Academic literature on the topic 'Painting – Technique – Exhibitions'
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Journal articles on the topic "Painting – Technique – Exhibitions"
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Kalenska, Inna. "The concept of a bullfight in the painting cycle «Ole!» by Les Podervianskyi." Text and Image: Essential Problems in Art History, no. 2 (2021): 124–30. http://dx.doi.org/10.17721/2519-4801.2021.2.07.
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The review of Les Podervianskyi’s exhibition “Ole!”, which was presented at the Dymchuk Gallery in Kyiv in autumn 2021, focuses on the concept of bullfighting as a universal artistic plot. Many artists of different generations, including such eminent as P. Picasso or F. Goya, have repeatedly reproduced the bullfight, as a phenomenon of Spanish culture, in their artworks. Recently, some contemporary Ukrainian artists have turned to the symbolism and aesthetics of this Spanish plot, which is evidenced by the appearance of thematic exhibitions, including “Ole!” The text considers the phenomenon of L. Podervianskyi’s personality as an artist in the context of the history of contemporary Ukrainian art. It analyzed the variations of interpretations of torero and bull images from the standpoint of bullfighting philosophy, which allows us to comprehend the metaphorical depiction of the Spanish traditional battle in painting. The presented series of paintings is considered from different angles: 1) color and compositional solution; 2) the matador and the bull as multi-valued symbols of the universal plot; 3) the system of the exhibition project in the gallery space. One of the highlights is on the connection between text and image, in particular in the combination of the title and the image itself. Separately, it is covered the topic of Japanese culture, which is one of the central ones in L. Podervianskyi’s work: similar features in the construction of Japanese poetry and compositional techniques in painting are analyzed; the interchangeability of the use of bullfighting and kung fu plots as an artistic technique is explained. Mixing and layering the Ukrainian experience of the artist, images of the bullfighter and the bull and Japanese traditions creates a new system in the artistic dimension, in which the confrontation between the individual and the external world and the inner self becomes the central point.
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Bakaryagin, Stepan S. "Exhibitions of Soviet fine art in 1930 in the reviews of the foreign press." Vestnik Yaroslavskogo gosudarstvennogo universiteta im. P. G. Demidova. Seriya gumanitarnye nauki 15, no. 4 (December 20, 2021): 498–505. http://dx.doi.org/10.18255/1996-5648-2021-4-498-505.
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The article examines the reviews of the German, Austrian and Swedish periodicals about some exhibitions of Soviet fine art held in 1930. On the basis of archival materials, the attitude of the foreign press to the Soviet exhibition projects in Berlin, Vienna and Stockholm is analyzed. The influence of the political orientation of periodicals on the assessment of the plots of the works of Soviet artists is emphasized. When characterizing the painting technique and compositional structure of the works, critics pointed to their continuity from the Western European tradition. Soviet graphics and sculpture made a positive impression. Critics associated the artistic successes mainly with the masters of the old Russian school.
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Xiaotao, Li, and Yan Qing. "The influence of the Itinerants' creative ideas on Chinese realistic painting." World of Russian-speaking countries 2, no. 8 (2021): 87–104. http://dx.doi.org/10.20323/2658-7866-2021-2-8-87-104.
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The article analyzes the influence of the Itinerants' creative ideas on Chinese realistic painting, the development of which is inseparable from the study of the Itinerants. The article examines how the painting technique and ideology of the Association of Itinerant Art Exhibitions founded in the late 19th century are relevant to many 20th-century Chinese artists. The authors identify the ideological principles of the Itinerant movement that have influenced different generations of Chinese artists (rejection of the “art for art's sake” principle, emphasis on national characteristics of painting, responsibility for reflecting the life of people in the country, advocating the spirit of critical realism as the only true way to reflect life in art) and prove that without Russian Itinerants there would be no Chinese realism in painting and modern Chinese realistic painting. The article identifies and characterizes three stages of adopting the Itinerant creative ideas in China: the period of the Republic of China (acquaintance of the Chinese public with the Itinerants' paintings and understanding the Itinerant ideology at the time of the “Movement for New Culture”), the beginning of the PRC foundation (the period of comprehensive study of realist painting, training of talented Chinese artists in art educational institutions of the USSR as part of the cultural exchange and mastering the principles of Soviet realist art) and the first decade after the Cultural Revolution (a critical “painting of scars” reflecting the experiences and fates of people during the Cultural Revolution). The authors conclude that the study of the Itinerants' creative ideas from the point of view of cultural studies in the context of the Chinese realist art school development is important for understanding the Russian- Chinese cultural dialogue.
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Sarwari, Abdul Qadir. "A Study of Contemporary (Modern) Painting in Herat. Case Study (Faculty of Fine Arts, Herat University)." Shanlax International Journal of Arts, Science and Humanities 10, no. 2 (October 1, 2022): 8–15. http://dx.doi.org/10.34293/sijash.v10i2.5082.
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Painting in Herat in the last two decades has achieved new achievements and approaches to the past traditions. These achievements were mostly in terms of form, color and technique, first influenced by modern Western painting, but then painters and students presented works with a combination of Eastern and Western painting based on the culture and traditional patterns of our society.The purpose of this study was to examine the contemporary (modern) painting within the framework of Herat College of Fine Arts, which can be important for students, artists and art lovers. In this research, two methods of library method and field method have been used. Authentic books and articles have been used in background. In field method, the data collection was based on observations and interviews with several professors of the Faculty of Fine Arts and pioneers of contemporary painting in Herat, which the result is summarized as follows. Contemporary painting was introduced to the audience academically for the first time by presenting the works of two painters from the Faculty of Fine Arts of Herat in an exhibition entitled Gardoun. By observing the pictures and interviews that were conducted, in the early days of its formation, contemporary painting was influenced by the Cubism style, but in recent years, contemporary painters have presented works with a new look and a combination of Eastern and Western art based on culture and civilization and indigenous environmental patterns of our country, which some unique methods can be seen in the works of a number of masters.Contemporary painting in the Faculty of Fine Arts of Herat began academically in 2009 and went through good stages and in the last decade found its place among students, but unfortunately by the change of government, some restrictions arose on the art of painting and establishing exhibitions which caused the lack of motivation of artists and students to art, and this process caused a number of artists and students to go abroad. What will be the future of art and the artist is a question that will be answered in the future.
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Bozhko, E. M., and M. V. Spornik. "VALUE OF ARTIFICAL EDUCATOIN FOR ARCHITECTURAL LANDSCAPE AT THE MODERN STAGE." Regional problems of architecture and urban planning, no. 14 (December 29, 2020): 160–66. http://dx.doi.org/10.31650/2707-403x-2020-14-160-166.
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Analyzing relevant and informative sources for acquaintance with modern fine art, catalogs of various art exhibitions, article questions and problems associated with the creation of architectural and landscape compositions are considered from a practical point of view. A significant role in art belongs to the architectural landscape, as a genre variety. Promising types of cities - Veduta (A. Canaletto, V. Bellotto) have become separate types of architectural landscape. The genre of painting is the Veduta, which developed in the eighteenth century in Venice. This is an image of views of the city and its environs. Lead amaze with its accuracy. At that time, such images served as photographs. The requirements for the paintings corresponded to their purpose: the accuracy of the image of objects, down to the smallest detail. With the advent of photography, the requirements for graphic images have lost their relevance. The camera can accurately capture the object, transmit small details better than the artist. The changes that are taking place in modern realistic painting are connected precisely with the appearance of photography. Many modern impressionists, trying to impress the landscape they saw, write sketches with wide, wide strokes. For the sake of such a technique, they ignore many important elements of the landscape in order to maximize the expressiveness of their work. Modern artists working in the realistic direction of the architectural landscape pay attention to color reproduction, color of painting, while paying due attention to drawing, linear perspective and construction. Painting and photography at the present stage are fundamentally different from each other. Painting corresponds to its name - living writing, generalization, typification and stylization of forms, the viewer's impression of lightness, airiness and illumination. Modern realistic painting is modified relative to the painting of the VIII-XIX centuries. This process is due to the technical development of the modern world, the advent of digital photography, new materials for creativity. Picturesque language goes into the language of flowers. Professional art education plays a fundamental role in understanding the landscape as a genre of painting. Education allows you to combine composition, the picturesque effect, which is an innovation in realistic landscape painting, for the complete deep impression of the viewer.
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Hnidyk, Iryna. "ICONS OF THE MOTHER OF GOD IN THE CULTURAL HERITAGE SPACE OF ROME." Ethnic History of European Nations, no. 68 (2022): 14–21. http://dx.doi.org/10.17721/2518-1270.2022.68.02.
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The images of the Mother of God in Italy represent a significant part of the cultural heritage of European and world sacred art and icon painting of various chronological periods and stylistic features. A special place in this dimension belongs to the icons of the Mother of God in Rome. Ever since the first centuries, images of the Virgin have been represented in the paintings of the Roman catacombs. The iconographic heritage of Rome represents different periods and a unique interweaving of styles. Over the centuries, ancient icons of the Mother of God have been kept in Rome, made both in the technique of encaustic, tempera, and later in oil painting. Many images of the Mother of God in Rome represent the original samples of the Byzantine style of icon painting of various origins and the works of masters of the Italian artistic environment at the intersection of Western and Eastern artistic styles. A significant number of these icons are crowned and have the status of miraculous. Some of the most ancient and famous icons of the Mother of God in Rome are «Salus Populi Romani», «Madonna del Conforto», «Madonna Avvocata», «Madonna della Clemenza», «Madre del Perpetuo Soccorso», «Santa Maria del Popolo», «Madonna della Catena», «La Madonna dei Martiri» and others. Common iconographic types are Hodegetria, Agiosoritissa, Kyriotissa, Galaktotrofusa, etc. Often, these icons have several Italian-language names, which must be considered when choosing methodological tools for historiographical analysis. The article provides a general overview of the heritage of the icons of the Mother of God in Rome based on the most famous of them. English-language and Italian-language historiography was analyzed to model further relevant research directions in developing this topic by modern specialists in an interdisciplinary context. It is emphasized that in the churches of Rome, there are still many less-known and less-researched icons of the Mother of God, particularly in terms of stylistic features and painting techniques. Their detailed study and analysis of sources can effectively fill this niche in historiography and become an interesting topic for modern interdisciplinary research in the field of history, icon painting, art, restoration, and cultural heritage, as well as the basis of original concepts for exhibitions, photo catalogs, new excursion routes, etc.
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Radaeva, E. A. "TRADITIONS OF EXPRESSIONISM IN MODERN WORLD FINE ARTS." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 24, no. 82 (2022): 79–86. http://dx.doi.org/10.37313/2413-9645-2022-24-82-79-86.
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This article discusses the traditions of expressionism in contemporary fine arts by artists from different parts of the world. The material was the work of authors who were either in the top ten and highly paid (British artists Jenny Saville and Howard Hodgkin, Germans Georg Baselitz and Albert Ohelen, Swiss artist Louise Bonnet, Chinese Jia Aili), or in the top ten "rising stars of painting XXI century” (Kristina Alisauskaite, Carla Busuttil, Pavel Slivinsky, Andre Hemer, Lukas Stoklose), as well as Cecily Brown. The author comes to the conclusion that if the paintings of the authors cited in this article are successful at exhibitions and auctions, and if expressionistic motifs are clearly manifested in their canvases, then the art of expressionism itself, which originated at the beginning of the last century and whose influence can be considered undeniable to this day, despite the variety of new schools and trends. Moreover, the modern era has given this art a new sound and left its mark on the subject, technique, and material.
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Radaeva, E. A. "TRADITIONS OF EXPRESSIONISM IN MODERN WORLD FINE ARTS." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 24, no. 82 (2022): 79–86. http://dx.doi.org/10.37313/2413-9645-2022-24-82-79-86.
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This article discusses the traditions of expressionism in contemporary fine arts by artists from different parts of the world. The material was the work of authors who were either in the top ten and highly paid (British artists Jenny Saville and Howard Hodgkin, Germans Georg Baselitz and Albert Ohelen, Swiss artist Louise Bonnet, Chinese Jia Aili), or in the top ten "rising stars of painting XXI century” (Kristina Alisauskaite, Carla Busuttil, Pavel Slivinsky, Andre Hemer, Lukas Stoklose), as well as Cecily Brown. The author comes to the conclusion that if the paintings of the authors cited in this article are successful at exhibitions and auctions, and if expressionistic motifs are clearly manifested in their canvases, then the art of expressionism itself, which originated at the beginning of the last century and whose influence can be considered undeniable to this day, despite the variety of new schools and trends. Moreover, the modern era has given this art a new sound and left its mark on the subject, technique, and material.
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ROCACIUC, Victoria. "GRAPHIC AND PAINTING CREATION SIGNET BY THE MOLDOVAN VISUAL ARTIST ION SFECLĂ." ART Space 1, no. 4 (2024): 9–18. http://dx.doi.org/10.28925/2519-4135.2024.41.
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The visual artist Ion Sfeclă (19.11.1941-27.05.2020) created several valuable works in various techniques of graphic art and easel painting. In parallel with his creative activity, he worked as a teacher at the Republican College of Fine (Visual) Arts “Alexandru Plămădeală” in Chisinau. Participating in various exhibitions, creative camps, international and national, the artist Ion Sfeclă manifested himself as a talented author of thematic compositions, landscapes, still-lifes and portraits. His watercolor landscapes and etchings, as well as the sketches of illustrations created in the same technique are of the great expressive force. The National Museum of Art of Moldova preserves the series of etching compositions dedicated to the Mihai Eminescu subject, dating from 1983, which can be analyzed as sketches of illustrations and those dedicated to the old city (Chisinau), from 1991. In creation the artist tended to approach philosophically the subjects chosen through associations, metaphors and symbols. The visual artist Ion Sfeclă had an expressive, fresh and at the same time rational artistic vision, managing to unite the content with the plastic form, composition and color. At the heart of his creative pursuits were the images and faces of people, the landscapes, the still0lifes, the rhythm and decorativism, the simplicity and stylization inspired by the folk wisdom and the beauty of the immediate reality. The artist has taken an interesting path from socialist realism to abstract art, from the painting to graphics works keeping the expressive charm of emotions in his creation. Ion Sfeclă’s creation denotes artistic refinement, the poetic sense of nature and colors, a free exploration of graphic and pictorial processes, in combination with original compositional ideas.
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Шишкова, Е. Г., К. Ф. Самосюк, А. О. Дивлеткильдеева, О. Л. Смоляницкая, С. В. Хаврин, К. С. Чугунова, И. А. Григорьева, and Я. Р. Уразаева. "Restoration of 18th century Chinese album." Iskusstvo Evrazii [The Art of Eurasia], no. 4(23) (December 29, 2021): 254–69. http://dx.doi.org/10.46748/arteuras.2021.04.020.
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Цель данного исследования — познакомить специалистов, занимающихся изучением и реставрацией произведений китайской живописи, с опытом, полученным в Государственном Эрмитаже. В процессе изучения текстов «Альбома рисунков. Путешествие императора Цяньлуна на юг Китая» хранителем К.Ф. Самосюк была установлена дата его создания — 1751–1758 годы. Альбом с китайской живописью был исследован всесторонне: проведены физико-химические и биологические исследования, которые позволили определить методику его реставрации. В России мало информации о реставрации альбомов такого рода. Исследование и реставрация китайской живописи осложняется хрупкостью материалов — бумаги и шелка, а также утонченностью техники живописи, поэтому были выбраны неразрушающие методы исследования без взятия проб. Рассматривались также этические проблемы. Были применены физический, химический и биологический анализы для определения подходящего метода реставрации. Биологические исследования подтвердили необходимость замены старых, обветшавших страниц альбома новыми. Для реставрации и сохранения альбома были использованы традиционные китайские методы реставрации и собственный опыт. Об исследовании и реставрации китайской живописи и каллиграфии, помещенных в альбомы, не так много информации. Наряду с другими источниками впервые в отечественной практике было использовано «Иллюстрированное руководство по монтированию китайской каллиграфии и живописи» Янь Гуйжуна, 2013. В статье также рассматривается проблема адаптации альбомов с живописью и каллиграфией к новым требованиям хранения и экспонирования графики. Изменение исторической формы монтирования листов с изображениями было вызвано сильным разрушением конструкции альбома. Новая форма хранения позволила выставлять альбом отдельными листами на различных тематических выставках с возможностью их ротации на экспозиции. В данной статье показан логический ход выбора методики реставрации, основанный на результатах исследований памятника и сочетании традиционных и современных методов реставрации. The aim of the article is to share our experience of restoring the Album of Drawings. The Emperor Qian Long’s Tour of Inspection to Southern China. Curator K.F. Samosyuk has dated the album to 1751–1758. There is little information in Russia on restoring albums of this kind. Restoration of painting on paper and silk is complicated by the fragility of the support material and painting technique; we therefore chose non – destructive research methods without taking samples. Ethical problems were also considered. For the first time we used physical, chemical and biological analysis to determine the appropriate restoration method. Biological research led us to replace old, faded album pages with new ones. We then used traditional Chinese restoration methods and our own experience to restore and preserve the album. Along with other sources, for the first time in Russia, Yan Guirong’s Illustrated Instructions for the Mounting of Chinese Calligraphy and Painting, 2013 was used. The key factor, though, was the experience we gained during research secondments at Shanghai Museum. We also examine the problem of adapting painting and calligraphy albums to new requirements for the preservation and exhibiting of graphic art. Historically, album pages with illustrations were mounted in pairs and glued together. Because of the album’s severe state of deterioration we decided to mount the pages on separate sheets. This new form of preservation has enabled separate pages from the album to be shown at differently – themed exhibitions and for rotation to take place. The article shows the logical process involved in choice of restoration method based on our research findings and a combination of traditional and modern restoration methods. Chinese painting, calligraphy, album, Chinese paper, Chinese silk, conservation, restoration, physical and chemical research, biological research, exhibiting, oriental painting, State Hermitage Museum
Dissertations / Theses on the topic "Painting – Technique – Exhibitions"
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Santos, Jorge António Pereira de Sousa. "O lugar da arte-museu, arquitectura, arte e sociedade." Master's thesis, Instituições portuguesas -- UTL-Universidade Técnica de Lisboa -- -Faculdade de Arquitectura, 2002. http://dited.bn.pt:80/29523.
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Page, Patrick J. "Submission to shelter." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1137666.
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The goal of this project was to create a mobile structure in which a suite of paintings could be transported and viewed. When the structure and paintings are arranged as an "installation," they will create a more active role for a "viewer" who could then be defined as a "participant." The participant would be involved in the assembly of the environment and would find more opportunities for interaction in the assembled environment than he or she would in a traditional gallery or museum setting. A description and explanation of the processes involved in the creation of this project is preceded by a discussion of different historical, cultural, and methodological ways by which artwork is or has been presented. Also referenced are different artists and philosophies that informed this project.Department of Art
Books on the topic "Painting – Technique – Exhibitions"
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Townsend, Joyce. Turner's painting techniques. 2nd ed. London: Tate Pub., 1996.
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Turner, J. M. W. 1775-1851., ed. Turner's painting techniques. London: Tate Gallery, 1993.
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Turner, J. M. W. 1775-1851., ed. Turner's painting techniques. 4th ed. London: Tate Pub., 2005.
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Zandvliet, Robert. Robert Zandvliet: Beyond the horizon : Malerei 1994-2005 = Paintings 1994-2005. Bonn: Kunstmuseum, 2005.
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Tilburg, De Pont Museum, ed. Robert Zandvliet: Stones & sketches. Amsterdam: Roma Publications, 2014.
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Paul, McGillick, Art Gallery of New South Wales., Contemporary Art Society (NSW), and John Fairfax and Sons, eds. The Subject of painting: March 16 to April 21, 1985 : an exhibition. [Sydney?]: Art Gallery of New South Wales, 1985.
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Munch, Edvard. Edvard Munchs "hestekur": Eksperimenter med teknikk og materialer. Oslo: Munch-museet, 1995.
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Stefano, Masi, and Fornaciai Art Gallery, eds. Al di là delle stelle: Mario Schifano : monotipi e multipli. Florence]: Fornaciai Art Gallery modern & comtemporary, 2018.
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Blodgett, Jean. Painting the Bay: Recent work by John Hartman. Kleinburg, Ont: McMichael Canadian Art Collection, 1993.
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Rodin, Auguste. Rodin Beuys. Düsseldorf: Richter Verlag, 2005.
Find full textBook chapters on the topic "Painting – Technique – Exhibitions"
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Langley, Allison, Katrina Rush, and Julie Simek. ""The Complete Painter": Malangatana's Approach to Painting, 1959–75." In Malangatana: Mozambique Modern. The Art Institute of Chicago, 2021. http://dx.doi.org/10.53269/9780865593138/05.
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Based on conservation research associated with an exhibition of early work by pioneering Mozambican artist Malangatana Ngwenya, this essay describes his painting methodologies as revealed by material evidence and state-of-the-art visualization techniques.
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Louth, Andrew. "The Recovery of the Icon." In Selected Essays, Volume II, 341–61. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192882820.003.0030.
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Abstract Icons nowadays are closely associated with Orthodoxy. Nevertheless the tradition of icon painting was virtually lost from the eighteenth century onwards, and only recovered in the twentieth. For Dostoevsky and Bulgakov religious art meant Western art. Although older traditions were preserved among the Old Believers, the recovery of the icon took place in various stages. Cleaning techniques first employed in the nineteenth century revealed icons as coloured, rather than gloomy objects of devotion. Art historians and connoisseurs, notably Shchukin and Morosov, became interested. Rublev was rediscovered. The exhibition, ‘Old Russian Art’, in Moscow in 1913, displayed icons in a new light. Trubetskoy and Florensky began to reflect on iconography. The recovery of actual icon painting was a matter of individuals: Uspensky, Krug, and in Greece, by a different route, Kontoglou. Others who began to paint icons included St Maria of Paris, Sister Joanna Reitlinger, and St Sophrony of Essex.
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Oikonomou, Maria. "Manteia, Mediality, Migration." In Classics and Media Theory, 291–312. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198846024.003.0012.
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From the Oracle of Dodona to modern GPS, mediation and migration have been closely interrelated. In fact, migration can be conceptualized as passage through a complex field of decisions (junctions, entries, exits, obstacles, connections) whose every bifurcation is coupled to a medium to direct the migrant in her path. This chapter discusses this nexus between manticism and narratives of migration with regard to Greek mythology. In this respect, the shipwrecked alien Odysseus depends on a series of media; he descends to the underworld to consult the seer Tiresias as to how to operate in what Michel Serres calls a precultural topology of seams and fissures (the notorious vagueness of such auguries reflects both the uncertainties of migration and the rate of noise in media transmissions). Similarly, Oedipus’ visit at the Oracle of Delphi constitutes a crucial point in the mythological discourse as well as the protagonist’s topographical parcourse; it transforms the territory into a field of connections, alternatives, decisions, and catastrophes—a ‘tragic landscape’, which George Hadjimichalis’s installation Schiste Odos translates into various techniques of representation (scale models, maps, oil paintings, aerial photographs). Finally, such medializations also touch the migrant’s body. Derrida describes Oedipus at Colonus as a figure of transference and placelessness—marked, in Sophocles, by the unknown location of his grave—who nevertheless allows the founding of a new community, thus exhibiting the foreign as a politically and culturally creative factor.
Conference papers on the topic "Painting – Technique – Exhibitions"
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Цветкова, Н. Н. "MODERN TRENDS IN THE ART OF FABRIC PAINTING (EXPERIENCE OF RUSSIAN AND INTERNATIONAL EXHIBITIONS)." In Месмахеровские чтения — 2024 : материалы междунар. науч.-практ. конф., 21– 22 марта 2024 г. : сб. науч. ст. / ФГБОУ ВО «Санкт-Петербургская государственная художественно-промышленная академия имени А. Л. Штиглица». Crossref, 2024. http://dx.doi.org/10.54874/9785605162926.2024.10.12.
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Техника росписи ткани является одной из древнейших. В настоящее время наблюдается возрождение интереса к различным способам декорирования текстиля; в рамках российских и международных выставок экспонируются произведения, выполненные методом свободной росписи, батика, узелкового крашения. Различные техники росписи ткани применяются для создания плоских текстильных произведений, объемно- пространственных арт-объектов, инсталляций и таких форм современного искусства, как хеппенинг и перформанс. The technique of fabric painting is one of the oldest. Currently, there is a revival of interest in various methods of textile decoration; interesting works made by the method of free painting, batik, shibory are exhibited at leading Russian and international exhibitions. Various techniques of fabric painting are used to create flat textile works, three- dimensional art objects, installations and such forms of modern art as happening and performance.
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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.
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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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Петрухина, О. В. "MULTIMEDIA CAPABILITIES IN CREATING ARTISTIC IMAGES (PAINTING, SCULPTURE, ARCHITECTURE)." In Искусство и дизайн: история и практика. Crossref, 2024. http://dx.doi.org/10.54874/9785605162995.2024.9.07.
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Возможности мультимедиа (анимация, видео, свет и звук) успешно внедряют сейчас на различных выставочных площадках во всем мире, включая пространства ведущих музеев России, при организации зрелищных световых представлений, оформлении театральных мероприятий и пр. Преимуществом мультимедиа является высокая скорость донесения информации. В статье раскрывается широкий арсенал ее технических возможностей и приемов, описываются перспективы дальнейшего развития. Multimedia capabilities (animation, video, light and sound) are now being successfully introduced to various exhibition venues around the world, including the space of Russia's leading museums, when organizing spectacular light performances, decorating theatrical events, etc. The advantage of multimedia is the high speed of information delivery. The article reveals a wide range of its technical capabilities and techniques, describes the prospects for further development.
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Ferguson, Eric, Toby Dunne, Lloyd Windrim, Suchet Bargoti, Nasir Ahsan, and Waleed Altamimi. "Automated Painting Survey, Degree of Rusting Classification, and Mapping with Machine Learning." In Abu Dhabi International Petroleum Exhibition & Conference. SPE, 2021. http://dx.doi.org/10.2118/208119-ms.
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Abstract Objective Continuous fabric maintenance (FM) is crucial for uninterrupted operations on offshore oil and gas platforms. A primary FM goal is managing the onset of coating degradation across the surfaces of offshore platforms. Physical field inspection programs are required to target timely detection and grading of coating conditions. These processes are costly, time-consuming, labour-intensive, and must be conducted on-site. Moreover, the inspection findings are subjective and provide incomplete asset coverage, leading to increased risk of unplanned shutdowns. Risk reduction and increased FM efficiency is achieved using machine learning and computer vision algorithms to analyze full-facility imagery for coating degradation and subsequent ‘degree-of-rusting’ classification of equipment to industry inspection standards. Methods, Procedures, Process Inspection data is collected for the entirety of an offshore facility using a terrestrial scanner. Coating degradation is detected across the facility using machine learning and computer vision algorithms. Additionally, the inspection data is tagged with unique piping line numbers per design, fixed equipment tags, or unique asset identification numbers. Computer vision algorithms and the detected coating degradation are subsequently used as input to determine the ‘degree-of-rusting’ throughout the facility, and coating condition status is tagged to specific piping or equipment. The degree-of-rusting condition rating follows common industry standards used by inspection engineers (e.g., ISO 4628-3, ASTM D610-01, or European Rust Scale). Results, Observations, Conclusions Atmospheric corrosion is the number one asset integrity threat to offshore platforms. Utilizing this automatic coating condition technology, a comprehensive and objective analysis of a facility's health is provided. Coating condition results are overlaid on inspection imagery for rapid visualisation. Coating condition is associated with individual instances of equipment. This allows for rapid filtering of equipment by coating condition severity, process type, equipment type, etc. Fabric maintenance efficiencies are realized by targeting decks, blocks, or areas with the highest aggregate coating degradation (on process equipment or structurally, as selected by the user) and concentrating remediation efforts on at-risk equipment. With the automated classification of degree-of-rusting, mitigation strategies that extend the life of the asset can be optimised, resulting in efficiency gains and cost savings for the facility. Conventional manual inspections and reporting of coating conditions has low objectivity and increased risk and cost when compared to the proposed method. Novel/Additive Information Drawing on machine learning and computer vision techniques, this work proposes a novel workflow for automatically identifying the degree-of-rusting on assets using industry inspection standards. This contributes directly to greater risk awareness, targeted remediation strategies, improving the overall efficiency of the asset management process, and reducing the down-time of offshore facilities.
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Бахтияров, Р. А. "NEW TECHNOLOGIES AND DIGITAL EASEL PAINTINGS BY OLGA MICHIE AND THE “GROM” ART GROUP (“DWELLING OF THE FUTURE” EXHIBITION, RUSSIAN MUSEUM, 2023–2024)." In Искусство и дизайн: история и практика. Crossref, 2024. http://dx.doi.org/10.54874/9785605162995.2024.9.03.
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Опыт рассмотрения выставки «Жилище будущего», проходившей в Русском музее в 2023–2024 гг., позволил обозначить проблему особого раздела современного искусства, связанного с визуальным проектированием образа будущего с использованием новых технологий. Анализ концепции выставки и содержания представленных на ней крупноформатных цифровых работ арт-группы «ГрОМ» и отдельных произведений, демонстрирующих интерьеры помещений различного функционального назначения, показал значение новых техник и технологий в раскрытии сложного многозначного содержания проекта. Показано, что актуальная тема возможных вариантов будущего человечества предполагает различные интерпретации, где друг с другом взаимодействуют утопия и антиутопия. Experience of viewing the exhibition “Dwelling of the Future”, held at the Russian Museum in 2023–2024, allowed us to identify the problem of a special section of contemporary art associated with the visual design of the image of the future using new technologies. An analysis of the concept of the exhibition and the content of the large-format digital works of the art group “GrOM” presented at it, and individual works demonstrating the interiors of premises for various functional purposes, showed the importance of new techniques and technologies in revealing the complex multi-valued content of the project. It is shown that the current topic of possible options for the future of humanity involves various interpretations, where utopia and dystopia interact with each other.
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Klokočovnik, Jure, and Deja Muck. "3D printed lithophane." In 11th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design, 2022. http://dx.doi.org/10.24867/grid-2022-p44.
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Lithophane is a transparent plate on which, with the help of the different thickness of this plate, an image is formed. Light that passes through the plate from the back side of the plate shows a clear gray image on the front side of this plate. The strength of the transparency is determined by the material of the plate and the light source coming from behind. Without backlighting, the subject on the lithophane cannot be seen. Lithophanes in the form of porcelain vases were discovered in China long before the technique made its way to Europe. In Europe the origins of lithophanes date back to the early 19th century in France. Europeans perfected the technique and also used it to reproduce famous portraits and paintings. Today, the production of lithophanes is experiencing a renaissance with the advent of 3D printing technologies. In the research paper, the process of making lithophane using 3D printing is presented. First, 3D printing technologies are presented, more specifically the technology of extrusion of materials or thermoplastics modelled by joining layers. Then, the materials used for 3D printing with the mentioned technology are presented. Next, the procedures for 3D acquisition and reproduction of reliefs are described, and at the end, the lithophane itself is presented. In the practical part, the whole process of making lithophane is presented. For the creation of the lithophane model, the 3D modelling program Blender was used, and the lithophanes in physical form were made with the Creality Ender 3 3D printer using PLA filament. Droplet and electrophotographic printers were also used to produce colour lithophanes. The influence of LED and halogen lamps on the final impression of lithophane reproduction was also compared. Lithophanes produced with different print settings and different colour reproductions were compared. The results showed that the best wall thickness is one millimetre, and the layer thickness is the smallest value allowed by the printer. The orientation of the lithophane during printing has a great influence on the final image of the design. The best orientation is upright. Color reproduction is best when using electrophotographic printing in combination with acrylic varnish. Lighting research showed that LED is better than halogen lamps. The finished lithophane was of satisfactory quality and could be used as a decoration for the home or to organize an art exhibition with a large number of coloured lithophanes reproducing various artworks and motifs.