Journal articles on the topic 'Figurative painting'
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1
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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WANG, Shiru, and Ion SANDU. "THE INFLUENCE OF POLITICAL EVENTS AND IDEOLOGY ON THE FORMATION OF THE PICTURE CONCEPT OF DUNHUANG CAVES FRESCOS." International Journal of Conservation Science 14, no. 4 (December 15, 2023): 1443–62. http://dx.doi.org/10.36868/ijcs.2023.04.13.
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The article is devoted to an analysis of the figurative concepts of the Dunhuang cave wall paintings. It was determined that, despite the fact that the Dunhuang wall painting is an example of Buddhist art, it represents a syncretism of Buddhism and local beliefs—Taoism and Confucianism—which manifested itself in the depiction of characters from Buddhism and Taoism in one plot. Dunhuang cave murals are not uniform in style and execution techniques. Its genesis testifies that in the early stages it was a literal borrowing of the ancient Indian traditions of Buddhist mural painting; instead, there was a gradual layering of local painting techniques from the Central Plains of China. This led to the diversification of cave wall paintings of later periods and eventually led to the formation of a specific stylistic direction of "Chinese secular Buddhism," in which realistic painting plays an important role—the portrait genre of benefactors and the landscape genre of "mountains and waters."
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Bouras, Alexander, and Maria Kokkori. "An Analysis of the New and the Figurative Art (Paul Cezanne)." Experiment 29, no. 1 (December 12, 2023): 42–60. http://dx.doi.org/10.30965/2211730x-12340044.
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Abstract This article presents Malevich’s explanation and indeed justification for the new art, including his own objectless art of Suprematism. He divides the history of art into two trends – figurative art, which relies on an identifiable subject matter to convey any spiritual sensations, and non-figurative art in which sensations are evoked through the mixing of colors, the fabric of the painterly structure – “painting as such” and “color painting” (tsvetopis’). Much of the text focuses on Cezanne who expressed the nature of painting so powerfully in works like The Bottom of the Ravine (1879) and The Card Players (1890–1892). Malevich compares his “painterly realism” to the “illusory” realism of figurative artists, such as Ivan Shishkin and Ilia Repin. This article is translated and edited by Alexander Bouras and Maria Kokkori.
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Brumm, Adam, Adhi Agus Oktaviana, Basran Burhan, Budianto Hakim, Rustan Lebe, Jian-xin Zhao, Priyatno Hadi Sulistyarto, et al. "Oldest cave art found in Sulawesi." Science Advances 7, no. 3 (January 2021): eabd4648. http://dx.doi.org/10.1126/sciadv.abd4648.
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Indonesia harbors some of the oldest known surviving cave art. Previously, the earliest dated rock art from this region was a figurative painting of a Sulawesi warty pig (Sus celebensis). This image from Leang Bulu’ Sipong 4 in the limestone karsts of Maros-Pangkep, South Sulawesi, was created at least 43,900 years ago (43.9 ka) based on Uranium-series dating. Here, we report the Uranium-series dating of two figurative cave paintings of Sulawesi warty pigs recently discovered in the same karst area. The oldest, with a minimum age of 45.5 ka, is from Leang Tedongnge. The second image, from Leang Balangajia 1, dates to at least 32 ka. To our knowledge, the animal painting from Leang Tedongnge is the earliest known representational work of art in the world. There is no reason to suppose, however, that this early rock art is a unique example in Island Southeast Asia or the wider region.
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Zavadskaya, Irina Anatol’evna. "Figurative Images in the Early Christian Funeral Paintings of Chersonese." Античная древность и средние века 49 (2021): 38–54. http://dx.doi.org/10.15826/adsv.2021.49.003.
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The paintings of the 11 early Christian burial vaults of Chersonese uncovering the image of the Garden of Eden fully correspond to the traditions of the Late Antique art. There figurative images are very rare, and not all of them have been interpreted properly. Single man’s figures preserved in the painting of three vaults (of the years 1853/1905, 1909 and in the vault on N. I. Tur’s land) are of particular interest for the determination of the time and ways of penetration of this artistic tradition into early Christian Chersonese. A comparative analysis of funeral paintings from different regions of the Eastern Roman Empire makes it possible to determine the function of the mentioned images of men in the painting of these tombs and to explain their origin in early Christian burials. According to the fragments that survived, all three figures of young men are very similar in dress and posture. Probably, they all held a burning candle in the hands, the image of which survived only in the vault of the year 1909. These images are comparable to the figures of servants from a number of tombs discovered in the Balkans, Asia Minor, North Africa, and Levant. The young men from Chersonese are most close to the images of male servants from the tombs in Bulgaria and Serbia. From the analogies given in this paper there are reasons to interpret the figures of young men in the three vaults of Chersonese as images of servants. Figures of servants were widespread in ancient art and also in Christian burials to the end of the fourth century. Most likely, these figures appeared in the paintings of Chersonese under the influence of the Eastern Balkan artistic tradition.
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Raden, Agung Zainal Muttakin, Mohamad Sjafei Andrijanto, and Wirawan Sukarwo. "Figurative Calligraphy: Artistic, Magic, and Religious Aspect of the Cirebon Glass Painting." Cultural Syndrome 1, no. 1 (July 23, 2019): 1–13. http://dx.doi.org/10.30998/cs.v1i1.17.
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Cirebon glass painting is a particularly famous artwork related to Islamic art in Indonesia. Aside from its aesthetic values, Cirebon glass painting also contained the symbol and message behind its ornaments. Figurative calligraphy with Arabic script is frequently used by glass painting artisans to make Cirebon glass painting. The resulted figurative calligraphy can take form resembling those of human figure, plants, animals, wayang, and the imaginary entity or particular symbols. As it is, Cirebon is one of the busiest port city in Java island. Therefore, many cultural exchanges happened by the interaction of many nationalities visiting Cirebon which later on assimilated to the local culture. This makes Cirebon glass painting unique since it was influenced by a mixture of cultures. This research focused on the elements that are contained on the Cirebon glass painting based on the artistic, magic, and religious aspect. The result in this research has an implication to expose the symbols, message and meaning behindCirebon glass painting and its synergy with the artistic, magic, and religious aspect that makes Cirebon glass painting survived and still doing well in Cirebon society nowadays.
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Purwita, Dewa Gede. "Pengaruh Narasi pada Seni Lukis Tradisi Bali: Studi Bahasa Rupa Lukisan Wayang Kamasan dan I Ketut Gede Singaraja." Humanis 25, no. 4 (November 11, 2021): 504. http://dx.doi.org/10.24843/jh.2021.v25.i04.p10.
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Traditional Balinese painting elements contain narrative, illustrative, figurative, functional, these formed the structure of Balinese art which is closely related to the existence of the text as the background of its creation. This study aims to read the influence caused by narrative as things that affect the “wimba” and the “cara wimba” in traditional Balinese painting which is focused on Sutasoma's painting in the Kamasan painting style in Bale Kambang Kerta Gosa, Klungkung and the painting of Prabu Salya by I Ketut Gede Singaraja. This research method uses a qualitative art research with analytical descriptive, the theory used as an analysis is the system namely Ruang-Waktu-Datar from the theory of Bahasa Rupa. The results of the analysis show that the narrative forms a system of procedures for depicting traditional Balinese paintings which can be seen from the way the perspective is applied from various sides, the pattern of depiction of figures that replace facial expressions with gestures, as well as the presence of a symbolic time dimension. Through reading with the Ruang-Waktu-Datar, it is found that traditional Balinese paintings are influenced by narratives that are very strongly reflected in their language of appearance.
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Feng, Hanping, and Safrizal Shahir. "An Analysis of Spatial Construction in Pictorial Art from the Perspective of Formalism." Harmonia: Journal of Arts Research and Education 24, no. 1 (July 5, 2024): 149–57. http://dx.doi.org/10.15294/harmonia.v24i1.42152.
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“Space,” as a fundamental conceptual term, has been frequently and widely applied within various disciplines, such as sociology, architecture, philosophy, math, art, and so forth. In pictorial art, the term “space” is often used as a lens to understand specific concepts or artworks. This study aims to explain and describe pictorial spatial construction in paintings by applying various approaches. However, in the field of formalist analysis over the past century, except for a few formalist critics who have engaged with pictorial space, few have attempted to use creative methodologies to systematically analyze how pictorial space is constructed in the painting, particularly in works by contemporary painters. Therefore, to fill in this lacuna in the research, this study utilizes new formal analytical methods to analyze and explain spatial construction in paintings. In terms of the method of analysis, this study analyzes a sample of Western contemporary paintings and utilizes the approaches of the overlap of the abstract and the figurative, parallel narratives existing in multiple spaces, and the juxtaposition of different material dimensions, respectively, to rethink the method of spatial construction in the painting. The result concludes that paintings are an essential research object within visual art. The construction of image space is rich and includes multiple layers of meaning. The overlapping of abstract space (sensibility) and figurative space (rationality), as well as the coexistence of this contradictory system, enables artists to discover more possibilities when creating works and effectively enrich visual effects and textures in their paintings.
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Liu, Xu, and Taig Youn Cho. "Neuroaesthetic Study on Mondrian's Painting Style." Korea Institute of Design Research Society 7, no. 3 (September 30, 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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Lafont, Anne. "Fabric, Skin, Color: Picturing Antilles’ Markets as an Inventory of Human Diversity." Anuario Colombiano de Historia Social y de la Cultura 43, no. 2 (July 1, 2016): 121. http://dx.doi.org/10.15446/achsc.v43n2.59074.
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The confrontation of West Indies’ variegated and mixed-race populations with painting’s material (canvas and pigments) and human classificatory systems proper to the era of Encyclopédie’s illustrations prove to be, regarding race and racialization process, a notably interesting research field. Yet, until today, the idea of early modern Caribbean painting has not been raised as such and this is therefore what I propose to study in this article. Indeed, Caribbean painting by means of figurative inventiveness and because of his grounding in the geographical, political, and historical specificity of racial and cultural archipelago, created an original pictorial inventory of human diversity.
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Vasileva, Zdravka. "From Figurative Painting to Painting of Substance – The Concept of an Artist." Open Journal for Studies in Arts 2, no. 2 (September 6, 2019): 35–44. http://dx.doi.org/10.32591/coas.ojsa.0202.01035v.
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Yoh, Myeunghee, and Won Kon Yi. "A Study of Ambiguity in Semi Figurative Painting." Journal of Basic Design & Art 20, no. 6 (December 31, 2019): 309–21. http://dx.doi.org/10.47294/ksbda.20.6.24.
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Berdiševs, Vladimirs, Nikolajs Zaharovs, and Veronika Kučerovskaja. "Decorative composition tasks for painting as a means to develop students' creative personality (direction "Design")." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 1 (May 30, 2015): 432. http://dx.doi.org/10.17770/sie2013vol1.570.
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The essay is dedicated to the problems of teaching painting at Design faculties of high schools and universities. The main task both in painting is to teach students to make a conscious choice of visual tools. Selection of pictorial means shall be determined by a figurative idea and shall contribute to the most expressional solution of a set problem. Approach to painting changes to become more analytical one, based on the laws of formal composition and color science. Special attention is paid to seeking for figurative solutions. In addition to educational activities students are challenged to perform their works at a high professional and artistic level and to develop their creative personality. In painting students shall create decorative compositions in the most free form provided that image objects are recognizable. Understanding of form elicitation patterns or image creation principles contributes to a more precise choice of figurative instruments and allows developing students’ creative abilities as required by the specifics of their professional education. . Purpose of the article: studies of painting teaching experience for efficiency and quality improvement, evaluation of disciplines that provide fundamental artistic training in development of designing skills and abilities of students. The method is based on the studies of General Painting Department of St. Petersburg Academy of Applied Arts named after Stieglitz as well as on the analysis of teaching methods of Russian classic academic school, in particular by N. Volkov and P. Chistyakov. Traditional methods of pedagogical studies have been used such as examination/observation, experience analysis and pedagogical experiments.
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COLLOMOSSE, J. P., and P. M. HALL. "SALIENCE-ADAPTIVE PAINTERLY RENDERING USING GENETIC SEARCH." International Journal on Artificial Intelligence Tools 15, no. 04 (August 2006): 551–75. http://dx.doi.org/10.1142/s0218213006002813.
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We present a new non-photorealistic rendering (NPR) algorithm for rendering photographs in an impasto painterly style. We observe that most existing image-based NPR algorithms operate in a spatially local manner, typically as non-linear image filters seeking to preserve edges and other high-frequency content. By contrast, we argue that figurative artworks are salience maps, and develop a novel painting algorithm that uses a genetic algorithm (GA) to search the space of possible paintings for a given image, so approaching an "optimal" artwork in which salient detail is conserved and non-salient detail is attenuated. Differential rendering styles are also possible by varying stroke style according to the classification of salient artifacts encountered, for example edges or ridges. We demonstrate the results of our technique on a wide range of images, illustrating both the improved control over level of detail due to our salience adaptive painting approach, and the benefits gained by subsequent relaxation of the painting using the GA.
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Sanfelice, Vinicius Oliveira. "A Bigger Splash to the Narrative." Études Ricoeuriennes / Ricoeur Studies 9, no. 1 (September 4, 2018): 90–107. http://dx.doi.org/10.5195/errs.2018.360.
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The objective of this article is to offer an example of a work of art identified with what Paul Ricœur named polysemy or linguistic density. Some works of art exemplify a metaphoricity in their constitution and the metaphor would be a privileged model for the analysis of figurative art and of allusive figuration. I believe that the painting A Bigger Splash by David Hockney has an image game that is also a language game: the aesthetic figuration as semantic link between the verbal and the non-verbal, between the poetic and the pictorial. I argue that figuration through metaphoricity also exemplifies an ambiguity in Ricœur’s philosophy of language, and the distinction between the field of the pre-narrative and the narrative of the artwork clarify the aesthetic aspect of his theory of metaphor. The advantage of my example is that the immanent analysis of the metaphoric constitution of the work of art is compatible with the isolation of its narrative elements. The metaphoric redescription in painting should not be automatically extended to the narrative refiguration.
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Kang, Yoo-lim. "The Study on Spirit Expression in Contemporary Figurative Painting." Journal of Art and Culture Studies 1 (December 31, 2012): 1. http://dx.doi.org/10.18707/jacs.2012.12.1.1.
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Hlobil, Tomáš. "Bernard Bolzano on colours, shapes, and non-figurative painting." Umění 71, no. 4 (2023): 347–55. http://dx.doi.org/10.54759/art-2023-0403.
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París Romia, Gemma. "Arte como Simulacro de una Realidad Lejana en la Obra de Gerhard Richter." Barcelona Investigación Arte Creación 8, no. 2 (June 3, 2020): 101. http://dx.doi.org/10.17583/brac.2020.3580.
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This paper investigates the links that the artist Gerhard Richter establishes between photography and painting throughout his artistic career, initiated on 60ths. Since then, Richter's goal has been to build images, whether pictorial or photographic, whether blurry or sharp, geometric, abstract or figurative. The world that Richter paints is made up of banal situations, by anonymous people, by familiar landscapes, and that makes us feel comfortable as spectators, because it seems that Richter is creating a file of known places, moments with which we can connect from our subjectivity. Most part of the images are blurry, so Richter is not painting photographs, but that he is building images, from photography and through painting. The richness of his artistic process is his position between photography and painting, between figuration and abstraction, between the subjective and the collective. Richter creates an extensive and varied register of different types of images, which are part of our everyday universe. Richter build those images on painting them or on collecting them, creating a simulated reality, a vast and aesthetic archive where we can find ourselves reflected, interrogated, seduced. The archive of images by Gerhard Richter invites us, in fact, to ask ourselves about our relationship with the world and with its representations.
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Dekova, Galina. "Figurative art in Bulgaria from the 1920s and 1930s: The School of Kyustendil, Kiril Tsonev and Boris Elisayeff." Labyrinth 21, no. 1 (October 4, 2019): 188. http://dx.doi.org/10.25180/lj.v21i1.176.
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The aim of this paper is to present those realistic tendencies in Bulgarian painting from the 1920s and 1930s, that echoe contemporary West European ones, like the New Objectivity in Germany. Among others, it will be shown how Bulgarian artist’s paintings are inspired by the folklore primitive from the past and reflect the assiduity of cultural administration to renew the idea of a modern artistic school of art with a defined national character.
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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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Wunenburger, Jean-Jacques. "The Transfiguration of the Real in Abstract Painting." Human and Social Studies 5, no. 2 (June 1, 2016): 77–89. http://dx.doi.org/10.1515/hssr-2016-0014.
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Abstract This article challenges a series of assumptions associated with abstract painting, arguing that this type of art makes one understand a visual manifestation which does no longer refer to the visible world only, but also to an intelligible world, accessible to the senses. Non-figurative painting abandons the reproduction of the visible, in order to present us with the invisible, and in order to account for this phenomenon the author elaborates three types of philosophical decision to interpret the mode of being of the image. The comprehension of this original experience of abstract art is then compared to the relations between the visible and the invisible, as Christian theology delineates them. Christianity is defined first by the experience of the figuration of God, by His embodiment, which actually enables one to conceive of certain images, such as the icon of the Orthodox liturgy, but at the same time it also bestows, for the first time, an incredible status to the disappearance of the visible divine body, when it returns to the invisible, while remaining present in the visible.
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Devi, Putu Durga Laksmi, Ni Made Purnami Utami, and I. Wayan Sujana. "Transformation Of The Visual Motifs Of The Kamasan Puppets Into Figurative Characters." CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI 4, no. 1 (April 26, 2024): 40–48. http://dx.doi.org/10.59997/ctkr.v4i1.3634.
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This thesis contains a description of the creation of a work of painting with the theme "Transformation of Visual Motifs of Wayang Kamasan into Figurative Figures" which was inspired by the motifs of Wayang Kamasan paintings on the ceiling of Kertagosa Hall, Klungkung, Bali. The Wayang Kamasan characters already have rules or 'standards' that must be preserved, but for the author when observing the decorative motifs of the Wayang Kamasan characters from the coils to the clothes, it provokes subconscious associations which actually give rise to their own figurative characters. Then deformation and stylization of motifs will be carried out to create imaginary results from icons in order to create figurative character symbols in the style of the author. For this reason, research was carried out to obtain assessment data using four theories, namely Carl Gustav Jung's archetype theory, Janques Lacan's imaginary theory, Susanne K. Langer's symbolic theory and A.A.M.'s aesthetic theory. Djelantik to explain this thesis. The author also uses two creation methods as inspiration originating from the 6 (six) stages of Mr. I Made Wiradana's work and the Mobile Art Labortory (MAL) which provides a Blueprint process for ideas and the formation of Mr. I Wayan Sujana's work 'Suklu'. The author obtained the results of the creation of the deformation and stylization of Wayang Kamasan motifs into figurative figures in the form of paintings using various techniques and media by considering the elements and principles of fine art. From the theme above, there are 6 (six) works that have been realized with narratives originating from the connection between the author's experiences and the side of humanism.
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Barroso, Paulo. "Painting Sensations." Interações: Sociedade e as novas modernidades, no. 45 (December 31, 2023): 116–29. http://dx.doi.org/10.31211/interacoes.n45.2023.a5.
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Bacon’s paintings are images-sensations, a figurative art that composes a visual rhetoric of pathos. It is a rhetoric of sensations centred on the effects of visual signs on the spectators/viewers. The pathos is something perceptive and sensitive that happens in the spectators/viewers; it is driven, incited, provoked by Bacon’s images. The pathos is indistinctly caused by the intentional and strategic use of a visual language. The meanings of the visual signs are formed a priori and transmitted as clearly as possible in reference to a given situation, activity, event, reality/world. If this is so, the use of rhetoric is emphatic to explore the pathos instigated by Bacon’s images-sensations. Following a theoretical and conceptual approach and through the lens of Deleuze’s perspective, the aim is to show the power of visual rhetoric when provoking sensations, and to problematize the representation and report of reality as a changing process through signs/images. This is demonstrated by Bacon’s images-sensations and Deleuze’s transcendental empiricism perspective. In a semiotic perspective, Bacon’s paintings are a perfect anchorage to understand the influence of an aesthetical language and practice of image as a visual rhetoric resource, which amplify the pathos.
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Casteras, Susan P. "Victorian Figurative Painting: Domestic Life and the Contemporary Social Scene, and: Victorian Narrative Painting (review)." Victorian Studies 44, no. 3 (2002): 495–99. http://dx.doi.org/10.1353/vic.2002.0052.
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Chadwick, Whitney. "Narrative Imagism and the Figurative Tradition in Northern California Painting." Art Journal 45, no. 4 (1985): 309. http://dx.doi.org/10.2307/776804.
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Chadwick, Whitney. "Narrative Imagism and the Figurative Tradition in Northern California Painting." Art Journal 45, no. 4 (December 1985): 309–14. http://dx.doi.org/10.1080/00043249.1985.10792317.
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Dimova, Temenuzhka. "Chiroscript: Transcription System for Studying Hand Gestures in Early Modern Painting." Arts 12, no. 4 (August 21, 2023): 179. http://dx.doi.org/10.3390/arts12040179.
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The main goal of this article is to introduce a new method for the analysis of depicted gestures in painting, namely a transcription system called chiroscript. Based on the model of transcription and annotation systems used in linguistics of co-speech gestures and sign languages, it is intended to provide a more systematic and objective study of pictorial gestures, revealing their modes of combination inside chirographic accords. The place of chirograms (depicted hand gestures) within pictorial semiotics will be briefly discussed in order to better explain why a transcription system is very much needed and how it could expand art historical perspectives. Pictorial gestures form an understudied language-like system which has the potential to increase the intelligibility of paintings. We argue that even though transcription is not a common practice in art history, it may contribute and even transform semiotic analyses of figurative paintings.
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Huculak, Łukasz. "Bezprzedmiotowa figuracja i realna abstrakcja. Wątki abstrakcyjne w malarstwie przedstawiającym." Studia Philosophica Wratislaviensia 15, no. 3 (December 31, 2020): 49–60. http://dx.doi.org/10.19195/1895-8001.15.3.4.
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The paper refers to the mutual relations between abstract and figurative painting, from the Renaissance to the present. By referring to the rationalism and conceptualism of iconology related to realism and the phenomenological purity of Dutch realism, it emphasizes the idealistic foundations or effects of trends in painting considered realistic. In turn, demonstrating the presence of sensual aspects in abstract art, it examines the possibility of considering reality as an abstract phenomenon and asks about the relevance of the conflicting understandings of both categories, especially with regard to the tendency to mix these two orders in current painting trends.
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Abdokova, Marina B. "Portrait and landscape in Boris Zaitsev’s publicistic writings: style and ethos." RUDN Journal of Studies in Literature and Journalism 25, no. 1 (December 15, 2020): 17–32. http://dx.doi.org/10.22363/2312-9220-2020-25-1-17-32.
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The article represents genre-style etymology of Boris Konstantinovich Zaitsev (1881-1972) publicistic legacy (that includes essays, profiles and critical notes). Style-forming expressions of this outstanding representative of 20th century Russian literary abroad are analyzed within the context of his ethical and philosophical principles. Zaitsev’s portrait and landscape sketches are considered for the first time as figurative-poetic and genre-compositional components of the artist's “visual palette”. One of the effective methods of comprehending the style and ethos of the writer is the disclosure of multi-genre subtexts that reflects the creative worldview of B. Zaitsev, in which aesthetics is closely intertwined with metaphysics, and this, in turn, determines the adjacent disciplinary tools for the study of “literary painting”, actualizes parallels with non-verbal art forms (painting, music). The intertextual phenomenology of B. Zaitsev's publicistic texts is not limited to the artful, masterly and technical depiction. The nature of refined subject-figurative “painting”, as follows from the analysis, is based on the spiritual contemplation of the writer and reflects a rare for the art of the 20th century harmony of the artistic and transcendent.
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Wang, Weike. "Color as a pictorial principle in the artistic language of Chinese painting: approaches and models of representation." Culture of Ukraine, no. 77 (September 28, 2022): 73–81. http://dx.doi.org/10.31516/2410-5325.077.09.
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The purpose of the article is to study the approaches and models of color as a pictorial principle in modern Chinese painting.
The article is devoted to the actual problem of the study of the artistic language of painting. In Chinese art history, it has several forms of representation. However, one of the key themes is the role of color as a central pictorial principle in contemporary fine art.
The study of the role of color in painting is based on the analysis of the formal and compositional-plastic features of artwork. At the same time, color is an important factor in the interpretation of artistic signs and symbols of a particular author. The selection of color from and a number of other elements of the artistic language is associated with the influence of the traditional artistic system in the art of China on the practice of modernization. In many professional studies, we can come across an opinion about the practical significance of tonal and color solutions for substantiating the artistic imagery of a work and its ideological and aesthetic meaning.
The methodology. For the analysis of sources we used the method of comparative analysis and the method of typology. Visual sources are analyzed with the use of methodological, formal, compositional and figurative-stylistic analysis.
The results. In modern Chinese studies, the problem of color is a completely independent area, which is of universal importance for the analysis of the evolution of fine art. As a visual principle, the subject matter is considered within two approaches: 1) figurative-plastic, where the central place is occupied by tonal and color features in the context of the search for form and composition; 2) emotional-figurative, where the central place is occupied by the perception of color and the interpretation of the signs and symbols of the work.
Within the framework of the first approach, three research models dominate: 1) figurative and artistic model, which is characterized by the ability of color to change within the framework of the author’s style idea; 2) the symbolic model focuses the artist’s attention on cultural and historical references; 3) the decorative-figurative model positions the problem of color as a matter of color morphology, as well as the use of traditional decor techniques along with oil painting methods.
Within the framework of the second approach, the sign-emotive and semantic-emotive models are the main ones. The first model represents color as a factor of the author’s sign space. The second model is a tool for studying color as a part of a sign artistic language. This artistic language regulates the specific meaning of the aesthetic essence of color (for example, red in traditional symbolism is a sign of power). In this model, the semiotic feature of color is enhanced by the emotional nature of painting techniques.
The scientific novelty. The article substantiates the concept of color in painting as the main pictorial principle in the contemporary fine arts of China. The research approaches of Chinese art critics are summarized.
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Leroy, Fabrice. "Painting the Painter." European Comic Art 5, no. 2 (December 1, 2012): 8–22. http://dx.doi.org/10.3167/eca.2012.050202.
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French cartoonist and filmmaker Joann Sfar has often used the comics medium to reflect on visual representation. His latest bande dessinée, Chagall en Russie ['Chagall in Russia'] (2010-2011), continues some of the meta-pictural elements previously found in his Pascin (2000-2002), which already featured Chagall in several episodes, as well as his acclaimed series, The Rabbi's Cat, where Sfar introduced the character of an anonymous Russian painter, whose biography and artistic stance seemingly referred to that of Marc Chagall. Although Chagall en Russie explicitly refers to the real-life Franco-Russian modernist painter, it is certainly not a standard biographical exercise. By offering a synthetic and often symbolic version of personal and historical events experienced by Chagall, Sfar takes certain liberties with the painter's life story as it was outlined by the artist (in My Life, his 1922 autobiography) and by many biographers and art historians. Sfar does not seek an authentic depiction of his subject's verifiable life journey, but rather views it through a metaphorical narrative, which is itself inspired by Chagall's artistic universe and raises questions about the figurative possibilities of comics.
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Tarasov, Volodymyr, and Wang Weike. "Pictorial principles in the system of formal connections: the limits of representation in modern Chinese painting." Bulletin of Lviv National Academy of Arts 50, no. 50 (May 30, 2023): 54–67. http://dx.doi.org/10.37131/2524-0943-2023-50-1-8.
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The purpose of the article is the study of formal connections in the pictorial system of modern Chinese painting. The authors focus on the analysis of the types of form representation. This makes the question of finding correspondence between artistic forms and reality, which is generalized with the help of figurative author's artistic language, urgent. As a subject of research, the mentioned problem is relevant for modern art studies. The authors show that the concept of "formal language" attracts considerable attention in contemporary Chinese art studies. This proves the importance of the study of formal connections for the analysis of both traditional art practices and for innovative artistic searches. Form as a component of the language of modern painting is represented using pictorial principles, which in the context of the conceptual categories of Chinese art history can be summarized within two interrelated groups, namely: expression and aestheticization of form. The first group unites structural questions, which are mostly related in one way or another to the interpretation of the technical features of oil painting. Within the limits of the second group, the issues of figurative (or, according to the terminology used in Chinese art history – spiritual) foundations of the representation of the image are considered. The authors concluded that in modern Chinese oil painting, form as a pictorial principle relies on the imitative nature of artistic generalization. Form as a pictorial principle is connected with the possibility for the artist to "appropriate" certain aspects of reality, to make their generalization his own point of view on the world. Within modern Chinese painting, the imitative form has a reflexive status, which is confirmed by a number of transformations in the oil technique. In Chinese painting, this principle has a direct reference to traditional artistic practice.
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Sokolova, Alla Nikolaevna. "Content of the concept of “ethnic painting”: articulation of the problem." Культура и искусство, no. 9 (September 2021): 1–17. http://dx.doi.org/10.7256/2454-0625.2021.9.36273.
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This article analyzes the concept of “ethnic painting”, Russian and Western sources on the topic, as well as controversial approaches towards its interpretation. It is established that the Russian science avoids using the concept of “ethnic painting” to ambiguity of its content. The most commonly concepts in sphere are “national art”, “ethnocultural manifestations”, “territorial-ethnic nature of painting”, “national peculiarities”, and “national distinctness of art schools”. In Western literature, the concept of “ethnic painting” is attributed to both, folk art and professional art. Parallel is drawn between the concept of “national culture” and “ethnic culture”. The research is based on the painting of Circassians (Adyghe) of Russia and Turkey. Using the methods of comparative studies, comparative typology and art analysis, the article explores the works of contemporary Circassian painters of Turkey and Russia, revealing the specificity and universal characteristics of their paintings. The works of professional artists, which meet certain characteristics, should be referred to as “ethnic painting”. The author describes the key attributes and functions of plastic arts that allow classifying it as the concept of “ethnic”: 1) figurative characteristics (visualization of mythological and epic heroes and plotlines, ritual and common culture); 2) translation of ethnic mental characteristics and values; 3) design of ethnic identity and solidarity by means of painting; 4) introduction the art of painting not only to the elite, but other social classes as well; 5) usage of public instruments for proliferation and popularization of painting through education and enlightenment; 6) comprehension of ethnic art as a crucial element of national art; 7) development of ethnic art through various contaminants (ethnocultural content and modernist form or technique; modern content in the traditional genre or form).
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Korotchikova, Polina. "“Karbala Painting” as a Phenomenon of Shi’ite Figurative Art in Iran." State Religion and Church in Russia and Worldwide 42, no. 1 (2024): 194–212. http://dx.doi.org/10.22394/2073-7203-2024-42-1-194-212.
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Pharabod-Ibata, Hélène. "L'explicite et l'incommunicable : interprétations picturales du sublime." Recherches anglaises et nord-américaines 37, no. 1 (2004): 205–14. http://dx.doi.org/10.3406/ranam.2004.1733.
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The definitions of the sublime given by Edmund Burke and Immanuel Kant are examined in order to see how they may provide an insight into the evolution of Western painting from its figurative to its abstract forms, through examples drawn from British Romantic art and American abstract expressionism.
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Király, Hajnal. "The unseen and the unspeakable." Short Film Studies 7, no. 2 (October 1, 2017): 177–80. http://dx.doi.org/10.1386/sfs.7.2.177_1.
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In the context of Dutch seventeenth-century painting thematizing eavesdropping and the use of off-camera voice in classic cinema, this article explores the relationship between framing and voice-off, revealing its figurative potential in representing the taboo of death as a threshold that is inaccessible to perception and cognition.
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Muzammil, Shifa, Noor Younas, Nawal Fatima, Iqra Tul Hussain, and Abdul Salam Rana. "Comparison between Work Related Musculoskeletal Wrist Pain and Carpal Tunnel Syndrome among Students of Figurative Painting and Calligraphy." Journal Riphah College of Rehabilitation Sciences 12, no. 01 (March 31, 2024): 38–44. http://dx.doi.org/10.53389/jrcrs.2024120108.
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O b j e c t i v e : To compare painting related variables for carpal tunnel syndrome (CTS) and musculoskeletal wrist pain among students of calligraphy and figurative painting. M e t h o d o l o g y : A comparative cross-sectional study was conducted on 212 participants from 21 January to 25 May 2023. The data was collected from the fine arts departments of public and private universities in Sialkot, Pakistan. Phalen’s clinical test was used to screen the CTS and Boston carpal tunnel questionnaire was used as an outcome measuring tool. SPSS version 22 was used to analyze the data. Mean, Standard deviation and Independent-t-test was used to compare the groups at significance level (p=0.05). R e s u l t s : Out of 212, (N=148, 69.81%) were participants in figurative painting (group A) and (N=64, 30.18%) were in calligraphy (group B) with positive Phalen test. The total mean score of symptom severity scale for CTS was (26.49 ± 6.25) and functional status (21.26±7.58) which determines moderate difficulty with routine tasks. The symptom severity scale for CTS among groups A and B had mean scores (27.83 ± 6.20) and (23.40, ± 5.20) whereas the functional status scale among group A; had mean scores (23.20 ± 7.67) and B (16.79, ± 5.13) respectively. Factors that showed significant difference between painters and calligraphers BCTQ were working hours, medium of paints, size of paint brushes and types of paint brushes (p-value= 0.00). C o n c l u s i o n : The results of this study showed an overall 'moderate' symptom severity and functional difficulty level among participants with CTS but figurative painters were more affected in some factors than calligraphers
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Lüscher-Morata, Diane. "À L'épreuve de L'image : 'beginning life behind the eyes'." Samuel Beckett Today / Aujourd'hui 17, no. 1 (November 1, 2007): 67–82. http://dx.doi.org/10.1163/18757405-017001005.
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This essay examines the correspondence between Beckett and Duthuit in the light of the unpublished notes that Beckett took in Germany in 1936-37. The underlying issue that Beckett's reflections on the image seems to address is the reorientation of his creative writing and the development of a new aesthetic. There is, when Beckett is confronted to an image, a double movement that can be discerned in the way he beholds the image, of fascination, first, but also of mistrust towards this painting. In stripping paintings of their narrative of fIgurative intention, Beckett's comments seem to aim at a situation of mankind in the world, apprehended outside of all preoccupations with its causes or as the effect of an absent cause.
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Stepanova, S. S. "“The Sack of Benjamin... I am Now Putting it in Order”. One Unfulfilled Vision." Secreta Artis 6, no. 2 (November 20, 2023): 6–21. http://dx.doi.org/10.51236/2618-7140-2023-6-2-6-21.
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The article is the first to consider Alexander Ivanov's process of drafting the sketches for an unrealized painting based on the Bible story “Joseph’s Brothers Finding a Cup in the Sack of Benjamin”. The paper also considers the artist's discussion of compositional options with his father – historical painter A. I. Ivanov, as well as with famous European masters – Bertel Thorvaldsen, Vincenzo Camuccini, Johann Friedrich Overbeck. Such a dialog and exchange of opinions is of particular importance for understanding the specifics of both Alexander Ivanov's creative personality and the peculiarities of compositional, scenic and figurative approaches to historical painting in the times of classicism.
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Bilyk, Natalia. "Ekphrasis of painting in P. Zahrebelny's novel "Wonder"." Current issues of social sciences and history of medicine, no. 2 (August 14, 2023): 99–103. http://dx.doi.org/10.24061/2411-6181.2.2022.363.
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At the modern stage, ekphrasis was recognized as one of the most fruitful and effective phenomena for comparativistics – the manifestation of specific expressive mediation of one medium in the figurative field of another. Bright, contrasting manifestations of ekphrasis are observed in the content of the novel “Wonder” by the classic of Ukrainian literature P. Zahrebelny. They focus on painting and the work of artists, contain prognostic features of the current semantic potential, and thereby determine the relevance of their coverage. The purpose of the study, therefore, is to distinguish the features of ekphrasis of works of painting, as well as to highlight the formal and semantic dominants and the overall semantic configuration of the expressed poetics of the phenomenon of painting in prose. The novelty consists in the identification, poetic classification, semantic analysis and final systematization of figurative instances of literary prose, which descriptively reveal the expressive means of painting with the generalization of their semantic panorama within the boundaries of a localized description and on the scale of the novel in general, in particular, in relation to landmarks from the field of axiology, as well as with functional weighting in accordance with the definitive signs of literary imagology, which enriches the experience of the ethno-image-creating fruitfulness of the ekphrasis of painting. The study is based on the methods of cultural semiotic and structural-semantic analysis in combination with a descriptive and comparative-typological approach. Conclusions. As a result, it was found that the features of the ekphrasis of painting in “Wonder” testify to a separate experience of a multifaceted ekphrastic model.According to its formal dominants, in compliance with the criteria of the medium and the structure of the image, a condensed discrete ekphrasis is distinguished. In its plot-fabula track, the figurative material that turns out to be the carrier of ekphrastic poetics, the focus on the figure of the common heroine stands out. Its semantic accents emphasize the stages of its spiritual impoverishment and decline and, at the same time, the tragedy of the lack of spirituality, in particular, for creativity. Meanwhile in the heroine, the creation of a semantically multi-dimensional image is observed through the richness of ekphrases: in the combined form-meaning transitions of ekphrasis, the meaning-making line builds up and reaches the sphere of ethnoimagology, for which the basis of identity should be recognized as a full-scale verification of purely artistic meanings and senses. It is about the ability to clarify the idea of striving to avoid negative human qualities, to overcome or compensate for them, in particular, through the power of art, through the prism of the revealed precedent of Russian mental apathy.
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Casteras, Susan P. "BOOK REVIEW: Mary Cowling.VICTORIAN FIGURATIVE PAINTING: DOMESTIC LIFE AND THE CONTEMPORARY SOCIAL SCENE, and Julia ThomasVICTORIAN NARRATIVE PAINTING." Victorian Studies 44, no. 3 (April 2002): 495–99. http://dx.doi.org/10.2979/vic.2002.44.3.495.
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