97 research outputs found

    Paintings and their implicit presuppositions: High Renaissance and Mannerism

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    All art historians who are interested in questions of "styles" or "schools" agree in identifying a High Renaissance school of Italian painting. There is, however, a disagreement, which has seemed nonterminating, regarding Mannerism: Is it another distinct school or is it merely a late development of the Renaissance school? We believe that this disagreement can be terminated by distinguishing questions of fact about paintings from questions about the definitions of schools. To this end we have had two representative subsets of paintings--one earlier, one later--rated on four of the dimensions of implicit presuppositions that we have introduced in other Working Papers. When the paintings are scaled in this way a very distinct profile emerges for the earlier, or Renaissance, paintings. In contrast, the later, or Mannerist, paintings are so heterogeneous that we conclude that they are best described as deviations from the Renaissance profile, rather than a separate school. These results are not unimportant--at least for art historians. But they are more important methodologically inasmuch as the procedures applied here can be used in classifying and distinguishing from one another all kind of cultural products

    The Portraiture of Women During the Italian Renaissance

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    From research, it is clear that gender is one of the greatest influences on Italian Renaissance portraiture. Gender affects multiple aspects of portraiture including its function, position of sitter, emphasis of costume, and the degree to which a sitter is idealized. Until recent years, art historians performed little research on the subject of women as seen in Italian Renaissance paintings. In the 1970s, scholars began to assess the representation of women from this time period using Renaissance treatises, recorded debates, and paintings. This study of the portraiture of women during the Italian Renaissance seeks to interpret the function of portraiture, the developments of the practice, and the idealization and profile position of the sitter as they relate to the status of women in Italian Renaissance society. Data to conduct this study were collected using literature by art historians on the subject and by analyzing artwork on display at the Metropolitan Museum of Art in the exhibition “The Renaissance Portrait: From Donatello to Bellini” (December 21, 2011–March 18, 2012). Writings attributed to authors of Renaissance Italy were also evaluated in order to parallel the portrayal of women in Italian Renaissance portraiture to the social status and expectations of women in an Italian Renaissance society

    Review of \u3ci\u3eBack to Nature: The Green and the Real in the Late Renaissance\u3c/i\u3e, by Robert N. Watson

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    Robert Watsons Back to Nature: The Green and the Real in the Late Renaissance identifies the Renaissance as the moment of an absolutely fundamental change in its consensual interpretation of reality (41). Fear that material reality obscures true knowledge ( things getting in the way of the Word ) gave way to concern that words and other forms of human perception were key impediments to truth or knowledge ( words getting in the way of Things ) (41). This decentering of medieval religious epistemology made itself felt across the arts and sciences of late Renaissance culture and brought with it a compensatory need to experience things in and as themselves. Writers and painters responded to the sense that man is both the means and impediment to true knowledge by evoking the possibility of a return to some stable reality, an origin in nature. After an introduction on the art-nature debate in Shakespeare and Spenser, Watson pursues the philosophical implications of this turn to nature in two chapters on Shakespeare (As You Like It, The Merchant of Venice), three on seventeenth-century English poetry, and two on seventeenth-century Dutch painting. Whether in Shakespearean comedy, Jacobean lyric poetry, or Dutch landscape painting, Renaissance culture embraced the green as its hope for returning to the real. In Watson\u27s ambitious and wide-ranging study, the ungrounding of epistemology becomes the founding of modern ecology. Back to Nature stands alongside two classics that have, from opposed perspectives, defined green studies in the Renaissance: Harry Berger Jr.’s Second World and Green World (1988) and Carolyn Merchant\u27s The Death of Nature (1980). Berger\u27s model of the green world is, among other things, a celebration of secular humanism that focuses on the human implications of how man constructs his world. Merchant\u27s ecofeminist approach documents the ravages that those human inventions and interventions have imposed on nature. Watson offers us an account that recognizes how these traditions have, historically, been two sides of the same coin. Back to Nature makes a significant contribution to recent scholarship that sees art and poetry as integral to the knowledge cultures of the seventeenth century. Rather than celebrating the triumphs of new knowledge, Watson pursues the deep uncertainties that came with such knowledge. Much of the literary material that Watson covers is familiar territory; what makes his readings vibrant and compelling is his ability to draw out the epistemological inquiries that persist across these works. For Watson, aesthetic works are not commentaries on philosophy but instances of it: Leontes\u27 behavior is philosophically derived (60); Iago is a kind of Cartesian thought experiment (55). Shakespeare\u27s plays stand out not because they return us to nature but because they hold out a belief in the intuitions and analogies by which human minds endure their imperfect contact with the universe (288)

    Juan de Juanes y la capitulaciĂłn del Retablo del Gremio de Perayres de Valencia. Apuntes sobre su intrahistoria

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    Damos a conocer las capitulaciones de 1542 firmadas por Juan de Juanes: el retablo del gremio de Perayres de Valencia, de 1542, para su capilla en la iglesia parroquial de San Nicolás, donde se encuentra con diversas modificaciones.We announce a new documentary contribution to Joan de Joanes’s artistic historiography in Valencia: the contract of the capitulations from 1542 of the well-known altarpiece of the Perayre’s guild for its chapel in the parish church of Saint Nicholas, where it is located as well as its several refurbishments

    Recent Acquisitions

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    Recent acquisitions of La Salle University Art Museum, September - October 1989https://digitalcommons.lasalle.edu/exhibition_catalogues/1055/thumbnail.jp

    Softmax Bias Correction for Quantized Generative Models

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    Post-training quantization (PTQ) is the go-to compression technique for large generative models, such as stable diffusion or large language models. PTQ methods commonly keep the softmax activation in higher precision as it has been shown to be very sensitive to quantization noise. However, this can lead to a significant runtime and power overhead during inference on resource-constraint edge devices. In this work, we investigate the source of the softmax sensitivity to quantization and show that the quantization operation leads to a large bias in the softmax output, causing accuracy degradation. To overcome this issue, we propose an offline bias correction technique that improves the quantizability of softmax without additional compute during deployment, as it can be readily absorbed into the quantization parameters. We demonstrate the effectiveness of our method on stable diffusion v1.5 and 125M-size OPT language model, achieving significant accuracy improvement for 8-bit quantized softmax

    In-between Images: Where is the Ground?

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    Joan Jonas’s large survey exhibition at Tate Modern (2018) highlighted the contemporary relevance of this pioneer of performance art in her juxtapositions of analogue and virtual methods. Her process often relies on a ground or stage where physical remnants of her performances are tangible. Drawing from these insights and exploring figure-ground relations through a selection of works by various artists and filmmakers, this article aims to challenge Hito Steyerl’s polemic that we might not need a ground within contemporary virtual image worlds. The consideration of case studies will be informed by philosophical reflections as to the relevance and scope of the idea of ground within the post-digital era

    The Visual Intellect

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    A nonverbal power of the mind attending sheer image, the visual intellect is usually associated with the modern critical and creative sensibility. But it can and should inform our aesthetic expectation in reading the art of the past

    Toward a theory of the history of representational technologies

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    L'article est paru la première fois dans Iris, no 2 (1984), p. 111-125, et est mis en ligne avec l'aimable autorisation de la revue Iris
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