Inhaltszusammenfassung

For premodern art, mineral materials, with their variations of color and form, were a constant source of inspiration. Numerous reflections on the visual qualities of stone structures; observations on the advantages and disadvantages of stone or terracotta as working materials; pictorial inventions and techniques devoted to painterly imitations of stone: together, they circumscribe a broad field of artistic activity of overarching relevance to sculpture, painting, and architecture, and moreove...For premodern art, mineral materials, with their variations of color and form, were a constant source of inspiration. Numerous reflections on the visual qualities of stone structures; observations on the advantages and disadvantages of stone or terracotta as working materials; pictorial inventions and techniques devoted to painterly imitations of stone: together, they circumscribe a broad field of artistic activity of overarching relevance to sculpture, painting, and architecture, and moreover both practically as well as theoretically. Meanwhile, this complex of issues has yet to be adequately explored with regard to its capacity for linking diverse media. Four exemplary instances of the artistic treatment of stone, all of which involve – albeit in very different ways – the aesthetic appeal of neighboring art forms as productive challenges are: the painterly evocation of stone sculpture; frescoed stone fields as interior decorations; intermedial interior decor involving natural, artificial, and painted stone; as well as the lapidary arts, which exploit the coloristic traits of mineral materials, assembling them to form two-dimensional imagery.» weiterlesen» einklappen

Autoren

Klassifikation

DDC Sachgruppe:
Künste, Bildende Kunst allgemein