Journal articles on the topic 'Painting, Abstract'
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1
Novák, Josef. "Abstract Painting." International Philosophical Quarterly 60, no. 3 (2020): 287–306. http://dx.doi.org/10.5840/ipq2020715152.
Abstract:
Since the beginning of the twentieth century, abstract art has formed a central stream of modern art. To attain purely aesthetic goals, many avant-garde artists turned painting in particular into a pursuit of breaking off the relations with natural forms. Instead of copying them, they have merely relied on their inner visions. When externalizing these visions directly on the canvas or sheets of paper, the practitioners of abstract art have inadvertently used the phenomenological method and its epoché. In this essay I argue that the philosophies of Kupka and Husserl are largely compatible. This is not because the two use the same terminology, but because they virtually mean and do the same thing in their respective fields. Even where there are significant differences between them, these are not as great as it might at first seem. In the essay’s conclusion I sum up some of the most significant implications their compatible theories have for the philosophy of art and for various theories of art today.
2
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:
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.
3
Liu, Xu, and Taig Youn Cho. "Neuroaesthetic Study on Mondrian's Painting Style." Korea Institute of Design Research Society 7, no. 3 (September 30, 2022): 149–61. http://dx.doi.org/10.46248/kidrs.2022.3.149.
Abstract:
Peter Mondrian (1872-1944) is a representative of abstract expressionism, whose paintings and thoughts still play an important role in art. Through the study of Mondrian's life and painting style changes, it can be seen that his visual language has changed from the realistic representation of visual objects to the use of pure colors and absolute lines, which can be distinguished by the level of visual nerve activity. According to the performance characteristics of Mondrian's painting, this study first divides the artistic change process into three stages: learning period, exploration period and mature period. Then, based on the research of cognitive neuroscience, the symmetrical neural structure of Mondrian's three-stage painting style is explored in the painter's neural activities. The learning period adopts the neural learning mechanism of imitating the expression of painting, and the exploration period uses the neural mechanism of creating painting style. While, the mature period carries out the neural mechanism of forming pictures through cognitive structure. Finally, this paper analyzes the different visual processing mechanisms and aesthetic preference structures used by viewers to appreciate Mondrian figurative paintings and abstract paintings based on the research in the field of neuroaesthetics.
From the perspective of natural science, this study explains the style changes of Mondrian's paintings, establishing a neuroaesthetic interpretation method, so as to deeply understand the charm of his works, further understand the beauty. Therefore, it can provide reference materials for the later art education of his works.
4
Franzini, Elio. "Painting and Difference (abstract)." Chiasmi International 1 (1999): 198. http://dx.doi.org/10.5840/chiasmi1999145.
5
Key, Joan. "Future Use: Abstract Painting." Third Text 23, no. 5 (September 2009): 557–63. http://dx.doi.org/10.1080/09528820903184666.
6
Johnson-Laird, P. N., and Keith Oatley. "Emotions, Simulation, and Abstract Art." Art & Perception 9, no. 3 (October 25, 2021): 260–92. http://dx.doi.org/10.1163/22134913-bja10029.
Abstract:
Abstract Some people feel emotions when they look at abstract art. This article presents a ‘simulation’ theory that predicts which emotions they will experience, including those based on their aesthetic reactions. It also explains the mental processes underlying these emotions. This new theory embodies two precursors: an account of how mental models represent perceptions, descriptions, and self-reflections, and an account of the communicative nature of emotions, which distinguishes between basic emotions that can be experienced without knowledge of their objects or causes, and complex emotions that are founded on basic ones, but that include propositional contents. The resulting simulation theory predicts that abstract paintings can evoke the basic emotions of happiness, sadness, anger, and anxiety, and that they do so in several ways. In mimesis, models simulate the actions and gestures of people in emotional states, elicited from cues in the surface of paintings, and that in turn evoke basic emotions. Other basic emotions depend on synaesthesia, and both association and projection can yield complex emotions. Underlying viewers’ awareness of looking at a painting is a mental model of themselves in that relation with the painting. This self-reflective model has access to knowledge, enabling people to evaluate the work, and to experience an aesthetic emotion, such as awe or revulsion. The comments of artists and critics, and experimental results support the theory.
7
Albertazzi, Liliana, Luisa Canal, Rocco Micciolo, and Massimo Vescovi. "Calligraphy and Klee’s Abstract Painting: A Study on Categorical Ambiguity." Art & Perception 3, no. 3 (2015): 239–63. http://dx.doi.org/10.1163/22134913-00002036.
Abstract:
This study analyses the categorical ambiguity between visual appearances that belong in different categories, such as Oriental Calligraphy and certain Abstract Paintings selected from the works of Klee. In particular, the aim of our research was to identify whether there exist abstract features at the basis of purely visual configurations that determine the way in which they are categorized. Specifically, the intention was to determine whether, and to what extent, two artistic forms that display documented shared graphic and conceptual characteristics differ, or do not differ, visually, and whether certain features exist that identify them as a specific type of graphic work. The assumption that both categories had shared characteristics that made them graphically and conceptually similar and that resulted in categorical ambiguity, was confirmed. Moreover, the presence of some constituent features specific to one or the other was also confirmed. The results show that a Calligraphic Image and an Abstract Painting by Klee can be ‘exchanged’, but the tendency to confuse Calligraphy with an Abstract Painting is greater than that of confusing an Abstract Painting with Calligraphy.
8
Actis-Grosso, Rossana, Carlotta Lega, Alessandro Zani, Olga Daneyko, Zaira Cattaneo, and Daniele Zavagno. "Can music be figurative? Exploring the possibility of crossmodal similarities between music and visual arts." Psihologija 50, no. 3 (2017): 285–306. http://dx.doi.org/10.2298/psi1703285a.
Abstract:
According to both experimental research and common sense, classical music is a better fit for figurative art than jazz. We hypothesize that similar fits may reflect underlying crossmodal structural similarities between music and painting genres. We present two preliminary studies aimed at addressing our hypothesis. Experiment 1 tested the goodness of the fit between two music genres (classical and jazz) and two painting genres (figurative and abstract). Participants were presented with twenty sets of six paintings (three figurative, three abstract) viewed in combination with three sound conditions: 1) silence, 2) classical music, or 3) jazz. While figurative paintings scored higher aesthetic appreciation than abstract ones, a gender effect was also found: the aesthetic appreciation of paintings in male participants was modulated by music genre, whilst music genre did not affect the aesthetic appreciation in female participants. Our results support only in part the notion that classical music enhances the aesthetic appreciation of figurative art. Experiment 2 aimed at testing whether the conceptual categories ?figurative? and ?abstract? can be extended also to music. In session 1, participants were first asked to classify 30 paintings (10 abstract, 10 figurative, 10 ambiguous that could fit either category) as abstract or figurative and then to rate them for pleasantness; in session 2 participants were asked to classify 40 excerpts of music (20 classical, 20 jazz) as abstract or figurative and to rate them for pleasantness. Paintings which were clearly abstract or figurative were all classified accordingly, while the majority of ambiguous paintings were classified as abstract. Results also show a gender effect for painting?s pleasantness: female participants rated higher ambiguous and abstract paintings. More interestingly, results show an effect of music genre on classification, showing that it is possible to classify music as figurative or abstract, thus supporting the hypothesis of cross-modal similarities between the two sensory-different artistic expressions.
9
Wei, Hua. "Aesthetic Consciousness of Literati Painting and its Application in Urban Planning." Open House International 44, no. 3 (September 1, 2019): 92–95. http://dx.doi.org/10.1108/ohi-03-2019-b0024.
Abstract:
In order to find a way to combine traditional culture with modern living needs, taking “Chinese painting” as the breakthrough point, through the study of the development process and artistic characteristics of Chinese painting, four aspects of classical philosophy, natural landscape image, brush and ink composition artistic conception, and abstract aesthetic conception contained in Chinese painting are summed up. The results of the study provide enlightenment for contemporary residential landscape design, and summarize the methods of creating Chinese paintings in residential landscape design. Thus, a residential landscape model with the characteristics of “Chinese painting” is found out.
10
Tian, Weifei. "Emotional information transmission of color in image oil painting." Journal of Intelligent Systems 31, no. 1 (January 1, 2022): 428–39. http://dx.doi.org/10.1515/jisys-2022-0026.
Abstract:
Abstract To enhance the emotional communication of image oil painting art and better analyze the image oil painting art, this article puts forward the research on color emotional information communication in image oil painting art. First, starting from the artistic characteristics of color and its embodiment in various oil painting art forms, this article expounds the relationship and the significance between color language and emotional expression. Then, it summarizes the development of color in image oil painting from a macro perspective and analyzes the emotional expression of color in oil painting. Finally, it discusses the color law of the oil painting art and analyzes the emotional expression of the oil painting art from two aspects: image and artistic conception. The research shows that the design method can better convey emotion and make it easier for people to understand the connotation of image oil paintings.
11
Ning, Xiaomeng. "Landscape Painting in the Tang Dynasty: On “Changes” and the Historical Constitution of the Concept." Culture and Dialogue 10, no. 2 (November 29, 2022): 158–79. http://dx.doi.org/10.1163/24683949-12340123.
Abstract:
Abstract Focusing on the “bian” (changes) of Chinese landscape painting in the Tang Dynasty, this essay seeks to expound a breakthrough in the study of painting in the dynasty. Such a study was once difficult to carry out in the form of pictorial and stylistic analyses due to the lack of physical works. By showing that the prevailing landscape paintings of two representative painters Wu Daozi and Li Sixun were at the time most likely to be dominated by the sutra paintings and pictures of the immortal land, the essay attempts to demonstrate that the meaning of “changes” in landscape painting lies more in the change of style in representing landscape and the attitude of critics towards landscape paintings than in the change of subject matter. Meanwhile, it is worth noting that historical narratives also played a key role in constituting the concept of “landscape painting.” The focus on and analysis of the historical constitution itself provide people with another possible and feasible research approach in addition to the one based on the analysis of works and images.
12
Maclagan, David. "Archetypal psychology and non-figurative painting." International Journal of Jungian Studies 7, no. 1 (January 2, 2015): 33–40. http://dx.doi.org/10.1080/19409052.2014.921227.
Abstract:
Given that the idiom of archetypal psychology is emphatically figurative, how do we deal with non-figurative painting from this perspective? This paper focuses on the kind of abstract painting in which spontaneous, gestural marks create a ground where specific forms cannot be clearly distinguished (Jackson Pollock's ‘drip’ paintings being a well-known example). Such ‘chaotic’ paintings call into question the whole notion of what we mean by ‘image’. I relate these to Anton Ehrenzweig's concept of ‘inarticulate form’, as well as to some of James Hillman's ideas about aesthetic apprehension, and also draw on my own experience as an artist in creating a series called ‘The ground of All Being’.
13
Limbert, Wendy M., and Donald J. Polzella. "Effects of Music on the Perception of Paintings." Empirical Studies of the Arts 16, no. 1 (January 1998): 33–39. http://dx.doi.org/10.2190/v8bl-gbjk-tlfp-r321.
Abstract:
This study tested the influence of musical style on observers' perceptions of representational and abstract paintings. Participants were thirty-six male and thirty-six female undergraduates who viewed eight paintings under one of three listening conditions: matching, non-matching, or no music. Participants rated each painting on four semantic-differential scales. Mean ratings were compared using MANOVAs. An interaction of painting style and listening condition (Wilks' lambda = .780, p < .05) showed participants' aesthetic experience of viewing the paintings was intensified when the paintings were accompanied by matching music. A main effect for music style (Wilks' lambda = .718, p < .01) showed participants thought all paintings were less active and more beautiful when accompanied by the impressionist music. There were no significant effects for gender.
14
Uz, Ayfer. "Resimde Duygu ve Gerilimin Çekiciliği Francis Bacon (1909-1992)." Journal of Social Research and Behavioral Sciences 7, no. 13 (November 29, 2021): 703–18. http://dx.doi.org/10.52096/jsrbs.6.1.7.13.36.
Abstract:
Abstract Francis Bacon was born in Dublin in 1909 to an English family. The artist rejected the literary field and perceived his painting directly as an act of expressionism. The period he lived in and the effect he had on it was reflected in his paintings as horrifying images emerged in them. The figures in his paintings were distorted, trapped in a strong motion, caught in a vortex or storm. The audience subjected to the emotional tension of the figures were subjected to intense emotions. The aim of this study, which was conducted by qualitative research method, is on Francis Bacon who, even though did not receive academic art education, managed to have a strong emotional effect on the audience with his expressionist art. Keywords: Francis Bacon, Figurative Painting, Expression in Painting, Motion and Art.
15
Vasiliu, O., D. Vasile, F. Androne, M. Patrascu, and E. Morariu. "Between creativity and death: Abstract expressionists and alcohol use disorders." European Psychiatry 41, S1 (April 2017): S519—S520. http://dx.doi.org/10.1016/j.eurpsy.2017.01.687.
Abstract:
American Expressionists were a group of American artists who valued free expression of unconscious elements, combining emotional intense expressions with anti-figurative abstract style. Their main place of creative debates was Cedar Tavern in New York City, considered by art critics an important incubator of the Abstract Expressionism. Jackson Pollock, one of the most prominent figures of this movement, suspected of having bipolar disorder, abused alcohol during long periods of his life, for which he even underwent psychotherapy. Unfortunately, he died in a car accident while driving under influence, after decades of innovative work, during which he created a new painting method and produced compositions which are nowadays between the most expensive works of art. Mark Rothko also had periods of heavy drinking, and finally he died by cutting his arms with a razor. He is considered a genius, who created a completely new perspective over painting, and his works are also between the most expensive paintings in the world. Willem de Kooning was affected by alcoholism since his early years, and developed dementia, at least partially induced by abusive drinking. Although affected by neurocognitive disorder, he continued to produce amazingly creative paintings until his final years and in 2016 one of his works obtained the record for the most expensive painting ever sold. Using alcohol as a tool for increasing creativity risks to expose the creator to severe disorders or even death, the subject walking on a narrow line between sublimation of unconscious impulses and tragic resignation before them.Disclosure of interestThe presenting author was speaker for Bristol Myers Squibb and Servier, and participated in clinical research funded by Janssen Cilag, Astra Zeneca, Eli Lilly, Sanofi Aventis, Schering Plough, Organon, Bioline Rx, Forenap, Wyeth, Otsuka Pharmaceuticals, Dainippon Sumitomo.
16
Conger, William. "Abstract painting and integrationist linguistics." Language Sciences 33, no. 4 (July 2011): 654–61. http://dx.doi.org/10.1016/j.langsci.2011.04.011.
17
Wang, Cheng-hua. "One Painting, Two Emperors, and Their Cultural Agendas." Archives of Asian Art 70, no. 1 (April 1, 2020): 85–117. http://dx.doi.org/10.1215/00666637-8124988.
Abstract:
Abstract This research focuses on one of the most famous paintings made at the court of the Qing dynasty (1644–1911)—Qingming shanghe (Up the River during Qingming). Commissioned by the Yongzheng emperor (r. 1723–1735) and completed in the second year of the Qianlong emperor's reign (1736–1795), the painting is a rare example of Qing court art that reveals how Qianlong furthered his father's artistic vision while formulating his own in the first fifteen years of his long tenure as ruler. This vision involved how to reinterpret and reinvent the Chinese painting tradition through time-honored themes. The article is divided into four sections. In the first, it brings attention to the salient and crucial but long neglected stylistic features of the painting—those that emphasize theatricality and spectatorship. These interconnected features link and characterize the paintings commissioned by Yongzheng. The second section shifts to discuss the emerging cultural agenda of Yongzheng as seen through the manner in which court art references the Chinese painting tradition. The most remarkable act regards the reinterpretation of old painting themes that include Qingming shanghe and Baijun tu (One Hundred Horses). The third section analyzes how the paratextual elements of Qingming shanghe, especially Qianlong's poem and inscription, inform us of the emperor's views about the production mechanism of court painting and the political meaning of this work. The last section, based on Qianlong's understanding of the painting, highlights the emperor's cultural agenda associated with the idea of yuanben, which pointed to new versions of old themes made by his painting academy.
18
Maskarinec, Malika. "Allegory and Analogy in Menzel’s The Iron Rolling Mill." Zeitschrift für Kunstgeschichte 84, no. 1 (March 1, 2021): 58–77. http://dx.doi.org/10.1515/zkg-2021-1003.
Abstract:
Abstract Adolph Menzel’s Das Eisenwalzwerk, or Moderne Cyklopen (The Iron Rolling Mill, or Modern Cyclopes) from 1875 depicts an analogy central to nineteenth- century thought, namely, that between the human motor and the combustion engine. The painting visualizes the differing rhythms of these two “machines” and the entropy produced as a result of that difference. The painting’s reflection on labor also elaborates an allegory of the activity of painting. Such an allegorical reading, motivated by particular attention to the objects placed in the painting’s foreground, entails a reevaluation of Menzel’s self-understanding and of the changing nature of allegory in nineteenth- century painting. In this instance, allegory operates not through identification but by means of analogy.
19
Hulea, Lavinia. "Pre-Raphaelites Painting Shakespeare’s Women." Gender Studies 11, no. 1 (December 1, 2012): 126–34. http://dx.doi.org/10.2478/v10320-012-0033-6.
Abstract:
Abstract Iconic signs such as paintings, engravings or book illustrations come into existence as a result of visual attempts at redefining the literary text to which they refer. Although they belong to a different medium, they are always conditioned and influenced by the original literary work. English painting displays a series of famous images which explicitly have their roots in literary texts. While the works of Shakespeare, Keats and Tennyson seem to determine a special connection with painting, Shakespeare’s plays are the source of one of the most inspiring subjects of the Pre-Raphaelite painters: women.
20
Murillo Ligorred, Víctor. "La pintura como huella: fotografía y pintura en la obra de Gerhard Richter." Laocoonte. Revista de Estética y Teoría de las Artes, no. 5 (December 13, 2018): 264. http://dx.doi.org/10.7203/laocoonte.0.5.12430.
Abstract:
El presente texto aborda la cuestión del concepto de índex en la obra pictórica de Gerhard Richter. Esta cualidad de lo fotográfico revierte en la pintura abstracta de los años ochenta en tanto que huella. Para ello, primero se analiza el índex desde la mecanicidad, la tecnicidad y el antiestilo, con el que Richter trabaja sus obras. Para después, analizar cómo el índex, desde su categoría de huella, muestra el rastro de los aparatos por los que fue creado el cuadro. Richter traslada al mundo de la pintura la técnica fotográfica, entrando en un debate de lo fotográfico por la vía de la suplantación de lo pictórico. Un análisis que justifica sus modos de hacer y explica la naturaleza mecánica de sus pinturas.
Palabras clave
Índex, fotografía, pintura, Gerhard Richter, anti estilo
Abstract
The present text approaches the work of Gerhard Richter in terms of footprint or index, concept by which better understand the ways of painting of the German artist from 1962. For do this, we analyze how the concept of index works both in the photo-paintings of the 1960s and in the abstract work of the eighties and nineties. It is studied how their ways of doing have to do with a machine art and not with the traditional procedure of painters to create paintings. Afterwards, the debate focuses on the technicality, the mechanicity and the anti-style characteristic of the photo-paintings and the abstract paintings understood as a footprint, far from conventional painting and without any type of artifice. A current reading on the iconic that explores the new languages of the artistic from the mechanicity of the technique in the slide that arises from the photographic to the pictorial.
Keywords
Índex, photografy, painting, Gerhard Richter, anti-style
21
Wertz, S. K. "Visual Art and Pragmatic Truth: Georgia O’Keeffe at the Helm." Journal of Aesthetic Education 55, no. 4 (December 1, 2021): 51–59. http://dx.doi.org/10.5406/jaesteduc.55.4.0051.
Abstract:
Abstract This essay examines an oil painting by Georgia O’Keeffe, Ritz Tower (1928), applying the terms of William James’s pragmatic conception of truth and the ideas that play a part in it, for example, pluralism and spiritualism, along with assistance from Martin Heidegger’s notion of Wohnung (dwelling). This is not only a fruitful way to look at her painting but paintings in the same or similar genre. Aesthetic judgments made about Ritz Tower are true if they work (in the pragmatic sense) for those who make said judgments if they find them successful in fitting in with other ideas and beliefs in their aesthetic experience of the painting or other artworks.
22
Feller, C., E. R. Landa, A. Toland, and G. Wessolek. "Case studies of soil in art." SOIL 1, no. 2 (August 13, 2015): 543–59. http://dx.doi.org/10.5194/soil-1-543-2015.
Abstract:
Abstract. The material and symbolic appropriations of soil in artworks are numerous and diverse, spanning many centuries and artistic traditions, from prehistoric painting and ceramics to early Renaissance works in Western literature, poetry, paintings, and sculpture, to recent developments in film, architecture, and contemporary art. Case studies focused on painting, installation, and film are presented with the view of encouraging further exploration of art about, in, and with soil as a contribution to raising soil awareness.
23
Geyskens, Tomas. "Painting as Hysteria: Deleuze on Bacon." Deleuze Studies 2, no. 2 (December 2008): 140–54. http://dx.doi.org/10.3366/e1750224108000251.
Abstract:
Deleuze's work on Francis Bacon is an aesthetic clinic of hysteria and an implicit critique of the psychoanalytic conception of hysteria. Bacon's paintings reveal what is at stake in hysteria: not the symbolic expression of unconscious representations, but the pure presence of the body, the experience of the body under the organism. Inspired by the work of the phenomenologist Henri Maldiney, Deleuze argues that Bacon's paintings become non-figurative without being abstract. In this way, painting shows the hysterical struggle of the body to escape from itself in the rhythm of its movement.
24
Virgoe, April. "Nexus, veil: Robert Ryman and the equivocal spaces of abstraction." Journal of Contemporary Painting 7, no. 1 (October 1, 2021): 39–59. http://dx.doi.org/10.1386/jcp_00031_1.
Abstract:
It is now understood that the two great defining points in the history of western painting ‐ the emergence of illusory space in the Quattrocento and its disavowal in the mid-twentieth century ‐ represent significant shifts in a perpetual tide in which pictorial space is re-invented. Outside of modernist teleology, the ‘abstract’ in painting is a malleable term, denoting a tendency, or a move away from, rather than a polemic against depiction. How productively, then, can notions of pictorial space be mapped between ‘abstraction’ and ‘figuration’? In this article, I focus on the work of the American painter Robert Ryman (1930‐2019). Ryman defined his work as ‘realist’ and deployed a materialism that foregrounded the processes of painting. His paintings are both disarmingly simple and spatially complex, and, despite his disavowal of illusion, this complexity is, paradoxically, concerned with the production of pictorial space. I bring together two texts, Hubert Damisch’s A Theory of /Cloud/ and Hanneke Grootenboer’s The Rhetoric of Perspective, to address the complex and contradictory spaces in Ryman’s paintings and to suggest that they enter into a negotiation with a perspective that is something very different to a rebuttal. To look at Ryman again in this way is to offer a rethinking of the paradoxical spaces of abstract painting, its past and its present.
25
Alya, Shopia Himatul. "Lukisan Pemandangan: Teknik Spon Dalam Karya Seni Lukis Jelekong." Aksara: Jurnal Ilmu Pendidikan Nonformal 7, no. 1 (January 2, 2021): 103. http://dx.doi.org/10.37905/aksara.7.1.103-110.2021.
Abstract:
<p>Nature is a theme that is always present in the development of art in the world, both Western and Asian arts, such as China and Indonesia. The visualization can be a literal or abstract representation. Nature can be an additional element to a painting to convey depth, or perspective. However, the depiction of nature in a painting can also be the main focus of a work of art. In Indonesia itself, there is an Art Village, precisely Jelekong Art Village, where hundreds of people work as painters and some have made nature the main focus of their work. The uniqueness of the Jelekong painter's work lies in the method used and the materials used. So that the authors are interested in further researching the uniqueness of this Jelekong technique. The purpose of this research is to examine the comparison of natural visualization techniques and aspects of Jelekong painting which represent nature in terms of methods and materials. The samples in this study were paintings by Jelekong artists and Western artists. The qualitative descriptive method is considered the most appropriate for analyzing Jelekong painting. The result of this research is that the superiority of the art technique of Ugong painting is the sponge technique created by one of its residents. This technique can create shadow, middle tone, and highlight in a painting. Jelekong's paintings can become the identity of the community in cultivating the local potential of the region</p>
26
Kawabata, Hideaki, and Semir Zeki. "Neural Correlates of Beauty." Journal of Neurophysiology 91, no. 4 (April 2004): 1699–705. http://dx.doi.org/10.1152/jn.00696.2003.
Abstract:
We have used the technique of functional MRI to address the question of whether there are brain areas that are specifically engaged when subjects view paintings that they consider to be beautiful, regardless of the category of painting (that is whether it is a portrait, a landscape, a still life, or an abstract composition). Prior to scanning, each subject viewed a large number of paintings and classified them into beautiful, neutral, or ugly. They then viewed the same paintings in the scanner. The results show that the perception of different categories of paintings are associated with distinct and specialized visual areas of the brain, that the orbito-frontal cortex is differentially engaged during the perception of beautiful and ugly stimuli, regardless of the category of painting, and that the perception of stimuli as beautiful or ugly mobilizes the motor cortex differentially.
27
Gautam, Manju. "COORDINATION OF COLOR AND RAGA: IN THE CONTEXT OF KANGRA PAINTINGS." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–2. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3587.
Abstract:
The amazing coordination of music and painting in Kangra painting is a unique achievement in arts across the world, which is why Kangra painting is considered by art scholars to be synonymous with all hill painting. The color scheme of the paintings produced in the Kangra painting style is unique, it seems that all the beauty of the Kangra aesthetic artist filled the paintings through color and lines. The diversity of subjects is a quality of this genre. The artist here also gave the form of abstract and phonetic content of music along with literature and poetry, by color and lines, which is rare in any other art of the world.
काँगड़ा चित्रकला में संगीत व चित्रकला का अद्भूत समन्वय संसार भर की कलाआंे मंे एक अद्वितीय उपलब्धि है यही कारण है कि काँगड़ा चित्रकला को कला विद्वानों ने समस्त पहाड़ी चित्रकला का पर्याय भी माना है। काँगड़ा चित्रशैली में निर्मित चित्रो की रंग योजना अनूठी है ऐसा प्रतीत होता है कि काँगड़ा का समस्त प्रकृति सौन्दर्य कलाकार ने रंग व रेखाओं के माध्यम से चित्रों में भर दिया। विषयों की विविधता इस शैली का गुण है। यहाँ के कलाकार ने साहित्य एवं काव्य के साथ संगीत की अमूर्त, तथा ध्वन्यात्मक विषय वस्तु को भी रंग एवं रेखाओं द्वारा साकार रूप प्रदान किया जो कि विश्व की किसी अन्य कला में दुर्लभ है।
28
Feller, C., E. R. Landa, A. Toland, and G. Wessolek. "From soil in art towards Soil Art." SOIL Discussions 2, no. 1 (February 9, 2015): 85–132. http://dx.doi.org/10.5194/soild-2-85-2015.
Abstract:
Abstract. The range of art forms and genres dealing with soil is wide and diverse, spanning many centuries and artistic traditions, from prehistoric painting and ceramics to early Renaissance works in Western literature, poetry, paintings, and sculpture, to recent developments in cinema, architecture and contemporary art. Case studies focused on painting, installation, and cinema are presented with the view of encouraging further exploration of art about, in, with, or featuring soil or soil conservation issues, created by artists, and occasionally scientists, educators or collaborative efforts thereof.
29
Ying, Fang Tian, Yan Shi, and Li Ning Yao. "DrawLight: Learning Colors by Creating Physically Interactive and Immersive Lighting." Applied Mechanics and Materials 121-126 (October 2011): 1443–45. http://dx.doi.org/10.4028/www.scientific.net/amm.121-126.1443.
Abstract:
In this paper, we present DrawLight, a physically interactive and immersive lighting system aimed at young children, ages two to six, to help them learn colors and immerse themselves into their imaginary colorful environment by creating correspondent ambient lighting through their former paintings and colorful objects combination. As the same time as children are drawing colorful pictures, playing with colorful objects, or hanging painting somewhere inside the space, specially designed ambient lights will change to the correspond color mode. DrawLight invites children to explore the transformation from concrete colorful painting and physical objects into abstract ambient lighting, which gives children an immersive impression about the color effect. General terms: Children, painting, colorful physical objects, color learning, creating interactive and immersive lighting
30
Bai, Ruyi, and Xiaoying Guo. "Automatic orientation detection of abstract painting." Knowledge-Based Systems 227 (September 2021): 107240. http://dx.doi.org/10.1016/j.knosys.2021.107240.
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Bhardwaj, Kumkum, and Monika Yadav. ""COLOR COMBINATION IN ABSTRACT PAINTING STYLE"." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–2. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3627.
Abstract:
Varna means color is the life of any artwork which depends on vision and light, there is some color in every object, so any object is identified by colors.Color is the property of light. Color does not exist independently, but the effect that the brain has on the axon is color. Two objects of the same form are identified by different colors. Color is the property of the object that we experience by the eyes. We can see an object only in the presence of light, so light gives us a sense of colors.
वर्ण अर्थात रंग किसी भी कलाकृति का प्राण है जो दृष्टि एवं प्रकाश पर निर्भर करता है प्रत्येक वस्तु में कोई न कोई रंग विद्यमान होता है अतः किसी भी वस्तु की पहचान रंगों के कारण होती है।रंग प्रकाश का गुण है रंग का स्वतंत्र अस्तित्व नहीं होता है अपितु अक्षपटल द्वारा मस्तिष्क पर पड़ने वाला प्रभाव रंग है एक ही रूप की दो वस्तुओं को पृथक-पृथक रंगों द्वारा पहचाना जाता है रंग वस्तु का वह गुण है जिसका अनुभव हम नेत्रों द्वारा करते है प्रकाष की उपस्थिति में ही हम किसी वस्तु को देख सकते है अतः प्रकाश हमें रंगों का बोध कराता है।
32
Cazeaux, C. "SYNAESTHESIA AND EPISTEMOLOGY IN ABSTRACT PAINTING." British Journal of Aesthetics 39, no. 3 (March 1, 1999): 241–51. http://dx.doi.org/10.1093/bjaesthetics/39.3.241.
33
Kaneda, Shirley. "The feminine in abstract painting reconsidered." Women & Performance: a journal of feminist theory 27, no. 3 (September 2, 2017): 339–45. http://dx.doi.org/10.1080/0740770x.2017.1364938.
34
Zhang, Kang. "From Abstract Painting to Information Visualization." IEEE Computer Graphics and Applications 27, no. 3 (May 2007): 12–16. http://dx.doi.org/10.1109/mcg.2007.58.
35
Linrothe, Rob. "Hidden in Plain Sight." Archives of Asian Art 70, no. 2 (October 1, 2020): 225–44. http://dx.doi.org/10.1215/00666637-8620384.
Abstract:
Abstract This is a review article of Janet Gyatso's 2015 award-winning book, Being Human in a Buddhist World: An Intellectual History of Medicine in Early Modern Tibet. The art-historical aspects of the book—mainly confined to the first chapter, “Reading Paintings, Painting the Medical, Medicalizing the State” and based on a perceptive art-historical reading of a set of medical paintings and its copies—had yet to be reviewed by an academically-trained art historian. This review underscores the fine art-historical insights deserving the attention of art historians working in parallel contexts of the often tense relationship between religious and empirical epistemologies. At the same time, the evaluation of certain readings of the visual record lead to suggested revisions in the support they provide to Gyatso's primary argument. In addition, other precedents of depictions “from life” in Tibetan art history are offered to help contextualize claims of originality or uniqueness. Finally, an analysis is presented of less formal, freehand painting versus more formalized, iconometric execution, calibrated with vernacular subject matter versus iconographically predetermined themes. Both of the painting modes and subject types are combined in the painting set analyzed by Gyatso supporting her assessment of the innovation of the artists selected by the patron, Desi Sangyé Gyatso (1653–1705).
36
de Bolla, Peter. "Pierre Bonnard: Bringing Painting to Life." boundary 2 49, no. 2 (May 1, 2022): 243–70. http://dx.doi.org/10.1215/01903659-9644583.
Abstract:
Abstract The French artist Pierre Bonnard created more than two thousand paintings, many of them now dispersed around museums across the world. He painted in a slightly eccentric manner—on unstretched canvas—and often worked on these paintings over decades. They typically depict closed spaces, interiors, that open out to vistas beyond the room. He also produced a number of self-portraits and a very large number of paintings depicting his muse, Marthe, often going about her toilette. Almost of all these paintings have very strange effects—for the most part overlooked by viewers from his own time to today. These effects, which Peter de Bolla calls “ghosts,” are often depictions hiding in plain sight. In this essay, de Bolla patiently explores how such effects can be seen in one painting, La salle à manger sur le jardin (1930–31), leading the viewer into the strange world Bonnard depicted.
37
Danalov, Ilker. "Esoteric Painting by Hilma af Klint." Visual Studies 6, no. 3 (December 13, 2022): 285–97. http://dx.doi.org/10.54664/aimf4981.
Abstract:
A number of modernist art movements of the late 19th and early 20th centuries gradually reduced the mimetic approach, leading to the logical emergence of pure abstraction. There were several contenders for the ‘first abstractionist’, and the Russian artist Wassily Kandinsky (1866–1944) is most often identified as such by art historians. His watercolour (Untitled; Study for Composition VII), which dates back to 1911, is considered the first abstract work. In 1912, Kandinsky published a kind of personal manifesto called “Concerning the Spiritual in Art”, in which he theorized abstract art. Other key pioneers of this art form from the early 1910s were Piet Mondrian (1872–1944) and Kazimir Malevich (1879–1935). They also come up with their own theories about ‘non objective’ art. Although different in their vision, what those artists had in common was that all three of them worked in the idiom of abstraction and were more or less guided by the ideas of the spiritual. The latter is important because the main contender for ‘first abstractionist’ whom we consider here also eliminated the representation of objects from the visible world and followed various spiritual teachings that underlie her work. After 1986, in various sources, the Swedish artist Hilma af Klint (1862–1944) was indicated as a pioneer of abstract art who began to paint the series “Paintings for the Temple” in 1906 (five years before Kandinsky). They are large-format, non-figurative paintings that bear visual and formalistic similarities to abstract painting. From this perspective, the debate about who was the first abstractionist is inevitable. The reason why Hilma af Klint began to be talked about so late is that she painted in isolation and kept her non-figurative paintings a secret. In her will, she stipulated that the paintings not be shown for 20 years after her death. They were discovered in the 1960s and exhibited for the first time in public at the exhibition “The Spiritual in Art: Abstract Painting 1890– 1985” in 1986. By examining the life and work of Hilma af Klint and briefly reviewing the main ideas of abstract art, the current paper aims to answer the question of whether the works by Hilma af Klint were created in the context of abstractionism of modernism, or whether they fall into another category, such as spiritualist or esoteric art.
38
Hihab, Ramdani Quraiss. "Sebuah Perancangan Sistem Informasi Pemasaran dan Penjualan Lukisan pada Polesan Art Galeri." Ultima InfoSys : Jurnal Ilmu Sistem Informasi 10, no. 1 (August 30, 2019): 36–42. http://dx.doi.org/10.31937/si.v10i1.1115.
Abstract:
Abstract— This research was conducted to design a web-based painting sales information system design in an art gallery. The research method used in this study uses descriptive methods, namely by explaining the phenomena that occur from data collected through observation and interviews. And using a structured approach method and for system development using the waterfall method. The results of this study are website-based painting sales application designs in art galleries. Currently the painting marketing process is still limited to certain areas, which makes it difficult to increase the sales volume of paintings when tourists visit a little, and consumers are required to come directly to the gallery to make transactions so consumers who don't have time to buy paintings in art galleries. Thus to improve the marketing process and make it easier for consumers to buy paintings anytime and anywhere, then design web-based marketing and sales information systems. The design of this marketing and sales information system aims to improve marketing by disseminating information about products to be sold and providing services to consumers to make purchases that can be done anywhere and ultimately will provide maximum service which will ultimately increase revenue from art galleries. polished.
39
De la Cuétara San Luis, Isabel, and Concepción San Luis Costas. "¿Elicita emociones a pintura abstracta? / Can abstract painting elicit emotions?" Revista Internacional de Cultura Visual 5, no. 2 (December 12, 2018): 53–60. http://dx.doi.org/10.37467/gka-revvisual.v5.1737.
Abstract:
ABSTRACTThe objective of this research is to verify, by an empirical methodology, the existence of an emotion that we have called aesthetics using for it paintings by Kandinsky. The selection of abstract works as stimuli is determined by the fact that they are the formal elements (shape, colour, lines) what constitutes the composition of the works in which there is no reference evocative, as they have no visual references of the real world. Our results indicate that the stimuli used cause alterations in the psychogalvanic response indicates there has been an emotion developed in line with the proposals by James.RESUMENEl objetivo de esta investigación es comprobar, mediante una metodología empírica, la existencia de una emoción que hemos denominado estética, empleando para ello obras de Kandinsky. La selección de obras abstractas como estímulos viene determinada por el hecho de que son los elementos formales (forma, color, líneas) los que constituyen la composición de la obra en la que no hay referencia evocadora al carecer de referencias visuales del mundo real. Nuestros resultados indican que los estímulos utilizados provocan alteraciones en la respuesta psicogalvánica, que indica que se ha producido una emoción elaborada en línea con las propuestas por James.
40
Pullins, David. "“Quelques misérables places à remplir”Locating Shaped Painting in Eighteenth-Century France." Zeitschrift für Kunstgeschichte 80, no. 4 (December 30, 2017): 544–71. http://dx.doi.org/10.1515/zkg-2017-0029.
Abstract:
Abstract This article addresses in depth for the first time the irregularly shaped canvases known as tableaux chantournés (cut-out paintings) that were produced in vast numbers by leading academicians between the 1730s and 1750s and occupy a tenuous place between fine and applied or decorative arts. Through an examination of the term’s first uses in regard to painting and eighteenth-century critics’ responses to these works, tableaux chantournés are positioned as a means of rethinking the extraction of painting from a richer visual field and the relationship of this medium-specific agenda to the historiography of the rococo.
41
Krauss, Rosalind E. "Beyond Painting." October, no. 181 (2022): 3–6. http://dx.doi.org/10.1162/octo_a_00464.
Abstract:
Abstract Rosalind Krauss argues that the 2020 Donald Judd retrospective at the Museum of Modern Art shows that the painterly side of this famously “anti-painter” artist was more pronounced than he would have ever admitted.
42
Brinkmann, Hanna, Louis Williams, Raphael Rosenberg, and Eugene McSorley. "Does ‘Action Viewing’ Really Exist? Perceived Dynamism and Viewing Behaviour." Art and Perception 8, no. 1 (March 4, 2020): 27–48. http://dx.doi.org/10.1163/22134913-20191128.
Abstract:
Throughout the 20th century, there have been many different forms of abstract painting. While works by some artists, e.g., Piet Mondrian, are usually described as static, others are described as dynamic, such as Jackson Pollock’s ‘action paintings’. Art historians have assumed that beholders not only conceptualise such differences in depicted dynamics but also mirror these in their viewing behaviour. In an interdisciplinary eye-tracking study, we tested this concept through investigating both the localisation of fixations (polyfocal viewing) and the average duration of fixations as well as saccade velocity, duration and path curvature. We showed 30 different abstract paintings to 40 participants — 20 laypeople and 20 experts (art students) — and used self-reporting to investigate the perceived dynamism of each painting and its relationship with (a) the average number and duration of fixations, (b) the average number, duration and velocity of saccades as well as the amplitude and curvature area of saccade paths, and (c) pleasantness and familiarity ratings. We found that the average number of fixations and saccades, saccade velocity, and pleasantness ratings increase with an increase in perceived dynamism ratings. Meanwhile the saccade duration decreased with an increase in perceived dynamism. Additionally, the analysis showed that experts gave higher dynamic ratings compared to laypeople and were more familiar with the artworks. These results indicate that there is a correlation between perceived dynamism in abstract painting and viewing behaviour — something that has long been assumed by art historians but had never been empirically supported.
43
Kopley, Richard. "Hawthorne at the Peabody Essex Museum." Nathaniel Hawthorne Review 46, no. 1 (October 2020): 87–91. http://dx.doi.org/10.5325/nathhawtrevi.46.1.0087.
Abstract:
ABSTRACT The Peabody Essex Museum features much for the Hawthornean, including not only two paintings by Sophia for Nathaniel and a painting of Nathaniel but also curator Catherine Robertson's exhibit The Creative Legacy of Nathaniel Hawthorne, which includes Mindy Belloff's wonderful book A Golden Thread: The Minotaur A Contemporary Illumination.
44
Bisanz, Elize. "The abstract structure of the aesthetic sign." Sign Systems Studies 30, no. 2 (December 31, 2002): 707–23. http://dx.doi.org/10.12697/sss.2002.30.2.21.
Abstract:
Walter Benjamin foreshadowed many of the aesthetic theories, currently playing a fundamental role in the production and interpretation of art. By emphasising the role of the expressive character of art, or rather the category of expressivity itself, Benjamin defined art as a language. His aesthetics was characterised by the continuous interaction of two almost reciprocal projects: the theoretical critique of art which is based on an understanding of historical processes, and the understanding of historical processes which is formed by the critical experience of art. We find a fundamental similarity between Benjamin’s dialectical character of the aesthetic sign and Lotman’s double-sidedness of the artwork. In classifying the system of art as a language, both theoreticians space out the structure of art and determine it as the intersection of the synchronic and the diachronic aesthetic discourse. The paper follows the traces of the transition of modern painting from its representational status to an autonomous signification, that is, from being a symbolic expression to a discourse in the grammatological meaning of écriture. Parallel to this transition which resulted into the process of abstraction in painting, there can be observed a shift in the cultural values of art which had its critical bearing upon the world secured not by connections of likeness, but by virtue of the very independence of its values. The abstract form of the modern painting has been the declaration of the language of art as an exemplary realm. What must be expressed and experienced within this realm was (1) the critical reflection on the human condition, and (2) representing the society in so far as art maintained a moral independence from those conditions. This dialectic between the autonomous and social character of art has left deep impacts on the language of painting, a complexity, which has been made transparent through the various semiotic analytic approaches of the aesthetic sign. The paper discusses the processual character of the modern painting and demonstrates briefly the deficiency in the structural analysis of the painting language, encouraging its synthesis with the dynamical character of cultural products as we find it in the Lotmanian culture theory.
45
Cramer, Florian. "Hiding in Plain Sight. Amy Suo Wu’s The Kandinsky." INMATERIAL. Diseño, Arte y Sociedad 2, no. 4 (December 20, 2017): 104–16. http://dx.doi.org/10.46516/inmaterial.v2.40.
Abstract:
The history of 20th century painting conventionally identifies abstraction with modernism and the return of figuration with postmodernism. But abstraction ended much earlier, in a spy operation during World War II, when a British intelligence officer, in a stroke of genius, found abstract paintings to be the perfect carriers for secret messages transported across the ocean. For this purpose, he commissioned a painting to Wassily Kandinsky that included a secret message encoded – in the manner of flag signs or Morse code – into its seemingly abstract visual shapes. This anecdote explains steganography: the clever hiding of messages
in other messages. Steganographic messages do not need to appear innocuous. At some point,
militant jihadists were reported to run pornographic websites as a cover, using porn images for hidden communication. [...]
46
Seo, Seongrok. "Acceptance and Settlement of Korean Abstract Painting." Journal of Basic Design & Art 21, no. 1 (February 28, 2020): 261–79. http://dx.doi.org/10.47294/ksbda.21.1.20.
47
Cheetham, Mark A. "Plato’s Poison and Sérusier’s Emergent Abstract Painting." RACAR : Revue d'art canadienne 17, no. 1 (1990): 64. http://dx.doi.org/10.7202/1073157ar.
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Tkachuk, Ilona. "Painting perception models of art groups «Zhyvopysnyi zapovidnyk» and «Paryzka komuna»." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 19–37. http://dx.doi.org/10.37131/2524-0943-2019-39-02.
Abstract:
Background. A painting perception is a complex multilevel process of reception and transformation of information, which forms a subjective image of objects, serves as a communicative form of interaction between individuals, societies and cultures. A painting is a complicated system, which reflects the cultural situation in a society of a certain epoch, the worldview, conveys the complex of human feelings and beliefs, arises as a means of cognition. Everyone deliberately or involuntarily becomes a painting recipient, more or less engaging himself into the process of communication. Therefore, the approach to a painting is valid according to individual matrices of ideological notions complexes, concepts, principles, mentality, education and preparedness of a creator and a perceiver as a kind of non-verbal communication with a transfer of certain information during this process. Published scientific works refer to the narrow specifics of certain disciplines in the study of perception process of the painting, therefore, they do not constitute a holistic system of knowledge concerning this phenomenon. Among them we note the fundamental researches, which, in particular, set out aesthetic theories: perceptual (M. Beardsley), cognitive (R. Arnheim, D. Berlyne), informational (A. Moles); achievements in neuroaesthetics (V. Ramachandran), psychology of painting perception (V. Molyako, J. Gibson, S. Kosslyn). However, known presented painting perception algorithms do not take into account the entire range of components, parameters and the context of current communication process with art creation. It was revealed that the establishment of variants of components' interaction within the system «artist—painting—recipient», as different ways of cognition and coexistence in the information space, remains at the stage of formation and needs a fundamental development. Objectives. The objectives of the research are to identify concrete models of subjective-objective interaction within the system «artist—painting—recipient» as a result of perception the paintings of the groups «Zhyvopysnyi zapovidnyk» and «Paryzka komuna» in the artistic environment. As a material for conducting a practical investigation there were chosen the paintings of above-mentioned groups, because their art, both — as horizontal and vertical, formed a peculiar matrix of Ukrainian visuality. The art code of their works gives the opportunity to see the regularities of historical development of National visual experience. The range of painting form in all its aspects, from transavantgarde — to abstract, makes it possible to consider and analyze the difference between its specific characteristics and accordingly, different models of recipients' perception. Methods. Studying the disclosure of interactive features of interplay between painting and the recipient is related with certain difficulties, mainly of a methodical nature. Exceptionally an interdisciplinary research approach makes the most complete disclosure of the specifics of this process possible, determines its place in culture. During the research the system approach was used as well as such methods: experiment, modeling, structural-functional, statistical and comparative. In order to test the hypothesis, to reproduce the model of information system developed by author in real conditions, arose the need of organization of empirical study. An experiment was chosen as a method that assumes the allocation of significant factors which affect the results of the formation of a particular interaction model within the system «artist—painting—recipient». The investigation with recipients' poll aims to study cause-effect relationships in painting perception process, which assumes the practical modeling of the phenomenon and conditions of its course. Results. It is substantiated that the artistic strategy of two groups — narrative «Paryzka komuna» and non-narrative «Zhyvopysnyi zapovidnyk», has created a unique matrix of Ukrainian visuality, and the art code of paintings enables the revealing of patterns of historical development of National visual experience. Review and analysis of the specific features complex of modernist and postmodernist paintings allowed to identify the origins of four different perception models formation by recipients. Within the framework of the study there were critically comprehended known published painting perception algorithms. As a result of investigation, the informational painting perception system was formed and at the same time there was carried out its correlation with fundamental researches of Western scientists. In particular, they relate to perceptual, cognitive and informational aesthetic theories; achievements in neuroaesthetics and psychology of painting perception. Present model is an attempt to take into account the whole complex of components, parameters and context of communication process with the painting, as well as interpretive art models of corresponding period. Conclusions. Summarizing the results of the experiment, we can conclude that recipients from the range of artistic community clearly manifested the change of perception model — from nonclassical to post-nonclassical. It depended on presented painting — whether narrative artwork or «painting-opened-structure-object» was shown. The first one personifies the painters' works of «Paryzka komuna», and the second — artists' painting practice of «Zhyvopysnyi zapovidnyk». Also there were stated the individual manifestations of primordial and classical interaction painting models with their complexes of inherent specific features. Obtained results can form the support material for the evaluation of artworks — both within and outside the art institutions. Also the main theoretical positions can be relevant for artists in process of their work with the construction of further strategy, as well as for recipients interacting with painting
49
Stoia, Adrian. "Images of Chalices in Transylvanian Panel Paintings." Review of Ecumenical Studies Sibiu 6, no. 1 (December 1, 2014): 121–35. http://dx.doi.org/10.2478/ress-2014-0107.
Abstract:
Abstract The study of the items illustrated on mural and panel painting, in connection with still existing items, can document medieval material culture. The representation of chalices on almost half of such paintings from Transylvania is a proof of its important symbolist value in religious rituals. These representations also certify the high level of the goldsmiths’ art from Transylvania. The present study is intended both as a repertory and an analysis of these sacral objects illustrated in mural and panel paintings.
50
Irmawati, Ofi, Hariyanto Hariyanto, and Abdurahman Prasetyo. "Penciptaan Seni Lukis Naturalistik Wayang Topeng Jatiduwur." INVENSI 7, no. 2 (December 16, 2022): 115–29. http://dx.doi.org/10.24821/invensi.v7i2.6330.
Abstract:
Wayang Topeng Jatiduwur merupakan seni pertunjukan dari Kabupaten Jombang. Wayang Topeng Jatiduwur merupakan seni pertunjukan yang menampilkan seni tari, seni musik, seni rupa, dan seni teater. Masyarakat Jombang mempergelarkan kesenian tersebut sebagai bagian dari ritual nazar. Kesenian ini merupakan kekayaan budaya asli Jombang yang kehilangan eksistensinya. Tujuan dari penciptaan karya lukis ini menghasilkan enam karya lukisan yang mempresentasikan gerakan-gerakan tarian Klana sebagai bentuk ekspresi keprihatinan dan kepedulian terhadap kesenian Wayang Topeng Jatiduwur. Metode penciptaan menggunakan model penciptaan dari L.H. Chapman. Karya lukis yang dihasilkan berjumlah enam, mempresentasikan beberapa gerakan Prabu Klana Jaka dalam tarian Klana sebagai tari pembuka pada kesenian Wayang Topeng Jatiduwur. Media yang digunakan adalah cat akrilik di atas kanvas. The Creation of Naturalistic Painting of Jatiduwur Mask Puppet ABSTRACT Jatiduwur Mask Puppet is a performing art from Jombang Regency.Jatiduwur Mask Puppet is a performing art showing dance, music, fine arts and theater. The people of Jombang held this art as part of of the community's promise. This art is the original culture of Jombang which has lost its existence. The purpose of making this painting that produces six paintings isto present the Klana dance moves. as a form of expression of sadness and concern for the Jatiduwur Wayang Topeng art. This painting method uses the creation model of L.H. Chapman. The resulting painting consists of six paintings which represent some of Prabu Klana Jaka's movements in the Klana dance as the opening dance in the Jatiduwur mask puppet art.The media used is acrylic paint on canvas.