Journal articles on the topic 'Painting – Technique – Exhibitions'
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1
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
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Radaeva, Ella A. "Expressionist Traditions in the Works of Contemporary Artists of Russia and Former Union Republics." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 68 (2023): 284–99. http://dx.doi.org/10.37816/2073-9567-2023-68-284-299.
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The paper analyzes the influence of the expressionist method on the painting of contemporary artists in Russia, as well as (to a greater or lesser extent) Ukraine, Belarus, Armenia, Kazakhstan. The exhibitions of recent years, thematic publics on art (on social networks) came to be the study`s initial material, then we are talking selectively about the work of individual authors. The research allowed for concluding: in modern fine arts, expressionism is distinguished by its unconditional “vitality” and the ability to assimilate with new trends; the “handwriting” of modern “expressionists” is characterized by the constant absence of chiaroscuro, often — the pretentiousness of the color scale; the theme of the spirit stifling in the gripe of the City, and the spirit of protest, pouring out into feminism or rejection of civilization (bourgeois / market), sometimes — aestheticization of the ugly, motifs of death and decay, sometimes — primitivism, childishness, gravitation towards the poster technique. However, today we are dealing with a “softened” version of expressionism: not always a pessimistic view of the artist's world, not always based on a pronounced rebellious beginning.
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Bivens, Becky. "An Unlikely Match: Modernism and Feminism in Lynda Benglis’s Contraband." Arts 13, no. 3 (June 8, 2024): 106. http://dx.doi.org/10.3390/arts13030106.
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In 1969, Lynda Benglis withdrew her large latex floor painting, Contraband, from the exhibition Anti-Illusion: Procedures/Materials. Looking beyond the logistical problems that caused Benglis to pull the work, I suggest that it challenged the conceptual and formal parameters of the exhibition from its inception. Taking hints from feminism, modernist painting, camp aesthetics, psychedelic imagery, pop, and minimalism, Benglis’s latex pours unify an array of movements, styles, and political positions that have often been treated as antithetical. Although the refusal of traditional binaries was typical of the neo-avant-garde, Benglis’s work was “contraband” because it challenged the inflexible dictum that feminist art and modernist painting are mortal enemies. With Contraband, she drew on abstract expressionist techniques for communicating feeling by exploiting the dialectic of spontaneity and order in Pollock’s drip paintings. Simultaneously, she drew attention to gender through sexed-up colors and materials. Rather than suggesting that gender difference is repressed by abstract expressionist painting’s false universalizing, Benglis shows that modernist techniques for communicating feeling are crucial for the feminist project of understanding the public significance of seemingly private experience.
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Agratina, Elena E. "Jean-Honoré Fragonard: The New in the Notions of “Sketchiness” and “Completeness”." Observatory of Culture 18, no. 2 (May 31, 2021): 174–85. http://dx.doi.org/10.25281/2072-3156-2021-18-2-174-185.
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The second half of the 18th century was a time of active changes in the perception of art, rethinking many concepts and phenomena. One of them was the pictorial sketch, which transformed from a preparatory stadium work into an independent, complete piece of art. Many art theorists and critics, as well as painters themselves had contributed to this rethinking. Many young artists, bored of historical painting and indifferent to all the academic principles, were searching for new media of expressiveness, using the sketch-like pictorial manner to give their works a new dynamism and an impression of “easy production”. The article is dedicated to J.-H. Fragonard (1732—1806), an artist in whose works the “sketchiness” became a conscious artistic method used in small-format pieces, in large-scale canvases, and even in panels. The use of such a technique in grand scale works is considered to be an extreme unconventionality, which, however, was not appreciated by Fragonard’s contemporaries and even by scholars of the next two centuries. Fragonard’s series of ‘Fantasy Portraits’ attracted enough investigators’ attention, but his series ‘Progress of Love’ has only recently begun to be recognized by researchers as an unusual and bold for that time artistic experience. Based on the analysis of the artist’s selected works, the author builds her original research, designed to highlight Fragonard’s special role in the evolution of art on the way from the Modern Period to Contemporary History. The relevance of the present article is caused by too little examination of this topic: minimal in Russia and relatively small in France. Besides consultation with research literature, this required the author to constantly directly refer to the 18th-century sources, such as treatises by art connoisseurs and scholars, art criticism, and catalogues of exhibitions arranged by the Royal Academy of Painting and Sculpture or the Académie de Saint-Luc.
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Mazzinghi, Anna, Chiara Ruberto, Lorenzo Giuntini, Pier Andrea Mandò, Francesco Taccetti, and Lisa Castelli. "Mapping with Macro X-ray Fluorescence Scanning of Raffaello’s Portrait of Leo X." Heritage 5, no. 4 (December 6, 2022): 3993–4005. http://dx.doi.org/10.3390/heritage5040205.
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Raffaello is renowned as one of the Old Renaissance Masters and his paintings and painting technique are famous for the details and naturality of the characters. Raffaello is famous in particular for the then-new technique of oil painting, which he mastered and perfected. On the occasion of the 500th anniversary of the death of Raffaello (2020), there was a large exhibition at the Scuderie del Quirinale in Rome, where many paintings and drawings by the Old Master were on show. One of these paintings was the portrait of Leo X with two cardinals belonging to the collection of the Uffizi galleries in Florence. Before going to Rome, the painting underwent conservation treatments at the Opificio delle Pietre Dure, where a comprehensive diagnostic campaign was carried out with the aim of understanding the painting materials and technique of the Old Master. In this paper, the results of macro X-ray fluorescence (MA-XRF) analysis, carried out exploiting the instrument developed by INFN-CHNet, are shown. Among the results, “bismuth black” and the likely use of glass powders in lakes are discussed.
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Gargano, Marco, Matteo Interlenghi, Tiziana Cavaleri, Christian Salvatore, Nicola Ludwig, and Isabella Castiglioni. "Giovanna Garzoni Miniaturist at the Savoy Court: Imaging and Materials Investigations to Discover the Painting Technique." Applied Sciences 13, no. 5 (February 21, 2023): 2790. http://dx.doi.org/10.3390/app13052790.
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The exhibition “The Ladies of Art”, held at the Palazzo Reale in Milan in 2021, focused on the history of women artists during the 16th and 17th centuries. As part of the exhibition, a series of diagnostic analyses have been carried out on two paintings, thanks to the collaboration of several research institutions. The considered artworks consist of two paintings on parchments, realized by Giovanna Garzoni at the Savoy Court in the 17th century. Diagnostic analyses were performed using different, complementary, and non-invasive techniques: high-resolution multiband imaging, hyperspectral imaging, optical microscopy, X-ray fluorescence, and FORS spectrometry, combined with advanced post-processing techniques, in order to map and distinguish the pigments and the underdrawing of both the paintings. This research is the first conducted on these paintings and one of the few on the entire works of this important miniaturist. The results showed an incredibly meticulous painting technique, with a detailed metal point underdrawing and painstaking brushstrokes to describe the details with a high degree of realism. Precious materials, such as gold and lapislazuli, were identified and mapped. The findings of this work represent a new contribution of knowledge, which helps to lessen the lack of information for systematic studies on the artistic production of G. Garzoni.
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Ariesa Pandanwangi, Belinda Sukapura Dewi, and Shopia Himatul Alya. "NARASI VISUAL CERITA FABEL DALAM KARYA SENI LUKIS." Jurnal Budaya Nusantara 3, no. 2 (July 20, 2020): 135–42. http://dx.doi.org/10.36456/b.nusantara.vol3.no2.a2545.
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Bandung is one of the creative cities in Java, especially West Java. Proven Bandung has a lot of local wisdom dug up from legendary stories, animal fable stories, culinary riches, and many more which later became interesting ideas into the concept of creating art. This local wealth is an important claim by artists who actively work. This research will reveal the expression of artists in paintings. They express their expression by bringing up the fable story of the archipelago. Archipelago fable story is processed, dug up and used as a source of inspiration to create works of art. The problems in this study are (1) What is the concept of a painting that was conceived from the fable story of the archipelago. (2) What is the visualization of the archipelago fable painting created by female artists ?. This research method is descriptive qualitative by examining the aesthetic aspects which include elements of the object, composition, color, harmonization. The media used in this painting is fabric. Samples of paintings, taken from works created by women from an exhibition held in Bandung. The coloring process with the colet technique. The color used is the dye for the fabric. The findings in the research are the concept of the work carried by artists visualizing animal stories that can be used as good moral examples. This exhibition is important because in addition to visual narration there is also a message delivered to the public. Whereas visually, many female artists use realistic objects, center composition, contrasting and attractive colors. The results of this study the concept of fable stories are brought back into an attractive visual narrative with colors that are presented in contrast with many techniques in coloring.
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Ariesa Pandanwangi, Belinda Sukapura Dewi, and Shopia Himatul Alya. "NARASI VISUAL CERITA FABEL DALAM KARYA SENI LUKIS." Jurnal Budaya Nusantara 3, no. 2 (July 20, 2020): 135–42. http://dx.doi.org/10.36456/jbn.vol3.no2.2545.
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Bandung is one of the creative cities in Java, especially West Java. Proven Bandung has a lot of local wisdom dug up from legendary stories, animal fable stories, culinary riches, and many more which later became interesting ideas into the concept of creating art. This local wealth is an important claim by artists who actively work. This research will reveal the expression of artists in paintings. They express their expression by bringing up the fable story of the archipelago. Archipelago fable story is processed, dug up and used as a source of inspiration to create works of art. The problems in this study are (1) What is the concept of a painting that was conceived from the fable story of the archipelago. (2) What is the visualization of the archipelago fable painting created by female artists ?. This research method is descriptive qualitative by examining the aesthetic aspects which include elements of the object, composition, color, harmonization. The media used in this painting is fabric. Samples of paintings, taken from works created by women from an exhibition held in Bandung. The coloring process with the colet technique. The color used is the dye for the fabric. The findings in the research are the concept of the work carried by artists visualizing animal stories that can be used as good moral examples. This exhibition is important because in addition to visual narration there is also a message delivered to the public. Whereas visually, many female artists use realistic objects, center composition, contrasting and attractive colors. The results of this study the concept of fable stories are brought back into an attractive visual narrative with colors that are presented in contrast with many techniques in coloring.
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Kinseher, Kathrin. "PAINTINGS ARE MADE OF PAINT: THE EXHIBITION OF PAINTING TECHNIQUES IN THE MUNICH GLASPALAST, 1893." Studies in Conservation 51, sup2 (January 2006): 41–48. http://dx.doi.org/10.1179/sic.2006.51.supplement-2.41.
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Madan-Soni, Roma. "Untitled, Work by Fadi Yazigi, curated by Myriam Jackiche Atelier, Damascus, Syria, 1 January–1 December 2019." Craft Research 11, no. 2 (September 1, 2020): 314–27. http://dx.doi.org/10.1386/crre_00032_5.
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Fadi Yazigi’s exhibition Untitled creatively examines the effects of historical and political instabilities in his homeland over the last decade. Yazigi’s audience stands in the centre of an array of crafted exhibits that range from medium- to large-size everlasting bronze sculptures and brittle clay reliefs to figurative paintings decorating the surfaces of friable rice-paper canvas and fragile daily baked bread. The exhibition’s title is metaphorical: it embodies the ambiguities, inequalities and uncertainties in the daily lives of ordinary people in war-struck Syria. The ‘everyday use’ materiality of Yazigi’s craft assumes a form that reflects the complexities, contradictions and negotiations in the ‘trope of the everyday’ in the region and on a global scale. Yazigi’s work centres on people and human emotions with a nostalgic feeling towards the beings he meets. Yazigi smears oil, ink and acrylics as he employs techniques of drawing, painting, sculpting and moulding, using earth-sourced materials like paper, bread, soil and metal presenting the lives of ordinary people and their humane emotions.
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W. Mohamad Daud, Wan Samiati Andriana, Mumtaz Mokhtar, and Nik Syahida Sabri. "Image of Islamic Symbols: Modern Malaysian Islamic Art Exhibition Theme." Environment-Behaviour Proceedings Journal 9, SI17 (January 7, 2024): 83–88. http://dx.doi.org/10.21834/e-bpj.v9isi17.5422.
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Symbols can be incorporated into many art forms, including sculpture, photography, and painting. The exhibition is an activity to display a piece of art in the form of goods, services, or achievements to the public. This paper aims to gather information on sculpture that representing Islamic images in Islamic exhibitions from 1957 to 1999. The observation method is used where the artworks have been considered and recorded accordingly, such as the artwork's title, dimension or size, media, and techniques used in producing the artwork. 13 artworks have been identified as artworks that can represent Islamic symbols.
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Sagawa, M., A. Maeda, Y. Mizokami, M. Takashima, Y. Oe, and N. Yoshizawa. "An examination of reflected glare prediction method based on luminance distribution." IOP Conference Series: Earth and Environmental Science 1099, no. 1 (November 1, 2022): 012037. http://dx.doi.org/10.1088/1755-1315/1099/1/012037.
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Abstract Explicit evaluation methods and suppression techniques for reflected glare have not been clarified in museum lighting. The purpose of this study is to elucidate the occurrence mechanism of reflected glare and to make use of its knowledge for future exhibitions in museums. In this paper, for the first step, we focused on the several factors, which were assumed to have an influence on the intensity of the reflected glare, such as the balance between ambient light levels for an exhibition room and target light levels for paintings, the Munsell value of paintings, and the amount of varnish coating. We conducted a subjective experiment in which the reflected glare on the replica paintings was evaluated by subjects aged in their 20s in an experimental room that was assumed to be an actual exhibit space. Based on the results of this experiment, we confirmed that the degree of reflected glare in museums could be roughly estimated from luminance distribution, reflectance, and glossiness of the paintings.
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Studenets, Natalia. "Artistic Heritage of Polina Raiko in the Space of Modern Culture: Relevant Ideas and Projects." Folk Art and Ethnology, no. 2 (June 30, 2024): 44–49. http://dx.doi.org/10.15407/nte2024.02.044.
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The article is devoted to the unique wall paintings in the estate-museum of Polina Raiko in the town of Oleshky in Kherson region, which has been damaged and destroyed significantly by high water as a result of the criminal detonation of the Kakhovka Hydroelectric Power Plant in June 2023 by Russian troops. The flooding of the artistic heritage of Polina Raiko has actualized a number of problems related to the loss of cultural monuments in the conditions of the latest challenges, caused a deep rethinking of the visual experience of naive art in modern realities. Many scholars have written about P. Raiko’s unique house wall paintings. However, a profound scientific analysis of the significance of naive art in the modern cultural space of Ukraine, in the relationship between traditional and modern, in the aspect of preserving the artistic heritage in the conditions of the latest challenges, has not been carried out. Polina Raiko’s naive painting, despite the expressive authoress’s style, lack of professional background, creative autonomy in relation to the socio-cultural tradition of a certain center, retains genetic kinship with ritual folk culture. The deep connections between the artist’s wall paintings and the traditional visual practices of the South of Ukraine, manifested in a special world view, ornamental structures, motifs and painting techniques are investigated in the article. A number of current projects and artistic events in the space of modern culture has been inspired by wall paintings of P. Raiko. In this context, a review of the high-profile exhibitions of 2023 – «Polina Raiko. Disappearing» and «Special Operation “To Destroy Paradise”» aimed at supporting her house, restoration of creative heritage, mutilated during the Russian-Ukrainian war, is submitted.
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Scalera, Lorenzo, Stefano Seriani, Alessandro Gasparetto, and Paolo Gallina. "Non-Photorealistic Rendering Techniques for Artistic Robotic Painting." Robotics 8, no. 1 (February 11, 2019): 10. http://dx.doi.org/10.3390/robotics8010010.
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In this paper, we present non-photorealistic rendering techniques that are applied together with a painting robot to realize artworks with original styles. Our robotic painting system is called Busker Robot and it has been considered of interest in recent art fairs and international exhibitions. It consists of a six degree-of-freedom collaborative robot and a series of image processing and path planning algorithms. In particular, here, two different rendering techniques are presented and a description of the experimental set-up is carried out. Finally, the experimental results are discussed by analyzing the elements that can account for the aesthetic appreciation of the artworks.
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Gurzhii, I. "DECORATIVE CERAMICS AS A BRANCH OF MODERN ART." Aesthetics and Ethics of Pedagogical Action, no. 29 (June 14, 2024): 100–111. http://dx.doi.org/10.33989/2226-4051.2024.29.306146.
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The article examines decorative arts as a type of visual arts that focuses on works of art creation, with the aim of decorating and giving them aesthetic appeal, as well as objects of a purely exhibition nature. Decorative ceramics are divided into the following types: exterior, interior, and exhibition, and have two directions of development: traditional and academic. Modern Ukrainian decorative ceramics is characterized as an essential branch of decorative arts that developed based on millennial traditions and has its territorial features. It has been found that the technique of making modern decorative ceramics can be divided into forming and decorating. Traditional decorative ceramics are formed by the method of sculpting by hand and on the potter’s wheel. Academic ceramics have broader possibilities of formation, such as sculpting, pottery, pressing or casting in plaster molds, layer formation, and 3D printing. The decoration of modern decorative ceramics is quite diverse, but the traditional techniques remain unchanged. They are engobe, ceremony, pasting, smearing with water. For academic decorative ceramics, a variety of decoration methods, both traditional and experimental, are used. The methods are the following: engobing, etching, pasting, coating with water, painting with metal oxides, painting with metal salts, painting under watercolor paints, painting over watercolor paints, painting with precious metal products and chandeliers It has been found that the artists do not limit their possibilities in academic ceramics. They are not bound by traditional decoration methods. Artists can do whatever they fantasize about, while in traditional ceramics, they must stick to regional features in the methods of decoration and formation.
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Melnichuk, L. D. "Художник Мария Масленникова: поэзия Карельского перешейка и Гималаев в пастели." Iskusstvo Evrazii [The Art of Eurasia], no. 2(21) (June 30, 2021): 22–31. http://dx.doi.org/10.46748/arteuras.2021.02.002.
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The purpose of the article is to identify the ideological and stylistic features of the work of the modern Russian artist Maria A. Maslennikova, who continues the best traditions of Russian culture, especially the art of St. Petersburg. Until now, not a single article has been devoted to the talented representative of artistic creativity, working in the pastel technique. But the master takes an active part in various exhibitions in Russia and abroad. The totality of Maslennikova's artworks is a significant example of contemporary fine art. The artist's graphic sheets embody important topical searches of contemporary art: the original author's development of the landscape genre, Russian-Finnish interaction in the field of art, the specifics of the perception of northern nature, the continuation of the traditions of the Leningrad landscape. The realistic method closest to the artist proves its relevance in her works and demonstrates the limitless possibilities that allow it to solve a variety of artistic tasks. The artist's work fully manifested the so urgent nowadays “ecological consciousness”, calling for the preservation of natural wealth, the growth of ecological culture. Reproductions of the master's paintings are published here for the first time. The statements of Maria Maslennikova, who has an undoubted literary talent, about herself, her work, and their origins, are very valuable. Along with pastels, she uses oil, acrylic, gouache, and acrylic tempera. Attention is drawn to the originality of the painting technique, most often used by the master — working with very soft dry pastels on pastel or primed paper. The pastel landscape, representing the quivering, austere or monumental image of the nature of the Karelian Isthmus, is the most widespread in the work of the master. The landscape of the Himalayas also occupies a large place in her work. The artist makes her unique contribution to the artistic and aesthetic comprehension of the Himalayas and Eastern culture. The unrecognizability of nature by man, the need to search for their harmonious coexistence is the main pathos of the master's work, the identification of which is aimed at the entire complex of meaningful and artistic means of her works, which is consistently considered in this article. Задачей статьи является выявление идейно-стилистических особенностей творчества современной российской художницы Марии Александровны Масленниковой, продолжающей лучшие традиции российской культуры, в особенности искусства Санкт-Петербурга. Талантливой представительнице художественного творчества, работающей в технике пастели, до настоящего времени не было посвящено ни одной статьи. Но мастер активно принимает участие в различных выставках в России и за рубежом. Корпус работ Масленниковой является значительным образцом современного изобразительного искусства. В листах художницы воплощены актуальные поиски современного искусства: оригинальная авторская разработка жанра пейзажа, русско-финское взаимодействие в области искусства, специфика восприятия северной природы, продолжение традиций ленинградского пейзажа. Наиболее близкий художнице реалистический метод доказывает в ее работах свою актуальность и демонстрирует безграничные возможности, позволяющие решать самые разные художественные задачи. В творчестве художницы в полной мере проявилось столь актуальное ныне «экологическое сознание», призывающее к сохранению природного богатства, росту экологической культуры. Приводимые репродукции картин мастера публикуются впервые. Ценны высказывания Марии Масленниковой, обладающей несомненным литературным дарованием, о себе, своем творчестве, его истоках. Наряду с пастелью художница применяет масло, акрил, гуашь, акриловую темперу. В статье обращено внимание на своеобразие живописной техники, чаще всего применяемой мастером, — работе очень мягкой сухой пастелью по пастельной или грунтованной бумаге. Пастельный пейзаж, представляющий трепетно-строгий или монументальный образ природы Карельского перешейка, является самым распространенным в творчестве мастера. Изображение природы Гималаев также занимает большое место в ее творчестве. Художница вносит свой неповторимый вклад в художественно-эстетическое осмысление Гималаев и восточной культуры. Непознаваемость природы человеком, необходимость поиска их гармоничного сосуществования — основной пафос творчества М. Масленниковой, на выявление которого нацелен весь комплекс содержательно-художественных средств ее работ, последовательно рассмотренный в предлагаемой статье.
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Dashchenko, Nataliia L. "Presentation of the artist in the regional journal periodical." Communications and Communicative Technologies, no. 24 (March 28, 2024): 22–29. http://dx.doi.org/10.15421/292403.
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The artistic component of the literary-artistic and public-political magazine Literary Ternopil» (2008–2019) was formed by publications that show the current state of painting in the region through familiarization with the personalities of artists and their creative work. The article highlights and analyzes typical textual means of presenting the artist in the specialized section «Artist of the Number». As a result of the research, it was found that the text presentation is based on the involvement of elements of drawing, which are manifested in the depiction of heroes in action, retelling of life situations, depiction of the area, interiors, etc. The plot-compositional organization of the texts includes biographical, everyday, socio-political, historical, psychological contexts, to reflect which the authors provide data on education, places of creative work, participation in exhibitions, obtaining titles, cooperation with various artists, describe external signs, worldview and inner qualities of artists. Expressions of art critics, connoisseurs of painting, and artists themselves are used compositionally. The presenters of the artists are the titles of the publications in which the starting point of the image is formed. It remains constant or changes: it can be individual / collective, synchronous / diachronic, shift in space (natural environment, premises, native land, abroad), have an emotional / intellectual dimension, focus on a situation or involve a whole range of information. An important component of the presentation is the art history characteristic in combination with evaluative and figurative expressions. For this purpose, artistic means of speech and stylistically marked vocabulary (names of subjects of professional activity, artistic directions, styles, and techniques), names of famous Ukrainian artists, names of iconic paintings, their cycles, names of exhibitions, etc., are involved. All these aspects are aimed at reflecting the spiritual, intellectual, creative development of the artist.
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Lee, Sooyeun. "A Study on the Image of the Splashed Ink and Color Landscape Painting by Chang Dai-Chien." Korean Society of Culture and Convergence 44, no. 12 (December 31, 2022): 739–53. http://dx.doi.org/10.33645/cnc.2022.12.44.12.739.
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The splashed ink and color landscape painting was created by Chang Dai-Chien(1899-1983) in his latter days to summarize his art life. This paper studied the ‘image’ revealed in the Splashed Ink and Color Landscape Painting presented by Chang in his latter days. Overall, the ‘images’ expressed by Chang can be induced as follows. First, Snow Mountains in Switzerland, created in 1965, showed the ‘combination of specific image and abstract image.’ Second, the ‘formation of aesthetic effects of contrast and combination.’ Chang created a ‘new technique’ surpassing the ancient artists by exhibiting his unique ‘eloquence’ in Aafchen See, created in 1968. Third, by expressing his uniquely splashed ink and color summarizing the ‘combination of specific image and abstract image’ and the ‘formation of aesthetic effects of contrast and combination’ in Panorama of Mount Lu, known as his ‘last work,’ Chang showed an ‘image’ representing the character of ‘abstract ink painting’ with more Chinese features. Such ‘creative images’ of Chang Dai-Chien suggest that the exploration of traditional Chinese philosophies and aesthetics must be accumulated before studying its old techniques.
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Zakhama, Yousra. "Artistic communication through light painting technique: Julien Breton model." International Uni-Scientific Research Journal 5 (2024): 57–61. http://dx.doi.org/10.59271/s45298.024.0245.8.
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With technological and technical advancements, the field of visual arts has become a vast space for both artistic and technical interaction. New creative expressions have emerged, and artistic practices have opened up to each other, breaking down barriers. The exhibition space is no longer just a collector of arts; rather, other arts showcase their creativity using the latest technological mechanisms, which create images capable of raising various intellectual questions. Through this simplified definition, we shed light on the presentations of the French artist Julien Breton, who has imposed a distinctive dynamic between choreography and illuminated calligraphy, or what can be termed as linear marks drawn with light painting technique, a form of current technical imaging that has become an artistic phenomenon dominating spaces of various sizes and types. In light of this, we pose a series of questions: To what extent has technological progress contributed to delivering a comprehensive visual scene? Can harnessing light painting technology contribute to presenting the Arab heritage in the best possible way? To what extent has technological advancement become a necessity in our current era? Its impact in the field of education and learning
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Sviridova, N. "CONTEMPORARY ART CONCEPTS IN EXHIBITION DISPLAY “PROMZONA” BY PAVEL OTDELNOV." CULTURE AND SAFETY 3 (2021): 54–61. http://dx.doi.org/10.25257/kb.2021.3.54-61.
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The article provides the analysis of the exhibition “Promzona” by modern artist Pavel Otdelnov through the prism of chaos and structure concepts. Display techniques are considered, allowing the viewer to immerse in the space of closed chemical plants in the town of Dzerzhinsk. The combination of painting, photography, installation and text, placed in the “white cube” of the museum, takes on the character of a book narration, leading the viewer to realizing the consequences of industrialization.
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Ssablina, Svetlana, Valeria Ivanova, Tat'yana Elovicova, Sergey Griroriev, Dina Sorokoumova, Anna Yepishova, and Egor Ivanov. "STUDYING FUTURE DOCTORS’ EMOTIONAL-AESTHETIC PERCEPTION OF ARTWORKS BY CONTEMPORARY URAL ARTISTS." Actual problems in dentistry 16, no. 2 (August 12, 2020): 157–63. http://dx.doi.org/10.18481/2077-7566-20-16-2-157-163.
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Thing. The article discusses the results of the emotional and aesthetic perception of art paintings by 80 students of three faculties of the Ural State Medical University. The correlation between the paintings of the Ural artists and the emotional status of students and their temperament is studied according to the classification of the psycho-emotional state of a person by color, individual characteristics according to the Eysenck technique and Susan Dellinger geometric test. An analysis of the results made it possible to substantiate the psychological characteristics of the personalities of the future generation of doctors.
The goal is the analysis and assessment of color preference based on the type of temperament and personal qualities of students of the three faculties using the works of contemporary Ural artists.
Methodology. The study was conducted at the Department of Therapeutic Dentistry and Propaedeutics of Dental Diseases of the Ural State Medical University, where in the fall semester of the 2019-2020 academic year a traditional annual exhibition of paintings by modern Ural artists was held. The study was divided into four stages: at the first - search-theoretical - a review and analysis of the literature on keywords was carried out on the resources PubMed, Medline, Cochrane, Elibrary, Cyberleninka; on the second - experimental search - the goal and objectives of the study are set, the criteria are identified; on the third - empirical - diagnostics of the emotional status of the questioned students was carried out according to the classification of the psychoemotional state of the personality according to color perception, testing using two Eysenck techniques, an additional psychogeometric test was conducted to determine the psychotype of the participants in the survey; on the fourth - taxation-based - a description and systematization of the materials obtained, their processing and analysis, text design of the article are carried out.
Conclusions. The results of the study can be applied in educational work in the educational process of the university and supplemented by master classes of artists at exhibitions for students.
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Wango, Kamau. "‘The Soul of my Sculptures’ - A Contemplative Analysis of The Work of Naftal Mageto Momanyi." East African Journal of Arts and Social Sciences 2, no. 1 (September 30, 2020): 116–33. http://dx.doi.org/10.37284/eajass.2.1.218.
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Despite the significant resurgence of expressive creativity through works of art in various disciplines particularly painting and sculpture, the underlying inspiration and subsequent endeavour for self-expression by artists, be it derived from experiences, observation of events and occurrences, imaginative compositions or even from the subconscious mind or surrealism, is often not very well articulated among the artistic audience or general public. This is in view of the general consensus among creative artists that works of Art are composed or created to be inherently expressive of something and hence should be given the opportunity to be seen and appreciated. It has been observed that often the artistic audience or general public only superficially examine the works of art in passing without necessarily delving into the expressive essence of the work itself. Hence the genesis of the expression, thought patterns or the philosophical foundation that underscore an artist’s inspiration and subsequent creation of that work is therefore just as often missed. If any work of art is not accorded adequate exposure and does not receive a fair amount of interrogation in terms of its creative and expressive substance or in terms of its contribution to the development of style, technique and application of materials, then that artwork runs the risk of being redundant. In addition, if this interrogation is not brought to the attention of the relevant artistic audience or articulated to the general public through exhibitions, relevant artistic fora, such as seminars, workshops and conferences, then the work amounts to a missed opportunity of its original purpose. There has been of course the debate about the nature and extent of participation by the ‘audience’ including the public and whether this audience bears the prerequisite qualification to interrogate or critique works of art including sculptural pieces. This paper does not, however, deal with this particular query. The focus of this paper is to demonstrate that sculptures are not mere embellishments but are a fundamental tool for commentary about pertinent societal issues in selected areas of endeavour. They, therefore, epitomize the artist’s point of view (POV) or opinion that underscores his or her sense of individual self-expression and hence lends credence to each piece. The paper, therefore, examines firstly, the origins of African sculptural tradition and the development of self-expression as a key tenet of form/content appreciation; and secondly the purposeful derivation of ideas from broad themes as well as the composition of specific subject matter as an avenue for the sculptor to address the retinue of societal issues. The paper covers six sculptural pieces seen from different angles created by Naftal Mageto Momanyi, a prominent Kenyan sculptor who works mainly using granite, wood and soapstone.
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Shevchuk, B. M. "«Pictures at an Exhibition» by Modest Mussorgsky: the correlation of melos and colourfulness." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 243–64. http://dx.doi.org/10.34064/khnum2-18.14.
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Background. The “melos” and “colourfulness” terms are used in various meanings both, in music and fine arts. The ambiguity of these concepts in our time of unlimited possibilities for creative experiment and bold search for new semantic levels, interest in establishing versatile inter-scientific relations allows us to apply innovative analytic methods to the works of art. Among these methods, intermedial inter-disciplinary researches seem to be extremely promising, especially when applied to such traditional, well-established forms of art as academic painting and music. The article uses the innovative method of intermedial research, which consists in attempts to trans-code the elements of the musical semiotic system into a pictorial one and vice versa. B. Asafyev (1987, р. 83) determined the “melos” in music as an abstract notion that unites all the forms of melody and the properties of melodiousness: the qualitative, expressive sides of all kinds of sound correlations as sequences in time. The consistent movement of sounds in a piece of music is called “a line” (for example, a “melodic line”) that gives the reason to see a certain parallel between music and painting. Accordingly, the concept of “melos” in music correlates with the concept of “linearity” (graphics) of a picture. The notion of “colourfulness” was first introduced in the fine arts. The colourfulness is a total of correlations of colour tones, hues, which create a certain unity and are an esthetic reflection of the colour diversity of reality (based on Bilodid, I., 1973, p. 232 and others). In musical science there is no well-established definition of this concept, however, we find such attempts: “Colourfulness [in original –’kolorit’ – translator’s note] (from the Latin ’color’) in music – is the predominant emotional colouring of one or another episode, which is achieved by using various registers, tones, harmonic and other expressive means” (FDSTAR. Electronic music. The site of composers, CJs and DJs). The adjoint concept “colouristics” is used, which is described as follows: “… colouristics – music of subtle and colorful sounds, in which all tones are distinguished (the beginning of the Etude in G sharp minor by Chopin, the scene of the transformation of fishes in the 4th Picture of “Sadko”, bell harmonies by M. P. Mussorgsky, S. V. Rachmaninoff)”(Maklygin, A., 1990, in Musical Encyclopedic Dictionary). The purpose of this article is an attempt to determine the correlation of melos and colourfulness in the musical and fine arts on the example of musical portraits and landscapes from the M. Mussorgsky’s “Pictures at an Exhibition” cycle. Research results. The “Pictures at an Exhibition” piano cycle is created under impression of works by Viktor Hartmann, the artist, architect, and designer. The content of the cycle is a vivid example of music and painting interrelation, therefore it gives an occasion to detailed intermedial analysis to understand the melos and colourfulness correlation in the musical pictures. So, the peculiarities of the melos in “The Gnome” are the quick broken zigzag lines, contains brief chromatic motifs, separated by pauses, grace notes and trills. A special role is given to syncopation, which imitate the Gnome’s limping gait. The texture of M. Mussorgsky’s piece – the octave movement in the party of the right and the left hands without a clearly defined accompaniment can be seen as a musical analogy to colourfulness of V. Hartmann’s sketch with its transparent background. Thus, in Mussorgsky’s play “The Gnome”, melos prevails over colourfulness that coincides with the ratio of melos / color in V. Hartmann’s sketch, since the artist gave preference to drawing creating this picture as monochrome one. “The Old Castle” is extremely colourful, as the composer deals great importance to modal, harmonic and textural factors. In general, it can be argued that the composer inherits the ratio of drawing and colouring in the painting by V. Hartmann, embodying the overall emotional and colourful palette of the picture with the help of tonality (“mysterious” G sharp minor) and texture (basso ostinato as an expression of the statics of the massive old building). Melos prevails over colourfulness and expresses the individuality of images in the “Samuel” Goldenberg and “Schmuÿle”, the musical portrait based on two paintings by V. Hartmann (“Poor Jew”, “Rich Jew in the Fur Hat”). The melodic (linear) component of the work is represented by two musical themes. The first is a characterization of a rich man, in which ascending intonations are used as a symbol of his high social status, by analogy with the proudly raised head and upward glance in the painting by V. Hartmann. The melodic theme of a poor Jew with a downward motion corresponds with the image of the poor man’s stooped figure. “Colour” of the musical portrait, as in the V. Hartmann’s painting, serves only as a background. In the piece “Catacombs. Roman Tomb”, the colorfulness prevails over the melos, The “gloomy” tonality (B minor) and the figurative textural techniques used by the composer (the sound of the melody against the background of tremolo octaves in high register, which can be compared with flickering lantern light in the darkness of the tomb, also juxtaposition of the fragments of the theme in different registers, creating contrasts of light and darkness), clearly reflect the overall colouring of the painting by V. Hartmann. In the musical portrait “The Hut on Hen’s Legs (Baba Yaga)” melos prevails over colorfulness, because it is with the help of melodic means that the portrait of a fairy-tale character is depicted, while the coloristic component of the music in this composition corresponds to the sketch of V. Hartman (where the clock in the house’s form depicted) only partially and plays the role of a landscape background (tremolo and triplets in accompaniment performing a coloristic function). “The Bogatyr (Great) Gates (In the Capital in Kiev)” is based on V. Hartmann’s the architectural and painting project of the city gate. Melos of the composition is presented by three contrasting themes. The graphic drawing of some fragments of these themes associatively correlates with the individual elements of the graphics of V. Hartmann’s picture (the peaked line of the passage in the right hand’s party, the tremolo-like figures). The colourfulness of the piece expresses in part by its texture and tone (E Flat Major, according to N. Rimsky Korsakov, the tone of “walls and cities”). In V. Hartmann’s painting, the drawing prevails over colour; however, M. Mussorgsky rethought the melody / colourful ratio in the piece. Melos conveys only some of the features of the drawing, its most important lines, while textural and coloristic musical means reproduce both, the linear side of the image and colouristics as such, that is, the colouristic component dominates. Conclusions. 1. The melos/colourfulness correlation in M. Mussorgsky’s cycle is regulated as follows: melos prevails over colouring in the pieces “The Gnome”, “Samuel” Goldenberg and “Schmuÿle, “The Hut on Hen’s Legs (Baba Yaga)”; colourfulness prevails over melos in “The Old Castle”, “Catacombs. Roman Tomb”, “The Bogatyr Gate in Kyiv”. 2. The melos / colourfulness correlation in the analyzed pieces from M. Mussorgsky’s cycle corresponds with the melos / colourfulness correlation in the respective V. Hartmann’s paintings. The musical portrait of Baba Yaga in “The Hut on Hen”s legs” is an exception: V. Hartman painted the stylized clock as an example of decorative and applied art, but M. Mussorgsky emphasized the reflection of the fairy-tale image; as well as “The Bogatyr Gate”, where colouristics and volume prevail over grafics and planeness of the architectural sketch. 3. The main expressive means of creating a portrait, as a rule, is the melody (melos), and the landscape – tonality, texture, timbre (colourfulness). The intermedial analysis of the above portraits and landscapes from M. Mussorgsky’s piano cycle confirms this concept.
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Han, Luyi. "Analysis of the artwork Murder by Jared French in the context of Christianity, Masculinity and Homosexuality." Journal of Education, Humanities and Social Sciences 8 (February 7, 2023): 2271–77. http://dx.doi.org/10.54097/ehss.v8i.4688.
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This paper aims to explore the dilemma society imposed on the queer community by analyzing the artwork Murder by Jared French and exploring the connection between Christianity, homosexuality, and masculinity. Murder is one of the paintings displayed in The Young and Evil, a collection of artworks created by artists during 1930-the 1940s. The analysis is based on a review of relative materials and literature. The purpose of the review is to give an insight into the dilemma that queer community faced in the context of the era, thereby promoting people with queer identities to pursue equal rights and opportunities. This essay provided an in-depth overview of the art piece Murder. It concluded that this painting could be interpreted in two ways: The newborn, homoerotic Jesus murdered the Jesus that had been re-masculinized from the 1920s, and the subordinated masculinity murdered the hegemonic masculinity. This essay therefore suggests that while Murder exemplified the pursuit of renaissance techniques and homoeroticism other artists displayed in the exhibition, the artwork also encouraged the queer community to embrace their identity and not be confined by the restrictions from authorities.
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Yadi, Satri, Yuniarti Munaf, and Dhasono Dhasono. "ASO GUMBALO SEBAGAI INSPIRAS DALAM PENCIPTAAN SENI LUKIS." Gorga Jurnal Seni Rupa 7, no. 2 (October 15, 2018): 178. http://dx.doi.org/10.24114/gr.v7i2.11035.
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AbstrakAso Gumbalo dalam penciptaan karya seni lukis diilhami dari kehidupan pengembala yang menjadi inspirasi pencipta yang diungkap melalui media seni lukis dengan mengambil ide “Harapan Pengembala” (Aso Gumbalo). Harapan Gembala dapat diartikan sebagai keinginan, kecendrungan dan dorongan hati yang kuat terhadap sesuatu hal yang ingin direalisasikan untuk menjadikan seorang lebih baik dimasa depan. Pengekspresian ide cipta berangkat dari fenomena Aso Gumbalo yang pencipta ungkap dengan ekspresi simbolik kedalam penciptaan karya seni lukis. Metode penciptaan karya ini melalui tahapan yaitu; 1) Tahap eksplorasi adalah tahap pencarian ide-ide dengan melakukan riset emik dan etik untuk pembuatan karya, 2) Tahap perancangan yaitu tahap pembuatan purwarupa yang akan diwujudkan kedalam bentuk karya seni lukis, 3) Tahap proses garapan karya. Konsep dari penciptaan karya merupakan ekspresi simbolik dengan memanfaatkan idiom tradisi, ekspresi tersebut digambarkan pada perwujudan karya menggunakan strategi media dan strategi visual dengan menggunakan konsep pengolahan bentuk, yaitu disformasi dan transformasi dengan melakukan penggabungan beberapa teknik antara lain, teknik plakat, transparan, tekstur semu dan tekstur nyata. Aso Gumbalo sebagai inspirasi yang diungkapkan dalam bentuk karya seni lukis ekspresi simbolik. Karya-karya yang diciptakan pengkarya disajikan dalam bentuk pameran. Kata Kunci: aso gumbalo, ekspresi simbolik, seni lukis. AbstractAso Gumbalo in the creation of painting works was inspired from the life of the shepherd who became the inspiration of the creator which revealed through the medium of painting by taking the idea of "Hope of the Shepherd" (Aso Gumbalo). Shepherd Hope can be interpreted as a strong desire, inclination and encouragement towards something that wants to be realized to make someone better in the future. The expression of copyrighted ideas departs from the phenomenon of Aso Gumbalo, which the creator expressed with a symbolic expression into the creation of painting. This method of creating works through several stages, namely; 1) The exploration phase is the stage of searching for ideas by conducting emic and ethical research for the production of works, 2) the design phase that is the prototype-making stage which will be realized in the form of painting, 3) the process stage of the work done. The concept of creation of works is a symbolic expression by utilizing traditional idioms, these expressions are depicted in the realization of the work using media strategies and visual strategies by using the concept of form processing, namely deformation and transformation by combining several techniques, such as plaque, transparent, pseudo-texture and real texture. Aso Gumbalo as an inspiration expressed in the form of paintings of symbolic expression. works created by artists are presented in the form of exhibitions. Keywords: aso gumbalo, symbolic expression, painting.
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Yadi, Satri, Yuniarti Munaf, and Dhasono Dhasono. "ASO GUMBALO SEBAGAI INSPIRAS DALAM PENCIPTAAN SENI LUKIS." Gorga : Jurnal Seni Rupa 7, no. 2 (October 17, 2018): 178. http://dx.doi.org/10.24114/gr.v7i2.11056.
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AbstrakAso Gumbalo dalam penciptaan karya seni lukis diilhami dari kehidupan pengembala yang menjadi inspirasi pencipta yang diungkap melalui media seni lukis dengan mengambil ide “Harapan Pengembala” (Aso Gumbalo). Harapan Gembala dapat diartikan sebagai keinginan, kecendrungan dan dorongan hati yang kuat terhadap sesuatu hal yang ingin direalisasikan untuk menjadikan seorang lebih baik dimasa depan. Pengekspresian ide cipta berangkat dari fenomena Aso Gumbalo yang pencipta ungkap dengan ekspresi simbolik kedalam penciptaan karya seni lukis. Metode penciptaan karya ini melalui tahapan yaitu; 1) Tahap eksplorasi adalah tahap pencarian ide-ide dengan melakukan riset emik dan etik untuk pembuatan karya, 2) Tahap perancangan yaitu tahap pembuatan purwarupa yang akan diwujudkan kedalam bentuk karya seni lukis, 3) Tahap proses garapan karya. Konsep dari penciptaan karya merupakan ekspresi simbolik dengan memanfaatkan idiom tradisi, ekspresi tersebut digambarkan pada perwujudan karya menggunakan strategi media dan strategi visual dengan menggunakan konsep pengolahan bentuk, yaitu disformasi dan transformasi dengan melakukan penggabungan beberapa teknik antara lain, teknik plakat, transparan, tekstur semu dan tekstur nyata. Aso Gumbalo sebagai inspirasi yang diungkapkan dalam bentuk karya seni lukis ekspresi simbolik. Karya-karya yang diciptakan pengkarya disajikan dalam bentukpameran. Kata Kunci:aso gumbalo, ekspresi simbolik, seni lukis. AbstractAsoGumbalo in the creation of painting works was inspired from the life of the shepherd who became the inspiration of the creator which revealed through the medium of painting by taking the idea of "Hope of the Shepherd" (AsoGumbalo). Shepherd Hope can be interpreted as a strong desire, inclination and encouragement towards something that wants to be realized to make someone better in the future. The expression of copyrighted ideas departs from the phenomenon of AsoGumbalo, which the creator expressed with a symbolic expression into the creation of painting. This method of creating works through several stages, namely; 1) The exploration phase is the stage of searching for ideas by conducting emic and ethical research for the production of works, 2) the design phase that is the prototype-making stage which will be realized in the form of painting, 3) the process stage of the work done. The concept of creation of works is a symbolic expression by utilizing traditional idioms, these expressions are depicted in the realization of the work using media strategies and visual strategies by using the concept of form processing, namely deformation and transformation by combining several techniques, such as plaque, transparent, pseudo-texture and real texture. AsoGumbalo as an inspiration expressed in the form of paintings of symbolic expression. works created by artists are presented in the form of exhibitions. Keywords:asogumbalo, symbolic expression, painting.
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Neglinskaya, Marina Aleksandrovna. "“Gunpowder painting” of Cai Guo-Qiang: Chinese artistic tradition in the era of postmodernism." Культура и искусство, no. 2 (February 2020): 44–50. http://dx.doi.org/10.7256/2454-0625.2020.2.29690.
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The subject of this research is the art of Cai Guo-Qiang (born in 1957) – the modern Chinese painter who lives and works in China and the United States (New York). The object of this research is the storyline fireworks of Cai and his innovative technique of “gunpowder painting”. The first works of the painter were canvasses in oil painting, and by 1980’s he invented a new “gunpowder” technique, which was first applied in combination with oil on the canvas, and since 1990’s – with ink on the paper, as a version of modern traditional painting guo-hua. His works evolved from social realism to a distinct variation of modern expressionism, as demonstrated the first in Russia retrospective exhibition of the works of Cai Guo-Qiang that took place in the Phuskin State Museum of Fine Arts (“October”, Moscow, 2017). Authors of the exhibition catalogue justifiably note the “cosmopolitan mission” of his art, but leave out of account the traditional context. The proposed methodology, which integrates art and culturological analysis, allows seeing in the works of this prominent modern painter the version of mass art that retains mental and reverse connection with the Chinese tradition. The scientific novelty of the article is defined by the following conclusions: the art of Cai Guo-Qiang is addressed to the international audience, but concords with the traditional paradigm due to Buddhist mentality deeply rooted in the painter’s consciousness. The traditional aspect is his proclivity for harmonization of social environment. This mass art that possesses formal and substantive novelty is associated with the modern international artistic market, as well as market version of “Chinese style” (Chinoiserie) of the XVIII century.
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Письмак, Юрий. "Viennese vase painted in Dresden (architectural, artistic, stylistic, morphological and structural features)." Arta 30, no. 1 (August 2021): 54–62. http://dx.doi.org/10.52603/arta.2021.30-1.08.
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The article examines the architectural, artistic, stylistic, morphological and structural features of an old porcelain vase from a private Odessa collection. The unpainted vase was made in 1860s at Vienna Porcelain Manufactory. This vase was painted in Helena Wolfsohn’s studio in Dresden between 1864 and 1878 (?). Helena Wolfsohn lived and worked in a significant center of European civilization, culture and arts of her time. The images are painted on the vase using the technique of manual overglaze painting. Amazingly arranged bouquets of flowers are painted on the turquoise background of the oval-shaped body of the vase, and gallant scenes in the Watteau style are depicted on the white parts of the body. On the bottom of the vase base an underglaze blue mark is applied: a shield. The painting of the vase is notable for a vivid pictorial effect, a successful composition, harmony and restraint of color shades. Similar vases painted at Helena Wolfsohn’s studio were exhibited at the International Exhibition in Sydney (1879) and at the World Exhibition in Melbourne (1880). Decorative porcelain vases play an important role in creating the architectural and artistic ensemble of the interior, whose main compositional principle is architectonics.
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TYTENKO, O. O. "PAINTING AND COMPOSITION AS A FUNDAMENTAL DISCIPLINE OF PROFESSIONAL TRAINING OF PAINTERS IN INSTITUTIONS OF HIGHER PROFESSIONAL AND ARTISTIC EDUCATION." Scientific papers of Berdiansk State Pedagogical University Series Pedagogical sciences 1, no. 3 (December 30, 2021): 199–205. http://dx.doi.org/10.31494/2412-9208-2021-1-3-199-205.
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The author of the article considers traditional and new methods of teaching the discipline «painting», emphasizes that the process of forming skills of mastering and reproducing the world in images promotes the development of creative potential, formation of its integrity, spiritual and emotional enrichment, development of national and world art. approaches to improving professional skills through educational programs. The author draws attention to the contradictions between the requirements for a teacher of painting and the system of professional training of future painters. The author believes that in the discipline of «Painting» a number of significant competencies are formed, which have a significant impact on the quality of training of graduates - future painters, drawing teachers. The article states that today there is a need to study the issues of teaching students of painting, necessary for artistic, research and teaching activities in the field of art. The author draws attention to the lack of effectiveness of the «academic» approach to the teaching of painting, which is reduced to the sum of knowledge and skills of realistic depiction of nature. Emphasizes that students do not have enough knowledge of all the tools and techniques inherent in the fine arts. To date, the place and role of painting in the system of professional training has not been determined, no forms and methods of teaching have been developed aimed at the formation of painting skills, artistic and figurative perception of nature as a professionally significant activity of the future artist. Important in the article is that the author emphasizes the possibility of using modern scientifically sound techniques, methods and tools, the use of technical teaching aids, information and computer technology; application of modern means of assessment of results in training. As well as what the teacher has to think in a modern way, apply the search approach and method of art projects, which include attending exhibitions and creating performances, non-traditional forms of teaching, creating interdisciplinary blocks, implementing new types of field productions and applying a constructive approach to compositional problems, the use of the latest artistic means. Key words: painting, artist, system, training, programs, color, ratio, education, creativity.
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Azizah, Nurul, and Syafwan Syafwan. "ILLUSTRASI SUASANA COFFEE SHOP DENGAN MEDIA WATERCOLOUR." Serupa The Journal of Art Education 9, no. 4 (December 25, 2020): 424. http://dx.doi.org/10.24036/stjae.v9i4.110739.
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The purpose of this final work is to visualize the illustration of the coffee shop atmosphere. The method of creating works of art uses five stages of work, namely, the preparation stage, the elaboration stage, the synthetic stage, the concept realization stage, and the completion stage, and finally holding a painting exhibition. The techniques used are arsi and aquarelle techniques. There are 10 works created, namely, 1. Welcome to Coffee Shop, 2. Coffee on One Table, 3 Study Art, Coffee Friends, 8. Bullshit Roasting, 9. From Heart to Heart, 10. Little Memories.Kata Kunci : Coffee Shop, Illustrasi
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Basso, Elena, Federico Carò, and Dorothy H. Abramitis. "Polychromy in Ancient Greek Sculpture: New Scientific Research on an Attic Funerary Stele at the Metropolitan Museum of Art." Applied Sciences 13, no. 5 (February 28, 2023): 3102. http://dx.doi.org/10.3390/app13053102.
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Polychromy in Ancient Greek Sculpture was the subject of the exhibition Chroma: Ancient Greek Sculpture in Color, held at The Metropolitan Museum of Art (The Met), New York, in 2022–2023. On this occasion, a multidisciplinary project involving The Met’s Departments of Greek and Roman Art, Objects Conservation, Imaging, Scientific Research, and colleagues from the Liebieghaus Polychromy Research Project in Frankfurt, Germany, was carried out to study an Attic funerary monument. The color decoration of the sphinx was reconstructed by combining non-invasive and minimally invasive techniques that provided information about surviving and lost pigments, original design, and painting technique. Results of multiband imaging, digital microscopy, and X-ray fluorescence spectroscopy guided the removal of minute samples from selected areas for examination by Raman spectroscopy and scanning electron microscopy, coupled with energy-dispersive X-ray spectroscopy, to shed light on the pigments and paint stratigraphy. The color palette included two varieties of blue, Egyptian blue and azurite, a carbon-based black pigment, two reds, cinnabar and red ocher, and yellow ocher, all painted directly over the marble without a preparation layer. The scientific findings informed the physical reconstruction of the sphinx made by archaeologists from the Liebieghaus Polychromy Research Project, featured in the exhibition.
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Mark, Reet. "Endel Kõksi abstraktsetest maalidest." Baltic Journal of Art History 11 (November 30, 2016): 125. http://dx.doi.org/10.12697/bjah.2016.11.07.
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The artist Endel Kõks (1912–1983) is a member of the same generation of Estonian art classics as Elmar Kits and Lepo Mikko. After Kits’s and Kõks’s debut at the exhibition of the Administration of the Cultural Endowment’s Fine Art Foundation (KKSKV) in Tallinn in 1939, the three of them started to be spoken about as the promising Tartu trio. In 1944, Endel Kõks ended up in Germany as a wounded soldier, while Kits and Mikko remained in Estonia. The Kõks’s works that have surreptitiously arrived in his homeland are incidental and small in number. Thus, without any proof, an image developed or was developed of him in Soviet-era art history as a mediocre painter and especially as a weak abstractionist, which is somewhat prevalent even today. I would dispute this based on the conclusions that I reached when helping to organise the exhibition of exile Estonian art between 2008 and 201142 and Endel Kõks’s solo exhibition between 2011 and 201343; conclusions that I have supplemented with the opinions expressed by exile Estonian art historians and artists.In 1951 Kõks moved to Sweden. Paul Reets has highlighted the years between 1952 and 1956, and assumed that these were difficult years due to the contradictions he faced. According to Reets, one obstacle was influence of the Pallas on Kõks’s painting style, which was conservative and adhered to the trends of Late Cubism. According to both Eevi End and Paul Reets, Kõks painted his first abstract painting in 1956 Rahutus (Restlessness) according to the former and Konflikt (Conflict) according to the latter). A black-and-white photo exists of Restlessness, which is slightly reminiscent of Pollock, and this is not the same work that P. Reets refers to. They both note that this was a convincing and mature abstraction not a searching for form, and as Reets states, Kõks had severed himself from the Pallas.The abstract paintings created between 1956 and 1960 – Kompositsioon (Composition) (1958), Rõõmus silmapilk (Joyful Moment) (1959) and others – are constructed on the impact of a joyfully colourful palette and lines, and demonstrate a kinship with the abstract works of Vassili Kandinsky. There is also a similarity to Arshile Gorky, whose works he may have seen at the exhibition of modern American art in Stockholm in 1953.Kõks’s transition into a pure form of abstraction occurred in 1963. Reets has characterised this as a “the most wondrous year that one can expect to see in an artist’s life. Not an unexpected year, but one that was unexpectedly and extremely rich when it came to his works.” The artist started to create series of works, of which the best known is undoubtedly Elektroonika (Electronics), which was comprised of 36 sheets. According to Kõks, he developed the need and idea to create the series while listening to experimental music, watching experimental films and thinking about nuclear physics. Created with a glass printing technique, or vitreography, each work is unique due to the post-printing processing, paint dripping, spraying and additional brushstrokes and images. Of course, all this alludes to Jackson Pollock.In 1962, Kõks painted the abstract composition Astraalne (Astral), which depicts a red circle and bent violet rectangle next to it on an interesting yellowish-brown surface that creates a rough effect. Using only these two symbols, the artist creates a sense of floating in cosmic space. Starting in 1964–1965 this style gradually came to dominate his work, and in was in this style that Kõks created the works that express the greatness of his talent and the charm of the “shaper of nature forms” in the purest sense.The construction of these works is brilliantly simple, and comprised of symbols and images placed on a relatively uniform surface. The nervous brittleness and rapid movement have disappeared from the paintings. The mood is calm and reveling. There is a monumental feel to many of the pictures. Masterful, delicate colour combinations triumph. And as time goes on, the more abundant and interesting the texture becomes. Eevi End believes that Kõks was influenced by Ellsworth Kelly, Kenneth Noland and other representatives of the school of Hard-edge painting that other influential direction operating in American abstractionism during the 20th century. Kõks himself has defined his abstract paintings as biomorphic abstraction, characterized by a free formalism, spatiality and atmospherics (Arshile Gorky, William de Kooning, Mark Tobey, Mark Rothko, and Jackson Pollock.)Kõks’s abstraction that features intellectual and cognizant images is totally the opposite of Elmar Kits’s excellent and spontaneous colourful abstraction. Kits remains true to the Pallas colour tradition; Kõks breaks out of it. Kõks feels secure painting abstract pictures and enjoys the game, which cannot be said of the thoroughly abstract works of Lepo Mikko or Alfred Kongo. Those who doubt this statement should remember that, in order to provide an assessment of Kõks’s abstract pictures, one must have seen them in Europe, the U.S. and Canada. Conclusions cannot be drawn based exclusively on the works in Estonia. As an abstractionist, he is in no way weaker than his contemporaries, just very different and the determination of superiority is a matter of taste. Endel Kõks’s greatness lies in the fact that he was able to fit with what was happening in world art (which many exile artists could not); he experimented with new directions and finally put together something new for himself, and thereby developed Estonian art as a whole.
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Calero-Castillo, Ana Isabel, Ana Carrasco-Huertas, Marta Durbán-García, and Jorge Alberto Durán-Suárez. "Documentación y reconstrucción virtual en restauración de obras pictóricas de gran formato: el lienzo mural de la farmacia Zambrano." Virtual Archaeology Review 11, no. 23 (July 8, 2020): 141. http://dx.doi.org/10.4995/var.2020.13343.
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<p>The aim of this paper is to explain the convenience of photogrammetry and virtual reconstruction applied to the restoration of large format canvas. This study presents the application of these techniques to the restoration and musealization of a late 19th century mural canvas painting attached to the ceiling of the Zambrano Pharmacy (Granada, Spain). The painting is an example of the allegorical motifs that could be found in 19th and 20th century pharmacies. It represents a group of cherubs and allegorical figures of Science or Pharmacy sitting in the clouds; the scene is surrounded by an architectural frame. The mural painting by Francisco Morón & Luján (Granada, 1846 - Huércal-Overa, Almería, 1899) shows his signature in the lower right corner of the painting. The painting was in a good overall condition, but presented considerable yellowing and darkening (due to exposure to nearby pollution from the street, dust, etc.) that required its cleaning to reveal its true colors. In 2018, the pharmacy was acquired by the University of Granada, initiating its transfer to the conservation laboratories for its restoration, with two aims: recovering its original appearance, and preparing for its display in the “Ciencia, ciudad y cambio” exhibition (Hospital Real of Granada, February 6th to may 17th 2019); to this day, the painting is located in the crossing of the Hospital Real.</p><p>Once the intervention started, its large dimensions (7.6 x 3.3 m) made it impossible to obtain a complete high-quality orthogonal image using traditional photography methods. Therefore, it was decided to use photogrammetry for the correct documentation of: a) the initial state of the painting, b) the different restoration phases (initial documentation, mechanical cleaning of the reverse, removal of the protection of the front, cleaning of the front and pictorial reintegration), and c) the final result after the restoration process. Furthermore, this canvas was attached to the ceiling presumably with an animal glue adhesive, and during its intervention it was observed that the imprint of an earlier mural painting was attached to its reverse. Since the reverse of the canvas was hidden by the final mounting system, it was necessary to document the imprint of the previous mural painting adhered to the reverse of the canvas.</p><p>To recreate the original painting and to allow a correct study and comprehension of this work, a virtual reconstruction based on the photogrammetric documentation of the reverse of the painting was achieved. The photogrammetric processing allowed us to obtain high-quality orthogonal images (10000 x 5000 px), thus demonstrating the suitability of this technique for the documentation of a large format canvas. The images obtained were also useful to study the dimensions of the paint, with a total area of 25 m2. Agisoft PhotoScan Professional was used for the photogrammetric model; the three-dimensional (3D) models and the textures were transferred to a 3D free software (Blender) for the rendering and recreation of the models. On the other hand, the virtual reconstruction was made using Adobe Photoshop to recover the entire painting. The methodology consisted in working with different layers to paint the missing parts of the motifs and the simulated architecture; then, the missing parts were reconstructed based on the preserved paint (24.5% of the total area) and, finally, textures and filters were incorporated to simulate the appearance of a mural painting.</p><p>This research has proved photogrammetry is suitable for the documentation of a restoration process for large format pictoric works, since this technique allows to obtain high resolution orthophotos from the different intervention phases. Additionally, the virtual reconstruction has proven to be a useful tool for the documentation of the painting, its registration and its visualization; it can also recreate the decorative pattern and original colors.</p>
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Storchai, Oksana. "Create in Me a Pure Heart, O God, And Renew a Steadfast Spirit within Me: On Some New Details of Creative Biographies of Sisters Olena and Olha Kulchytska (From Archival Materials)." Folk art and ethnology, no. 1 (2023): 80–90. http://dx.doi.org/10.15407/nte2023.01.080.
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The article’s purpose is to publish interesting and significant archival materials, introduced into scientific circulation for the first time, namely: Biographical Data, Recorded from O. L. Kulchytska in September 1–3 1947 in the Sanatorium “Syniak” in Transcarpathia; Olena Kulchytska’s Autobiography of the 1940s old and an excerpt from a S. Butnyk-Siverskyi’s archival encyclopedic entry about his participation in Olena Kulchytska’s exhibitions up to and including 1947, accompanied by an introductory article and commentary. These archival documents will be interesting and useful in further research of creative biographies of the mistresses. The materials are stored at the Department of Visual and Applied Arts of the M. Rylskyi Institute of Art Studies, Folkloristics and Ethnology (National Academy of Sciences of Ukraine) and are published with keeping to authorial style, spelling, and punctuation with minor correcting. The creation of the sisters Olena Lvivna Kulchytska (1877–1967) and Olha-Melaniia Lvivna (1873–1940) Kulchytska occupies a prominent, significant place in the history of domestic art and organically fits into the context of European art. Natural talent, intelligence, brilliant knowledge of their craft, artistic taste, ability to emanate their own refined and unique world, their attitudes to art, dignity of soul and intentions – these are the features that were inherent in both sisters. The range of Olena Kulchytska’s creative heritage is wide and well-known among specialists, educated public, and admirers of fine arts. The artist successfully worked in various kinds of art: graphic art, painting, and applied arts. A gifted draftsman, watercolourist, aquafortist, and illustrator, in particular of children’s books, it is she who is associated with the revival of woodcutting and linocutting techniques in domestic art. Olena Kulchytska worked in the portraiture, genre painting, landscape painting, as well as in the genre of religious painting (she created a unique iconostasis); she was engaged in art weaving, modelling and designing of clothes, furniture, and architectural décor. In addition, she made sketches for ceramics and carpets. Known for her wonderful enamels, the mistress also worked in the fields of metal, small-scale sculpture, and jewellery. Olena Kulchytska devoted a lot of time to teaching and ethnography. Her intense exhibition activity is also impressive. Olha Kulchytska is a renowned mistress of decorative and applied arts, a carpet weaver; she was also engaged in pedagogical practice. Together with her sister, she created distinguished works of carpet art. Certainly, the archival materials now published should greatly complement creative biographies of the mistresses, mostly Olena Kulchytska, with new details.
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Sharma, Yam Prasad. "Contemporary Nepali Arts: Some Shocking Trends." Journal of Fine Arts Campus 3, no. 1 (December 31, 2021): 1–5. http://dx.doi.org/10.3126/jfac.v3i1.42488.
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In contemporary Nepali arts, there are some trends that shock any sensible viewer or any informed person in the area. Some artists repeat the same subject matter, figure and technique throughout their life or from the beginning of their profession till now. The presentation of the same thing all the time creates monotony and nausea in the viewers. The question arises: how can an artist do the same thing all the time? Some artists see the works of famous western artists in art history books, art magazines and the world wide web, and they copy their subject matters and techniques thinking that they can create works and be famous. Some artists randomly splash and pour colors on the canvas and say that the mess and confusion in the canvas is abstract art. They opine that nobody can understand abstract art. They are fooling the viewers. Some artists call themselves modern Nepali artists, for they have practiced modern techniques of western arts. Some artists print the photograph on the canvas, make the photograph rough using paints and call it their paintings thinking that the viewers will be fooled. Some artists do realistic paintings with sweats and tireless efforts to earn their livelihood but when it comes to the exhibition of artworks, they make abstract paintings in few minutes. We can find such naïve and shocking trends in some senior artists as well, and young artists following their footprints. As a result, a substantial portion of Nepali art has already entered the whirlpool presenting its non-existent situation which demands immediate rescue from real artists and intellectuals. The scenario of art can be an analogy of the social and political situation of Nepal. We talk about great revolutions, changes and achievements but the situation of people is getting worse and civilization has been degenerated.
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Said Ahmad @ Syed Ahmad, Siti Humaini, Muhamad Rozali Othman, Issarezal Ismail, and Syed Alwi Syed Abu Bakar. "Rumah Kutai Perak in Watercolor Painting." Idealogy Journal 6, no. 2 (September 1, 2021): 67–77. http://dx.doi.org/10.24191/idealogy.v6i2.292.
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This study is done to write an article related to the art exhibition for "Kami SI + SA" entitled Rumah Kutai Perak and identify the systematic process of artwork making. This artwork's process is based on the theory and practice of Ocvirk, Stinson, Wigg, Bone, Cayton (2009) who stated that an artwork contains three basic parts, namely subject, form and content. Subject refers to a person, a thing or an idea while form refers to elements and principles of design that produce equal unity. On the other hand, content is a message or emotion in work, statement, expression or feeling desired by the artist and read by the observer. As a result of Rumah Kutai Perak artwork, an "Artwork Making Process Flow" has been identified. The process flow begins with identifying the subject and idea, followed by capturing the subject through photography. Photography record involved four important factors, such as viewpoint, light and shadow, focal point, and photo quality. These four factors are important because they will affect the final work. The next process is to paint and draw. The elements such as technique identification, colour value application, medium choice and reference artists served as guides for the researcher throughout the artwork making process. After the work is completed, an artist statement was written to describe the artwork. This artist statement informs the message to be conveyed through the artwork, a brief description of the making process, the sources of ideas, and the elements and principals in the artwork's processing. It is hoped that this work process can be used as a reference for other artists to produce artwork in the same context.
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Fantini, F., M. Gaiani, and S. Garagnani. "KNOWLEDGE AND DOCUMENTATION OF RENAISSANCE WORKS OF ART: THE REPLICA OF THE “ANNUNCIATION” BY BEATO ANGELICO." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVIII-M-2-2023 (June 24, 2023): 527–34. http://dx.doi.org/10.5194/isprs-archives-xlviii-m-2-2023-527-2023.
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Abstract. The Annunciation by Guido di Pietro from Mugello, known as Beato Angelico, is a wide tempera painting with some fine gold foil placed on a wooden support, today hosted at the Museum of the Basilica of Santa Maria delle Grazie, in San Giovanni Valdarno. On the occasion of the exhibition “Masaccio e Angelico. Dialogo sulla verità nella pittura”, the museum asked to the Department of Architecture at the University of Bologna to develop a digital high-resolution surrogate to favour deep investigations, to plan restoration and to simply tell the stories behind the artwork. Two tasks were accomplished: to let visitors discover the secrets in the painting and to let scholars study the artwork, to better understand the masterpiece. This paper introduces the outcomes of the research developed to digitize the Annunciation, following a dedicated pipeline developed to improve the fruition of its digital replica, originated from different input sources, and surrogating the user experience on the real object. This work presents a method for the 3D reconstruction of the surfaces based on different techniques for elements with different depth resolutions (i.e., the painting and the wooden frame) which combine photogrammetry and photometric stereo exploiting both procedures and pushing forward the boundaries of Gigapixel Imaging and photogrammetric-based 3D model representation.
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HORBACHOVA, Valeriia. "CHOLAMANDAL ARTISTS’ VILLAGE: AN INTERACTION BETWEEN THE TRADITION AND MODERNITY (INDIA, THE MADRAS SCHOOL)." HUDPROM: The Ukrainian Art and Design Journal 2023, no. 2 (October 15, 2023): 32–43. http://dx.doi.org/10.33625/hudprom2023.02.032.
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Based on the analysis of scientific literature, a successful example of an independent and self-organized community of Cholamandal artists was studied as a continuation of the artistic searches and experiments of the Madras school during the second half of the 20th – early 21st centuries. The prerequisites for the emergence and development of the Cholamandal commune headed by K. Paniker are analyzed. The activities of individual artists of the art association – painters (K. Paniker, R. Pooviah, T. Tarani), graphic artists (K. Haridasan, K. Ramanujam), sculptors (C. Patnaik, S. Nandagopal) and others are considered. The plot and thematic features of their achievements are clarified – the search for original interaction with folk, religious and tantric art is characteristic for these artists. The special position of folk art becomes one of the distinguishing features of the association’s activities. Traditions and their inheritance are seen as an important communicative part and as a source of experiments for modern practices, which, in turn, supported the cross-platform nature of Cholamandal. The settlement included not only workshops and an exhibition gallery, but also an open-air theater for dancing and theatrical performances, a textile workshop, a library and all the necessary infrastructure for everyday life. Cholamandal artists are known for their experiments with traditional Indian techniques and materials such as terracotta, bronze casting, a combination of fresco and oil painting. They combined these techniques with contemporary styles and themes to create unique works of art, reflecting the richness and complexity of India’s artistic tradition. The Cholamandal commune also played an important role in popularizing of modern Indian art among a wide audience. Art exhibitions and events held at Cholamandal attracted art enthusiasts and collectors from all over India and abroad and have helped bring Indian contemporary art to the attention of the global art scene.
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Ковалинская, В. Ю. "The image of V.I. Surikov in works of decorative and applied art from the collection of the Krasnoyarsk Art Museum named after V.I. Surikov." Iskusstvo Evrazii [The Art of Eurasia], no. 1(28) (March 31, 2023): 54–65. http://dx.doi.org/10.46748/arteuras.2023.01.005.
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Ростовская финифть и лаковая миниатюра Федоскино — два русских народных промысла, берущие начало в XVIII и XIX веках соответственно. Разные по материалам и технике изготовления, изделия этих промыслов объединяют миниатюрный формат и схожесть приемов росписи. В произведениях миниатюры нашли отражение различные жанры: исторический, сказочный, бытовой, религиозный, цветочная и орнаментальная роспись, пейзаж. В XX веке активно развивался портретный жанр, продолжая традиции предыдущего столетия. Мастера выполняли портреты на заказ, в связи со значимыми событиями — историческими, биографическими, а также для выставок и музейных коллекций. В собрании Красноярского художественного музея находятся три изделия с портретными изображениями выдающегося русского художника В.И. Сурикова: панно и медальон ростовской финифти и панно федоскинской лаковой миниатюры. Их авторы — Б.М. Михайленко, А.А. Хаунов, Н.М. Солонинкин — продолжают традиции ручной росписи, позволяющей создавать уникальные произведения декоративно-прикладного искусства. Используя в качестве образцов живописные портреты и рисунки, изображающие В.И. Сурикова, художники двух промыслов на их основе создают собственные интерпретации, творчески переосмысливая оригиналы. Образы В.И. Сурикова во всех изделиях различны, и каждый отражает своеобразную точку зрения мастера-прикладника на знаменитого художника XIX века. В данной статье впервые вводятся в научный оборот и анализируются три произведения декоративно-прикладного искусства с портретами В.И. Сурикова из фондов Красноярского художественного музея им. В.И. Сурикова, переданные со всероссийской выставки «По родной стране», проходившей в Красноярске в 1983 году. Rostov enamel and Fedoskin's lacquer miniature are two Russian folk crafts originating in the 18th and 19th centuries. Being different in materials and manufacturing techniques, the products of these crafts are united by a miniature format and the similarity of painting techniques. Various genres are reflected in the miniature works: historical, fairy tale, household, religious, floral and ornamental painting, landscape. In the 20th century, the portrait genre actively developed, continuing the traditions of the previous century. The masters made portraits to order, in connection with significant events — historical, biographical, as well as for exhibitions and museum collections. Three products with portrait images of the outstanding Russian artist V.I. Surikov are in the collection of the Krasnoyarsk Art Museum named after V.I. Surikov. These are a panel and a medallion of Rostov enamel and a panel of Fedoskino lacquer miniature. Their authors are B.M. Mikhailenko, A.A. Khaunov, N.M. Soloninkin. They continue the tradition of hand painting, which allows creating unique works of arts and crafts. Using pictorial portraits and drawings depicting V.I. Surikov, the artists of the two crafts create their own interpretations on their basis, creatively rethinking the originals. Images of V.I. Surikov in all products are different, and each reflects the original point of view on the famous artist of the 19th century. In the article, for the first time, three works of decorative and applied art with portraits of V.I. Surikov from the collection of the Krasnoyarsk Art Museum named after V. Surikov were introduced into scientific circulation and analysed. These works were transferred to the museum from the all-Russian exhibition “In the native country”, held in Krasnoyarsk in 1983.
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Zhang, Yan, and Gang Yang. "Design and Implementation of Virtual Royal Garden in Northern Song Dynasty with Stereoscopic Display." Advanced Materials Research 291-294 (July 2011): 2388–92. http://dx.doi.org/10.4028/www.scientific.net/amr.291-294.2388.
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With the development of virtual reality technology, using the VR technique to realize landscaping planning and ancient architecture reconstruction has become a hot research and application topic. In this paper, we use VR technique to restored the scene of the famous painting which named " Riverside Scene At Qingming Festival" by Mr. Zeduan Zhang who was a famous painter in Northern Song Dynasty. In construction of the 3D ancient scene model, this paper consultes and analyses many references about the building spatial form of the imperial garden in the Northern Song Dynasty, and put forward the method for constructing the 3D model of ancient architecture. The real-time roaming system is constructed based on the VR Platform Virtools. In addition, we research and implement the stereoscopic displaying in the roaming system by using the shading programming technique of Vritools. Experimental results show that our system provides a very immersive impression for the virtual exhibition of ancient scenes. The modeling method put forward in the paper provides a good reference for the construction of ancient architecture.
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James, N. "Cherchez la femme—a Palaeolithic preoccupation." Antiquity 86, no. 332 (June 2012): 558–60. http://dx.doi.org/10.1017/s0003598x00062955.
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The cave paintings in France and Spain are the Magdalenian’s most famous feature. The exhibition, Mille et une femmes de la fin des temps glaciaires (“1001 women from the end of the Ice Age”) explored the proposition that, more than just an archaeological culture, the Magdalenian was inspired, through most of its history, by common symbolism across the Great European Plain all the way from the Pyrenees to Poland; and that, although the landscape varied, this vast region was integrated by common techniques and imagery from 20 000 to 15 000 years ago. The “Lalinde-G¨onnersdorf style” figurines of women, was the suggestion, were particularly characteristic. Assembled from some 20 collections in France, Switzerland, Germany, Poland and the Czech Republic, the exhibition was shown at the Museum of Prehistory in Les Eyzies from June to September last year. The compact presentation was in two parts.