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Academic literature on the topic 'Contributions in spiritualist paintings'

Author: Grafiati
Published: 27 July 2024
Last updated: 30 July 2024

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Journal articles on the topic "Contributions in spiritualist paintings"

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Ursachi, Rodica. "Nicolae Grigorescu – marele rapsod al plaiului românesc." Revistă de Ştiinţe Socio-Umane = Journal of Social and Human Sciences 42, no. 2 (April 2019): 56–61. http://dx.doi.org/10.46727/jshs.2019.v42.i2.p56-61.

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The article aims at the creation of the Romanian artist Nicolae Grigorescu, which through his work has made a considerable contribution to the national painting. His creation introduced in Romanian painting a new conception, vision and plastic language, the artist being considered as a pioneer of modern art. Nicolae Grigorescu, through his „peasant” painting, has highlighted the Romanian spirituality (man, nature, the joy of life), and highlighted the beauty of his native plateau.
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Datsiuk, Natalia. "TRADITION AND MODERNISM IN THE SACRED ART OF IGOR ZILINKO." Scientific Issues of Ternopil National Pedagogical Volodymyr Hnatiuk University. Specialization: Art Studies, no. 2 (May 23, 2023): 140–48. http://dx.doi.org/10.25128/2411-3271.19.2.19.

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The article explores the directions of contemporary Ukrainian sacral art in the work of the painter I. Zilinkо, his contribution to the development of sacred art of the temples of Ternopil region. The main directions of stylistic orientation in the formation of modern sacral art, the evolution of paintings from realistic tendencies of Ukrainian sacral painting of the seventeenth century to experiments with stylization of iconic figures in search of greater spirituality of the face, the introduction of our own modern iconography, based on tradition. The article explores the directions of contemporary Ukrainian sacral art in the work of the painter I. Zilinkо, his contribution to the development of sacred art of the temples of Ternopil region. Sacred art is the object of study of many scientists, historians, archivists, art historians, local historians, journalists. Among them, in particular, D. Stepovyk, M. Golubets, K. Moskalets, V. Sventsitska. However, the issue of the development of the modern sacred art of Ternopil region (1990–2018) requires additional study. The purpose of the article is to highlight the main directions in the work of Igor Zilinka, to specify the formation of the sacral and artistic environment of the churches of the city of Ternopil, to study the temples with modern interiors, to analyze the observance of traditions in icon painting and the search for modern aesthetic forms. After the revival of the Ukrainian Church, the construction of new temples began. The construction of churches led to the search for masters who could carry out their interior decoration. Famous Ternopil painter Igor Zilinko has become a “sacred” artist who has been successfully working in this field for many years. One of the first works of Igor Ivanovich was the decoration of the church of the Sacred Heart of Christ in the village of Veluky Gai, Ternopil district (1920). The murals of the church are classic paintings that date back to the works of the famous master of Ukrainian icon painting of the seventeenth century Ivan Rutkovych. It is the only church that reflects the realistic trends of Ukrainian sacral painting of the seventeenth century. Here the traditions of folk art are combined with creative bold search for new content and form. Next was the work on painting the temples in the villages of Petrykiv, Pronyatin, Kupchintsy, in the Ternopil region. On the initiative of Fr. Pavel Repely, the parish priest of the church of the village of Petrykiv, the painter was oriented to the heritage of Byzantine-Ukrainian icon painting. It is the first church in the Ternopil region that depicts the Eastern traditions of icon painting. Igor Zilіnko later managed to form his own style in the contemporary Ukrainian icon, following the Byzantine iconographic tradition. Particularly noteworthy is the iconostasis created by Igor Ivanovich for the Cathedral of the Archangel Michael in Ternopil in 2007. The artist very responsibly approached the choice of plots, taking as a basis the traditional composition of Ukrainian iconostases. The author has preserved the foundations of Ukrainian church traditions and has reflected the saints of the Ukrainian Church. An interesting development in the decoration of the spatial environment of the temple is the Church of St. Sophia of the Wisdom of God in Ternopil. For the decoration of the church, the parish priest Fr. dr. Vitaliy Kozak invited the already known master of sacral painting Igor Ivanovich Zilinko, who at that time developed his own iconographic style. The figures of the saints are exaggerated, unnatural in height, reflecting the idea of an invisible celestial world, without a realistic image. Creativity of Igor Zilinko is one of the most striking pages of contemporary Ukrainian art culture, evokes joyful aesthetic experiences, encourages contemporaries to creative pursuits to create monumental images that combine tradition with the actual spiritual needs of modern society.
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Proppe, Rebecca. "Instruction Paintings." Re:Locations - Journal of the Asia-Pacific World 2, no. 1 (May 15, 2019): 23–45. http://dx.doi.org/10.33137/relocations.v2i1.30801.

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In order to propose further research into non-Western avant-gardes and modernist narratives, this paper explores the contributions of Japanese-American artist Yoko Ono to our understanding of the narratives of modernism and contemporary art. Ono’s work is examined through her interactions with both Japanese and American avant-garde artists and philosophies, thus using Ono’s life and work as one potential case study in demonstrating the important dialog between East and West which manifested into several important avant-garde movements and artworks. My paper further seeks to complicate the traditional Western-centric narratives of art history by acknowledging intersectional readings of works and artists’ histories, by looking at Ono’s unique experience as a Japanese woman living in America, eventually marrying a pop singer whose fame would affect her public image for decades.
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Martin, Daniel. "A warm and sympathetic thing: Voice and dysfluency in Robert Browning’s ‘Mr Sludge, “The Medium”’." Journal of Interdisciplinary Voice Studies 5, no. 2 (December 1, 2020): 163–78. http://dx.doi.org/10.1386/jivs_00023_1.

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This article takes a dysfluency studies approach to representations and expressions of voice and dysfluent speech in Robert Browning’s minor dramatic monologue ‘Mr Sludge, “The Medium”’ (1864). Browning’s speaker, an American spiritualist medium named Sludge, is vile and repugnant in his casuistry and sophistry as he defends his deceptions after being caught as a cheat during one of his séances. While Browning’s contemporaries recognized ‘Mr Sludge’ as a mockery of the real-life American medium Daniel Dunglass Home, the monologue relies on one central metaphor of the medium’s stuttering and stammering body that challenges broader Victorian assumptions about the relationship between speech, voice and elocutionary practices. Throughout this article, G.K. Chesterton’s claim that Browning’s critique of spiritualist practices is paradoxically a ‘warm and sympathetic thing’ becomes the keystone for understanding the monologue’s contributions to modern thought about the pleasures and vitality of dysfluent speech. Fundamentally, Browning’s exploration of the spiritualist’s deceptions and conjuring of the voices of the dead reflects broader medical analogies beginning in the 1840s that linked the causes of dysfluent speech to invasive and contagious voicings.
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Sriwinarti, Ni Ketut, and Ayudia Sokarina. "Interpreting right of accountability from the dimensions of obligation the Piodalan Fund." JAE (JURNAL AKUNTANSI DAN EKONOMI) 8, no. 1 (March 11, 2023): 1–10. http://dx.doi.org/10.29407/jae.v8i1.19372.

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Piodalan is a traditional ceremony of Balinese Hindus. Piodalan is an immaterial religious activity, as a form of belief to Ida Sang Hyang Widhi as the owner of the universe. For the continuity of piodalan, a material value is needed in the form of funds obtained from the contributions of Balinese Hindu society in banjar. The management of these funds is carried out by one of the banjar administrators as treasurer. Accountability for the management of piodalan funds is very unique with cultural of the Hindu-Balinese, and it’s very interesting to study. This study aims to explore the meaning of accountability of piodalan funds for Hindu-Balinese who live in West Lombok. The tools used to analyze the data, the researcher uses a spiritualist interpretive paradigm and a spiritualist phenomenological. The results show the accountability of piodalan funds means the realization of the responsibility or obligation of Hindus to God for the worldly pleasures that given by Almighty which includes five dimensions, namely: clarity, openness, submission, lascarya (sincerity), and manah Kayun (piety).
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Cynkier, Maria Anna. "James Ensor." Groundings Undergraduate 10 (November 1, 2017): 76–93. http://dx.doi.org/10.36399/groundingsug.10.189.

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The article aims to outline the motifs present in works of James Ensor, a Belgian artist, whose art relates to the Symbolist approach to painting. By iconographical analysis combined with the examination of social factors, this article will evaluate Ensor’s contribution to the Symbolist practice during the end of the 19th century. Neglected for a long time by the discipline of art history, his flamboyant visions depicting masks and skeletons are now thought to constitute important emblems allowing for the exploration of the fin-de-siècle soul, troubled by progress and uncertainty and manifested in anarchism, degeneracy as well as spiritualism. This article will argue that the choice of iconography was not solely determined by the artist’s inner life, but its foundation can be found in the dramatic social changes occurring in the late 19th century Belgium and Europe.
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Danalov, Ilker. "Esoteric Painting by Hilma af Klint." Visual Studies 6, no. 3 (December 13, 2022): 285–97. http://dx.doi.org/10.54664/aimf4981.

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A number of modernist art movements of the late 19th and early 20th centuries gradually reduced the mimetic approach, leading to the logical emergence of pure abstraction. There were several contenders for the ‘first abstractionist’, and the Russian artist Wassily Kandinsky (1866–1944) is most often identified as such by art historians. His watercolour (Untitled; Study for Composition VII), which dates back to 1911, is considered the first abstract work. In 1912, Kandinsky published a kind of personal manifesto called “Concerning the Spiritual in Art”, in which he theorized abstract art. Other key pioneers of this art form from the early 1910s were Piet Mondrian (1872–1944) and Kazimir Malevich (1879–1935). They also come up with their own theories about ‘non objective’ art. Although different in their vision, what those artists had in common was that all three of them worked in the idiom of abstraction and were more or less guided by the ideas of the spiritual. The latter is important because the main contender for ‘first abstractionist’ whom we consider here also eliminated the representation of objects from the visible world and followed various spiritual teachings that underlie her work. After 1986, in various sources, the Swedish artist Hilma af Klint (1862–1944) was indicated as a pioneer of abstract art who began to paint the series “Paintings for the Temple” in 1906 (five years before Kandinsky). They are large-format, non-figurative paintings that bear visual and formalistic similarities to abstract painting. From this perspective, the debate about who was the first abstractionist is inevitable. The reason why Hilma af Klint began to be talked about so late is that she painted in isolation and kept her non-figurative paintings a secret. In her will, she stipulated that the paintings not be shown for 20 years after her death. They were discovered in the 1960s and exhibited for the first time in public at the exhibition “The Spiritual in Art: Abstract Painting 1890– 1985” in 1986. By examining the life and work of Hilma af Klint and briefly reviewing the main ideas of abstract art, the current paper aims to answer the question of whether the works by Hilma af Klint were created in the context of abstractionism of modernism, or whether they fall into another category, such as spiritualist or esoteric art.
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Yoo, Suran. "The Patronage and Changing Roles of the Water-Land Paintings from Baoningsi: Focus on their endowment by Ming Emperors and repairs in the Qing Dynasty." Korean Journal of Art History 318 (June 30, 2023): 161–92. http://dx.doi.org/10.31065/kjah.318.202306.006.

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The 136 Water-Land paintings from Baoningsi, now at the Shanxi Museum in Taiyuan, China, are a set of hanging scrolls of the Ming dynasty that have been preserved almost completely. In addition, three documents related to the paintings survive: two records on the repairs to the paintings made in the Jianshen Year of the Kangxi Emperor’s reign (1704) and the twentieth year of the Jiaqing Emperor’s reign (1815), and a list of patrons who contributed to the repair. Although previous studies only mention them as supplementary documents, they offer new insights in the understanding of the paintings.</br>The earliest record on the Baoningsi Water-Land paintings is about their bestowment by the emperor. As the Youyu area in Shanxi, where Baonignsi is located, was being threatened by the nomadic Mongol tribes and the chaos of the Crisis of Tumu at the time, the paintings were likely gifted to make a display of the Ming imperial power.</br>In 1704, the Eight Banners garrisons stationed in Youweicheng led the patronage for the paintings’ repair, with the local gentry and merchants also participating. In the eighteenth century, this was a way to bring people together and for local groups to demonstrate their power and exercise social influences. In the nineteenth century, the paintings’ social function changed once again. They were displayed every year on Buddha’s Birthday and was instrumental in bringing in financial contributions to the temple.</br>This study has focused on the changing roles of the Water-Land paintings. The records of their repairs enables the understanding of different functions a set of paintings can have according to political and social circumstances from Ming to late Qing.
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Marsh, Clive. "Rembrandt Reads the Gospels: Form, Context and Theological Responsibility in New Testament Interpretation." Scottish Journal of Theology 50, no. 4 (November 1997): 399–413. http://dx.doi.org/10.1017/s0036930600049735.

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Art is part of the history of the church, and relates to spirituality and to the practical expression of Christian faith. It illustrates theological loci and biblical themes. Often, the art which fulfils this function does so with the conscious intent of the artist; sometimes not. Attempts have been made, however, to argue that art not only illustrates theology, but also contributes to it. Even so, systematic theologians and biblical scholars — when they do talk to each other — still converse on the basis of largely word-centred approaches to their tasks. I am neither systematic theologian nor biblical scholar, precisely because I attempt to keep a foot in both camps. I am even less of an art critic. Yet it is clear that in the world of art there is a whole area of exploration yet to be ventured into not only historically (have we really sufficiently explored how biblical interpretation and doctrinal theology have been influenced by art?) but also from the perspective of constructive theology (what contribution can art past and present make to the very reformulation and expansion of Christian doctrine?). This paper offers a brief reading of three paintings by Rembrandt, of the Emmaus Road story in Luke 24.13–35. The theological significance of the changing interpretations of the passage is drawn out and the implications of the use of the paintings, in terms of the creative use of the Bible in Christian theology.
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Tehranian, Katharine Kia. "The Aesthetics of Presence: The Landscape Paintings of Peter Holbrook." Prospects 23 (October 1998): 315–27. http://dx.doi.org/10.1017/s0361233300006360.

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Since its inception in the mid-1960s, photorealism has been criticized by those who viewed it as a naive perpetuation of pop art, but it has received the praise of those who have recognized the contributions of photorealism and their relevance to the intellectual climate of opinion of the last few decades. Photorealism challenges our conception of reality by raising questions about the way we see things.
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Books on the topic "Contributions in spiritualist paintings"

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Sutton, Peter C. Reclaimed: Paintings from the collection of Jacques Goudstikker. New Haven: Bruce Museum in association with Yale University Press, 2008.

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Schoenberg, Arnold. Arnold Schönberg: Das bildnerische Werk = Arnold Schoenberg : paintings and drawings. Klagenfurt: Ritter, 1992.

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1840-1926, Monet Claude, Tucker Paul Hayes 1950-, Murray Elizabeth 1953-, Musée Marmottan, New Orleans Museum of Art., and M.H. De Young Memorial Museum., eds. Monet: Late paintings of Giverny from the Musée Marmottan. New Orleans: New Orleans Museum of Art, 1994.

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Perry, Smith, Brommelle Norman, International Institute for Conservation of Historic and Artistic Works., and International Institute for Conservation of Historic and Artistic Works. Conference, eds. Case studies in the conservation of stone and wall paintings: Preprints of the contributions to the Bologna Congress, 21-26 September 1986. London: International Institute for Conservation of Historic and Artistic Works, 1986.

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Kostenevich, A. G. Hidden treasures revealed: Impressionist masterpieces and other important French paintings preserved by the State Hermitage Museum, St. Petersburg. New York: Ministry of Culture of the Russian Federation, The State Hermitage Museum, St. Petersburg in association with H.N. Abrams, 1995.

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Picasso, Pablo. Picasso: Eleven paintings from international collections. Vancouver: Vancouver Art Gallery, 2005.

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Mills, John S. Cleaning, retouching and coatings: Technology and practice for easel paintings and polychrome sculpture : preprints of the contributions to the Brussels congress, 3-7 September 1990. London: International Institute for Conservation of Historic and Artistic Works, 1990.

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Kim, Jong-ai. Harold Rosenberg: Application and critique of his concept of action paintings. 1991.

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Monet, Claude, Elizabeth Murray, Lynn Federle Orr, and Paul Hayes Tucker. Monet: Late Paintings of Giverny from the Musee Marmottan. Harry N Abrams, 1995.

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Divine, Grace. What Is Art? SPIRITUALIST FLORAL PAINTINGS from Representational to Abstract Evoking Psychic Processes Homage to Hilma Af Klint & Georgiana Houghton Art Show at el Dorado Nature Center Long Beach 2019 by Psychic Artist Grace Divine. Independently Published, 2019.

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Book chapters on the topic "Contributions in spiritualist paintings"

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PATRICIA, FORTINI BROWN. "Seduction and Spirituality: The Ambiguous Roles of Music in Venetian Art." In The Music Room in Early Modern France and Italy. British Academy, 2012. http://dx.doi.org/10.5871/bacad/9780197265055.003.0002.

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This chapter examines the tensions between the sacred and profane in attitudes towards the art of music as manifested in Venetian Renaissance painting. Choirs of pious music-making angels playing a variety of musical instruments were a notable feature of Venetian altarpieces from the fourteenth century on. And yet, by the early years of the sixteenth century, these concerts of sacred music were eclipsed by secular images of flute-playing shepherds and lute-strumming youths. While household inventories tell us that musical instruments played a central role in family congeniality, paintings of the time also associate musical performance with ladies of dubious respectability. Thus, while music was treasured for its spiritual enlightenment and contribution to refined domesticity, it was also suspect because of its seductive sensuality.
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Steingräber, Stephan. "Greek Contributions to Tomb Paintings in Etruria and Southern Italy:." In Les arts de la couleur en Grece ancienne... et ailleurs, 169–84. Peeters Publishers, 2018. http://dx.doi.org/10.2307/j.ctv1q26mm2.12.

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"Introduction." In Animating the Spirited, edited by Tze-yue G. Hu, Masao Yokota, and Gyongyi Horvath, xiii—xxvi. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496826268.003.0001.

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The chapter introduces the central theme of the book, the spirited and its sub-themes of journeys and transformations. The subject of animation studies and its expanding areas of inquiry provide a multi-dimensional platform in exploring the themes concerned. The volume of fourteen essays is divided into five sections: Mindful Practices, Creation and the Spirited Process, Objects, Spirits and Characters, Inspirations from the Spiritual-Cultural Realm, Comics and Children’s Literature: Their Transformative Roles, Buddhist Worldviews, Interactions and Symbolism. The introduction posits that the universal theme of the spirited necessitates and warrants multi-faceted perspectives and analyses from scholars, artists, educators, and practitioners contributing from different geographical-cultural backgrounds. The related subjects in discussion include paintings, comics, children literature, folklore, religion, philosophy, and psychology.. It also stresses the idea of the spirited as tied to the broader aspects of mental health, spirituality and creativity. In short, it lays out the humanistic views of the book project.
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Vartanian, Oshin. "The Contributions of Emotion and Reward to Aesthetic Judgment of Visual Art." In Brain, Beauty, and Art, 83–87. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197513620.003.0017.

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It has long been assumed that emotions play an important role in our interactions with artworks. Similarly, how rewarding we find an artwork could also be an important driver of our aesthetic preference for it. Vartanian and Goel (2004) tested this idea by presenting participants with images of paintings in the functional magnetic resonance imaging (fMRI) scanner, recording brain activation as they viewed and rated them on aesthetic preference. Their results demonstrated that activation in brain regions that encode reward and emotions—including the caudate nucleus, cingulate sulcus, and the visual cortex—covaried with preference ratings assigned to the paintings. This study represented an early example of how brain imaging could be used to test theoretically derived predictions from empirical aesthetics. Indeed, data from that study and several others since have accumulated to demonstrate that emotions and rewards are a cornerstone of our aesthetic experiences in relation to artworks and other classes of stimuli.
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L.Walton, Kendall. "Metaphor and Prop Oriented Make-Believe." In Fictionalism In Metaphysics, 65–87. Oxford University PressOxford, 2005. http://dx.doi.org/10.1093/oso/9780199282180.003.0003.

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Abstract Dolls and hobby horses are valuable for their contributions to make-believe. The same is true of paintings and novels. These and other props stimulate our imaginations and provide for exciting or pleasurable or interesting engagements with fictional worlds. A doll, in itself just a bundle of rags or a piece of moulded plastic, comes alive in a game of make-believe, providing the participant with a (fictional) baby. What in real life is a mere stick enables a child fictionally to ride around on a horse, the better to chase bandits or stray cattle. Paint on canvas and print on paper lead us into exciting worlds of mystery, romance, and adventure and guide our travels through them.
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Solomon, Jon. "Mythography and the Reception of Classical Mythology in the Renaissance, 1340–1600." In The Oxford Handbook of Greek and Roman Mythography, 579—C40.P78. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190648312.013.41.

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Abstract This chapter surveys the Greco-Roman mythological tradition from the mid-14th century to the late 16th. It begins with Bersuire, who continued the medieval tradition of allegorizing Ovid’s Metamorphoses, and Boccaccio, who continued the genealogical tradition in his Genealogia deorum gentilium and wrote several additional influential works. Boccaccio was the first humanist scholar to incorporate ancient Greek texts, albeit only the Homeric epics. They were followed in the early 15th century by Salutati, Christine de Pizan, Chaucer, Lydgate, and several others. The subsequent expansion of Greek studies inspired both poets (Poliziano) and painters (Pollaiuolo, Botticelli) associated with the Medici court, and the late 15th-century interest in ancient theater, sponsored by other northern Italian dynasties, revived Plautus’s Amphitryon and inspired Niccolò da Correggio’s Cefalo. Poliziano’s Orfeo established a mythological pastoral tradition that in the 16th century produced such popular dramas as Tasso’s Aminta and Guarini’s Il Pastor Fido, and such comprehensive syntheses as Sannazaro’s and Sydney’s Arcadia poems. The nonclassical epics of Tasso (La Gerusalemme Liberata) and Ariosto (Orlando Furioso) adapted numerous myths and Greco-Roman motifs. The survey concludes with the important scholarly contributions of Giraldi, Cartari, and Conti, the Florentine Masquerade of 1565, and the mid-16th-century paintings of Titian.
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Conference papers on the topic "Contributions in spiritualist paintings"

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Waaler, Dag. "Contributions to spectral imaging of oil paintings using standard medical X-ray equipment." In 2015 Colour and Visual Computing Symposium (CVCS). IEEE, 2015. http://dx.doi.org/10.1109/cvcs.2015.7274901.

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Le Chanu, Patrick. "Contributions and limitations of scientific examination and analysis in the detection of forgeries of old masters' paintings." In Photonics West '98 Electronic Imaging, edited by Walter McCrone, Duane R. Chartier, and Richard J. Weiss. SPIE, 1998. http://dx.doi.org/10.1117/12.308593.

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