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Luxe, Calme et Volupté (French pronunciation: [lyks kalm e vɔlypte]) is a 1904 oil painting by the French artist Henri Matisse.Both foundational in the oeuvre of Matisse and a pivotal work in the history of art, Luxe, Calme et Volupté is considered the starting point of Fauvism. [1]
Henri Émile Benoît Matisse (French: [ɑ̃ʁi emil bənwa matis]; 31 December 1869 – 3 November 1954) was a French visual artist, known for both his use of colour and his fluid and original draughtsmanship.
An agnostic, but an intensely spiritual man, Malraux maintained that what was needed was an "aesthetic spirituality" in which love of 'Art' and 'Civilization' would allow one to appreciate le sacré in life, a sensibility that was both tragic and awe-inspiring as one surveyed all of the cultural treasures of the world, a mystical sense of ...
Art criticism includes a descriptive aspect, [3] where the work of art is sufficiently translated into words so as to allow a case to be made. [2] [3] [7] [11] The evaluation of a work of art that follows the description (or is interspersed with it) depends as much on the artist's output as on the experience of the critic.
In 1862, Henri entered the Lycée in Nancy (now renamed the Lycée Henri-Poincaré in his honour, along with Henri Poincaré University, also in Nancy). He spent eleven years at the Lycée and during this time he proved to be one of the top students in every topic he studied.
"Analysis Situs" is a seminal mathematics paper that Henri Poincaré published in 1895. [1] Poincaré published five supplements to the paper between 1899 and 1904. [2]These papers provided the first systematic treatment of topology and revolutionized the subject by using algebraic structures to distinguish between non-homeomorphic topological spaces, founding the field of algebraic topology. [3]
Art for art's sake—the usual English rendering of l'art pour l'art (pronounced [laʁ puʁ laʁ]), a French slogan from the latter half of the 19th century—is a phrase that expresses the philosophy that 'true' art is utterly independent of all social values and utilitarian functions, be they didactic, moral, or political.
The Nightmare (1781), by Johann Heinrich Füssli, Detroit Institute of Arts, Detroit. Symbolism, understood as a means of expression of the "symbol", that is, of a type of content, whether written, sonorous or plastic, whose purpose is to transcend matter to signify a superior order of intangible elements, has always existed in art as a human manifestation, one of whose qualities has always ...