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Agrégation 2001 : image analysis

Responsable : Professeur Marie-Madeleine Martinet

 
EFFECTS
 

These effects may be more implicit, and historically they have taken a variety of forms:

BRUSHWORK WITHIN BRUSHWORK STYLES WITHIN STYLES MEDIA WITHIN MEDIA
http://www.tate.org.uk/

in the search facility, type ‘Nicholson’ and select ‘St Ives’ (1943-45, N05625)

http://www.useit.com/books/hyperbooks.html

(Bob Cotton and Richard Oliver, Understanding Hypermedia 2000)

It has long been normal for painters to use high finish for the face of a portrait and loose brushwork for the background, as in Gainsborough’s portrait of Countess Howe (1764); this contrast between two brushwork techniques sets off the sitter while making the setting more suggestive

Ben Nicholson’s view of St Ives combines three modes of art:

  • the forms on both sides belong to Abstract painting (even if they might be identified as curtains)
  • the cups in the middle are reminiscent of Cubist technique (they are a well-known cubist theme)
  • the distant seascape is figurative

It is only through the frame of abstract shapes, and with the discipline of Cubist spatial construction as a foreground, that the view makes sense: this is a tribute to the power of the St Ives landscape, revealing figurative art as a particular case of abstract painting, which is the foundation of artistic vision

Hypermedia combines the visual codes of several media, using them reciprocally as transition effects: ‘those developed by film and video-makers (dissolves, wipes, cuts, flash pans and the like) as well as familiar televisual effects, such as zooms, tumbles, peel offs, wraps and pop-ups, and the multi-screen effects derived from PC graphical user interfaces’

In the early 1990s, interface effects were seen as ‘structural metaphors’; now they tend to be studied in the light of ‘constructivism’

 
 
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Dernière mise à jour : 27/01/2004
 
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AGREGATION 2001
Image analysis
Landscape & Hypermedia
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