsessive as they are advertised products will not be lost on anyone. After this trip through the world of vision and color, we can add something extra to what is often a passive holding in relation to advertising. The colors are always in direct relation with the products advertised and often determine its visual language. The primaries are tied to consumer products like toys, soft drinks and small cars. The blue in the language of color serves to highlight the yellows, so it is a good color to bring out the pulp which would be a pale yellow if the package was gray or brown. The blue used alone communicates inner strength, stability. Brown is the relationship we have with the simple things in earth, is used mostly in food wrappers. They would not have any luck with toys and car painted this color. If a bakery needs a warm and soft to stimulate the need for sweets, on the contrary, a butcher uses cool tones to enhance the pink color of the flesh. Red is often used in the packaging of small products, communicates dynamism and energy. Black is given the task of structural soundness, using them often perfumes and other products closely linked to the sphere of the ego.
We and history
Man necessarily continue to be in his early life attitudes. Should continue to eat to live, must find a way to do it and once done the rest. The evolutionary principle of man is not bound to its structure, it is in any case developments accessories. Difficult to see the past history from the point of view which is hosting our eyes. When we told caliamo within this world of books we do with our clothes, we're usually in a comfortable room and dinner is probably already in the oven. What we have is a vision of style "Cinecittà" of life at that time, no smell, no suffering without fear. Art is what most resembles man in its being, as Fidler wrote, "a kind of spiritual struggle for existence, as intimately linked to its original structure. If we want, which is what most powerfully reminds us that we can not live by bread alone. This extraordinary journey accompanying sensations in sensitive matters will become more human and humans, except that every time you sit down to choose the dress for dinner. We, regardless of the role of producers and users of the aesthetic object, we will have to attend the event. Reassuring is that it is human nature not to break the umbilical cord that binds the individual to the origins of his story. As progress is a move forward, the baggage that we carry with us can not fail to be formed from the past. Light or bulky will be our compass to guide us towards our needs primari.La ours is a time when performing the operation, which is able to form the highest degree, carries with it the consequence that the invention suggests the appearance. E 'correct to say that our time rather than being characterized by great art, excellent aesthetics of living. It was in our increasingly Conceptually, what can not be done unless you get in touch with new forms of knowledge so as to approach the complexity of this time. It is true that times are changing rapidly and that if a sculptor now thought to be only a sculptor tends to be absorbed by any form of handicraft. This stage aesthetic that still governs our age, shows a limit, that is precisely what the surface. We recognize this trend have secularized the art of taking her out of the sacred precincts of museums. No coincidence that the aesthetic qualities and are found in worldly fashion. The object designed to perform the function date, born from high culture, tends to approach the mass-market product. We have clear examples in the exasperated by the image of the industrial product. This branch, however, brings down with it the risk of overcrowding, where the art is called upon to escape, not to be thwarted nell'esteticità of thing. Not being able to resurrect a media culture increasingly squeezed between high culture and mass culture, art work that remains is a return to history, from which to start building up the nuovo.Ripensare the world in cultural terms is to place yourself in front of a problem fundamentally ethical. The artistic process as one wishes to refer a profile of intellectuality, it is still an craft. The artist uses to express themselves, the medium of expression and knowledge. What the solutions of our time brought to the fore, is to maintain this balance, above which the artistic intention moves. Ripe this idea of \u200b\u200bculture-memory, there is a need for art to reunite the manual to knowledge. What is imposed is a question of method: in terms of spontaneity can do whatever is in any way obvious that, especially today, the cultural environment does not allow a crossing technique ingenuo.La Action sets out a process that tends to transform knowledge into an act. What was made independently prehistoric art was a way of understanding the cultural vitality of the form as a desire tied to social workers. Although the primitive way linking art to ritual human survive in the stones of our cities, the risk is that this report will be emptied by the rise of new forms of mental backwardness. The stone as a memory of our culture is not only an encounter between man and architecture, is the identity card of the story. Like Marcel Duchamp called for as early as 1960, it is necessary that the artist works on that level of communication in society able to introduce effective transfer of knowledge, not abandoning the role of social education. Art is a tool of consciousness and at the same metaphoric activity has its roots in human consciousness. If the art of today is more complex than that of yesterday, the reasons must be sought in the enlargement of the aesthetic language. If an artist had lived in another time, what I would have had to deal were restricted to the use of techniques and materials. Now that modern technology provides us with the infinity of color images, machines that can do anything, it becomes necessary not to lose orientation to reality that must guide us toward solutions that retrieve the aesthetic sense of the operation viable. The artist is the man who wonders that art seeks the means to condense complex questions that give answers, because more than at present are for the future.
Og adjective and subjective
Objectivity and subjectivity can not be involved in this analysis. The term is subjective, the objective is communication. The history of the late nineteenth century lived this duality through its two main currents: Impressionism and Expressionism. Using themes of art to address the relationship between subject and object is to recognize these two great seasons, having made a real impact on the way of thinking about the aesthetic object, providing the tools to focus in a certain sense, the extreme, the ratio inside outside. The historical reasons that led some artists, later known as "Impressionists" to deal with objective reality, are mainly related to a kind of retreat from the barricades of art movements in Paris. After the intense period of French Realism, the artist stood before a crossroads: continue to live the pathos of civil unrest, or return to the conditions of painting. The Impressionists decided to put the tripod and go to paint reality as it appears, when viewed through the decomposition of color. The Expressionist, still in fact the realist season, using the palette to denounce strongly the pre-industrial discontents of civilization. We are in the presence of the two sides of the same coin. Situation resulted in France as the left bank and right bank of the Seine. While the Impressionists are dealing with the color breakdown of painting an important field of investigation with regard to the relationship between art and science, on the other hand, the expressionist season tends to investigate the human introspection through art. The synthesis of reference is that while Impressionism occupies the sphere of objectivity. Expressionism back to the dramatic feel of the artist in terms of subjectivity. Characteristic of the Impressionists will be the use of pure color to stain, while the expressionist will bind to the line. If this can make us feel that it is neutral, you can not say the same experience suffered in terms of subjectivity. The shift is from the object to subject. Expressionism is an art form that belongs to the culture of empathy, almost nothing is resolved in a positive way because the subject is asked to participate in the drama of its feeling dissonant aspects of reality. The harmony of things is already a completeness of external nature to the individual who can be highlighted by a pictorial objectivity. Impressionism is the spectacle of its nature which is manifested through light, making it vibrant and enjoyable. Impressionism as a fact of pictorial perception means the painting as knowledge and awareness of how to look. Expressionism turns the magnifying glass to the darker aspects of human feeling, and acting. The result is presented in terms of reality desublimation opposite to that of Symbolism. The pathos that moves the composition expression is not a comfortable feeling, it acts as a pure energy moving without mediation on the canvas. The aesthetics of the ugly as diametrically opposed to the impressionistic view, resurrects the primal vitality of graffiti making riappartenere anxiety of the man who does not find its place in the lived reality. Talking array expressionist art is to capture this fundamental attitude that leads a man to live, exasperation, the relationship with himself. The passage implies objectivity to subjectivity in the work a different life: it goes, ultimately, by what means to what it is. Put out the objective interpretation, the art raises a corresponding urgency to the need to identify themselves as independent of giudizio.Oggettività to represent the polarity of subjectivity and feeling, and produce art. As a tendency to add or subtract energy in these two ways of thinking about reality, all the artistic experience is actually included in the subject object relationship. The original language that marks the membership of these two lines is saved permanently in the overall design of the two ways of looking at art.
Horizontal and vertical
History teaches. The Gothic through its program of elevation to God, has used the rising landscape, building churches that grow in height by means of bands arranged in a rhythmic sequence. (Siena, Orvieto, etc.). These extraordinary visual examples that history has given us, highlighting the idea that crises often have the horizontal line. Walter Gropius (architect) in an important publication entitled "integrated architecture" makes quite clear in this topic shows examples speak for themselves, all in favor of this thesis. In the book are shown images of two women of equal size and identical features, dressed Olympian. The first is wearing a costume in horizontal bands, the second vertical bands. What appears more slender is the first, as the horizontal line of the body following the rhythm gives rise to the top. It will be easy for anyone to prove what has been said, doing a simple experiment is to draw up two squares of equal size horizontal and vertical stripes. Placed next to each other at a distance, the square will appear lower than the vertical.
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