"fine art rendition of the Ken Burns effect, giving new dimension and life to still images. Both the particular art form and the application of the term ""vitreography"" were pioneered by the French-American artist Jean-Pierre Weill, Weill having trademarked the word in 1992. Painting on successive glass panes to add real-world dimension to a depiction is seen by some as the natural bridge between the arts of sculpting and painting. What distinguishes vitreography from other stacked glass pane paintings is that each level of a vitreography largely maintains its independence, creating scenes within a larger scene rather than a singular"
"base) to any other surface, and the various types of relief, which are at least partly attached to a background surface. Relief is often classified by the degree of projection from the wall into low or bas-relief, high relief, and sometimes an intermediate mid-relief. Sunk-relief is a technique restricted to ancient Egypt. Relief is the usual sculptural medium for large figure groups and narrative subjects, which are difficult to accomplish in the round, and is the typical technique used both for architectural sculpture, which is attached to buildings, and for small-scale sculpture decorating other objects, as in much pottery, metalwork"
"The definition of these terms is somewhat variable, and many works combine areas in more than one of them, sometimes sliding between them in a single figure; accordingly some writers prefer to avoid all distinctions. The opposite of relief sculpture is ""counter-relief"", intaglio, or ""cavo-rilievo,"" where the form is cut into the field or background rather than rising from it; this is very rare in monumental sculpture. Hyphens may or may not be used in all these terms, though they are rarely seen in ""sunk relief"" and are usual in ""bas-relief"" and ""counter-relief"". Works in the technique are described as"
"bas-relief is distinguished from sculpture in haut-relief, in that the latter projects farther from the background, in some cases almost detaching itself from it. The Angkorian Khmer preferred to work in bas-relief, while their neighbors the Cham were partial to haut-relief. Narrative bas-reliefs are bas-reliefs depicting stories from mythology or history. Until about the 11th century AD, the Angkorian Khmer confined their narrative bas-reliefs to the space on the tympana above doorways. The most famous early narrative bas-reliefs are those on the tympana at the 10th-century temple of Banteay Srei, depicting scenes from Hindu mythology as well as scenes from"
"the outline of the figure and reducing the background areas to the new background level, work no doubt performed by apprentices (see gallery). A low relief or bas-relief (""low relief"", , from the Italian basso rilievo; this is now a rather old-fashioned term in English) is a projecting image with a shallow overall depth, for example used on coins, on which all images are in low relief. In the lowest reliefs the relative depth of the elements shown is completely distorted, and if seen from the side the image makes no sense, but from the front the small variations in"
"Relief Relief is a sculptural technique where the sculpted elements remain attached to a solid background of the same material. The term ""relief"" is from the Latin verb ""relevo"", to raise. To create a sculpture in relief is to give the impression that the sculpted material has been raised above the background plane. What is actually performed when a relief is cut in from a flat surface of stone (relief sculpture) or wood (relief carving) is a lowering of the field, leaving the unsculpted parts seemingly raised. The technique involves considerable chiselling away of the background, which is a time-consuming"
"mainly consisted of reliefs of literary figures such as ""Don Quixote"", ""Mireille"" and ""Tartarin de Tarascon"", of allegorical scenes such as ""L’Agriculture"", ""La Tentation"" and ""La Rose et le Papillon"", or of the grotesque such as ""La Servitude"", ""L’Intempérance"", ""Lou Ramaniau"" and ""La Tarasque"". Many of his works are held in the Musée des beaux-arts de Marseille. The Musée du Vieil Aix in Aix-en-Provence holds his ""Frédéric Mistral"" (1881, bronze bas-relief). The Musée Calvet in Avignon holds his ""Joseph Roumanille"" (1872, plaster bas-relief) and ""Marc Bonnefoy"" (1890, bronze bust). Amy's publications included: Jean Barnabé Amy Jean Barnabé Amy (11 June"
"""Chahut"": The figures in Egyptian bas-relief, writes Blanc, ""are accentuated in a concise, summary manner, not without finesse but without details. The lines are straight and long, the posture stiff, imposing, and fixed. The legs are usually parallel and held together. The feet touch or point in the same direction and are exactly parallel... In this solemn and cabalistic pantomime, the figure conveys signs rather than gestures; it is in a position rather than in action."" John Rewald writes of both ""Le Chahut"" and ""Le Cirque"": The figures in these paintings are dominated by monotony or joy (there is no"
"Abstract impressionism Abstract impressionism (closely related to lyrical abstraction) is a type of abstract painting (not to be confused with abstract expressionism) where small brushstrokes or application with a palette knife build and structure larger surface areas. The artist's emotion and focus on inner energy, and sometimes contemplation, create expressive, lyrical and thoughtful qualities in the paintings. The brushstrokes are similar to those of impressionists such as Monet and post-impressionists such as van Gogh and Seurat, only tending toward abstraction. While in the action painting style of abstract expressionism brushstrokes were often large and bold and paint was applied in"
"similar to Egyptian sunk relief, but with a background space at the lower level around the figure, the term would not normally be used of such works. Sunk relief technique is not to be confused with ""counter-relief"" or intaglio as seen on engraved gem seals—where an image is fully modeled in a ""negative"" manner. The image goes into the surface, so that when impressed on wax it gives an impression in normal relief. However many engraved gems were carved in cameo or normal relief. A few very late Hellenistic monumental carvings in Egypt use full ""negative"" modelling as though on"
"technologies of communication or to a competitive, fast-paced contemporary art market...so it is exciting to come upon the large, intricate reliefs"". Spangler works three-dimensionally and in bas-relief, a challenging and intricate medium. His work is often concerned with ""war's devastation and its potential as a metaphor for psychological conflict"" as well as ""anarchy in rural America"". His sculptures seek to envision a ""fascinating and frightening revolution against passive consumerism 'of the people, by the people'"" Multi-faceted, his work reveals more upon second and third glances; shifting scale and perspective propelling the viewer deeper into the psyche of the piece, leading"
"Basse-taille Basse-taille (bahss-tah-ee) is an enamelling technique in which the artist creates a low-relief pattern in metal, usually silver or gold, by engraving or chasing. The entire pattern is created in such a way that its highest point is lower than the surrounding metal. A translucent enamel is then applied to the metal, allowing light to reflect from the relief and creating an artistic effect. It was used in the late Middle Ages, and then again in the 17th century. The technique had been known to the Ancient Romans, but was lost at the end of the Middle Ages until"
"is densely decorated with bas-reliefs to convey blind architectural details and a complex figural programme. The four sides are carved with four-armed guardian deities, along with other Zoroastrian divinities and scenes of sacrifice, rising to heaven, banqueting, hunting and procession. Their subjects and style demonstrate features of the Western Regions (Central Asia). The French historian Étienne de la Vaissière argues that the iconography of these bas-reliefs representing a religious syncretism by blending Manichaean and Zoroastrian symbols in the funerary art. Despite the fact that the sarcophagus has adopted a unique style to create a miniature model of a traditional Chinese"
"carved relief, such as a portrait, onto a background of a contrasting colour. This is called an assembled cameo. Alternatively, a cameo can be carved by the traditional, but far more difficult, method directly out of a material with integral layers or banding, such as (banded) agate or layered glass, where different layers have different colours. Sometimes dyes are used to enhance these colours. Sir Wallis Budge alleged that the noun ""Cameo"" apparently comes from Kame'o, a word used in kabbalistic slang to signify a ""magical square"", i.e. a kind of talisman whereupon magical spells was carved. Cameos are often"
"those that are garishly decorated are considered to be less refined. Examples of wayang style can be seen in relief sculptures and in paintings. The relief sculptures at the Candi Jago in East Java are narratives of the Mahabharata and are good examples of wayang style. Throughout the relief the background imagery is very dynamic with the suggestion of depth. However, the focal points which are the figures are very static and flat in comparisons to the rest of the relief sculpture. An example in the Klungkung region of Bali at the Kertha Gosa Pavilion is a series of painted"
"and jewellery. Relief sculpture may also decorate steles, upright slabs, usually of stone, often also containing inscriptions. Another basic distinction is between subtractive carving techniques, which remove material from an existing block or lump, for example of stone or wood, and modelling techniques which shape or build up the work from the material. Techniques such as casting, stamping and moulding use an intermediate matrix containing the design to produce the work; many of these allow the production of several copies. The term ""sculpture"" is often used mainly to describe large works, which are sometimes called monumental sculpture, meaning either or"
"addition to free standing statues, the term classical sculpture incorporates relief work (such as the famous Elgin Marbles of the Parthenon) and the flatter bas-relief style. Whereas sculptural works emphasized the human form, reliefs were employed to create elaborate decorative scenes. Ancient statues and bas-reliefs survive showing the bare surface of the material of which they are made, and people generally associate classical art with white marble sculpture. But there is evidence that many statues were painted in bright colours. Most of the colour was weathered off over time; small remnants were removed during cleaning; in some cases small traces"
"adaptation of the bed to bas-relief. The bas-relief technique permits the artist to manipulate the variations of tone within the slab. Past Victoria sculptor John Linenberger used this technique in a carving on the convent adjoining the St. Fidelis Church, carving through the brown layer to expose the lighter interior stone. Hays sculptor Peter ""Fritz"" Felten, Jr., used the same technique in plaques mounted in the sloping pedestal of his ""Monarch of the Plains"" at the Fort Hays State Historic Site. More recent Pete Felten sculptures, ""Train Hwy"" (1995) and ""Pteranodon"" (2000), demonstrate use of the tones of the Post"
"Both types of image belong to the wider and more general category of rock art or parietal art. Petroforms, or patterns and shapes made by many large rocks and boulders over the ground, are also quite different. Inuksuit are also unique, and found only in the Arctic (except for reproductions and imitations built in more southerly latitudes). Another form of petroglyph, normally found in literate cultures, a rock relief or rock-cut relief is a relief sculpture carved on ""living rock"" such as a cliff, rather than a detached piece of stone. While these relief carvings are a category of rock"
"Mise en abyme In Western art history, Mise en abyme (; 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"
"upper human body. The legs are not represented. Eleven of the stelae depict naked warriors with daggers, spears, and axes—masculine symbols of war. They always hold a drinking vessel made of skin in both hands. Two stelae contain female figures without arms. The stelae may have been carved by different craftsmen using different techniques. Stylistic differences shift from bas relief to a more systematic linearity. The earliest stelae are in the style of bas relief while the latest ones are in a linear style. They were made during a period from the fifteenth century BC to the eleventh century BC"
"more predictable variations in volume, whereas applause is essentially random, therefore hard to compress. A highly compressed track of applause will illustrate the ""metallic ringing"" and other compression artifacts very well. Compression artifacts may intentionally be used as a visual style, sometimes known as ""glitch art"". In still images, an example is ""Jpegs"" by German photographer Thomas Ruff, which uses intentional JPEG artifacts as the basis of the picture's style. In video art, one technique is ""datamoshing"", where two videos are interleaved so intermediate frames are interpolated from two separate sources. Another technique involves simply transcoding from one lossy video"
"in wood, but it was an artistic mistake to introduce it above the real constructive opening, on a false front, as is done in this instance. The system here begun was afterwards carried to an extreme issue in the Gandhara monasteries, where figures were introduced everywhere, and the architecture only used as a frame such as we employ for pictures. Though its employment here is a solecism, this bas- relief is one of the most interesting pieces of sculpture for the history of the art, to be found in the whole range of the western caves. Higher up the rock,"
"which he called the Line technique. Ambigrams have also been called, among other things: Ambigram An ambigram is a word, art form or other symbolic representation whose elements retain meaning when viewed or interpreted from a different direction, perspective, or orientation. The meaning of the ambigram may either change, or remain the same, when viewed or interpreted from different perspectives. Douglas R. Hofstadter describes an ambigram as a ""calligraphic design that manages to squeeze two different readings into the selfsame set of curves."" Different ambigram artists (sometimes called ""ambigramists"") may create completely different ambigrams from the same word or words,"
"decal. But the manner and the choice of material of Mizui are different. An international critic of Fine Arts, Sakae Hasegawa, said in 1984: ""When I saw this painting for the first time, I thought this was a picture of a snowy mountain. But looking closer, it was not a picture and this picture had a strong resonance in me, it perceives cold silence. I find this painting conveys a philosophical and meditative opening, as if he could let the silence of the heart."". ""Oscillo-Relief"" cut is the shape obtained by the vertical oscillatory motion and horizontal oscillation of an"
"depicts Christ's resurrection and in the final relief on the north side Jesus sits between two Roman soldiers who are kneeling and mocking him, one handing him a reed and joking that he should hold it as his sceptre; the ""Christ aux outrages"" or ""Dėrision du Christ"". It is not thought that the bas-reliefs are by either Guillouic or Jacquot but that they are the work of two different 16th Century sculptors. There are several statues outside the ossuary. Statues depicting two young women face away from the calvary and look towards the ossuary entrance which is guarded by two"
"Altamira and Lascaux were cast in negative low relief. The effect presented by this, when viewed through the smooth surface of the glass, is of a three-dimensional form captured within its depths. Incorporated into a concrete wall in the pavilion's ""Glass"" gallery, ""Animal Reliefs"" was awarded a Grand Prix. While the original work did not survive, a recreation of it was installed in the United Nations headquarters in Geneva. In developing the negative modeling technique employed in ""Animal Reliefs"", Brychtová and Libenský created the foundation on which the majority of their later sculptural work was based. Josef Kaplický’s death in"
"cameo is a cameo incrustation (or sulphide). An artist, usually an engraver, carves a small portrait, then makes a cast from the carving, from which a ceramic type cameo is produced. This is then encased in a glass object, often a paperweight. These are very difficult to make but were popular from the late 18th century through the end of the 19th century. Originating in Bohemia, the finest examples were made by the French glassworks in the early to mid-nineteenth century. Today the term may be used very loosely for objects with no colour contrast, and other, metaphorical, terms have"
"Cameo (carving) Cameo () is a method of carving an object such as an engraved gem, item of jewellery or vessel. It nearly always features a raised (positive) relief image; contrast with intaglio, which has a negative image. Originally, and still in discussing historical work, cameo only referred to works where the relief image was of a contrasting colour to the background; this was achieved by carefully carving a piece of material with a flat plane where two contrasting colours met, removing all the first colour except for the image to leave a contrasting background. A variation of a carved"
"depth register as a three-dimensional image. Other versions distort depth much less. It is a technique which requires less work, and is therefore cheaper to produce, as less of the background needs to be removed in a carving, or less modelling is required. In the art of Ancient Egypt, Assyrian palace reliefs, and other ancient Near Eastern and Asian cultures, and also Meso-America, a consistent very low relief was commonly used for the whole composition. These images would usually be painted after carving, which helped define the forms; today the paint has worn off in the great majority of surviving"
"and socially acceptable, close-by and far-away, giving artistic expression to accumulating emotions, transmission of sentiments and feelings between spouses, longings for relationship and love of the family. Relief Painting is a kind of a flat sculpture. It is a unique technique, developed by Rubin, that uses various and different materials. With this technique she expresses, in a sensitive plastic forms, her feelings towards her surroundings. The contrasts between the artist and her human milieu create conflicts that, being stormy, hard and unsolved has a lot of influence on the forming of the work. In Soft Painting - sheaves of colored"
"apply his 'calligrams' to a wide range of objects such as large denim hangings, musicians' costumes, and a bass drum. The bass drum was created in 1998 with wood and given calligraphic embellishments by Mahdaoui. When asked about this piece Mahdaoui said,""This drum, transformed into a silent sculpture, has temporarily ceased to be an instrument; it simply exists. Its cultural function - as a catalyst to the senses articulated through formal and improvised melody - has been interrupted. More importantly, it has renounced its particular voice as part of a collective artistic performance. Instead, with its multiplicity of resonances, it"
"used. After firing the enamel was polished flush with the surrounding metal, which was presumably decorated last. Basse-taille Basse-taille (bahss-tah-ee) is an enamelling technique in which the artist creates a low-relief pattern in metal, usually silver or gold, by engraving or chasing. The entire pattern is created in such a way that its highest point is lower than the surrounding metal. A translucent enamel is then applied to the metal, allowing light to reflect from the relief and creating an artistic effect. It was used in the late Middle Ages, and then again in the 17th century. The technique had"