Relevant bibliographies by topics / Narrative painting

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Narrative painting'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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

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Lisboa, Bedeteca de, ed. A pintura narrativa etíope: Narrative art in Ethiopia. Lisboa: Câmara Municipal, 2000.

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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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Brown, Patricia Fortini. Venetian narrative painting in the age of Carpaccio. New Haven, Conn: Yale U.P., 1990.

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Pradel, Jean-Louis. La figuration narrative. [Paris]: Hazan, 2000.

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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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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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HEDREEN, GUY. "Vase-painting and Narrative Logic:." In Red-figure Pottery in its Ancient Setting, 133–46. Aarhus University Pres, 2012. http://dx.doi.org/10.2307/jj.608266.15.

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Бојанић Ћирковић, Мирјана. "„ПОРТРЕТ АРНОЛФИНИЈЕВИХˮ ЈАНА ВАН АЈКА И НАРАТИВ- НЕ АЛТЕРНАТИВЕ." In JEZIK, KNJIŽEVNOST, ALTERNATIVE/LANGUAGE, LITERATURE, ALTERNATIVES - Književna istraživanja, 29–41. Filozofski fakultet u Nišu, 2022. http://dx.doi.org/10.46630/jkal.2022.1.

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Jan van Eyck’s The Arnolfini Portrait (1434) has intrigued art historians and theorists for six centuries, so that various narrative alternatives to this painting have been offered in order to shed light on its technique and the secret meanings of the motifs. Among the narratives which alternate with The Arnolfini Portrait, the most common are detective narratives, sexist narratives, family narrative, chthonic narratives, etc., and they should be accompanied by mise en abyme, the methodological concept of cognitive narratologists, whose framework is significantly expanded by considering the portrait of Arnolfini. In the narrative alternatives mentioned, finding the confirmation of the actuality and value of Van Eyck’s painting, with an interdisciplinary and methodologically plural approach focusing on the interpretation of postclassical narratological theories, we examine the source of permanent perceptual play of this artistic painting, with the observer gaps in the narrative. In the conclusion, we point to the contribution of the technique and the narrative of this painting to modern methodological angles to the interpretation of works of art, such as theories of reading and cognitive narratology.
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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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Shuting, Wang. "Tao Yongbai as a leading researcher of Chinese women’s painting: from term to narrative." In PARTICULARITIES OF ART’S INFLUENCE ON PERSONALITY DEVELOPMENT. Baltija Publishing, 2024. http://dx.doi.org/10.30525/978-9934-26-402-3-23.

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Акилова, А. Д. "RUSSIAN PROVINCIAL PORTRAIT IN THE XIX CENTURY´S GENRE PAINTING." In Месмахеровские чтения — 2024 : материалы междунар. науч.-практ. конф., 21– 22 марта 2024 г. : сб. науч. ст. / ФГБОУ ВО «Санкт-Петербургская государственная художественно-промышленная академия имени А. Л. Штиглица». Crossref, 2024. http://dx.doi.org/10.54874/9785605162926.2024.10.14.

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Русский провинциальный портрет — одно из ярких, но недооцененных явлений отечественной живописи второй половины XVIII — середины XIX в. Являясь важным этапом последовательного развития портретного жанра, он отражает взаимодействие старых и новых традиций в русской культуре. Провинциальный портрет оказывал влияние на столичное искусство и представлялся современникам важным атрибутом дореформенной эпохи. По этой причине на полотнах крупнейших русских мастеров жанровой картины XIX в., среди которых П. А. Федотов, Г. Г. Мясоедов, В. Г. Перов, Ф. С. Журавлев и др., обнаруживаются произведения провинциального портрета, выступавшего важным элементом художественного повествования. Russian provincial portrait is one of the bright, but underestimated phenomena of Russian painting of the second half of the XVIII — mid XIX century. Being an important stage in the consistent development of the portrait genre, it reflects the interaction of old and new traditions in Russian culture. The provincial portrait influenced the capital’s art and was seen by contemporaries as an important attribute of the pre-reform era. For this reason, the canvases of the XIX century’s largest Russian genre painting masters, among them P. A. Fedotov, G. G. Myasoedov, V. G. Perov, F. S. Zhuravlev, etc., reveal works of provincial portrait as an important element of artistic narrative.
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Белокурова, А. В., and Д. К. Желомонова. "EVPATY KOLOVRAT: FORMATION OF THE IMAGE OF THE HERO FROM «NARRATIVE» TO ARTWORK." In Образ героя. От прошлого к настоящему. Crossref, 2023. http://dx.doi.org/10.54874/9785605054252.2023.1.16.

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Рассматривается развитие образа Евпатия Коловрата в мировой художественной культуре. Основное внимание уделяется зарождению образа, его развитию в контексте литературной традиции и последующем воплощении в произведениях живописи, скульптуры, мультипликации и кино. Интерес к этому герою сильно возрос в последнее время, однако, до сих пор не было исследования, раскрывавшего образ Коловрата в контексте не только литературной традиции, но и других произведений художественной культуры. It’s discussed the development of the image of Evpaty Kolovrat in the world artistic culture. The main attention is paid to the origin of the image, its development in the context of the literary tradition and subsequent incarnation in the works of painting, sculpture, animation and cinema. Interest in this hero has increased greatly in recent years, however, so far there has been no study that has revealed the image of Kolovrat in the context of not only the literary tradition, but also other works of artistic culture.
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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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Thilakarathne, S., S. C. Gopure, and A. WIickramasinghe. "Visualising intangible cultural heritage: a conceptual framework on the adaptation of oral traditions into creative practices." In Awakening the economy through design innovation. Department of Integrated Design, University of Moratuwa, Sri Lanka, 2023. http://dx.doi.org/10.31705/idr.2023.9.

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Folklore encompasses the knowledge, experiences, and creative thinking passed down from ancestors through generations via word of mouth. It serves as a means of preserving cultural traditions and expressing socio-cultural aspects of a society. One such folklore narrative deeply rooted in the cultural heritage of Sri Lanka is the story of Kuweni. Kuweni, the unacknowledged queen who aided King Vijaya in his conquest of the island, holds historical, literal, geographical, and cultural significance. This narrative highlights the anthropological value inherent in folk traditions. Moreover, the story has been documented in ancient literature, lending factual credibility to the character of Kuweni. It has also served as an inspiration for dramatic performances, films, songs, and paintings exploring Kuweni's emotional dilemmas. However, there is a lack of comprehensive academic study on transforming folklore characters into creative disciplines. This research employs a qualitative approach to study the literature and folk narratives surrounding Kuweni, utilizing folklore categorization techniques such as the scientific and social scientific approaches with thematic analysis to identify the main themes. As a result of that, Thematic Metaphorical Approach (TMA) helps to identify and explore the central themes associated with folklore characters. This conceptual framework is applicable to in-depth exploration of any significant folklore character, providing a solid foundation for creative industries to delve into their themes without encountering pitfalls.
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Valenzuela, Sandra Trabucco. "A arte na publicidade: paintings." In Encontro da História da Arte. Universidade Estadual de Campinas, 2014. http://dx.doi.org/10.20396/eha.10.2014.4189.

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O presente trabalho examina o vídeo publicitário do whisky Johnnie Walker, intitulado Paintings, dirigido por Bobby Proctor, concebido pela agência BBH London e produzido pela Aardman Studios (2005) , que propõe a releitura de pinturas de artistas que vão do romantismo ao surrealismo. Identificam-se as obras e os artistas que atuam como referências intertextuais, o leitmotiv que une semanticamente a narrativa, a história do produto e a proposta fílmica. O contexto histórico/ cultural/artístico das obras citadas é fundamental para compreender a peça publicitária, pois justificam a sua escolha, comprometendo a apreensão das ideias norteadoras desta proposta que integra arte, história, narrativa audiovisual e publicidade.
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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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Ho, Racelar, Sarah Vollmer, and Xiaolong Zheng. "Subverting Syntax: Experimental narratives from the Post-Lingnan School of Painting." In Proceedings of EVA London 2024. BCS Learning & Development, 2024. http://dx.doi.org/10.14236/ewic/eva2024.14.

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Reports on the topic "Narrative painting"

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

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