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1
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
4
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.
7
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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Фомичев, И., I. Fomichev, Г. Флейшер, and G. Fleicher. "TREATMENT OF PATIENTS WITH PROREZYVANIYA’S VIOLATION OF THE BOTTOM THIRD PAINTERS." Actual problems in dentistry 10, no. 4 (August 25, 2014): 40–44. http://dx.doi.org/10.18481/2077-7566-2014-0-4-40-44.
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<p>One of topical issues modern stomatologists consists in possibility of preservation or need of removal of the third painter. In surgical stomatology and maxillofacial surgery so far actual there are etiology questions, патогенеза and treatments of the complicated prorezyvaniye of the third painters of jaws. It is known that the prorezyvaniye of the third painters of jaws comes to an end the period of formation of a constant bite. The third painters or wisdom teeth (wisdom teeth) are cut through the latest aged from 17 till 25 years. According to K. Godfrey (1999) they come to light at 92% of adult population. Retention of the third painters in 53% of cases is accompanied by development of complications, characteristic for each type of situation. </p>
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Firea, Ciprian. "“De Piloso Fonte Sum”: On Dishonorable Backgrounds, Lawsuits, Guilds, and Artisans in Early Renaissance Cluj." Studia Universitatis Babeș-Bolyai Historia Artium 68 (December 30, 2023): 45–66. http://dx.doi.org/10.24193/subbhistart.2023.02.
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“De Piloso Fonte Sum”: On Dishonorable Backgrounds, Lawsuits, Guilds, and Artisans in Early Renaissance Cluj. This study, based on an exceptional source (a judicial record of 1549, published here for the first time) aims at the restitution of the biography and the distinctive character and personality of an early Renaissance painter from Transylvania, Gregorius Pictor, while making recurrent references to the artistic milieu of the sixteenth century Cluj – the town where he was mainly active. The study reveals, undoubtedly, one of the most comprehensive painters’ biographies of Transylvania in early modern times. Keywords: painter; painters’ guild; biography of artists; Renaissance; Cluj; Transylvania.
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Ghaffarian-Bahraman, Ali, Alireza Taherifard, Abbas Esmaeili, Hassan Ahmadinia, and Mohsen Rezaeian. "Evaluation of blood lead among painters of buildings and cars." Toxicology and Industrial Health 37, no. 12 (November 19, 2021): 737–44. http://dx.doi.org/10.1177/07482337211042731.
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Exposure to lead-based paints is a major threat to the health of painters. This study aimed to evaluate the blood concentration of lead (Pb) in painters of buildings and cars. The present study was a cross-sectional study in which a semi-structured questionnaire was used to collect the socio-demographic information. Lead concentration in blood samples was determined using the atomic absorption spectrometry method. A total of 32 male painters were selected based on inclusion criteria. The mean blood lead level (BLL) in the painters was 8.1 ± 4.93 μg/dL. Pb levels in car and building painters were 9.42 ± 5.5 μg/dL and 6.7 ± 1.85 μg/dL, respectively. Pb concentration in none of the blood samples was more than 30 μg/dL. The prevalence of BLL ≥ 5 μg/dL and BLL ≥ 10 μg/dL was 97% and 19%, respectively. According to the findings, the rate of BLL among car painters was higher than building painters. Considering the presence of Pb in all blood samples, it seems necessary to increase the awareness of painters about the adverse effects of lead exposure even in low concentrations. However, the sample size in this study was small and more investigations are required in this regard.
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Gordon, Melissa. "Liquid gestures: The language of that land." Journal of Contemporary Painting 9, no. 1 (April 1, 2023): 55–76. http://dx.doi.org/10.1386/jcp_00049_1.
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The painterly language arising from the paintings of Helen Frankenthaler finds itself describing gestures that behave ‘in-between’ constructed histories. Historic accumulated gestures by female painters and artists at seminal moments in history point towards spaces in which contemporary artists can speak about how new painting language can be formed, now. Using notions of liquidity from Giorgio Agamben and Luce Irigaray to think of a new painterly terminology. The field of making, the performance and transitive material visualizations of Frankenthaler’s practice makes space for the voices of female painters after her.
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Im, Mihyun. "A Study of Chowon (蕉園) Kim Seok-shin (金碩臣)'s Life and Paintings: Focusing on Real Landscape Paintings of Suburbs of Old Seoul." Paek-San Society 127 (December 31, 2023): 313–36. http://dx.doi.org/10.52557/tpsh.2023.127.313.
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Kim Seok-shin (⾦碩⾂, 1958~?) was born into a major family of painters during the Late Joseon Dynasty, Kaesung Kim family (開城⾦⽒), and was a painter of the court under the reign of Jeongjo and Sunjo. Although he was overshadowed by the fame of his uncle Kim Eung-hwan(⾦應煥, 1742?~1789) and brother Kim Deuk-shin (⾦得⾂, 1754~1822), he indeed was a capable painter with substantial talent in landscape painting.
There are five pieces of true-view landscape paintings by Kim Seok-shin depicting the real landscape of suburbs of Seoul. Of these, Dobongdo (道峰圖), as its title suggests, appears to have been produced by Kim Deuk-shin upon the request of Dobongsan sightseeing by Criminal Judge Lee Jae-hak(李在學, 1745~1806) and Left Uijeong Seo Yong-bo(徐⿓輔, 1757~1824) in 1805 (Sunjo Year 5). Other paintings are also determined to have been painted at the same time as they depict scenic places around Seoul and the sizes and strokes are all similar. These paintings by Kim Seok-shin express popular spots of the Han River as realistically as possible and in an original way under direct and indirect influence by senior painters including Jung Seon (鄭敾, 1676~1759), Sim Sa-jung (沈師正, 1707~1769), Kim Eung-hwan, and Kim Hong-do (⾦弘道, 1745~1806?). Especially, apart from Kim Deuk-shin who was greatly influenced by Kim Hong-do, directly succeeding Kim Eung-hwan’s style, who had been influenced by Jung Seon and Sim Sa-jung, his style is more apparent in demonstrating Kaesung Kim family’s style, as well as the variety and process of change of landscape paintings during the Late Joseon Dynasty. Furthermore, his descendants continued to work as painters of the court as family business, lading to a conclusion that his painting style may have provided certain impact on establishing Kaesung Kim family’s style. In conclusion, Kim Seok-shin appears to have played a pivotal role in establishing Kaesung Kim family as a prestigious painters family, and substantially impacted the court painting style during the Postand Late Joseon Dynasty.
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Adeosun, Ganiyu O., Aminat T. Akorede, Remilekun Akinrinmade, David D, Ajayi, Kabiru A. Ajibola, Abdullahi O. Olawuyi, and Johnson K. Fadairo. "Occupational Hazard Exposure: Assessment of Hypogonadism and Dyslipidemia in House and Automobile Painters in Ilorin, Nigeria." Asian Journal of Medicine and Health 22, no. 8 (July 16, 2024): 45–55. http://dx.doi.org/10.9734/ajmah/2024/v22i81068.
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Aims: To investigate the impact of human exposure to the constituents of paint on serum reproductive hormone and Lipid profile among occupationally exposed House and Automobile spray painters in Yakuba district of Ilorin East Local Government area of Kwara State. Nigeria. Study Design: Experimental./ Cross sectional. Place and Duration of Study: Yakuba district of Ilorin East Local Government area of Kwara State. Nigeria, 6months; between July 23 and January 2024. Methodology: 120 male participants were recruited for this study with the mean age 33.15±0.86 years. The participants included 40 automobile painters, 40 house painters, and male artisans who were not painters and served as the control group .Venous Blood samples were collected from both the test and control subjects for the measurement of serum lipids and testosterone using reference techniques. Results: Total Cholesterol, Triglyceride, HD and LDL cholesterol were significantly higher (P<0.05) in the exposed automobile and house painters than the control groups. There was no significant difference (P>0.05) between the serum lipid values of the automobile and the house painters. The serum testosterone level in both group of exposed painters was statistically similar(P>0.05). There was no significant correlation (P>0.05) between the frequency of cars or houses painted per month and work experience with the lipid profile parameters and testosterone levels in the occupationally exposed house and automobile painters. Conclusion: Occupational exposure to some chemical constituents of paint is associated with dyslipidemia and decrease serum testosterone which may precipitate adverse ill health among the painters.
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Komić Marn, Renata. "The Dornava portrait gallery of the Attems family and other portraits by Joseph Digl: a contribution to the oeuvre and biography of the baroque painter." Kronika 71, no. 1 (February 6, 2023): 73–100. http://dx.doi.org/10.56420/kronika.71.1.04.
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The contribution brings forth new findings about the Baroque painter Joseph Digl († 1765) and his portraits. The painter’s opus, which has so far comprised seven portraits of the Counts of Attems and four altar paintings, has now been expanded by another six portraits revealing that his clientele also included the Counts of Szapáry. Based on the analysis of his links to his patrons and the newly discovered archival sources, it is possible to more precisely follow the life path of Joseph Digl and to confirm his presence in Ljutomer and Bad Radkersburg. Moreover, his comprehensive opus and the splendid ties that he maintained with his clientele rank him among important Baroque portrait painters in Slovenia.
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Lores-Chavez, Isabella. "The Plaster Cast and the Intimacy of the Studio." Ge-conservacion 23, no. 1 (June 21, 2023): 120–28. http://dx.doi.org/10.37558/gec.v23i1.1214.
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In the seventeenth century, plaster casts, which were essential sources of inspiration and instruction, became a recurring motif in images of Dutch painters’ workspaces, a marker of both intellectual and manual labor. Painters used plaster casts to proclaim their erudite knowledge of antiquity and of Renaissance sculpture that emulated ancient models. Plaster casts also provided a means for ambitious painters to communicate their personal and aspirational ties to other masters. The presence of plaster casts in archival records along with painted depictions of the studio provide insights into the impact of these objects on Dutch artists’ practice and the distinguished lineages they claimed.
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IM, MI-HYUN. "A Study on Landscape Paintings of Geungjae (兢齋) Kim Deuk-shin (金得臣, 1754-1822)." Institute of History and Culture Hankuk University of Foreign Studies 88 (November 30, 2023): 191–224. http://dx.doi.org/10.18347/hufshis.2023.88.191.
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Geungjae (兢齋) Kim Deuk-shin (金得臣, 1754-1822) is known as one of the three genre painters along with Kim Hong-do (金弘道, 1745-1806?) and Shin Yun-bok (申潤福, 1758-1817 afterwards) or only as a painter who had been largely influenced by Kim Hong-do. In fact, he was a 44-year veteran Dohwaseo painter who had participated in important national art projects. Aside from his famous genre paintings, his extraordinary talent in portraits, landscapes, birds and animals, and flowers and animals established him as one of the best painters during the period. Especially, his results in Nokchwijae (祿取才: the state examination for court painters) demonstrates his ability in landscape painting among other themes as well as how much recognition he received at the time; some of these works are currently available.
Kim Deuk-shin’s landscape paintings carry two styles of landscape painting in Late Joseon Dynasty: literati landscape painting of the ideal and conceptual landscape and true-view landscape painting that painted mountains and rivers in Korea. This allows better understanding of his diverse works, as well as the variety of trends and transformations of the landscape painting in the Late Joseon Dynasty. In addition, compared to other themes such as genre, figure painting of Taoism and Buddhism, birds and animals, and flowers and animals that had been apparently influenced by Kim Hong-do’s style, his landscape painting has a different pattern due to being directly and indirectly influenced by a number of preceding painters including Jeong Seon (鄭敾, 1676-1759), Sim Sajeong (沈師正, 1707-1769), Kim Eung-hwan (金應煥, 1742?-1789), and Kim Hong-dothat were largely established in the area of landscape painting At the same time, it is also possible to observe the Gaeseong Kim family’s painting style from Kim Deuk-shin’s landscape paintings as they show association with those of his uncle Kim Eung-hwan, brother Kim Seok-shin (金碩臣, 1958-?) and Kim Ha-jong (金夏鍾, 1793-1875 afterwards). Kim Deuk-shin’s landscape painting style may have been passed on to Kim Seok-shinand Kim Ha-jong through secondary influence from Kim Eung-hwan, who was influenced by Jeong Seon and Sim Sajeong. Based on this, his landscape painting style appears to have had a significant influence on the establishment of the painting style within the Gaeseong Kim family and on later generations of court painters.
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Angelucci, Giulio. "Hortus conclusus. La Sacra Famiglia lauretana di Lorenzo Lotto." Studia Universitatis Babeș-Bolyai Historia Artium 67, no. 1 (December 30, 2022): 47–63. http://dx.doi.org/10.24193/subbhistart.2022.02.
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"Hortus conclusus. The Holy Family of Loreto by Lorenzo Lotto. The contribution is an excerpt from Dalla parte di Lorenzo Lotto. Il ciclo lauretano (On the Side of Lorenzo Lotto: The Loreto Cycle), an essay to be completed soon on the pictorial cycle which Lorenzo Lotto (Venice, 1480-Loreto, 1556) ordered in 1555 in the chapter chapel of the church of Santa Maria di Loreto. This is the painter’s last work for a public destination; due to the difficulties in providing a unitary and coherent interpretation, the cycle risks being expunged from Lotto’s catalogue despite the indication made both by Giorgio Vasari in the 1568 edition of the Vite (Lives) and by Carlo Ridolfi in 1648 in Le Meraviglie dell’arte: ovvero Le vite degl’illustri pittori veneti (The Wonders of Art: The Lives of the Illustrious Venetian Painters). Of the seven works making up the cycle, the Holy Family is one of the five painted before 1550, some of which had to be adapted to harmonize their format. The painter intervened on the Holy Family in order to adapt the content of the painting, originally intended for domestic devotion, and make it suitable for the new destination. Keywords: Lorenzo Lotto, Santa Maria di Loreto, Giorgio Vasari, the Holy Family "
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Lavrentyeva, Elena V., and Irina F. Kadikova. "Technological Features of the Group of Nev’yansk Icons from Nev’yansk Icon Museum." Vestnik of Saint Petersburg University. Arts 14, no. 1 (2024): 122–41. http://dx.doi.org/10.21638/spbu15.2024.107.
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The article is devoted to the technological examination of eight icons from the largest collection of Ural icon painting in Russia. For the first time the subject of study is the material component of Nev’yansk icons of the first half of the 18th century. The authors determined the painting techniques and artistic materials used by the first icon painters of the mining and metallurgical Ural. The phenomenon of the Old Believers’ Ural Region icon school of this period is doubted and questioned by some modern experts, but in fact this phenomenon is confirmed by the coincidence of technological features of the Nev’yansk icon “Our Lady of Egypt” (1734) and other icons of that period (identical processing of wooden panels, composition of prime and paints, style of so-called lichnόe (painting of exposed body parts) and dolíchnoe (painting of clothing), as well as the painting stratigraphy). The icons were obviously painted in a very small workshop. One technological factor speaks in favor of their Ural Region origin: the use of anhydrite as a filler for the prime. The technique of lichnόe is also very special — alternating layers of white paint and ocher when painting a carnation; in some cases applying the first modeling layer (white) directly over the sankir (proplasmos). The second point indicates the early Nev’yansk icon painters’ familiarity with the techniques of the court icon painters in the Armory in Moscow. The latter in turn agrees with the historical facts that from the 20–30s of the 18th century masters from the Volga Region who had previously been employed by the Armoury then moved to the Ural Region. In addition, the blue pigments are the most important chronological indicator for the icons of this period. The synthetic azurite predominates among the author’s paints; also, indigo and smalt are found, while Prussian blue is completely absent.
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Dekkers, Dieuwertje. "Jozef Israëls en de Koninklijke Academie van Beeldende Kunsten te Amsterdam Van kwekeling tot gevestigd schilder." Oud Holland - Quarterly for Dutch Art History 101, no. 1 (1987): 65–86. http://dx.doi.org/10.1163/187501787x00042.
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AbstractThis study of Israels' relations with the Academy not only amends and amplifies Jan Veth's account of the painter's early years (Note 1), but also offers a better insight into the position of young Dutch history painters in the 1840s.
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Netreba, Elizaveta S. "ANALYSIS OF THE PARTICIPATION OF YOUNG PAINTERS FROM YEKATERINBURG IN THE INTERREGIONAL EXHIBITIONS OF THE URAL DIVISON OF THE RUSSIAN UNION OF ARTISTS." Architecton: Proceedings of Higher Education, no. 4(72) (December 28, 2020): 19. http://dx.doi.org/10.47055/1990-4126-2020-4(72)-19.
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The exhibiting activity of Yekaterinburg’s young painters in the course of professional growth has been reviewed based on information on their participation in Ural regional and interregional exhibitions held by the Union of Artists of Russia from 2003 to 2018. The statistical data have been tabulated, enabling one to see changes in the exhibiting activity and genre and style preferences of young painters. The results of the study are important for understanding the transformations taking place in the involvement of young people in professional exhibition activities considering that participation in regional exhibitions is an important indicator of a painter’s development within the Union of Artists.
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Azubuike, Nkiruka Chinonyelum, Okechukwu Steven Onwukwe, Anulika Obianuju Onyemelukwe, Uzoamaka Charity Maduakor, Iniekong Philip Udoh, Ikenna T. Ikele, Cornelius O. Ogu, and Valentine Chinwendu Okafor. "Micronucleus evaluation of exfoliated buccal epithelial cells from automobile spray painters – A preliminary study." Anatomy Journal of Africa 8, no. 1 (February 27, 2019): 1460–69. http://dx.doi.org/10.4314/aja.v8i1.183967.
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Automobile spray painters in the Mechanic village at Coal Camp, Enugu State, Nigeria are exposed to genotoxic agents such as the automobile paints and spent engine lubricants which contaminate the soil of their working environment. The present study applied the micronucleus (MN) test on exfoliated oral mucosal cells as a means to assess the genotoxicity risk associated with occupational exposure to genotoxic agents. Two (2) groups of subjects which comprised 30 automobile spray painters and a control group of 30 apparently healthy unexposed volunteers were enrolled in the study. The study participants were all males. Moistened wooden spatulas were used to obtain buccal smears of the participating individuals, and the smears were stained. The presence of MN was assessed under light microscopy and a total of 1000 cells per individual were scored. The results obtained showed that statistically significant increase in MN frequency in buccal epithelial cells of automobile spray painters when compared with the control group (p<0.05). Elevated MN frequency was also observed withincreased age, smoking and alcohol consumption habits. MN frequency was significantly affected by the duration of working experience (years) of the spray painters whereas no difference was observed with number of workinghours/day. In conclusion, the present study has revealed that automobile spray painters in the Mechanic village of Coal Camp, Enugu State could be under risk of cytogenetic damage from exposure to genotoxic chemicals.Key words: Micronuclei frequency; Exfoliated buccal cells; Smoking; Alcohol consumption, Spray Painters; Genotoxicity;
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Sekhar, Lavanya, Ashwin Kumar N, Vidhya Venugopal, Santhanam R, and Priscilla Johnson. "Effect of Volatile Organic Compounds on the Neurobehavioral Functions of Painters in Chennai, Tamilnadu: A Cross Sectional Study." National Journal of Community Medicine 14, no. 10 (October 1, 2023): 658–65. http://dx.doi.org/10.55489/njcm.141020233308.
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Background: Paints are a major source of volatile organic compounds (VOCs) among painters. Limited information is available on neurobehavioral effect of long-term exposure to VOCs among painters working in unorganised industrial sectors such as construction site. Hence, this study was conducted to evaluate the neurobehavioral impact of long-term exposure to VOCs among construction painters. Methods: This cross-sectional study was conducted among male painters in Chennai. VOC exposure index was calculated using questionnaire as well as personal exposure monitors. Neurobehavioral tests including hand dexterity, auditory (ART) and visual reaction time (VRT) were used to assess motor coordination, fine motor activity, focused attention, and psychomotor speed. Results: Prevalence of prolonged ART and VRT in painters was 69% and 73%, respectively and 65% exhibited reduced hand dexterity. Hand dexterity had mild negative correlation (r = -0.3, p = 0.01) with VOC exposure index and work experience (r = -0.3, p = 0.02), whereas VRT had mild positive correlation (r = 0.3, p = 0.01) with VOC exposure index. Independent t-test showed a significant decrease in motor coordination with higher VOC exposure index (≤ 18.5*103 ppm-hrs = 60.1 ±10.1, >18.5*103 ppm-hrs = 53.3 ±12.3, p=0.03) and increase in work experience (≤ 10 years = 58.8 ±11.6, >10years = 52.5 ±11.5, p=0.05). Conclusion: Neurobehavioral functions gradually decline with VOC exposure in painters working in unorganized sectors indicating a need to create awareness among the public and workers in unorganized sectors about the organic solvent-induced neurobehavioral changes.
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Travassos, Ana Rita, L. Soares-de-Almeida, and Rui Tato Marinho. "A Medicina na Obra de Amadeo de Souza-Cardoso." Acta Médica Portuguesa 27, no. 2 (April 30, 2014): 277. http://dx.doi.org/10.20344/amp.5376.
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Amadeo de Souza-Cardoso, one of the pivotal figures of the Portuguese Modernist movement, studied painting and began his work in Paris where he arrived at the age of 19. Interestingly, Amadeo cemented strong friendships with some physicians from his time. The first was Manuel Laranjeiro, physician, poet and essayist, who has been a major influence on his choice of studying visual arts. In 1909, the painter met the dermatologist Paul Alexander and later Dr. Martins, who diagnosed him with a dermatosis, which led the painter to have to interrupt his work. Described as an eczema, which affected his face and hands, probably an allergic contact dermatitis to paints or other products that did not become clarified, with the artist’s early death at age of 30 by pneumonic fever. Occupational diseases affect the practice of many professions and artists, including painters, who constitute an important risk group. Contact with several components of paints and solvents are associated with the contact sensitization. However, allergens responsible for allergic contact dermatitis change over the time according to the usage trends and products´ composition.
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Shamsuzzaman, Md, Ridhwanul Haq, and Mohammad Aman Ullah Aman. "Influence of Reference Group, Especially Painters on Decorative Paint Buying Decision: A Case Study of Bangladesh." Journal of Business and Economics 10, no. 8 (August 20, 2019): 775–87. http://dx.doi.org/10.15341/jbe(2155-7950)/08.10.2019/008.
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Paint is a semi technical product, where except for the shade selection, other factors such as category, brand and painting process selection require proper technical knowledge. The end users of Bangladesh are highly dependent on the reference groups for product knowledge, technical knowhow, and buying decision. This is why the research focused on the influence of reference groups, especially painters. An elaborated multi-step research method including expert in-depth interview, focus group discussions and a structured questionnaire survey has been conducted. FGDs and expert in-depth interviews’ findings revealed that for paints and painting activities of new architecture about 80% end-user depends on professional reference groups like architects, engineers etc., and rest of the 20% depend on other reference groups like paints dealers, contractors, and painters. But reverse scenario (20% vs. 80%) has been found in painting of old architectures. For brand selection, 80% of the buyers are influenced by dealers with the help of contractors or painters. A unique implication of Pareto’s Principle (80/20 rule) has been observed in the research findings. Questionnaire survey exposed that for category and brand selection, 74% of the end-users depended on the reference groups, 54% of whom on painters. The study will help paint marketer, entrepreneurs, researchers and others stakeholder in their strategic decision making process.
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BEVING, HÅKAN, RIGMOR MALMGREN, SVEN PETRE'N, and OLOF VESTERBERG. "Haematological Changes in House Painters using Epoxy Paints." Occupational Medicine 41, no. 3 (1991): 102–6. http://dx.doi.org/10.1093/occmed/41.3.102.
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Abal Mukam Bin Mislin, Musnin Bin Misdih, and Humin Bin Jusilin. "INTERPRETASI CATAN ‘GUNUNG KINABALU MENANGIS’ OLEH BARON KAMPIAU SEBATING." Jurnal Gendang Alam (GA) 14, no. 1 (June 26, 2024): 80–92. http://dx.doi.org/10.51200/ga.v14i1.5183.
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Imej Gunung Kinabalu adalah hal benda yang paling digemari oleh pelukis-pelukis Sabah. Kecenderungan ini telah berlaku sekian lama iaitu sejak tahun 1960-an ramai pelukis tempatan Sabah seperti pelukis legenda seperti Benedict Chong (1960-an), Lakim Haji Kassim (1970-an) dan pelukis generasi muda yang prolifik seperti Baron Kampiau (1990-an) mengekspresikan Gunung Kinabalu sebagai hal benda utama dalam catannya. Takrifan Catan Kinabalu adalah merujuk kepada karya catan yang mengidealisasi imej Gunung Kinabalu sebagai hal benda secara metafora yang menjelaskan tujuan dan makna tertentu khususnya berkaitan isu-isu budaya di Sabah. Berdasarkan karya Baron Kempiau Sebating, isu budaya dan identiti Sabah dianalisis melalui pendekatan ikonografi terhadap aspek-aspek formal yang dipaparkan. Pelukis ini dipilih mewakili etnik Kadazandusun untuk menilai ekspresi ikon Gunung Kinabalu sebagai tunjang manifestasi budaya dan kepercayaan mereka yang signifikan dengan Catan Kinabalu. Data melalui temu bual awal, menunjukkan pernyataan idea ekspresif pelukis terdorong dengan unsur kebanggaan, keagungan dan keunggulan Gunung Kinabalu sebagai gunung tertinggi di Asia Tenggara. Imej Gunung Kinabalu digarap sebagai simbolisme yang memberi makna tentang tatacara hidup masyarakat Sabah seperti adat istiadat, pantang larang dan amalan harian. Catan Kinabalu berfungsi sebagai ikon visual yang menterjemahkan isu dan makna budaya tempatan di Sabah. Dapatan Kajian ini menjelaskan bahawa Catan Kinabalu menjadi saluran komunikasi kepada pelukis Sabah untuk menyalurkan kesedaran kepada audiens tentang budaya Sabah. Mereka meletakkan Catan Kinabalu sebagai saluran manifestasi putaran budaya yang harus dikekalkan. Karya Catan Kinabalu berperanan untuk mempertahankan warisan budaya Sabah. Kata Kunci: Ikon, Catan, Imej Kinabalu, Budaya, Pelukis Sabah ABSTRACT The depiction of Mount Kinabalu is particularly popular among Sabah painters. This trend has been going on for a long time, with many local Sabah painters, including legendary painters like Benedict Chong (1960s), Lakim Haji Kassim (1970s), and prolific young generation painters like Baron Kampiau (1990s), focusing on Mount Kinabalu in their work. Catan Kinabalu is defined as a painting that idealises the picture of Mount Kinabalu as a metaphor for explaining a certain purpose and meaning, particularly in relation to Sabah's cultural challenges. Based on the work of Baron Kempiau Sebating, Sabah culture and identity concerns are examined using an iconographic approach to the formal characteristics portrayed. This painter was chosen to symbolise the Kadazandusun ethnic group in an evaluation of Mount Kinabalu's iconic expression as a cornerstone of their significant ethnic and philosophical manifestation alongside Kinabalu Paintings. Data from first interviews suggest that the painter's expressive concepts are influenced by components of pride, majesty, and dominance of Mount Kinabalu, Southeast Asia's highest mountain. The image of Mount Kinabalu is utilised as a symbol to convey meaning to Sabah people's rituals, taboos, and daily practices. Kinabalu Paintings serves as a graphic representation of local cultural issues and meanings in Sabah. Findings According to this study, Kinabalu Paintings serves as a communication channel for Sabah painters to raise awareness about the state's culture among the general public. They identified Kinabalu Paintings as a manifestation channel of cultural rotation that must be preserved. Kinabalu Paintings effort contributes to preserving Sabah's traditional heritage. Keywords: Icon, Painting, Image of Kinabalu, Culture, Sabah Painter
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Lerner, Laurence. "Browning's Painters." Yearbook of English Studies 36, no. 2 (January 1, 2006): 96. http://dx.doi.org/10.2307/20479245.
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Lerner, Laurence. "Browning's Painters." Yearbook of English Studies 36, no. 2 (2006): 96–108. http://dx.doi.org/10.1353/yes.2006.0019.
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Longley, Michael. "The Painters." Grand Street, no. 70 (2002): 89. http://dx.doi.org/10.2307/25008594.
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Smith, Dan. "Zion Painters." Jewish Quarterly 60, no. 3-4 (October 2, 2013): 160–61. http://dx.doi.org/10.1080/0449010x.2013.855501.
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Smith, Amy C. "Political Painters." Classical Review 55, no. 1 (March 2005): 341–44. http://dx.doi.org/10.1093/clrevj/bni187.
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Philip and Phylis Morrison. "Painters' Atoms." Scientific American 278, no. 3 (March 1998): 104–6. http://dx.doi.org/10.1038/scientificamerican0398-104.
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Kik, Oliver. "Mapping the wet land." Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online 73, no. 1 (November 7, 2023): 30–59. http://dx.doi.org/10.1163/22145966-07301003.
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Although the well-documented cartographic involvement of painters has received some partial academic interest, this essay makes a contextual and comparative analysis of the phenomenon of the painter-cartographer in the Low Countries between 1480 and 1550. Contrary to a previous generation of painters, these artists’ involvement in cartographic mapping projects exceeded a mere chorographic visual input. As their familiarity with geometrical principles and trigonometry increased, so did their involvement shift from a purely aesthetic role towards an active input on the technical and scientific design process. By combining art historical archival research with architectural history and the history of mapmaking, this paper explores new perspectives on what united art and science during the early sixteenth century. It is argued that painters’ cartographical endeavors were never considered a side-business next to their more regular painting commissions, but rather that their cartographic involvement aided artists such as Lanceloot Blondeel, Pieter Pourbus, and Jan van Scorel to elevate their social position by their display of geometrical knowledge and their expertise as ingenious geometers.
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Parkington, John, and Joe Alfers. "Entangled lives, relational ontology and rock paintings: Elephant and human figures in the rock art of the Western Cape, South Africa." Southern African Field Archaeology 17 (January 1, 2022): 1–17. http://dx.doi.org/10.36615/safa.17.1228.2022.
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From the form and composition of painted images of humans, elephants and ‘elephanthropes’ (elephant human therianthropes) from the northern Cederberg, we propose that elephants were considered as ‘other-than-human-persons’ by painters. This is supported by the role of elephants in San stories, the ethnography of relational ontologies among hunter-gatherer communities in southern Africa and beyond, and the selective choices of painters in constructing images. We argue that paintings and stories of deliberately associated elephant and human subjects from a range of San expressive contexts are evidence for this ontological position, derived from ecological entanglement in ‘real life’. Painters considered their and elephants’ lives to intersect at conceptual as well as ecological levels. From the contexts in expressive culture, elephants were viewed as intelligent and socially coherent beings, occasionally difficult neighbours, and sensitive affinal relatives, needing respect and careful treatment. Paintings of elephants reference these relationships.
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Agratina, Elena E. "AN ARTIST AND PRIVATE CUSTOMER IN THE 18TH-CENTURY PARIS. SURVEY ON THE DEVELOPMENT OF PORTRAIT PAINTING." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 4 (2022): 111–31. http://dx.doi.org/10.28995/2073-6401-2022-4-111-131.
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The interaction between a painter and his donator as a phenomenon of art history gives many opportunities to the research of social aspect of art. A private customer was isolated from any government institution such as the Academy of Painting and Sculpture. He did not pretend to be a connoisseur or adviser of painters but he had individual taste for art and his personally developed demands for it. As a field for dialog between painter and his patrons the portraiture appeared to become one of the most sought-after genres in 18th-century French society. The article aims to highlight a taste of an average French customer of the time showing how he wished to see himself and his loved ones on the canvas, what attributes he preferred to surround his person, how the client’s wishes coordinated with the creative ambitions and individual creative style of the artist were realized in the finished works .The author focuses on perception of the portrait painting by customers and some persons responsible to shaping and development of the ‘Academic doctrine’. The author of the article attentively scrutinized a wide gamut of sources, written by theoretical, critics, and connoisseurs, in which the tastes of private individuals and the painters who please them are subjected to a detailed critique. So the 18thcentury portrait painting is produced as a result of collaboration of painters and private customers whose identity, formed under a social and cultural impact, needed adequate expression in the arts.
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Saironi, Afiqah, Normah Awang, Anuar Ithnin, Nurul Farahana Kamaluddin, Farah Wahida Ibrahim, and Kok Meng Chan. "Effect of Paint Exposure Among Paint Workers and DNA Damage: A Scoping Review." JULY 2023 19, no. 4 (July 7, 2023): 342–53. http://dx.doi.org/10.47836/mjmhs.19.4.47.
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Paint contains various complex chemical mixtures, such as aliphatic hydrocarbons, aromatic hydrocarbons (primarily toluene), ketones, and benzene as reported at previous studies. Toxicity from some chemicals can cause early DNA damage with various factors. A scoping review was conducted via literature review on relevant studies on the effect of paint exposure on paint workers and DNA damage. A systematic search was conducted in October 2021 via PubMed, Scopus, and Web of Science databases. The key terms used were paint, solvent-based paint, organic solvent, mixed organic solvent, occupational exposure and DNA damage, oxidative stress, genotoxicity on a painter, paint worker. From 561 articles, only 13 articles were finally selected based on the inclusion, exclusion criteria, and eligibility criteria. The literature showed that biomonitoring studies on painters were consistently reporting positive and significant DNA damage due to exposure to different types of compounds mixed in a paint. However, there were fewer studies on paint manufacturing factory workers compared to painters while paint manufacturing workers exposed various chemical everyday during the paint production which potentially susceptible to occupational toxicity. In conclusion, this review suggests that exposure to paints could induce early DNA damage among paint workers and further investigations on paint exposure among paint manufacturing factory workers and the DNA damage were needed in order to improve occupational health among paint workers in the future.
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Onufrienko, Maksim Olegovich. "St. George Church in Mlado Nagoričane: the artistic context of the frescoes." Studia Slavica et Balcanica Petropolitana 31, no. 1 (2022): 171–85. http://dx.doi.org/10.21638/spbu19.2022.110.
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The frescoes of the St. George Church in Mlado Nagoričino (North Macedonia) have repeatedly attracted the scholars’ attention, but so far the circle of monuments close to these paintings has not been accurately identified. The article deals with attribution a number of preserved images to certain workshops whose works are known from other ensembles. There are three different styles in the painting, which can be attributed to three different painters (or a group of painters). Apparently, the same artists who painted the church of the Slimnitsa monastery worked in the naos. This conclusion is consistent with the observation of Macedonian researchers. The other two styles apparently belong to Greek painters who can be associated with the artist Michael of Linotopi. He worked in the first third of the 17th century and painted many churches in the Balkans. One of the closest analogs of the St. George Church painting in Mlado Nagoričino are the frescoes of the Dormition Church in Zervat (Albania) and the katholikon of the Makryaleksi monastery (Greece), where Michael worked. Both the similarity of the handwriting of the inscriptions and the proximity of the physiognomic features of the some saints’ faces pointed that way. However, the style of these frescoes does not exactly match the painting of St. George’s Church. Since the analogs given in the article are rather approximate, the frescoes of the St. George church in Mlado Nagoričino cannot be attributed to the activities of the Michael’s workshop with certainty. However, it can be argued that the painting in Mlado Nagoričino was done by painters who were part of the entourage of this artist.
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Natan, Defri Harianto, and Wahyuni Kristinawati. "FLOURISHING PADA PELUKIS DISABILITAS FISIK YANG TERGABUNG DALAM AMFPA." KRITIS 30, no. 1 (June 29, 2021): 35–51. http://dx.doi.org/10.24246/kritis.v30i1p35-51.
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Flourishing is a subjective experience when positive emotion, engagement, positive relationships, meaning and accomplishment combine effectively (Seligman, 2011). Previous research found that engagement is not related to artistic activity (D'raven & Pasha-Zaidi, 2016), even though painting is an artistic experience with a sense of emotion, happiness, etc. (Winarno & Aryanto, 2016). The Association of Mouth and Foot Painting Artists (AMFPA) is an international association of painters with physical disabilities in which painters do not have hands and therefore rely on their mouths or feet when painting. This study aims to describe the flourishing of painters with physical disabilities who [the] are members of AMFPA. The method used in this research is a qualitative method with a phenomenological approach to capture the phenomena experienced by the participants as closely as possible (Smith, 2009). Interviews by telephone (conducted during the Covid-19 pandemic situation) and limited observation were carried out on 3 participants (male, aged 41-54 years) during March - November 2020, only once. Each interview session lasts 90-120 minutes by telephone. The validity of the data was tested using data triangulation, namely interviewing the significant other (Bachri, 2010), such as spouse, siblings and co-workers of the participants. The results of this study indicate that one of the elements of flourishing, namely engagement, is also experienced by painters with physical disabilities. Other findings show that the different backgrounds and experiences of each painter can have an impact on their flourishing experiences.
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Kuryanova, Anastasia M. "Russian Artists at the Russian Orthodox Ecclesiastical Mission in Beijing in the 19th Century: Some Research Concerns." Oriental Courier, no. 4 (2022): 105. http://dx.doi.org/10.18254/s268684310023832-3.
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In 1830, a Russian painter named Anton M. Legashov (1798–1865) went to Beijing as part of the Russian Orthodox Ecclesiastical Mission becoming the first professional Russian artist in China. In total, four Russian painters visited China being included in the mission: A. M. Legashov, K. I. Korsalin, I. I. Chmutov, and L. S. Igorev. In Beijing, the artists were supposed to paint portraits commissioned by the Chinese and thereby establish useful contacts with influential Chinese officials; in fact, the painters acted as diplomatic agents. At the same time, they had to fulfill the task of the Imperial Academy of Arts, St. Petersburg, which instructed them to collect visual evidence about the life, customs and views of the distant eastern country. Upon arrival in China, Russian painters were introduced to a unique artistic scene of the late Qing Dynasty, where Chinese, European and Occidental art interacted. Thanks to that, the work of Russian artists acquired a very distinctive look. However, nowadays the heritage of these painters is practically not studied due to several issues connected with a small number of their surviving works, questionable attribution, unclear provenance, insufficient study of neighboring artistic phenomena, such as Chinese export art or the art of the followers of Giuseppe Castiglione and other Jesuit artists at the Chinese imperial court. The article is thus devoted to the analysis of the difficulties regarding the study of the work of Russian artists at the Russian Orthodox mission in Beijing. The identification and analysis of these research concerns will allow to further develop methodology for studying the work of these painters, whose unique oeuvre remains a noticeable gap in Russian art history, while the history of the Russian Ecclesiastical mission itself or the art of Western missionaries in China have been deeply analyzed by both Russian and foreign scholars.
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Goodarzparvari, Parnaz, Francisco Carlos Bueno Camejo, and Miguel Molina Alarcon. "From the Caspian sea to Alboran sea; an overview of the personality similarities between Bahman Mohasses and Pablo Picasso." Revista Sonda: Investigación y Docencia en Artes y Letras 10 (December 31, 2021): 187–202. http://dx.doi.org/10.4995/sonda.2021.17828.
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Bahman Mohasses is one of the artists who emphasize his unique personal art, style and look in creating his works, both in the field of painting and sculpture. He transcends the superficial and dramatic manifestations of modern schools and at the same time the outward manifestations of the Iranian visual tradition, and finds remarkable success in inventing his personal identity. Critics, friends and followers consider his work to be influenced by the most famous Spanish artist of the twentieth century, Pablo Picasso. Beyond technique and style, the influence of Picasso’s personality on him and the spiritual similarities between the two are sometimes astonishing. What sets Mohasses apart from many Iranian artists, in addition to his unique technique among Iranian painters, was his dark and bitter look in his works. Although many of Mohasses’ early works are technically close to those of European painters of the 1920s and 1930s, their main origins are in Picasso’s Cubist style. Perhaps for this reason, many Iranian painters and art critics consider Bahman Mohasses to be the most complete Iranian painter by European standards and even know him as the Iranian Picasso.
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Meskens, AD. "Enkele biografische gegevens over Gillis I Coignet alias Gillis met de Vlek." Oud Holland - Quarterly for Dutch Art History 110, no. 3-4 (1996): 142–44. http://dx.doi.org/10.1163/187501796x00394.
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AbstractAssembled in this article are biographical data concerning the painter Gillis I Coignct (Gillis met de Vlek) which are based on and have been confirmed by recent archival research. The year of the artist's birth can now be established as I542. He was a son of the goldsmith and instrument maker Gillis Coignet. Coignet became a master in I56I, travelled to Italy and by I570 had returned to Antwerp, where he had several pupils and served as a dean in the painters' guild. Judging by tax-registers, he was fairly well-to-do In I586 he left Antwerp for Amsterdam, moving on to Hamburg circa I595. He died there on December 27 I599. The article also presents some data pertaining to relatives of Gillis I Coignet, some of whom were likewise painters.
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Scherbakova, O. O. "Principles of the pedagogical system of master of the realistic painting and graphic arts. artist-painter of battlepieces - N.S. Samokisha." Educational Dimension 26 (December 14, 2009): 405–11. http://dx.doi.org/10.31812/educdim.7054.
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"Principles of the pedagogical system of master of the realistic painting and graphic arts. artist-painter of battlepieces - N.S. Samokisha" is examined question about the features of artistic-pedagogical activity of the known Ukrainian artist of large and scalene talent Mickolaja Se- menovicha Samokisha, individually his innovative elucidative measures and methods on teaching of artists- painters of battlepieces.
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Marx, Annegret. "Blau aus der Waschküche: Wege einer Farbe nach Äthiopien." Aethiopica 4 (June 30, 2013): 158–68. http://dx.doi.org/10.15460/aethiopica.4.1.494.
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In traditional Ethiopian paintings a shining blue is observed. An analysis of four objects from the Museum Haus Völker und Kulturen in St. Augustin shows that they were painted with laundry blue. This substance is of varying composition, and has contained synthetic ultramarine since 1830. Laundry blue was of daily use and carried by travellers and missionaries. It was widely used by painters because of its shining colour and good technical properties. In this article the most likely paths by which synthetic ultramarine could have reached Ethiopia are described. This can be shown to have taken place several decades before 1900, the date that has been hitherto assumed to mark the introduction of synthetic colours. The German Zander was probably the first painter in Ethiopia to decorate a church (Därasge Maryam) with synthetic ultramarine in 1852.
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Vojvodic, Dragan. "The icon of the Theotokos from the Church of St. Nicholas (Rajko’s Church) and the question of painting workshops in medieval Prizren." Zograf, no. 40 (2016): 95–116. http://dx.doi.org/10.2298/zog1640095v.
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Based on stylistic and paleographical analysis, it can be safely concluded that the icon of the Theotokos from the Church of St. Nicholas (Rajko?s Church) in Prizren was not created in the 14th century as previously believed. It was painted in the last third of the 16th century by an icon painter close to the circle of Serbian painters formed in Pec. The suggestion of stylistic ties between this icon and the first fresco layer at the Church of the Holy Savior in Prizren and the wall paintings in the Church of St. Nicholas (the Tutic Church) is not acceptable. Furthermore, comparison of wall paintings in these and other contemporaneous churches in the area of Prizren, as well as the local icon paintings, does not substantiate the suggestion that an urban painting workshop operated in 14th-century Prizren.
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Pipes, Richard. "Russia's Itinerant Painters." Russian History 38, no. 3 (2011): 315–427. http://dx.doi.org/10.1163/187633111x579819.
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AbstractVisual arts in Russia languished through most of her history, partly because the Orthodox Church frowned on pictorial representation, partly because there was virtually no middle class to purchase paintings. In the mid-eighteenth century Russia acquired an Academy of Arts which produced works largely in classical style and content. This changed in the 1870's when, under western influence, a group of Russian artists formed a society of "Itinerants" committed to painting in the realistic mode and to exhibit their works in various cities of the Empire rather than solely in the capital cities of St. Petersburg and Moscow, as had been the custom until then. Their canvasses depicted everyday life in Russia as well as historical scenes; they also painted portraits of contemporaries. This special issue deals with the lives and work of nine leading Itinerant painters. The movement gradually lost popularity toward the beginning of the twentieth century as Impressionism and Abstract art replaced it, but it revived in the Soviet period. Today it is greatly favored by the Russian public which swarms the Tretyakov Gallery in Moscow, the largest collection of Itinerant art.
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Howard, Peter. "Painters' preferred places." Journal of Historical Geography 11, no. 2 (April 1985): 138–54. http://dx.doi.org/10.1016/s0305-7488(85)80060-8.
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Tucker, Reginald. "Platers/painters profile." Metal Finishing 106, no. 7-8 (July 2008): 24–31. http://dx.doi.org/10.1016/s0026-0576(08)00027-5.
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