Relevant bibliographies by topics / Narrative painting

Academic literature on the topic 'Narrative painting'

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Published: 4 June 2021
Last updated: 5 March 2023

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Journal articles on the topic "Narrative painting"

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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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Foskolou, Vicky A. "Telling stories with pictures: narrative in middle and late Byzantine monumental painting." Byzantine and Modern Greek Studies 43, no. 2 (September 10, 2019): 194–218. http://dx.doi.org/10.1017/byz.2019.16.

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This article explores the narrative strategies employed in the monumental painting of the middle and late Byzantine period and considers whether the different methods of narration and the degree of narrativity can reveal anything about the function of the work, its creators, its audience and finally its period; in other words whether a narratological approach to visual representation could be a tool for analysing a work of art in socio-historical terms. This is determined firstly by identifying similar narrative structures in contemporary literature and secondly by looking for information on how contemporary viewers ‘read’ the ‘story’ in monumental narrative paintings.
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Sarkar, Asmita, and Aileen Blaney. "Material Metaphor and Reflexivity in Contemporary Painting: A Practice-based Investigation." Journal of Aesthetic Education 57, no. 1 (April 1, 2023): 98–119. http://dx.doi.org/10.5406/15437809.57.1.07.

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Abstract Contemporary painting is a complex practice, and artists regularly incorporate elements from different media such as photography, textile, and performance. Despite its status being diminished by different conceptual art movements, painting still has a critically important place in the artworld. This importance is largely due to painting's ability to stretch across media and make a direct appeal to the senses. In this article, an attempt is made to theorize the facility of painting to incorporate different media and its resulting reflexivity. Maurice Merleau-Ponty's theory of embodiment and phenomenological theory of metaphor provide the theoretical means to articulate reflexivity in painting. Curatorial writing about contemporary painting and case studies of young painters from India form a backdrop for the analysis of examples from the painting practice of one of the authors to demonstrate the material dynamism of painting. It is shown that this reflexivity is intimately related to the sensuous texture of materials used in the creation of the paintings under discussion. The first-person narrative of artistic process and production provides insight into the embodied process of making and manipulating media and evidence that painters can create new insights about the ontology of painting.
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Chelkowski, Peter. "Narrative Painting and Painting Recitation in Qajar Iran." Muqarnas 6 (1989): 98. http://dx.doi.org/10.2307/1602284.

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Chelkowski, Peter. "NARRATIVE PAINTING AND PAINTING RECITATION IN QAJAR IRAN." Muqarnas Online 6, no. 1 (1988): 98–111. http://dx.doi.org/10.1163/22118993-90000238.

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Thomas, Anabel. "Illustrated Dictionary Of Narrative Painting." Art Book 2, no. 1 (January 1994): 18. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00349.x.

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Thomas, Anabel. "Illustrated Dictionary Of Narrative Painting." Art Book 2, no. 1 (January 1995): 18. http://dx.doi.org/10.1111/j.1467-8357.1995.tb00349.x.

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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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Dunagin-Miller, Christine, and Jodi Jan Kaufmann. "Reimagining Cancer through Painting: An Arts-based Authoethnography." Art/Research International: A Transdisciplinary Journal 2, no. 1 (March 22, 2017): 20–31. http://dx.doi.org/10.18432/a.r.i..v2i1.25655.

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We interweave arts-based inquiry, painting, and autoethnography, to critically examine one researcher's fearful narratives around cancer, death, dying, and family myths. These methods give us the distance to deconstruct Christine's past schema in order to take away its powerful influence on her life. This destabilized illness narrative leads to a transformational narrative of peace. Arts-based inquiry invites the viewer/reader to engage in similar acts of deconstruction and transformation.
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Dunagin-Miller, Christine, and Jodi Jan Kaufmann. "Reimagining Cancer through Painting: An Arts-based Authoethnography." Art/Research International: A Transdisciplinary Journal 2, no. 1 (March 22, 2017): 20. http://dx.doi.org/10.18432/r2h05h.

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We interweave arts-based inquiry, painting, and autoethnography, to critically examine one researcher's fearful narratives around cancer, death, dying, and family myths. These methods give us the distance to deconstruct Christine's past schema in order to take away its powerful influence on her life. This destabilized illness narrative leads to a transformational narrative of peace. Arts-based inquiry invites the viewer/reader to engage in similar acts of deconstruction and transformation.
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Dissertations / Theses on the topic "Narrative painting"

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Wilson, Gina Strecker. "Narrative Painting." PDXScholar, 1992. https://pdxscholar.library.pdx.edu/open_access_etds/4527.

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Nowicki, Andrzej Jan. "The gloaming : narrative in contemporary painting." Master's thesis, University of Cape Town, 2007. http://hdl.handle.net/11427/8202.

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Also available online.
The key to understanding my project lies in the assumption that the task of representation for contemporary painting is different from that of newer media such as photography and film. I see the role of painting as being the representation of the past; an engagement with history. Many of the painters who have inspired my way of seeing are artists who re-imagined the role of pre-modernist narrative painting and re-asserted it in contemporary practice. Contemporary narrative painting occupies a different role from that of its pre-modernist predecessors, such as Romantic painting. It also occupies a different role in relation to dominant narrative media of photography and film.
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Coutts, Maryanne. "Using narrative strategies in contemporary figurative painting." Thesis, Federation University Australia, 1999. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/165036.

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"This project applies an analysis of narrative, its elements, strategies and devices to figurative painting within the practical project of producing visual narrative fiction."
Doctor of Philosophy
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Ator, Robin A. "Boudica : an illustrated narrative." PDXScholar, 1988. https://pdxscholar.library.pdx.edu/open_access_etds/3823.

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I study painting and composition for its own sake, and in this program I am pursuing it from a narrative or pictorial stance, much as did earlier artists, and doing so in contemporary terms. Distinguished examples of illustrators could include such artists as Raphael, Michelangelo, Rembrandt and Rubens, and modern practitioners such as Wyeth and Baskin. The illustrator needs not only control of his means, but also other qualities in addition to those of a studio painter. He needs an imagination that will allow portrayal of scenes and viewpoints that can't be arranged in a studio. The artist's memory and invention are primary requisites for illustrations involving distant times and places.
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Green, Alexandra Raissa. "Buddhist narrative in Burmese murals." Thesis, SOAS, University of London, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367563.

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Ng’ok, Ivy Chemutai. "A counter-narrative analysis of psychological riot in contemporary painting." Thesis, Rhodes University, 2018. http://hdl.handle.net/10962/60458.

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I am rioting against a system of my own beliefs about the world. In my mind, I struggle to overcome these beliefs, hence, I construct the psychological riot as ‘the disturbance of the mind’. In this mini-thesis, I argue that it exists in the psyche too. This definition of psyche becomes painterly. My psychological riot is difficult to trace, let alone paint. The beliefs that I target are patriarchy within a post-colonial context. I use theories that are simultaneously psychological and corporeal. They address violence colonialist system. The psychological riot is an practical submission.
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Matino, Gabriele. "Venetian istorie : re-evaluating Giovanni Mansueti's narrative painting (1500-30's)." Thesis, University of Nottingham, 2014. http://eprints.nottingham.ac.uk/14255/.

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This thesis challenges existing studies on Giovanni Mansueti (active 1485-1526/27) that have generally tended to undervalue his contribution to Venetian narrative painting. Rather, drawing on extensive primary research my work demonstrates how Mansueti was one of the major interpreters of the “eyewitness style”, in fact a master able to picture the unique requirements and expectations of his various patrons. Chapter 1 analyses Mansueti’s little-known cycle in the church of San Martino, Burano (The Betrothal of the Virgin, The Adoration of the Shepherds and The Flight into Egypt, c. 1510), with reference to practices of private devotion in Renaissance Venice. I investigate the paintings by drawing on textual sources that were commonly used in private devotional practices, showing how the paintings projected an ideology built on specifically Venetian interpretations of the Apocrypha. Chapter 2 is a contextual analysis of the Scuola Grande di San Marco. Using original archival findings, it firstly reassesses the Scuola’s art patronage system and bureaucratic procedure; then it investigates the identity of the individual Scuola’s members responsible for commissioning the St Mark Cycle originally decorating the walls of the Sala dell’Albergo. Chapter 3 provides an analysis of Giovanni Mansueti’s three paintings for the Scuola (The Baptism of Anianus and The Healing of Anianus, 1518; Three Episodes from the Life of St. Mark, 1525) in respect to the Sala dell’Albergo narrative cycle. The study focuses on the paintings as visual projections of the Scuola’s ideological understanding of the Muslim ‛others’. It investigates the contextual motives that prompted the Scuola’s merchant brothers to represent their commercial associate as the very tormentors of St Mark.
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Fry, Jasmine R. "Experiencing the spiritual: Viewership and narrative painting in the early seicento." Connect to online resource, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1442915.

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Batenburg, Nancy G. "Telling tales and painting pictures: A narrative inquiry into the professional learning of Northern Territory primary teachers." Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/90063/4/Nancy_Batenburg_Thesis.pdf.

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This thesis narrates the professional learning experiences of seven Northern Territory teachers. It outlines the evolution from traditional professional development in schools to an active, responsive professional learning agenda. With increasing demands on teachers, standardisation and the quest for improved student outcomes, key themes in the re-storied narrative emerge about the definition and role of professional learning in complex conditions, effective teaching, quality programmes, and teacher agency. This thesis contributes to knowledge about the characteristics that teachers value in their professional learning experiences. An Ongoing Professional Enhancement Model (OPE) is proposed, highlighting directions in this field for key stakeholders.
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Dixon, Erin. "Parables." unrestricted, 2008. http://etd.gsu.edu/theses/available/etd-04252008-135822/.

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Thesis (M.F.A.)--Georgia State University, 2008.
Joseph Peragine, committee chair; Teresa Bramlette-Reeves, Cheryl Goldsleger, committee members. Title from file title page. Electronic text (25 p. : col. ill.) : digital, PDF file. Description based on contents viewed Aug. 14, 2008. Includes bibliographical references (p. 16).
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Books on the topic "Narrative painting"

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Gallery, Castlefield, ed. Narrative painting. Manchester: Castlefield Gallery, 1988.

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Victorian narrative painting. London: Tate Pub., 2000.

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Langmuir, Erika. Narrative. London: National Gallery, 2003.

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Shinn, Dorothy. Harold Kitner: Painting around the narrative. Akron, Ohio: Emily Davis Gallery, University of Akron, 1988.

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Greenstein, Jack M. Mantegna and painting as historical narrative. Chicago: University of Chicago Press, 1992.

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Brooks, Peter. History painting and narrative: Delacroix's 'moments'. Oxford: Legenda, 1998.

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Mantegna and painting as historical narrative. Chicago: University of Chicago Press, 1992.

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Britain), National Gallery (Great, ed. An illustrated dictionary of narrative painting. London: John Murray in association with National Gallery Publications, 1994.

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1935-, Burnham Patricia Mullan, and Giese Lucretia H, eds. Redefining American history painting. Cambridge: Cambridge University Press, 1995.

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Galeries nationales du Grand Palais (France) and Institut Valencià d'Art Modern, eds. Figuration narrative: Paris, 1960-1972. Paris: Réunion des musées nationaux, 2008.

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Book chapters on the topic "Narrative painting"

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Ouellette, Suzanne C. "Painting lessons." In Up close and personal: The teaching and learning of narrative research., 13–28. Washington: American Psychological Association, 2003. http://dx.doi.org/10.1037/10486-001.

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Hardy III, Charles. "Painting in sound: Aural history and audio art." In Studies in Narrative, 147–67. Amsterdam: John Benjamins Publishing Company, 2009. http://dx.doi.org/10.1075/sin.10.19har.

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Hanan, David. "Body Language: From Wall Reliefs and Painting to Popular Narrative Film." In Cultural Specificity in Indonesian Film, 193–235. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-40874-3_6.

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Davidson, Clifford. "Image, Text, and Devotion in Carthusian Wall Painting, Manuscript Illumination, and Narrative." In Studies in Late Medieval Wall Paintings, Manuscript Illuminations, and Texts, 37–110. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-47476-2_2.

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Lin, Po-Hsien, Mo-Li Yeh, and Jao-Hsun Tseng. "Emotion and Perception: A Case Study of Aesthetic Response to Frith’s Narrative Painting “The Railway Station”." In Cross-Cultural Design Applications in Mobile Interaction, Education, Health, Transport and Cultural Heritage, 241–51. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-20934-0_23.

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Evans, Dorinda. "3. Self-Expression in Flight and Pursuit." In William Rimmer, 51–80. Cambridge, UK: Open Book Publishers, 2022. http://dx.doi.org/10.11647/obp.0304.03.

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A chapter is devoted to this painting not only because of its quality but also the fact that its subject matter has long been in public dispute. Part of the problem is that Rimmer has been misunderstood as more secular and more oriented toward contemporary subject matter than he actually was. He painted from himself and from his own feelings, which were often concerned with the moral and spiritual. Much of his work is so personal as to be quite enigmatic in meaning, but this picture, showing a man fleeing his conscience, can be understood through his writings ("Stephen and Phillip," a fictitious narrative), patterns in his work, his illness, and a drawing by him with a subject re-identified as a man and his conscience. Flight and Pursuit is related to similar allegorical works on moral themes, such as Dying Centaur.
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Cuxima-Zwa, Chikukwango. "Performativity of Body Painting: Symbolic Ritual as Diasporic Identity." In Narratives in Black British Dance, 131–66. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-70314-5_10.

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Severy-Hoven, Beth. "Master Narratives and the Wall Painting of the House of the Vettii, Pompeii." In Gender History Across Epistemologies, 20–60. Oxford, UK: John Wiley & Sons, Ltd, 2013. http://dx.doi.org/10.1002/9781118508206.ch1.

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Topper, Kathryn. "Mythography and Greek Vase Painting." In The Oxford Handbook of Greek and Roman Mythography, 477—C34.P73. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190648312.013.35.

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Abstract This chapter examines points of overlap between mythography and Greek vase painting. Although vase painters had different goals from mythographers, they used similar organizational and rhetorical strategies to present and reflect on myth. The chapter shows that the strategies of narrative, catalogue, and pendant can be detected in both vase painting and mythography. The François vase is discussed as an example of visual narrative and catalogue; the “Heroines pyxis” in London is treated as a second instance of catalogue; and Makron’s skyphos depicting the abduction and recovery of Helen is offered as an instance of pendant images. While vase paintings were not strictly mythographic in themselves, the examples considered in this chapter suggest that painters expected viewers to be adept at the same sorts of narration and comparison that made mythographic thought possible. The chapter ends by discussing some limitations of the approach that compares vase painting and mythography.
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"Embedded Narrative." In Images-within-Images in Italian Painting (1250–1350), 141–70. Routledge, 2017. http://dx.doi.org/10.4324/9781315092829-7.

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Conference papers on the topic "Narrative painting"

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Hughes, Elizabeth. "Painting a Narrative: Analysis of Published Systematic Reviews on STEM Interventions for Students With Autism Spectrum Disorders." In 2019 AERA Annual Meeting. Washington DC: AERA, 2019. http://dx.doi.org/10.3102/1432337.

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Regis Brasil, Priscilla. "Film as part of the thesis and mounting as a method for the social sciences." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.112.

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My argument is that the history of space can be built by montage. I'm a documentary filmmaker and editor. I understand film as a support for writing in fragments. I think that the filmic form, capable of carrying movements and times, testimonies and texts, past and present, is a suitable support for the history of space. There is a visual form of knowledge and a wisdom of the gaze, as in Warburg's Atlas, largely disregarded by the academy as a way of producing knowledge. If montage is a polyphonic device that uses forgotten remains and heterogeneous narrations to dismantle the official story and reassemble another story from its critical constellations, no instrument seems to me more adequate than a film to execute it. Through the search for other ways of narrating the urban experience, following Benjamin from the rags and the residues, operating knowledge from the anarchic potentialities of the fragment and the problematization through doubt, through the incomplete and through the unfinished. For Didi-Huberman, the empirical and creative exercise proposed by Benjamin is capable of bringing out other possibilities from the dismantling of certainties. It allows us to think through the differences in the gaps left between the fragments. The montage allows for the simultaneity of times and the emergence of symptoms, the revelation of failures, conflicts, heterogeneity, in perforating tradition and colliding with the text. If montage serves all this, it also serves the decolonization of perspectives and methodologies, serves to narrate the history of subalterns and the hidden histories of empires. It also can be used to articulate memory, narration and history in the attempt to grasp reality. I propose the use of cinematographic montage as a method of knowledge production, as an important part of the research and whose result will be a constitutive and inseparable part of the thesis. Film as a method for the social sciences. In addition to assembling the fragments, the author's narrative interference is a critical point of the proposed experience. Delivering an account of the position from which one narrates is, therefore, fundamental. The narration does not impose itself as a voice of God over the material, as it neither affirms nor has certainties. It is organized on the incompleteness of the process. The narration sheds light on the background of the painting, on what History disregarded, on what was considered disposable or unimportant by the discourse of the dominator. It is thinking through differences and from the cracks of what was enunciated by the authority. It is thinking from accidents and ghosts.I propose the integration of the result of film montage experience in the general organization of the thesis, so that the chapters can vary between the two supports, text and film, being organized according to what the material itself indicates.
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Lus Arana, Luis M. "La Ligne Claire de Le Corbusier. Time, Space, and Sequential Narratives." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.814.

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Abstract: In 1921, issue 11-12 of L’Esprit Nouveau featured an article entitled “Toepffer, précurseur du cinema” where Le Corbusier, signing as ‘De Fayet’, vindicated the figure of Rodolphe Töpffer (1799-1846), a Swiss a pioneer of comics, as a key element in the development of cinema. Marginal as it may seem, this reference unveils a deeper relationship between Jeanneret and Töpffer’s work which started in his childhood, and would have a key role in the development of some of Le Corbusier’s trademark obsessions: travel, drawing, and cinematic narratives. In this context, “La Ligne Claire de Le Corbusier” proposes a close examination of the presence of graphic narrative and its aesthetics in Le Corbusier's early work in relation to its evolution from a sequential promenade architecturale to multispatial enjambment. The paper explores themes such as narrative and the inclusion of time in le Corbusier's Purist paintings, or his evolution from a painterly approach to drawing to an idealized, linear and synthetic rendering style. Keywords: Sequence; Enjambment; Purism; Avant-Garde; Töpffer ; Bande Dessinée. DOI: http://dx.doi.org/10.4995/LC2015.2015.814
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Geun, OH Weon, and KO Jong-Gook. "Visual Narrative Technology of Paintings Based on Image Objects." In 2019 International Conference on Information and Communication Technology Convergence (ICTC). IEEE, 2019. http://dx.doi.org/10.1109/ictc46691.2019.8939893.

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Yue, Jiping, and Dehua Yu. "RESEARCH ON COMBINATION OF COLLAGE AND NARRATION IN CHILDREN'S PAINTING." In 2nd Eurasian Conference on Educational Innovation 2019. International Institute of Knowledge Innovation and Invention Private Limited, 2019. http://dx.doi.org/10.35745/ecei2019v2.050.

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Aristizábal, José Antonio. "HUMBERTO RIVAS, DESDE LO ROMÁNTICO Y LO SINIESTRO. HUMBERTO RIVAS FROM THE ROMANTIC AND THE SINISTER." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6880.

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Palabras clave:Fotografía, estética, Humberto Rivas, Rafael Argullol, Eugenio Trías.Keywords: Photography, esthetic, Humberto Rivas, Rafael Argullol, Eugenio Trías.Resumen:El siguiente artículo busca dar una lectura a la obra del fotógrafo Humberto Rivas, Premio Nacional de Fotografía y unos de los mayores exponentes de la fotografía española de finales del siglo XX. Se parte de la convicción de que hace falta ubicar a Humberto Rivas en una tradición de pensamiento estético, ya que las distintas lecturas que existen sobre su trabajo, aunque importantes, no han dejado de ser lecturas impresionistas que no han reflexionado en profundidad sobre su obra. Este artículo trata de ver a Rivas a partir de unas categorías estéticas. Para ello se remite a las reflexiones de Rafael Argullol para distinguir aquello propio del artista romántico, y a las aportaciones filosóficas de Eugenio Trías acerca de lo siniestro en la obra de arte, y las vincula a la obra de Humberto Rivas. La hipótesis inicial es de que Rivas no se sentía como un fotógrafo que atrapa momentos o documenta acontecimientos, sino como un creador, y su obra es resultado de un artista que se repliega sobre sí mismo con la intención de producir una imagen reflejo de su mundo interior, la cual se puede explicar desde la mente del artista romántico, aunque el contexto no sea el romanticismo. Por último, aunque el artículo hable sobre Humberto Rivas, también es una manera de construir un relato entre la imagen fotográfica y distintos valores estéticos que hacen parte la historia del arte. Abstract:The following article seeks to give a reading to the work of photographer Humberto Rivas, National Photography Prize and one of the greatest exponents of Spanish photography at the end of the 20th century. It is based on the conviction that it is necessary to locate Humberto Rivas in a translation of aesthetic thought, since the different readings that exist on his work, although important, have not ceased to be Impressionist readings that have not reflected in depth on his work . This article tries to see Rivas from some aesthetic categories. For this he refers to the reflections of Rafael Argullol to distinguish that of the romantic artist and the philosophical contributions of Eugenio Trías about the sinister in the work of art, and links them to the work of Humberto Rivas. The initial hypothesis is that Rivas did not feel like a photographer who catches moments or documents events, but as a creator, and his work is the result of an artist who recoils on himself with the intention of producing a reflex image of Its inner world, which can be explained, from the mind of the romantic artist although the context is not romanticism. Finally, although the article talks about Humberto Rivas, it is also a way to build a narrative between the photographic image and the values ​​that have served to interpret painting or sculpture in the history of art.
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Chooi, Don. "Bear Bodies in Motion: A creative approach in telling a story of bigger, gay male bodies of colour through artistic means as practice-led research." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.80.

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In 2020, I created a body of work that paid attention to the concerns of body image representation of the gay male. The work was shown in a local exhibition in Auckland, called ‘Bear Bodies in Motion’, and it aimed as a critique on the anxieties of body image, especially in the gay bear subculture where there are considerable levels of stigma and shaming of bigger male bodies – made more profound towards bodies of colour. In an attempt at subversion, the creative work, portrayed the bigger body as energetic and aesthetically potent. It combined photography with digital painting and the result was an expression of body acceptance and authorship. Thematically, the image of the gay bear builds on a rich history of homo-oriented art. It plays on the tapestry of the gay identity which determines how it is being represented, negotiated and remixed continually in the gay mainstream. Discourse emanating from gay communities of colour, speaks of attempts to remove colonised attitudes, and in reimagining their heritage and sexual identities authentically. This artistic body of work sought to add to the dialogue that surrounds issues of race, queerness and ‘otherness’. The subsequent conversations which followed the exhibition, unpacked concerns of cultural identity, masculinity and belonging – in which seem to be heavily burdened by western-influenced and racialised notions of performativity. Through research, and taking in the ephemera that surrounds the discourse of the colonised body image, I begun to create work that seeks to further add to the discourse. This heavily illustrated paper reflects on the creative process in the art making of ‘Bear Bodies in Motion’. The methodology underpinning this artistic body of work is ‘reflection-in-action’, and it draws inspiration from research in the ‘lived experience’. Additionally it also consider its move from traditional mediums to the consideration of technology as a platform for storytelling, from the print medium to digital spaces – in this instance, the inclusion of Augmented Reality (AR). With this extension, AR provides the viewer the opportunity to take a more active role in reading the text. The experience moves the work into a more participatory space, where the narrative becomes more palpable and appreciated. The making journey is outlined from conceptual stage to the finalised artistic work from my personal lens who is both artist-maker and design practitioner. This paper also discusses the challenges and conflicts in creating a body of work of this nature. Especially of concern is its need for sensitivity in the representation of non-euro cultures – with greater emphasis given to the consideration for its homosexual themes, and to the identities of my participants as they were from the community itself. This paper also includes my reflections and personal insights in how this approach to a practice-led research has contributed to my own learning and teaching approach. Being an educator myself, this process has given me greater empathy and understanding in the student journey within today’s higher education environment.
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CURVELO, ALEXANDRA. "EXCHANGING ARTISTIC PRACTICES AND TEXTUAL NARRATIVES: THE JESUIT PAINTING SEMINARY IN JAPAN (LATE 16TH – EARLY 17TH CENTURIES)." In Conference on History of Mathematical Sciences: Portugal and East Asia V. WORLD SCIENTIFIC, 2018. http://dx.doi.org/10.1142/9789813233256_0009.

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Tammaro, Rosanna, Anna D’Alessio, Anna Iannuzzo, and Alessia Notti. "TEACHING ENGLISH WITH A CHILLY FORMAT: THE GRAPHIC NOVEL!" In International Conference on Education and New Developments. inScience Press, 2022. http://dx.doi.org/10.36315/2022v1end111.

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"Recently, the term graphic novel is commonly used in the educational area, and it’s often associated with another term, which is ‘comic book ‘. In a typical perception, the graphic novel provides an interesting way to communicate language concepts with a number of characteristics that may help students learning in a more effective manner rather than traditional textbooks. Given that it has been introduced in school lessons, it has certainly represented an opportunity for teachers. However…what exactly is a graphic novel? It is a didactic tool. A graphic novel, as its name suggests, is a novel that tells a complete story via illustrations. A graphic novel will offer the type of resolution that one expects from a novel, even if it is part of a series. Effectively, this makes a graphic novel longer and more substantive than a comic book, which is a serialized excerpt from a larger narrative story. Humankind has long told stories via images, beginning, perhaps, with the cave paintings of ancient civilizations. It was in the twentieth century, that we witnessed the rise in the use of comic books, which experienced a golden age during the Great Depression and World War II with the ascendance of Marvel and DC Comics. The Cold War era saw comic books and novels emerge into what is now known as a graphic novel. The term “graphic novel” traces back to an essay written by Richard Kyle in the comic book fanzine Capa-Alpha (although to this day there is not one fixed definition of “graphic novel”). The term is thought to have become mainstream with the publication of Will Eisner's A Contract with God in 1978. The authors provide an overview of the graphic novel format and its use in school lessons. The work is aimed at describing the most important steps of this format, with its implications for teachers and students. and the theoretical base that highlights how and why it can be a useful tool to present content relevant for the current generation of students. The authors provide examples of how the graphic novel medium could be applied to English concepts and conclude with the future prospects of this studying/teaching tool."
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Hill, Rodrigo, and Tom Roa. "Place-making: Wānanga based photographic approaches." In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.188.

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Ka matakitaki iho au ki te riu o Waikato Ano nei hei kapo kau ake maaku Ki te kapu o taku ringa, The words above are from the poem Māori King Tawhiao wrote expressing his love for his homelands of the Waikato and the region known today as the King Country. The words translate to: “I look down on the valley of Waikato, As though to hold it in the hollow of my hand.” Now imagine a large-scale photograph depicting a close-up frame of cupped hands trying to hold something carefully. The words above inform Professor Tom Roa and Dr. Rodrigo Hill’s current research project titled Te Nehenehenui - The Ancient Enduring Beauty in the Great Forest of the King Country. With this project still in its early stages the research team will present past collaborations which they will show leads into new ideas and discussions about photography, wānanga, and place representation. They focus on Māori King Tawhiao’s finding refuge in Te Nehenehenui, later called the King Country in his honour. He led many of his Waikato people into this refuge as a result of the British Invasion and confiscation of their Waikato lands in the latter part of the nineteenth century. The love of and for those lands prompted him to compose his ‘maioha’ - this poem painting a word-picture of these spaces which their photography humbly aims to portray. The project advances the use of wānanga (forums and meetings through which knowledge is discussed and passed on) and other reflective practices, engaging with mana whenua and providing a thread which will guide the construction of the photographic images. The name Te Nehenhenui was conceptualised by Polynesian ancestors who travelled from Tahiti and were impressed with the beauty of the land and the vast verdant forests of the King Country territories in the North Island of Aotearoa New Zealand. The origins of the name and further relevant historical accounts have been introduced and discussed by Professor Tom Roa (Ngāti Apakura, Ngāti Hinewai), Shane Te Ruki (Ngāti Unu, Ngāti Kahu) and Doug Ruki (Ngāti Te Puta I Te Muri, Ngāti Te Kanawa, Ngāti Peehi) in the TVNZ Waka Huia documentary series. The documentary provides a compelling account of the origins of the name Te Nehenehenui, thus informing this project’s core ideas and objectives. The research fuses wānanga, that is Mātauranga Māori, and photographic research approaches in novel ways. It highlights the importance of local Waikato-Maniapoto cosmological narratives and Māori understandings of place in their intersecting with the Western discipline of photography. This practice-led research focuses on photography and offers innovative forms of critical analysis and academic argumentation by constructing, curating, and presenting the photographic work as a public gallery exhibition. For this edition of the LINK Conference, the research team will present early collaborations and current research developments exploring place-making and wānanga as both methodology and photography practice.
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Reports on the topic "Narrative painting"

1

Wilson, Gina. Narrative Painting. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.6411.

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