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Jovanović, Vanja, Suzana Erić, Philippe Colomban, and Aleksandar Kremenović. "Identification of Lithol Red Synthetic Organic Pigment Reveals the Cause of Paint Layer Degradation on the Lazar Vozarević Painting “Untitled” with Copper Plates." Heritage 2, no. 3 (September 4, 2019): 2612–24. http://dx.doi.org/10.3390/heritage2030160.
Out of a total of 56 paintings in the collection of the Lazar Vozarević Gallery in Sremska Mitrovica, only one Lazar Vozarević painting from 1961, titled “Untitled”, has been subject to atypical degradation that has resulted in damage of completely atypical appearance. Such a problem had never before been noticed in Yugoslavian paintings of the 20th century. Discolored areas were found in various locations on the paint layer of the painting “Untitled” (especially on the lower and central parts of the painting), which disturbed the visual experience of the artistic work. To discover the cause of this discoloration, the composition of the paint layer was investigated, with the assumption that the true cause of degradation was hidden therein. Moreover, this painting belongs to a specific period in Vozarević’s activity, characterized by the use of non-traditional painting materials. To identify pigments from the highly degraded painting “Untitled”, scanning electron microscopy coupled with energy dispersive X-ray spectrometry (SEM/EDS) and micro-Raman spectroscopy were applied. Lithol red, a synthetic organic pigment known to give paintings a red tone, was identified as the main reason for the painting’s degradation. Lithol red is not only highly light-sensitive but is also chemically unstable, toxic, and sensitive to heat.
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Ye, Zhihao, and Xinyun Jiao. "Contemporary Art on Realistic Subjects in the New Era of Lacquer Painting." Asian Journal of Social Science Studies 7, no. 7 (August 1, 2022): 75. http://dx.doi.org/10.20849/ajsss.v7i7.1249.
By using lacquer painting creation with realistic themes as an example, this essay will examine the primary issues with lacquer painting creation with realistic themes in the context of the modern period.It will summarize the key pathways and construction expansion choices for lacquer painting creation with realistic themes by analyzing the creative issues and traits of lacquer painting with realistic themes, and it will provide the future path perspective that may be supported.Modern lacquer paintings with realistic topics suffer from a loss of pictoriality, a weakening of pictoriality, and a lack of aesthetic merit. Lack of creative integrity and originality; little aesthetic effect; lack of a modern viewpoint or historical significance. It is clear that there is a “tendency to profit,” and commercialization results in repetition and homogenization. A few representative lacquer paintings and artworks have been examined by the author.By emphasizing the incorporation of styles from other forms of painting and increasing the lacquer painting’s creative expressive language, the author offers answers.The development of lacquer paintings with realistic subjects in the context of the new period is suggested as well as workable solutions.
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Moon, Mi-jin. "A study of picture titles and images of “Three old men asked their age”." Society for Chinese Humanities in Korea 84 (August 31, 2023): 365–82. http://dx.doi.org/10.35955/jch.2023.08.84.365.
A painting's title can be divided into three main categories. The first is the title that the artist decides what kind of painting he or she is going to paint, the second is the title that the artist writes on the painting after the painting is completed, and the third is the title that someone else adds to the painting. The first two types of titles usually go well with the content of the painting, but the titles given by others are sometimes wrong for reasons such as a lack of understanding of the content of the painting. Especially in the case of auspicious paintings with hidden meanings or ancient figures with stories behind them, if the artist's intended code cannot be read, the title given by others will only describe the materials used in the painting. A painting depicting the story of “The Conversation of three old men” from Dongpozhilin volume 2, written by the famous Song dynasty writer Su Shi, would be titled differently in Joseon as “Three immortal asked their age” or “Three old men asked their age”, “Three people asked their age”, or “Three immortal watching the waves”. In China, the same painting is called “Three Old Men” or “Adding computing rods to ocean house”. By comparing and contrasting the similarities and differences between Joseon and Chinese paintings on the theme of “The Conversation of three old men”, this study aims to shed light on the process of transmission and transformation of this painting.
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Sarkar, Asmita, and Aileen Blaney. "Material Metaphor and Reflexivity in Contemporary Painting: A Practice-based Investigation." Journal of Aesthetic Education 57, no. 1 (April 1, 2023): 98–119. http://dx.doi.org/10.5406/15437809.57.1.07.
Abstract Contemporary painting is a complex practice, and artists regularly incorporate elements from different media such as photography, textile, and performance. Despite its status being diminished by different conceptual art movements, painting still has a critically important place in the artworld. This importance is largely due to painting's ability to stretch across media and make a direct appeal to the senses. In this article, an attempt is made to theorize the facility of painting to incorporate different media and its resulting reflexivity. Maurice Merleau-Ponty's theory of embodiment and phenomenological theory of metaphor provide the theoretical means to articulate reflexivity in painting. Curatorial writing about contemporary painting and case studies of young painters from India form a backdrop for the analysis of examples from the painting practice of one of the authors to demonstrate the material dynamism of painting. It is shown that this reflexivity is intimately related to the sensuous texture of materials used in the creation of the paintings under discussion. The first-person narrative of artistic process and production provides insight into the embodied process of making and manipulating media and evidence that painters can create new insights about the ontology of painting.
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Wilson, Sarah Kate. "Painting’s liveness." Journal of Contemporary Painting 9, no. 2 (October 1, 2023): 267–85. http://dx.doi.org/10.1386/jcp_00059_1.
Sarah Kate Wilsons’s article ‘Painting’s liveness’ is written from her vantage point, as an artist/curator/researcher/collaborator/educator. Here she reveals how painting’s relationship with performance, particularly during the second part of the twentieth century, has led to painting’s liveness. This, she asserts, is apparent in paintings by Daniel Buren, Robert Rauschenberg, Yoko Ono, works by the Gutai Art Association and performances by Ei Arakawa. The inauguration of a performance programme at Bauhaus in Germany, Black Mountain College in America and the formation of the Gutai Art Association in Japan are highlighted by Wilson as important milestones. Writing by RoseLee Goldberg and Peggy Phelan on performance, J. L. Austin’s speech act theory as well as Satori, an expression from Zen Buddhism meaning enlightenment, are woven into this text. David Joselit’s declaration that the medium of painting is live and ‘On Air’ is drawn into her argument for painting’s liveness, whilst Catherine Wood’s curatorial project A Bigger Splash: Painting After Performance (2012) Tate Modern, London and her own curatorial project Painting in Time (2015–16) set the stage for this text.
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Barron, Irving R., and Gaurav Sharma. "Toward CanvasChain: A Block Chain and Craquelure Hash Based System For Authenticating and Tracking Fine Art Paintings." Electronic Imaging 2020, no. 4 (January 26, 2020): 399–1. http://dx.doi.org/10.2352/issn.2470-1173.2020.4.mwsf-399.
Determining the authenticity of a painting is not an easy task. First, distinguishing fake paintings from originals is challenging, and often even art experts cannot reliably identify forgeries. Counterfeiters can also create spurious documentation to support the “authenticity” of fake paintings. In this work, we present work toward CanvasChain, a system for authenticating/tracking paintings that uses a blockchain in combination with a robust hash of the crack patterns (craquelure) on the surface of paintings. The robust hash is used as a painting’s fingerprint, which is used in a blockchain to validate and authenticate the painting. We present an initial realization of CanvasChain using a robust hash based on the BRISK feature descriptor and the neo blockchain, which supports smart contracts for basic required transactions. We present results from tests conducted on the proposed system to assess both the robust hash and the blockchain. Cost estimates obtained from the prototype realization indicate that the system is cost effective: e.g. it costs approximately US $1.85 to register a painting and benefit from the blockchain. As future work, we identify additional components required to make CanvasChain a full-fledged solution.
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Chen, Jiajun. "The Style and Characteristics of Flower-and-Bird Painting in The Western Fujian Province in Modern Times." Scientific and Social Research 3, no. 6 (December 29, 2021): 157–63. http://dx.doi.org/10.36922/ssr.v3i6.1293.
The 20th century was a period of change in the development of Chinese flower-and-bird painting. Traditional brush and ink painting blended with Western painting colors and concepts to present new forms of painting. Following the peak of Ming and Qing Dynasties’ development in Minxi (the western of Fujian) painting, a group of freehand flower-and-bird painters represented by the “four Masters of Shanghang” Li Shaoqi, Luo Xiaofan, Qiu Tian, and Song Shengyu, who inherited the Minxi painting style of the Ming and Qing Dynasties, learned the new painting language combines the styles of Paintings of Shanghai school, Lingnanism, and Lingdongism. The unique new style of painting highlights the posture of Minxi flower-and-bird paintings, thus influencing the modern times changes of flower-and-bird paintings of Fujian.
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Xu, Yixuan. "Color Expression and Mood Creation in Imagery Oil Painting." Journal of Contemporary Educational Research 8, no. 1 (January 18, 2024): 7–12. http://dx.doi.org/10.26689/jcer.v8i1.5934.
Oil painting is a traditional Western painting form. With the introduction of China and the influence of China’s traditional painting and aesthetics, the painting style became more distinctive, expanding a new development direction of oil painting, and thus imagery oil painting came into being. Color, as the most important element in imagery oil painting, mainly plays the role of mood creation and emotional expression. Many creators are good at injecting their thoughts and emotions into the paintings through color matching, so as to enhance the artistic expression of the paintings. This paper analyzes the color expression characteristics of imagery oil painting and explores the color expression techniques in imagery oil painting and mood creation of imagery oil painting from several aspects.
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Hariwarman, Made Satya, I. Gusti Ngurah Sura Ardana, and Luh Suartini. "ANALISIS FORMAL KARYA LUKISAN IDA BAGUS KETUT SUTA." Jurnal Pendidikan Seni Rupa Undiksha 12, no. 3 (September 30, 2022): 161–73. http://dx.doi.org/10.23887/jjpsp.v12i3.52685.
This study aims to describe (1) Identify the characteristics of Ida Bagus Ketut Suta painting (2) Describe the theme of Ida Bagus Ketut Suta's painting (3) Describe the visual form of Ida Bagus Ketut Suta's painting using formal analysis methods. The subject and object of this research is the profile of Ida Bagus Ketut Suta with traditional paintings that have been made by Ida Bagus Ketut Suta. This research is a qualitative descriptive study, data collection in this study used the techniques of (1) observation, (2) interviews, (3) documentation, and (4) literature. The results of this study indicate that (1) The results of the visual identification mapping of Ida Bagus Ketut Suta's traditional paintings based on a comparison of several types of traditional wayang paintings in Bali, show that the results of his paintings have different characteristics from traditional paintings that developed in eastern Bali but are the result of the development of traditional paintings from Tabanan, namely the wayang kopang style painting, (2) The themes of several paintings that have been made by Ida Bagus Ketut Suta can be identified through formal analysis methods that are based on folklore Hindu, (3) formal visual analysis of forms from Ida Bagus Ketut Suta's painting, which is a form of wayang tradition painting that has its own characteristic and varied appearance.Keywords: traditional painting, Ida Bagus Ketut Suta
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Casey, Edward S. "Place in Painting." Research in Phenomenology 54, no. 1 (March 27, 2024): 1–12. http://dx.doi.org/10.1163/15691640-12341535.
Abstract This essay examines the role of place in painting. This role is multiple – at once attracting our look but also locatory of whatever is displayed in the painting itself and attracting our attention to it as a place distinct from the place where we are painting it or viewing it. Examined here is also the role of the lived body in the apprehension of place in painting: a corporeal animating force that animates a genuinely lived place as it is set forth or intimated in paintings of seen, remembered, or imagined places. Such placially specific paintings are at once a commentary and a continuation on how we experience places in the context of the lived world. Included are analyses of three placially oriented paintings of my own as well as one by de Kooning – all in an effort to show the multivalence of place in painting.
Gruner, Billy. "Painting the object : recent formal Australian painting." Phd thesis, Sydney College of the Arts, 2003. http://hdl.handle.net/2123/4992.
This research examines the history and theory of silent painting to discover why particular paintings were called silent, what the term was meant to signify, and how the quality of silence was discernible in the paintings it described. The imderstanding thus gauied is in tum the subject of further analysis through (documented) reflective practice, which recognises a broader context of contemporary theoretical and practical viewpoints. The purpose is to investigate, through practice, the characteristics and potentialities of silence. From the emergence of'silent' painting in America during the 1950s and 60s, the idea of silence is examined in terms of its associations with Abstract Expressionism and Minimalism. An initial assiunption that 'silent painting' is simply another way of referring to monotonal painting is at first expanded to accommodate theories promoting the grid as an equally effective device for achieving silence, but then challenged. Questions arise concemmg intention and the lack of it, degrees of silence, the nature of silence, the different ways in which silence can be read, the impossibility of silence, the feeling of silence, and the quality of silence aimed at in my own practice. An overall concem of the research is the integration of theory and practice. The thesis presented here provides an historical and theoretical explication, guided and shaped by questions arising from practice. It includes a critique of the work produced. The scientifically demonstrated argument that silence is impossible is countered by one foimded on feeling. It is on the basis of feeling (not expression) that, in the later stages of the research, suitable strategies are devised for painting silence.
Wenholz, Mary Peta. "Painting about painting: the contemporary expansion of medium specificity." Thesis, The University of Sydney, 2007. https://hdl.handle.net/2123/28934.
Studio:
The work submitted for examination in December 2007 at SCA
Galleries, consists of a painting constructed within the gallery
space, and is the culmination of the research undertaken during
the Masters of Visual Arts program. Untitled (Vinyl wall
composition) I (2007) investigates how the act of making can
function as a speculative activity interested in both the
materiality of painting and the architectural context in which the
work is placed.
Research Paper:
The objective of this research paper is to investigate the
theoretical concerns raised by the studio work. It explores the
contemporary position of medium specificity through the work of
Tony Tuckson, Robert Ryman, Bernard Frize, Alan Charlton, Daniel
Buren and Katharina Grosse.
Discussion of the work of each of these artists focuses on the way
in which the physical characteristics of the materials used to
construct a painting can inform how the work is read and the ways
in which the architectural context can influence how a painting is
perceived.
Through exploring the practices of each of these artists and
establishing the conceptual strategies employed by each, this
paper seeks to locate the central concerns of my practice within
the discourse of contemporary painting.
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Dupuis, Matthew Morris. "Charles Lebrun, painting the King and the King of painting." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0016/MQ29489.pdf.
Dupuis, Matthew. "Charles Lebrun : painting the king and the king of painting." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26684.
This thesis examines the transformation in the representation of painters during Charles LeBrun's tenure as Life-Chancellor to the Academie Royale de Peinture et de Sculpture, from an initial definition in terms of the monarchy at Versailles to one founded on the practice of the art of painting. To promote the status of painters and painting, Louis XIV was celebrated as the protector of the arts in a royal portrait by Henri Testelin and was depicted as the ideal subject of art in paintings by Nicolas Loir and others. A painter's stature was then derived from the skillful manner in which he painted the history of the King. Engraved portraits accompanied by verse of Charles LeBrun and Adam Frans Van der Meulen identify allegorical painters as more distinguished than those who painted in a natural style. In both cases, Louis XIV is posited as being the source, subject, and eloquence of the art celebrating his achievements. Nicolas de Largillierre's Portrait of Charles Lebrun is modeled on Testelin's royal portrait and offers a portrayal of the artist which advocates service to the monarchy, but it grounds aesthetic activity in the body of the painter. This conception of LeBrun, in turn, serves as a paradigm for Pierre Mignard to create a self-portrait that proclaims his status in relation to the art of painting rather than through service to the King.
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Ng, Yuk-lan, and 吳玉蘭. "Mid-Muromachi flower and bird painting in Ashikaga painting circles." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B45015624.
The essay is a manifesto-like personal take on painting, and a redefinition of painting in the digital age. Careless usage of the term ”painting” has led to a diluted descriptive function and a waning categorizing capacity; almost anything can be called painting, which in turn puts actual painting in an awkward position – where it, apart from being itself, could be almost anything. The term “painthing” is introduced to distinguish painting from works that beside its two-dimensional visual information also makes a point of its specific materiality. It brings up cave paintings and links to video-games, suggesting that video-games have gone through the reversed evolution of the history of painting – from abstraction to representation. It speaks of the problems of documentation – the translation of visual information (or re-flattening of a flat surface) – and the cultural equalization of information and images on the internet through the common denominator the pixel. It also describes “information painting”, which in short is digital painting where there is no physical object to be translated to a documentation of itself, but rather a painting that is original in its documentation form (its digital form), painting that strives to be nothing but the utopia of an image – the untouchable/unreachable visual information.
Watson, J. R. "Painting." In A Handbook to English Romanticism, 199–202. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-22288-9_57.
Tiradritti, Francesco. "Painting." In A Companion to Ancient Egyptian Art, 249–68. Chichester, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118325070.ch13.
Watson, J. R. "Painting." In A Handbook to English Romanticism, 199–202. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-13375-8_57.
Weik, Martin H. "painting." In Computer Science and Communications Dictionary, 1220. Boston, MA: Springer US, 2000. http://dx.doi.org/10.1007/1-4020-0613-6_13529.
Edwards, Jean, Helen Caldwell, and Rebecca Heaton. "Painting." In Art in the Primary School, 187–212. 2nd ed. New York, NY: Routledge, 2021. |: Routledge, 2021. http://dx.doi.org/10.4324/9780429296208-8.
Gooch, Jan W. "Cassone Painting." In Encyclopedic Dictionary of Polymers, 123. New York, NY: Springer New York, 2011. http://dx.doi.org/10.1007/978-1-4419-6247-8_2015.
Gooch, Jan W. "Cave Painting." In Encyclopedic Dictionary of Polymers, 126. New York, NY: Springer New York, 2011. http://dx.doi.org/10.1007/978-1-4419-6247-8_2068.
Shakeri, Hanieh, and Carman Neustaedter. "Painting Portals: connecting homes through live paintings." In CHI '21: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3411763.3451730.
Oe, Y., A. Maeda, M. Takashima, Y. Mizokami, N. Yoshizawa, and H. Nagakoshi. "EVALUATION STRUCTURE ON PREFERENCE OF PAINTING’S APPEARANCE IN MUSEUM LIGHTING." In CIE 2023 Conference. International Commission on Illumination, CIE, 2023. http://dx.doi.org/10.25039/x50.2023.pp017.
This study seeks to clarify an evaluation structure in relation to preference concerning the appearance of the painting with a view to creating new lighting standards in museums that consider the luminance ratio. We analysed the experimental results together with the results of previous studies and found that 'appropriateness of brightness for the painting' and 'appropriateness of brightness contrast between the painting and the background surfaces' tended to have a stronger correlation with preference than 'brightness of the painting surface' item; therefore, we examined an evaluation structure using the above assessment items as variables. Consequently, we were able to construct a model that could be applied to all paintings under consideration - which starts with 'appropriateness of brightness for the painting' and ends with 'preference for the appearance of the painting'.
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Li, Jinning, and Yexiang Xue. "Scribble-to-Painting Transformation with Multi-Task Generative Adversarial Networks." In Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. California: International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/820.
We propose the Dual Scribble-to-Painting Network (DSP-Net), which is able to produce artistic paintings based on user-generated scribbles. In scribble-to-painting transformation, a neural net has to infer additional details of the image, given relatively sparse information contained in the outlines of the scribble. Therefore, it is more challenging than classical image style transfer, in which the information content is reduced from photos to paintings. Inspired by the human cognitive process, we propose a multi-task generative adversarial network, which consists of two jointly trained neural nets -- one for generating artistic images and the other one for semantic segmentation. We demonstrate that joint training on these two tasks brings in additional benefit. Experimental result shows that DSP-Net outperforms state-of-the-art models both visually and quantitatively. In addition, we publish a large dataset for scribble-to-painting transformation.
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Maeda, A., Y. Oe, and N. Yoshizawa. "EVALUATION STRUCTURE ON PREFERENCE OF PAINTING’S APPEARANCE WITH LOW REFLECTANCE IN THE MUSEUM LIGHTING ENVIRONMENT." In CIE 2021 Conference. International Commission on Illumination, CIE, 2021. http://dx.doi.org/10.25039/x48.2021.po45.
The purpose of this paper is to clarify the evaluation structure of the preference for the visibility of paintings, taking into account the characteristics of paintings with low reflectance. Although illuminance is used in the standards for museum lighting (CIE 157:2004), it is desirable to design lighting that also considers luminance from the viewpoint of perceived brightness. Therefore, we conducted the subjective experiment of oil paintings in which luminance ratio was set as an experimental variable and examined the evaluation structure of paintings with low reflectance. As a result, it was found that the evaluation of black details affects the preference for the visibility of paintings with low reflectance. However, the path diagram of the evaluation structure applied to each painting was different, indicating that it is difficult to represent the characteristics of a painting only by the mean reflectance.
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Zhao, Amy, Guha Balakrishnan, Kathleen M. Lewis, Fredo Durand, John V. Guttag, and Adrian V. Dalca. "Painting Many Pasts: Synthesizing Time Lapse Videos of Paintings." In 2020 IEEE/CVF Conference on Computer Vision and Pattern Recognition (CVPR). IEEE, 2020. http://dx.doi.org/10.1109/cvpr42600.2020.00846.
Kolay, Saptarshi, Bhavya Sihmar, and Mahua Mukherjee. "Ways of Seeing: an Eye-tracking Study of Natural Viewing Behavior Towards Paintings." In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003700.
Interpretation of paintings is dependent on the visual saliency and focal points created in a painting. The self-expression of artist is perceived through the eyes of viewer to create a meaningful visual interpretation. It is important to know eye fixation points of viewer’s gaze behaviour coincides with the focal points created by the artist in a painting. The goal of this study is to analyse the natural viewing behaviour towards paintings, by tracking the eye movements of the human subjects when exposed to various paintings of different art movements. This study will deal with individual variations in perceptions related to the characteristics of the pictures. This visual data is generated through eye-tracking technology and articulated with the help of gaze plots, heat maps of eye movements of the human subjects. The paintings are categorized into two segments. One with distinct and hierarchical focal points and the other segment consists of paintings with more crystallographic balance and tessellations. Distinct variation of gaze behaviour is observed between these two different segments of paintings. The traditional theories of creation of focal points and principles of designs are correlated with the eye-tracking study. The study also attempts to focuses on the visual hierarchy within a painting and how the viewers’ eye movement it corresponding to the same. The outcome of the experiment shows the correlation of focal points on a two-dimensional static visual stimuli, i.e. paintings in the experiment, with the viewers’ gaze behaviour. This correlation can also be implemented into other form of two dimensional visual arts, like, graphic design, digital arts, poster design, etc.
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Rode, Lisa, Blaz Šeme, and Janja Slabe. "ASSESSMENT OF CHROMATIC REINTEGRATION TECHNIQUES AND MATERIALS WITH SIMULATIONS ON MOCK-UPS: THE EXAMPLE OF A POLYCHROME GLAZED CERAMIC PITCHER FROM THE COLLECTION OF THE NATIONAL MUSEUM OF SLOVENIA." In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. València: Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13538.
The glazed ceramic pitcher no. N11519 from the National Museum of Slovenia collection presents empirical research and approaches to conserving damaged paintings by testing conservation materials and various reintegration techniques. Studies of specific pigmented retouching paints describe the retouching practice of glaze-like retouching paints. They have been a part of the diploma thesis entitled Ways of reintegration the missing polychrome painting on ceramic pitcher at the Academy of Fine Arts and Design, University of Ljubljana, majoring in Conservation and Restoration of Fine Arts. The reintegration assessment intends to present multilayered paint effects on chromatic reintegration of a large area of reconstructed painting on a ceramic pitcher. A silicone mold was made in the selected area of an extensive paint loss for reintegration samples, from which gypsum casting mock-ups were formed. The practical determination of the chromatic reintegration was to simulate the stratigraphy of the paint layer and the in-glaze method of decorating the pitcher: a white underglaze over which a polychrome painting with overglaze was applied. The practical goal was to get close to the original painting's color, structure, and texture with differing application modes in lines, dots, liquid strokes, and surface smoothing. The chromatic reintegration tests of a glaze painting were perceived with varied and comminated approaches to applying retouching paint media to gypsum mock-ups. This can be achieved by meticulous scrutiny to review and evaluation a medium in the appropriate solvent. The mock-up assessments showed that the most suitable for the glazed pitcher is chromatic reintegration with dotted hatched, using the retouching colors with urea-aldehyde resin Laropal® A 81. The researched methods and the technique of chromatic reintegration on a ceramic pitcher were presented in the exhibition In Good Hands: 60 Years of the Department of Conservation and Restoration of the National Museum of Slovenia
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Fateeva, I. "“AN EVERLASTING DAY” (IN RELATION TO THE PAINTING “HUNTERS IN THE SNOW” BY PIETER BRUEGEL)." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2554.978-5-317-06726-7/93-96.
The article gives an aesthetic interpretation of the art criticism judgment - “An everlasting day” in relation to the painting “Hunters in the Snow” by the Dutch artist, representative of the Northern Renaissance (16th century) Pieter Bruegel (Muzhitsky). In the context of the ideas of phenomenological aesthetics, the type of painting is determined, a conclusion is made about the applicability of the considered judgment to paintings of a certain type, examples of such works from Russian art are given.
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Wu, Han, Shuo Yan Liu, Wenkai Zheng, Yifu Yang, and Han Gao. "PaintKG: the painting knowledge graph using bilstm-crf." In 2020 International Conference on Information Science and Education (ICISE-IE). IEEE, 2020. http://dx.doi.org/10.1109/icise51755.2020.00094.
Liang, Hao, Shuai Yang, Wenjing Wang, and Jiaying Liu. "Instance-Aware Coherent Video Style Transfer for Chinese Ink Wash Painting." In Thirtieth International Joint Conference on Artificial Intelligence {IJCAI-21}. California: International Joint Conferences on Artificial Intelligence Organization, 2021. http://dx.doi.org/10.24963/ijcai.2021/114.
Recent researches have made remarkable achievements in fast video style transfer based on western paintings. However, due to the inherent different drawing techniques and aesthetic expressions of Chinese ink wash painting, existing methods either achieve poor temporal consistency or fail to transfer the key freehand brushstroke characteristics of Chinese ink wash painting. In this paper, we present a novel video style transfer framework for Chinese ink wash paintings. The two key ideas are a multi-frame fusion for temporal coherence and an instance-aware style transfer. The frame reordering and stylization based on reference frame fusion are proposed to improve temporal consistency. Meanwhile, the proposed method is able to adaptively leave the white spaces in the background and to select proper scales to extract features and depict the foreground subject by leveraging instance segmentation. Experimental results demonstrate the superiority of the proposed method over state-of-the-art style transfer methods in terms of both temporal coherence and visual quality. Our project website is available at https://oblivioussy.github.io/InkVideo/.
Reports on the topic "Painting":
1
Wilson, Gina. Narrative Painting. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.6411.
AVONDALE SHIPYARDS INC NEW ORLEANS LA. Painting on - Block: The Zone Painting Method Advantage. Fort Belvoir, VA: Defense Technical Information Center, March 1986. http://dx.doi.org/10.21236/ada444036.
Branham, Barbara. Some visual issues of painting : an exploration of the painting process. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.5740.
Wolfe, Justin E. LSST Painting Risk Evaluation Memo. Office of Scientific and Technical Information (OSTI), November 2016. http://dx.doi.org/10.2172/1342020.
Higgins, Gary, and Steven Garlick. The Economics of Shipyard Painting, III. Fort Belvoir, VA: Defense Technical Information Center, October 1990. http://dx.doi.org/10.21236/ada452167.
Blaskiewicz, M. Momentum Painting in SNS Accumulator Ring. Office of Scientific and Technical Information (OSTI), August 2003. http://dx.doi.org/10.2172/1157302.
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