Academic literature on the topic 'Painting Themes'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Painting Themes.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Painting Themes"
1
Ye, Zhihao, and Xinyun Jiao. "Contemporary Art on Realistic Subjects in the New Era of Lacquer Painting." Asian Journal of Social Science Studies 7, no. 7 (August 1, 2022): 75. http://dx.doi.org/10.20849/ajsss.v7i7.1249.
Full textAbstract:
By using lacquer painting creation with realistic themes as an example, this essay will examine the primary issues with lacquer painting creation with realistic themes in the context of the modern period.It will summarize the key pathways and construction expansion choices for lacquer painting creation with realistic themes by analyzing the creative issues and traits of lacquer painting with realistic themes, and it will provide the future path perspective that may be supported.Modern lacquer paintings with realistic topics suffer from a loss of pictoriality, a weakening of pictoriality, and a lack of aesthetic merit. Lack of creative integrity and originality; little aesthetic effect; lack of a modern viewpoint or historical significance. It is clear that there is a “tendency to profit,” and commercialization results in repetition and homogenization. A few representative lacquer paintings and artworks have been examined by the author.By emphasizing the incorporation of styles from other forms of painting and increasing the lacquer painting’s creative expressive language, the author offers answers.The development of lacquer paintings with realistic subjects in the context of the new period is suggested as well as workable solutions.
2
Wang, Cheng-hua. "One Painting, Two Emperors, and Their Cultural Agendas." Archives of Asian Art 70, no. 1 (April 1, 2020): 85–117. http://dx.doi.org/10.1215/00666637-8124988.
Full textAbstract:
Abstract This research focuses on one of the most famous paintings made at the court of the Qing dynasty (1644–1911)—Qingming shanghe (Up the River during Qingming). Commissioned by the Yongzheng emperor (r. 1723–1735) and completed in the second year of the Qianlong emperor's reign (1736–1795), the painting is a rare example of Qing court art that reveals how Qianlong furthered his father's artistic vision while formulating his own in the first fifteen years of his long tenure as ruler. This vision involved how to reinterpret and reinvent the Chinese painting tradition through time-honored themes. The article is divided into four sections. In the first, it brings attention to the salient and crucial but long neglected stylistic features of the painting—those that emphasize theatricality and spectatorship. These interconnected features link and characterize the paintings commissioned by Yongzheng. The second section shifts to discuss the emerging cultural agenda of Yongzheng as seen through the manner in which court art references the Chinese painting tradition. The most remarkable act regards the reinterpretation of old painting themes that include Qingming shanghe and Baijun tu (One Hundred Horses). The third section analyzes how the paratextual elements of Qingming shanghe, especially Qianlong's poem and inscription, inform us of the emperor's views about the production mechanism of court painting and the political meaning of this work. The last section, based on Qianlong's understanding of the painting, highlights the emperor's cultural agenda associated with the idea of yuanben, which pointed to new versions of old themes made by his painting academy.
3
Wang, Shue. "Modern Chinese painting on military themes: "new realism" and loyalty to traditions." Человек и культура, no. 4 (April 2022): 46–56. http://dx.doi.org/10.25136/2409-8744.2022.4.38497.
Full textAbstract:
In the contemporary art of China, a special role belongs to painting on a military theme. Its formation began in connection with the need to keep a visual chronicle of the revolutionary struggle for the New China, the assertion of its status in the eyes of the people. Initially, realism was chosen as the main artistic method. By the turn of the XX and XXI centuries, as a result of the influence of modern art trends, a "new realism" emerged. The subject of this article is the pictorial work of contemporary Chinese artists who dedicate their paintings to military subjects and themes. He pays special attention to the art criticism analysis of the formal and substantive side of the paintings of the late XX – early XXI centuries. The main conclusion of the study is the establishment of the fact that under the influence of the so-called "new realism" Chinese painting associated with images of war, army, navy, has changed in the direction of images relevant to the era, as well as methods and techniques of image construction. However, at the same time, it should be noted that there is still a connection with traditions, which allows us to characterize the process of evolution of the Chinese school of battle painting. The novelty of the article is the introduction to the scientific circulation of Russian art criticism of a series of paintings by Chinese masters devoted to military topics. In general, the battle genre in Chinese painting is associated in the work with the formation of the People's Republic of China and is considered in a political and socio-cultural context.
4
Hariwarman, Made Satya, I. Gusti Ngurah Sura Ardana, and Luh Suartini. "ANALISIS FORMAL KARYA LUKISAN IDA BAGUS KETUT SUTA." Jurnal Pendidikan Seni Rupa Undiksha 12, no. 3 (September 30, 2022): 161–73. http://dx.doi.org/10.23887/jjpsp.v12i3.52685.
Full textAbstract:
This study aims to describe (1) Identify the characteristics of Ida Bagus Ketut Suta painting (2) Describe the theme of Ida Bagus Ketut Suta's painting (3) Describe the visual form of Ida Bagus Ketut Suta's painting using formal analysis methods. The subject and object of this research is the profile of Ida Bagus Ketut Suta with traditional paintings that have been made by Ida Bagus Ketut Suta. This research is a qualitative descriptive study, data collection in this study used the techniques of (1) observation, (2) interviews, (3) documentation, and (4) literature. The results of this study indicate that (1) The results of the visual identification mapping of Ida Bagus Ketut Suta's traditional paintings based on a comparison of several types of traditional wayang paintings in Bali, show that the results of his paintings have different characteristics from traditional paintings that developed in eastern Bali but are the result of the development of traditional paintings from Tabanan, namely the wayang kopang style painting, (2) The themes of several paintings that have been made by Ida Bagus Ketut Suta can be identified through formal analysis methods that are based on folklore Hindu, (3) formal visual analysis of forms from Ida Bagus Ketut Suta's painting, which is a form of wayang tradition painting that has its own characteristic and varied appearance.Keywords: traditional painting, Ida Bagus Ketut Suta
5
Юаньпэн, Хуан,, and Вэй, Цзе. "The legacy of the artist Su Gaoli: creative method, main themes and plots." Iskusstvo Evrazii [The Art of Eurasia], no. 4(27) (December 29, 2022): 172–85. http://dx.doi.org/10.46748/arteuras.2022.04.013.
Full textAbstract:
Статья посвящена творчеству художника Су Гаоли, который относится к поколению мастеров, получивших образование в «новом Китае» в 1950–1960-е годы. Его произведения, выполненные маслом и посвященные горным ландшафтам Тайханшань, отличаются по тематике от картин китайских живописцев того периода. Если живопись его современников была посвящена революционным и историческим темам и отображению бытовой жизни, то творчество Су Гаоли отличается гуманистическим характером, реалистической направленностью в воспроизведении природных ландшафтов, пленэрностью. Одна из основных тем его произведений — виды горы Тайхан. В контексте творческого пути художника анализируются его картины и их влияние на развитие китайской масляной живописи. Знание традиционного китайского искусства и обучение в академическом Институте живописи, скульптуры и архитектуры имени И.Е. Репина заложили основы мастерства Су Гаоли. В его картинах наблюдается монументализм в композиционном построении. Опора на родную культуру, возвращение к корням, глубокое переживание жизни позволили художнику создать искренние и лаконичные живописные полотна. The article explores the work of the artist Su Gaoli, who belongs to the generation of masters educated in the “New China” in the 1950s and 1960s. His oil paintings, dedicated to the mountain landscapes of Taihangshan, differ in subject matter from paintings by Chinese painters of that period. If the painting of his contemporaries was devoted to revolutionary and historical themes and depicting everyday life, then the work of Su Gaoli is distinguished by a humanistic character, a realistic orientation in the reproduction of natural landscapes, and plein air method. One of the main themes of the artist's work is the landscapes of Taihang Mountain. In the context of the artist's creative path, his paintings and their influence on the development of Chinese oil painting are analysed. Knowledge of traditional Chinese art and study at the Academic Institute of Painting, Sculpture and Architecture named after I.E. Repin laid the foundations for the skill of the artist. In his paintings, there is a mastery of compositional construction and monumentality. Reliance on native culture, a deep experience of life allowed the artist to create sincere and concise paintings.
6
Liu, Zao. "Fusion into One: Exploring the Complementarity of Shitao’s Waterfall on Mount Lu and Its Inscribed Poem." International Journal of Comparative Literature and Translation Studies 7, no. 2 (April 30, 2019): 1. http://dx.doi.org/10.7575/aiac.ijclts.v.7n.2p.1.
Full textAbstract:
Shitao’s famous poem-painting Waterfall on Mount Lu has generated a great interest in the field of Chinese paintings. However, the purpose of the work remains a topic of discussion among scholars. From the standpoint of complementarity of poetry and painting, this paper discusses the work through a close examination of the painting and its inscribed poem. The interartistic features of the painting and the poem are interpreted in terms of their themes, structures, and imagery. The Chinese aesthetic concept of artistic mood (yijing) is employed to illustrate the connection among these elements. This paper demonstrates that the holistic approach to the poem-painting helps illuminate its Daoist theme of unity of man and nature. This paper also highlights a structural contrast between the secular world and the eternal world expressed in the peom-painting.
7
Ma, Feifei. "On Teaching the Curriculum of Urban Landscape Painting in The Field of Chinese Painting." International Journal of Education and Humanities 5, no. 3 (November 11, 2022): 124–26. http://dx.doi.org/10.54097/ijeh.v5i3.2466.
Full textAbstract:
The concept of "urban landscape painting" was introduced in 1992, and thirty years have passed since the creation of this theme. This controversial new wave of painting, which has emerged in recent decades, mainly depicts urban life and urban architecture, reflecting the long-standing urbanization process in China and the increasing number of Chinese landscape paintings on urban themes. Throughout the curriculum of Chinese painting in domestic colleges and universities, there is less involvement in the teaching of urban landscapes. This paper focuses on undergraduate students, and from the author's own practice and observation, reflects on the problems in teaching urban landscape today and makes a few suggestions.
8
Li, Qiao. "Research on the applicability of regional folk art Fengyang Phoenix Painting from the perspective of humanistic ecology." Highlights in Art and Design 1, no. 3 (November 22, 2022): 68–71. http://dx.doi.org/10.54097/hiaad.v1i3.2963.
Full textAbstract:
The core values of socialism contain a very important content is civilization and harmony, the image of the dragon and phoenix is the mythical totem image of the Chinese nation for thousands of years, is an indispensable spiritual symbol in Chinese civilization, and is also the spiritual carrier of Chinese national cultural self-confidence and national self-confidence. The "Essentials of Chinese Painting" records that there are three stops and nine resemblances in painting dragons, and the drawing methods of phoenix birds in Fengyang phoenix paintings also have many elaborates, and the physical composition of phoenix birds is a synthesis of various beautiful objects. Through the interpretation of Fengyang Phoenix Paintings with different themes, different expression techniques and different decorative effects, this study discusses the adaptation of Fengyang Phoenix Paintings to natural ecology and the practical significance of ecological development trends, emphasizes the importance of inheriting and continuing Fengyang Phoenix Paintings and generating a sense of cultural identity, in order to achieve the goal of building a sustainable development activation route for Fengyang Phoenix Paintings, and introduces the important impact of the culture composed of phoenix birds in the cultural category of Fengyang Phoenix Paintings on the humanistic ecology of Fengyang Phoenix Paintings. In-depth study of the future of Fengyang phoenix painting from the perspective of humanistic ecology, so as to provide universal theoretical support for the development of Fengyang phoenix painting in real situations.
9
Qahtan Sulaiman, Maha. "The Image of the Artist in Orhan Pamuk’s My Name is Red and Irving Stone’s The Agony and Ecstasy." Arab World English Journal For Translation and Literary Studies 6, no. 4 (October 24, 2022): 89–101. http://dx.doi.org/10.24093/awejtls/vol6no4.7.
Full textAbstract:
This paper examines the influence of Renaissance themes and techniques in art on miniaturist painting in Istanbul and on shaping Michelangelo’s attitude to sculptor and painting in Italy. The clash between Eastern and Western painting techniques is part of the conflict in Orhan Pamuk’s My Name is Red. The novel is set in sixteenth-century Istanbul and the main characters are miniaturists who inherited the Persian style of painting. Istanbul people were very religious and the Muslim miniaturists felt unconfident and constantly tortured about their paintings. Artists were considered trying to imitate God and create their own perception of the world. The miniaturists of the novel are commissioned to adopt Venetian art with its emphasis on lifelike painting and individuality. Consequently they suffer of whether their creative work is considered blasphemous, or not. My Name is Red is juxtaposed to Irving Stone’s biographical novel The Agony and the Ecstasy. The novel is set in approximately the same time that the events took place in My Name is Red. It concerns the life and work of the Renaissance Florentine painter and sculptor Michelangelo. The study examines the cultural atmosphere that determined Michelangelo’s approach to art. It also addresses how religion has been the main source of inspiration for Michelangelo’s themes, and consequently it was the medium through which he presented his own version of man. Both novels are examined according to the relation of Renaissance humanism to art and religion.
10
Rohit Reddy, Karmuru, Riya Barui, and Sayantani Biswas. "Kalighat Paintings as a medium of communication in Colonized Bengal province." International Journal of English Learning & Teaching Skills 3, no. 4 (July 1, 2021): 2582–91. http://dx.doi.org/10.15864/ijelts.3410.
Full textAbstract:
Kalighat’s paintings originated in West Bengal, India in the 19th century, near Kalighat Kali Temple, in Calcutta, India, and and from being souvenir pieces taken by visitors to the Kali Temple, the paintings developed over a period of time as a distinct Indian form of painting and art. The Kalighat Paintings developed to depict a range of themes ranging from mythological characters to depictions of the social scene. The paintings served as a kind of mirror of the society in which they worked. Under the influence of an increasingly growing European society, they underwent a transformation. They were able to rapidly adapt the interests of then popular interest and reflect different contemporary themes., and to represent different contemporary themes. The charm of the Kalighat paintings lies in the fact that they captured the essence of everyday life and have inspired contemporary artists like the late Jamini Roy even to this day. Experts find the brushwork on these paintings to be precise, flawless, elegant and one of India’s smoothest art types.
Dissertations / Theses on the topic "Painting Themes"
1
Hichberger, Joan Winifred Martin. "Military themes in British painting 1815-1914." Thesis, University College London (University of London), 1985. http://discovery.ucl.ac.uk/1318047/.
Full textAbstract:
This thesis examines the treatment of the British Army and military themes, in painting, during the period 1815- 1914. All the works discussed were exhibited at the Royal Academy, which, although it underwent modifications in status, remained the nearest equivalent to a State Institution for Art in Britain. All the paintings shown there were painted with the knowledge that they were to be seen by the controllers of the Academy and the dominant classes of society. It will be inferred then, that the paintings shown there may be taken to have been acceptable to ruling class ideologies, and are therefore instructive of 'official' attitudes to military art. Representations of the contemporary Army, in this period, fell into two main catagories - battle paintings and genre depictions of soldiers. Chapters one to three survey battle paintings; studying the relation of this genre to the Academy; the relative popularity of the genre and the career patterns of its practioners. The critical reception of battle pictures at the Academy and certain important public competitions will be noted and considered in the context of contemporary ideologies about art and about the Army and its men. Chapter four discusses the vital concept of 'heroism' and its treatment in English military art. In particular, the reasons for the popularity of certain military figures above their peers, in academic art, will be explored. It will be argued that the process of 'hero-making' in art was not determined by professional success alone, but was often the result of the intervention of patrons, publicists and pressure groups. It will be shown that contemporary ideologies of heroism and art-historical convention precluded innovation in representation to correspond with technological developments in warfare. Battle paintings of heroes remained rooted in the conventions of 'chivalry' until the end of the First World War. Chapters five and six study genre representations of the soldier. Paintings of the 'recruit', the 'veteran' and the soldier and the family are discussed in relation to contemporary ideologies of the soldier held by the dominant classes. This thesis seeks to show that the military genre pictures, exhibited at the Royal Academy, are significantly related to developments in ideas about the Army and society, and that the uncertain status of battle painting was reflective of the equivocal attitude towards the Army and the Empire in this period.
2
Christian, Amy J. "Human distillations : the visual and conceptual development of a body of work." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/724961.
Full textAbstract:
The creative project was the end result of a year of focused exploration and development in the areas of painting and drawing. The artist created a group of five oil paintings and four mixed media drawings which culminated her year of work. The pieces were exhibited on Ball State University campus as well as being documented and evaluated in a thesis paper.A strong belief in the importance of the ability to pursue an idea or concept to its furthest point led the artist to set the goals of the project. While working on the project, the artist honed her technical skills, and strengthened her personal aesthetic by her discovery and research of painters who based their work in similar beliefs.The accomplishment of the goals she had set forth was the first step on the artist's journey to becoming a professional, exhibiting artist.Department of Art
3
Nixon, J. W. "Francis Bacon : Paintings 1959-1979; opposites and structural rationalism." Thesis, University of Ulster, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.378605.
Full text
4
Tupper, Denise. "My Family of Women: Celebrating Blackness and Exploring Themes of Black Feminism." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/182.
Full textAbstract:
This paper maps themes (e.g. family, beauty, femininity, gender, blackness, representation) and artists from the Black arts and Feminist art movement who have been very influential when planning this senior art project. I specifically look at the works of Black feminist artists such as Betye Saar, Faith Ringgold, Carrie Mae Weems, Kara Walker, and Mickalene Thomas who navigate themes from both movements. In my project I have painted a series of interpretive acrylic portraits of close friends and family members, all adapted from photographs.
5
Robins, Amanda School of Arts UNSW. "Slow art : meditative process in painting and drawing." Awarded by:University of New South Wales. School of Arts, 2006. http://handle.unsw.edu.au/1959.4/31214.
Full textAbstract:
This exegesis is an exploration of meditative process in painting and drawing and accompanies an exhibition of paintings and large drawings called What Lies Beneath. The text contains several passages, called "meditations," which accompany the themes approached in the chapters and give insight into the thoughts and practices of the artist. The methodology involves the examination of the evidence of the work produced by selected artists, looking at the words of artists in notebooks, diaries and interviews and surveying a small number of local contemporary artists. The text opens up the possibilities of drapery and garments and of still life as paths to meditative practice in painting and drawing. The qualities that characterize meditative process/practice, derived from my observations, are categorized. Some of the strengths of these processes are revealed through the examination of the work of artists, both contemporary and historical. The work of Vermeer, Sanchez Cotan, Francisco Zurbaran and contemporary artists Anne Judell, Simon Cooper, Jude Rae, Alison Watt and Eva Hesse highlight different aspects of the meditative process in painting and drawing. The art works in the exhibition are documented and bring out the meditative processes that have contributed to their creation, including the use and meaning of the subject (drapery and the garment as a form of still life).
6
Stiebeling, Detlef. "Traditional iconographic themes in a Victorian context : paintings by Sir John Everett Millais between 1848 and 1860." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=73982.
Full text
7
Yaffe, Phyllis Cohen 1948. "The 'artist and model' theme in Picasso's work between 1926 and 1963 /." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74042.
Full text
8
Earles, Bruce, University of Western Sydney, and School of Contemporary Arts. "Inquiry into the appeal of anonymity to the artist." THESIS_XXX_CAR_Earles_B.xml, 1998. http://handle.uws.edu.au:8081/1959.7/499.
Full textAbstract:
This paper, in conjunction with a series of paintings and drawings, attempts to outline the theme of anonymity. The work contains images portraying the feeling of remaining anonymous within a city. The inquiry not so much records the necessity of remaining anonymous for the purpose of urban experience but examines whether the subject matter of the artwork could be communicated to a group of spectators. During an exhibition of the artworks, 20 subjects were surveyed for their opinions. Questions relating to subject matter and aspects of anonymity were posed to the spectators in a questionnaire and structured interview format. In a large majority of cases, spectators of the artworks isolated the multiple-choice answer that most described the subject matter of the artworks. This study gave a strong indication to the artist that the group of spectators could comprehend the subject matter of the paintings exhibitedMaster of Arts (Hons) Visual Arts
9
Cliffe, Gregory Laurence, University of Western Sydney, of Arts Education and Social Sciences College, and School of Contemporary Arts. "Can an illusionary object such as a painting express the essence of change in values of the artist and their society?" THESIS_CAESS_CAR_Cliffe_G.xml, 2001. http://handle.uws.edu.au:8081/1959.7/457.
Full textAbstract:
The initial intention of this thesis was to amalgamate two distinct tendencies that evolved in the author's art work over the period of twenty-four years. The illusionary and corporeal qualities of his painting and sculpture had become amalgamated with social concerns, which emerged from his installation and performance work between 1975 and 1985. The moment the artist makes a gesture on a painting surface is a culmination of memory, the immaterial and the corporeal. That moment expresses his judgement about himself, and the world in illusionary form. By bringing together of the self and one's worldview, the corporeal and the immaterial, the past and present, the artist is provided with the authority to make judgements and to change themselves and their surrounding community, as well as gaining insights into changes in values in his community and family. The emphasis of the everyday in the artist's work has become an expression of universal social issues.Master of Arts (Hons) Contemporary Arts
10
Bolgun, Oya. "A study of technology and human relations developed in a series of paintings." Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1230600.
Full textAbstract:
The ambition of this creative project was to portray the communication between individuals of our time, which is being made shabby by the effect of technological life. As an artist, I am dealing with the issue of our sense of respect for each other and how much we are aware of each other.This study includes the art works of artists Robert Motherwell and Joan Mitchell by whom I have been inspired. I have learned a lot from their art works and from their philosophies. I will describe my art works one by one in terms of the techniques that I have used, and the feelings behind them.Department of Art
Books on the topic "Painting Themes"
1
Painting. Cambridge, MA: MIT Press, 2011.
Find full text
2
Team, Parramón Ediciones Editorial, ed. Complementary themes for painting techniques. Hauppauge, NY: Barron's, 1997.
Find full text
3
Painting on site. Boston, Mass: Rothman Partners Architects, 2003.
Find full text
4
Yoon, Yeolsu. Folk painting. Seoul: Yekyong, 2002.
Find full text
5
1964-, Jenkins Steven, ed. Start painting ceramics. London: Apple, 1998.
Find full text
6
Harle, Lesley. Painting Ceramics. London: C. Letts, 1991.
Find full text
7
Israeli painting. Woodstock, N.Y: The Overlook Press, 1998.
Find full text
8
Pratt, Keith L. Korean painting. Hong Kong: Oxford University Press, 1995.
Find full text
9
Daniel, Moreton, ed. In a painting. New York: Scholastic, 1998.
Find full text
10
Tuckman, Diane. The best of silk painting. Cincinnati, Ohio: North Light Books, 1997.
Find full textBook chapters on the topic "Painting Themes"
1
Koutrakou, Nike. "The Hagiographers’ Pen. Painting Social Unrest and Civil Strife In Late Byzantium." In Byzantine Hagiography: Texts, Themes & Projects, 365–99. Turnhout, Belgium: Brepols Publishers, 2018. http://dx.doi.org/10.1484/m.sbhc-eb.5.115110.
Full text
2
Evans, Dorinda. "3. Self-Expression in Flight and Pursuit." In William Rimmer, 51–80. Cambridge, UK: Open Book Publishers, 2022. http://dx.doi.org/10.11647/obp.0304.03.
Full textAbstract:
A chapter is devoted to this painting not only because of its quality but also the fact that its subject matter has long been in public dispute. Part of the problem is that Rimmer has been misunderstood as more secular and more oriented toward contemporary subject matter than he actually was. He painted from himself and from his own feelings, which were often concerned with the moral and spiritual. Much of his work is so personal as to be quite enigmatic in meaning, but this picture, showing a man fleeing his conscience, can be understood through his writings ("Stephen and Phillip," a fictitious narrative), patterns in his work, his illness, and a drawing by him with a subject re-identified as a man and his conscience. Flight and Pursuit is related to similar allegorical works on moral themes, such as Dying Centaur.
3
Barclay, Katie, and François Soyer. "Series of Paintings/Prints on theme of ‘the Love Letter’." In Emotions in Europe 1517–1914, 348–53. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003175513-53.
Full text
4
Green-Cole, Ruth. "Painting Blood: Visualizing Menstrual Blood in Art." In The Palgrave Handbook of Critical Menstruation Studies, 787–801. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-0614-7_57.
Full textAbstract:
Abstract While there are isolated cases of reverence for menstruation, many societies impose a strict set of rules about the visualization of menstrual blood in art and visual culture. Green-Cole examines these hegemonic and patriarchal codes controlling discussion, commemoration, or visualization of menstruation, which have been internalized by millions of women worldwide as negative and shameful. One of the main tools used to maintain menstrual stigma is to erase the presence of the scene of menstruation in speech, image, and representation. Green-Cole argues that by publicly acknowledging menstruation and making it visible, the artworks discussed in this chapter are instrumental in undermining this stigma. She demonstrates how this process of undermining also changes what we assume to be the function and value of art. Finally, Green-Cole analyzes the ways in which artists have used paint to signify or stand in for blood as a challenge to the decorum of modernist formalism, which conveniently erased women’s issues.
5
Méndez Baiges, Maite. "“We are all Demoiselles d’Avignon” or the Breaching of the Dominant Gaze." In Les Demoiselles d'Avignon and Modernism, 67–101. Florence: Firenze University Press, 2022. http://dx.doi.org/10.36253/978-88-5518-656-8.07.
Full textAbstract:
In his thesis on Les Demoiselles d'Avignon, Steinberg postulated the fundamental role of the spectator (object of the appealing gazes of the five young nudes in the painting) as the catalyst of the meanings in the painting. From then on new critical perspectives would speculate about this subject, targeted by the personages in the painting, who bears so much responsibility in articulating the interpretation of the scene. Doubts were raised about the universal character of the gaze, the universal character of the receptor of the work of art and of Modern Art. From the end of the 20th century and activated by the most recent methodological approaches such as feminism and post-colonialism, new critical voices provoked the breaching of the dominating gaze. This chapter broaches the interpretations of this paradigmatic work of Modern Art made by feminist and post-colonial and subaltern theories, questioning the very proposals of Modernism. Feminism shows how gender conditioning affects the reception of a work of art. And allied with this, post-colonialism and subaltern theory begin to seriously question the way historiography has considered, or not, the relevance of Art négre in the avant-guard eclosion.
6
Downing, Eric. "Painting Magic in Keller’s Green Henry." In The Chain of Things. Cornell University Press, 2018. http://dx.doi.org/10.7591/cornell/9781501715907.003.0002.
Full textAbstract:
This chapter offers an exemplary reading of Gottfried Keller’s Bildungsroman, Der Grüne Heinrich, in terms of Stimmung. A synopsis of recent theoretical discussions of Stimmung is coupled with an exploration of its affinities with classical “sympatheia” and hence with sympathetic magic and its alternate causalities and potential futural effects. Focusing on themes of landscape painting, erotic attraction, witchery, and relations between the human and nonhuman worlds, the following analysis of Keller’s novel develops a new account of realist things, representations, and temporalities, based on a model of realism as grounded in divinatory readings both in and of the literary text.
7
BANN, STEPHEN. "The Tudors Viewed by French Romantic Artists." In Tudorism. British Academy, 2011. http://dx.doi.org/10.5871/bacad/9780197264942.003.0010.
Full textAbstract:
This chapter singles out two features of the cult of British historical themes in French Romantic painting, and focuses on the most prominent of the artists who cultivated such scenes involving Tudors and Stuarts: Paul Delaroche. It argues that the pronounced nineteenth-century French interest in sixteenth- and seventeenth-century English history was a form of displacement, so that Delaroche's painting of the execution of Lady Jane Grey (1834), for example, opened up for the French viewer a space in which to negotiate memories of the Terror within the relative comfort of a more distant and foreign historical moment.
8
Kattan, Lina M. "The Moment of Change." In Under the Skin, 55–70. British Academy, 2020. http://dx.doi.org/10.5871/bacad/9780197266748.003.0005.
Full textAbstract:
Saudi women artists challenge cultural boundaries to document change in the notions of identity and agency. These artists employ many experimental techniques through unconventional themes while balancing cultural traditions, Saudi heritage, and Islamic identity. This chapter seeks to identify in what ways artists disrupt the commonly–known prohibition regarding figuration as relegated to the art of painting vis–á–vis photography, particularly in figurative depictions. It suggests two types of reality: the spiritual Real that is connected to painting, and the technological real, which is comparable to reality without a soul. It thus demonstrates how the interrelated concepts of art, reality, and the Real can impact values attached to representations of women in Saudi art. The chapter draws upon the frameworks of feminism, postcolonialism, Post–Panofskian iconography, and deconstruction.
9
Kriza, Ágnes. "Representations of Wisdom in Rus." In Depicting Orthodoxy in the Russian Middle Ages, 67–76. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198854302.003.0005.
Full textAbstract:
The second ‘Image’ part of the book places the Wisdom image in the context of late Byzantine and medieval Russian art, and investigates the validity of the claims of the first ‘Word’ part about the meaning of the Novgorod Sophia icon. This chapter surveys two major sophiological themes of medieval Russian painting with a female or genderless figure of Wisdom: ‘Wisdom has built her house’ illustrating Proverbs 9:1–5 and the representations of Evangelists inspired by Wisdom. These iconographies appeared in late fourteenth-century Novgorod painting for the first time and are apparently intertwined. The link between them is created by the Sophiology of the fourth-century church father, Athanasius of Alexandria who distinguishes between two—created and uncreated—wisdoms which are distinct but united in the Person of Christ. However, this Novgorodian interest in representations of Sophia was driven primarily not by Christological debates, but by the fact that Novgorod’s main church, built between 1045 and 1050, is dedicated to St Sophia, the Wisdom of God.
10
Zhang, Qiong. "The Story of An Image." In Making the Palace Machine Work. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463720359_zhangq.
Full textAbstract:
Focusing on the uniqueness of tapestries and embroideries based on paintings, this vignette retrieves the production process of one set of ‘embroidered paintings’ based on the same painting. These objects are outstanding pieces of artwork, often marking important historical events. The essay investigates the sequence of commissioning the painting in different media and the diverse patterns of production procedures, management, and finance in the process.
Conference papers on the topic "Painting Themes"
1
Krivosheina, Natalia. "SPECIFIC THEMES AND SUBJECTS OF CHURCH PAINTING IN VYATKA." In 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b41/s12.003.
Full text
2
Hendricks, Genevieve. "Le Corbusier’s Postwar Painterly Mythologies." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.828.
Full textAbstract:
Abstract: Le Corbusier’s graphic output was prolific, consisting of hundreds of paintings, thousands of drawings and watercolors, and scores of collages, lithographs, and murals throughout his career. By the late 1940s his double-nature as artist-architect emerged as a key component to his work, as he highlighted the correlations and correspondences that informed his creative endeavors. His post-war works, specifically his series of Taureaux paintings, reveal the development of such themes as well as the transformation of earlier works as he turned to a mythologically-inspired vocabulary of totemic figures and animals, developing a private cosmology of sun and moon, male and female, the machine and Mediterraneità. Keywords: Le Corbusier, Visual Arts, Painting, Taureaux. DOI: http://dx.doi.org/10.4995/LC2015.2015.828
3
Rutsinskaya, Irina, and Galina Smirnova. "TEA PARTIES IN RUSSIAN PAINTING IN THE SECOND HALF OF THE NINETEENTH – BEGINNING OF THE TWENTIETH CENTURY: REFLECTIONS OF EVERYDAY LIFE AND SOCIAL HISTORY." In NORDSCI Conference Proceedings. Saima Consult Ltd, 2021. http://dx.doi.org/10.32008/nordsci2021/b1/v4/33.
Full textAbstract:
"Tea in Russia is not only the drink loved by millions of people but also a national symbol closely and inseparably connected with Russian culture. The dominance of realism in Russian fine art in the second half of the nineteenth – beginning of the twentieth century gave birth to the widespread popularity of genre painting which started playing a very special role in the country. It is not surprising that tea parties became common themes in these works. Over a cup of tea, the characters in the paintings perform everyday activities: chatting, contemplating, indulging in memories, while taking the opportunity to enjoy their favourite drink. Paintings are a unique and rarely used source for social history and culture studies as they allow us not only to reconstruct the everyday life of past eras, but also to study how contemporaries saw, perceived, and evaluated a variety of everyday practices. The research undertaken is descriptive and analytical with reference to the principles of historicism, academic reliability and objectivity that help to determine important trends and patterns and characterize the various social phenomena and developments that took place in Russia during the period under study. Unlike Western European painting, the representation of tea ceremonies on the canvases of Russian artists romanticizes both the philosophical aspect and the harmonizing function of the ceremony, but at the same time focuses attention on social issues, which obviously reflects the specifics of national consciousness. The present research is based on the analysis of eighty-two genre painting works by Russian artists (among them there are the well-known ones by: Ivan Bogdanov, Vasiiy Makovsky, Konstantin Makovsky, Vasily Perov, Konnstantin Korovin, etc.). They not only provide the audience with information about different aspects of everyday culture in Russia from the second half of the nineteenth to the beginning of the twentieth century but also trace the trends in the development of public consciousness and help to determine the main social problems that characterize the historical period and the attitude of society to them. The process of the democratization of society in the second half of the nineteenth century is reflected in the depiction of the ambiguous relationship between society and the church. The canvases draw attention to the place of tradition in the life of an individual and a family, the changing social role of the nobility which exemplifies the passing era, increasing interest in the way of life of the intelligentsia, and creating the image of the merchant as a new social class with a specific culture. At the beginning of the twentieth century, the nostalgic description of the tea party as a symbol of a bygone era of prosperity and a lost past prevails."
4
Rode, Lisa, Blaz Šeme, and Janja Slabe. "ASSESSMENT OF CHROMATIC REINTEGRATION TECHNIQUES AND MATERIALS WITH SIMULATIONS ON MOCK-UPS: THE EXAMPLE OF A POLYCHROME GLAZED CERAMIC PITCHER FROM THE COLLECTION OF THE NATIONAL MUSEUM OF SLOVENIA." In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. València: Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13538.
Full textAbstract:
The glazed ceramic pitcher no. N11519 from the National Museum of Slovenia collection presents empirical research and approaches to conserving damaged paintings by testing conservation materials and various reintegration techniques. Studies of specific pigmented retouching paints describe the retouching practice of glaze-like retouching paints. They have been a part of the diploma thesis entitled Ways of reintegration the missing polychrome painting on ceramic pitcher at the Academy of Fine Arts and Design, University of Ljubljana, majoring in Conservation and Restoration of Fine Arts. The reintegration assessment intends to present multilayered paint effects on chromatic reintegration of a large area of reconstructed painting on a ceramic pitcher. A silicone mold was made in the selected area of an extensive paint loss for reintegration samples, from which gypsum casting mock-ups were formed. The practical determination of the chromatic reintegration was to simulate the stratigraphy of the paint layer and the in-glaze method of decorating the pitcher: a white underglaze over which a polychrome painting with overglaze was applied. The practical goal was to get close to the original painting's color, structure, and texture with differing application modes in lines, dots, liquid strokes, and surface smoothing. The chromatic reintegration tests of a glaze painting were perceived with varied and comminated approaches to applying retouching paint media to gypsum mock-ups. This can be achieved by meticulous scrutiny to review and evaluation a medium in the appropriate solvent. The mock-up assessments showed that the most suitable for the glazed pitcher is chromatic reintegration with dotted hatched, using the retouching colors with urea-aldehyde resin Laropal® A 81. The researched methods and the technique of chromatic reintegration on a ceramic pitcher were presented in the exhibition In Good Hands: 60 Years of the Department of Conservation and Restoration of the National Museum of Slovenia
5
Martínez Medina, Andrés. "Elogio del cuadrado: cuadrícula, cuadro, cuatro, cubo." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.837.
Full textAbstract:
Resumen: Un recorrido por la producción de Le Corbusier evidencia la insistente presencia del cuadrado como base de las composiciones en diversos campos (urbanismo, arquitectura, pintura, mobiliario…) y en diferentes formatos (en planta, alzado y sección, o como marco, módulo y cuadrícula). La presente comunicación realiza un análisis formal (gráfico y simbólico) de sus proyectos y obras, rastreando los modos en que se utiliza el cuadrado permaneciendo en el tiempo como una constante recurrente. Para ello se recorren cuatro áreas temáticas que descienden en escala y en dimensiones: 1) capitolios, 2) museos, 3) pabellones y 4) casas, estudiando una serie de ejemplos en cada área a partir de los planos de la Fundación Le Corbusier, generando discursos que reconstruyen un hilo del tiempo en la evolución de los procesos compositivos. De este modo, se desgrana el empleo del cuadrado, en correspondencia con las áreas de estudio, como: 1º) perímetro de la plaza pública donde insertar las arquitecturas representativas, 2º) marco o caja-fuerte donde encerrar los tesoros artísticos (o sagrados), 3º) volumen cúbico abierto y desmontable y 4º) caja definida por la retícula de la estructura. El cuadrado es siempre un medio y no un fin. Persiste un intento de sugerir algunos de los orígenes en su formación clasicista, sus viajes y sus pinturas. Abstract: A tour through the production of Le Corbusier shows the insistent presence of the square as a basis of compositions in various fields (urban planning, architecture, painting, furniture...) and in different formats (in floor, elevation and profile, or as a theme, module and grid). This communication makes a formal analysis (graphic and symbolic) of its projects and works tracing the different ways to use the square that remains as a recurring constant. We can do it through four thematic areas descending in scale and dimensions: 1) capitols, 2) museums, 3) pavilions and 4) houses, studying a series of examples in each area based on the drawings of the Foundation Le Corbusier, generating speeches that reconstruct a thread of the time in the evolution of the compositional process. In correspondence with the four themes of study, we can discovery the employment of the square as different instruments. First: the square as the perimeter of the public space where to insert the representative architectures. Second: as a frame or safety deposit box where to enclose treasures artistic (or Holy). Third: as a cubic volume open and detachable. Fourth: as box defined by the grid of the structure. The square is always a means and not an end. In addition, there is an attempt to suggest some of the origins in his classic formation, his travels and his paintings. Palabras clave: Le Corbusier, composición, cuadrícula, cuadrado, cuadro, cubo. Keywords: Le Corbusier, composition, reticle, square, frame, cube. DOI: http://dx.doi.org/10.4995/LC2015.2015.837
6
Sepe Camargo, Gabriel. "Garder mon aile dans ta main: The genesis of the Open Hand." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.938.
Full textAbstract:
Abstract: The main hypothesis of this paper is that in the image of the Open Hand it is possible to find the reconciliation between two significant themes of the symbolic universe engendered by Le Corbusier: instrumentality and detachment. The genesis of the Open Hand is therefore to be seen as grounded among his late 1940s plastic works, which notably display the gradual movement of certain elements of figuration toward an iconic role. The hand appears as a crucial theme to Le Corbusier. Unlike other themes that have been set as pictograms — as the meander, the solar journey of 24 hours, and the bull figure —, the hand will not find its definitive form until very late in the architect’s work. The hand’s “other” seems to be another image from his painting: the winged figure, half woman and half animal, that appears in a wall at the Pavillion Suisse (mural, 1948) and illustrates the cover of Poésie sur Alger (1951). The image suggests an alienation from the worldly experience and the tragedy represented by the historical time, related to the volatility of natural phenomena. These two figures seem to synthesize the two attitudes governing the work of Le Corbusier thereafter. It is in Le Poème de L’Angle Droit (1947-1953) that the core of the symbolic system of Le Corbusier is found. The duality achieves its final result in the figure of the Open Hand, elected as the synthesis of the entirety of his symbolic system. Resumen: La principal hipótesis de este trabajo es que en la imagen de la Mano Abierta es posible encontrar la reconciliación entre dos temas importantes del universo simbólico engendrada por Le Corbusier: instrumentalidad y el desapego. Por tanto, la génesis de la Mano Abierta es ser visto entre sus obras plásticas finales de 1940, que sobre todo muestran el movimiento gradual de ciertos elementos de la figuración hacia un papel icónico. La mano aparece como un tema crucial para Le Corbusier. A diferencia de otros temas que se han establecido como pictogramas - como el meandro, el viaje solar de 24 horas, y la figura del toro -, la mano no encontrará su forma definitiva hasta muy tarde en la obra del arquitecto. El "otro" parece ser una imagen de su pintura: la figura alada, mitad mujer y mitad animal, que aparece en el Pabellón Suisse (mural, 1948) e ilustra la portada de Poésie sur Alger (1951). La imagen sugiere una alienación de la experiencia mundana y la tragedia representada por el tiempo histórico, relacionado con la volatilidad de los fenómenos naturales. Estas dos figuras parecen sintetizar las dos actitudes que rigen la obra de Le Corbusier a partir de entonces. Es en Le Poème L'Angle Droit de (1947-1.953) que el núcleo del sistema simbólico de Le Corbusier se encuentra. La dualidad logra su resultado final en la figura de la Mano Abierta, elegido como la síntesis de la totalidad de su sistema simbólico. Keywords: Open Hand; Le Poème de L’Angle Droit; Chandigarh; instrumentality; detachment. Palabras clave: Open Hand; Le Poème de L’Angle Droit; Chandigarh; instrumentalidade; desapego. DOI: http://dx.doi.org/10.4995/LC2015.2015.938
7
Rutsinskaya, Irina, and Galina Smirnova. "VISUALIZATION OF EVERYDAY SOCIAL AND CULTURAL PRACTICES: VICTORIAN PAINTING AS A MIRROR OF THE ENGLISH TEA PARTY TRADITION." In NORDSCI Conference Proceedings. Saima Consult Ltd, 2021. http://dx.doi.org/10.32008/nordsci2021/b1/v4/37.
Full textAbstract:
"Throughout the second half of the seventeen and the eighteenth centuries, tea remained an expensive exotic drink for Britain that “preserved” its overseas nature. It was only in the Victorian era (1837-1903) that tea became the English national drink. The process attracts the attention of academics from various humanities. Despite an impressive amount of research in the UK, in Russia for a long time (in the Soviet years) the English tradition of tea drinking was considered a philistine curiosity unworthy of academic analysis. Accordingly, the English tea party in Russia has become a leader in the number of stereotypes. The issue became important for academics only at the turn of the twentieth and twenty-first centuries. Currently, we can observe significant growth of interest in this area in Russia and an expansion of research into tea drinking with regard to the history of society, philosophy and culture. Despite this fact, there are still serious lacunas in the research of English tea parties in the Victorian era. One of them is related to the analysis of visualization of this practice in Victorian painting. It is a proven fact that tea parties are one of the most popular topics in English arts of the nineteenth and the twentieth centuries. No other art school in the world referred to the topic so frequently: painting formed the visual image of the English tea party, consolidated, propagandized and spread ideas of the national tea tradition. However, this aspect has been reflected neither in British nor Russian studies. Being descriptive and analytical, the present research refers to the principles of historicism, academic reliability and objectivity, helping to determine the principal trends and social and cultural features and models in Britain during the period. The present research is based on the analysis of more than one hundred genre paintings by British artists of the period. The paintings reflect the process of creating a special “truly English” material and visual context of tea drinking, which displaced all “oriental allusions” from this ceremony, to create a specific entourage and etiquette of tea consumption, and set nationally determined patterns of behavior at the tea table. The analysis shows the presence of English traditions of tea drinking visualization. The canvases of British artists, unlike the Russian ones, never reflect social problems: tea parties take place against the background of either well-furnished interiors or beautiful landscapes, being a visual embodiment of Great Britain as a “paradise of the prosperous bourgeoisie”, manifesting the bourgeois virtues. Special attention is paid to the role of the women in this ritual, the theme of the relationship between mothers and children. A unique English painting theme, which has not been manifested in any other art school in the world, is a children’s tea party. Victorian paintings reflect the processes of democratization of society: representatives of the lower classes appear on canvases. Paintings do not only reflect the norms and ideals that existed in the society, but also provide the set patterns for it."
8
Sabella, Maria Paola. "Le Corbusier et Christian Zervos dans Cahiers d’art." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.1018.
Full textAbstract:
Abstract: The search has as purpose to notice the importance of Christian Zervos (Argostoli 1889 – Paris 1970), a greek art historian and founder of the magazine and publishing house Cahiers d’art, that lived in Paris from 1907 to the end of his life) with Le Corbusier, inserted in the contest of Cahiers d’art. The exceptional versatility of Zervos’s mind had allowed him to realize, through Cahiers d’art, a intellectual environment that exceeded the ordinary publishing house of that period, beacuse it was enchanted and nourished by all sector of knowledge. Zeros, inside the Cahiers d’art, made Le Corbusier protagonist of the section of Architecture, that submits to Sigfried Giedion. In fact since the first number of Cahiers d’art the work of Le Corbusier was broadly taken in examination. The articles related to the work of the Architect have gone since 1926 to 1954; the themes that touch these texts can be separate in four major topics: design, private house, great public buildings, painting. La recherche a le but de relever l’importance de Christian Zervos (Argostoli 1889-Parigi 1970), historien de l’art et fondateur des Éditions Cahiers d’art, qui vécut à Paris depuis 1907 à sa mort, et Le Corbusier, insérée dans le contexte de Cahiers d’art. L’exceptionnel éclectisme de Zervos a permis de réaliser dans Cahiers d’art un excellent milieu intellectuell qu’il va au-delà des Éditions, car uni et nourri par chaque domaine de la connaissance. Dans les Cahiers d’art, Zervos rend Le Corbusier le protagoniste de la section d’architecture, soignée par Siegfried Giedion. Keywords: Cahiers d’art; Christian Zervos; projects. DOI: http://dx.doi.org/10.4995/LC2015.2015.1018
9
Badea, Mihai, Corneliu Florea, Laura Florea, and Constantin Vertan. "Efficient domain adaptation for painting theme recognition." In 2017 International Symposium on Signals, Circuits and Systems (ISSCS). IEEE, 2017. http://dx.doi.org/10.1109/isscs.2017.8034907.
Full text
10
Cohen, Lauro Arthur Farias Paiva, and Nubia Suely Silva Santos. "New demands on design education: from the research to practice." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.123.
Full textAbstract:
One of the contemporary challenges for research and practice in design and materials is the ability to associate technical information on properties and processing of materials with creative activities and applications. Currently, there is a return to artisanal practices and processes, in which there is a continuous dialogue between the designer, the material, and the project. This study demonstrates the relevance of practice-oriented design processes in the construction of knowledge. In an experience facilitated through post-consumer paper recycling workshops with students from the Bachelor of Design course at the State University of Pará (Brazil), ways of producing recycled paper tiles were investigated and the effects of this activity were discussed. The context of the activity is based on theoretical studies in materials and design, with a methodological approach focused on practical experiments in a research and teaching scenario.The research is classified as exploratory. The methodology adopted is based on the experimental method, considering the testing of new compositions and the response of materials to the processes. The recycling process consists of preparing post-consumer paper waste, producing cellulose pulp, and making paper tiles for subsequent painting. The tile alternative was inspired by the architecture of Belém (Pará - Brazil), bringing affective memories and a reinterpretation. In the methodological approach, the residue has its sensory and physical characteristics experienced after paper shredding. The homogeneity of the pulp is crucial for a good surface finish after drying. In the pulp molding step, after tests and research in the literature, silicone was selected as the most suitable material for the mold, also the possibility to form reliefs on the tile surface. During the workshops, each participant had the opportunity to interact with the material, from which the sensory analyzes are verbalized and discussed in the group, looking for alternatives for applications. In the course of the creation of the tiles, the participants expressed their feelings, references, and interests through painting. Different colors and textures worked during the activity give the artifact the characteristic of those who manipulate it. The activity provided a network of contacts and meetings in which students had the opportunity to reflect on waste disposal. One of the contributions to education in materials design is the possibility of dealing with awareness and critical concepts. Participants shared their experiences and stories related to the themes presented, as well as perspectives on sustainability. The workshop enabled the construction of new meanings and experiences with the production of products through the playful aspects of handcrafting, in addition to exemplifying the need to involve the understanding of sensory qualities in the design process. At the end of the activity, pieces with potential for indoor environments were obtained and a permanent art installation was designed at the State University of Pará. Through contemplation, the audience used touch to interact with the pieces, enhance the aesthetics and investigate the individuality of paper tiles. The installation transformed the space into a reference point, a place for meetings and interactions.
Reports on the topic "Painting Themes"
1
Black, Barbara. Visual notes, fragments and allusions: drawing and painting thesis. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.2490.
Full text
2
Bowman, Mark D., Bryan D. Hagan, and William D. Hurdle. Steel Bridge Coating Evaluation and Rating Criteria. Purdue University, 2023. http://dx.doi.org/10.5703/1288284317386.
Full textAbstract:
The aim of the study is to gather information on three topics: (1) the evaluation and rating of steel bridge protective coatings, (2) coating systems used by various states throughout the United States, and (3) maintenance painting procedures employed by various state department of transportation agencies (DOTs). First, it was found that most state DOTs use either an Element Level type rating of the coating system or a 9–0 NBI type rating; many state DOTs use both methodologies, with one used for state bridges and the other for local bridges. Second, for coating systems, it was found that there is a great deal of uniformity of the steel bridge coating systems used in the United States, with three-coat paint systems being the most common. Third, it is believed that maintenance painting can extend the useful life of bridge coatings. However, many state DOTs report that the cost of maintenance painting has increased due to many factors that involve available personnel, proper training, and increased regulations on the removal and application of steel bridge coatings. Consequently, many DOTs no longer perform maintenance painting, other than emergency repairs, and simply wait until the entire bridge needs to be re-coated and contract the work out. Lastly, an NBI 9–0 type rating procedure for steel bridge coatings is proposed for possible consideration and implementation by INDOT.
3
Kimball, Frances. Aspects of the city; a group of paintings in varied media, based on the theme of the city and river front. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.61.
Full text
4
Handy, Frank. An exploration into aspects of broken color as exemplified in the works of the Impressionists and Neo-Impressionists and the application of these theories within painting experiences of the adolescent student. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.883.
Full text
5
Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.
Full textAbstract:
The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.