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Journal articles on the topic 'Modern art paintings'
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1
B.K., Jyoti Prakash. "Nepali Painting: Traditional Motifs in Modern Art." Journal of Advanced Academic Research 3, no. 1 (February 11, 2017): 173–76. http://dx.doi.org/10.3126/jaar.v3i1.16626.
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Art is mirror of society. Human Civilization developed through art. Philosopher Langinus said that the power of the art is to create sublime to viewers. There is lot of philosophy in art history but still no any conclusion or scientific answer about the art but art is more contemporary due to the globalization and individual expression. In the case of Nepali art, before the "Kirat" and "Lichhabi" period had also some paintings and sculpture. Because of the weak surface we didn't have any paintings but can know from the petrography of Lichhabi period. In the world the ancient time had been found to be developing from religious and cultural development. It is absolutely relevant to be saying that the Nepali paintings were also the cause of the religious development. The history of the Nepali painting had been developed on religious base from the history to contemporary situation. So the main objective of the research is to find the core relation between traditional and modern painting.
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Ye, Zhihao, and Xinyun Jiao. "Contemporary Art on Realistic Subjects in the New Era of Lacquer Painting." Asian Journal of Social Science Studies 7, no. 7 (August 1, 2022): 75. http://dx.doi.org/10.20849/ajsss.v7i7.1249.
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By using lacquer painting creation with realistic themes as an example, this essay will examine the primary issues with lacquer painting creation with realistic themes in the context of the modern period.It will summarize the key pathways and construction expansion choices for lacquer painting creation with realistic themes by analyzing the creative issues and traits of lacquer painting with realistic themes, and it will provide the future path perspective that may be supported.Modern lacquer paintings with realistic topics suffer from a loss of pictoriality, a weakening of pictoriality, and a lack of aesthetic merit. Lack of creative integrity and originality; little aesthetic effect; lack of a modern viewpoint or historical significance. It is clear that there is a “tendency to profit,” and commercialization results in repetition and homogenization. A few representative lacquer paintings and artworks have been examined by the author.By emphasizing the incorporation of styles from other forms of painting and increasing the lacquer painting’s creative expressive language, the author offers answers.The development of lacquer paintings with realistic subjects in the context of the new period is suggested as well as workable solutions.
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Chen, Hanyi, and Hua Li. "Painting Creation in the Context of Contemporary Art: A Brief Discussion on the Painting Art of Marlene Dumas." Region - Educational Research and Reviews 3, no. 1 (February 4, 2021): 20. http://dx.doi.org/10.32629/rerr.v3i1.243.
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Easel painting shined in modern art, however, its influence faded in contemporary art. Marlene Dumas, a contemporary artist in the field of easel painting, displays a form differentiated from modern art in her paintings. Her creations break the inherent traditional image mode; her thoughts on artistic concepts are based on the study of artistic language. She holds a strong concern for the issues of social life, and demonstrates true feelings and emotions in the paintings.
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Kombui, Babaaradio, Dickson Adom, and Samuel Prophask Asamoah. "Nana Yaw Frimpong: A royal footprint of modern Ghanaian painting." Journal of African History, Culture and Arts 1, no. 1 (December 8, 2021): 1–10. http://dx.doi.org/10.57040/jahca.v1i1.90.
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Ghanaian modernist painting started with the establishment of Achimota school in 1927 where the artists learned to combine the traditional Ghanaian artforms with the European representation artistic techniques. Though the influences of this new movement went beyond the academically trained artists to affect the self-trained artists, very little is known about it. The main objective of this paper was to conduct a biographical study of Nana Yaw Frimpong who without any art college training, booked a notable slot for himself through his painting within the modern Ghanaian art space. An Iconographic analysis of five paintings of Nana Yaw Frimpong using Erwin Panofsky’s three-step approach which include 1. the pre-iconographical description, 2. the iconographical analysis, and 3. the iconological interpretation. The selected paintings were compared to the philosophical underpinnings of the works of the earlier academically trained artists from the Achimota school. The findings revealed that the philosophy and style of Nana’s paintings were the philosophical foundations of modern painting in Ghana hence, placing Nana within the Ghanaian modern painting space.
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Yang, Hongyi, and Han Yang. "Evolution of Entropy in Art Painting Based on the Wavelet Transform." Entropy 23, no. 7 (July 11, 2021): 883. http://dx.doi.org/10.3390/e23070883.
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Quantitative studies of art and aesthetics are representative of interdisciplinary research. In this work, we conducted a large-scale quantitative study of 36,000 paintings covering both Eastern and Western paintings. The information entropy and wavelet entropy of the images were calculated based on their complexity and energy. Wavelet energy entropy is a feature that can characterize rich information in images, and this is the first study to introduce this feature into aesthetic analysis of art paintings. This study shows that the process of entropy change coincides with the development process of art painting. Further, the experimental results demonstrate an important change in the evolution of art painting, and since the rise of modern art in the twentieth century, the entropy values in painting have started to become diverse. In comparison with Western paintings, Eastern paintings have distinct low entropy characteristics in which the wavelet entropy feature of the images has better results in the machine learning classification task of Eastern and Western paintings (i.e., the F1 score can reach 97%). Our study can be the basis for future quantitative analysis and comparative research in the context of Western and Eastern art aesthetics.
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Zhao, Yuanyuan. "Formation and Schema Analysis of Oil Painting Style Based on Texture and Color Texture Features under Few Shot." Computational Intelligence and Neuroscience 2022 (June 13, 2022): 1–10. http://dx.doi.org/10.1155/2022/4125833.
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Texture has strong expressiveness in picture art, and color texture features play an important role in composition. Together with texture, they can convey the artistic connotation of portrait, especially in oil painting. Therefore, in order to make the picture form oil painting style and oil painting schema, we need to study the texture and color texture in combination with the previous oil painting art images. But now, there are few samples of good oil paintings, so it is difficult to study the texture and color texture in oil paintings. Therefore, in order to form a unique artistic style of modern oil painting and promote the development of modern oil painting art, this paper studies the texture and color texture characteristics in the environment of few oil painting works. This paper establishes a model through deep neural network to extract the image incentive and color texture of oil painting art works, which provides guidance for promoting the development of oil painting art. The experiments in this paper show that the depth neural network has high definition for the extraction of texture and color texture of small sample oil painting images, which can reach more than 85%. It has high guiding significance for the research and creation of oil painting art.
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Park, J. P. "Art-Historical Fiction or Fictional Art History?" Archives of Asian Art 72, no. 2 (October 1, 2022): 181–219. http://dx.doi.org/10.1215/00666637-9953432.
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Abstract In 1634 Zhang Taijie (b. 1588) published a woodblock edition of Baohuilu (A Record of Treasured Paintings), an extensive catalog of a massive painting collection he claimed to have built. This work would seem to be a useful resource for historians of Chinese art since it provides accounts of paintings by artists whose works are no longer extant. But there is one major problem: the book is a forgery. What is more, Zhang also forged paintings to match the documentation he created, so he could also profit from trading in them. Interestingly, the book also echoes unfounded claims registered in art-historical writings of the time, wherein leading critics and connoisseurs, including Dong Qichang (1555–1636), propounded completely contrived arguments by which they tried to establish legitimate lineages in Chinese art. Such propositions represent, borrowing from Eric Hobsbawm's insight, a kind of “invented tradition,” a fictional history of practice and artifact that runs as some thought it ought to have, rather than as it did. By looking into all the three major components of forgeries in early modern China that are referenced throughout Zhang Taijie's catalog—(1) fabricated texts, (2) forged paintings, and (3) fake histories/theories—this paper aims to explain how Baohuilu facilitated Zhang's candid desire for fame and profit in the booming art market of the time, while unveiling certain cultural, social, and genealogical anxieties and tensions negotiated in the form of art-historical theories.
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Wang, Shue. "Modern Chinese painting on military themes: "new realism" and loyalty to traditions." Человек и культура, no. 4 (April 2022): 46–56. http://dx.doi.org/10.25136/2409-8744.2022.4.38497.
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In the contemporary art of China, a special role belongs to painting on a military theme. Its formation began in connection with the need to keep a visual chronicle of the revolutionary struggle for the New China, the assertion of its status in the eyes of the people. Initially, realism was chosen as the main artistic method. By the turn of the XX and XXI centuries, as a result of the influence of modern art trends, a "new realism" emerged. The subject of this article is the pictorial work of contemporary Chinese artists who dedicate their paintings to military subjects and themes. He pays special attention to the art criticism analysis of the formal and substantive side of the paintings of the late XX – early XXI centuries. The main conclusion of the study is the establishment of the fact that under the influence of the so-called "new realism" Chinese painting associated with images of war, army, navy, has changed in the direction of images relevant to the era, as well as methods and techniques of image construction. However, at the same time, it should be noted that there is still a connection with traditions, which allows us to characterize the process of evolution of the Chinese school of battle painting. The novelty of the article is the introduction to the scientific circulation of Russian art criticism of a series of paintings by Chinese masters devoted to military topics. In general, the battle genre in Chinese painting is associated in the work with the formation of the People's Republic of China and is considered in a political and socio-cultural context.
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Mather, George. "Aesthetic Judgement of Orientation in Modern Art." i-Perception 3, no. 1 (January 2012): 18–24. http://dx.doi.org/10.1068/i0447aap.
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When creating an artwork, the artist makes a decision regarding the orientation at which the work is to be hung based on their aesthetic judgement and the message conveyed by the piece. Is the impact or aesthetic appeal of a work diminished when it is hung at an incorrect orientation? To investigate this question, Experiment 1 asked whether naïve observers can appreciate the correct orientation (as defined by the artist) of 40 modern artworks, some of which are entirely abstract. Eighteen participants were shown 40 paintings in a series of trials. Each trial presented all four cardinal orientations on a computer screen, and the participant was asked to select the orientation that was most attractive or meaningful. Results showed that the correct orientation was selected in 48% of trials on average, significantly above the 25% chance level, but well below perfect performance. A second experiment investigated the extent to which the 40 paintings contained recognisable content, which may have mediated orientation judgements. Recognition rates varied from 0% for seven of the paintings to 100% for five paintings. Orientation judgements in Experiment 1 correlated significantly with “meaningful” content judgements in Experiment 2: 42% of the variance in orientation judgements in Experiment 1 was shared with recognition of meaningful content in Experiment 2. For the seven paintings in which no meaningful content at all was detected, 41% of the variance in orientation judgements was shared with variance in a physical measure of image content, Fourier amplitude spectrum slope. For some paintings, orientation judgements were quite consistent, despite a lack of meaningful content. The origin of these orientation judgements remains to be identified.
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M. Bayer, Thomas, and John Page. "The ingenious marketing of modern paintings." Journal of Historical Research in Marketing 6, no. 2 (May 13, 2014): 211–33. http://dx.doi.org/10.1108/jhrm-04-2013-0023.
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Purpose – This paper aims to analyze the evolution of the marketing of paintings and related visual products from its nascent stages in England around 1700 to the development of the modern art market by 1900, with a brief discussion connecting to the present. Design/methodology/approach – Sources consist of a mixture of primary and secondary sources as well as a series of econometric and statistical analyses of specifically constructed and unique data sets that list nearly more than 50,000 different sales of paintings during this period. One set records sales of paintings at various English auction houses during the eighteenth and nineteenth centuries; the second set consists of all purchases and sales of paintings recorded in the stock books of the late nineteenth-century London art dealer, Arthur Tooth, during the years of 1870/1871. The authors interpret the data under a commoditization model first introduced by Igor Kopytoff in 1986 that posits that markets and their participants evolve toward maximizing the efficiency of their exchange process within the prevailing exchange technology. Findings – We found that artists were largely responsible for a series of innovations in the art market that replaced the prevailing direct relationship between artists and patron with a modern market for which painters produced works on speculation to be sold by enterprising middlemen to an anonymous public. In this process, artists displayed a remarkable creativity and a seemingly instinctive understanding of the principles of competitive marketing that should dispel the erroneous but persistent notion that artistic genius and business savvy are incompatible. Research limitations/implications – A similar marketing analysis could be done of the development of the art markets of other leading countries, such as France, Italy and Holland, as well as the current developments of the art market. Practical implications – The same process of the development of the art market in England is now occurring in Latin America and China. Also, the commoditization process continues in the present, now using the Internet and worldwide art dealers. Originality/value – This is the first article to trace the historical development of the marketing of art in all of its components: artists, dealers, artist organizations, museums, curators, art critics, the media and art historians.
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Subedi, Abhi. "My Understanding of Manuj Babu and his Art." SIRJANĀ – A Journal on Arts and Art Education 5, no. 1 (December 1, 2018): 6–15. http://dx.doi.org/10.3126/sirjana.v5i1.39737.
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Manuj Babu Mishra (1936-2018) was a modern artist who is mainly known for his paintings and his drawings. Nepali art critic Narayan Bahadur Singh as early as 1976 mentioned about his multiple skills in art. But Mishra was also one of those painters who ushered in an era of modern consciousness shared equally by painters and poets. His contemporaries some of whom are still painting though on a smaller scale, made experiments with their arts in modernist style. An era of distorting forms, breaking the fine figurality and using flatness by shunning the illusion of three dimensional shapes rather than representative forms was seen in Nepali modernist paintings too. Manuj Babu Mishra adopted a method of using figurality in paintings that used semi surrealistic and abstract paintings. Mishra was trained in Dhaka of the then East Pakistan in the late sixties of the last century. Despite his political statements occasionally, he was basically an artist. He was a peaceful man behind the hurricanes of hard times he created. He was also a portraitist who believed that the portrait of a person is also the portrait of the world outside him or her. He had said that to me when he was drawing my portrait.
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BAYRAK, Tekin, and Tolga ŞENOL. "TÜRK KÜLTÜRÜNE AİT BİRER KÜLTÜREL MİRAS OLAN SEMBOLLERİN TÜRKİYE’DE MODERN SANAT VE SONRASI DÖNEMDE RESİM SANATINDA KULLANILMASI." SOCIAL SCIENCE DEVELOPMENT JOURNAL 7, no. 33 (September 15, 2022): 57–69. http://dx.doi.org/10.31567/ssd.725.
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It is thought that in the 20th century and later period, the paintings in which the symbols of Turkish culture are used do not take place sufficiently in the literature. In this context, it is important to support the production of works within the relevant framework and to increase the recognition of existing ones. The aim of this study; To explore, understand and interpret the use of symbols, which have an important place in Turkish culture, in modern art and post-painting art in Turkey in terms of form-meaning relationship. The study was carried out according to the hermeneutic pattern in line with the purpose. Three works by Bedri Rahmi Eyüboğlu, Erol Akyavaş, Rauf Tuncer, Hüsamettin Koçan and Süleyman Saim Tekcan, one of the pioneers of Turkish painting art, formed the study group. The document method was used as a data collection tool, and the data were analyzed by concept analysis and artifact review method. It has been determined that the symbols, which are the dominant elements in the related works, are presented to the audience in different styles. The fact that the symbols of Turkish culture were successfully synthesized with the universal plastic expression in the examples of works discussed in terms of form and meaning relationship was considered important in the context of the possibility of reaching wider masses. Keywords: Bedri Rahmi Eyüboğlu, Erol Akyavaş, Rauf Tuncer, Hüsamettin Koçan, Süleyman Saim Tekcan
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Wijaya, Hanny. "Wassily Kandinsky: Seni Modern dan Teori." Humaniora 4, no. 1 (April 30, 2013): 348. http://dx.doi.org/10.21512/humaniora.v4i1.3445.
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Modern art development, especially in abstract art had been started since Expressionism period in Germany. Wassily Kandinsky was one of the pioneers of pure abstract art, he created his masterpieces not only as an artist, but also as an art theorist. Although at first he did not have the education background in art field, since Kandinskywas an academic faculty in art and economic, however he gained his success because of his high interest and spirit in art field.Besides, Kandinsky had created many art theories and perspectives of colors, compositions, forms, and had succeeded to apply it in his paintings. His style was inspired by Claude Monet’s painting ‘Haystack’ and the opera performance ‘Lohengrin’ by Richard Wagner. Kandinsky began to study new theories of art by learning art elements and principles more profound, he learned about colors deeply and tried to develop Goethe’s color theory, he also tried to elaborate the meaning of forms and applied the compositions in his artworks as well.
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Zuliati, Zuliati. "Kelompok Pita Maha: Gerak Menuju Seni Lukis Modern Bali." Journal of Urban Society's Arts 3, no. 1 (April 29, 2016): 44–53. http://dx.doi.org/10.24821/jousa.v3i1.1479.
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Penelitian ini bertujuan untuk melihat dan memahami perubahan yang terjadi dalam seni lukis Bali sejak adanya Kelompok Pita Maha. Konsep mengenai seni lukis modern di Indonesia mempunyai perbedaan sejarah, baik dalam bentuk maupun isi, dengan wacana seni lukis modern di Barat yang monolinier-universalis-rasionalis. Wacana seni lukis modern yang menggejala di Indonesia (termasuk Bali) hadir melalui intervensi asing (penjajahan). Wacana seni lukis modern secara bersamaan telah meminggirkan seni-seni lain yang tidak memenuhi kriteria-kriteria “modern”. Seni di luar kriteria modern kemudian disebut sebagai seni tradisi yang mempersempit dan mengecilkan keberadaannya. Sejarah perkembangan seni lukis di Bali menarik untuk dikaji karena terdapat pola yang khas karena warisan-warisan seni pada masa lalu masih terus hadir dalam seni lumkis masa kini. Tulisan ini tidak akan mempertentangkan antara seni lukis tradisi dengan seni lukis modern. Tulisan ini membahas pengaruh Kelompok Pita Maha terhadap modernisasi dalam seni lukis Bali. Data dikaji secara secara deskriptif-analitis dengan pendekatan sosio-historis mengenai perubahan-perubahan yang terjadi dalam seni lukis Bali dari tatanan seni lukis prakolonial menjadi tatanan seni lukis Bali masa kini. Pita Maha Group: The Motion Towards the Balinese Modern Paintings. The concept of modern painting in Indonesia has different histories, both in the form and content, with the discourse of modern painting in the West which is monolinier-universal-rationale. The discourse of modern painting implicated in Indonesia (including Bali) presents through colonization. Modern art at the same time has marginalized other arts that do not fullfill modern criteria. Art, outside the criteria of modern art is called as an traditional art that narrowed and lowered its existence. It is interesting to make a research about the development of painting history in Bali because there is a unique pattern showing the artistic legacy of the past which still presents in nowadays art. This paper will not focus on polarizing between traditional and modern painting. It is interesting to discuss it more descriptive-analytically with the social-historis approach on how the changes happened in Balinese painting of pre-colonial art to modern Balinese paintings of which the other one is the presence of the Pita Maha.
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Subedi, Abhi. "Widening Sphere of Modern Art and Literature in Nepal: A study of the interface between them." SIRJANĀ – A Journal on Arts and Art Education 7, no. 1 (September 21, 2021): 6–27. http://dx.doi.org/10.3126/sirjana.v7i1.39340.
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I see modernism in painting in this region as an evolutionary process that should trigger discussions about its constituent features. This argument harps on the two questions. Is modernism only an emulation of the Western style and methods in paintings and literature, or is it also the evolution of native cultural consciousness that is reflected in the experiments made by painters in art and by writers in creative literary works? To answer these questions, this article includes discussions about evolutions of modernism in paintings and culture in meta-artistic and literary discourses. Examples are drawn from very selective discussions about literature and works of art for reason of space. The basic argument of this article is that modernism in Nepali paintings should be seen in its evolutionary process. Modernism in art is not a condition that we see in palpable form today. It has grown over a long period of creative engagements and efforts both by painters and literary writers. Nepali art students' exposure to art education in Kolkata and literary writers' engagements with print-capitalism in Banaras over a century ago have played significant roles in introducing modernism in both paintings and literature. But I have said clearly that the use of the Western techniques and education has played great role in this process. We can see that in the interface between art and literature, which should be seen in the widening sphere of such sharing in terms of both techniques, and native orientations.
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Parrott, A. C. "Aesthetic Responses to Traditional and Modern Paintings by Art Experts and Nonexperts." Perceptual and Motor Skills 79, no. 1 (August 1994): 297–98. http://dx.doi.org/10.2466/pms.1994.79.1.297.
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16 art experts and 18 nonexperts assessed six paintings of different styles. It was predicted that nonexperts would like traditional paintings, whereas art experts would prefer modern styles, but this was not found. Instead, both groups produced their highest ratings for one of the modern abstracts (Klee), while the nonexperts rated the two modern representational paintings (German Expressionist) more highly than the experts.
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Fagg, John. "Near Vermeer: Edmund C. Tarbell's and John Sloan's Dutch Pictures." Modernist Cultures 11, no. 1 (March 2016): 86–117. http://dx.doi.org/10.3366/mod.2016.0127.
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This article considers drawings and paintings made by the American artists Edmund Tarbell and John Sloan in relation to the art of the seventeenth-century Dutch Republic. Claims about, interpretations of, and enthusiasm for ‘Dutch Pictures’ were prominent features of the transatlantic artworld in the years around 1900. Art critics, including George Moore, Charles Caffin, James Gibbons Huneker and Frank Jewett Mather, discussed the relationship between historical Dutch painting and contemporary art, while American collectors and museums purchased and displayed large numbers of paintings by Rembrandt, Hals, Vermeer and their contemporaries. The article connects specific seventeenth-century Dutch ideas and objects to such paintings as Tarbell's New England Interior (1906) and Sloan's Scrubwomen, Astor Library (1910–11) and thinks more broadly about modern art's relationship to nationalism and to the past.
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Lyu, Chao, and Tatiana Alexandrovna Kemerova. "The influence of Western ideas of women's Enlightenment on women's painting in the Republic of China." Культура и искусство, no. 5 (May 2022): 60–73. http://dx.doi.org/10.7256/2454-0625.2022.5.37747.
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During the period of the Republic of China, China was in the complex context of the fusion of Eastern and Western cultures. Under the influence of Western women's educational thought, the artists of the Republic of China entered the modern context of the Republic of China as participants. In this article, the object of research is the "new women's painting" from 1912 to 1949. The study includes an analysis of painting practices and artistic concepts of new women artists in the Republic of China. Under the influence of internal and external factors, their participation in the modern transformation of traditional Chinese fine art and contribution to the development of new women's painting. The paper examines the formation of a new women's painting in the Republic of China from the standpoint of culture, sociology and education. Studying the background of the appearance of new women's paintings in the Republic of China, the artistic value and historical significance of new women's paintings in the Republic of China were discovered. It is demonstrated how new masters were born and developed in the clash of Chinese and Western art, new and traditional ideas and concepts. They freed themselves from the shackles of feudal female ideas and pursued an independent personality, rights and freedom. In art, he promotes the modern transformation of traditional painting with its unique emotional expression and fusion of Chinese and Western styles.
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Tumur-ochir, Selenge. "The Development of Modern Art in Mongolia: On the Example of Mongolian Modern Painting of the Late Twentieth and Early Twenty-First Centuries." Ethnic Culture 3, no. 3 (September 25, 2021): 15–19. http://dx.doi.org/10.31483/r-98686.
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Modern art in Mongolia has been developing since the last century. The art appeared as a result of artists’ ideas, expression of national mentality and other factors. As some researches said: “Mite of the abstract paintings were established in Hun states, because when this times, all of the people to the paint-ed effect of their mind on the rock of cave” on their tractate book. That says that the abstract paintings was established at that time, but according to other sources it was developed in 1960. For example, in 1968 Mongolian young painters orga-nized an exhibition named: the first exhibition of young painters. Then, in 1980 modern and contemporary arts started developing. The purpose of the study is to analyze the development and classification of modern art in the late twentieth and early twenty-first centuries, which are kept in art galleries. The study was con-ducted in the following steps: to study modern Mongolian art and to identify cur-rent trends in its evolution. The study classified 2,333 paintings. Consequently the next conclusions were drawn: abstractionism, post-impressionism, and im-pressionism were more developed in modern paintings created in 1990–2000. Modern paintings created in 2000–2009, on the other hand, were more developed in abstraction, fauvism, surrealism, and symbolism. This shows that modern Mongolian artists prefer abstract and symbolic paintings. Before 1990, there was a lot of realism, but since 1990, modernism has developed a lot and has become a major trend.
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Studenets, Nataliia. "Traditional Practice of Home Wall Painting in Modern Scientific Comprehension and Interpretation." Folk art and ethnology, no. 3 (September 30, 2022): 78–85. http://dx.doi.org/10.15407/nte2022.03.078.
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Starting from the middle of the 19th century a great deal of materials is dedicated to the home wall painting as an original traditional practice. These works are diverse according to the level of comprehension. The investigations are summarized partly in the studies of the second half of the 20th century. Hence longstanding researches of a wall painting have required systematization, considerable revaluation through the lens of time and realities of the Ukrainian culture of postmodernity. The culturological, ethnological and Art Studies investigations of the wall paintings are analyzed in the article from the late 1980s till the present time. The most typical aspects and trends of the investigation of this artistic practice in the works of O. Naiden, V. Kushnir, N. Zozulia are distinguished. The novelty of scientific interpretation of this phenomenon in the studies of Yu. Smolii, O. Shestakova, N. Studenets, A. Chudnivets and other scholars is described. The works, dedicated to the paintings of separate regions and centres, especially the village of Petrykivka in Dnipropetrovsk oblast, are analyzed. The newest conceptual principles of the studies of traditional folk art, the wall painting in particular, in the published works of the NAS of Ukraine Maksym Rylskyi Institute of Art Studies, Folkloristics and Ethnology are described. These are The History of the Decorative Arts of Ukraine, Decorative Arts of Ukraine Through the Centuries and other editions. A considerable empirical material is recreated in the parts of collective monographs. It is based on a thorough study of collected volumes, archival sources, materials of field investigations. In particular, the authors have treated, systematized, analyzed and interpreted the works from the largest museum collections of the samples of Ukrainian wall painting. Also the transformations of the wall paintings in modern cultural space are represented. A new interpretation of this artistic practice in the heritage of the artists of Vinnytsia, Khmelnytskyi, Kirovohrad, Kherson and other oblasts of Ukraine is revealed.
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Ayad, Lara. "Homegrown Heroes: Peasant Masculinity and Nation-Building in Modern Egyptian Art." ARTMargins 11, no. 3 (October 1, 2022): 24–68. http://dx.doi.org/10.1162/artm_a_00324.
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Abstract On January 18, 1938 the Fuad I Agricultural Museum in Cairo opened its palatial doors to the local public and featured four untitled portraits (1934–1937) of peasant men sporting distinctive costumes and handicrafts. The artist behind these prominent paintings was an Egyptian named Aly Kamel al-Deeb (1909–1997), whose early career combined commissions at official museums and participation in anti-establishment artist groups in Egypt. What could explain al-Deeb's transition from creating art in opposition to national museums, to painting for such institutions? This essay analyzes al-Deeb's four paintings, which I call Homegrown Heroes, and argues that they began shifting the urban Egyptian public's perceptions of the male peasant subject and his role in achieving national sovereignty. Many scholars put nationalist and avant-garde narratives of Egyptian identity in opposition. This essay reveals the patriarchal frameworks underlying representations of folk art and authenticity among nationalists and the avant-garde alike in their meditations on the peasant figure. Contextualizing Homegrown Heroes in the surrounding art and science displays, popular culture, and sociopolitical shifts of the interwar period shows that male peasant figures in Egyptian art transformed from passive symbols of cultural backwardness to heroic citizens who use folk-art practices to liberate Egypt from Western imperialism.
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Linrothe, Rob. "Hidden in Plain Sight." Archives of Asian Art 70, no. 2 (October 1, 2020): 225–44. http://dx.doi.org/10.1215/00666637-8620384.
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Abstract This is a review article of Janet Gyatso's 2015 award-winning book, Being Human in a Buddhist World: An Intellectual History of Medicine in Early Modern Tibet. The art-historical aspects of the book—mainly confined to the first chapter, “Reading Paintings, Painting the Medical, Medicalizing the State” and based on a perceptive art-historical reading of a set of medical paintings and its copies—had yet to be reviewed by an academically-trained art historian. This review underscores the fine art-historical insights deserving the attention of art historians working in parallel contexts of the often tense relationship between religious and empirical epistemologies. At the same time, the evaluation of certain readings of the visual record lead to suggested revisions in the support they provide to Gyatso's primary argument. In addition, other precedents of depictions “from life” in Tibetan art history are offered to help contextualize claims of originality or uniqueness. Finally, an analysis is presented of less formal, freehand painting versus more formalized, iconometric execution, calibrated with vernacular subject matter versus iconographically predetermined themes. Both of the painting modes and subject types are combined in the painting set analyzed by Gyatso supporting her assessment of the innovation of the artists selected by the patron, Desi Sangyé Gyatso (1653–1705).
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Lee, Jae-Sook, and Jung-Rye Lee. "Analysis of Hair Art with the Formative Characteristics of Art Informel Paintings as Motives." Korean Society of Beauty and Art 21, no. 3 (September 20, 2020): 111–26. http://dx.doi.org/10.18693/jksba.2020.21.3.111.
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In modern capitalism, logical and rational thinking and philosophical thought are emphasized. Therefore, modern people ask for an ordered system under strict rules and regulations. Since World War II, European abstract expressionism, ‘art informel’, developed in search of a worldly and fundamental meaning against the inhumane aspects brought about by a geometric world, which emphasized strict and balanced order through reason and rationality. The formative characteristics and colors of such art informel painting patterns can be the origin of new ideations in hair art. Therefore, this study attempted to escape from the traditional order of hair art using formative characteristics after the analysis of art informel artists’ works and liberate human emotions by altering situations. To this end, this study analyzed the formative characteristics of art informel paintings and created formative hair artworks using them as a motive. It is anticipated that there would be further studies on art informel and creative hairstyles through broad and in-depth analysis.
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Fowler, Cynthia. "Herman Trunk’s Cubist Crucifix: A Case Study." Religion and the Arts 15, no. 5 (2011): 628–47. http://dx.doi.org/10.1163/156852911x596264.
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Abstract American modern artist Herman Trunk (1894–1963) serves as a noteworthy case study in a consideration of the relationship between religion and American modern art in the first half of the twentieth century. One of his few overtly religious works, Crucifix (c. 1930), stands out for its intriguing convergence of a most important Catholic subject with Cubist art. This essay examines Trunk’s Cubist Crucifix in relation to other Crucifix and Crucifixion paintings created around the same time period. Trunk’s Crucifix is unique among abstract paintings of religious subjects in the artist’s distinctive use of Cubism to create a quiet meditation on the crucified Christ. In some respects affirming the long tradition of Crucifix and Crucifixion paintings, Crucifix also counters those traditions to provide an alternative perspective on the Crucifix as a subject. Through his Crucifix painting, Trunk successfully brings together two traditions that historically have been viewed as diametrically opposed—Catholicism and Cubist abstraction—to produce a devotional image of the Crucifix as a form of veneration.
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Wertz, Margaret Iacono. "Confronting the Past, Hanging Together: Charles Stewart Carstairs’s Campaign for Modern Art." Nineteenth Century Studies 33, no. 1 (December 1, 2021): 113–27. http://dx.doi.org/10.5325/ninecentstud.33.0113.
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Abstract Charles Stewart Carstairs (1865–1928) was a world-renowned art dealer and adviser to eminent collectors like Henry Clay Frick (1849–1919) and Andrew W. Mellon (1855–1937). As a principal member of M. Knoedler and Company—an art-dealing firm founded in about 1848 as the New York branch of the French Goupil and Company that remained active until its closure in 2011—and the director of its London headquarters for more than two decades, Carstairs was a key figure in the art market of the late nineteenth century and the early twentieth. Although his fundamental role in creating a market for Old Master paintings in the United States is now being acknowledged, his advocacy of modern and contemporary art and especially modern French painting remains largely unexplored. This article discusses his personal art collection and shows how the promotional methods he employed—including displaying Old Masters and modern and contemporary works together, a strategy being increasingly adopted by museums, galleries, and auction houses today—encouraged collector and public appreciation of modern painting.
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Zolotukhina, Natal'ya Anatol'evna. "The peculiarities of modern religious painting in the Crimean temple architecture of (on the example of Alexander Nevsky Cathedral in Simferopol and Saint Vladimir Cathedral in Chersonesos)." Культура и искусство, no. 12 (December 2021): 14–26. http://dx.doi.org/10.7256/2454-0625.2021.12.36988.
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The traditions followed by people throughout history underlie the development of the culture of monumental art, forming the continuity of generations, memory and traditions of temple architecture of the Crimea. The topic of religious monumental painting draws interest of the researchers. The object of this article is the Crimean religious monumental and decorative art; while the subject is the peculiarities of modern religious painting in Alexander Nevsky Cathedral in Simferopol and Saint Vladimir Cathedral in Chersonesos. The goal is determine the modern artistic-aesthetic form of temple painting carried out by the experts of monumental and decorative art, as well as the command of the unique languages of creative reinterpretation of wholeness. Temple religious painting is explored on the works of the modern artists of monumental religious painting, using the analysis of the academic style of painting, use of classical canons in images of the figures, artistic-stylistic, thematic, unique systems in the ornamental painting. The author determines the characteristics of the image such as material texture and plastic modeling of artistic form, which allows combining the modern wall paintings of the Crimean Orthodox churches of into a holistic system of material and spiritual values. The crucial theoretical-methodological vector of research is interweavement of the methods of culturology and art history, which reveals the techniques and peculiarities of academic painting in temple architecture.
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Medvedeva, A. V., A. V. Nichiporchuk, and K. Sh Chermanteev. "Neural Network Analysis of Art Paintings." Contemporary problems of social work 7, no. 1 (March 31, 2021): 15–23. http://dx.doi.org/10.17922/2412-5466-2021-7-1-15-23.
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the article examines the ability of modern neural networks to create new works of art based on ready-made works and styles embedded in the software. Exploring the possibilities of neural networks, the researchers paid attention not only to the technical, computer side of the problem, but also to the artistic result and the attractiveness of the images obtained from an aesthetic point of view.
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Saviţkaia-Baraghin, Iarîna. "5. Bessarabian in the Modern Engraving Constitution and Interference with its European Art." Review of Artistic Education 12, no. 2 (March 1, 2016): 199–203. http://dx.doi.org/10.1515/rae-2016-0024.
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Abstract Runing the new century (XX) attests in Bessarabian art, the experience of several decades of professional artistic activity (the first Evening School of Drawing appears in Chisinau in 1887 and is due scholar Academy of Arts in St. Petersburg, Terinte Zubcu). Such short experience has not met any of the neighboring countries' national schools. In Bessarabia from the beginning of the twentieth century is established the main areas of professional art – painting- with remarkable portraits, landscapes, genre paintings; sculpture with respective genres; stampa as a kind of graphics. Marked by the period and by the influences of art schools, where Bessarabians have studied, it is clear that in painting and sculpture and graphics in the first round, have dominated peredvizhnik influences their color and monochrome theme. Guidelines of Bessarabian plastic artists in the development phase of modern art, is the decisive moment of establishment of the Bessarabian engraving as a kind of professional art, marked by tendencies that have appeared in European art and Russian at the limit of nineteenth and twentieth centuries, such as Expressionism in the works of Sneer Cogan, George Ceglocof and Art 1900 in the works of Theodor Kiriacoff, Elisabeth Ivanovsky or Moissey Kogan.
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Yang, Dongge. "Narrative Expression of Light in Contemporary Oil Paintings." Scientific and Social Research 3, no. 4 (October 26, 2021): 63–69. http://dx.doi.org/10.36922/ssr.v3i4.1229.
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In modern and contemporary times, under the background that artists enjoy full freedom of choice, the use of light gets rid of the traditional role, takes light as the main form of expression to express the painter’s personal subjective emotion, and makes attempts in various painting styles, which makes the appearance of today’s paintings diverse. This paper studies the contemporary oil paintings of the development and innovation of light and the content expression of new forms, analyzes and summarizes the characteristics of the narrative expression of light with the word “narrative of light” combined with the works of contemporary art master Heimer Xiuyi, and discusses the significance of the narrative expression of light in Contemporary oil paintings.
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Trevisan, Sara. "The Impact of the Netherlandish Landscape Tradition on Poetry and Painting in Early Modern England*." Renaissance Quarterly 66, no. 3 (2013): 866–903. http://dx.doi.org/10.1086/673585.
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AbstractThe relationship between poetry and painting has been one of the most debated issues in the history of criticism. The present article explores this problematic relationship in the context of sixteenth- and seventeenth-century England, taking into account theories of rhetoric, visual perception, and art. It analyzes a rare case in which a specific school of painting directly inspired poetry: in particular, the ways in which the Netherlandish landscape tradition influenced natural descriptions in the poem Poly-Olbion (1612, 1622) by Michael Drayton (1563–1631). Drayton — under the influence of the artistic principles of landscape depiction as explained in Henry Peacham’s art manuals, as well as of direct observation of Dutch and Flemish landscape prints and paintings — successfully managed to render pictorial landscapes into poetry. Through practical examples, this essay will thoroughly demonstrate that rhetoric is capable of emulating pictorial styles in a way that presupposes specialized art-historical knowledge, and that pictorialism can be the complex product as much of poetry and rhetoric as of painting and art-theoretical vocabulary.
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Tao, Cai. "Guan Liang, Tan Huamu, and Ding Yanyong: Their Modern Art Practice and the Phenomenon of the “Tōyō Review”." China and Asia 2, no. 1 (June 24, 2020): 3–56. http://dx.doi.org/10.1163/2589465x-00201002.
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During the late Taishō period, three Guangdong-born Chinese artists, Guan Liang 關良 (1900–1986), Tan Huamu 譚華牧 (1896–1976), and Ding Yanyong 丁衍庸 (1902–1978), were studying in Tokyo, Japan. After their return to China, they engaged daily in a kind of cross-media practice in oil and ink paintings that serves to remind us of the need to rethink the cultural experiment that China’s modern art movements have undertaken since the 1920s, and which has thus far been overlooked. In the face of the sudden rise of attention towards literati paintings in the Japanese art world, and in the midst of the Western modern art currents that were centered in Paris, these Japan-trained artists, with their comparative cultural perspectives, began to re-examine their own cultural tradition and form a cross-media creative model with an intrinsic cultural reflectiveness and innovative outlook. Moreover, the phenomenon of the “Tōyō review” 東洋回顧 that emerged from the intense interactions between the cultures of East and West not only brought about the concept of “Chinese painting,” but also led to the rise of the notion of the “superiority of Chinese art.”
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Shere, Pramila. "COORDINATION AND COMBINATION OF COLORS IN PAINTING (WITH REFERENCE TO PREHISTORIC PERIOD AND MODERN PERIOD)." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–3. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3576.
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The art of prehistoric India is easily introduced to the art of prehistoric India by studying the motifs of textiles, stone paintings, clay characters, creeping insects, animals, birds, humans etc. available from different regions of India. Like today, Adi Man was also a beauty doctor. Due to this aesthetic love, he tended to give tangible form to his abstract feelings. We find evidence of this in the art materials available from the excavations of Mohenjodaro and Hadappa. It is known from a verse in the ancient mantra samhita of the Rig Veda that at that time there was a practice of painting on leather. In some of the mantras of the Rig Veda, there is mention of inscriptions of goddesses on the boards of the Yajnashalas.The art of culture flourished and preserved by Emperor Ashoka is seen even today. Buddhism has a special reputation in the production of paintings. The calligraphy of the lines in the paintings of the tiger and Ajanta and the various conventions of the use of colors express the development of the painting of this era. The actual form of Gupta art is seen in the paintings of Ajanta, Ellora and tiger caves. Graffiti has an important place in the history of Indian painting. The frescoes are seen in the caves of Bhimbetka, Jogimara, Tiger, Ajanta Badami, Sittanvasal, Ellora, Elephanta. South India has also been a pioneer in the rise of painting. In the history of Indian painting, Rajput style has its own distinctness and its own independent existence. After the establishment of the Mughal period in India, a new direction in the field of painting came to light. Himachal Pradesh has been the land of construction of hill pictures - Jammu, Tehri, Garhwal, Kallu, Chamba, Basauli, Kangra etc.
भारत के विभिन्न क्षेत्रों से उपलब्ध वस्त्रों, पाशाणचित्रों, मृत्तिका पात्रों, लाल-पीले रंगों में चित्रित रेंगते हुए कीड़ों, पशुओं, पक्षियों मनुष्यों आदि की आकृति का अध्ययन करके प्रागैतिहासिक भारत के कलाप्रेम का सहज ही मंें परिचय मिल जाता है। आज की भाँति आदि मानव भी सौन्दर्योपासक था। इसी सौन्दर्यप्रेम के कारण वह अपने अमूर्त भावों को मूर्त रुप देने की ओर प्रवृत्त हुआ। इसके प्रमाण हमें मोहनजोदड़ो तथा हडप्पा की खुदाईयों से उपलब्ध कला सामग्री में देखने को मिलते है। ऋगवेद की प्राचीनतम मंत्र संहिता की एक ऋचा से ज्ञात होता है कि उस समय चमड़े पर चित्र अंकित करने का प्रचलन था। ऋगवेद के कुछ मंत्रों में यज्ञषालाओं की चैखटों पर द्वार देवियों के चित्र अंकित किये जाने का उल्लेख मिलता है।सम्राट अषोक द्वारा पल्लवित एवं संरक्षित कला की थाती आज भी देखने को मिलती है। पटचित्रों के निर्माण में बौध्दकला की विशेष ख्याति रही है। बाघ और अजंता के चित्रों में रेखाओं का सुलेखन और रंगों के प्रयोग की विभिन्न परिपाटियाँ इस युग के चित्रांकन का विकास व्यक्त करती है। अजंता, एलोरा और बाघ की गुफाओं की चित्रकारी में गुप्तकालीन कला का वास्तविक रुप देखने को मिलता है। भारतीय चित्रकला के इतिहास में भित्तीचित्रों का महत्वपूर्ण स्थान है। भित्तिचित्र भीमबेटका, जोगीमारा, बाघ, अजन्ता बादामी, सित्तनवासल, ऐलोरा, ऐलीफेंटा की गुफाओं में देखने को मिलते है। चित्रकला के उत्थान में दक्षिण भारत भी अग्रणी रहा है। भारतीय चित्रकला के इतिहास में राजपूत षैली की अपनी विशिष्टता और अपना स्वतंत्र अस्तित्व है। भारत में मुगल काल की स्थापना के बाद चित्रकला के क्षेत्र में एक नयी दिषा प्रकाष में आयी। पहाड़ी चित्र षैलियों की निर्माण भूमि हिमाचल रहा है-जम्मू, टिहरी, गढवाल, कल्लू, चम्बा, बसौली, कांगड़ा आदि इसके क्षेत्र रहे है।
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Stevens, Scott Manning. "Collecting Haudenosaunee Art from the Modern Era." Arts 9, no. 2 (April 29, 2020): 55. http://dx.doi.org/10.3390/arts9020055.
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My essay considers the history of collecting the art of Haudenosaunee (Iroquois) artists in the twentieth century. For decades Native visual and material culture was viewed under the guise of ‘crafts.’ I look back to the work of Lewis Henry Morgan on Haudenosaunee material culture. His writings helped establish a specific notion of Haudenosaunee material culture within the scholarly field of anthropology in the nineteenth century. At that point two-dimensional arts did not play a substantial role in Haudenosaunee visual culture, even though both Tuscarora and Seneca artists had produced drawings and paintings then. I investigate the turn toward collecting two-dimensional Haudenosaunee representational art, where before there was only craft. I locate this turn at the beginning of Franklin Delano Roosevelt’s administration in the 1930s. It was at this point that Seneca anthropologist Arthur C. Parker recruited Native crafts people and painters working in two-dimensional art forms to participate in a Works Progress Administration-sponsored project known as the Seneca Arts Program. Thereafter, museum collectors began purchasing and displaying paintings by the artists: Jesse Cornplanter, Sanford Plummer, and Ernest Smith. I argue that their representation in museum collections opened the door for the contemporary Haudenosaunee to follow.
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Wei, Ping. "Emotional Cognitive Expression in Lacquer Colors Based on Prior Knowledge." Journal of Environmental and Public Health 2022 (August 30, 2022): 1–10. http://dx.doi.org/10.1155/2022/1151676.
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Since lacquer painting first appeared in the world of art, research into it has grown steadily. People have developed a keen interest in modern lacquer painting as a result of the extensive study of lacquer culture in both domestic and international academic circles. Many artists and art enthusiasts have contributed significantly to the study and research of lacquer painting and have made helpful attempts at modern lacquer painting. But it is challenging to describe the emotion that a lacquer painting’s color conveys. This paper presents a decision-making framework for emotional cognitive learning based on the theory of emotional cognitive evaluation because there are relatively few researchers who have specifically studied the relationship between the creation of lacquer paintings and emotions and because there are also few research materials and documents for reference. The assessment of an emotional state is the central component of this framework. The observation module in the model framework is used to gather the emotional data that the lacquer painting expresses. The issue of emotional expression in lacquer painting is resolved by the emotional evaluation system, which combines the preprocessed information with prior knowledge to evaluate. The importance of affective cognitive expression in lacquer painting and the necessity of affective computing in the fields of machine learning and decision control is obtained on the basis of discussing the research status and content of affective cognition and affective computing. The efficiency of expression was increased by 1.3 percent as a result.
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Obushnyy, Mykola. "THE SACRAL NATURE OF STRAW MOSAIC BY OLEKSANDR SAJENKO (Review of the creative works of Ukrainian artist O.F. Sajenko)." Almanac of Ukrainian Studies, no. 28 (2021): 137–39. http://dx.doi.org/10.17721/2520-2626/2021.28.22.
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The publication aims to draw the attention of Ukrainian scholars and researchers of Ukrainian cultural heritage to study the work of a unique domestic artist of monumental and decorative art, whose name is included in the list of prominent figures of world heritage of the twentieth century - Alexander Saenko. O. Saenko's artistic heritage includes more than 500 works of painting, graphics and monumental and decorative art: decorative panels, carpets, tapestries, etc. But O. Saenko possessed the technique of straw inlay most perfectly. He subtly felt the diversity of sacred energies that give "joy to people." It was in the colors of straw that O. Saenko saw such energy. O. Saenko's paintings are not only artistically perfect, but also the vast majority of them are filled with nationalpatriotic content. Among them, one of the most famous is the decorative painting "Kozak Mamai" (1928, 1936). The analysis of O. Saenko's paintings shows that they are deeply folk, and therefore perceived as modern in their content and style.
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Bahji, Zineb Bahji. "Ahmed Cherkaoui : Entre Modernité et Enracinement, Museum Mohammed VI for Modern and Contemporary Arts (MMVI), Rabat, Morocco, 27.03.2018 - 27.08.2018." Museum and Society 17, no. 1 (March 10, 2019): 137–40. http://dx.doi.org/10.29311/mas.v17i1.2977.
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The exhibition Ahmed Cherkaoui: Entre Modernité et Enracinement, Museum Mohammed VI for Modern and Contemporary Arts (MMVI),Rabat,Morocco, 27.03.2018 - 27.08.2018 was held in a succession of art exhibitions that Museum Mohammed VI has programmed since its creation in 2014 to preserve, promote and celebrate the national arts of Morocco. The exhibition introduced and represented the artworks of one of the iconic founders of Moroccan modern painting in post-colonial Morocco, a leading figure who experimented with material and content to create a harmonious and mystic synthesis of the traditional and the modern. Through a varied set of abstract paintings and drawings, the exhibition illustrated and interpreted Cherkaoui's works, and it narrated the life of this artist to show how his hybrid cultural experience influenced his creation. Cherkaoui's fascination with the popular signs and decorative symbols of his civilization and his passion for abstraction in modern art inspired a unique plastic vocabulary and style that marked the birth, development and history of modern art inMorocco.
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Iswahyudi. "Towards Remediation of Indonesian New Fine Arts." Britain International of Linguistics Arts and Education (BIoLAE) Journal 2, no. 3 (November 12, 2020): 797–809. http://dx.doi.org/10.33258/biolae.v2i3.332.
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Modern Indonesian painting mainly developed from the situation of the Dutch East Indies and Mooi-Indie art that was dominant at that time. The independence of the Republic of Indonesia became a very important milestone in the development of modern Indonesian painting. This is inseparable from the occurrence of a high dynamics and change through various political regimes in power starting from the leadership of Sukarno, Suharto and subsequent presidents. Each of these political regimes also played an important role in the development of modern art that occurred so as to bring out its own characteristics. Until the early 1990s, talking about art was something that seemed synonymous with painting. Although works of art with a combination of mediums have been included in exhibitions since the 1970s, but works in the form of paintings are still very dominant, even in some writings on art the imaginary boundary between painting and other art is discussed explicitly, but the term "Painting" is usually interchangeable with the term "fine art". The development of art that has become increasingly hybrid has helped to shape the climate and new audience, affirming real ideas that are at odds with painting that has already been established. Being different from established art knowledge, hybrid art agents become newcomers who find a place in the struggle in the realm of Indonesian art. Western characters which are an important consideration for painters become subject to change in the fourth phase. This change is caused by a variety of things, including the emphasis on the use of traditional forms, symbolic and decorative, because as a reaction to the political situation. Since 1942-1965, Indonesians have produced more figurative art. The pioneers in this field are artists who when abroad are like in the United States, Europe, and Japan already acquainted with traditional non-Western art in the arena of modern and international circuits.
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Li, Jing, and Yidan Qin. "The Mount Sainte-Victoire: The possible impacts of Cézanne on modern paintings." Journal of Education, Humanities and Social Sciences 1 (July 6, 2022): 244–50. http://dx.doi.org/10.54097/ehss.v1i.668.
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As the "father of modern painting", Cézanne's creative ideas and techniques have had a profound influence on subsequent generations of artists. To this day, many artists still admire his creative and revolutionary painting theories. The purpose of this paper is to analyze the techniques and ideas of Cézanne's series of paintings around the Mount Sainte-Victoire and to explore his inspiration for subsequent artists to break through the constraints of traditional painting techniques and creatively express their subjective consciousness by using flat shapes, multi-point perspective, and multiple painting types. In this way, we can clarify the position of Cézanne in art history and the inspiration his ideas and works have brought to people. This paper is divided into two parts, the first part is about the analysis of the concept, technique and style of Cézanne's landscapes with the Mount Sainte-Victoire as the theme; the second part is about the specific distinction and explanation of the succession and development of Cézanne's style by modern artists represented by Picasso, Matisse and Klimt.
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POLAT, Cavit, M. Akif KAPLAN, Kübra Şahin ÇEKEN, and Abdullah GÜMÜŞ. "GELENEKSEL TÜRK DOKUMA VE İŞLEME SANATINDA KULLANILAN BAZI ARAÇ VE GEREÇLERİN TÜRK MODERN RESSAMLAR TARAFINDAN ÇALIŞILMASI." EUROASIA JOURNAL OF SOCIAL SCIENCES & HUMANITIES 8, no. 22 (September 25, 2021): 57–69. http://dx.doi.org/10.38064/eurssh.268.
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The art of weaving and embroidery is one of the important traditional arts with a long history in Anatolia. The art of embroidery, in which patience and elegance is embroidered, and its centuries-old history, which is a kind of silent message of the society, has been the subject of many fields. One of these areas is Turkish painting art. It is seen that traditional arts of weaving and embroidery were studied by a few painters as a subject in the modernization process of Turkish painting. Modern Turkish artists have portrayed these issues in two different approaches, such as naturalist and cubist-constructivist. In this study, it was aimed to evaluate the ways in which some traditional tools and tools such as looms, tenter, kirmen, kirkit were used in embroidery and weaving with traditional approaches from the eyes of artists such as Malik Aksel, Turgut Zaim, Nurullah Berk, Maide Arel who created quite original paintings in the works of modern Turkish painters.
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Mostovshchykova, Daria, and Nataliia Stryzhko. "Parallels in Development of Modern Painting and Enameling in China." Journal of Visual Art and Design 13, no. 1 (July 6, 2021): 60–73. http://dx.doi.org/10.5614/j.vad.2021.13.1.5.
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This paper highlights trends in the development of contemporary visual art in China through a parallel analysis of two of its components: painting and enamel art. The focus of the research is on the work of artists whose works combine a ‘western’ style with ‘eastern’ tradition. It was found that in the 21st century, the layer of Chinese cultural heritage was successfully transformed into new forms of expression, such as art objects, enamel sculptures, brightly colored paintings and more. At the same time, it has preserved the symbolism of color, plasticity of lines, narrative and figurative components, which is typical of the centuries-old traditions of the Celestial Empire. Artistic analysis was carried out on specific pictorial and enamel examples, distinguishing common and distinctive features in the concepts of the artists and their embodiment in the material. The way in which contemporary art enters the urban space of megacities and the interior of public institutions was analyzed. In conclusion, it is emphasized that the combination of ‘traditional’ and ‘recent’ trends in one work help to rethink the role of classical images in today’s art, as well as to identify Chinese artists in the globalized intercultural space.
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Tamang, Nem Bahadur. "Distortion of Forms and Subjects in Paul Cezanne’s Paintings." Journal of Fine Arts Campus 3, no. 1 (December 31, 2021): 31–34. http://dx.doi.org/10.3126/jfac.v3i1.42493.
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Paul Cezanne is the 19th century painter born in France who was a very important figure in the history of modern art. He had painted so many paintings like landscapes, portraits and still life. The figures and forms in his artwork do resemble the real world but the distortion is the most significant feature. The subject matters reveal the changes and gives emphasis upon forms. Subjects lack likeness and negate imitation as art followed by predecessors. The flatness and geometric forms are amplified along with expression in the paintings. The formal distortion played a vital role to give birth to Modernism in 20th century Western Art. So, he is called “Father of Modern Art”.
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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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Scott, Sascha T. "Ana-Ethnographic Representation: Early Modern Pueblo Painters, Scientific Colonialism, and Tactics of Refusal." Arts 9, no. 1 (January 11, 2020): 6. http://dx.doi.org/10.3390/arts9010006.
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In 1918, San Ildefonso Pueblo artist Crescencio Martinez completed two commissions for the anthropologist Edgar L. Hewett: A set of paintings and a series of tiles. The paintings, called the Crescencio Set, mark a formative moment in the development of a new genre of art, modern Pueblo painting. Before Crescencio and his San Ildefonso peers began creating images of ceremonial and daily life for sale to outsiders, they were hired as day laborers at archaeological excavations. While Pueblo laborers benefited financially from working with anthropologists, they nevertheless understood anthropology as a threat to their communities, as scientists disrupted sacred sites and the dead, collected sensitive material, and pushed informants for esoteric information. In countering this new colonial threat, Pueblo communities deployed long-developed tactics of resistance. Among the most powerful of these tactics is what Audra Simpson calls “refusal”. Many Pueblo laborers refused to share esoteric knowledge with anthropologists, a tactic adopted by those laborers who became artists. Early Pueblo paintings can, thus, be understood as “ana-ethnographic”, a representational mode through which the artists worked both through and against ethnographic norms in order to simultaneously benefit from, manipulate, and resist scientific colonialism. Crescencio’s paintings and tiles are paradigmatically ana-ethnographic. In creating these objects, Crescencio benefited from the ethnographic desire to know and record Pueblo life, and yet he only represented aspects of his culture appropriate for outsider consumption, refusing to share protected knowledge.
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Nikolovskaya, Yulia Vasilievna, and Galina Olegovna Semeyskaya. "Image and Style in a Modern Landscape Painting." Человек и культура, no. 6 (June 2022): 78–89. http://dx.doi.org/10.25136/2409-8744.2022.6.39496.
Full textAbstract:
The subject of research in this article is a description of a number of creative formalist approaches to modern landscape painting, which are born under the influence of rethinking the leading stylistic trends of the 20th century by artists. Approaches in the landscape genre are analyzed, which are based on the study of world experience and the artistic heritage of different countries, as well as the principles of academicism. Particular attention is paid to analyzing specific examples of modern landscape practice. Also, it is extremely important to characterize the plots and images of paintings, variations of the artistic language that are used in visualization. The main conclusions of the study of the topic is a detailed disclosure of the concept of "image" of landscape painting. There is also a distinction between the concept of style in art into a stylistic direction, considered in a narrow sense, and a historical style, considered more broadly. The author's special contribution to the study of the topic is that in modern landscape painting the formalistic approach can become one of the structural components of a new style in art, if this is accompanied by appropriate factors. The form in this perspective is precisely the link that the creator lacks to create a full-fledged creative image that has developed in his imagination.
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Goryunov, Dmitry V., and Kristina V. Zagorodneva. "Features of Ekphrasis in Victor Slavkin’s Play «The Picture»." Proceedings of Southern Federal University. Philology 2020, no. 3 (September 30, 2020): 151–59. http://dx.doi.org/10.18522/1995-0640-2020-3-151-159.
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Taking into account the achievements of modern Intermedia practices, the article analyzes Victor Slavkin’s one-act play «The Picture» (1982) in the context of the interaction of literature and painting. In connection with the recently published diary entries of the writer, the path from the design of the play to publication in the journal «Modern Drama» is traced. The genreforming function of ekphrasis is emphasized. The presence of the landscape on the wall of the room expands the boundaries of a single room, the dialogue of characters in front of the picture reveals the characters in a short time of action. The peculiarities of ekphrasis are manifested in contrasting images (artist Guest and engineer Boss), in the guest’s description of imaginary paintings, coloristic filling, appeal to the trends of Western European art, etc. The symbolic significance of ekphrasis in the dramatic action of Slavkin’s play is emphasized, and the connection between visual imagery and the philosophy of art is examined.
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Temme, J. Elbert V., and Carline A. C. Gieszen. "Contrast Effects and Social Desirability in Art Appreciation." Empirical Studies of the Arts 13, no. 2 (July 1995): 171–81. http://dx.doi.org/10.2190/7eha-jdc4-uvbj-h1rv.
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In a number of experiments the effects of presenting different categories of art in contrasting order were explored. In the first experiment traditional and abstract paintings and Chinese calligraphy were used as stimuli, each type was contrasted with the other two, which led to shifts in appreciation as well as in perceived complexity. Two more experiments were performed. In one of these experiments fragments of traditional and modern classical music were presented. The same effect was found as when traditional and abstract paintings were contrasted: enhancement of the appreciation of traditional music but no decrease in the appreciation of modern music. It seems that when art is concerned only positive contrast effects are obtained. A possible explanation could be that it is considered socially undesirable to admit a lesser appreciation of modern than of traditional art. To test this hypothesis, socially ‘neutral’ stimuli, Chinese ideographs, differing in aesthetic quality, were contrasted. This yielded the expected positive as well as negative effects.
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Folgerø, Per Olav, Christer Johansson, and Linn Heidi Stokkedal. "The Superior Visual Perception Hypothesis: Neuroaesthetics of Cave Art." Behavioral Sciences 11, no. 6 (May 26, 2021): 81. http://dx.doi.org/10.3390/bs11060081.
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Cave Art in the Upper Paleolithic presents a boost of creativity and visual thinking. What can explain these savant-like paintings? The normal brain function in modern man rarely supports the creation of highly detailed paintings, particularly the convincing representation of animal movement, without extensive training and access to modern technology. Differences in neuro-signaling and brain anatomy between modern and archaic Homo sapiens could also cause differences in perception. The brain of archaic Homo sapiens could perceive raw detailed information without using pre-established top-down concepts, as opposed to the common understanding of the normal modern non-savant brain driven by top-down control. Some ancient genes preserved in modern humans may be expressed in rare disorders. Researchers have compared Cave Art with art made by people with autism spectrum disorder. We propose that archaic primary consciousness, as opposed to modern secondary consciousness, included a savant-like perception with a superior richness of details compared to modern man. Modern people with high frequencies of Neanderthal genes, have notable anatomical features such as increased skull width in the occipital and parietal visual areas. We hypothesize that the anatomical differences are functional and may allow a different path to visual perception.
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Yan, Guanyui. "Current trends in the work of contemporary artists in the context of the development of global art." Культура и искусство, no. 4 (April 2022): 47–66. http://dx.doi.org/10.7256/2454-0625.2022.4.37861.
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Globalization is a factor that contributes to the unification and integration of national cultures of different countries of the world. This phenomenon, of course, has a significant impact on the development of modern painting. The article is devoted to the analysis of the work of contemporary artists in order to identify the features of the process of their transformation in the context of the development of global art. The boundaries of the concepts of "world art" and "global art" are defined. The characteristic features of the modern global art environment are revealed, as well as the forms of their perception and interpretation in the works of such artists as Chris Metze, Douglas A. Kinsey, Claire Fahy, Katarzyna Zvolinska, Nazafarin Lotfi and Daniel Hutchinson. The novelty of the research lies in the fact that the article examines the works of individual and most famous contemporary artists in the context of such a phenomenon as "global art". Here a watershed is drawn between the concepts of "global art" and "world art", their boundaries and the most important features are determined. Thus, it contributes to the formation of ideas about the global trends of artistic and creative activity on the example of specific paintings. Relevance and short-termness are designated as the main features of global art, which strongly affect the artistic form, figurative language and ideological content of works in the art of modern painting.
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Radaeva, E. A. "TRADITIONS OF EXPRESSIONISM IN MODERN WORLD FINE ARTS." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 24, no. 82 (2022): 79–86. http://dx.doi.org/10.37313/2413-9645-2022-24-82-79-86.
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This article discusses the traditions of expressionism in contemporary fine arts by artists from different parts of the world. The material was the work of authors who were either in the top ten and highly paid (British artists Jenny Saville and Howard Hodgkin, Germans Georg Baselitz and Albert Ohelen, Swiss artist Louise Bonnet, Chinese Jia Aili), or in the top ten "rising stars of painting XXI century” (Kristina Alisauskaite, Carla Busuttil, Pavel Slivinsky, Andre Hemer, Lukas Stoklose), as well as Cecily Brown. The author comes to the conclusion that if the paintings of the authors cited in this article are successful at exhibitions and auctions, and if expressionistic motifs are clearly manifested in their canvases, then the art of expressionism itself, which originated at the beginning of the last century and whose influence can be considered undeniable to this day, despite the variety of new schools and trends. Moreover, the modern era has given this art a new sound and left its mark on the subject, technique, and material.
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Radaeva, E. A. "TRADITIONS OF EXPRESSIONISM IN MODERN WORLD FINE ARTS." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 24, no. 82 (2022): 79–86. http://dx.doi.org/10.37313/2413-9645-2022-24-82-79-86.
Full textAbstract:
This article discusses the traditions of expressionism in contemporary fine arts by artists from different parts of the world. The material was the work of authors who were either in the top ten and highly paid (British artists Jenny Saville and Howard Hodgkin, Germans Georg Baselitz and Albert Ohelen, Swiss artist Louise Bonnet, Chinese Jia Aili), or in the top ten "rising stars of painting XXI century” (Kristina Alisauskaite, Carla Busuttil, Pavel Slivinsky, Andre Hemer, Lukas Stoklose), as well as Cecily Brown. The author comes to the conclusion that if the paintings of the authors cited in this article are successful at exhibitions and auctions, and if expressionistic motifs are clearly manifested in their canvases, then the art of expressionism itself, which originated at the beginning of the last century and whose influence can be considered undeniable to this day, despite the variety of new schools and trends. Moreover, the modern era has given this art a new sound and left its mark on the subject, technique, and material.