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French and Raven defined social influence as "a change in the belief, attitude, or behavior of a person (the target of influence) which results from the action of another person (an influencing agent)", and they defined social power as the potential for such influence, that is, the ability of the agent to bring about such a change using ...
That early work expanded to a broader reaching Power/Interaction Model of Interpersonal Influence. The model and theory has been applied to organizational power relationships, health psychology (e.g., compliance in health care), close relationships, educational settings. Historical and political analyses have applied the model to power ...
Heinrich Wölfflin (German: [ˈhaɪnʁɪç ˈvœlflɪn]; 21 June 1864 – 19 July 1945) was a Swiss art historian, esthetician and educator, whose objective classifying principles ("painterly" vs. "linear" and the like) were influential in the development of formal analysis in art history in the early 20th century. [1]
A must draw on the 'base' or combination of bases of power appropriate to the relationship to effect the desired outcome. Drawing on the wrong power base can have unintended effects, including a reduction in A's own power. French and Raven argue that there are five significant categories of such qualities, while not excluding other minor ...
At its extreme, formalism in art history posits that everything necessary to comprehending a work of art is contained within the work of art. The context of the work, including the reason for its creation, the historical background, and the life of the artist, that is, its conceptual aspect is considered to be external to the artistic medium ...
The power of art to “move and stir, to calm and tranquilize” is intelligible only when “the fact of energy” is made central to an understanding of art. The qualities of order and balance in works of art follow from the selection of significant energy. Great art, therefore, finds and deploys ideal energy.
Marcel Duchamp, Fountain, 1917. Photograph by Alfred Stieglitz Robert Rauschenberg, Portrait of Iris Clert 1961 Art & Language, Art-Language Vol. 3 Nr. 1, 1974. Conceptual art, also referred to as conceptualism, is art in which the concept(s) or idea(s) involved in the work are prioritized equally to or more than traditional aesthetic, technical, and material concerns.
When Hartlaub defined the idea of the Neue Sachlichkeit, he identified two groups: the verists, who “[tore] the objective form of the world of contemporary facts and represent current experience in its tempo and fevered temperature,” and the classicists, who “[searched] more for the object of timeless ability to embody the external laws of existence in the artistic sphere.”