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Photography, Painting, and the Spirit World

Photography, Painting, and the Spirit World

Photography, Painting, and the Spirit World Laura Bench Follow this and additional works at: http://scholarworks.rit.edu/theses This Thesis is brought to you for free and open access by the Thesis/Dissertation Collections at RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact ritscholarworks@rit.edu.

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Photography as Gaze, Painting as Caress

Photography as Gaze, Painting as Caress

9 had tasted the truth of the camera image it demanded the same of art.” 38 In his 1851 pamphlet lionising the Pre-Raphaelites, Ruskin insisted that art should aspire to be a perfect imitation of nature, “down to the smallest detail,” “rejecting nothing, selecting nothing, and scorning nothing,” 39 and Walter Thornbury attributed this gospel, and much of the work of the Pre- Raphaelites, to the effect of photography. 40 Contemporaneously, France was experiencing a movement towards extreme realism in painting in which the democratising influence of photography was unmistakable. As Benjamin H.D. Buchloh has noted, “In the pre-Revolutionary (feudal and bourgeois) period, both painting and literature set themselves the aim of differentiating individual people and events from their general context and concentrating attention on them,” but photography could not help but depict “those who used to be regarded by the pre-revolutionary consciousness as background.” 41 Championed by Courbet, Millet and Corot, the new movement violently rejected the Romanticism that had previously dominated French Academic painting, in favour of intensely detailed scenes of domestic labour, farm work and other depictions of the ‘common man.’ Despite these attempts to reconcile traditional Academic painting with the new photographic consciousness, Scharf has described this relationship “between naturalistic art and photography” as “untenable.” 42 Indeed, at the very end of the 19th century this homogeneity would, perhaps by sheer necessity, explode into the panoply of styles that made up Modernism. However, despite its various work-arounds, Modernism did not dissipate the tension inherent in this relation, and I will here discuss one aspect of its persistence, in the work of artist Gerhard Richter. If photography was invented by artists, for the application of artists, Richter is one of the artists it has served best.
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An individual analysis of the photography-painting relationship

An individual analysis of the photography-painting relationship

This Thesis is brought to you for free and open access by the Thesis/Dissertation Collections at RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact ritscholarworks@rit.edu. Recommended Citation White, Lawrence, "An individual analysis of the photography-painting relationship" (1970). Thesis. Rochester Institute of Technology.

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A comparative visual analysis of nineteenth-century Iranian portrait photography and Persian painting

A comparative visual analysis of nineteenth-century Iranian portrait photography and Persian painting

In sum, as we have seen, there is a chronological evolution from the traditional Iranian pose to a more westernized pose, chiefly symbolized by the use of chairs in the painter’s studio and, later, in the photographer’s studio. The plain of the painting rises from a low one to an upper one in order to be able to fully depict the person sitting on the chair. This transition happens over a longer period of time in painting than in the case of photography. The first chairs to be found in Qajar painting portraiture date from the beginning of the eighteenth-century. Before this date, only the kneeling pose is to be found. This traditional Persian pose widely used in miniature and Qajar painting, can be described as a person kneeling on the floor, on a carpet, and normally with a cushion at his/her back. The hands rest relaxed on the sitter’s lap and quite often grapple some kind of typical object: tasbih (set of coral prayer beads), mace (in the case that the person depicted is one of the Qajar rulers), a book, a handkerchief, etc. Interestingly enough, later on, after 1800, in Qajar portrait painting, only men were sitting on chairs or on a throne if the person depicted is one of the Qajar rulers. Women were kneeling, standing or performing acrobatics. A possible explanation of this difference is that in the portraits of men, the sitters were real, belonging mostly to the highest levels of court society, whereas those of women were idealized portraits of anonymous women, more exactly of a prototype of women that took part in the court as entertainer. Around the same time, the standing pose is also to be found, but is not as widely used as the sitting pose. There is clearly a different treatment of female and male portraits. Gesture reflects differences of gender as well as of class. Women portraits in the Qajar era were
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Virtual Nature: A practice led enquiry into the relationship between painting and vernacular photography through the process of the painted monotype

Virtual Nature: A practice led enquiry into the relationship between painting and vernacular photography through the process of the painted monotype

Many painters however embraced the medium either openly or in more clandestine ways, seeing its potential, like its predecessors the camera obscura and camera lucida, as a tool to help negotiate the image. 18 At the same time that photography’s pictorial authority for description began to displace painting’s traditional role of depicting resemblance, the Impressionists and later generations of artists explored new ways to make images “where photography could not follow...” 19 Freed from the burden of strict representation, they rejected traditional approaches to finish and subject matter. They adopted a more painterly approach to surface, investigated colour relationships and observed the world around them. Less value was placed on traditional representation and greater significance was given to the experience of vision and the imagination. Ironically, there is much evidence to suggest that many of the Impressionists and later artists used photographs, but the compulsion to counteract photography’s representational power transformed the history of Modern Art. 20
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Aura, craft and labour : the critical dialogue between photography and painting

Aura, craft and labour : the critical dialogue between photography and painting

Redressing the negativity that had become endemic in artistic labour thus required artists to question the nature of art itself. But if an individual were simply exploring the properties specific to a given medium, as was the case with the self-referential project championed by Greenberg, they would never achieve this goal, for to work solely within a single discipline was to be bound by the traditions that surrounded it. As Kosuth put it, the word “art” is a general term, whereas words such as painting are “specific”. Hence the subject who questions the nature of painting alone will be unable to question the nature of art because, to quote Kosuth, painting denotes a “kind of art” and not a totality of artistic practices. 67 Consequently, artists sought to distance themselves not only from the techniques that achieved dominance in the age of Abstract Expressionism, but also from the materials through which the genre achieved its success. The final passage in a manifesto published to accompany a demonstration performed at the 1967 Salon de la Jeune Peinture – an event in which four artists, Daniel Buren, Olivier Mosset, Michel Parmentier and Niele Toroni, each selected a simple geometric motif and then, working in public view from 11: am until 8: pm, produced a series of paintings identical to their chosen design – encapsulates this opposition to artistic convention. Significantly, the participating artists claimed that as painting was used to reveal the aesthetic qualities of, amongst other things, flowers, the female form, erotica, everyday life, art, the Dadaist
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Maria Magdalena Campos-Pons Photography, painting and performance 5 October 2007

Maria Magdalena Campos-Pons Photography, painting and performance 5 October 2007

This piece from 1991, I believe, was shown in the 4 th Havana Biennale. I was already living in Canada, but I was invited to participate in the Biennale, and its theme was something in celebration of Columbus. At that moment I felt very determined about how I was going to celebrate the arrival of Columbus and the discovery of the New World and what that means to the population of where my ancestors came from. So I had in my mind this particular shape of the slave ship and I used the image to construct this piece. Now this piece is not necessarily what could be placed in the context of sculpture, but I was using material such as marble and wood and carving, and I considered it more in the tradition of a bas-relief. I was interested, of course, in introducing the faces and the narrative and the stories of this population; it is a story that has not much presence in the context of contemporary visual language in the Western world.
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Caroline D Larsen - My Travels in the Spirit World (1927)

Caroline D Larsen - My Travels in the Spirit World (1927)

worn on earth, just as their faces carry still the plain stamp of earthly lusts and weaknesses. The dark cloud that rests on their faces seems heavily charged with the despair and malice of their evil deeds. I entered a house and found that room led on to room in a straight and seemingly endless line. Every room was the home of a spirit when not seeking the old haunts on earth. Many of the dwellers were strange and terrible. In one room sat the squat and ugly form of a woman who on earth had kept a house of ill fame. She had been the ruin of the body and soul of many an unfortunate girl. Now, though in the Spirit World, her one horrible desire was to continue her former infamous career. She could still influence young girls to go astray and lead them to a gutter life, or she could take possession of them and compel them to ruin. As I passed she appeared to be sitting before a mirror painting her face. She was wearing the style and form of dress and finery of her profession on earth, and her face was dark with vulgar malice. She gave me a vicious
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Photography After Photography

Photography After Photography

VIII How will western culture, whose pictorial tradition is essentially based on analogue / analogical pictorial worlds, be able to refer in future to a primarily numerical presence set down in images and writing, in sounds and forms? One of the myths of the origins of painting contains the idea of a technically analogical image. According to Pliny the Elder, Dibutades, daughter of the potter of the same name, draws the outline of the shadow of her departing lover which had been cast onto the wall by the candlelight. This act of turning to the future memory is undertaken at the price of a turning away from the sight of the present: Dibutades turns her gaze away from her lover and bends over to draw the outline of his shadow on the wall. Sciagraphy, a form of drawing based on the negative, divides the moment up into the moment of its loss and the moment projected into the future when it will be recalled.
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Painting

Painting

In Western cultures oil painting and watercolor painting have rich and complex traditions in style and subject matter. In the East, ink and color ink historically predominated the choice of media with equally rich and complex traditions. The invention of photography had a major impact on painting. In the decades after the first photograph was produced in 1829, photographic processes improved and became more widely practiced, depriving painting of much of its historic purpose to provide an accurate record of the observable world. A series of art movements in the late 19th and early 20th centuries—notably Impressionism, Post-Impressionism, Fauvism, Expressionism, Cubism, and Dadaism—challenged the Renaissance view of the world. Eastern and African painting, however, continued a long history of stylization and did not undergo an equivalent
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Connecting with the Spirit World

Connecting with the Spirit World

Here’s a technique to link and blend with Spirit: Lesson 2 (continued) Imagine your aura expanding and reaching out to those on the Other-Side. Ask them to step closer and blend with your aura. They’re not “possessing” your body, but getting close enough to you so that you can see, hear, and feel the information they are trying to communicate. Those in Spirit don’t suffer from the conditions they had in the physical world, but giving the evidence of how they passed is important. I will feel if they suffered from COPD before passing, or I will feel the chemo they endured while fighting their cancer. Some- times Spirit draws so close that I take on their mannerism, and I’ve delivered messages that included limping and Irish Step Dancing!
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World Premiere Performance 2 June 2017 - Marc Yeats, william mumler’s spirit photography (2016)

World Premiere Performance 2 June 2017 - Marc Yeats, william mumler’s spirit photography (2016)

Furthermore, he wrote: Emerson seems to use the great definite interests of humanity to express the greater, indefinite, spiritual values—to fulfill what he can in his realms of revelation. Thus, it seems that so close a relation exists between his content and expression, his substance and manner, that if he were more definite in the latter he would lose power in the former,—perhaps some of those occasional flashes would have been unexpressed— flashes that have gone down through the world and will flame on through the ages—flashes that approach as near the Divine as Beethoven in his most inspired moments—flashes of transcendent beauty, of such universal import, that they may bring, of a sudden, some intimate personal experience, and produce the same indescribable effect that comes in rare instances, to men, from some common sensation. In the early morning of a Memorial Day, a boy is awaked by martial music--a village band is marching down the street--and as the strains of Reeves’ majestic Seventh Regiment March come nearer and nearer--he seems of a sudden translated--a moment of vivid power comes, a consciousness of material nobility--an exultant something gleaming with the possibilities of this life--an assurance that nothing is impossible, and that the whole world lies at his feet. But, as the band turns the corner, at the soldier's monument, and the march steps of the Grand Army become fainter and fainter, the boy's vision slowly vanishes-his 'world' becomes less and less probable-but the experience ever lies within him in its reality.
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Spirit World (Spiritual Realm)

Spirit World (Spiritual Realm)

My Realm appeals to those who perceive, live and learn with more than just their carnal minds, those who have their spirits activated and know intuitively that their existence goes beyond the finite. (2012:128) People who think that the spiritual and the Spirit World are boring, have got the biggest surprise ever coming! Much of the magic and secrets of the Spirit World are discovered in life by paying attention to the details and to what is being said and written between the lines, hearing the unspoken words and what’s really being said. It’s the message that is deciphered by those who are interested enough in what’s going all around them to ask the question, “What does the Creator mean by this?” And trust Me, there’s always a meaning. The deeper meaning of everything is that there is a deeper meaning in just about everything! (2013:97)
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The Spirit World of The Blithedale Romance

The Spirit World of The Blithedale Romance

The Spirit World of The Blithedale Romance Edward Stone Follow this and additional works at: https://digitalcommons.colby.edu/cq This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. For more information, please contact mfkelly@colby.edu.

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Learn To Connect To The Spirit World

Learn To Connect To The Spirit World

It’s hard to do a reading for yourself because it’s difficult to differentiate between what are your own thoughts and desires and what’s real spirit communication. It’s always wise to seek out another medium to do a reading for you, but at the same time, always be open to receiving signs from your loved ones. Dreams are the most common way those in Spirit will communicate with you, but also look out for shiny pennies and dimes, a particular song that you keep hearing over and over, the scent of your mother’s perfume in the house, or a message on the license plate on the car in front of you in traffic. Nature is also big with those on the Other-Side, so be aware of everything around you – flowers blooming in the dead of winter, a hawk or owl sitting on your fence, finding a heart shaped rock on the beach or an abundance of butterflies, rainbows or ladybugs.
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The Role of Women in Victorian-era Spirit Photography: A New Narrative

The Role of Women in Victorian-era Spirit Photography: A New Narrative

78 Stuart – a woman for whom there are no appropriately named birth, death or marriage records – exists only between the years 1859-67. The very real possibility, what I have come to believe is the near certainty, that the two women were one and the same is not especially convenient for my research. 179 It raises a whole host of questions about why Mrs. H. F. Stuart may have been a fiction. Was she concocted so that Hannah, a young mother of two, could struggle to support the small family under a name that could protect her from a “problem” husband or allow her to navigate nineteenth-century society’s negative perceptions of separated women until such time as she was able to file for divorce based on desertion? Was there a need to avoid the name Mrs. Hannah Turner for some reason that has not yet been discovered? In making the suggestion that some form of shelter was being sought through Hannah’s use of a false identity, how does one reconcile this with a certain boldness in the taking up, in public, of a profession such as hairwork manufacturer under any name, given the evident rarity of named female producers at the time? And, after presumably having achieved some security or social credibility through her marriage through her 1864 marriage to William H. Mumler, why would Hannah have continued to use the Stuart name to advertise her photographic production, while also – in 1865 – advertising herself under her own name as a clairvoyant? Since she had been making photography under the Stuart name, it would make sense from a business perspective to maintain such an identity with her clientele, but then why risk confusing the issue with a second identity? Perhaps some form of eventual liberation from the lie was being constructed: shortly thereafter, Mrs. H. F. Stuart unceremoniously fades
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WHITE PAPER THE CANON EOS 40D CAMERA: THE SPIRIT OF PHOTOGRAPHY

WHITE PAPER THE CANON EOS 40D CAMERA: THE SPIRIT OF PHOTOGRAPHY

The new Canon EOS 40D welcomes users to the next generation of Digital SLR photography by continuing the Canon traditions of exceptional performance, quality and value. The EOS 40D has a newly-enhanced 10.1 megapixel CMOS sensor that takes advantage of Canon-developed manufacturing techniques to achieve fine detail, high image quality, and low noise. The output from the sensor is converted to 14 bits, rather than 12, for finer color gradation. Highlight Tone Priority improves exposures in difficult lighting conditions.

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Ireland Photo Tour Counties Mayo & Donegal Photography & the Creative Spirit

Ireland Photo Tour Counties Mayo & Donegal Photography & the Creative Spirit

ancient ruins spanning from stone age monuments, up to the castles, forts, and church monuments of more recent times. With its small hamlet, it remains the heart of County Donegal’s shrinking Gaeltacht region, with strong rural Irish flavor and brightly painted row houses. Your guides will need to take in to account the weather and local events in the area, but rest assured they will fill your days with photography, leaving time to learn from your photo leaders and local Irish guide. Overnight in Donegal Town four evenings. (B, B D, B, B)

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An Attractive Interpretation Of The Creative World In Monumental Painting

An Attractive Interpretation Of The Creative World In Monumental Painting

In his works, the main criterion was not philosophical observation, but a deeper understanding of world sin by symbolic symbols. In his work, "Charm of Life", religious ideas were also put forward. The artist gave a deep philosophical meaning to the work. That is, man comes into the world with a dry hand and goes away. What he brings with him is only his good deeds. This can be seen in the book The Last Space. It shows that one second of human life passes through a cystic stroke. He is said to cross the Sirat Bridge when he travels to the other world 8 .
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The world of logic and logic of the world: logos, nature and spirit in Hegel

The world of logic and logic of the world: logos, nature and spirit in Hegel

Se trata del saber absoluto como saber de lo otro o naturaleza, donde por tanto el retorno de la idea en sí misma se supone pero no aparece explícitamente, pues solo se presenta como u[r]

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