GLOSSARY ENTRY (DERIVED FROM QUESTION BELOW) | ||||||
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11:45 Oct 9, 2009 |
German to English translations [PRO] Art/Literary - Art, Arts & Crafts, Painting / Art theory | |||||||
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| Selected response from: Lonnie Legg Germany Local time: 12:08 | ||||||
Grading comment
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Discussion entries: 6 | |
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the value of the shape Explanation: In her art she is going out of the value of the shape, occasionally arising in amateur paintings. |
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the value of the design ( design value) Explanation: just an idea |
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emphasis on form Explanation: or type of composition or interest in shapes/forms |
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conceptual idea (value) Explanation: In her art she uses (starts from) the conceptual ideas of amateurs. Basically it means she tries to work from a certain basis of naivety (naiveté). |
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formal value Explanation: I believe this is what is meant -------------------------------------------------- Note added at 2 hrs (2009-10-09 14:08:13 GMT) -------------------------------------------------- she employs the formal values of an amateur painter But all art, in both third world and western cultural traditions, has decorative qualities, including formal values of composition and colour. The Toronto artist's phrase "mere wall decoration" indicates a lack of understanding of the fact that some art which "decorates" can also inform us with metaphor and beauty. It is not only pain that can teach us something. http://www.wetcanvas.com/Articles/GreggSimpson/painting_is_d... Impressionist wave has made Whistler's work appear retrograde in comparison, another factor in Whistler's diminished standing in the public eye. In fact, Whistler's most original works, the Nocturnes, are closer in spirit to modern art than is Impressionism. The concentration in the Nocturnes on purely formal values of color and line traces a direct descent to the development of abstraction in the early twentieth-century. http://www.glyphs.com/art/whistler/ -------------------------------------------------- Note added at 7 hrs (2009-10-09 18:59:49 GMT) -------------------------------------------------- Another instance where the term is used. Here it is evident that it is the value of colour as colour itself, not what can be expressed with it that is meant by Gestaltungswert. When one speaks of such a way of looking at art or the visual of any kind, it is referred to as formalism, or a concern with the form or the formal. Hence formal values as I suggest. Limiting its interpretation to something vague like 'creativity' or 'expression' is actually worse than vague, it is ascribing to the term a meaning in direct opposition to what is actually meant. Nach der braun- und grautonigen Malerei des 19. Jahrhunderts entdeckten die "Brücke"-Maler Ernst Ludwig Kirchner, Erich Heckel, Karl Schmidt-Rottluff, Max Pechstein und Emil Nolde die Kraft der reinen, ungebrochenen und ungemischten Farbe. Sie befreiten die Farbe von der Aufgabe bloßer Gegenstandsbeschreibung und sahen sie als eigenständigen Ausdrucks- und Gestaltungswert. Durch die Gegenüberstellung kontrastierender Farben steigerten sie deren Intensität. http://www.buchheimmuseum.de/cms/angebote/schulen.php |
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