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The composition of art gallery

  Mouseion's Art gallery is composed of three hierarchies. The first is "basic gallery". Indeed, this is the symbol of openness of Mouseion and is one which becomes basis of creating an eternal cultural inheritance for human race.
  Anyone who is acknowledged universally to be a painter can register his/ her work images as data here. As the uploaded images are automatically to be linked with personal computers which are able to go online all over the world, it will never be hoard at a museum warehouse.
  Hence works of painters of the past, not only present, are added here, it has the function of existing online art gallery, too. It is suitable to call it "art database".
  The second is "customized gallery". This is the place where a person who wants to register his/her works with Mouseion personally can create a web site by way that seems to be most effective to appeal his/her own works. There is not a guarantee that painter becomes the best salesperson about his/her works, but it is certain that painter is most familiar with intention to create it, which will be an important material for evaluation of work and buyer's strong buying motive as well. To serve the purpose of announcing it widely and officially, the significance of this gallery is never small.
  This gallery can use all the same aforesaid beneficence which the first gallery receives from Internet and personal computer's function.
  The third is "event gallery". The ability to create an excellent artwork is apparently different from the one to make it into salable goods as a "brand". Hence, by all means, it is necessary to make a special gallery as a place to demonstrate this produce ability. "Customized gallery" clearly leans toward the abilities of painter too much; in order to revise it, this third gallery must be established.
  "Event gallery" put an emphasis not on individual work or painter, but on public relations to drag admass into picture. Here, popularity or viewpoint is important, in the light of these, a lot of works and painters will be introduced.
  As the traditional manner, this task has been accomplished by the hands of picture dealers and patrons, or a kind of producer in the picture world. Although it was not as deliberate or systematic as the case of book, record or movie, it has been carried out continuously like charities by tolerance and zest of picture lovers, supplying daily bread to painters.
  Mouseion plans to rationalize it to the level of movie produce. As produce of the "brand-making" costs fairly high, in order to make it more reasonable, considerable capital investment is needed. In the past, "brand-making" was accomplished in the form of charities because of picture market's narrowness and uncertainty of the "brand" creation, which makes prospect for capital collection does not look bright. However, Mouseion aims at "brand" creation with small-sum invested capital by fully introducing the above-mentioned Internet and the function of personal computer into this field, bringing usual economic law into picture produce.
  Viewing from another angle, it can be said that this gallery is built to gather producers in contrast to "customized gallery" is to gather painters.
  The three galleries are complementary one another: "Basic gallery" provides material to "event gallery", and "customized gallery" enriches "basic gallery", then "event gallery" will make "customized gallery" colorful. In this way, three galleries enter the circulation cycle of overall development with their mutual cooperation, aiming at the prosperity of whole art world. The main unit of Mouseion will do the general management to promote this expansible circulation of three galleries.

  Originally, as for "brand" making to win fame for painters, Mouseion is viewing to invite an excellent producer and to entrust him with it completely. But at the first stage of opening business, Mouseion itself must aggressively concern this task to some degree.
  Mouseion analyzes the structure of picture from multiple and fundamental viewpoints, and releases it from biased interpretation derived from specific interest or clannish. Moreover, reconsidering it from objective point of view as much as possible, we will provide materials for correct appreciation about a work.
  Therefore, we choose a specific painter from "basic gallery", and post analysis on his/her main works at "event gallery" to "customize" it.
  The objective analysis will be accomplished by following methodology. The most essential elements of picture are an object and a setting. Drawing either of them, or both of them decides the type of picture. Then, clear distinction or fusion of these two elements roughly divides a purpose of picture. Vivid distinction necessarily clears the type of picture, too. Fusion of two elements obscures the type of a picture: the former guides the picture to be a means of rendering its theme, and the latter to make itself a purpose of creation. Analyzing a picture from above viewpoint is a work analysis.
  Picture work is a product of a painter, and simultaneously a fruit of the idea leading the painter; the mutual relationship between work and personality is formed here. The work analysis is the one from the viewpoint of work as the painter's product, but from quite opposite point, the analysis from person is viable. The analysis from person is different from biography. In the analysis from person, internal and external factors that caused changes and leaps in picture style of a work are observed. The important events in painter's life can sometimes change his painting style basically, but even if his deep thinking changed it, there will be no visible signs of it. This is the main reason that the objective analysis of work and biography do not overlap.
  We interpret the subjective tendency of a painter in his/her creation of work by describing the factors that caused changes mainly in the works throughout the time. This method is applied to a person analysis as corresponds to the work analysis.
  As long as painter (creator) and work (product) concern in the same creation process, both of them are prescribed by common elements: the situation of composition, color and line, all of which painter sets on a work. Then, these are gathered to make a touch on canvas; that is to say, matiere takes a peculiar form to each painter. These are common implements used for the work analysis and the person analysis. So apart from these two, another analysis is necessary: this is the technique analysis.
  Picture work is a cultural product and picture as culture stands up on the inheritance which all of past painters has build up. The achievement of one painter itself makes a new page in picture history; it will be inherited in some form by painter of the following generation. It is not sufficient for above-mentioned three analyses to grasp works of individual painter as part of this picture history. Concretely speaking, there are works of another painter under whom some painter study; there is a contemporary painter to compete with him as a rival, and there is a junior painter who succeeds to his picture achievements as disciple. It is a style analysis that observes specific painter's works in a new light through the works of all these other painters.

  The frame of painters' grouping in art history as "... ism" and "... school" almost corresponds to this style analysis. But, if a painter learns picture almost by himself like Jan Vermeer and Casper David Friedrich, plays an active part in isolated position and does not have conspicuous disciple, there is nothing to mention specially in the style analysis. In this point, the style analysis is not always indispensable to all painters.
  Above four analyses are objective ones through the products of a painter's activity. Integration of these compound viewpoints can avoid taking self-righteous method to give merely selfish taste an appearance of arbiter of the time, as general critic often falls into it.
  Finally, centered on these four analyses, the information on some painter, such as what usual critics and his/her picture lovers argue or prefer, must be collected. Private notes to these people from the painter will be included.
  These are accumulation of subjective reflections that is exactly contrary to objective analysis. However, in case of a specific partial phenomenon being put absolute trust, the subjective reflections will become only dogmatism inviting untruth and error; if many kinds of its contents are gathered, they themselves can become materials for objective analysis. On condition to have posture to always re-interpret them from above-mentioned viewpoints of four analyses, these are important as supplement for objective analysis.
  Specifically choosing a painter who is regarded as important in art history, at our original "event gallery", Mouseion carries dissertations written from aforementioned five viewpoints: the work analysis, the person analysis, the technique analysis, the style analysis and review collection.

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