Relevant bibliographies by topics / Figurative painting

Academic literature on the topic 'Figurative painting'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Figurative painting"

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Maclagan, David. "Archetypal psychology and non-figurative painting." International Journal of Jungian Studies 7, no. 1 (January 2, 2015): 33–40. http://dx.doi.org/10.1080/19409052.2014.921227.

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Given that the idiom of archetypal psychology is emphatically figurative, how do we deal with non-figurative painting from this perspective? This paper focuses on the kind of abstract painting in which spontaneous, gestural marks create a ground where specific forms cannot be clearly distinguished (Jackson Pollock's ‘drip’ paintings being a well-known example). Such ‘chaotic’ paintings call into question the whole notion of what we mean by ‘image’. I relate these to Anton Ehrenzweig's concept of ‘inarticulate form’, as well as to some of James Hillman's ideas about aesthetic apprehension, and also draw on my own experience as an artist in creating a series called ‘The ground of All Being’.
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Actis-Grosso, Rossana, Carlotta Lega, Alessandro Zani, Olga Daneyko, Zaira Cattaneo, and Daniele Zavagno. "Can music be figurative? Exploring the possibility of crossmodal similarities between music and visual arts." Psihologija 50, no. 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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Ke, S. "Figurative oil painting in China: from Mao to Nu." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 221–26. http://dx.doi.org/10.33838/naoma.27.2018.221-226.

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The range of problems of the influence of realistic art on the genre diversity in Chinese painting is revealed in the article. The processes caused by the cultural revolution and the following historical events in China are shown by the example of the formation of figurative painting during the twentieth century. A variant of the typology of Chinese figurative painting of the studied period is proposed based on the analysis of the most typical paintings.
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Shi, Xueyan, and Zainuddin Abindinhazir. "THE RELATIONSHIP BETWEEN TIME FACTOR AND FIGURATIVE FACTOR IN CHINESE AND ITALIAN FIGURE PAINTING IN THE 15TH CENTURY." International Journal of Heritage, Art and Multimedia 6, no. 20 (December 5, 2023): 01–14. http://dx.doi.org/10.35631/ijham.620001.

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The Time factor used or emerged in painting is an issue that has been discussed for almost 1 century. However, there has never been any specific study related to time and figure painting. In addition, the author finds the time factor used in Italian and Chinese painting in the 15th century, which always depends on the figurative factor of the painting. So, this study is to explore the presentation of time factors in figure paintings in Italy and China from the 15th century to the 16th century and find out the rules between figurative factors and time factors in figure painting during this period.
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Molina, Alberto Carroggio De. "Color Sensation in Figurative Painting." International Journal of Human Movement and Sports Sciences 2, no. 1 (January 2014): 1–4. http://dx.doi.org/10.13189/saj.2014.020101.

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Heegyeong Song. "Figurative Painting Traditional of Korean Painting in the 1950s." Korean Cultural Studies 28, no. ll (June 2015): 137–72. http://dx.doi.org/10.17792/kcs.2015.28..137.

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Gell, Alfred, and Roger Neich. "Painted Histories: Early Maori Figurative Painting." Journal of the Royal Anthropological Institute 2, no. 2 (June 1996): 356. http://dx.doi.org/10.2307/3034106.

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Kurniawati, Dini. "THE ETHICAL AND AESTHETICAL DIMENSION OF FIGURATIVE CLASSICAL CALLIGRAPHY PAINTING." Teosofia 5, no. 2 (October 22, 2016): 115. http://dx.doi.org/10.21580/tos.v5i2.1723.

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<span>The current phenomenon indicates that the use of the term of art experienced a shift in meaning, which is arbitrary. Art is only seen as an expression of free expression, without care about the meaning contained in the work of art. However, it is not evident among Moslem artists in expressing their work in figurative calligraphy painting. Although in Islam, painting especially in paint the creature living (figure) got a bad response, but the Moslem artists were able to present works that are not only beautiful but also the messages. The research questions in this thesis are first what is the ethical and aesthetical message of figurative calligraphy painting? And is there a relationship between ethical and aesthetical messages in figurative calligraphy painting? Trough an interpretative qualitative and a symbolic interaction approach. The research concluded that the ethical messages are Posts contain praying illustrated in the form of ‘abid in praying. It contains the meaning that human is weak creature and always does wrong. Therefore, humans need forgiveness from Allah. Posts of Ali Ibn Abi Thalib was illustrated in the form of lion. It describes and contains the meaning of braveness and heroism of Ali in defense of Allah religion. The aesthetical message in every figurative calligraphy painting is a manifestation of the beauty that exists in the universe. Figurative calligraphy painting is described the Majesty, Power and Oneness of Allah, the art was created is the manifestation of tawḥid</span>
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Geyskens, Tomas. "Painting as Hysteria: Deleuze on Bacon." Deleuze Studies 2, no. 2 (December 2008): 140–54. http://dx.doi.org/10.3366/e1750224108000251.

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Deleuze's work on Francis Bacon is an aesthetic clinic of hysteria and an implicit critique of the psychoanalytic conception of hysteria. Bacon's paintings reveal what is at stake in hysteria: not the symbolic expression of unconscious representations, but the pure presence of the body, the experience of the body under the organism. Inspired by the work of the phenomenologist Henri Maldiney, Deleuze argues that Bacon's paintings become non-figurative without being abstract. In this way, painting shows the hysterical struggle of the body to escape from itself in the rhythm of its movement.
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Uz, Ayfer. "Resimde Duygu ve Gerilimin Çekiciliği Francis Bacon (1909-1992)." Journal of Social Research and Behavioral Sciences 7, no. 13 (November 29, 2021): 703–18. http://dx.doi.org/10.52096/jsrbs.6.1.7.13.36.

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Abstract Francis Bacon was born in Dublin in 1909 to an English family. The artist rejected the literary field and perceived his painting directly as an act of expressionism. The period he lived in and the effect he had on it was reflected in his paintings as horrifying images emerged in them. The figures in his paintings were distorted, trapped in a strong motion, caught in a vortex or storm. The audience subjected to the emotional tension of the figures were subjected to intense emotions. The aim of this study, which was conducted by qualitative research method, is on Francis Bacon who, even though did not receive academic art education, managed to have a strong emotional effect on the audience with his expressionist art. Keywords: Francis Bacon, Figurative Painting, Expression in Painting, Motion and Art.
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Dissertations / Theses on the topic "Figurative painting"

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Coutts, Maryanne. "Using narrative strategies in contemporary figurative painting." Thesis, Federation University Australia, 1999. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/165036.

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"This project applies an analysis of narrative, its elements, strategies and devices to figurative painting within the practical project of producing visual narrative fiction."
Doctor of Philosophy
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Zhang, Naijun. "Recent paintings untitled /." Morgantown, W. Va. : [West Virginia University Libraries], 2000. http://etd.wvu.edu/templates/showETD.cfm?recnum=1642.

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Thesis (M.F.A.)--West Virginia University, 2000.
Title from document title page. Document formatted into pages; contains iii, 21 p. : col. ill. Vita. Includes abstract. Includes bibliographical references (p. 9).
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Mason, Gale Joanna. "Aggregate: An exhibition -and- Event, Sensation and Figurative Painting: An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2021. https://ro.ecu.edu.au/theses/2495.

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This practice-led doctoral research has emerged out of dedicated figurative painting practice and interweaves Gilles Deleuze’s Sensation and Slavoj Žižek’s Event concepts. The Event is understood as a philosophical system and not a particular occurrence. As with Sensation, it is framed as an unseen destabilising force or rupture that can only be experienced through its effects. Utilising the heuristic value of oil paint’s materiality and examining approaches of capturing the idea of Evental rupture, emphasis was given to colour theory, art history, facture and the construction of figurative paintings, with particular attention to the quality of materials. Key figurative painters Susanne Kühn and Neo Rauch, who originated from the East German city of Leipzig and gained prominence after the fall of the Berlin Wall, provide the lens through which these notions are interrogated and applied in this doctoral research. Although differing in styles, they share ideas, commitment to process surface quality, technical skill and a classical painting education at the venerated Hochschule for Grafik und Buchkunst in Leipzig (Academy for Graphic Design and Buch Art). The Leipzig painters draw heavily on the history of painting and past culture, which is evident in their large-scale, discordant theatrical compositions. By tracing the influences of the Leipzig painters through select case studies, I aim to show that this ancient medium has continued relevance in the 21st century and how painting from the past continues to be a crucial factor in informing the present. The creative component of the research examines how devices and strategies in figurative painting can successfully visually manifest notions of Event and Sensation as a bodily experience using the mise-en-scéne genre or the staged event. Select historical painters are referenced throughout the research, but Francis Bacon appears as the third solid key figure, as Deleuze’s Sensation is embedded in his unorthodox painting practice. I critically analyse strategies and devices deployed in his work and align them with that of the Leipzig painters. Insights gained from this are generated in my painting practice.
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Gettings, Michael. "Breaking Art Apart." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2036.

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The human figure, allegory, myth, and the appropriation of other artist’s compositions are elements in my work. I aim to update traditional stories to conform to contemporary times and culture. In addition, I am striving to create a new method to visually express figurative storytelling. Breaking from the traditional flat painting surface, I use multiple shaped panels. The surface is broken into different shaped panels at varying distances from each other and from the wall. This allows for more exploration into shape and negative space while depicting the dramatic height of a story. As part of this method, my paintings explore the discrete nature of human vision, or how we focus on individual parts of a scene while the brain filters the gestalt.
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Rafaelová, Kateřina. "As long as I don't remember who is wearing trousers anymore." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2021. http://www.nusl.cz/ntk/nusl-445698.

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The diploma thesis entitled As long as I don't remember who is wearing trousers anymore consists of a series of large-format paintings. The work is the result of the author's long-term interest in figural painting and especially in the pastel technique and its possibilities of depicting the atmosphere. Through the atmosphere of the image, the diploma thesis creates a space for narration and mystery. In the textual part of the diploma thesis, the author deals mainly with formal aspects of painting.
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Johnson, Perry Walter. "And This, Our Measure: Figurative Realism and Workaday Culture." Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etd/2151.

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Man has created vast and powerful systems. These systems and their associated protocols, dogmas, and conventions tend to limit rather than liberate. Evaluation based on homogeneity threatens the devaluation of our humanity. This paper and the artwork it supports examine contemporary culture and its failings in the stewardship of the humanist ideal. My paintings referenced herein are satirical narratives. The story told is one of alienation and evisceration. The visual subject matter is the human figure and environments dominated by architectural geometry. The male figures are conspicuously turned from view, a visual cue to their estrangement. Parallel and subordinate thoughts from the fields of psychoanalysis, economics, religion, and political science will be discussed.
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McGuire, Tanner J. "Domestic Disturbance." CSUSB ScholarWorks, 2017. https://scholarworks.lib.csusb.edu/etd/569.

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My work explores domesticity, the role reversal happening in the family dynamics, the banality of home life, and the common escapism that occurs in parents. Men play a larger role in the home and women play a larger role outside the home blurring the lines of responsibility and changing expectations. This emasculating process often creates a power struggle within the home. These common issues are the fodder for my artistic practice. Domestic pattern, utility, sexual frustration, chaos and contentment all play a part.
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Masud, Rahat Haveed. "Materialising the spiritual in contemporary painting in Pakistan : an artist's exploration of figurative art and Sufism." Thesis, Kingston University, 2010. http://eprints.kingston.ac.uk/20229/.

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This practice led doctoral thesis explores the meaning of spirituality and its manifestation in figUrative art in the wider historical, religious and artistic contexts of Pakistan, alongside the presentation of a new body of artistic work which explores the contemporary possibilities of materialising spirituality in a predominately Muslim culture. The illustrated thesis engages with these two interconnected but distinct forms of research which underpin its two-part structure. The first part, Section A, comprises four chapters which investigate the various cultural and religious contexts of figurative art with particular reference to Muslim painting; Islamic attitudes to figurative art based upon the study of Islamic law and the various interpretations of the Qur'an and the hadith. It assesses the impact of colonial and postcolonial politics on the arts produced in the Indo Pak Sub-continent and the specific area that later came to constitute Pakistan (a pre-dominantly Muslim country) after the Partition of 1947. The section concludes with im exploration of Islamic spiritual ideals of truth and beauty, through Sufi thought, including the significance of for Allah and the concept of Tauhid. or His Oneness. The three chapters in the second part, Section B, represent a critical reflection on ongoing artistic practice as a female figurative artist in contemporary Pakistan. Drawing upon autobiographical material and fieldwork conducted at Sufi shrines as part this research, I discuss the series of more than twenty five paintings, drawings and siœtcnes which aim to materialise the spiritual. These are supported by a thirty minute documentation of the shrine culture with a voice over along with a video installation film on a DVD exploring the concept of fana or 'spiritual annihilation', which is the key aspect of the shrine culture. In conclusion the vital concern of finding means to materialise the concept of spirituality by creating a body of art work is an effort to fill the gap in Pakistani painting the impact of Sufi philosophy on artistic endeavours is yet to be fully explored in contemporary painting in Pakistan.
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King, Klinkenberg Susan. "Intervention in painting by Marlene Dumas with titles of engagement : Ryman's brides, Reinhardt's daughter and Stern." [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0003107.

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Pancheva-Kirkova, Nina. "How to create an ideal past : continuities from the Communist era in the relationship between abstract and figurative painting in post-Communist Bulgaria." Thesis, University of Southampton, 2015. https://eprints.soton.ac.uk/384411/.

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By engaging with ‘realism’ in the context of Socialist Realism in Bulgaria, a notion that inhabits the space in between fine art, ideology and art history, this practice-based research offers new insight into the examination of continuities between fine art during Communism and post-Communism, exploring the relationship between the abstract and the figurative and their functioning both within, and exceeding, the pictorial space of painting. The two main research questions that inform the studio work and underpin this study have been: How can art practice explore the official representations of Socialist Realism in post-Communist Bulgaria in the axis between photography and painting? How can this process affect an understanding of the relationship between abstract and figurative painting within the context of ‘realism’ of Socialist Realism and contemporary fine art in the country? By focusing on these research questions, this study conceptualises the relationship between the abstract and the figurative in the context of Socialist Realism in fine art in Bulgaria and its official representations after the collapse of the Communist regime. This relationship marked one of the central oppositions in fine art during the Communist era in the country, often constituting a dividing line between what was considered ‘acceptable’ and ‘unacceptable’ art. This study is concerned with the differences in the definitions of ‘realism’ within Socialist Realism in Bulgaria over the years, differences which may be considered as ruptures in its development. Yet it acknowledges these differences within the framework imposed by the Communist ideology. The latter remained unchangeable, yet had a determining impact on the development of fine art throughout the Communist period. Furthermore, the study explores how fragments of this framework are transferred into the post-Communist period, and how they function in state-funded institutional representations of Socialist Realist works and in examples of former ‘official’ artists’ works, as well as in the readings of Socialist Realism after the fall of the Communist regime, readings which fluctuate between the oppositions of ‘official or unofficial’ art, praise or disavowal of Socialist Realism. In order to explore both the ruptures and the continuities, the research looks at Socialist Realism and its specificities in Bulgaria in relation to Socialist Realism in fine art in the Soviet Union and other post-Communist countries in Eastern Europe. The relationship between the abstract and the figurative is situated within this context and explored through a series of transformations of photographic sources into paintings. These transformations are performed by my practice, engaging with the photographic sources’ production, dissemination and display in relation to ‘realism’ in Socialist Realism.
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Books on the topic "Figurative painting"

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Collezione Maramotti (Gallery : Reggio Emilia, Italy), ed. Geometria figurativa: Figurative geometry. Cinisello Balsamo, Milano: Silvana editoriale, 2017.

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Fischl, Eric. Figurative painting with Eric Fischl. London: Institute of Contemporary Art, 1993.

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Giovanni, Capecchi, ed. Scritti sulle arti figurative. Roma: Edizioni di storia e letteratura, 2008.

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Situ, Li. Dang dai yi shu wei ji yu ju xiang biao xian hui hua. Xianggang: Zhong wen da xue chu ban she, 1999.

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Situ, Li. Dang dai yi shu wei ji yu ju xiang biao xian hui hua. Xianggang: Zhong wen da xue chu ban she, 1999.

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Jane, Livingston, Conrad Barnaby 1953-, and John Berggruen Gallery (San Francisco, Calif.), eds. Richard Diebenkorn: Figurative works on paper. San Francisco: John Berggruen Gallery, 2003.

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1937-, Kraemer Dieter, and LVR-LandesMuseum Bonn, eds. Dieter Kraemer: Retrospektive. Köln: Wienand Verlag, 2017.

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Paul, Guérin. Jean Remlinger: Peintures, dessins, gravures. Strasbourg: La Nuée Bleue, 1995.

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Desserre, Jean-François. L'image peinte: Enjeux et perspectives de la peinture figurative des années 1990 à nos jours. Paris: L'Harmattan, 2016.

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1890-1957, Bomberg David, Auchincloss Pamela, and California State University (San Bernardino). University Art Gallery., eds. British figurative painting: A matter of paint. Santa Barbara, Calif: Pamela Auchincloss Gallery, 1987.

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Book chapters on the topic "Figurative painting"

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Brumm, Adam, Adhi Agus Oktaviana, and Maxime Aubert. "Some Implications of Pleistocene Figurative Rock Art in Indonesia and Australia." In Deep-Time Images in the Age of Globalization, 31–44. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-54638-9_3.

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AbstractUntil recent years, most western scholars had overlooked the existence of rock art in Indonesia or viewed it as being of limited antiquity and of largely regional-interest only. In 2014, however, an Indonesian-Australian team announced the results of a program of Uranium-series (U-series) dating of rock art in Maros-Pangkep, Sulawesi, including a surprisingly early antiquity of at least 39.9 ka for a hand stencil and 35.4 ka for a figurative animal painting. U-series dating more recently has yielded minimum ages for figurative animal painting of 40 ka in Kalimantan and 45.5 ka in Maros-Pangkep, with the latter presently constituting the world’s oldest dated example of representational art. Indonesia’s previously little-known rock art has been propelled to the global stage. Here, we examine how scholars are grappling with the implications of ‘ice age art’ in Indonesia and its integration, for the first time, into models of early human artistic culture in other parts of the world. In particular, we discuss the seemingly close stylistic parallels between Late Pleistocene figurative animal art in Indonesia and early representational depictions of animals in the Arnhem Land and Kimberley regions of northern Australia. We consider scenarios that could explain these similarities, including the idea that a single figurative rock art style spread into Australia from Wallacea during the early movements of our species in the region.
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Labourg, Alice. "The Pictorial Paradigm of La Vallée: A Text-Image Reading of the Incipit of The Mysteries of Udolpho." In Powerful Prose, 145–64. Bielefeld, Germany: transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839458808-010.

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In this article, Alice Labourg is dedicated to the question of pictoriality in the incipit of The Mysteries of Udolpho. Close formal analysis enables to understand how the pictorial impression many readers have felt is created through language and its generation of a powerful iconotextual landscape. Painting is embedded in the very fabric of the text through a pictorial writing which operates on two complementary modes, first on an iconic and figurative level which presents the reader with various picture-like scenes, then on a more diffused, semiotic dimension which translates painting as a plastic signifier within the linguistic materiality.
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Levinson, Jerrold. "Paintings, photographs, titles." In Figuring Out Figurative Art, 167–72. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315744179-13.

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Winters, Edward. "Uncanny absence and imaginative presence in Dalwood′s paintings." In Figuring Out Figurative Art, 37–53. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315744179-4.

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Soussloff, Catherine M. "Painting in the Light of Photography." In Foucault on Painting. University of Minnesota Press, 2017. http://dx.doi.org/10.5749/minnesota/9781517902414.003.0007.

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For Foucault, the contemporary French painter Gerard Fromanger’s figurative oil paintings based on slide projections told the story of the present using a contemporary technology that produced an urgent moral message.
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Taylor, Luke. "Themes and Paintings in Ceremonies." In Seeing the Inside, 102–26. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198273905.003.0005.

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Abstract In the creation of bark paintings for sale Kunwinjku artists frequently paint design elements that are characteristic of paintings used in ceremonies. In doing this they intend that the meanings of the design in the ceremonial context carry over to the bark painting medium. For example, the production of a rarrk ceremonial design within a figure painted in a bark painting may associate the subject-matter with a particular clan design also used in the Mardayin ceremony. Or, a painting of a figurative subject may connote a particular ceremony by virtue of the way the Ancestral subject is related to ceremonial performances. Bark paintings encode meanings in different ways and knowledge of the ceremony in question is a prerequisite to understanding the widest connotations of the work. Revelation of ceremonial knowledge is controlled through the ordered initiation to Kunwinjku ceremony.
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Zalewski, Wojciech. "Między metafizyką a fenomenologią. Esej o hiperfenomenologii Gabriela Marcela." In Wokół filozofii kultury, 545–66. Ksiegarnia Akademicka Publishing, 2024. http://dx.doi.org/10.12797/9788383680897.25.

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In this article I consider the problem of abstract painting as part of Roman Ingarden’s phenomenological theory of art. After briefly presenting the structure and process of aesthetic experience, I look at the concept of painting and the description of its structure as a work of art and as an intentional object. The elements, layers of the work and their functions apply almost entirely to works of figurative painting, but a detailed description of the structure of this type of painting is the starting point for considering the structure of an abstract painting. In an abstract painting, the most important constitutive factors, appearances and objects, are absent. The layer of colour spots, originally belonging to the foundation of being, is the only one present in an abstract painting. Having previously presented the conditions Ingarden required of a potential work of abstract art, I draw attention to the importance of the perception of visual qualities for the reception of any painting, and point out how the issue of the perception of abstract painting reveals the problem of a theory that is not only non-universal, but also, I believe, does not adequately explain the experience of figurative painting.
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Wysowska, Anna. "Czy estetyczna teoria Romana Ingardena oddaje sprawiedliwość dziełom malarstwa przedstawiającego?" In Wokół filozofii kultury, 527–43. Ksiegarnia Akademicka Publishing, 2024. http://dx.doi.org/10.12797/9788383680897.24.

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In this article I consider the problem of abstract painting as part of Roman Ingarden’s phenomenological theory of art. After briefly presenting the structure and process of aesthetic experience, I look at the concept of painting and the description of its structure as a work of art and as an intentional object. The elements, layers of the work and their functions apply almost entirely to works of figurative painting, but a detailed description of the structure of this type of painting is the starting point for considering the structure of an abstract painting. In an abstract painting, the most important constitutive factors, appearances and objects, are absent. The layer of colour spots, originally belonging to the foundation of being, is the only one present in an abstract painting. Having previously presented the conditions Ingarden required of a potential work of abstract art, I draw attention to the importance of the perception of visual qualities for the reception of any painting, and point out how the issue of the perception of abstract painting reveals the problem of a theory that is not only non-universal, but also, I believe, does not adequately explain the experience of figurative painting.
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Kattan, Lina M. "The Moment of Change." In Under the Skin, 55–70. British Academy, 2020. http://dx.doi.org/10.5871/bacad/9780197266748.003.0005.

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Saudi women artists challenge cultural boundaries to document change in the notions of identity and agency. These artists employ many experimental techniques through unconventional themes while balancing cultural traditions, Saudi heritage, and Islamic identity. This chapter seeks to identify in what ways artists disrupt the commonly–known prohibition regarding figuration as relegated to the art of painting vis–á–vis photography, particularly in figurative depictions. It suggests two types of reality: the spiritual Real that is connected to painting, and the technological real, which is comparable to reality without a soul. It thus demonstrates how the interrelated concepts of art, reality, and the Real can impact values attached to representations of women in Saudi art. The chapter draws upon the frameworks of feminism, postcolonialism, Post–Panofskian iconography, and deconstruction.
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Hardie, Philip. "Epilogue." In Celestial Aspirations, 320–24. Princeton University Press, 2022. http://dx.doi.org/10.23943/princeton/9780691197869.003.0007.

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This chapter mentions the fashion for large-scale figurative walls and ceilings in Britain that was over by about 1740, but ceilings continued to open up to the heavens in other countries. It discusses the use of the pictorial vocabulary of apotheosis that survived longer in the republican United States, in the monumental apotheosis of George by the Italian painter Constantino Brumidi. The chapter analyzes the classicizing language of apotheosis that was revived for large panel paintings celebrating Horatio Nelson, after his death in the moment of victory at the battle of Trafalgar. The vertical thrust is particularly emphatic in Pierre Nicolas Legrand's painting, in which Nelson is borne upwards from the dark smoke of battle. It also cites a curious example of the panegyrical use of apotheosis from late Hanoverian Britain, which is a small panel painting of the Apotheosis of George III and the Royal Family dated in 1829.
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Conference papers on the topic "Figurative painting"

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Li, Fang. "Symbolic Recognition of Kramskoy's Figurative Painting Language." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.121.

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Xie, Jiusheng. "PROBLEMS AND DEVELOPMENT PROSPECTS OF CHINESE FIGURATIVE OIL PAINTING." In VI Международная научно-практическая конференция "Искусствознание и педагогика. Диалектика взаимосвязи и взаимодействия". Общество с ограниченной ответственностью «Книжный дом», 2018. http://dx.doi.org/10.25807/pbh.978-5-94777-431-3.73.81.

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Zhang, Meng. "Research on Virtual Reality in Contemporary European Neo-Figurative Painting." In International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icelaic-14.2014.124.

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Molteni, Elisabetta, and Alberto Pérez Negrete. "Assedi della guerra di Morea nel ciclo celebrativo di Francesco Morosini. Arte, topografia e storia militare." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11440.

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Sieges of the Morea War in the celebratory cycle of Francesco Morosini. Art, topography and military historyThe forty-eight paintings executed between the seventeenth and eighteenth centuries to celebrate the military campaigns of Francesco Morosini (1619-1694) are an exceptional repertoire of military genre painting. The canvas uses different figurative registers to represent naval battles, cities and territories, siege operations. If the relations with war literature and propaganda prints, which spread across Europe and which had their official “historiographer” in Vincenzo Coronelli in Venice, are evident, equally strong relationships can be established between the paintings, war reports and the plans made on the battlefield by military engineers. This paper deals with the paintings dedicated to the sieges of Corone and Negroponte are examined here.
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Пантелеев, А. Ю., and Р. А. Бахтияров. "TEXT LIKE ART-ELEMENT IN CONTEMPORARY ART WORK’S: E. RUSCHA AND E. BULATOV (COMPARATIVE ASPECT)." In Месмахеровские чтения — 2024 : материалы междунар. науч.-практ. конф., 21– 22 марта 2024 г. : сб. науч. ст. / ФГБОУ ВО «Санкт-Петербургская государственная художественно-промышленная академия имени А. Л. Штиглица». Crossref, 2024. http://dx.doi.org/10.54874/9785605162926.2024.10.57.

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На примере творчества Эрика Булатова и Эда Рушея рассматривается проблема восприятия текста как элемента образного решения в живописных произведениях американского и советского искусства второй половины XX в. Цель статьи — определить, насколько текст и слово способны стать равноправной частью живописного произведения. Актуальность статьи обусловлена новым взглядом на текст как элемент образного решения в живописных произведениях разных художников, но в рамках одного метода. The problem of perception of text as an element of figurative solutions in the pictorial works of American and Soviet art of the second half of the ХХ century is considered on the example of the works of Erik Bulatov and Ed Ruscha.The article studies the ability of text and words to become an equal part of a painting. The relevance of the article is due to a new look at the text as an element of figurative solutions in the paintings of diff erent artists, but within the framework of one method.
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Гришин, Р. В., and Д. А. Гребенникова. "THE MEANING OF LIGHT IN THE WORKS OF MICHELANGELO MERISI DA CARAVAGGIO." In Месмахеровские чтения — 2024 : материалы междунар. науч.-практ. конф., 21– 22 марта 2024 г. : сб. науч. ст. / ФГБОУ ВО «Санкт-Петербургская государственная художественно-промышленная академия имени А. Л. Штиглица». Crossref, 2024. http://dx.doi.org/10.54874/9785605162926.2024.10.62.

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Свет в творчестве Караваджо традиционно воспринимается как образно- пластическое средство. В результате же настоящего исследования обнаруживается философскоэстетическая нагрузка света в работах итальянского художника, реформатора европейской живописи XVII в., основателя реализма в живописи, одного из крупнейших мастеров барокко. С помощью хронологического метода выявлены предпосылки формирования художественного языка Караваджо, проработана проблема интерпретации света. Light in Caravaggio’s work is traditionally perceived as a figurative and plastic means. As a result of this research, the philosophical and aesthetic load of light is revealed in the works of the Italian artist, reformer of European painting of the 17th century, founder of realism in painting, one of the greatest masters of the Baroque. Using the chronological method, the prerequisites for the formation of Caravaggio’s artistic language were identified, and the problem of interpreting light was worked out.
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Chacón, José Luis. "El lugar del arte en arquitectura. Los “lieux porte-voix, porte-paroles, haut-parleurs” de Le Corbusier en su discurso del Convegno Volta, 1936." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.810.

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Resumen: En 1936 se celebró en Roma el Convegno Volta dedicado a la relación entre arquitectura y las artes figurativas. Entre los participantes estaba Le Corbusier quien presentó una ponencia donde claramente explica los fundamentos del lugar del arte en arquitectura, aspecto clave de su posterior Synthèse des arts. Luego de un manifiesto sobre la Arquitectura Moderna, Le Corbusier afirma que en ocasiones excepcionales puede darse la “colaboración” entre arquitectura y arte con el fin de “aumentar el placer de los hombres”. Dirige su atención a la pintura, la escultura y el diseño; y plantea como respuesta la policromía y los puntos “precisos y matemáticos” donde el artista “fuerte y digno” puede hablar y hacer sentir su discurso. Estos lugares del arte son comunicantes: “lieux porte-voix, porteparoles, haut-parleurs”; aun inexistentes entonces pero que se verán realizados años después, en la idea de la Synthèse des arts. Abstract: In 1936 the Convegno Volta took place in Rome and it was dedicated to discuss the relationship between architecture and the figurative arts. Among the participants there was Le Corbusier, who presented a speech where he clearly establishes the fundamentals of the place of art in architecture, a key point in his later Synthèse des arts. After a manifesto of Modern Architecture, Le Corbusier states that in certain exceptional cases there can be “collaboration” between architecture and art, with the scope of “increasing human pleasure”. His attention is placed upon painting, sculpture and design; and as a response he proposes polychromy and “precise and mathematic points” where a “strong and worthy” artist can speak and let his discourse be felt. These places are communicative: “lieux porte-voix, porte-paroles, haut-parleurs”. Although inexistent then, they will be materialized years later in the way of the idea of the Synthèse des arts. Palabras clave: Arte, Arquitectura, Convegno Volta, Le Corbusier, Síntesis de las artes. Keywords: Art, architecture, Convego Volta, Le Corbusier, Synthesis of the arts. DOI: http://dx.doi.org/10.4995/LC2015.2015.810
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Makarevičs, Valerijs, and Dzintra Ilisko. "Figuratively Semantic Analysis of Works of Art." In 14th International Scientific Conference "Rural Environment. Education. Personality. (REEP)". Latvia University of Life Sciences and Technologies. Faculty of Engineering. Institute of Education and Home Economics, 2021. http://dx.doi.org/10.22616/reep.2021.14.044.

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Topicality of the study is related to the in-depth study of the art of works of Van Gogh, Velázquez and Repin by relating art to the biography of these authors. The aim of the study is to explore the symbolism and the biography of the painters using the examples of analysis from the works of Van Gogh, Velasquez, and Repin and also to determine the conditions that contribute to the awareness of the process of perception and understanding of paintings. The methodology of this study is figuratively symbolic method used with the purpose to compare the plots of the art and to relate them to the life experience of their creators. Results obtained and the most important conclusions: This is important for the author of a painting to convey his/her thoughts and feelings to the viewer. Still, there remains a problem. The author uses the language of the image and symbol, which the viewer needs to reveal. Psychology of art offers two main options for solving this problem. The essence of the first option which is the ability of the painter to direct the viewer's sight. It is called the Dutch approach. The second approach to the analyses of art is called the Italian approach. In this case this is important to understand the symbolism and knowledge gained historically by relating one’s art works to the biography of the painter. The authors of this article focus on the second approach by illustrating it with examples of analysis from the works of Van Gogh, Velázquez, and Repin. The results of this study might be of interest for those who are interested in arts and psychology.
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Sahin, Merve. "Immersion in The Second Style Wall Paintings: The Villa A, Oplontis." In 111th ACSA Annual Meeting Proceedings. ACSA Press, 2023. http://dx.doi.org/10.35483/acsa.am.111.70.

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Implementation of complex perspective systems in the room decorations of the Ancient Roman villas, located in Naplesand dated around 80 B.C. – A.D. 200, illustrates how art historiography can inform a fundamental framework in newmedia. 360-degree stereovision-friendly application of spatial perspectives in the ancient rooms mediates a relationshipbetween physical and virtual by appealing to the notion ofsensorimotor contingency. The law-like relationship betweenactions that are in adaption with ever-changing sensory inputslands into realization by utilizing suspension of disbelief. Thisbiological phenomenon has been at the locus of interdisciplinaryinquiry, encompassing both archaeological findings inItaly and the immersive technologies of virtual reality.Media theorist Oliver Grau showcases a famous exampleof illusionary spaces in classical antiquity. He examines thetriclinium of the Villa of the Mysteries, Pompeii where theviewer is immersed in realistic figures in narration. This paperaims to shift the attention from figuration to pure illusionisticrepresentations of cityscapes in atrium 5, cubiculum 11,triclinium 14, and oecus 23 of the Villa A at Oplontis. Coinedby the German archeologist, August Mau, the Second Stylewall paintings mark an application of the trompe-l’oeil effect,which introduces the suspension of disbelief into the physicalenvironment. Convergent and divergent grid systems withvarious points of recession in the rooms of Villa A, Oplontisapproximate a level of immersion; head-mounted display orCAVE systems can now afford in the 21st century.
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Tomassoni, Rosella, Stefania Liburdi, Monica Alina Lungu, and Rosalba Roccolini. "THE ARTIST AS THE FORERUNNER OF SOCIO-CULTURAL VALUES." In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s08.15.

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Introduction This paper intends to propose a thinking about art and science as different manifestations of human culture. Objective and Method Goal of this paper, through analysis and observation, is to underline how art and science are interpenetrated so as to interface, inspire and influence each other. [1] (Arieti S., Creativita. La Sintesi Magica. Il Pensiero Scientifico, Italy, 1979) Intuition is what promotes and moves art and science. this is the basis of creativity and man, through him, supposes and glimpses reality by giving it shape. This work also intends to demonstrate how the artist is often a forerunner of sociocultural values (Fusco-Tomassoni) Topic This paper concerns mental mechanisms, which underlie the work of artists and scientists and show both an analogy between science and art, and their common origin with the elaboration of abstract thought and the sophisticated representation of the world. Conclusion In conclusion, if the scientific version of the world has significantly influenced art in general and, even more literature, the literary work of art, as Italo Calvino states, would be the map of the world and of science. In the same way art has influenced science, for example Gould, in elaborating the concept of "contingency" and its role in the structure of biological evolution, was inspired by the structure of the dome of the Basilica of San Marco in Venice. Moreover, art and science often capture the spirit of the times in unison and, especially the artist, can be a forerunner of socio-cultural values by sensing new realities, out of their own time, but in any case by making a synthesis between conscious and unconscious. A ciociarian artist of the twentieth century, a certain Michele Rosa, expresses the figuration of the unconscious and the irrational, he senses the historical and cultural development of peoples. through informal painting, in fact, this artist, anticipating the times, shifts attention to the negative consequences of pathogens, such as viruses, long before what would have been the current Covid-19 pandemic.
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Reports on the topic "Figurative painting"

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Adams, Carol. Figurative Painting and It's Reverberation in Pairs. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.2570.

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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.
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