Relevant bibliographies by topics / Painters Indonesia

Academic literature on the topic 'Painters Indonesia'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Painters Indonesia"

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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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Susanto, Mikke, and Irwandi Irwandi. "Sejarah dan Makna Fotografi Karya Pelukis Istana, Dullah." Rekam 16, no. 1 (June 8, 2020): 1–14. http://dx.doi.org/10.24821/rekam.v16i1.3847.

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History and Meaning of Photography of a Palace Painter, Dullah. The existence of Dullah the painter is equal with other famous painters, such as Affandi, Basoeki Abdullah, S. Soedjojono and Hendra Gunawan. In 1950 to 1960, he was appointed by President Sukarno as a palace painter. Apart from painting, he also liked to take pictures. His object was around his work as a palace painter and President Sukarno's figure. Reviewed from the historical approach and the meaning explored in it, the photos have an interesting connection. Those photos hold important narratives, especially in the field of history for the Indonesian people. Dullah's photography was able to record the life of President Sukarno while at the palace and outside the presidential palace. The photos clearly illustrate the human side of Sukarno, as a father, a leader, and an art lover. By knowing the connection,, photographs of Dullah's work need to be socialized to the public and can be used as a means of national education for Indonesia, especially for prospective leaders. ABSTRAKEksistensi pelukis Dullah sejajar dengan pelukis ternama lain, seperti Affandi, Basoeki Abdullah, S. Soedjojono, dan Hendra Gunawan. Pada tahun 1950 hingga 1960, ia ditunjuk Presiden Sukarno sebagai pelukis istana. Selain melukis, ia juga hobi memotret dengan objek sekitar pekerjaannya sebagai pelukis istana dan figur Presiden Sukarno. Setelah dikaji dari pendekatan sejarah dan digali makna di dalamnya, foto-foto tersebut memiliki simpul menarik. Foto-foto tersebut menyimpan narasi penting, khususnya dalam bidang sejarah bagi bangsa Indonesia. Fotografi Dullah mampu merekam kehidupan Presiden Sukarno pada saat di istana dan di luar istana presiden. Sisi kemanusiaan Sukarno digambarkan dalam foto-foto tersebut, baik sebagai ayah, pemimpin, maupun penyuka seni. Dengan mengetahui simpul tersebut, foto-foto karya Dullah ini perlu disosialisasikan kepada publik dan dapat digunakan sebagai sarana pendidikan kebangsaan bagi Indonesia, terutama bagi para calon pemimpin.
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Alya, Shopia Himatul. "Lukisan Pemandangan: Teknik Spon Dalam Karya Seni Lukis Jelekong." Aksara: Jurnal Ilmu Pendidikan Nonformal 7, no. 1 (January 2, 2021): 103. http://dx.doi.org/10.37905/aksara.7.1.103-110.2021.

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<p>Nature is a theme that is always present in the development of art in the world, both Western and Asian arts, such as China and Indonesia. The visualization can be a literal or abstract representation. Nature can be an additional element to a painting to convey depth, or perspective. However, the depiction of nature in a painting can also be the main focus of a work of art. In Indonesia itself, there is an Art Village, precisely Jelekong Art Village, where hundreds of people work as painters and some have made nature the main focus of their work. The uniqueness of the Jelekong painter's work lies in the method used and the materials used. So that the authors are interested in further researching the uniqueness of this Jelekong technique. The purpose of this research is to examine the comparison of natural visualization techniques and aspects of Jelekong painting which represent nature in terms of methods and materials. The samples in this study were paintings by Jelekong artists and Western artists. The qualitative descriptive method is considered the most appropriate for analyzing Jelekong painting. The result of this research is that the superiority of the art technique of Ugong painting is the sponge technique created by one of its residents. This technique can create shadow, middle tone, and highlight in a painting. Jelekong's paintings can become the identity of the community in cultivating the local potential of the region</p>
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Santosa, Budi, Ali Rosidi, Herlisa Anggraini, Zahra Maharani Latrobdiba, Fitriani Nur Damayanti, and Heru Santoso Wahito Nugroho. "Mask Protection Against Lead Exposure and Its Correlation with Erythropoiesis in Automotive Body Painters at Ligu District, Semarang, Indonesia." Journal of Blood Medicine Volume 13 (March 2022): 113–19. http://dx.doi.org/10.2147/jbm.s335557.

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Musri, Muhapril. "VISUALISASI KALIGRAFI ISLAM PADA MEDIA SENI RUPA DI INDONESIA (ANALISIS ETIKA, ESTETIKA, DAN NILAI-NILAI)." Tabuah 26, no. 1 (May 30, 2022): 11–20. http://dx.doi.org/10.37108/tabuah.v26i1.682.

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The presence of art as an expression can be assumed as a characteristic of the soul's life which is overflowing and arid from values. That is why, the artists try to find the values of life that are full of values, by pouring their ideas and ideas in the form of works of art. The method used in this research is descriptive qualitative with literature and field studies. Two Islamic calligraphers were involved as resource persons. As a result, the current strong influence of modern art has caused Islamic calligraphy to be affected. This can be seen from the emergence of various tendencies of Muslim artists in processing Islamic calligraphy into various media. Previously, calligraphy had not been realized as a form of personal expression, but now this awareness has emerged in the form of the phenomenon of calligraphy painting. Calligraphy painting as a reflection of the modern spirit of Muslim artists has provided fresh air for the development of Islamic art and culture in Indonesia. Uniquely, in Indonesia, calligraphy painting was born in the hands of conventional painters who had not previously been in the world of Islamic calligraphy directly.
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Rachmiarti Kusumah, Judiatin. "BUSINESS DIFFERENTIATION STRATEGY OF ANTIMICROBIAL PRODUCTS IN THE COVID-19 PANDEMIC." Dinasti International Journal of Economics, Finance & Accounting 1, no. 3 (July 29, 2020): 444–54. http://dx.doi.org/10.38035/dijefa.v1i3.423.

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The Covid-19 pandemic that has struck the world worldwide has had a major impact, particularly on the economic and socio-cultural conditions of every person in every country. No exception in Indonesia, which has not escaped and is also affected by the global pandemic. There is a slowdown in the growth process in the economic and financial sectors. This is the result of efforts to stop the spread of the virus with a lock-down action country in the world, and the implementation of the WFH (Work From Home) program and the PSBB (Large-Scale National Limitation) in Indonesia is having an effect for most industrial companies to slow down the business. This situation has a major impact on conditions in almost all companies where business is slowing down. There has also been a decline in activity in manufacturing companies producing paints, as consumer demand for paint products has been drastic due to the many delays in the process of building and building, and the process of painting houses and buildings has been stopped by painters. PT XYZ Raya, a national paint company that realizes competitive advantages between paint manufacturers, develops a differentiation strategy for paint products that meets the conditions and needs of paint consumers under the current pandemic conditions, namely antimicrobial paint products that can prevent this and inhibit the growth of viruses, germs and bacteria on the walls of our houses. So that family health can be maintained by using these antimicrobial wall paint products. The product differentiation strategy, in this case wall paint, is an embodiment of one of the company's competitive strategies according to Michael Porter's generic strategy
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Rajudin, Rajudin, Miswar Miswar, and Yunis Muler. "METODE PENCIPTAAN BENTUK REPRESENTASIONAL, SIMBOLIK, DAN ABSTRAK (STUDI PENCIPTAAN KARYA SENI MURNI DI SUMATERA BARAT, INDONESIA)." Gorga : Jurnal Seni Rupa 9, no. 2 (September 9, 2020): 261. http://dx.doi.org/10.24114/gr.v9i2.19950.

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AbstrakPenelitian ini adalah penelitian dasar (basic research) yang mencoba untuk mengkaji metode penciptaan karya seni murni bentuk representasional, simbolik dan abstrak. Kajian dilakukan terhadap beberapa seniman lukis, grafis dan patung di empat kota dalam wilayah Sumatera Barat, Indonesia. Penelitian ini menggunakan metode deskriptif kualitatif. Teknik pengumpulan data utama dilakukan melalui observasi dan wawancara dengan sumber primer, yaitu seniman. Sedangkan data tidak langsung dikumpulkan melalui jurnal, buku, video foto, katalog pameran, karya-karya seniman, dan dokumen-dokumen terkait. Teknik analisis data dilakukan sebelum di lapangan dan di lapangan. Temuan penelitian ini adalah berupa metode yang spesifik, lebih operasional dan teknis tentang penciptaan karya seni murni bentuk representasional, simbolik dan abstrak. Kata Kunci: Metode, Representasional, Simbolik, Abstrak.AbstractThis research is a basic research which tries to examine the method of creating pure works of representational, symbolic and abstract forms. The study was carried out on several painters, engravers and sculptors in four cities in the West Sumatra region of Indonesia. This study used descriptive qualitative method. The main data collection techniques are carried out through observation and interviews with primary sources, namely artists. While indirect data is collected through journals, books, videos, photos, exhibition catalogs, works of artists, and related documents. Data analysis techniques were carried out before on the field and in the field. The findings of this study are in the form of specific, more operational and technical methods about the creation of pure works of representational, symbolic and abstract forms. Keywords: Method, Representational, Symbolic, Abstract.
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8

Nayoan, C. R., and A. H. Q. Thalib. "Risk factors of chronic rhinitis in furniture workers of West Palu, Central Sulawesi." IOP Conference Series: Earth and Environmental Science 1075, no. 1 (November 1, 2022): 012023. http://dx.doi.org/10.1088/1755-1315/1075/1/012023.

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Abstract Chronic Rhinitis is an inflammatory disease of the nose characterized by sneezing, snotty and nasal congestion, intermittently or persistently. The prevalence of rhinitis in the United Kingdom reaches 29%, in Indonesia is not known clearly. The types of work that cause rhinitis are chronic like farmers, laboratory workers, carpenters or painters, food industry workers and, health workers. Chronic Rhinitis can affect the quality of the worker’s life, and it can reduce work productivity Objective: To determine the risk factors for chronic rhinitis on the workers in wood furniture which was contacted by sawdust in the West Palu area Method: This study uses analytical research methods with a cross-sectional approach. The sampling technique is total sampling, and the total sample in this study is 27 workers. Results: The study showed a significant relationship with the incidence of rhinitis to the carpenters who work on wooden furniture in the western Palu on age (p = 0.027), duration of exposure (p = 0.041. There was no significant relationship between the use of PPE (p = 0.100) Conclusion: The factors that can influence the incidence of chronic rhinitis to furniture workers are age and duration of exposure
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9

Iswahyudi. "Towards Remediation of Indonesian New Fine Arts." Britain International of Linguistics Arts and Education (BIoLAE) Journal 2, no. 3 (November 12, 2020): 797–809. http://dx.doi.org/10.33258/biolae.v2i3.332.

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Modern Indonesian painting mainly developed from the situation of the Dutch East Indies and Mooi-Indie art that was dominant at that time. The independence of the Republic of Indonesia became a very important milestone in the development of modern Indonesian painting. This is inseparable from the occurrence of a high dynamics and change through various political regimes in power starting from the leadership of Sukarno, Suharto and subsequent presidents. Each of these political regimes also played an important role in the development of modern art that occurred so as to bring out its own characteristics. Until the early 1990s, talking about art was something that seemed synonymous with painting. Although works of art with a combination of mediums have been included in exhibitions since the 1970s, but works in the form of paintings are still very dominant, even in some writings on art the imaginary boundary between painting and other art is discussed explicitly, but the term "Painting" is usually interchangeable with the term "fine art". The development of art that has become increasingly hybrid has helped to shape the climate and new audience, affirming real ideas that are at odds with painting that has already been established. Being different from established art knowledge, hybrid art agents become newcomers who find a place in the struggle in the realm of Indonesian art. Western characters which are an important consideration for painters become subject to change in the fourth phase. This change is caused by a variety of things, including the emphasis on the use of traditional forms, symbolic and decorative, because as a reaction to the political situation. Since 1942-1965, Indonesians have produced more figurative art. The pioneers in this field are artists who when abroad are like in the United States, Europe, and Japan already acquainted with traditional non-Western art in the arena of modern and international circuits.
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Kencana Wati, Ni Kadek Emy, I. Nyoman Putu Budiartha, and I. Ketut Sukadana. "Hak Cipta Karya Seni Lukis Sebagai Jaminan Fidusia." Jurnal Konstruksi Hukum 2, no. 1 (March 1, 2021): 32–36. http://dx.doi.org/10.22225/jkh.2.1.2963.32-36.

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The use of copyright for painting artworks in the Intellectual Property Law system in Indonesia provides many benefits for painters as copyright owners or copyright holders. A creator or copyright holder has Economic Rights on his work which includes the right to duplicate, display, and lease his work to third parties. Copyright Law No. 28/2014 states that copyright can be used as an object of Fiduciary security. This study aims to determine the characteristics of the copyright of painting works that can be used as fiduciary guarantees to get credit in banking and to analyze the execution of copyright guarantees of painting works if the debtor defaults The method used is normative legal research with a statutory approach and a conceptual approach, and the sources of legal materials used are primary and secondary legal materials with literature collection techniques which are analyzed in descriptive analytical form. Based on the results of the study, it can be concluded that the characteristics of copyright in painting are providing protection for works of art and providing economic rights for the creators or copyright holders and moral rights for the creators. The execution of copyright guarantees can be done by executorial method in accordance with article 29 of the Fiduciary Law.
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Dissertations / Theses on the topic "Painters Indonesia"

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Scalliet, Marie-Odette Payen Antoine. "Antoine Payen peintre des Indes orientales : vie et écrits d'un artiste du XIXe siècle (1792-1853) /." Leyde : Research School CNWS, 1995. http://books.google.com/books?id=f7nZAAAAMAAJ.

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Books on the topic "Painters Indonesia"

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Burhan, M. Agus. Masterpieces of the National Gallery of Indonesia. Jakarta, Indonesia: Galeri Nasional Indonesia, Ministry of Education and Culture, Republic of Indonesia, 2014.

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Salam, Solichin. Agus Djaya dan sejarah seni lukis Indonesia. Jakarta: Pusat Studi dan Penelitian Islam, 1994.

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T, Agus Dermawan. R. Basoeki Abdullah R.A., duta seni lukis Indonesia. Jakarta: Gramedia, 1985.

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Setiawan, Rio Bembo. Mozaik seni lukis bhakti luhur: 50 pelukis Indonesia. [Jakarta: s.n., 2003.

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Walter Spies, a life in art. Jakarta: Afterhours Books, 2011.

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Haks, Leo. Haks & Maris lexicon of foreign artists who visualized Indonesia, 1600-1950: Surveying painters, watercolourists, draughtsmen, sculptors, illustrators, graphic, and industrial artists. Singapore: Archipelago Press, 1995.

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Marc, Bollansee, ed. Masterpieces of contemporary Indonesian painters. Singapore: Times Editions, 1997.

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Galeri, Edwin. Equatorial heat: Indonesian painters exhibition at Sichuan Museum. Kemang, Jakarta: Edwin's Gallery, 2004.

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Soul, spirit, and mountain: Preoccupations of contemporary Indonesian painters. Kuala Lumpur: Oxford University Press, 1994.

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Nakisbandiah. Kehidupanku bersama Barli =: My life with Barli. Edited by Ramadhan K. H. 1927-. Padalarang, Indonesia: Bale Seni Barli Kota Baru Parahyangan, 2004.

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Conference papers on the topic "Painters Indonesia"

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Sayahdikumullah, Dikdik. "Japanese Painter on Mooi Indie Period: Case Study of Kojyo Kokan in Indonesia Early 20th Century." In International Conference on Aesthetics and the Sciences of Art. Bandung, Indonesia: Bandung Institute of Technology, 2020. http://dx.doi.org/10.51555/338631.

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