Journal articles on the topic 'Painting Themes'
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Ye, Zhihao, and Xinyun Jiao. "Contemporary Art on Realistic Subjects in the New Era of Lacquer Painting." Asian Journal of Social Science Studies 7, no. 7 (August 1, 2022): 75. http://dx.doi.org/10.20849/ajsss.v7i7.1249.
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By using lacquer painting creation with realistic themes as an example, this essay will examine the primary issues with lacquer painting creation with realistic themes in the context of the modern period.It will summarize the key pathways and construction expansion choices for lacquer painting creation with realistic themes by analyzing the creative issues and traits of lacquer painting with realistic themes, and it will provide the future path perspective that may be supported.Modern lacquer paintings with realistic topics suffer from a loss of pictoriality, a weakening of pictoriality, and a lack of aesthetic merit. Lack of creative integrity and originality; little aesthetic effect; lack of a modern viewpoint or historical significance. It is clear that there is a “tendency to profit,” and commercialization results in repetition and homogenization. A few representative lacquer paintings and artworks have been examined by the author.By emphasizing the incorporation of styles from other forms of painting and increasing the lacquer painting’s creative expressive language, the author offers answers.The development of lacquer paintings with realistic subjects in the context of the new period is suggested as well as workable solutions.
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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.
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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.
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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.
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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.
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Hariwarman, Made Satya, I. Gusti Ngurah Sura Ardana, and Luh Suartini. "ANALISIS FORMAL KARYA LUKISAN IDA BAGUS KETUT SUTA." Jurnal Pendidikan Seni Rupa Undiksha 12, no. 3 (September 30, 2022): 161–73. http://dx.doi.org/10.23887/jjpsp.v12i3.52685.
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This study aims to describe (1) Identify the characteristics of Ida Bagus Ketut Suta painting (2) Describe the theme of Ida Bagus Ketut Suta's painting (3) Describe the visual form of Ida Bagus Ketut Suta's painting using formal analysis methods. The subject and object of this research is the profile of Ida Bagus Ketut Suta with traditional paintings that have been made by Ida Bagus Ketut Suta. This research is a qualitative descriptive study, data collection in this study used the techniques of (1) observation, (2) interviews, (3) documentation, and (4) literature. The results of this study indicate that (1) The results of the visual identification mapping of Ida Bagus Ketut Suta's traditional paintings based on a comparison of several types of traditional wayang paintings in Bali, show that the results of his paintings have different characteristics from traditional paintings that developed in eastern Bali but are the result of the development of traditional paintings from Tabanan, namely the wayang kopang style painting, (2) The themes of several paintings that have been made by Ida Bagus Ketut Suta can be identified through formal analysis methods that are based on folklore Hindu, (3) formal visual analysis of forms from Ida Bagus Ketut Suta's painting, which is a form of wayang tradition painting that has its own characteristic and varied appearance.Keywords: traditional painting, Ida Bagus Ketut Suta
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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Qu, Yifeng. "Interpretations of Rice Paper Watercolor Painting in Art Teaching." Review of Educational Theory 3, no. 1 (March 30, 2020): 62. http://dx.doi.org/10.30564/ret.v3i1.1635.
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The ricepaperplant pith is also known as Tetrapanax papyrine, Akebia, or tall gastrodia fruit, a kind of shrub or small tree of the Araliaceous. It is native to south China and Taiwan Prov., the raw material of rice paper. Extract its central tissue from the stem to make pith slices which could be made as the watercolor painting paper. It arose in Guangzhou in the 19th century, and the themes are mainly focused on reflecting the social life scenes as well as various characters in late Qing Dynasty, such as officials, soldiers, juggling, weaving, playing instrument, etc. The works are lively, vivid, and bright in colors. As the result of using western painting principles and reflecting Chinese local customs, rice paper watercolor paintings were admired by Westerners at that time. However, as pith paper is fragile, the size of painting was usually small and difficult to conserve, there are few works handed down in China. In recent years, the rice paper watercolor painting has attracted more and more concern, which is of great significance to the study of the development of early Western paintings in China.
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Marrison, G. E. "Balinese classical painting: Its literary and artistic themes." Indonesia Circle. School of Oriental & African Studies. Newsletter 23, no. 65 (March 1995): 1–20. http://dx.doi.org/10.1080/03062849508729830.
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Chai, David. "Shitao and the Enlightening Experience of Painting." Dialogue and Universalism 31, no. 3 (2021): 93–112. http://dx.doi.org/10.5840/du202131347.
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Having reached its zenith in the Song dynasty, Chinese landscape painting in the dynasties that followed became highly formulaic as artists simply copied the old masters to perfect their skills. This orthodox approach was not accepted by everyone however; some painters criticized it, arguing it was better to learn the ideas behind the techniques of the old masters than to blindly copy them. Shitao was one such critic and his Manual on Painting exemplifies his desire to disassociate himself from the classical approach to painting. This paper will investigate the three major themes of Shitao’s text—the holistic brushstroke, brush and ink, and the method of no-method—in order to show how they shaped his view of landscape painting and how said paintings subsequently embodied them. Unlike the near-scientific approach taken by his contemporaries and predecessors, Shitao paints to capture the unifying simplicity of nature, an onto-aesthetic experience that is profoundly enlightening.
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Linrothe, Rob. "Hidden in Plain Sight." Archives of Asian Art 70, no. 2 (October 1, 2020): 225–44. http://dx.doi.org/10.1215/00666637-8620384.
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Abstract This is a review article of Janet Gyatso's 2015 award-winning book, Being Human in a Buddhist World: An Intellectual History of Medicine in Early Modern Tibet. The art-historical aspects of the book—mainly confined to the first chapter, “Reading Paintings, Painting the Medical, Medicalizing the State” and based on a perceptive art-historical reading of a set of medical paintings and its copies—had yet to be reviewed by an academically-trained art historian. This review underscores the fine art-historical insights deserving the attention of art historians working in parallel contexts of the often tense relationship between religious and empirical epistemologies. At the same time, the evaluation of certain readings of the visual record lead to suggested revisions in the support they provide to Gyatso's primary argument. In addition, other precedents of depictions “from life” in Tibetan art history are offered to help contextualize claims of originality or uniqueness. Finally, an analysis is presented of less formal, freehand painting versus more formalized, iconometric execution, calibrated with vernacular subject matter versus iconographically predetermined themes. Both of the painting modes and subject types are combined in the painting set analyzed by Gyatso supporting her assessment of the innovation of the artists selected by the patron, Desi Sangyé Gyatso (1653–1705).
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Sitnikova, A. A., and X. Li. "THE IMAGE OF CHINA IN THE ART OF KRASNOYARSK ARTIST SERGEY FOROSTOVSKY." Northern Archives and Expeditions 6, no. 4 (December 30, 2022): 87–98. http://dx.doi.org/10.31806/2542-1158-2022-6-4-87-98.
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The article is devoted to the research of the art of Krasnoyarsk artist Sergey Forostovsky. In-depth interviews with the artist and philosophical analysis by the methods of V.I. Zhukovsky and N.P. Koptseva were used as methods of research. The results of the research allowed to give a general characteristic of the artist's work: he singled out two types of paintings — emotional and associative; he described the painting style and coloring; described the key genres in which Forostovsky works, including the concept of a painting-remembrance; identified some important philosophical themes of his work, such as visualization of emptiness. Separate consideration is given to Forostovsky's paintings based on his creative journeys to China — Harbin, Inner Mongolia and Tibet. As representative works are considered such as: "Annunciation Cathedral in Harbin", the diptych of paintings "I was born in Manchuria" and "My Life Manchuria", "Walking on the Island of the Sun", "Wind from the Sungari" and "Potala Palace".
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Abdul Rahim, Rosliza, Mumtaz Mokhtar, Verly Veto Vermol, and Rafeah Legino. "Iconography Underpinning Malaysian Portrait Painting." Environment-Behaviour Proceedings Journal 6, SI5 (September 1, 2021): 119–24. http://dx.doi.org/10.21834/ebpj.v6isi5.2936.
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Malaysian portrait paintings were introduced in the 1930s where local artists started using the subject in their art-making. In art, portraits are generally known as the likeness of a person, especially a face and shoulders, but in fact, there are more ways to define portrait and painting. There is a lack of understanding and interpretation on the subject. Consequently, this study aims to trace the chronology of the development of Malaysian portrait paintings. The stylistic and contextual issues, including its formalistic format, media, themes and styles, and artists, are also examined in this study using a mixed-mode of research method. Keywords: Portraits; Painting; Iconography eISSN: 2398-4287 © 2021. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v6iSI5.2936
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Wulandari, Anak Agung Ayu. "The Role of Pitamaha in Balinese Artistic Transformation: A Comparison Between Kamasan and Gusti Nyoman Lempad Artistic Style." Humaniora 7, no. 4 (October 30, 2016): 463. http://dx.doi.org/10.21512/humaniora.v7i4.3599.
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The Balinese artistic traditions of wayang style paintings that were known as Kamasan lasts for generations occurred some changes. Following the collapse of Balinese traditional court, the arrival of western artists and scholars, Pita Maha association was established to prevent the excess of commercialism to Balinese arts and crafts. A new generation of artists started to emerge, not only they adopted western painting techniques taught by their western ‘gurus’, but they also showed freedom of self-expressions in their works; one considered as a genius was Gusti Nyoman Lempad. The aim of this research was to compare the artistic transformation before Pita Maha and after Pita Maha. It was done by analyzing examples of Kamasan styled painting and works of Lempad through the qualitative method with a case study approach. The analyses show the differences between both styles regarding themes, iconographies, human figures proportions and composition, presentation of narrative stories, decorative elements and availability of artists’ signature in the paintings. It shows the artistic transformation of Balinese art. Through Pita Maha, Balinese starts to adopt western painting techniques, while preserving the cultural inheritance and symbolic value of traditional art in addition to their economic value.
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Sonika. "RAINBOW OF COLOURS – THE PAHARI MINIATURE PAINTING”." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–4. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3534.
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Indian miniatures are in the art world a class by themselves. ‘Miniature’ generally refers to a painting or illumination, small in size, meticulous in detailing and delicate in brushwork1. Indian Miniature Painting has a long history of over thousand years and presents a comprehensive record of the religious and emotional feelings of the Indian people. These paintings show the Indian genius in its pure form. Its inspiration is rooted in the people’s hearts, keeping close to their poetry, music and drama. The great merit of this art is the exquisite delicacy of drawing with decorative details. The artists of these miniatures used bright colours with tempera effect and display an unusual understanding of colour combinations.Miniature art form made its debut in the 10th century. The earliest of miniatures are found painted on palm-leaves and their themes relating to Jainism and Buddhism. The palm-leaf paintings seem to have developed between 10th to 12th centuries. In the 14th century, palm leaf was replaced by paper and to earlier colours were added new mineral colours and pigments. Paper, with its tougher, smoother and better pigments absorbing surface almost revolutionized the entire art scenario2.
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Lippit, Yukio. "Puppy Love: The Legacy of Yi Am’s Paintings in Edo-Period Japan." Korean Journal of Art History 313 (March 31, 2022): 35–57. http://dx.doi.org/10.31065/kjah.313.202203.002.
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This essay examines the Japanese reception of the Korean painter Yi Am 李巌(b. 1499), and by extension considers the relationship between ink painting technique and pictorial meaning. In particular, it examines how Yi Am’s unique approach to the painting of puppies with blended washes of ink opened up new interpretive possibilities among Japanese viewers. Although Yi Am’s puppy paintings appear to have been circulating in Japan as early as the seventeenth century, they were misattributed to Chinese painters such as Mao Yi, and Yi Am’s seal was mistaken as belonging to a Japanese monk-painter of the Muromachi period. The monochrome ink puppy paintings of the Kyoto artist Tawaraya Sōtatsu 俵屋宗達(ca. 1600-1640), however, depict the bodies of their canine protagonists with the same wash-based approach found in Yi Am’s works, and appear to have been catalyzed in some way by an encounter with the Korean artist’s paintings. In the case of Sōtatsu, this approach eventually came to be known as tarashikomi, a signature technique of the Rinpa School, and therefore it is no exaggeration to state that Yi Am’s works played a role in inspiring one of the most recognizable techniques of early modern Japanese painting. Although dog and puppy paintings are traditionally linked to auspicious meanings, Sōtatsu’s puppy paintings appear to have been associated within a Zen Buddhist themes, in particular the koan “A Dog Has No Buddha-Nature.” This Zen Buddhist framework of meaning can be gleaned from inscriptions on his paintings by Zen monks such as Isshi Bunshu 一絲文守(1608-1646) and Tangai Musen 丹崖無染(1693-1763). I would propose that the particular wash-based approach of Yi Am and Sōtatsu to this subject was particularly significant in generating this association. The eighteenth-century painter-poet Yosa Buson 与謝蕪村(1716-1784) also based his puppy paintings upon models derived from Yi Am. In the case of Buson, however, the cultural meaning of these works can be gleaned from his haikai poetry, in particular a poem accompanying a Maruyama Okyo 円山応挙(1733-1795) painting of a puppy that associates its inky body with the interiority of a poetic subject. The final case study examined in this essay is Itō Jakuchū 伊藤若冲(1716-1800). Jakuchū left a number of puppy paintings that embody Zen Buddhist themes in highly sophisticated ways. Because he was close to Tangai Musen, it is likely that he was aware of Sōtatsu’s puppy paintings, and indirectly familiar with those of Yi Am. Thus the case could be made that Yi Am’s wash-based technique opened up a new horizon of interpretive possibility among Japanese painters extending from Sōtatsu to Jakuchū.
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Gottschaller, Pia. "Painting as technology: Toolpaths and pathways in Cheyney Thompson’s work." Journal of Contemporary Painting 7, no. 1 (October 1, 2021): 115–61. http://dx.doi.org/10.1386/jcp_00025_1.
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This article focuses on the experimental painting process of Cheyney Thompson (b. 1975). It is informed by French postmodern theory, principles of colour theory, and includes algorithms developed by the artist himself. Thompson’s practice can be understood as a continuous rumination on technology and the history of technology, as the artist explained in several interviews for this text, which also describes how his themes since c.2006 have been transposed into elaborate practical processes. The concerns and sources for his interrelated sets and series of paintings are wide-ranging, from the relationship between photography, printing and painting, to the Modernist grid, square and monochromy; how labour and time can be measured and mapped; and the role of the artist’s gesture, chance, and the influence of capitalist forces in the production and distribution of art.
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Choudhury, Indie A. "Frank Bowling’s White Paintings." Nka Journal of Contemporary African Art 2019, no. 45 (November 1, 2019): 34–47. http://dx.doi.org/10.1215/10757163-791684.
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Frank Bowling’s white paintings span a period of some forty years in his practice, resulting in an eponymously titled exhibition The White Paintings (2006). As a body of work, the paintings occupy the longest period within Bowling’s career yet are largely absent from his historiography and are the least referenced, either as single works or as a series. The paradox of Bowling’s white paintings is that they are not all merely white nor are they all monochromes. A consideration of them presents an opportunity to resituate Bowling from a singular focus of formalism and to convey his deep relation to the world around him via a mode of abstraction that is layered with meanings. This investigation follows by centering upon a single painting from Bowling’s white series, Icarus (2005), produced after the death of his eldest son. Icarus explores themes of time, death, and spiritual release that are constant throughout the series. Bowling undercuts attendant ideas of purity and singleness, both in his exploration of whiteness and within the “tradition” of monochrome painting, and exposes its fallacies. Bowling’s white paintings thus mediate the way both modernity and history may be otherwise deployed, speaking inevitably to how the myth of whiteness is imbricated within the construction of modernism.
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Choudhury, Indie A. "Frank Bowling’s White Paintings." Nka Journal of Contemporary African Art 2019, no. 45 (November 1, 2019): 34–47. http://dx.doi.org/10.1215/10757163-7916844.
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Frank Bowling’s white paintings span a period of some forty years in his practice, resulting in an eponymously titled exhibition The White Paintings (2006). As a body of work, the paintings occupy the longest period within Bowling’s career yet are largely absent from his historiography and are the least referenced, either as single works or as a series. The paradox of Bowling’s white paintings is that they are not all merely white nor are they all monochromes. A consideration of them presents an opportunity to resituate Bowling from a singular focus of formalism and to convey his deep relation to the world around him via a mode of abstraction that is layered with meanings. This investigation follows by centering upon a single painting from Bowling’s white series, Icarus (2005), produced after the death of his eldest son. Icarus explores themes of time, death, and spiritual release that are constant throughout the series. Bowling undercuts attendant ideas of purity and singleness, both in his exploration of whiteness and within the “tradition” of monochrome painting, and exposes its fallacies. Bowling’s white paintings thus mediate the way both modernity and history may be otherwise deployed, speaking inevitably to how the myth of whiteness is imbricated within the construction of modernism.
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Sijia, Liu. "The Scholar’s study in Painting and the History of Collection in Dutch XVII century." Scientific and analytical journal Burganov House. The space of culture 17, no. 1 (March 10, 2021): 83–94. http://dx.doi.org/10.36340/2071-6818-2021-17-1-83-94.
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his article is devoted to analysis the theme of the “scholar’s study” in Netherland XVII century painting. The reason for the rise of this theme is closely related to the great development of science and navigation in the XVII century in Netherland. Under the economic development, the tradition of collecting prevails among scholars. People admire knowledge and work on scientific inquiry. The author analyzes Gerrit Dou’s self-portrait The Artist’s studio and the symbolic meanings of objects in the painting. The author states that his self-portrait portrays himself as a scholar, reflecting the social ethos of worshiping knowledge. The specificity of his work, the themes of the scholar’s study, the influence of science, religion, philosophy on the painting of Gerrit Dou, the symbolic meanings of objects surrounding the scientist are considered. Jan van der Hayden’s paintings Still Life with a Globe, Books, Sculpture and Other Objects reflect the wide-ranging style of the collection at that time, reflecting both the worship of religion and the abundance of Netherland foreign products under the background of the great geographical discovery in the XVII century. During this period, establishment of Netherland universities and advent of the maritime age encouraged a thriving cartography producing. A large number of globes and scientific tools appeared in the paintings. They not only have religious meaning, but also show the progress of the new era. Audience can get a glimpse of the characteristics of a typical Netherland scholar’s collection from his paintings. The purpose of this article is to analyze the scientific progress, social development of the Netherlands. This allows you to take a fresh look at the assessment of creativity on the theme of the scholar’s study. To fulfill that purpose, need to complete following tasks: to characterize the specifics of paintings in the themes of the scholar’s study, to reveal the symbolism in the paintings The Artist’s studio by Gerrit Dou, Still Life with a Globe, Books, Sculpture and Other Objects and A Corner of a Room with Curiosities by Jan van der Hayden, to show the close connection between the development of science in the 17th century and the topic of the scientist’s office. The author concludes that the theme of the “scholar’s study” in Netherland XVII century paintings reflect the collection characteristics and aesthetics in the XVII century.
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Salvador González, José María. "Domina Paupertas: the praise of voluntary poverty by St. Francis of Assisi and its reflection in late medieval Spanish painting." SIGNUM - Revista da ABREM 14, no. 2 (February 1, 2014): 105. http://dx.doi.org/10.21572/2177-7306.2014.v14.n2.06.
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As is well known, St. Francis of Assisi heroically embraced evangelical poverty, renouncing material goods and living in abject poverty, in imitation of Jesus Christ. Furthermore, through his writings and oral testimonies collected by his disciples, the saint fervently urged Christians to live to some degree voluntary poverty , of which Christ was the perfect model. By basing this reading on some Poverello’s quotations, this paper intends to show the potential impact that these exhortations from San Francisco to poverty may have had in the late medieval Spanish painting, in some iconographic themes so significantly Franciscan as the Nativity and the Passion of the Redeemer. Through the analysis of a large set of paintings representing both issues, we will attempt to put into light if the teachings of St. Francis on evangelical poverty are reflected somehow in Spanish painting of the late Middle Ages.
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Serbest Yilmaz, Betul. "THEMES FROM ILIAD OF HOMER IN EUROPEAN ART OF PAINTING." Ulakbilge Dergisi 5, no. 9 (February 28, 2017): 103–28. http://dx.doi.org/10.7816/ulakbilge-05-09-06.
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Paponnet-Cantat, Christiane. "Painting Themes, Social Memory and National Identity in Cuban Art." International Journal of Arts Theory and History 8, no. 2 (2014): 33–45. http://dx.doi.org/10.18848/2326-9952/cgp/v08i02/36248.
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Forma, Ewa, Magdalena Bernaciak, and Magdalena Bryś. "Breast Cancer in Art Painting." Folia Biologica et Oecologica 6 (December 4, 2010): 61–68. http://dx.doi.org/10.2478/v10107-009-0007-0.
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Breast cancer is an emotive cancer. It is a disease that affects a visible sexual organ and it is the commonest single cause of death of women between 40 and 60 years of age. Nevertheless, this type of cancer was infrequently depicted in art paintings. In this article the themes from the breast cancer in famous art paintings are discussed.
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Gultyaeva, Galina S. "CHINESE NATIONAL PICTURE NIANHUA – A PHENOMENON OF CULTURE OF THE XX CENTURE." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 41 (2021): 127–38. http://dx.doi.org/10.17223/22220836/41/10.
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Chinese folk painting nianhua (literal translation, “New Year’s picture”) is a kind of Chinese graphic art, which received a wide popularity in the late XIX – early XX centuries. On the eve of the New Year in China everywhere decorated interiors of living rooms with colorful pictures containing New Year’s greetings, they were pasted on windows, doors, gates. Decorative pictures had a utilitarian and cultic purpose: images of mythological characters and gods symbolized happiness, longevity, prosperity, protected from disasters and misfortunes. At the beginning of the 20th century, nianhua was produced in the woodcutting shops in a woodcut way, since the middle of the 20th century have been used modern technologies, including printing. New Year’s paintings significantly different from national academic painting. The philosophical concept of New Year’s painting was to reflect the spiritual life of the people, moral values, and artistic tastes. The images were built on the basis of folklore motifs, a rhythmic combination of bright colors created a decorative effect, so nianhua is a valuable material that demonstrates the aesthetic representations of the Chinese people, their folk traditions and symbols. The themes of the New Year’s paintings are extremely diverse and includes the following: scenes from classical literature, religious and symbolic and benevolent drawings, genre art painting, calendars depicting 12 cyclic signs of animals, agricultural calendars and advertising pictures. During the history of its existence, the New Year’s picture plays an important political and ideological role. Traditional paintings propagated the foundations of the orthodox Confucian ideology about social and ethical relationships, including hierarchy in the family and society: “Wu lun – the five principles of relationships”, “Xiao – filial piety”, “Ren – patience”. In the second half of the XX century, the New Year's picture is developing as an agitational poster. Under the influence of European painting and modern political processes in Chinese society, artists began to use a new artistic method - revolutionary realism on purpose to illuminate sociopolitical events, propagandize government tasks and resolutions. The basic principles of painting the New Year’s picture are the decorative character (the brightness of colors, the rhythmic combination of color spots), the hyperbolism and idealization of images, the folklore basis of plots and the conventional symbolic-metaphoric language.
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Śnieżyńska-Stolot, Ewa. "Maksymilian Cercha malarz Tatr. Z cyklu „Zapomniani mieszkańcy Krakowa”." Rocznik Biblioteki Naukowej PAU i PAN 65 (2020): 131–39. http://dx.doi.org/10.4467/25440500rbn.20.009.14168.
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Maksymilian Cercha a Painter of the Tatras. From the “Forgotten Citizens of Kraków” Series Maksymilian Cercha (1818–1907), whose life was linked to Kraków, was born in an assimilated Italian family and is known as a drawer, cataloguer of gravestones in the churches of Kraków and a co-author of a publication titled the Monuments of Kraków. In this paper however, his Tatra-themed paintings are discussed, which are yet to be included in the Art History. Cercha was Jan Nepomucen Głowacki’s student, who established Tatra mountains themed landscape painting in Kraków. In the summertime, he used to take his students to the Tatra mountains where he would rent an inn in Stare Kościelisko for an atelier. Cercha painted his Tatra landscapes in the period from 1849 to 1860. These are: –– Morskie Oko, oil on cardboard (31 x 23 cm), 1849; –– View from Mała Łąka, oil on canvas (38 x 31 cm), 1853; –– Mill in Chochołów, oil on cardboard (22 x 28 cm), 1853; –– Sucha Woda Valley as seen from Brzeziny, oil on cardboard (32 x 26 cm), 1857; –– View of the Giewont mountain, oil on cardboard (23 x 30 cm), c. 1860; –– “Carpathians”, watercolour (22 x 14), 1860. Except View from Mała Łąka, held by the Tatra Museum in Zakopane, all pictures belong to the family. Moreover, there are three pencil on paper drawings depicting Zakopane and Hamry from the period of 1855–1857 held by the National Museum in Kraków. Cercha, modelling on Głowacki, used to oil paint on cardboard by firstly sketching on location and then finishing the picture back in Kraków. He used to replicate the themes drew out by Głowacki, such as the view of Morskie Oko lake. He continued the Cracovian tradition of Tatra landscape painting, whic, thanks to Głowacki, Franz Steinfeld the Younger’s student, derives from the Austrian landscape painting of Biedermeier period.
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Sinclair, Rolf. "Howard Russell Butler: Painter Extraordinary of Solar Eclipses." Culture and Cosmos 16, no. 1 and 2 (October 2012): 345–55. http://dx.doi.org/10.46472/cc.01216.0255.
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Howard Russell Butler (1856-1934) was a successful landscape and portrait painter who discovered a rare talent for seeing an image briefly and then painting it from memory and a few notes. He originally studied physics at Princeton, worked in the nascent telephone industry, and then practiced law. His avocational interest in painting grew until, at age 28, he made the decision to become a professional artist. He sometimes used his unusual talent to quickly sketch transient phenomena (or a busy patron) and then later finish the painting. Since colour photography was then unable to capture the phenomena visible only during a total solar eclipse, Butler was commissioned to capture the nuances and colours of the solar corona and prominences in the precious seconds of several eclipses. His paintings became astronomical classics. He went on to paint other astronomical themes (such as Mars seen from its Moon and design a museum’s Ideal Astronomic Hall, using the astronomical knowledge of his day. Although these scientific works were only a small part of his oeuvre, they mark him as one who uniquely brought together art and astronomy. This talk will show the range of Russell’s works and describe his unusual techniques.
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Zulkifli, Zulkifli, Anam Ibrahim, Mangatas Pasaribu, and Bakhrul Khair Amal. "The Revitalization of Iconic Shapes through the Creation of Relief Dimensional Paintings as Tourism Software Products (Case Study in Medan City, Indonesia)." Randwick International of Social Science Journal 2, no. 4 (October 31, 2021): 450–60. http://dx.doi.org/10.47175/rissj.v2i4.291.
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Medan City in Indonesia, is rich with iconic forms in the form of historical buildings and cultural products of the past. On the other hand, Medan City tourism has been known since the Dutch colonial era, but has not been supported by the availability of souvenir products. This research article describes the revitalization of the iconic forms of Medan City. The aim is to examine the potential of iconic forms to be used as the basis for the development of relief-dimensional painting as a tourism souvenir product. This research use desciptive qualitative approach. The replicated method is a combination of survey method and creation method. Sources of research data are written data, photo data, interview results, notes on the creation process, and appreciative assessments. Data analysis was carried out using an interactive model: data reduction, data presentation, verification and conclusion drawing. The results showed that the iconic shapes of Medan City have great potential to be explored into original painting themes. Technically, the art of painting with relief dimensions is effectively developed with rubber sheet material, supported by strong texture work. Overall, the paintings produced have an aesthetic quality, exclusive as tourism souvenirs.
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Woodley, Frances. "The (Playfully) Melancholic Still Life of Contemporary Painting." Jednak Książki. Gdańskie Czasopismo Humanistyczne, no. 9 (April 24, 2018): 173–88. http://dx.doi.org/10.26881/jk.2018.9.15.
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This paper considers the ways in which contemporary painting of still life accepts the address of its tradition. Tradition is considered here as cultural memory reiterated and transformed over time. The means by which contemporary artists work with, and against, tradition are explored through ideas of reverie, play and material process. Melancholy is a characteristic of the genre of still life, one that crosses time, and is thus given particular attention in relation to traditional and contemporary still life. Whilst Part I is an exploration of the themes and issues described above, Part II (case studies) is an attempt to exemplify them through the work of three contemporary British painters: Alan Salisbury, Emma Bennett and G.L. Brierley of whom it can be said that they paint playfully melancholic paintings of still life.
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Borozan, Igor. "Simbolistički opus Mihe Marinkovića i njegova recepcija u srpskoj sredini." Ars Adriatica 9 (February 28, 2020): 133–50. http://dx.doi.org/10.15291/ars.2928.
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The paper analyses the symbolist works in the under-researched opus of painter Miho Marinković. Trained at the Munich Academy of Fine Arts, he is primarily known as a painter of intricate themes that can be categorized as late 19th-century symbolism. In 1904, he settled in Belgrade and became an active participant in the cultural scene of the Serbian capital. In 1911, Marinković’s paintings were exhibited in the Pavilion of the Kingdom of Serbia at the International Exhibition in Rome. His symbolist oeuvre covers the standard themes of symbolist painting, such as Medusa, Lucifer, or The Sinner, which speaks both of the artist’s personality and of the eclectic turn of the century. Symbolism in Marinković’s work reflects his training in Munich, which in the late 19th and early 20th centuries was the European centre of somnambular themes and artistic experiments. In this paper, his oeuvre has been considered in the context of general symbolist structures, with particular references to the Munich symbolism. Some reviews of Marinković’s symbolist paintings have been pointed out, which testify to the history of the reception of his work in the Kingdom of Serbia in the early 20th century. The positive reception of Marinković’s paintings in the Serbian setting is evident from the fact that as many as thirty-five of his works have been included in the holdings of the National Museum in Belgrade.
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Lawder, Rebecca. ""Erotic Nature"." Athanor 37 (December 3, 2019): 67–78. http://dx.doi.org/10.33009/fsu_athanor116675.
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To decode John Dunkley’s dark and sexual landscape is also to reveal a decolonial message in his broader works. Dunkley humanizes nature through both masculinizing phallic and feminizing yonic symbolism as an emancipatory tactic, thereby reflecting a culturally nuanced relationship between people and landscape. Dunkley subverts the expected in Caribbean painting, especially for foreign consumers. By bringing nature to life, his paintings offer subversive anti-colonial themes, too, waiting for decipherment. This paper will examine Dunkley’s use of erotic imagery, arguing that the painter’s sexual landscapes, through layered poetics and symbolism, ultimately served to challenge every day oppressions in colonial Jamaica.
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Harbison, Craig, and Barbara Lane. "The Altar and the Altarpiece. Sacramental Themes in Early Netherlandish Painting." Simiolus: Netherlands Quarterly for the History of Art 15, no. 3/4 (1985): 221. http://dx.doi.org/10.2307/3780694.
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Lane (book author), Barbara G., and Robert Baldwin (review author). "The Altar and the Altarpiece: Sacramental Themes in Early Netherlandish Painting." Renaissance and Reformation 23, no. 2 (March 6, 2009): 197–202. http://dx.doi.org/10.33137/rr.v23i2.11989.
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Василишина Наталія Анатоліївна. "ЛІТЕРАТУРНІ СЮЖЕТИ В ТВОРАХ Е. ДЕЛАКРУА – “ЗАГИБЕЛЬ КОРАБЛЯ ДОН-ЖУАНА” ТА “ПІСЛЯ КОРАБЕЛЬНОЇ АВАРІЇ”." Science Review, no. 5(22) (June 30, 2019): 33–42. http://dx.doi.org/10.31435/rsglobal_sr/30062019/6546.
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In this article, we have studied problems associated with features of the painting development in the Romantic era. We have highlighted questions on the interrelationship between literature and painting and considered new trends in the development of the French painting in the first half of the 19th century. Artists of this era, in particular E. Delacroix, searched for new subjects actively by finding interesting themes in works of the world literature. E. Delacroix was inspired by works of Dante, L. Ariosto, T. Tasso, W. Shakespeare, J. Goethe, G. Byron, F. R. de Chateaubriand, W. Scott etc. Among them we should make the English writer G. Byron stand out: His character personified the romantic ideal of the whole era and his heroic life became a role model for young generation. In Byron’s works Eugène Delacroix was searching for new themes and his romantic hero and every time finding the relevant ways for his artistic solution system. Е. Delacroix’s works show us the integrity of romantic ideas clearly and the close mutual influence of the Western European literature and French painting allows speaking about the uniqueness of this era.
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Hryhorov, V. "Monumental and decorative art of the second half of the 20th century in specialized literature." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 99–104. http://dx.doi.org/10.33838/naoma.27.2018.99-104.
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The article deals with a number of issues highlighted in the research of monumental painting during the 1960–2000s, and follows the development of art studies literature during the specified period. Ukrainian monumental painting during the second half of the 20th century evolved rather unequally, which affecte the art criticism reflections. In the 1960's and 80's the active and dynamic development of monumental art took place. Research in this area also reached the peak of its popularity. For example, the article of I. Pronina contains a review of publications from 1973–1974, and the author brought the statistics indicating more than 200 works. (180) Since the mid-1960's, academics have been increasingly focusing on monumental art. The attitude to monumental painting in the art history literature of the 1960's is ambiguous. However, most researchers are still critical of post-war practice and consider monumental works of the late 1950`s and 1960`s as a step forward. The distinctive differences between the 1960's and 1970's – 1980's lie in various attitudes towards themes and scenes of the monumental painting. In the 1960's the monumentality was associated with the laconic content, using a set of all understandable associative attributes. The expansion of the range of themes in monumental painting in the professional literature occured in the 1970's. Since the research problem stands at the crossroads of various branches of art, important scientific advancements were reflected in such prominent professional publications as: "Architecture of the USSR", "Decorative art of the USSR" and "Fine Arts". In the 1970's the publishing house "Soviet artist" released a series of articles compilations called "Soviet monumental art." The state of monumentalism significantly changes in 1990's as there was a significant decline in the activity of this artistic direction. At this time the monumental painting fell into the field of wide-scale artistic studies. In the professional literature of the last decade the scope of art study themes has changed to a certain extent as the art historians more often address the issues previously tabooed in Soviet times, and some of them partially or fully relate to the monumental painting. To such themes belong the Sixties and Boichukizm. Today the problem of the preservation of Soviet monumental works sharply appears. Many authors turn to the theme of monumental art in order to attract the attention of society to the rapid destruction of mosaics and wall murals, and to prove their value for Ukrainian fine arts.
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Benninga, Sara. "The Changing Perception of the Five Senses." Ikonotheka, no. 29 (September 16, 2020): 103–22. http://dx.doi.org/10.31338/2657-6015ik.29.14.
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This article examines the changing approach towards the representation of the senses in 17th-century Flemish painting. These changes are related to the cultural politics and courtly culture of the Spanish sovereigns of the Southern Netherlands, the Archdukes Albert and Isabella. The 1617–18 painting-series of the Five Senses by Jan Brueghel the Elder and Peter Paul Rubens as well as the pendant paintings on the subject are analyzed in relation to the iconography of the five senses, and in regard to Flemish genre themes. In this context, the excess of objects, paintings, scientific instruments, animals, and plants in the Five Senses are read as an expansion of the iconography of the senses as well as a reference to the courtly material culture of the Archdukes. Framing the senses as part of a cultural web of artifacts, Brueghel and Rubens refer both to elite lived experience and traditional iconography. The article examines the continuity between the iconography of the senses from 1600 onwards, as developed by Georg Pencz, Frans Floris, and Maerten de Vos, and the representation of the senses in the series. In addition, the article shows how certain elements in the paintings are influenced by genre paintings of the courtly company and collector’s cabinet, by Frans Francken, Lucas van Valckenborch and Louis de Caullery. Through the synthesis of these two traditions the subject of the five senses is reinvented in a courtly context
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Fitryona, Nessya. "KAJIAN IKONOGRAFI DAN IKONOLOGI LUKISAN A. ARIFIN MALIN DEMAN II." INVENSI 1, no. 1 (April 26, 2017): 13–25. http://dx.doi.org/10.24821/invensi.v1i1.1584.
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Lukisan Malin Deman II adalah salah satu karya dari seniman A.Arifin yang memiliki visual yang unik. Penelitian ini bertujuan untuk mengidentifikasi motif artistik, konsep dan tema serta nilainilai simbolik yang terdapat dalam lukisan tersebut. Pendekatan yang digunakan adalah ikonografi dan ikonologi Erwin Panofsky. Hasil penelitian menunjukkan motif artistik yang ada di dalam lukisan tersebut adalah kegairahan seniman untuk merepresentasikan bentuk estetik tubuh perempuan dengan gaya fantasi. Tema dalam lukisan tersebut adalah penindasan kaum laki-laki terhadap kaum perempuan dengan konsep dasar tentang konflik antar gender. Nilai simbolik yang terdapat pada karya tersebut adalah pergeseran posisi perempuan Minangkabau dan gejala penyimpangan moral. Painting Malin Deman II is one of the art works of artists, A.Arifin, who have a unique visual. This study aims to identify the artistic motifs, concepts and themes and symbolic values contained in the painting. The approach used iconography and iconology Erwin Panofsky. The results showed an artistic motif that is in the painting is excitement artist to represent form of female body aesthetic with fantasy style. Themes in the painting is the oppression of men and women with the basic concept of conflict between gender. Contained symbolic value of these works is a shift in the position of Minangkabau women and symptoms of moral aberration.
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Kołtan, Jacek, and Anna Sobecka. "Martwa natura Philippa Sauerlanda i narodziny nowoczesnej podmiotowości." Porta Aurea, no. 19 (December 22, 2020): 96–113. http://dx.doi.org/10.26881/porta.2020.19.04.
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The Allegory of Transience by Philipp Sauerland (Gdańsk 1677 – Wrocław 1762), an artist specializing in still life and animal painting, was purchased in 2015 by the National Museum in Gdańsk. The painting allows us to deepen our knowledge of Sauerland’s artistic roots, as well as the interpretation of the painting in the socio-cultural context of the development of Europe in the early 18th century.
In the paper a thesis is put forward about the Leiden sources of Sauerland’s work, which are connected with the painting tradition of the so-called fijnschilders, especially the work of Willem van Mieris. In the first decade of the 18th century, Sauerland painted The Young Woman in the Kitchen Interior, surrounded by perfectly rendered victuals, showing a similar gesture as in the famous painting by Van Mieris The Mouse Trap. In the signed painting from a private collection in New York, Sauerland chose historical themes. He presented a rare scene of David Giving Uriah a Letter to Joab. The painting refers to two famous works by Pieter Lastmann, but it is placed in an architectural set design analogous to Van Mieris’s paintings. An important element of the Allegory of Transience, in turn, is the relief visible by sliding down a carpet. This motif is also taken from the work of Van Mieries, but the iconography of the sculptural representation refers to Gerard de Lairesse’s print showing Chronos prevented by Prudence from destroying the statues. Sauerland is therefore close to the artists from Leiden in terms of the choice of themes, motifs, and the way they are painted. He also usually used a similar format of paintings. Like Van Mieris, the artist from Gdańsk signed his works with longer inscriptions. Although references to the Leydians are obvious in Sauerland’s early works, he does not make copies of their works, but focusing on the still life genre, he transforms them in his own style.
The second thesis of our essay is related to the transformation of vanitas motifs, which in Sauerland’s work reveal their secularized character. The traditional symbolism of transience, which draws on religion, is replaced by the ideas of rationalism, accompanied by the idea of reason that opens a possibility of overcoming sensual and emotional limitations. The work becomes an expression of emancipatory processes that take place at the turn of the 17th and 18th centuries in European culture. Referring to the philosophical work of Baruch Spinoza (notion of knowledge), we interpret Sauerland’s work as an expression of the emerging modern ideal of freedom, which was based on a rationalistic paradigm. It is thanks to wisdom (sapientia) that the subject is able to transcend the reality of the sensual guise.
In the last part of the text we point to the important role of practical wisdom (prudentia) and art (ars) in the process of liberalization that accompanied the social changes of the time. Using illusionism, Sauerland proposes an interpretative key to the viewer: the meaning of life is complemented by art: by making art, understanding art, or collecting artworks, the rational man can free himself from the fear of his own finiteness. The function of this still life is not to remind us of death, but to point out that contemplation of art is an intellectual and spiritual exercise that allows us to find the right attitude to life.
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Кобзей, Наталія. "ОБРАЗ ГЕРОЯ-ХУДОЖНИКА НА МАТЕРІАЛІ ТВОРІВ ВОЛОДИМИРА ВИННИЧЕНКА." Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe 4, no. 1 (2022): 23–31. http://dx.doi.org/10.15804/ppusn.2022.01.02.
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In modern science of literature there is a growing interest in the subject of the artist and his creative process as one of the ways of self-expression of extraordinary personality in the real world in general and in the art world in particular, and to study the nature of the artist. Fine art occupied a significant place in the aesthetics and poetics of Vladimir Vynnychenko. The themes and issues of some of his literary works were influenced by the creative environment of Paris, where the writer spent many years, as well as personal acquaintance with individual Impressionist artists. Vynnychenko’s characters are the protagonists, they always conflict with the world, although they do not always win in these confrontations. They are often lonely, lacking support and understanding, but strong. Innovative artists are not afraid to loudly declare a decisive break with tradition, call for the improvement of technology and depiction of exclusively human material, choose emotional and highly psychological subjects of paintings, observe and depict feelings. This approach in painting was quite obvious for Vynnychenko, an artist, and the literary work of the great Ukrainian is considered in the context of the world’s leading psychoanalytic currents of the twentieth century. So it is not surprising that psychologism in the work of the writer was decisive. In Vynnychenko’s analyzed works of art we meet various images of artists, observe their work, hear their thoughts on painting, imagine the era in which they lived and worked. We understand that for both them and Vynnychenko, the focus is on the direct fixation of impressions and observations, on deep psychologism and philosophical understanding of reality. The themes of Vynnychenko’s paintings are diverse. However, unifying for all is the focus on the so-called “humanity” of the paintings. Artists focus on facial expressions, conveying expectations, hopes, inner anxiety. Psychological interpretation of images and expressiveness in the transfer of human character are welcome. The degradation of classical art with its primitive and stereotypical paintings focused on the rich bourgeoisie becomes obvious to all. Aesthetic ideals are also changing. Ugliness often breaks through external beauty, or the ugly manifests internal beauty. The concepts of “aesthetics of the ugly” and “beauty of pain” become identical with “new art”.
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Singh, Charanjit. "CONTEMPORARY EFFECTS ON MADHUBANI FOLK PAINTING." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 222–28. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3740.
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Today, artists are doing new experiments in Madhubani folk painting, these experiments are natural as well with changing times. This change is the eternal truth of nature. We believe that art is the same. Which change with changing time, but do not let it lose its original form. With this spirit, Madhubani folk painting is being done in the main areas of Madhubani painting even today in Jitwarpur, Darbhanga, Purnia and surrounding areas. And it has been done before also.Today, if we study the folk painting of both decades (past and present) and the work style of their artists, then we get that the style of art has changed to some extent but the sentiment towards Madhubani folk painting is the same. Even today some women are working on natural things in rural areas. The same contemporary artist is busy with his work style with contemporary themes. Where previously the subjects of Madhubani folk paintings have been mainly related to the Gods and Goddesses. Madhubani folk painting was first used by women to decorate the walls and courtyards of their homes. The women here incorporate historical, religious and spiritual subjects into their art with their imagination. Religious folk life has been the main theme of Madhubani Lak paintings. Jilwarpur, a small village in Madhubani region has been the center of this art.
आज मधुबनी लोक चित्रकला में कलाकार नित नये प्रयोग कर रहे हैं यह प्रयोग बदलते समय के साथ-साथ स्वाभाविक भी हैं। यह परिवर्तन प्रकृति का शाश्वत् सत्य है। हमारा मानना भी यही है कि कला वही है। जो बदलते समय के साथ परिवर्तित होती रहे, लेकिन अपने मूल स्वरूप को खोने न दे। इसी भावना के साथ आज भी मधुबनी चित्रकला के प्रमुख क्षेत्र जितवारपुर, दरभंगा, पूर्णिया व आस-पास के क्षेत्रों में मधुबनी लोक चित्रकला का अंकन किया जा रहा है। और पहले भी किया जाता रहा है।अगर आज हम दोनों दशकों (पूर्व व वर्तमान) की लोक चित्रकला व उनके कलाकारों की कार्य शैली का गहन अध्ययन करें तो हमें प्राप्त होता है कि लेाक कला शैली कुछ हद तक परिवर्तित हुयी है लेकिन मधुबनी लोक चित्रकला के प्रति भावनात्मकता वही है। ग्रामीण अंचलों में आज भी कुछ महिलाएँ प्राकृतिक चीजों को लेकर कार्य कर रही हैं। वही समकालीन कलाकार समकालीन विषयों को लेकर अपनी कार्य शैली में व्यस्त है। जहाँ पहले मधुबनी लोक चित्रों के विषय मुख्य रूप से देवी-देवता व प्रकृति से सम्बन्धित रहे हैं। मधुबनी लोक चित्रकला का प्रयोग पहले महिलाएँ अपने घरों की दीवारों व आँगनों को सजाने के लिये करती थी। यहाँ की महिलाएँ अपनी कल्पना से ऐतिहासिक, धार्मिक व आध्यात्मिक विषयों को अपनी कला में समाहित करती है। धार्मिक लोक जीवन मधुबनी लेाक चित्रों के मुख्य विषय-वस्तु रहे हैं। मधुबनी क्षेत्र का छोटा सा गाँव जिलवारपुर इस कला का केन्द्र रहा है।
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Procop, Natalia. "Rustic and urban in the creation of Florentin Leancă." Akademos, no. 3(62) (January 2022): 146–50. http://dx.doi.org/10.52673/18570461.21.3-62.19.
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Florentin Leancă is part of the generation of visual artists, representatives of the national school of painting. The activity of the artist evolved from abstract compositions to urban landscapes with impressionistic shade and stylized decorative creations. Many of his works are made in the technique of hot handkerchief and oil painting Moreover. One of his relevant themes is the old Chisinau represented by shades of gray. Lately he has been making pieces with popular motives inspired by the art of carpeting.
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SNELL, K. D. M. "In or Out of their Place: The Migrant Poor in English Art, 1740–1900." Rural History 24, no. 1 (March 13, 2013): 73–100. http://dx.doi.org/10.1017/s0956793312000209.
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AbstractThis article considers how depictions of the migrant poor in English landscape art changed between 1740 and 1900. A painting by Edward Haytley (1744) is used to illustrate some prevailing themes and representations of the rural poor in the early eighteenth century, with the labouring poor being shown ‘in their place’ socially and spatially. This is then contrasted with the signs of a restless and migrant poor which appear in a few of Gainsborough's paintings, culminating in the poverty-stricken roadside, mobile, vagrant and sometimes gypsy poor who are so salient and sympathetically depicted in George Morland's work between 1790 and 1804. While there were clearly British and European precedents for such imagery long before this period, it is argued here that English landscape art after about 1750, and especially from c. 1790, witnessed a marked upsurge of such restless and migrant imagery, which was related to institutional and demographic transformations in agrarian societies. By George Morland's death in 1804, ‘social realism’ had become firmly established in his imagery of the migrant poor, and this long predated the 1860s and 1870s which are normally associated with such a movement in British painting.
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Tibbe, Lieske. "Aardappeleters." De Moderne Tijd 5, no. 3/4 (December 1, 2021): 328–52. http://dx.doi.org/10.5117/dmt2021.3/4.006.tibb.
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Abstract Potato eaters. A mundane theme in painting, 1885-1905 In late nineteenth-century Dutch art criticism, the topic of ‘poor people eating potatoes’ seems to have been a kind of litmus test for modern, Realist art. It was a sign of the dissolution of the hierachy of the genres, the decline of idealist painting with its elevated, literary themes, and it marked the emerging popularity of commonplace subjects without specific moral meaning attached to them. Likewise, painting of romantic, picturesque landscapes gave way to the more prosaic theme of hard work in the field. Poor farm workers at their shabby meal of potatoes, the fruits of their labour, were part of this subject matter. ‘Modern’ critics welcomed the shift in topics, ‘conservative’ ones fulminated against what they saw as a sign of decay. Catalogues of Exhibitions of Living Artists (Tentoonstellingen van Levende Meesters) and other expositions have been searched for paintings showing potato eaters, or related images like potato peeling, planting, digging, or potato still lifes. Quantitatively, these exhibitions did not justify the art critics’ rhetoric. Qualitatively, the critics’ aversion to the ‘potato eating’ theme was possibly related to its association with poverty and the imminent physical and moral decay of the lower class of the population. In modern realistic literature potato consumption also stood for degeneration. Partly outside the official art circuity, artists like Mauve, Witsen, Toorop, and especially Van Gogh showed potato production and consumption as ‘The Heroism of Daily Life’.
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Wango, Kamau. "‘Painting with my students’ – Development of Subject Matter and Refinement of Personal Styles in Selected Paintings among Fine Art Students at Kenyatta University." East African Journal of Interdisciplinary Studies 2, no. 1 (December 9, 2020): 180–206. http://dx.doi.org/10.37284/eajis.2.1.247.
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Students of Fine Art at the University level embark on many artistic undertakings within their semester durations as a requirement of their programme. In painting, a major objective is the development of a personal style that occurs over a period of time as each student works through the respective painting units spread out across the academic years. As they work through the units, they consolidate and refine their individual styles in readiness to begin their artistic careers in earnest, as well as enhancing their individual growth. This means that they spend a significant amount of time refining their skills as well as gaining knowledge. Another objective in painting is to help students delve into the realm of thematic interpretation in order to acquire the impetus towards an inquiry into the myriad of pertinent issues in their environment and life. This enables them to develop a rationalised personal view that in turn allows them to develop subject matter for the purpose of self-expression. Students’ work is often viewed as students’ work. This paper posits that this, however, does not necessarily denote that students, who for the purpose of this paper will be referred to as student artists, do not already possess the capacity to examine and interpret themes and extract admirable interpretations and anecdotes of self-expression. It does not imply that they do not already possess admirable painting skills even as they endeavour to further develop and refine these skills and consolidate their individual styles. It does not, subsequently, imply that what they paint lacks the capacity for significant inquiry, commentary and sense of self-expression. This paper delves into selected paintings by student Artists to determine whether their level of visual execution, construction and composition of subject matter as well as their interpretive ability, demonstrates or negates a current ability to meet the stated thresholds in their own right.
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., Ketut Widiastra, Drs Agus Sudarmawan, M. Si ., and I. Wayan Sudiarta, S. Pd ,. M. Si . "MENGGAMBAR EKSPRESI BEBAS LUKIS KACA NAGASEPAHA PADA EKSTRAKURIKULER DI SMP N 3 SUKASADA." Jurnal Pendidikan Seni Rupa Undiksha 8, no. 3 (November 27, 2018): 143. http://dx.doi.org/10.23887/jjpsp.v8i3.13635.
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Penelitian ini dilakukan berdasarkan pendekatan deskriptif kualitatif, yang bertujuan untuk mendeskripsikan (1) penerapan metode ekspresi bebas lukis kaca Nagasepaha pada ekstrakurikuler di SMP N 3 Sukasada, (2) hasil belajar metode ekspresi bebas lukis kaca Nagasepaha pada ekstrakurikuler di SMP N 3 Sukasada.
Hasil yang diperoleh dari penelitian ini sebagai berikut: (1) penerapan metode ekspresi bebas lukis kaca Nagasepaha pada ekstrakurikuler di SMP N 3 Sukasada terdiri dari beberapa tahap pembelajaran. Hal ini bertujuan untuk memantapkan siswa-siswi ke tujuan yang diharapkan dari kegiatan tersebut. Tahap pertama dalam pembelajaran diawali dengan pemberian gambaran umum oleh guru ke pada siswa-siswi mengenai metode ekspresi bebas seni lukis kaca Nagasepaha dan perlengkapan yang diperlukan dalam berkarya seni lukis kaca. Tahap selanjutnya diteruskan dengan pembelajaran praktek yang terdiri dari, pembuatan sketsa awal, pemindahan objek sketsa ke permukaan kaca, tahap pewarnaan, dan Finishing (sentuhan akhir pada karya). (2) Hasil belajar metode ekspresi bebas lukis kaca Nagasepaha pada ekstrakurikuler di SMP N 3 Sukasada ditunjukkan dari berbagai tema yang ditampilkan karya siswa-siswi. Meskipun guru telah memberikan kebebasan dalam menentukan tema, masih ada beberapa karya siswa-siswi yang menunjukkan objek pewayangan sekaligus menjadi ciri khas lukis kaca Nagasepaha. Tema dari karya lukis kaca siswa-siswi dikelompokan menjadi beberapa jenis yaitu, tema pewayangan dan tokoh mitologi, tema tokoh kartun (imajinatif), tema bunga, dan tema alam benda.
Kata Kunci : lukis kaca, ekstrakurikuler This research was conducted based on qualitative descriptive approach, which aims to describe (1) the application of Nagasepaha glass- free expression method on extracurricular in SMP N 3 Sukasada, (2) the result of the study of Nagasepaha glass-free expression method on extracurricular in SMP N 3 Sukasada.
The results obtained from this research are as follows: (1) the application of Nagasepaha glass-free expression method on extracurricular in SMP N 3 Sukasada consists of several learning stages. It aims to stabilize the students to the expected goals of the activity. The first stage of the lesson begins with giving the teacher an overview to the students about Nagasepaha's glass-free artistic expression method and the tools needed for painting glass. The next stage is continued with practical learning which consists of, initial sketching, sketch object transfer to the glass surface, staining stage, and Finishing (final touches to the work). (2) The result of Nagasepaha glass-free expression method study in extracurricular in SMP N 3 Sukasada is shown from various themes displayed by the students. Although the teacher has given freedom in determining the theme, there are still some works of students who show the puppet show as well as the hallmark of glass painting Nagasepaha. The themes of glass painting students are grouped into several types namely, puppet themes and mythological figures, themes, themes of cartoon characters (imaginative), themes of interest, and the theme of nature.keyword : glass painting, extracurricular
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Wang, Jitai. "Works of the artist Yue Minjun in the dialogue of traditions of Western European and Chinese painting." Человек и культура, no. 3 (March 2020): 1–16. http://dx.doi.org/10.25136/2409-8744.2020.3.32579.
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This article provides a comprehensive analysis of the visualized ego-image of the artist with grinning face as the key character of Yue Minjun’s paintings – one of the prominent representatives of cynical realism trend in Chinese contemporary painting. The image is interpreted through the prism of Chinese socialism, Eastern and Western art traditions. The author describes in detail the works from different series, determines typical features of individual manners, and compares works for revealing the common to cynical realism set of artistic means. The article elucidates the concept of interaction of the techniques of Western and Chinese paining using the particular examples, including Yue Minjun’s thoughts on the psychology of art overall, their analysis, and conclusions formulated for more profound understanding of his artworks. Yue Minjun opts for the diverse expressive means and game approaches depending on the goal: symbols of mass culture, recognizable classical themes of Western European painting, computer technologies, cartographic representations, as well as subjective mental images – for creating certain visual symbols carrying on a dialogue with the audience. The concept of his works consists in the ironic attitude to life underlying the cynical realism. It is evident that the modern Chinese paining entered the era of bie-modern.
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Borovskaya, Natalia F. "Uomo interrogante — “The Questioner”: About Some Iconological Features of the Interpretation of Gospel in Renaissance Painting." Dostoevsky and World Culture. Philological journal, no. 2 (2022): 175–91. http://dx.doi.org/10.22455/2619-0311-2022-2-175-191.
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The article analyses several Italian Renaissance works of art on Gospel themes that show a new type of character, “The Questioner” (Uomo interrogante), who through the interpretation of the Gospel by means of painting turns from an episodic character into a protagonist engaged in a dialogue with God.