It's an incremental weave structure that is very depictive because it looks like a real weave.
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The relationship of materials to site in the early works skews their reading toward the socially engaged, and demonstrates one way that abstract works, without relying on depictive imagery or narrative, can carry content of sociohistorical or even political import.
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Nor do they ensure a reference relation. Wollheim introduces the concept of 'seeing-in' to qualify depictive resemblance.Wollheim (1987), pp. 59-61. Seeing-in is a psychological disposition to detect a resemblance between certain surfaces, such as inkblots or accidental stains, etc.
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He saw in the Pastoral symphony how music might be depictive without being naïve, in the symphonic scherzi how the delicate Queen Mab might best be evoked, and in the 9th symphony how effective a choral finale could be. He sensed Beethoven's flexibility with regard to number of movements and the performing force.
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The appeal to broader psychological factors in qualifying depictive resemblance is echoed in the theories of philosophers such as Robert Hopkins,Hopkins, Robert (1998), Picture, Image, and Experience (Cambridge: Cambridge University Press). Flint SchierSchier, Flint (1986), Deeper Into Pictures (Cambridge: Cambridge University Press). and Kendall Walton.Walton, Kendall (1990), Mimesis as Make-believe (Cambridge, Mass.
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Depiction is reference conveyed through pictures. Basically a picture refers to its object through a non-linguistic two-dimensional scheme. A picture is not writing or notation. A depictive two-dimensional scheme is called a picture plane and may be constructed according to descriptive geometry where they are usually divided between projections (orthogonal and various oblique angles) and perspectives (according to number of vanishing points).
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A secondary predicate is a (mostly adjectival) predicative expression that conveys information about the subject or the object but is not the main predicate of the clause. This structure may be analysed in many different ways. These may be resultative, as in (1) and (2) or descriptive (also called "depictive") as in (3). :(1) She painted the town red :(2) The film left me cold :(3) Susan walked around naked.
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Claims for innate dispositions in sight are also contested. Gombrich appeals to an array of psychological research from James J. Gibson, R. L. Gregory, John M. Kennedy, Konrad Lorenz, Ulric Neisser and others in arguing for an 'optical' basis to perspective, in particular (see also perspective (graphical). Subsequent cross-cultural studies in depictive competence and related studies in child-development and vision impairment are inconclusive at best. Gombrich's convictions have important implications for his popular history of art,Gombrich, E. H. (1995), The Story Of Art 16th ed.
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Dozens of factors influence depictions and how they are represented. These include the equipment used to create the depiction, the creator’s intent, vantage point, mobility, proximity, publication format, among others, and, when dealing with human subjects, their potential desire for impression management. Other debates about the nature of depiction include the relationship between seeing something in a picture and seeing face to face, whether depictive representation is conventional, how understanding novel depictions is possible, the aesthetic and ethical value of depiction and the nature of realism in pictorial art.
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The public's interest in and sometimes repulsion to abstract art was duly noted by some of the more creative photographers of the period. By 1910, in New York Alfred Stieglitz began to show abstract painters like Marsden Hartley and Arthur Dove at his 291 art gallery, which had previously exhibited only pictorial photography. Photographers like Stieglitz, Paul Strand and Edward Steichen all experimented with depictive subjects photographed in abstract compositions. Man Ray – Lampshade, 1920 The first publicly exhibited images that are now recognized as abstract photographs were a series called Symmetrical Patterns from Natural Forms, shown by Erwin Quedenfeldt in Cologne in 1914.
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Deacon Mushrat speaks in blackletter, P.T. Bridgeport speaks in circus posters, Sarcophagus MacAbre speaks in condolence cards, "Mr. Pig" (a take on Nikita Khrushchev) speaks in faux Cyrillic, etc. In the famous French comic series Asterix, Goscinny and Uderzo use bubbles without tails to indicate a distant or unseen speaker. They have also experimented with using different types of lettering for characters of different nationalities to indicate they speak a different language that Asterix may not understand; Goths speak in blackletter, Greeks in angular lettering (though always understood by the Gaulish main characters, so it is more of an accent than a language), Norse with "Nørdic åccents", Egyptians in faux hieroglyphs (depictive illustrations and rebuses), etc.
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Messianic Seal The Messianic Seal of Jerusalem is a symbol for Messianic Judaism and Christians. The symbol is seen as a depiction of the Menorah, an ancient Jewish symbol, together with the Ichthys, an ancient depictive representation of Christian faith and the community of Jesus followers, creating a Star of David at the intersection. The Messianic Seal is not the only symbol of Messianic Judaism, which has other graphical representations such as the Menorah and Star of David, the cross in the Star of David, among others. There is an ongoing dispute as to whether or not the seal dates from the 1st century AD, or if it is a 20th-century invention.
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Classicism is a recurrent tendency in the Late Antique period, and had a major revival in Carolingian and Ottonian art. There was another, more durable revival in the Italian renaissance when the fall of Byzantium and rising trade with the Islamic cultures brought a flood of knowledge about, and from, the antiquity of Europe. Until that time, the identification with antiquity had been seen as a continuous history of Christendom from the conversion of Roman Emperor Constantine I. Renaissance classicism introduced a host of elements into European culture, including the application of mathematics and empiricism into art, humanism, literary and depictive realism, and formalism. Importantly it also introduced Polytheism, or "paganism", and the juxtaposition of ancient and modern.
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The linear form of African sculpture and the depictive humanism of the figurative Renaissance painters informed his work. Working during that fertile period of “isms,” Cubism, Dadaism, Surrealism, Futurism, Modigliani did not choose to be categorized within any of these prevailing, defining confines. He was unclassifiable, stubbornly insisting on his difference. He was an artist putting down paint on canvas creating works not to shock and outrage, but to say, “This is what I see.” More appreciated over the years by collectors than academicians and critics, Modigliani was indifferent to staking a claim for himself in the intellectual avant-garde of the art world. One can say he recognized the merit of Jean Cocteau’s proclamation: “Ne t'attardes pas avec l'avant-garde” (“Don’t wait with the avant-garde”).
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An erudite researcher of the laws of sight and a master of drawing, F. Vagnetti painted principally oil and pastel pictures. After an early period when he flanked the chromatic researches of Emile Claus and Georges Seurat, he experienced a personal pointillism in which the stroke's refinement and chromatic science join to an astonishing depictive capability. Some of his principal works are monumental landscapes ("Tra le querce" 1915, "Tramonto al Palatino"1924), portraits of a deep psychological sharpness ("Giovanni Giolitti" 1928, only existing portrait of this statesman; "Anima mite" 1923; "L’ingegnere Dino Chiaraviglio" 1938, "La mia Mamma cieca" 1938), large compositions of familiar or social characters ("Moti proletari" 1904, "Dolore antico" 1921, "Sosta dolorosa" 1948). In 1922 he painted three monumental portraits of the Italian Sovereigns for the Governmental Palace of Zara; in 1923 he carried out a "Trittico francescano" in the Church of S. Polo near La Verna (in Tuscany).
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