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🔗 Visual arts

Rhythm 0 was a six-hour work of performance art by Serbian artist Marina Abramović in Naples in 1974. The work involved Abramović standing still while the audience was invited to do to her whatever they wished, using one of 72 objects she had placed on a table. These included a rose, feather, perfume, honey, bread, grapes, wine, scissors, a scalpel, nails, a metal bar, a gun, and a bullet.

There were no separate stages. Abramović and the visitors stood in the same space, making it clear that the latter were part of the work. The purpose of the piece, she said, was to find out how far the public would go: "What is the public about and what are they going to do in this kind of situation?"

🔗 Russia 🔗 Russia/demographics and ethnography of Russia 🔗 Ukraine 🔗 Visual arts 🔗 Russia/history of Russia 🔗 Russia/visual arts in Russia

Reply of the Zaporozhian Cossacks to Sultan Mehmed IV of the Ottoman Empire, also known as Cossacks of Saporog Are Drafting a Manifesto (Russian: Запорожцы пишут письмо турецкому султану), is a painting by Russian artist Ilya Repin. The 2.03 m (6 foot 7 inch) by 3.58 m (11 foot 9 inch) canvas was started in 1880 and finished in 1891. Repin recorded the years of work along the lower edge of the canvas. Alexander III bought the painting for 35,000 rubles, at the time the greatest sum ever paid for a Russian painting. Since then, the canvas has been exhibited in the State Russian Museum in Saint Petersburg.

🔗 Death 🔗 Visual arts 🔗 Latin

Memento mori (Latin for 'remember that you [have to] die') is an artistic or symbolic trope acting as a reminder of the inevitability of death. The concept has its roots in the philosophers of classical antiquity and Christianity, and appeared in funerary art and architecture from the medieval period onwards.

The most common motif is a skull, often accompanied by one or more bones. Often this alone is enough to evoke the trope, but other motifs such as a coffin, hourglass and wilting flowers signified the impermanence of human life. Often these function within a work whose main subject is something else, such as a portrait, but the vanitas is an artistic genre where the theme of death is the main subject. The Danse Macabre and Death personified with a scythe as the Grim Reaper are even more direct evocations of the trope.

🔗 Biography 🔗 New York City 🔗 Biography/arts and entertainment 🔗 Visual arts

Tom Sachs (born July 26, 1966) is an American contemporary artist who lives and works in New York City.

🔗 Architecture 🔗 Philosophy 🔗 Philosophy/Aesthetics 🔗 Science Fiction 🔗 Visual arts 🔗 Popular Culture 🔗 Fashion 🔗 Sculpture

Retrofuturism (adjective retrofuturistic or retrofuture) is a movement in the creative arts showing the influence of depictions of the future produced in an earlier era. If futurism is sometimes called a "science" bent on anticipating what will come, retrofuturism is the remembering of that anticipation. Characterized by a blend of old-fashioned "retro styles" with futuristic technology, retrofuturism explores the themes of tension between past and future, and between the alienating and empowering effects of technology. Primarily reflected in artistic creations and modified technologies that realize the imagined artifacts of its parallel reality, retrofuturism can be seen as "an animating perspective on the world". However, it has also manifested in the worlds of fashion, architecture, design, music, literature, film, and video games.

🔗 Visual arts 🔗 Belgium

Netherlandish Proverbs (Dutch: Nederlandse Spreekwoorden; also called Flemish Proverbs, The Blue Cloak or The Topsy Turvy World) is a 1559 oil-on-oak-panel painting by Pieter Bruegel the Elder that depicts a scene in which humans and, to a lesser extent, animals and objects, offer literal illustrations of Dutch-language proverbs and idioms.

Running themes in Bruegel's paintings are the absurdity, wickedness and foolishness of humans, and this is no exception. The painting's original title, The Blue Cloak or The Folly of the World, indicates that Bruegel's intent was not just to illustrate proverbs, but rather to catalog human folly. Many of the people depicted show the characteristic blank features that Bruegel used to portray fools.

His son, Pieter Brueghel the Younger, specialised in making copies of his father's work and painted at least 16 copies of Netherlandish Proverbs. Not all versions of the painting, by father or son, show exactly the same proverbs and they also differ in other minor details.

🔗 Visual arts

The Voyage of Life is a series of four paintings created by Thomas Cole in 1842, representing an allegory of the four stages of human life. The paintings, Childhood, Youth, Manhood, and Old Age, depict a voyager who travels in a boat on a river through the mid-19th-century American wilderness. In each painting the voyager rides the boat on the River of Life accompanied by a guardian angel. The landscape, each reflecting one of the four seasons of the year, plays a major role in conveying the story. With each installment the boat's direction of travel is reversed from the previous picture. In childhood, the infant glides from a dark cave into a rich, green landscape. As a youth, the boy takes control of the boat and aims for a shining castle in the sky. In manhood, the adult relies on prayer and religious faith to sustain him through rough waters and a threatening landscape. Finally, the man becomes old and the angel guides him to heaven across the waters of eternity.

🔗 Color 🔗 Visual arts

Non-photo blue (or non-repro blue) is a common tool used in the graphic design and print industry.

🔗 Heraldry and vexillology 🔗 Visual arts

In Western art history, Mise en abyme (French pronunciation: ​[miz ɑ̃n‿abim]; also mise en abîme) is a formal technique of placing a copy of an image within itself, often in a way that suggests an infinitely recurring sequence. In film theory and literary theory, it refers to the technique of inserting a story within a story. The term is derived from heraldry and literally means "placed into abyss". It was first appropriated for modern criticism by the French author André Gide.

A common sense of the phrase is the visual experience of standing between two mirrors, seeing as a result an infinite reproduction of one's image. Another is the Droste effect, in which a picture appears within itself, in a place where a similar picture would realistically be expected to appear. That is named after the 1904 Droste cocoa package, which depicts a woman holding a tray bearing a Droste cocoa package, which bears a smaller version of her image.

🔗 Germany 🔗 Archaeology 🔗 Visual arts 🔗 Fashion

The Berlin Gold Hat or Berlin Golden Hat (German: Berliner Goldhut) is a Late Bronze Age artefact made of thin gold leaf. It served as the external covering on a long conical brimmed headdress, probably of an organic material. It is now in the Neues Museum on Museum Island in Berlin, in a room by itself with an elaborate explanatory display.

The Berlin Gold Hat is the best preserved specimen among the four known conical golden hats known from Bronze Age Europe so far. Of the three others, two were found in southern Germany, and one in the west of France. All were found in the 19th and 20th centuries. It is generally assumed that the hats served as the insignia of deities or priests in the context of a sun cult that appears to have been widespread in Central Europe at the time. The hats are also suggested to have served astronomical/calendrical functions.

The Berlin Gold Hat was acquired in 1996 by the Berlin Museum für Vor- und Frühgeschichte as a single find without provenance. A comparative study of the ornaments and techniques in conjunction with dateable finds suggests that it was made in the Late Bronze Age, circa 1,000 to 800 BC.