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      (The)art of impressionism : painting technique & the making of modernity

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      https://www.riss.kr/link?id=M9976835

      • 저자
      • 발행사항

        New Haven: Yale University Press, c2000

      • 발행연도

        2000

      • 작성언어

        영어

      • 주제어
      • DDC

        751.4 판사항(21)

      • ISBN

        0300084021 (hardback : alk. paper)

      • 자료형태

        일반단행본

      • 서명/저자사항

        (The)art of impressionism: painting technique & the making of modernity / Anthea Callen

      • 형태사항

        x, 245 p.: ill. (some col.); 34 cm.

      • 일반주기명

        Includes bibliographical references (p. 220-237) and index.

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      목차 (Table of Contents)

      • CONTENTS
      • Acknowledgements = ⅷ
      • Preface = ⅸ
      • ONE Tradition and Innovation = 1
      • Technical innovation, modernity and the 'history of styles' = 1
      • CONTENTS
      • Acknowledgements = ⅷ
      • Preface = ⅸ
      • ONE Tradition and Innovation = 1
      • Technical innovation, modernity and the 'history of styles' = 1
      • Originality, modernity and facture = 1
      • Artisan, professional and amateur = 3
      • Landscape art, plein airisme and the oil-painted $$\acute e$$tude = 5
      • Plein air and modernity = 7
      • Urban modernity and the rise of landscape painting = 9
      • New methods for old = 10
      • The $$\acute e$$tude and the modern public : the aesthetics of non fini = 11
      • Languages of modern painting : technique and the critics = 12
      • TWO The Blank Canvas = 15
      • Stretchers or strainers = 15
      • Standardised support sizes - a question of economics? = 18
      • Loom-widths = 19
      • Non-standard canvases - square and double-square = 21
      • Prepared paper = 25
      • Academy board or carton = 27
      • THREE Canvas, Texture and Materiality = 30
      • Canvas fabrics = 30
      • Canvas weaves, weights and textures = 31
      • Etude and pochade canvas = 35
      • Twill weaves = 37
      • Basket weaves = 44
      • FOUR Grounds for Oil Painting = 50
      • Size = 50
      • Absorbent grounds = 52
      • The revival of absorbent grounds = 52
      • Oil grounds = 57
      • FIVE Ground Colours and the Paint Layer = 62
      • AN INTRODUCTION TO GROUND COLOURS
      • White versus coloured grounds = 62
      • Grounds and the palette = 65
      • Tinted and coloured grounds = 66
      • Tinted commercial primings = 66
      • Unprimed canvas = 67
      • IMPRESSIONIST GROUNDS AND THE PAINT LAYER
      • Identifying and analysing the Impressionists' grounds = 68
      • Grounds and pictorial luminosity = 70
      • Tinted grounds and colouristic effects = 70
      • White grounds and bright plein air light = 82
      • SIX Light of Reason, Shades of Meaning = 86
      • Clair-obscur and tonal values = 86
      • Clair-obscur and the politics of genius = 88
      • Technical problems of clair-obscur handling = 89
      • The sauce = 91
      • Loading the shadows = 91
      • Lustre = 94
      • SEVEN The Matter of Impressionism = 98
      • Impressionism and modern paint technology = 98
      • Colour grinding = 98
      • Additives and extenders = 100
      • Oil binders and painting media = 100
      • Impressionist colours and colourmen = 103
      • Modern paint containers = 105
      • The matter of painting = 107
      • EIGHT Making Light Modern = 111
      • Studios : wall colours and lighting = 111
      • Industrial lights : from gas to glass = 117
      • Rendering light modern = 122
      • Affecting outdoor light = 124
      • Parasols and plein air painting = 126
      • Outdoor lights : visual effects and pictorial meaning = 130
      • Side light = 131
      • Contrejour, full-face and midday light = 131
      • Gris-clair light = 132
      • NINE The Palette : from Tonal to Spectral = 136
      • Towards a peinture claire = 136
      • Artists' palettes before 1850 = 137
      • Palette layout and pre-mixing = 138
      • The limited palette = 141
      • Green pigments = 146
      • Yellows, oranges, reds, violets and blues = 147
      • Blacks and whites = 149
      • Earth colours and 'broken' colours ; 'coloured' greys = 150
      • The spectral palette = 151
      • TEN 'Artless' Simplicity = 156
      • Painting au premier coup = 157
      • Palettes and paintings = 161
      • The coloured $$\acute e$$bauche = 163
      • Brushwork : coloured taches, scumble and pleine p$$\hat a$$te = 169
      • Brushes = 174
      • ELEVEN The Colour of Modernity = 177
      • Modernity, plein air light and the Impressionist palette = 177
      • Opacity and transparency : 'film' colour = 177
      • Composition, space and flatness ; viewpoint and point of distance = 182
      • Local colour, light and colour temperature = 186
      • Atmosphere, light and air : pictorial unity and the enveloppe = 186
      • TWELVE Framing the Debate = 191
      • Picture frames : setting the parameters = 191
      • Disrupting the boundaries = 193
      • Painting frames = 201
      • Viewing distance = 201
      • Setting the scene : frames and gallery installation = 202
      • Varnish : layers of meaning = 209
      • Varnish effects = 210
      • Tinted varnishes and waxes = 211
      • The politics of varnish = 212
      • Glass versus varnish = 212
      • 'Primitivism', mattness and modernity = 214
      • Glossary = 217
      • Notes = 220
      • Bibliography = 232
      • Index = 238
      • Picture Credits = 245
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