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Thematische Bibliographien / Painting, Abstract

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Auswahl der wissenschaftlichen Literatur zum Thema „Painting, Abstract“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 1. August 2024

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Zeitschriftenartikel zum Thema "Painting, Abstract"

1

Goodfellow, Paul. „Elliptical Forms: Abstract Algorithmic Objects“. Arts 12, Nr. 4 (10.08.2023): 172. http://dx.doi.org/10.3390/arts12040172.

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Contemporary systems painting directly engages with the material of contemporary culture, not necessarily the technological substrates of computation, social media, the Internet, and artificial intelligence, but the concept of the algorithm and the circulation and patterning of information at the limit of human apprehension. Systems painting emerged as part of the wider category of systems art in the 1960s—a heterogenous collection of artists who were focused on the exploration of social, ecological, and technological systems, and the processes that underpin them. These systemic fields increasingly define and shape our lifeworld in the 21st century, producing an excess of algorithmically generated information. It is, therefore, appropriate to consider the role system painting plays in addressing the conceptual, aesthetic, and affective aspects of information derived from computational, algorithmic, and rule-based processes. This paper discusses the practice of the contemporary systems painter James Hugonin and his series of paintings Fluctuations in Elliptical Form (2015–2021). Karl Popper’s theory of three worlds is introduced, and the concepts of ‘concrete’ and ‘abstract’ objects are described and applied to Hugonin’s painting as a way of understanding the role externalised rules and internal intuitive decisions play in the construction of these complex and visually mesmerising paintings.

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Novák, Josef. „Abstract Painting“. International Philosophical Quarterly 60, Nr. 3 (2020): 287–306. http://dx.doi.org/10.5840/ipq2020715152.

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Since the beginning of the twentieth century, abstract art has formed a central stream of modern art. To attain purely aesthetic goals, many avant-garde artists turned painting in particular into a pursuit of breaking off the relations with natural forms. Instead of copying them, they have merely relied on their inner visions. When externalizing these visions directly on the canvas or sheets of paper, the practitioners of abstract art have inadvertently used the phenomenological method and its epoché. In this essay I argue that the philosophies of Kupka and Husserl are largely compatible. This is not because the two use the same terminology, but because they virtually mean and do the same thing in their respective fields. Even where there are significant differences between them, these are not as great as it might at first seem. In the essay’s conclusion I sum up some of the most significant implications their compatible theories have for the philosophy of art and for various theories of art today.

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Sarkar, Asmita, und Aileen Blaney. „Material Metaphor and Reflexivity in Contemporary Painting: A Practice-based Investigation“. Journal of Aesthetic Education 57, Nr. 1 (01.04.2023): 98–119. http://dx.doi.org/10.5406/15437809.57.1.07.

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Abstract Contemporary painting is a complex practice, and artists regularly incorporate elements from different media such as photography, textile, and performance. Despite its status being diminished by different conceptual art movements, painting still has a critically important place in the artworld. This importance is largely due to painting's ability to stretch across media and make a direct appeal to the senses. In this article, an attempt is made to theorize the facility of painting to incorporate different media and its resulting reflexivity. Maurice Merleau-Ponty's theory of embodiment and phenomenological theory of metaphor provide the theoretical means to articulate reflexivity in painting. Curatorial writing about contemporary painting and case studies of young painters from India form a backdrop for the analysis of examples from the painting practice of one of the authors to demonstrate the material dynamism of painting. It is shown that this reflexivity is intimately related to the sensuous texture of materials used in the creation of the paintings under discussion. The first-person narrative of artistic process and production provides insight into the embodied process of making and manipulating media and evidence that painters can create new insights about the ontology of painting.

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4

Casey, Edward S. „Place in Painting“. Research in Phenomenology 54, Nr. 1 (27.03.2024): 1–12. http://dx.doi.org/10.1163/15691640-12341535.

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Abstract This essay examines the role of place in painting. This role is multiple – at once attracting our look but also locatory of whatever is displayed in the painting itself and attracting our attention to it as a place distinct from the place where we are painting it or viewing it. Examined here is also the role of the lived body in the apprehension of place in painting: a corporeal animating force that animates a genuinely lived place as it is set forth or intimated in paintings of seen, remembered, or imagined places. Such placially specific paintings are at once a commentary and a continuation on how we experience places in the context of the lived world. Included are analyses of three placially oriented paintings of my own as well as one by de Kooning – all in an effort to show the multivalence of place in painting.

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Bivens, Becky. „An Unlikely Match: Modernism and Feminism in Lynda Benglis’s Contraband“. Arts 13, Nr. 3 (08.06.2024): 106. http://dx.doi.org/10.3390/arts13030106.

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In 1969, Lynda Benglis withdrew her large latex floor painting, Contraband, from the exhibition Anti-Illusion: Procedures/Materials. Looking beyond the logistical problems that caused Benglis to pull the work, I suggest that it challenged the conceptual and formal parameters of the exhibition from its inception. Taking hints from feminism, modernist painting, camp aesthetics, psychedelic imagery, pop, and minimalism, Benglis’s latex pours unify an array of movements, styles, and political positions that have often been treated as antithetical. Although the refusal of traditional binaries was typical of the neo-avant-garde, Benglis’s work was “contraband” because it challenged the inflexible dictum that feminist art and modernist painting are mortal enemies. With Contraband, she drew on abstract expressionist techniques for communicating feeling by exploiting the dialectic of spontaneity and order in Pollock’s drip paintings. Simultaneously, she drew attention to gender through sexed-up colors and materials. Rather than suggesting that gender difference is repressed by abstract expressionist painting’s false universalizing, Benglis shows that modernist techniques for communicating feeling are crucial for the feminist project of understanding the public significance of seemingly private experience.

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Liu, Xu, und Taig Youn Cho. „Neuroaesthetic Study on Mondrian's Painting Style“. Korea Institute of Design Research Society 7, Nr. 3 (30.09.2022): 149–61. http://dx.doi.org/10.46248/kidrs.2022.3.149.

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Peter Mondrian (1872-1944) is a representative of abstract expressionism, whose paintings and thoughts still play an important role in art. Through the study of Mondrian's life and painting style changes, it can be seen that his visual language has changed from the realistic representation of visual objects to the use of pure colors and absolute lines, which can be distinguished by the level of visual nerve activity. According to the performance characteristics of Mondrian's painting, this study first divides the artistic change process into three stages: learning period, exploration period and mature period. Then, based on the research of cognitive neuroscience, the symmetrical neural structure of Mondrian's three-stage painting style is explored in the painter's neural activities. The learning period adopts the neural learning mechanism of imitating the expression of painting, and the exploration period uses the neural mechanism of creating painting style. While, the mature period carries out the neural mechanism of forming pictures through cognitive structure. Finally, this paper analyzes the different visual processing mechanisms and aesthetic preference structures used by viewers to appreciate Mondrian figurative paintings and abstract paintings based on the research in the field of neuroaesthetics. From the perspective of natural science, this study explains the style changes of Mondrian's paintings, establishing a neuroaesthetic interpretation method, so as to deeply understand the charm of his works, further understand the beauty. Therefore, it can provide reference materials for the later art education of his works.

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Albertazzi, Liliana, Luisa Canal, Rocco Micciolo und Massimo Vescovi. „Calligraphy and Klee’s Abstract Painting: A Study on Categorical Ambiguity“. Art & Perception 3, Nr. 3 (2015): 239–63. http://dx.doi.org/10.1163/22134913-00002036.

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This study analyses the categorical ambiguity between visual appearances that belong in different categories, such as Oriental Calligraphy and certain Abstract Paintings selected from the works of Klee. In particular, the aim of our research was to identify whether there exist abstract features at the basis of purely visual configurations that determine the way in which they are categorized. Specifically, the intention was to determine whether, and to what extent, two artistic forms that display documented shared graphic and conceptual characteristics differ, or do not differ, visually, and whether certain features exist that identify them as a specific type of graphic work. The assumption that both categories had shared characteristics that made them graphically and conceptually similar and that resulted in categorical ambiguity, was confirmed. Moreover, the presence of some constituent features specific to one or the other was also confirmed. The results show that a Calligraphic Image and an Abstract Painting by Klee can be ‘exchanged’, but the tendency to confuse Calligraphy with an Abstract Painting is greater than that of confusing an Abstract Painting with Calligraphy.

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Johnson-Laird, P. N., und Keith Oatley. „Emotions, Simulation, and Abstract Art“. Art & Perception 9, Nr. 3 (25.10.2021): 260–92. http://dx.doi.org/10.1163/22134913-bja10029.

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Abstract Some people feel emotions when they look at abstract art. This article presents a ‘simulation’ theory that predicts which emotions they will experience, including those based on their aesthetic reactions. It also explains the mental processes underlying these emotions. This new theory embodies two precursors: an account of how mental models represent perceptions, descriptions, and self-reflections, and an account of the communicative nature of emotions, which distinguishes between basic emotions that can be experienced without knowledge of their objects or causes, and complex emotions that are founded on basic ones, but that include propositional contents. The resulting simulation theory predicts that abstract paintings can evoke the basic emotions of happiness, sadness, anger, and anxiety, and that they do so in several ways. In mimesis, models simulate the actions and gestures of people in emotional states, elicited from cues in the surface of paintings, and that in turn evoke basic emotions. Other basic emotions depend on synaesthesia, and both association and projection can yield complex emotions. Underlying viewers’ awareness of looking at a painting is a mental model of themselves in that relation with the painting. This self-reflective model has access to knowledge, enabling people to evaluate the work, and to experience an aesthetic emotion, such as awe or revulsion. The comments of artists and critics, and experimental results support the theory.

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9

Actis-Grosso, Rossana, Carlotta Lega, Alessandro Zani, Olga Daneyko, Zaira Cattaneo und Daniele Zavagno. „Can music be figurative? Exploring the possibility of crossmodal similarities between music and visual arts“. Psihologija 50, Nr. 3 (2017): 285–306. http://dx.doi.org/10.2298/psi1703285a.

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According to both experimental research and common sense, classical music is a better fit for figurative art than jazz. We hypothesize that similar fits may reflect underlying crossmodal structural similarities between music and painting genres. We present two preliminary studies aimed at addressing our hypothesis. Experiment 1 tested the goodness of the fit between two music genres (classical and jazz) and two painting genres (figurative and abstract). Participants were presented with twenty sets of six paintings (three figurative, three abstract) viewed in combination with three sound conditions: 1) silence, 2) classical music, or 3) jazz. While figurative paintings scored higher aesthetic appreciation than abstract ones, a gender effect was also found: the aesthetic appreciation of paintings in male participants was modulated by music genre, whilst music genre did not affect the aesthetic appreciation in female participants. Our results support only in part the notion that classical music enhances the aesthetic appreciation of figurative art. Experiment 2 aimed at testing whether the conceptual categories ?figurative? and ?abstract? can be extended also to music. In session 1, participants were first asked to classify 30 paintings (10 abstract, 10 figurative, 10 ambiguous that could fit either category) as abstract or figurative and then to rate them for pleasantness; in session 2 participants were asked to classify 40 excerpts of music (20 classical, 20 jazz) as abstract or figurative and to rate them for pleasantness. Paintings which were clearly abstract or figurative were all classified accordingly, while the majority of ambiguous paintings were classified as abstract. Results also show a gender effect for painting?s pleasantness: female participants rated higher ambiguous and abstract paintings. More interestingly, results show an effect of music genre on classification, showing that it is possible to classify music as figurative or abstract, thus supporting the hypothesis of cross-modal similarities between the two sensory-different artistic expressions.

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Franzini, Elio. „Painting and Difference (abstract)“. Chiasmi International 1 (1999): 198. http://dx.doi.org/10.5840/chiasmi1999145.

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Dissertationen zum Thema "Painting, Abstract"

1

Varallo, Patrick Americo. „Abstract symbolic relationships /“. Online version of thesis, 1993. http://hdl.handle.net/1850/11758.

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Boutote, Mary L. „A question of borders /“. Online version of thesis, 1992. http://hdl.handle.net/1850/11147.

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Budrytė, Kristina. „Lithuanian Abstract painting in Soviet period“. Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2009. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2008~D_20090312_110650-92526.

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The Aim of the research is to define and analyse works of Lithuanian abstract painting during the Soviet period by establishing and comparing the diversity of criticism and practices of abstract art in Lithuania over several decades (from the end of the 1950s to the 1980s). In this thesis abstract paining is treated as a radical artistic reaction in Lithuania in terms of its theoretical and historical characteristics, and the general artistic context during the Soviet period is analysed in terms of socio-political issues. This is a study of the most celebrated examples of Western European art (also American art) presenting the most recent tendencies that developed out of them and juxtaposing it with the Central European culture (as the area of Soviet influence). Western European culture and its artistic movements were a complete opposition to the artificially built Eastern Block during the Soviet period. The forced separation of this period defined its unique qualities that found one expression in Central Europe and a different one in countries occupied by the Soviets (eg. in Lithuania); it also formed the position of freedom of an alternative art. Whereas in the West abstraction, in its own time, was the great boom of modernism because it freed painting from the traditional language of ‘representation’ and illustration, in Lithuania, in its local context, it had more functions: it was considered to be the great achievement of late modernism that helped to discover newer than... [to full text]
Disertacijos santraukoje nurodomi analizuoti Lietuvos abstrakčiosios tapybos kūriniai sovietmečiu, išskiriant ir lyginant kelių dešimtmečių (nuo šeštojo pabaigos iki devintojo) dailės ir dailės kritikos įvairovę Lietuvoje. Abstrakčioji tapyba, peržvelgus jos teorinius ir istorinius akcentus, vertinama kaip radikali meninė reakcija Lietuvoje, o bendras meninis kontekstas sovietmečiu analizuojamas iš sociopolitikos problematikos perspektyvos. Tai Vakarų Europos (bei iš JAV atkeliavusių) žymiausių pavyzdžių analizė, pateikianti išsivysčiusias iš jų naująsias tendencijas ir Vidurio Europos (kaip sovietmečio įtakos lauko) kultūrų sugretinimas. Visiška priešingybe sovietmečio dirbtinai suręstam Rytų blokui buvo Vakarų Europos kultūra ir jų meninės srovės. Priverstinis to laikotarpio atskyrimas nulėmė savitumus, vienaip pasireiškusius Vidurio Europoje, kitaip – sovietų okupuotose šalyse (pvz., Lietuvoje), ir iššaukusius kitokio meno laisvės poziciją. Vakaruose abstrakcija buvo modernizmo suklestėjimas, tai reiškė išsivadavimą iš tradicinės dailės kalbos, susijusios su vaizdo atvaizdavimu. Lietuvoje abstrakcijos apraiškos turėjo ir kitokių funkcijų: plastinės meninės kalbos įvairove buvo bandoma paneigti priverstinai primestą socrealizmo ideologiją. Disertacijos santraukoje atskleidžiamos Lietuvos abstrakčiosios tapybos formavimosi prielaidos ir galimybės. Abstrakčiosios tapybos užuomazgos –– S. Kisarauskienės, V. Kisarausko darbų pavyzdžiai, J. Švažo, L. Katino ir kt. tapyba XX... [toliau žr. visą tekstą]

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Stubbs, Michael. „Digital embodiment in contemporary abstract painting“. Thesis, Goldsmiths College (University of London), 2003. http://research.gold.ac.uk/175/.

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This thesis re-investigates Clement Greenberg’s discredited abstract expressionist claim that painting should seek its own purity through the acknowledgment of its material. I argue that Greenberg’s physical, bodily determination of painting (but not its purity) is re-located as a criticality in contemporary practice because of the changes brought about by the simulacrum and the digital. By utilizing the particularities of ‘painterly’ issues such as materiality, depth and opticality into the virtual, this claim responds to Arthur C. Danto’s ‘end of history’ theories where he argues that artists are no longer bound to the dictates of grand master narratives of art. For Danto, contemporary art has irrevocably deviated from the narrative discourses which define it such as Greenberg’s. Not satisfied with either postmodern strategies of parody in painting that claim a linear end to the modernist canon, or with recent claims that contemporary painting is beyond postmodernism, I convert Greenberg’s physical determinism using Andrew Benjamin’s notion that contemporary abstract painters, through making, accept and transform the historical/modernist premise of the yet-to-be-resolved object/painting by staging a repetition of abstraction as an event of becoming. This ‘re-styling’ of abstract painting is then examined as an ontological conjoining of Greenberg with Merleau-Ponty’s claim that the painter transforms the relationship between the body and a painting by overlapping the interior sense of self with the world of external objects. I argue that contemporary painting can offer a philosophical dialogue between the painter’s subjectivity as a mirroring of the painter’s personal style through objective ornamental materiality. This dialogue is developed through Stephen Perrella’s Hypersurface theory which proposes a non-subjective, deterritorialised, architectural parallel of the digital as a transparent, fluid system of multi-dimensional signs in which the contemporary subject traverses. Consequently, I suggest, the symbolic virtual changes the body’s sensuous relation to time and space and is central to contemporary painting’s criticality.

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el, Mathus Miguel Mathus. „Tactility and opticality in contemporary abstract painting“. Thesis, Goldsmiths College (University of London), 2011. http://research.gold.ac.uk/6544/.

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The thesis analyses the construction of surface in contemporary abstract painting and its broader implications, mainly in regard to Clement Greenberg's understanding of modernist painting. It considers how this issue was contended between art critics such as Greenberg and Michael Fried and artists that challenged the formalist account of painting's medium specificity through a wide range of procedures and techniques. I review Thierry de Duve's analysis of Robert Ryman's work in regard to Greenberg's understanding of modernist painting and discuss the ways in which the contest between painting and photography (since photography made painting reproducible) is central. The analysis of Ryman's work leads to a consideration of Duchamp's readymade and its significance to painting. Painting's resistance to being annexed by photography follows de Duve's contention in regard to painting-photography competitiveness where he argues that opposition to photographic reproducibility has been critical for painting since the invention of photography. At this point the historical significance of Duchamp's readymade is regarded as a repetition of the invention of photography within the domain of painting. The assertion is then that the key to contemporary abstract painting - what supports its attraction - is the manner in which the construction of surface is made through the reformulation of pictorial practices that were developed from the 1960s - such as Informel - and continue to be elaborated in a contemporary context in the works of artists like Katharina Grosse or Sergej Jensen. By considering Informel as a manifestation of a painting-photography contest I argue for its value in contemporary abstract painting as a means to further develop abstract painting's potentiality, as Katharina Grosse and Sergej Jensen do through their engagement with architectural space.

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Lee, Kang-Wook. „Abstract painting and the aesthetics of moderation“. Thesis, University of East London, 2015. http://roar.uel.ac.uk/4468/.

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The journey of this research began with exploring the notion of invisible space which cannot be perceived by the human eye, and the process of image visualisation expressed through my abstract paintings, which is supported by my theoretical research. ‘Invisible Space’, the title of one of my recent paintings, evokes the notion of a very small space such as a cell or nerve tissues which form part of the human body and have the potential to simultaneously symbolise a cosmological space. In my practice, I adopt painting as a pertinent method to realise my subjects and motifs. I consider how my painting is situated in contemporary art theory and practice by exploring artists and writers relevant to my underlying concept. I explore how my subject is presented in painting and drawing, and how my research can be developed logically and systematically in response to my practice. In this report, I analyse the three key elements: 1) abstraction that explores macro & micro space; 2) colour experiments and 3) cultural traditions and gesture through Korean Monochrome painting. In the first section, I introduce two artists, Mark Francis and Terry Winters, who have inspired me. I researched these artists, their creative methods, and the critical debates which surround their work. I am interested in how they have developed abstract elements within their paintings which articulate their interest in scientific subject matter. For my creative practice, I experimented with abstract elements using a variety of mediums that I had not used in my previous practice in order to inculcate the possibilities of change in my work. In the second section, I present two theorists, John Gage and David Batchelor. I have undertaken an interpretation of their study of colour as a significant element of abstract painting forming my recent practice. The intention is to identify the possibilities of colour as a cultural and psychological visual requisite that provides insights and links between my painting and individual experience. My 4 experimentation has focused on how colour is represented in the aesthetics of Korean culture and art. In the third section, I focus on ‘gesture’ or ‘physical intention’ to be exposed directly by artists on the basis of Roland Barthes’s concept of ‘gesture’ in Cy Twombly’s works. I explain how this subject is explored in my recent practice, inspired by a Korean artist, Lee Ufan, whose approach and interpretation of this concept are very different from that of Western artists. I have experimented with repeated gestural actions in my new paintings which refer to Korean Monochrome painting, ‘Dansaekhwa’, demonstrated in a recent solo exhibition at the Tokyo Gallery, Tokyo, Japan in 2014. The core of my approach to the gestural concept is to investigate how my painting is connected with the Korean cultural tradition through ‘Dansaekhwa’ and raises the question of what is the nature of gesture as perceived from both an ‘Eastern’ and ‘Western’ perspective. As the repeated gestural actions of ‘Dansaekhwa’ have become the foundation of a new approach to my work, ‘Moderation’ in the title of this report has a critical meaning that implies my working processes. It signifies a form of reservation, a passionate yet slow and painstakingly intensive labouring process. I have called this controlled and restrained artistic intention ‘the aesthetics of moderation’, emphasising the ethics of restraint as shown in Korean culture and monochrome arts. This report aims to clarify the intention of my practice and deliver direction for my final exhibition to complete my doctoral study.

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McDonald, Adrian. „Painting Geometry: an abstract language in concrete form“. Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/9913.

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My thesis is that geometry is an abstract and universal language that can reflect the inner being of the world in concrete form. I propose that the ideal forms of geometry, like those of harmony in music, have an aesthetic and metaphysical dimension that is capable of touching the most essential part of our being in the world. In this context, I suggest that painting geometry may be understood as an art practice that is closely aligned with the ideals of philosophical reflection, and how, as a consequence of this understanding, my approach to painting geometry is directed towards the realisation of the ideals of beauty, truth and freedom in particular; an approach that I claim shares much in common with the origins of both abstract and concrete art in post-Kantian German Idealist thought and Romantic art. On this basis, I argue that my painting practice is engaged with the possibility of the realisation of an ideal form of expression. This goal may be summarised as the achievement in painted form of a visual or spatial equivalent to the formal language of harmony of music. The paintings that I have submitted for examination may be understood as a direct consequence of my research findings, in view of which my intention is to make a contribution to the current and evolving language of abstract and concrete art. To this end, my thesis serves as an exegesis for the paintings submitted for examination in fulfilment of the requirements of my doctoral candidature.

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Daws, Joseph H. „Abstraction : on ambiguity and semiosis in abstract painting“. Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/67445/1/Joseph_Daws_Thesis.pdf.

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Drawing on the fields of philosophy, phenomenology, art history and theory as well as the candidate's own painting practice, this PhD explores the nature of ambiguity and semiosis in contemporary abstract painting. The thesis demonstrates how the aesthetic qualities of pause and rupture, transition and slippage work emergently to break established clichés, habits and intentions in the experiencing of abstract painting and artistic practice.

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Geer, Andrea. „The non-representational language /“. Online version of thesis, 1990. http://hdl.handle.net/1850/11309.

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Ah, Kuoi Michelle. „Jekyll and Hyde approach to painting: the antagonistic strategy in contemporary abstract painting“. Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/12009.

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This paper examines my paintings in conjunction with three painters; Albert Oehlan, Charline von Heyl and Christopher Wool. These painters utilise a combination of visual languages and adopt an antagonistic or contradictory painting strategy indebted to Willem de Kooning, the Dutch American Abstract Expressionist. The discussion involves how these artists have manoeuvred their own positions in painting and how they have created their own painting lexicon against the paradigm of the cyclical viability of Contemporary painting. The emphasis is on each artist’s avoidance of binary opposites; whether it is between abstraction and figuration, or the stylistic tools and tropes within the painting. The paradox in writing this paper has been that the language utilised to describe abstraction is fixed with the language of modernism. In other words, the visual lexicon has developed and the language to describe it has not. Similarly, any language and linguistic classification of art works against and is insufficient to the fluid nature of many of the paintings.

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Bücher zum Thema "Painting, Abstract"

1

Rivera, Gustavo Ramos. Recent Abstract Painting. New York, N.Y: Alternative Museum., 1988.

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2

Louis K Meisal Gallery New York., Hrsg. Abstract Painting Redefined. New York: the gallery, 1985.

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Torres, Emmanuel. Philippine abstract painting. Manila, Philippines: Cultural Center of the Philippines, 1994.

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Gallery, Saatchi, Hrsg. Abstract America. London: Jonathan Cape, 2008.

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Max, Henry, Holborn Mark 1949- und Saatchi Gallery, Hrsg. Abstract America. New York: Rizzoli, 2009.

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Friis-Hansen, Dana. Abstract painting, once removed. Houston, Tex: Contemporary Arts Museum, Houston, 1998.

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7

Daval, Jean-Luc. History of abstract painting. London: Art Data, 1989.

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Nasgaard, Roald. Abstract painting in Canada. Vancouver: Douglas & MacIntyre, 2007.

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(Organization), Uttarayan. Recent abstract paintings. Vadodara: Lanxess ABS Gallery, 2006.

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Plous, Phyllis. Abstract options. Santa Barbara: University Art Museum, 1988.

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Buchteile zum Thema "Painting, Abstract"

1

Moncada, Sean Nesselrode. „The Painting Devoured“. In New Geographies of Abstract Art in Postwar Latin America, 41–65. New York : Routledge, 2019. | Series: Routledge Research in Art History: Routledge, 2018. http://dx.doi.org/10.4324/9781351062145-4.

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2

Lynch, Michael, und Samuel Y. Edgerton. „Abstract Painting and Astronomical Image Processing“. In The Elusive Synthesis: Aesthetics and Science, 103–24. Dordrecht: Springer Netherlands, 1996. http://dx.doi.org/10.1007/978-94-009-1786-6_5.

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3

Zimmer, Robert. „Abstract Representation in Painting and Computing“. In Lecture Notes in Computer Science, 351. Berlin, Heidelberg: Springer Berlin Heidelberg, 2005. http://dx.doi.org/10.1007/11527862_28.

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4

Gage, John. „Colour Systems and Perception in Early Abstract Painting“. In Philosophy and the Visual Arts, 191–200. Dordrecht: Springer Netherlands, 1987. http://dx.doi.org/10.1007/978-94-009-3847-2_10.

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5

Li, Bo, Caiming Xiong, Tianfu Wu, Yu Zhou, Lun Zhang und Rufeng Chu. „Neural Abstract Style Transfer for Chinese Traditional Painting“. In Computer Vision – ACCV 2018, 212–27. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-20890-5_14.

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6

Alvarez, Mariola V. „Calligraphic Abstraction and Postwar Brazilian Informalist Painting“. In New Geographies of Abstract Art in Postwar Latin America, 25–40. New York : Routledge, 2019. | Series: Routledge Research in Art History: Routledge, 2018. http://dx.doi.org/10.4324/9781351062145-3.

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7

Krause, Tara. „Probing the Eddies of Dancing Emergence: Complexity and Abstract Painting“. In Lecture Notes in Computer Science, 428–35. Berlin, Heidelberg: Springer Berlin Heidelberg, 2005. http://dx.doi.org/10.1007/11428848_57.

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8

Kajiya, Kenji. „Painting as Information: The Reception of Abstract Expressionism in Japan“. In American Art in Asia, 51–67. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003130284-5.

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9

Ogusu, Tatsuya, Jun Ohya, Jun Kurumisawa und Shunichi Yonemura. „Inspiring Viewers of Abstract Painting by a Gaze Based Music Generation“. In HCI International 2014 - Posters’ Extended Abstracts, 213–17. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-07857-1_38.

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10

Pollock, Jackson. „My Painting“. In Reading Abstract Expressionism, 139–40. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300185720-011.

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Konferenzberichte zum Thema "Painting, Abstract"

1

Wang, Sheng, und Weiguo Lin. „Abstract Oil-Painting Using Texture Synthesis“. In 2009 International Conference on Management and Service Science (MASS). IEEE, 2009. http://dx.doi.org/10.1109/icmss.2009.5303992.

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2

Liu, Feng. „Aesthetic Features of Chu Teh-chun's Abstract Painting“. In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.39.

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3

Liu, Feng. „Modeling Characteristics of Chu Teh-chun’s Abstract Painting“. In The 6th International Conference on Arts, Design and Contemporary Education (ICADCE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210106.003.

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4

Hibadullah, Cik Fazilah, Alan Wee-Chung Liew und Jun Jo. „Colour-emotion association study on abstract art painting“. In 2015 International Conference on Machine Learning and Cybernetics (ICMLC). IEEE, 2015. http://dx.doi.org/10.1109/icmlc.2015.7340605.

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5

Bai, Ruyi, Xiaoying Guo und Chunhua Jia. „What is the Correct Hanging Orientation for Abstract Painting?“ In the 3rd International Conference. New York, New York, USA: ACM Press, 2019. http://dx.doi.org/10.1145/3331453.3361299.

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6

Dai, Ying. „Discussions on Introduction of Abstract Painting in Apparel Design“. In 2014 2nd International Conference on Education Technology and Information System (ICETIS 2014). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icetis-14.2014.54.

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7

Zhang, Haowei. „Seg-CycleGAN: An Improved CycleGAN For Abstract Painting Generation“. In 2023 4th International Conference on Computer Vision, Image and Deep Learning (CVIDL). IEEE, 2023. http://dx.doi.org/10.1109/cvidl58838.2023.10167194.

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8

Archambault, Christophe. „Using 3D information to drive 2D painting process (animation abstract)“. In the first international symposium. New York, New York, USA: ACM Press, 2000. http://dx.doi.org/10.1145/340916.340944.

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9

Liu, Feng. „The Formation Process of Chu Teh-chun's Abstract Painting Style“. In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.21.

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10

Sucitra, I. Gede Arya, Retno Purwandari und Kadek Primayudi. „Paradigm of Abstract Expressionism Painting of Balinese Artists in Yogyakarta“. In 1st International Conference on Interdisciplinary Arts and Humanities. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0008557001770185.

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Berichte der Organisationen zum Thema "Painting, Abstract"

1

Galenson, David. The Rise and (Partial) Fall of Abstract Painting in the Twentieth Century. Cambridge, MA: National Bureau of Economic Research, Januar 2008. http://dx.doi.org/10.3386/w13744.

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2

Poloboc, Alina. Fancy Pink Goat. Intellectual Archive, Dezember 2023. http://dx.doi.org/10.32370/iaj.2998.

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Annotation:

"Fancy Pink Goat" is a contemporary art piece from the Fancy Collection, created in Spain in 2022. It is a vividly colorful painting dominated by pink and blue, which are the signature colors of the artist`s style. The painting features a fancy goat walking through the jungle with its elegant collar and abstract, long legs. Surrounding the Fancy Pink Goat are a variety of other unusual creatures inhabiting the jungle and keeping the goat company. The artist`s signature red high-heeled shoes are also present, adding a touch of sophistication and style to the painting. This artwork is an impressive example of the artist`s unique style, which blends elements of surrealism and abstraction to create a sense of fantasy and wonder. The overall effect is an intriguing and vibrant work of art that captures the viewer`s imagination. With its expert technique and distinctive style, "Fancy Pink Goat" is truly a gem in the Fancy Collection.

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