Relevant bibliographies by topics / Painters

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
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Academic literature on the topic 'Painters'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Painters"

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Lee, Kyunghwa. "Discarding the Brush: Kang Sehwang and a Sociocultural History of the Chŏlp’il Practice in Eighteenth-Century Chosŏn." Korean Journal of Art History 316 (December 31, 2022): 39–71. http://dx.doi.org/10.31065/kjah.316.202212.002.

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Literally meaning “discarding the brush,” chŏlp’il refers to a painter’s sudden withdrawal from artistic activities. In the field of Korean art history, chŏlp’il has long been treated as a secondary topic of inquiry, occupying merely the margins of scholarly discourse. Eighteenth-century Chosŏn, however, witnessed a remarkable increase in the frequency of occasions that the scholar-painter “discarded the brush.” That suggests the decision of chŏlp’il was neither a personal choice nor an accidental event, but a reflection of certain sociocultural norms and values. This article discusses the historical significance of this “chŏlp’il” as a social practice through the case of Kang Sehwang. He was one of the most celebrated scholar-painters of eighteenth-century Chosŏn. Yet, the question of why he halted his painterly practice for two decades has not been adequately addressed. This article investigates the abrupt pause in Kang’s artistic career in light of Chosŏn’s social system and cultural norms through a reconstruction of the entire trajectory of his chŏlp’il and its comparison with instances of other scholar-painters of the late Chosŏn period. It was the Confucian conception of class ethics that propelled the scholar-painter to eschew artistic creation. The late Joseon Confucian teachings disparaged painting as a ch’ŏn’gi, or a “trade of the lower class,” and propagated the perception that involvement in painterly practice would bring disgrace on the literati. For scholar-painters, chŏlp’il was a last resort for honoring their families and preserving their elite identities in a society that deprecated the painterly exercise. Kang’s chŏlp’il attests that Chosŏn’s scholar-painters strove for artistic excellence while still being part of their social circle who were obliged by the eighteenth-century Confucian norms. Chŏlp’il was their strategy to maintain their dual identities as a Confucian scholar and a painter.
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MORROW, LISA A., STUART R. STEINHAUER, RUTH CONDRAY, and MICHAEL HODGSON. "Neuropsychological performance of journeymen painters under acute solvent exposure and exposure-free conditions." Journal of the International Neuropsychological Society 3, no. 3 (May 1997): 269–75. http://dx.doi.org/10.1017/s1355617797002695.

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Journeymen painters were evaluated with a comprehensive battery of neuropsychological tests and compared to demographically similar nonexposed controls. For painters, a cumulative exposure to solvents was estimated from a structured interview that derived an index based on lifetime exposure and exposure in the past year. Painters were tested either shortly after having painted or after an exposure-free interval. Significant between-group differences were found on a cluster of tests measuring learning and memory. Within the painter group, scores on the learning and memory tests were significantly related to the interaction of condition and exposure. That is, those painters who were tested soon after painting and who also had a higher overall lifetime exposure, performed worst on tests of learning and memory. These results are consistent with the view that neuropsychological function — particularly learning and memory — may be compromised in active workers with a history of chronic solvent exposure. Furthermore, both the chronicity of solvent exposure, as well as the acuteness of the exposure, are significant factors in cognitive performance. (JINS, 1997, 3, 269–275.)
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Patmala, Ni Kadek Citra, Anak Ayu Nyoman Trisna Narta Dewi, and I. Made Muliarta. "THE DIFFERENCES MUSCULOSKELETAL DISORDER BETWEEN WOOD CARVERS AND PAINTERS IN UBUD." Majalah Ilmiah Fisioterapi Indonesia 6, no. 3 (September 15, 2018): 29. http://dx.doi.org/10.24843/mifi.2018.v06.i03.p08.

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ABSTRACT Work activity can cause pain, pain, stiffness and other disorders of the muscular system which is one of the musculoskeletal complaints. Wood carvers and painters are workers who still dominant work with the manual system.The purpose of this study was to know the difference of musculoskeletal disorder between woodcarvers and painters and to justify the hypothesis of purpose that has been formulated.This research was observational research, categorical analytics unpaired with cross sectional approach. Sampling technique in this research was simple random sampling. The sample of this study amounted to 96 people divided into 2 groups, namely groups of wood carvers and painters. Data collection was done by filling the Nordic Body Map questionnaire. Statistical test using Chi-Square and Independent T-test. The results showed significant differences in musculoskeletal disorder on wood carver and painter, with woodcarvers mean value of 40,7 ± 5,3 and painters mean value of 43,2 ± 6,2, so p = 0,038 (p <0,05) , then there are differences in musculoskeletal disorder among woodcarvers and painters, where musculoskeletal disorders at greater painter than woodcarver. Analysis of the difference each extremity musculoskeletal disorders in the upper extremities get results with woodcarvers mean value of17.1 ± 0.38 and painters mean value of 17,3 ± 2,5, so p= 0,692 (p> 0,05), on the trunk with woodcarvers mean value of 8,3 ± 1,69 and painters mean value of 10,5 ± 2,50, so p = 0,000 (p <0,05) and in the lower extremities with woodcarvers mean value of 15,1 ± 2,69 and the average value of the painters 15.1 ± 3.33, so p = 0.973 (p> 0.05). The results of the analysis of each extremity musculoskeletal disorders in woodcarvers and painters, it can be concluded that there are significant differences in musculoskeletal disorder among woodcarvers and painters on the trunk and there are no significant differences in musculoskeletal disorder among woodcarvers and painters in the upper extremities and the lower extremities. Keywords: muskuloskeletal disorder, Nordic body map, wood carver, painter
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Miedema, Hessel. "Philips Angels Lof der schilder-konst." Oud Holland - Quarterly for Dutch Art History 103, no. 4 (1989): 181–222. http://dx.doi.org/10.1163/187501789x00167.

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AbstractPhilips Angel's Lof der schilder-const (In Praise of Painting, 1642) is one of the few pieces of writing we have as a source of notions on the theory of painting in the Netherlands. Yet it was not intended as an art-theoretical treatise: Angel read the text at a St. Luke's feast as part of the activities that were being undertaken to acquire guild rights for Leiden painters. In order to assess the value of the theoretical notions on which the paper is based, it is therefore necessary to analyse as far as possible the circumstances of its writing. First the Angel family is examined. Orginally from Antwerp, the Angels moved north in the 1590s, probably because of the Eighty Years' War, settling in Middelburg and Leiden. They were fairly prosperous middle-class citizens, mostly schoolteachers, painters and small shopkeepers. Both the Middelburg and Leiden branches produced painters called Philips Angel. The Middelburg Philips, almost certainly identical with a painter called Philips Angel who was active in Haarlem, is known to have produced quite a lot of paitings. Only one small etching by the Leiden Philips has survived; nothing is known of any paintings by him. The Leiden Philips, the author of Lof der schilder-const, had a turbulent career. He joined the painters who pressed for guild rights in Leiden, to which end he held his speech in 1641. As early as 1645, though, he gave up painting and travelled as an employee of the United East-Indian Compary to Indonesia. From there, promoted to the high rank of chief merchant, he was sent to Persia. He was dismissed on grounds of embezzlement, but managed to procure the post of court painter to the Shah. By 1656, however, he was back in Batavia (Jakarta), where he again obtained a number of highly regarded positions. Fired again for mismanagement and defalcation, his end was inglorious. The Lof der Schilder-const shows evident signs of a general tendency among Dutch painters of the mid-seventeenth century to claim a higher status for their profession. The text is duly meant less as a theoretical treatise than as a rhetorical amplificatio of the painter's profession. The author seems to have been reasonably well-read, although by no means scholarly; nor was he very conversant with the Italian art theory of his day. Scrutiny of the text reveals his superficial and undiscerning paraphrases of the few sources at his disposal (mainly Karel van Mander's Schilder-boeck and the Dutch translation of Franciscus Junius' De pictura veterum). Much of his eulogy is a summing-up of the distinguished characteristics a painter ought to have. The remarkable thing is that not one of those characteristics provides specific insight into the professional practise of the Leiden painters around 1641. As far as they are at all relevant to what was being painted in Leiden at that time - take the Leiden 'Precise School' of Gerard Dou's circle -, his remarks provide little more insight than a superficial consideration of the paintings would arouse in any layman.
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Onesmo, Brigitha M., and Larama MB Rongo. "ASSESSMENT OF RESPIRATORY SYMPTOMS AND ASSOCIATED FACTORS AMONG HOUSE PAINTERS IN KINONDONI MUNICIPALITY TANZANIA." International Journal of Research -GRANTHAALAYAH 6, no. 1 (January 31, 2018): 156–71. http://dx.doi.org/10.29121/granthaalayah.v6.i1.2018.1605.

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Background: House painters are increased as people prefer to live in good and decorated houses. Mishandling of paints and inhalation of paint materials become a problem as this paints contain chemicals which are poisonous upon inhalation. However, few studies have assessed respiratory symptoms among house painters in the Africa. The main objective of this study was to assess respiratory symptoms and associated factors among house painters. Methods: We used a questionnaire to interview 172 house painters and 148 non exposed group in different construction sites. A sub sample of 25 house painters was evaluated for lung function using EasyOne spirometer Results: The study revealed significant results when respiratory symptoms were compared among painters and non-exposed group (p<0.05). Low level of knowledge among workers and poor use of PPE were the main factors associated with exposed to paints. Protection of those workers would be only successfully if enforcement policy is enacted about every site to provide personal protective equipment (PPE) to workers. Conclusion: House painters are exposed to different painting materials and therefore appropriate measures are recommended.
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Schaus, Gerald P. "Two Fikellura Vase Painters." Annual of the British School at Athens 81 (November 1986): 251–95. http://dx.doi.org/10.1017/s0068245400020177.

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The two most important Fikellura vase painters are here studied and their works catalogued. The earlier of the two, the Altenburg Painter, was recognized first by R. M. Cook (BSA 34 (1933–4) 1–98), but the number of vases attributed to this painter has greatly increased and now includes some of the earliest Fikellura vases with figure decoration. His career covers most of the third quarter of the sixth century. The second painter, named the Painter of the Running Satyrs, is studied for the first time here. His production spans most of the fourth quarter of the century. Although not very numerous, his vases have novel themes and show a vigorous figure style. The study of these two painters' careers helps in dating some of Cook's various groups of Fikellura vases and clarifies their relationship with the work of these painters. The source of most Fikellura is now seen to be Miletus, but the question of the origin or antecedents of Fikellura pottery is still not entirely settled. Some explanation is, however, offered for the sudden appearance of this ware about the mid sixth century.
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Grūbe, Signe. "LATVIAN ARTISTIC FIELD FROM THE ARTISTS’ VIEWPOINT." Culture Crossroads 16 (November 2, 2022): 30–49. http://dx.doi.org/10.55877/cc.vol16.81.

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The autonomy of artistic field is expressed in the degree to which the artist obeys the laws of action and changes in the field of power and social space. The work of a painter can be directly influenced by other actors in the artistic field, therefore, the opinion of other painters is analysed and compared to their own position in the art space. The purpose of this article is to determine the viewpoint from which a painter sees the Latvian artistic field and himself/herself therein. The study is based on 28 author’s interviews with Latvian painters. The article considers whether painters regard the artistic field as separated from the social space and whether they feel themselves and their colleagues as equal players. The research indicates that the autonomy of the artistic field is not possible. Painters are equal players with other actors in the artistic field.
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Altes, Everhard Korthals. "Philip van Dijk, een achttiende-eeuwse Haagse schilderkunsthandelaar met een lokale en internationale clientèle*." Oud Holland - Quarterly for Dutch Art History 116, no. 1 (2003): 34–56. http://dx.doi.org/10.1163/187501703x00260.

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AbstractPhilip van Dijk was an important eighteenth-century painter-dealer. During this period lots of dealers in paintings started out as painters, a combination also found previously in the seventeenth century. Quite a few painters began dealing due to the falling demand for contemporary art in the eighteenth century, and some of them sought new outlets abroad where there were many well-off collectors interested in both contemporary Dutch painters and the masters of the seventeenth century. Van Dijk, too, built up a clientele both locally in The Hague and abroad. Bills and receipts from Johan Hendrik, Count of Wassenaer Obdam, show that Van Dijk was actively involved in putting together the count's collection for more than 20 years. He bought old master paintings at auction as well as privately, painted several works himself, and was also a restorer. He provided similar wide-ranging services to Wilhelm of Hesse-Kassel, and bought paintings on the Dutch market for him. As a result of his painting skills, Van Dijk must have had a good eye for quality, and he could tell the difference between an original and a copy. Wilhelm sent the young painter Freese to Van Dijk's studio in The Hague, not just as an apprentice but also to learn the finer points of art dealing. Van Dijk was most likely also involved in the purchasing of paintings by other German rulers, among them Augustus III of Saxony and Christian Ludwig of Mecklenburg-Schwerin.
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Suciu, Silvia. "Afacerea artei. Piața de artă în Marea Britanie în secolele XVII -XVIII." Anuarul Muzeului Etnograif al Transilvaniei 35 (December 20, 2021): 105–45. http://dx.doi.org/10.47802/amet.2021.35.06.

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While the royal houses and the aristocracy of Italy, Low Countries, France and Spain had already an history in collecting pieces of art, Great Britain adopted this “fashion” only under Charles the 1st reign, in 17th century. Charles the 1st understood that his painted portraits, sculpted busts and a royal collection of art could bring a higher value to his royal status and this practice was representing the power, the authority and the virtues of a king. He was a prodigious collector and made numerous acquisitions of paintings and statues. He collected the artworks of more than 1750 artists; that formed the basis of Royal Collection, the greatest private collection nowadays. The reign of Charles the 1st was highly significant for the appearance of “Court Painters”, who also had the quality of diplomats at various European courts. Peter Paul Rubens and Antoon Van Dyck have been highly appreciated at the court of Charles the 1st. In his artworks Van Dyck captured the “flamboyant” spirit of the time; he gave brilliance to his characters and transformed significantly the image of the King, providing him a special refinement, as it can be seen in the portraits he painted to Charles the 1st. The next century was marked by painters such as William Hogarth, Joshua Reynolds and Thomas Gainsborough. Hogarth was considered „the most famous painter in London”, and he brought his important contribution to the establishment of a copyright law. His printed graphic series and satirical paintings have been inspired from the social and political reality of his time. Aristocracy’s and bourgeoisie’s emancipation in the 18th century led to the flourishing of the portraiture. Reynolds and Gainsborough were the most desired painters when it came about making portraits and their fame transcended their time. Keywords: collection, Great Britain, Royal Painter, portrait, art power
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Afolayan, G. O., K. I. Amagon, L. E. Amah, and T. O. Obadipe. "Evaluation of Heavy Metals in Selected Paint Brands and Paint Chips from Old Buildings in Selected Local Government Areas in Lagos State, Nigeria." University of Lagos Journal of Basic Medical Sciences 7, no. 1-2 (2019): 1–6. http://dx.doi.org/10.52968/23683896.

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Background: One major deleterious component of paints are heavy metals and it has been reported that the general populace (especially children) can be exposed to the components of paints through the chipping of paints from buildings and runoffs of rain from painted buildings to other bodies of water. Objectives: To assess the awareness of painters and paint sellers on the heavy metal constituents of paints and their adverse effects. The study also, to evaluated the heavy metal constituents of commonly sold paints and paint chips of old buildings in selected Local Government Areas (LGAs) of Lagos State, Nigeria. Methods: A self-administered well-structured questionnaire was distributed to fifty painters and fifty paint sellers to evaluate the occupational awareness on the use of personal protective devices, commonly experienced adverse symptoms, and also to know the commonly used and sold paints in Lagos, Nigeria. The heavy metal constituents were evaluated in ten paint brands (gloss and emulsion), and in 180 paint chip samples scraped off buildings located in selected LGAs in Lagos State, using the Atomic Absorption Spectroscopy. Results: The results showed that 54% were aware of the hazards associated with their jobs, however, 72% do not use protective gears, and 32% reported symptoms relating to hazard exposure to paints. The levels of lead (Pb) and cadmium (Cd) in paint brands and chips were below the permissible limits of 90 ppm of the US Consumer Product Safety Commission and 100 ppm limit of the European Union (EU) for Pb and Cd in paint. However, the levels of chromium were higher than recommended. Conclusion: There is a need for proper monitoring of heavy metal (especially chromium) concentration in paints manufactured and sold in Lagos and Nigeria as whole, while also ensuring that painters adhere to best protective practices.
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Dissertations / Theses on the topic "Painters"

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Herbert, Lynley Anne. "Duccio di Buoninsegna icon of painters, or painter of 'icons'? /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 4.69 Mb., 57 p, 2006. http://wwwlib.umi.com/dissertations/fullcit/1435856.

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Brewer, Rhett, of Western Sydney Nepean University, of Performance Fine Arts and Design Faculty, and School of Design. "Paint, painters and primary perception." THESIS_FPFAD_SD_Brewer_R.xml, 1996. http://handle.uws.edu.au:8081/1959.7/300.

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This paper examine's painters attempts to find, in their chosen medium, a meaningful representation of nature. It proposes the idea that despite the best efforts of some of western art's most gifted artists, this has remained an elusive goal so far and this is likely to remain the case in the future. The paper concludes with an examination of Postmodern theoretical discourse and the effects it has had on painters who may want to attempt to make a meaningful statement about nature with their art. It goes on to make a case that despite the difficulty of the task, there are some very sound reasons why any painter wishing to attempt it, should do so. Some associated issues are raised in the course of the investigation: 1/. An investigation of perception of nature. 2/. The role of language in shaping our perceptions of nature. 3/. The inability of language itself to capture a satisfactory recreation of the experience of nature. 4/. An examination of Paul Cezanne's attempts to record nature using his empirical optical method. 5/. An examination of Barnett Newmans's attempts to recreate the experience of nature through the use of symbols. 6/. The work of the phenomenologists with regard to nature and painting. 7/. The problem of aesthetics. 8/. The apparent reluctance of many critics and theoreticians to take the importance of nature as a vital and indispensable starting point for some artists
Master of Arts (Hons)
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Brewer, Rhett. "Paint, painters and primary perception." Thesis, View thesis, 1996. http://handle.uws.edu.au:8081/1959.7/300.

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This paper examine's painters attempts to find, in their chosen medium, a meaningful representation of nature. It proposes the idea that despite the best efforts of some of western art's most gifted artists, this has remained an elusive goal so far and this is likely to remain the case in the future. The paper concludes with an examination of Postmodern theoretical discourse and the effects it has had on painters who may want to attempt to make a meaningful statement about nature with their art. It goes on to make a case that despite the difficulty of the task, there are some very sound reasons why any painter wishing to attempt it, should do so. Some associated issues are raised in the course of the investigation: 1/. An investigation of perception of nature. 2/. The role of language in shaping our perceptions of nature. 3/. The inability of language itself to capture a satisfactory recreation of the experience of nature. 4/. An examination of Paul Cezanne's attempts to record nature using his empirical optical method. 5/. An examination of Barnett Newmans's attempts to recreate the experience of nature through the use of symbols. 6/. The work of the phenomenologists with regard to nature and painting. 7/. The problem of aesthetics. 8/. The apparent reluctance of many critics and theoreticians to take the importance of nature as a vital and indispensable starting point for some artists
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Brewer, Rhett. "Paint, painters and primary perception." View thesis, 1996. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030903.175546/index.html.

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Winterbottom, Susan. "Mantegna and Venetian painters c. 1440-1516." Thesis, Courtauld Institute of Art (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.392096.

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CARDOSO, FERNANDA DE ABREU. "VERNACULAR GRAPHIC DESIGN: ART OF THE LETTER PAINTERS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2003. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=4201@1.

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Esta pesquisa pretende analisar a produção de material gráfico produzido pelas classes populares, o que é aqui denominado Design Gráfico Vernacular. O objetivo do trabalho é analisar este fenômeno através de pesquisa teórica, entrevistas, observações e análise gráfica do objeto em questão considerando o contexto social em que surge esse tipo de produção, o que a define, assim como o uso desses objetos. O objeto de estudo consiste em um conjunto de letreiros formado por três categorias de negócios de prestação de serviços, sendo eles: bares, restaurantes e lanchonetes; cabeleireiros e chaveiros, registrados na cidade do Rio de Janeiro. A partir da observação e análise do conjunto de letreiros confeccionados artesanalmente por profissionais especializados, os letristas, o trabalho busca também verificar a existência de uma linguagem própria desse tipo de produção. A pesquisa parte do princípio de que instâncias de legitimação provenientes de grupos sociais distintos, impõem valores e critérios de julgamento que afetam a produção de um campo de produção de bens simbólicos como o design. A importância desta pesquisa reside no fato de que a produção do design gráfico vernacular, mesmo caracterizando uma produção artesanal em uma sociedade pós-industrial, ainda é uma prática comum em todo o país. Esse tipo de produção convive com a produção do design gráfico culto dentro de uma mesma sociedade, porém ambos os campos de produção se formam para atender as necessidades de grupos sociais distintos.
This dissertation intends to analyse the production of graphical material proceeding from popular social groups, which is herein named Graphic Vernacular Design. The focus of the work is to analyse this phenomenon through theoretical research, surveys, observation and graphical analyses of the object at issue, observing the social context in which that production arises, what defines it and the use of such objects. The object of study is based on a set of signs featured by three categories of business and services, such as: bars, restaurants and snack-bars; hairdressers and locksmiths registered in the city of Rio de Janeiro. From the observation and analysis of a handmade set of signs made by skilled professionals in that area of production, the so-called letter painters, this piece of work also investigates the existence of a particular language in that kind of production. The research takes as principle the fact that legitimation instances proceeding from different social groups impose values and rules of judgement which affect the production of a field of production of symbolic goods as occurs with the design. The importance of this study is based on the fact that the production of graphic vernacular design, even though characterizing a handmade production in a post- industrial society is still a regular practice in the country. That kind of production lives together with the production of cultured graphic design inside the same society: however, both fields of production are formed to attend the needs of distinct social groups.
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Wheatley, Debra Jane. "The metaphysical works of David Scott, RSA "the Scottish Blake" and his symbolist tendencies." Thesis, University of Aberdeen, 2008. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=211388.

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David Scott (1806-1849) recorded his developing religious and aesthetic philosophies in private notes and in published essays, and his aesthetic ideal is exemplified in works expressing metaphysical aspects of man. Comparison of his purely imaginative works on paper with some of the exhibited history paintings - inspired by the Bible, classical sources and literature - reveals enduring themes and motifs and the consistent application of the central concepts of his aesthetic philosophy from an early age.
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羅淑敏 and Suk-mun Sophia Law. "In pursuit of classical professionalism: a consistent feature of Zhang Daqian and his art." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31222900.

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Parlett, Shiori. "Kayama Matazo's Nihonga." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B3122832X.

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Silva, Viviane Rummler da. "Pintores fundadores da Academia de Belas Artes da Bahia: João Francisco Lopes Rodrigues (1825-1893) e Miguel Navarro y Cañizares (1834-1913)." Programa de Pós- Graduação em Artes Visuais da UFBA, 2008. http://www.repositorio.ufba.br/ri/handle/ri/9855.

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O trabalho Pintores fundadores da Academia de Belas Artes da Bahia: João Francisco Lopes Rodrigues (1825-1893) e Miguel Navarro y Cañizares (1834-1913) foi desenvolvido como atividade do Curso de Mestrado em Artes Visuais (MAV) da Universidade Federal da Bahia (UFBA), com inserção na linha de História da Arte Brasileira (ênfase Norte / Nordeste). Tem como objeto de pesquisa os pintores Miguel Navarro y Cañizares e João Francisco Lopes Rodrigues, integrantes do grupo de fundadores da Academia de Belas Artes da Bahia, hoje Escola de Belas Artes (EBA) da UFBA, da qual o primeiro foi fundador-idealizador e o segundo professor-fundador. Nesse estudo é investigada cientificamente a atuação artística e profissional/institucional, bem como são analisadas obras dos referidos pintores. São consideradas suas relações profissionais e artísticas com o meio sócio-cultural e a citada Academia de Belas Artes. Desse modo busca-se compreender contextos e contribuições para a institucionalização acadêmica do ensino das artes plásticas na Bahia. Tal pesquisa compreendeu duas fases. Uma indireta, que se constituiu de uma pesquisa bibliográfica (ou de fontes secundárias) e documental (ou de fontes primárias). A segunda, direta, compreendeu pesquisa de campo. Nesta, foram utilizadas técnicas de observação direta intensiva para estudo analítico-descritivo da produção artística dos biografados. Na pesquisa indireta aplicou-se as abordagens próprias da História da Arte: biográfica, sociológica e histórica. É feita descrição e análise de documentos e manuscritos encontrados, muitos deles até aqui inéditos na literatura, como também análise de dados bibliográficos, além da descrição de obras localizadas, sendo algumas inéditas. Considera-se que esta pesquisa contribui para o preenchimento de lacunas na busca de compreensão sobre a vida e atuação dos dois artistas em pauta, assim como de parte da história dos primórdios do ensino acadêmico das artes na Bahia.
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Books on the topic "Painters"

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Uffizi, Galleria degli. Painters by painters. [New York]: National Academy of Design, 1988.

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López-Rey, José. Velázquez: Painter of painters : the complete works. Köln: Taschen, 1997.

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Conlon, Laura. Painters. Vero Beach, FL: Rourke Press, 1994.

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museum, Skagens, ed. Danish artists' colonies: The Skagen painters, the Funen painters, the Bornholm painters, the Odsherred painters. Skagen: Skagens Museum, 2007.

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Halápy, Lili. Halápy János: Életünkről, kortársakról. [Budapest]: A Szerző Kiadása, 1987.

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Etienne, Galerie St, ed. Expressionist painters. New York: Galerie St. Etienne, 1986.

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John, Ruskin. Modern painters. Edited by David Barrie. New York: Knopf, 1987.

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David, O'Connor, ed. Glass-painters. Toronto: University of Toronto Press, 1991.

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Christopher, Newall, and Richardson Margaret, eds. Victorian painters. 3rd ed. Woodbridge, Suffolk, [Eng: Antique Collectors' Club, 1995.

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Cook, Barrie. Painters games. Truro: Lemon Street Gallery, 2001.

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Book chapters on the topic "Painters"

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Kumar, Abhishek. "Painters’ Graphical User Interface." In Beginning PBR Texturing, 59–69. Berkeley, CA: Apress, 2020. http://dx.doi.org/10.1007/978-1-4842-5899-6_8.

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Estlander, T., L. Kanerva, and R. Jolanki. "Painters, Lacquerers and Varnishers." In Handbook of Occupational Dermatology, 1030–32. Berlin, Heidelberg: Springer Berlin Heidelberg, 2000. http://dx.doi.org/10.1007/978-3-662-07677-4_161.

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Estlander, Tuula, and Riitta Jolanki. "Painters, Lacquerers, and Varnishers." In Kanerva's Occupational Dermatology, 1601–4. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-02035-3_178.

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Eitner, Lorenz. "Academic and Salon Painters." In An Outline of 19th Century European Painting, 269–87. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429032714-10.

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Rouet, Philippe. "The Workshop and the Circle, the Painter and his School." In Approaches to the Study of Attic Vases, 93–108. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198152729.003.0006.

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Abstract Apart from those painters whom Beazley identified very early on, such as the Kleophrades Painter and the Berlin Painter, Beazley took little trouble to explain the reasons for his attributions. We therefore need to examine his work on those two painters; this will help us not only to analyse his method, but also to identify clearly the radical changes that he introduced to the study of pottery from the very beginning of his research. On the Berlin Painter he published one of the few articles in which he explained his ideas about the connoisseurship of vases in detail. His conclusion was a sharp reaction against erroneous interpretations, which he saw as distorting any overall picture one might have of the production of painted vases in Athens, and also any sense of the status of the painters.
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Mannack, Thomas. "The Earlier Mannerists." In The Late Mannerist in Athenia Vase-Painting, 12–23. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780199240890.003.0003.

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Abstract Beazley had already recognized Myson as the teacher of the Pig Painter in 1925. In H,)33 he thought that the Pig Painter’s vases were late works of Myson,3 bm finally chose the description ‘continues the style of Myson’.; Berge described tl1e Leningrad Painter as a student of Iv1yson,5 Beazley called him a companion and brother of the Pig Painter,” and labelled the Agrigento Painter initially a companion of the Pig and Leningrad Painters.’ Later he wrote: ‘[The Agrigento Painter] takes off from the Pig Painter.
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Mannack, Thomas. "The Later Mannerists." In The Late Mannerist in Athenia Vase-Painting, 24–41. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780199240890.003.0004.

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Abstract Vases attributed to the Nausicaa Painter include column- and beil-kraters, belly- and neck-amphorae, one'amphora of Panathenaic shape, hydriai, pelikai, two oinochoai, and one lekythos. He is the earliest of the Late Mannerists.3 His vases provide a link between the Late and the Earlier Mannerists, in particular with the Agrigento and Oinanthe Painters. Beazley believed, at one point, that the Oinanthe Painter’s vases were early works by the Nausicaa Painter because of the similarity in their style of drawing.
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Immerwahr, Henry R. "Early Classical: From the Persian Wars to the Mid-Fifth Century." In Attic Script, 98–108. Oxford University PressOxford, 1990. http://dx.doi.org/10.1093/oso/9780198132233.003.0010.

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Abstract After the Persian Wars certain changes took place in the production and distribution of Attic pottery. Yet many painters and potters continued their prior activities, so that there is not so much a break as a gradual transformation in the direction of the Classical style. Among smaller vases, the lekythos and the small Nolan amphora replace the cup in popularity; among large vases, the column krater becomes more common. The export is still to Etruria, but more so for the small vases. Larger vases are used mainly in Athens and in South Italy: no doubt these changes in the market cause the change in the statistics of shapes. The trade is a flourishing one, and we find a great increase in the number of painters, especially minor painters who are not yet fully understood. The schools of Douris, the Brygos Painter, and Makron continue with copious production of small vases (AR V2781-836), and the same is true for the larger vases painted by the followers of the Berlin Painter (the Providence Painter, Hermonax, etc.) and the Mannerist school (AR V 5 62 ff., IIo6 ff.). But there are also many new schools, such as those of the Altamura and Niobid Painters, and of the Pistoxenos and Penthesilea Painters. The white-ground lekythos comes to the fore in this period (AR V 743 ff.). The second quarter of the fifth century is altogether a lively and somewhat chaotic period, in which the old and the new are mixed; this is what we would expect in the founding years of the Athenian Empire.
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"Feldman's Painters." In The New York Schools of Music and the Visual Arts, 176–218. Routledge, 2012. http://dx.doi.org/10.4324/9780203055465-13.

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"Modern Painters." In Prose by Victorian Women, 97–152. Routledge, 2013. http://dx.doi.org/10.4324/9781315805450-16.

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Conference papers on the topic "Painters"

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Dalmoro, Bruna, Charles Monteiro, and Soraia Raupp Musse. "Measuring the influence of painters through artwork facial features." In 2022 35th SIBGRAPI Conference on Graphics, Patterns and Images (SIBGRAPI). IEEE, 2022. http://dx.doi.org/10.1109/sibgrapi55357.2022.9991755.

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Артемова, А. А. "ORCHID PAINTING IN ART OF CHUSA KIM JEONGHUI (1786–1856)." 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/10.54874/9785605162926.2024.10.16.

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Чхуса Ким Чонхи — центральная фигура культурной жизни Кореи XIX в. среди художников- интеллектуалов — посвятил свою жизнь исследованию природы творчества, был признанным специалистом в области науки и искусства, а также объединил вокруг себя художников, увлеченных его идеалами. В данном исследовании будет предпринята попытка проанализировать три произведения Ким Чонхи в жанре живописи орхидей и дать краткую характеристику его творчеству на разных этапах жизненного пути. Chusa Kim Jeonguhui is a major figure in 19th century Korean Art Circles among literati painters. He became well-known as a painter, calligrapher and a scholar, who devoted his life to a creative journey in Classical arts and studies. His main body or paintings is done in Orchid painting genre, so we’re going to examine three of his art pieces in this genre to analyze his creative approach in different stages of his life.
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Fueyo, Norberto, and Salvador Ochoa. "TURBULENT COMBUSTION AND CHEMISTRY, OR FEW PAINTERS INVENT NEW COLOURS." In Proceedings of CHT-08 ICHMT International Symposium on Advances in Computational Heat Transfer. Connecticut: Begellhouse, 2008. http://dx.doi.org/10.1615/ichmt.2008.cht.30.

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Bressan, Marco, Claudio Cifarelli, and Florent Perronnin. "An analysis of the relationship between painters based on their work." In 2008 15th IEEE International Conference on Image Processing. IEEE, 2008. http://dx.doi.org/10.1109/icip.2008.4711704.

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Stork, David G. "Did early Renaissance painters trace optical projections? Evidence pro and con." In Electronic Imaging 2005, edited by Longin Jan Latecki, David M. Mount, and Angela Y. Wu. SPIE, 2005. http://dx.doi.org/10.1117/12.593988.

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Toru, Umran, Peri M. Arbak, Kezban Ozmen, Ozlem Yavuz, and Naciye Karatas. "SMOKING STATUS AND RESPIRATORY SYMPTOMS IN HAIRDRESSERS, AUTO PAINTERS AND CARPENTERS." In American Thoracic Society 2010 International Conference, May 14-19, 2010 • New Orleans. American Thoracic Society, 2010. http://dx.doi.org/10.1164/ajrccm-conference.2010.181.1_meetingabstracts.a4676.

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Кочетова, О. А., and Н. Ю. Малькова. "The state of painters health with professional polyneuropathy of the upper extremities." In The second international scientific Forum "Health and Safety at the Workplace". Encyclopedix, 2018. http://dx.doi.org/10.31089/978-985-7153-46-6-2018-1-2-131-134.

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Scholz, P., G. Lomax, B. Materna, and E. Merideth. "146. Airborne Lead Exposures to Residential and Commercial Painters During Surface Preparation." In AIHce 1996 - Health Care Industries Papers. AIHA, 1999. http://dx.doi.org/10.3320/1.2764805.

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Park, Hynhee, and Hae Dong Park. "P111 Solvents exposure assessment of construction painters in epoxy floor coating workplaces." In Occupational Health: Think Globally, Act Locally, EPICOH 2016, September 4–7, 2016, Barcelona, Spain. BMJ Publishing Group Ltd, 2016. http://dx.doi.org/10.1136/oemed-2016-103951.431.

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Ma, Min. "“Evaluating Painters All Over the Country”: Guo Xi and His Landscape Painting." In 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.013.

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Reports on the topic "Painters"

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Galenson, David. Toward Abstraction: Ranking European Painters of the Early Twentieth Century. Cambridge, MA: National Bureau of Economic Research, August 2005. http://dx.doi.org/10.3386/w11501.

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Galenson, David, and Bruce Weinberg. Age and the Quality of Work: The Case of Modern American Painters. Cambridge, MA: National Bureau of Economic Research, May 1999. http://dx.doi.org/10.3386/w7122.

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Galenson, David. Quantifying Artistic Success: Ranking French Painters - and Paintings - from Impressionism to Cubism. Cambridge, MA: National Bureau of Economic Research, October 1999. http://dx.doi.org/10.3386/w7407.

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Galenson, David. The Methods and Careers of Leading American Painters in the late Nineteenth Century. Cambridge, MA: National Bureau of Economic Research, August 2005. http://dx.doi.org/10.3386/w11545.

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Bruegel, Martin, and David Galenson. Measuring Masters and Masterpieces: French Rankings of French Painters and Paintings from Realism to Surrealism. Cambridge, MA: National Bureau of Economic Research, May 2001. http://dx.doi.org/10.3386/w8266.

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Galenson, David. The Lives of the Painters of Modern Life: The Careers of Artists in France from Impressionism to Cubism. Cambridge, MA: National Bureau of Economic Research, January 1999. http://dx.doi.org/10.3386/w6888.

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Peters, Eddie. Painter's Wilderness. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.6417.

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Soukup, R. J., and N. J. Ianno. Conductive paints. Office of Scientific and Technical Information (OSTI), January 1992. http://dx.doi.org/10.2172/6905263.

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Salveson, M. W. Painter Street Overcrossing: Linear-elastic finite element dynamic analysis. Office of Scientific and Technical Information (OSTI), August 1991. http://dx.doi.org/10.2172/5123335.

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Ames A. Grisanti, Charlene R. Crocker, and Robert R. Jensen. LASER CLEANING OF CONTAMINATED PAINTED SURFACES. Office of Scientific and Technical Information (OSTI), November 1999. http://dx.doi.org/10.2172/761740.

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