BETWEEN CONSIDERATION, PERCEPTION AND RHETORIC. "DESIDERATUM" AND "CONVICTIONIS" IN THE ESTABLISHMENT OF THE PLASTIC STATEMENT WITHIN THE REGISTER OF ENGRAVING.
The fact that the methods were so artistic-creative that they had the ability to build a diverse and conclusive type of communication with an ability to multiply and disseminate which worked as a catalyst in the social framework (outside the residences of the nobility or of the museums) generated a...
| Publicado en: | REVART: Specialized Review of Theory & Critique of Arts no. 34; pp. 86 - 92 |
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| Formato: | Artículo |
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EDITURA Eurostampa
2020
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=147376030&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 147376030 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 18411169 B8GY jtl: REVART: Specialized Review of Theory & Critique of Arts issn: 18411169 maglogo: N pubinfo: dt: 2020 iid: 34 pid: 63362 pub: EDITURA Eurostampa artinfo: ui: 147376030 ppf: 86 ppct: 6 formats: fmt: @attributes: type: P size: 2.5MB tig: atl: BETWEEN CONSIDERATION, PERCEPTION AND RHETORIC. "DESIDERATUM" AND "CONVICTIONIS" IN THE ESTABLISHMENT OF THE PLASTIC STATEMENT WITHIN THE REGISTER OF ENGRAVING. aug: au: CARATĂNASE, RĂZVAN - CONSTANTIN affil: National University of Arts Bucharest su: Engraving Communicative competence Sensory perception Catalysts Rhetoric sug: subj: Engraving Communicative competence Sensory perception Catalysts Rhetoric keyword: conviction desideratum engraving perception plastic statement ab: The fact that the methods were so artistic-creative that they had the ability to build a diverse and conclusive type of communication with an ability to multiply and disseminate which worked as a catalyst in the social framework (outside the residences of the nobility or of the museums) generated a strong conviction according to which the engraving was categorized as having a plausible relevance. Undoubtedly, the engravers expressed themselves in various types of (visual) messages-expressions, through an approximately wide range of plastic statements, by constituting and considering the "graphic alphabet" as having a real potential of reliability for the particularities of individual artistic methods and they were under the sign of the receptive interest and at the same time with an ardour for the technical order, increasing both their own artistic repertoire and the general one of the considerable cycles of creations. As far as the thematicdesiderata are concerned for the artists-engravers of the time, we can report that they were positioned under the sign of apophthegma, sometimes reaching the level of monomonia, concepts-exercises that could not be included only in the frame of a certain painting, but rather were themes that required multiplication in series or were pretending intensifications and edifying detentions, which were identified by engraving, as being the best solution. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of REVART: Specialized Review of Theory & Critique of Arts is the property of EDITURA Eurostampa and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: REVART: Specialized Review of Theory & Critique of Arts holder: EDITURA Eurostampa dt: @attributes: year: 2020 holdings: @attributes: islocal: N |
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