Relevant bibliographies by topics / Pictorial works

Academic literature on the topic 'Pictorial works'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Pictorial works"

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Dviniatina, J. R. "Pictorial Pretexts in A. Tarkovsky’s Works." Art & Culture Studies, no. 1 (March 2024): 102–37. http://dx.doi.org/10.51678/2226-0072-2024-1-102-137.

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The broad topic “Tarkovsky and painting” contains commonalities, such as the director’s citing of the paintings by Pieter Bruegel or Leonardo da Vinci, but there are also less explored aspects. The latter include A. Tarkovsky’s method of working with images based on the work principles of the old masters of painting; implicit references and allusions not just to individual paintings, often not yet described, but to the entire worlds of certain authors or movements; and a total commitment to quotation together with a skilful and deliberate disguise of the technique, also described by the director in theoretical works. Tarkovsky was an artist in the very first sense of the word — a student of an art school, author of film sketches and storyboards, paintings, and even art history works. However, the main thing regarding the topic “Tarkovsky and painting” is his application of the very vision of a painter in his own work. He worked with frame structures in complex ways, often appealing to the repetition of the recursion technique, like great artists did in their works. He used iconographic repetitions in plots, themes, individual images, details, and motifs of his works. He often implicitly alluded to reference pictorial sources in such a way that without the testimony of colleagues the reference is impossible to guess. He applied the entire philosophical concepts assigned to individual artists and artistic movements and was not afraid to mix eras, using the elements and techniques of his predecessors to create his own film painting, finely crafted but full of anachronisms.
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Bragina, Liubov. "Shukshin’s Theme in the Pictorial Works of Siberian Artists." Izvestiya of Altai State University 2, no. 2 (November 2013): 202–5. http://dx.doi.org/10.14258/izvasu(2013)2.2-43.

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Cerquera Hurtado, Miguel Ángel. "Libros y escritura en la pintura de Murillo." ACCADERE. Revista de Historia del Arte 6 (2023): 37–63. http://dx.doi.org/10.25145/j.histarte.2023.06.02.

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"This article addresses the world of books in the pictorial works of Bartolomé Esteban Murillo. Firstly, it focuses on studying the formal representation of books depicted in the paintings of the Sevillian artist, analyzing their binding, closures, format, cuts, inscriptions, and other relevant aspects. Secondly, it examines all the elements present in these paintings from which we can obtain information related to the reading and writing practices characteristic of the 17th century. The aim is to demonstrate how pictorial works offer us insights into various aspects of books and written culture, often going beyond what meets the eye."
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Khomenko, Iryna. "Body as a medium in the works of Maria Kylikovska." CONTEMPORARY ART, no. 18 (November 29, 2022): 201–10. http://dx.doi.org/10.31500/2309-8813.18.2022.269730.

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The article considers the topic of the body in art, its methods of use and the problem of its theoretical elaboration. The aim of the article is to study the body as a medium in the works of Maria Kulikovska. The choice of Maria Kulikowska’s work is not accidental, because she used the body both as a medium and as a pictorial object in one work, where we can observe exactly how these methods are combined. Also, Maria Kulikovska uses different visual categories of body, gender and context, sometimes combining them. The article marked the beginning of a certain systematization: the body is divided by visual categories, by sex / gender and by the context in which this body is used. The body-medium, which is the material in the work and participates in the creation of the works of art, and the body-pictorial, that is, what is reflected on the canvas, in sculpture, architecture, and so on. The article proves that the theme of the body in art is important and needs further study, systematization and establishment of new terms.
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Karpenko, Olga. "Reminiscences of Impressionism in the works of Ukrainian avant-garde artists." Almanac "Culture and Contemporaneity", no. 1 (August 31, 2021): 194–99. http://dx.doi.org/10.32461/2226-0285.1.2021.238620.

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The purpose of the study is to reveal the identification of common features in the work of Ukrainian avant-garde artists, which have the character of impressionism. Methodology of the study employs historical-logical, comparative methods, formal analysis and method of interpretation. Scientific novelty of the research consists in the role of impressionism in the formation of the creative manner of such artists of the Ukrainian avant-garde as O. Bogomazov, D. Burliuk, K. Malevich, O. Exter was first explored in the article. Conclusions. Experiments in the spirit of impressionism and post-impressionism helped the representatives of the Ukrainian avant-garde to free themselves from the method of repetition of the full-scale image towards the free transformation of the pictorial sensation and construction of the work with the help of purely pictorial elements, discarding the plot, literature, instructive character and many other layers. Impressionism was the first step in freeing painting from the boundaries of material form
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Semerenko, Lubov I., and Oleksandr O. Pliushchai. "Pictorial as readable: ekphrasis in a literary work and reader’s p." Alfred Nobel University Journal of Philology 1, no. 23 (June 2022): 50–59. http://dx.doi.org/10.32342/2523-4463-2022-1-23-4.

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The interaction of arts which poets, writers, artists, scholars and philosophers have always paid considerable attention, has gained popularity recently and it has been given serious consideration in art history, literary and cultural studies, and aesthetics. Some researchers explain a growing interest in the phenomenon of increasing significance of visuality in modern culture. The aim of the article is to clarify the status quo in the study of ekphrasis in literary and cultural studies. To achieve the aim pursued, the following research methods have been used: cultural-aesthetic, comparative and hermeneutic. The paper focuses on the concept of ekphrasis and its use in literary works and studies the current trends in the study of ekphrasis, regarding its definition, typology, functions, ekphrastic genre invariants, and reader’s perception of ekphrasis. Some exemplary instances of ekphrasis description in English ekphrastic poetry and emotive prose have been considered, and the verbal means of ekphrasis generation have been analysed. The analysis of the most popular works of domestic and foreign scholars such as: N.S. Bochkareva, L. Geller, N.N. Yefimova, A.Yu. Krivoruchko, V. Cunningham, J. Hollander, L. Spitzer and many others, has allowed to make the conclusion that most scholars use the definition of ekphrasis as a “poetic description of a pictorial or sculptural work of art” suggested by Leo Spitzer, although, the definition of ekphrasis as a “verbal representation of visual representation” of James Hefferman, which is a broader concept is also popular. Different classifications of ekphrasis have been suggested by the researchers. N. Braginskaya, for instance, distinguishes the dialogical and monological ekphrasis on the basis of the internal structure of the text, the main difference being the manner of presenting information to the reader. The typology of ekphrasis and its main functions are mainly given on the basis of creative works of a particular writer or poet and many researchers pay attention to sense general features of ekphrasis as the process which combines iconic and sign images in verbal discourse. Ekphrasis, being the representation of other arts in literature, expands considerably the narrative space. The origin of ekphrasis goes back to the ancient times where it is seen as a rhetorical device. In classical rhetoric, ekphrasis could refer virtually to any extended description of art objects. Ekphrasis, an ancient rhetorical term, has been now revived in academic circles, in the studies of art and literature. After languishing in obscurity until 1967, when Murray Krieger published a notable essay on it, ekphrasis is commanding major attention, “ploughing the inexhaustibly fertile ground where literature meets visual arts”. There are various approaches to the study of the ekphrastic tradition, and the historical approach being one of them, can be seen in many works. Ekphrasi in modern research is a multifaceted and polyfunctional phenomenon. The typology of ekphrasis and its main functions are mainly given on the basis of the particular poet`s or writer`s creative works, paying attention to some general features of ekphrasis which combines iconic and sign images in verbal discourse. The phenomenon of ekphrasis merits further consideration, especially, due to the availability of Liliane Louvel’s The Pictorial Third: An Essay into Intermedial Criticism, which provides the author’s innovative approach to the understanding of the relationships between the literary text and image.
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Trukhan, E. D. "THE NAIVE ARTIST IVAN SELIVANOV IN THE POETRY AND PROSE OF LYUBOV NIKONOVA." Culture and Text, no. 51 (2022): 116–31. http://dx.doi.org/10.37386/2305-4077-2022-4-116-131.

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The article examines the dialogue of words and painting in the works of Kuzbass authors – writer L.A. Nikonova and naive artist I. Selivanov. Theoretical issues of perception of painting, problems of intersection of pictorial and verbal creativity, etc. are revealed in connection with the analysis of metatext, with an emphasis on L.A. Nikonova’s understanding of the image of I.E. Selivanov as an artist close to her in spirit.
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Pazuchanics, Skye Lee, and Douglas J. Gillan. "Displaying Depth in Computer Systems: Lessons from Two-Dimensional Works of Art." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 49, no. 17 (September 2005): 1583–87. http://dx.doi.org/10.1177/154193120504901718.

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Virtual depth displays depend on static, monocular cues. Models of integrating monocular cues may be continuous (additive) or discontinuous. Previous research using simple displays and a small number of cues supported continuous cue integration. The present research is designed to expand the understanding of how the visual system integrates information from multiple pictorial cues by investigating combinations of one to ten pictorial cues in visually-rich, two-dimensional displays (paintings and photographs). Participants estimated depth in target paintings and photographs relative to a standard two dimensional display. Certain results suggest that the visual system integrates cues in a largely additive way, but after a number of cues are present there may be an additional boost in perceived depth resulting in a best-fittingdiscontinuous model of cue combination. However, this discontinuous effect may be due to designdecisions made by the painters rather than exclusively to the perceptual processes of the viewers. Analyses of these design decisions provide lessons for the design of two-dimensional displays.
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BRANIŞTE, Ludmila. "Text et langaje visuel: un proces de mise en abîme." Arta 31, no. 1 (September 2022): 115–19. http://dx.doi.org/10.52603/arta.2022.31-1.16.

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The problem of the pictorial past in literature and of literary influences in painting has created a whole tradition. The literary experience of the image and the pictorial exercise in literature demonstrated the affinities between them, based on a specific view of the world. From contemporary philosophy, culture and literature, painting chooses its elements, symbols and ideational background, which is the substrate of the pictorial work. Translating them into the language of images, the painter reaches a more personal interpretation of literary works. The article presents a reflection on the prolific artistic career of the artist Cezar Secrieru, whose work creates a unique creative dynamic by transposing the mental and literary image into his canvases. The “Correspondences” of the arts enrich the deep ideational background of his creation, but also the diversification of the pictorial meanings potential.
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Koenderink, Jan. "Parts and Wholes in Pictorial Art." Art & Perception 3, no. 3 (2015): 303–17. http://dx.doi.org/10.1163/22134913-00002035.

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The part–whole relation is fundamental to the Gestalt description of visual awareness; therefore one expects it to play an equally important role in the visual arts. The formal science of parthood relations is mereology. Thus, it is natural to attempt to construct a mereological account of the structure of works of the visual arts. However, I argue in this paper that such a program is headed for failure. There are various reasons for this, perhaps the more interesting being that one deals with parallel pictorial worlds.
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Dissertations / Theses on the topic "Pictorial works"

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Stewart, Heather, and heather stewart@deakin edu au. "Beyond the analogon; the 'transfer of the referent' :bthe relationship between the external world experienced through culturally generated perceptual models constructed in the human mind, and the transfer of these images, via visual language, onto referents." Deakin University, 1994. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20071120.120343.

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Within 20th. Century art, the concept of the ‘normative’ image, as an attribute of things, has been challenged. As a consequence, paintings must now picture the ‘real’ world in other ways, incorporating knowledge and meaning beyond the analogon. Such descriptive representations were revealed as paradigmatic, rather than incontrovertible fact. Dependent on pre-conceived notions of stereotypicality, these descriptive images relied on surface illumination. My thesis explores images of things in the world as culturally inspired and information based. I examine paintings and sculptures of other cultures, such as black African, and other historical periods such as the Medieval, which reveal metonymously the basis for variations in representations of the ‘real’ world. The new enhanced representations which Modern artists created in their work were denigrated as deviant from the absolute ‘normative’ or regarded as distortions for purely mannerist and stylistic reasons. Postmodern research has reassessed them as multiple or extended imagings in whose facture new knowledge and human responses can be incorporated. These new forms of representation can be regarded as theoretical constructs rather than stylised depictions of appearance. In this way referents are transferred through the mind onto objects and vistas in the real world to align with our developed view of the physical world and better our understanding of humanity’s symbiotic relationship with nature.
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Reynolds, D. A. "Imagination and the aesthetic function of signification in the works of Rimbaud, Mallarme, Kandinsky and Mondrian." Thesis, University of East Anglia, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.376063.

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Stretch, Eleanor Eunice, and mikewood@deakin edu au. "Using site as the medium of image-making at Tower Hill." Deakin University. School of Contemporary Arts, 2000. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050902.144857.

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Williamson, Rebecca Boatwright. "Diagonal vision." Thesis, Virginia Polytechnic Institute and State University, 1985. http://hdl.handle.net/10919/52238.

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Tolonen, Juha. "Waste*lands : landscape photography modernity." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2007. https://ro.ecu.edu.au/theses/268.

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This is a thesis with two distinct but connected halves. Text and image are applied to the subject of wastelands; the former works to raise the status of wastelands while the latter gathers visual fragments of wastelands to harness a picture of contemporary modernity. The two combine to create a practical and poetic, a social and flaneurial picture of wastelands. I identify wastelands as the material manifestation of industrial modernity. Although wasteland is an overarching term used to describe general decline in many social, cultural and natural spheres. I adopt it specifically to describe spaces of abandoned industry that have emerged since the post-war years in the West. Wastelands are invitations to engage with the destructive side of modernity. Berman (1982) describes modernity as simultaneously progressive and destructive. Yet I suggest that this destructive face is too often disregarded. I see it as a matter of necessity to reengage more thoughtfully with the processes and manifestations of destruction. Wastelands encourage us to do both. Institutional and market forces generally promote limited responses to wastelands. Hawkins (2006) identifies a similar situation in the realm of waste in general. She suggests that the affects of waste should be considered alongside traditional institutional dogma to expand our relationship with waste. This position is adopted in my examination of wastelands. By avoiding dismissive responses wastelands can emerge as potential spaces of improvisation. The text places wasteland in context with other modern traditions of landscape, it also seeks to localise the wasteland in particular social contexts. The images provide a more generalised reading of wasteland; they are the souvenirs of flanuerial adventures in wastelands. Wastelands are authentic spaces of modernity.
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Altschuler, Jenny. "Between forever and never : the photograph as a bridge between past and present; memory and it's fiction, 1981-2009." Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/7802.

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Includes bibliographical references (p. 62-64).
In Camera Lucida Roland Barthes (1980: 64-66), describes the process of looking through his mother's photographs after her death. He weighs up how much of her he recognises in the images he comes across. He evaluates the versions of her that are portrayed and deduces that "none seem to be really 'right':" neither as photographic performances nor as existing recurrences of "the beloved face" that he carries in his psyche. He talks about trying to find her, and achieves only part satisfaction in pinpointing fragments in each image that seem to depict parts of the mother he knows. He concludes that by being partially true, the total representation in each image is false. He suggests that the physical details and direct documentations of his mother's physical self, do not contain the sense of her, as he knows her.
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Vallie, Zubeida. "Social dynamics of a resistance photographer in the 1980s in Cape Town." Thesis, Cape Peninsula University of Technology, 2014. http://hdl.handle.net/20.500.11838/1327.

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Thesis submitted in fulfilment of the requirements for the degree Master of Technology: Design in the Faculty of Informatics and Design at the Cape Peninsula University of Technology 2014
This study seeks to contribute to the field of documentary photography by looking at a resistance photographer who documented events during the liberation struggle against Apartheid in the 1980s in Cape Town, South Africa. The research explores the richness, depth and complexity of the reflective knowledge of the phenomenon and develops a sense of understanding of the meanings of the circumstances and social context of the researcher. It considers the thoughts, observations as well as reflections regarding the meanings and interpretations of experience as a photographer in the 1980s. The perspective of the research is to understand through the photographer’s memory the phenomenon of interest in the exhibition Martyrs, Saints & Sell-Outs and in so doing argue for a consideration of the lives of those who not only lived during Apartheid but continue to do so after its demise. In addition to thinking about questions of photographic representation, the study also addresses ideas of space, and unarticulated injuries and trauma. The photograph is well suited as a medium through which one may think about these difficult questions, for in its very inception, the medium is one of simultaneous absence and presence. The study concludes with recommendations for future investigation in the documentary photography narrative in Cape Town, South Africa.
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Blake, Amanda Beth. "Images of women shopping in the art of Kenneth Hayes Miller and Reginald Marsh, ca 1920-1930." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5327/.

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This thesis examines images of women shopping in the art of Kenneth Hayes Miller and Reginald Marsh during the 1920s and 1930s. New York City's Fourteenth Street served Kenneth Hayes Miller and Reginald Marsh, respectively, as a location generating the inspiration to study and visually represent its contemporaneity. Of particular interest to this thesis are relationships between developments in shopping and the images of women shopping in and around Fourteenth Street that populate the paintings of Miller and Marsh. Although, as Ellen Todd Wiley has shown, the emerging notion of the New Woman helped to shape female identity at this time, what remains unstudied are dimensions that geographically specific, historical developments in shopping contributed to the construction of female identity which, this thesis argues, Marsh and Miller related to, by locating in, the department store and bargain store.
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Mundy, Robyn C. "A novel, The nature of ice and exegesis, Writing with light : truth and meaning in visual representations of Antarctica." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2006. https://ro.ecu.edu.au/theses/356.

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The Nature of Ice' comprises a dual narrative with two Antarctic stories set one century apart. The contemporary strand concerns three central characters: Freyr Jorgensen, a photographer working for a summer at Davis Station who is inspired by Frank Hurley's early Antarctic photography; Davis Station chippie Chad McGonigal, assigned as Freyr's field assistant; and Freyr's husband Marcus, who is at home in Perth researching the 1911-14 Australasian Antarctic Expedition (AAE) in preparation for Freyr's Antarctic photographic exhibition.
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Kilian, Julie. "Traditional and Christian elements in contemporary pictorial African art in South Africa with special reference to the works of John Muafangejo, Azariah Mbatha and Dan Rakgoathe." Thesis, Rhodes University, 1987. http://hdl.handle.net/10962/d1012635.

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Art is the outward, visual manifestation of the undying soul of a people. The genius displayed in the day to day articles produced in traditional tribal society is equally present in the art produced by the Contemporary African Artist. The Contemporary African Artist finds himself in an interesting position, in that he is, at one time, a part of two different worlds, two different cultures, has taken place, the and his art provides evidence of the acculturation that coming together of indigenous, traditional African culture and 'European' or 'Western' culture. It follows that the contemporary African artist's work would display characteristics and elements derived from both of these worlds, since art is not created in a vacuum, but is, invariably, the outward, visible expression and symbol of an artist's environment, culture, emotional and intellectual responses and his beliefs. The study of Contemporary African Art reveals that despite the many divergences from the traditional or classic forms, a great many traditional influences and characteristics still persist in the same. An analysis of Contemporary African Art will also show that a significant body of works bear a marked influence of Christian teachings and biblical themes, as well as the influence of exposure to various forms of Swedish Medieval, Byzantine, Romanesque and Carolingian art.
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Books on the topic "Pictorial works"

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Dilwali, Ashok. Pictorial Himachal. New Delhi: Jointly produced by Ashok Dilwali & Rave India, 2007.

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Melody. Mineralogical pictorial. Wheat Ridge, CO: Earth-Love Pub. House, 1993.

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Coughlin, Neal W. Pictorial Strongsville. Marceline, MO: Heritage House Pub., 1992.

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James, Jim. Parade pictorial. 2nd ed. San Francisco, Calif: Notoriou$ Publications, 1995.

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Allan, Esma. Sale, pictorial nostalgia. Sale, Vic: Southern Newspapers, 1985.

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Porter, Russ. America's rail: Pictorial. Forest Park, Ill: Heimburger House Pub. Co., 1997.

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Macleod, Virginia. Pictorial history Manly. Alexandria [N.S.W.]: Kingsclear Books, 2008.

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Evans, R. E. Pictorial Pentewan. Pentewan: Pentewan Publications, 1994.

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Shrestha, Dinesh. Nepal, a pictorial journey. Kathmandu: Himalayan MapHouse, 2009.

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Eddie, Scott. Hove: A pictorial history. Chichester, West Sussex: Phillimore, 1995.

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Book chapters on the topic "Pictorial works"

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Boehme-Neßler, Volker. "Words and Images in the Law – Looking for the Lost Balance." In Pictorial Law, 217–21. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-11889-0_8.

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Rigal-Aragón, Margarita, and Fernando González-Moreno. "The Pictorial Richness of Poe’s Oeuvre." In Painting Words, 93–112. New York : Routledge, 2020. | Series: Routledge interdisciplinary perspectives on literature: Routledge, 2020. http://dx.doi.org/10.4324/9780429242601-10.

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Lemke, H. U. "Medical Work Stations in Radiology." In Pictorial Information Systems in Medicine, 421–31. Berlin, Heidelberg: Springer Berlin Heidelberg, 1986. http://dx.doi.org/10.1007/978-3-642-82384-8_17.

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Posey, Jack W. "Pictorial and Text Editors for the Collaborative Work Environment." In Information and Collaboration Models of Integration, 301–20. Dordrecht: Springer Netherlands, 1994. http://dx.doi.org/10.1007/978-94-011-1132-4_18.

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Gisquet, Elsa, and Gwenaële Rot. "Visualization for the Safe Occupation of Workspaces." In Visualising Safety, an Exploration, 93–100. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-33786-4_11.

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AbstractThrough the example of the underground construction site for the extension of the Parisian subway, it will be analysed how, in this fluctuating, dark environment, visualization help to maintain safety requirements. How does visualization help with work? Based on the observation that pictorial representation can be used to drive and organize activities, this chapter will highlight the ways in which these visual artefacts advance safety in three ways, by helping participants inhabit, discuss, and synchronize their workspaces.
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Méndez Baiges, Maite. "“Naked Problems”. Origin and Reach of the Formalist Interpretations." In Les Demoiselles d'Avignon and Modernism, 29–36. Florence: Firenze University Press, 2022. http://dx.doi.org/10.36253/978-88-5518-656-8.04.

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The first solid interpretation of the damsels to make a mark was delivered from formalist criteria. Thus, as far as was possible the content of the work was disregarded, studying only in great detail all its pictorial or purely plastic values that proclaimed the great avant-guard revolution: the substitution of the Renaissance visual order with the modern visual order. From this point of view the Demoiselles appear as the seed of one of the most relevant avant-guard movements —Cubism. This chapter deals with the origin and how the formalist version shaped the painting —and Modern Art itself (from the 1920s until approximately the 1960s).
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Méndez Baiges, Maite. "After Picasso: Reinterpretations and recreations of Les Demoiselles D’Avignon in Contemporary Art." In Les Demoiselles d'Avignon and Modernism, 103–23. Florence: Firenze University Press, 2022. http://dx.doi.org/10.36253/978-88-5518-656-8.08.

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Another way of showing interpretations of Picasso's Demoiselles is to heed the replicas, copies, pictorial or artistic versions made by contemporary artists. This chapter presents the artistic versions of the work done by artists at the end of the 20th and start of the 21st century. It begins the pop replicas by Caulfield or Equipo Crónico and the appropriationists like Richard Prince or Mark Bidlo. And continuing with those done by feminist or Afroamerican artists like Faith Ringgold or the queer versions of Rafael Agredano. Finally it deals with the geographical and culturally situated critical proposals of Francis Alÿs or Rogelio López Cuenca/Elo Vega.
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Viney, William, and Sophie Day. "Figuring Molecular Relapse in Breast Cancer Medicine." In Figure, 127–48. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-2476-7_7.

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AbstractWe wanted to learn about new ways of diagnosing and treating cancers that are associated with what in the UK is called ‘personalised medicine’. We followed the work of one scientific team who use samples to develop ‘liquid biopsies’, extracting and tracking circulating tumour DNA. We propose this ‘personalised’ monitoring involves the figuration of disease. Using the terms developed by Erich Auerbach (1938; 1946), we suggest that personalised tracking may establish serial, figure-fulfilment relationships, connecting events and persons. We show how the development of liquid biopsies in oncology involves multiple figures in pictorial, numerical, and conceptual forms. Using serial liquid biopsies, patients can be stratified into sub-groups but also into figures of personalisation.
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Bayard, Marc. "In Front of the Work of Art: The Question of Pictorial Theatricality in Italian Art, 1400-1700." In Theatricality in Early Modern Art and Architecture, 62–77. Oxford, UK: Wiley-Blackwell, 2011. http://dx.doi.org/10.1002/9781444396744.ch5.

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Kudielka, Robert. "“The Beholder’s Share”: Pictorial Colour and Neurobiology. E. H. Gombrich looking at the work of Bridget Riley." In ART and the MIND – Ernst H. GOMBRICH, 347–62. Göttingen: V&R unipress, 2018. http://dx.doi.org/10.14220/9783737007948.347.

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Conference papers on the topic "Pictorial works"

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"A Study of the Works of the Jinggangshan Rendezvous in the Perspective of Pictorial Narrative." In 2021 International Conference on Society Science. Scholar Publishing Group, 2021. http://dx.doi.org/10.38007/proceedings.0001972.

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Tomassoni, Rosella, Valentina Coccarelli, and Francesco Spilabotte. "THE CRISIS OF THE EGO IN THE PAINTINGS AND DRAWINGS OF GIAN CARLO RICCARDI: BRIEF PSYCHOLOGICAL REFLECTIONS." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/vs08.10.

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The main purpose of this study is to analyse and examine some of the paintings of the Italian avant-garde artist Gian Carlo Riccardi. Our work will focus in particular on a psychological study of the paintings and drawings realised by the artist. Our study basically focuses on the compositions created between the 1980s and 1990s and the graphic works executed in the 2000s. The first category examines certain works characterised by intense abstractionism. The pictorial material used by Gian Carlo Riccardi is manipulated, contaminated and destroyed, leaving only �relics�, symbolising a crisis of the ego. The second category analyses the drawings that make up the �Bestiary� collection. Gian Carlo Riccardi imprints on the blank sheets, the deformity and physical and moral decadence of the humanity represented, a bestiary humanity. This research aims to show how, through the works examined, Gian Carlo Riccardi synthesises individual and collective anguish through heterogeneous pictorial interventions, within which the gesture lacerates and lays bare the underlying �cutaneous� tissue, and illustrations where the sign traces the outlines of naked bodies revealing the scabrous reality of the commodification of flesh.
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Seredkina, Natalia. "PHILOSOPHIC AND ART ANALYSIS OF PICTORIAL WORKS BY E. MUNCH: MELANCHOLY, SEPARATION, THE DANCE OF LIFE." In 4th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/62/s22.005.

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4

Frasca, Roberto, Antonio Mazzeo, Davide Pantile, Matteo Ventrella, and Giovanni Verreschi. "Innovative systems for the enjoyment of pictorial works the experience of Gallerie dell'Accademia Museum in Venice." In 2015 Digital Heritage. IEEE, 2015. http://dx.doi.org/10.1109/digitalheritage.2015.7413899.

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Mouhoubi, K., K. Dieng, C. Fomena, H. Feddini, A. Salami, J. M. Vallet, and JL Bodnar. "Examples of singular value decomposition contribution in helping cultural heritage works of art conservation using stimulated infrared thermography." In QIRT. QIRT Council, 2022. http://dx.doi.org/10.21611/qirt.2022.2012.

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As part of aid for the conservation of cultural heritage works of art, Infrared thermography is already widely used. However, the photothermal signal obtained can be dependent on the different colors of the pictorial layer of the artwork studied and on the inhomogeneity of energy deposition. In this work, we show experimentally, during the study of a marquetry chessboard and a "Vallauris pottery", that the combination of singular value decomposition with stimulated infrared thermography allows a significant reduction of these radiative effects. Consequently, it allows for better detection of the defects present in the works of art studied
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Regidor Ros, José Luis, Clara Portilla Romero, Juan Valcárcel Andrés, and Pilar Roig Picazo. "Pictorial reconstruction of Palomino’s ceiling by digital techniques." In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. València: Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13528.

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The case of the frescos by Palomino in the church of Santos Juanes in Valencia is a challenge that requires new alternatives to traditional mural restoration. Part of the paintings burnt in 1936 were detached and partly relocated in the vault afterwards. One third of the paintings, which were not detached, have been restored. A new phase of intervention has now begun, using a system of aesthetic reconstruction generated by digital images. This technique, already used successfully in a previous intervention, aims to recover the pictorial and functional atmosphere of this religious space.In order to fulfil the goal of trying to give a global solution to Palomino's work, it is necessary to find a chromatic solution to the apse of the church due to the absence of its original frescos. We propose the use of video mapping based on a historical black and white photograph taken by J. Alcon before the fire. Taking chromatic and iconographic references from other pictorial works that are in the same space-time context as the original painting and were executed by the same author, an aesthetic approach to the work would be made through the technique of video mapping. Mapping allows the viewer to see the pictorial and functional values of the artwork, without using an invasive form, and favours a vision of its historical-artistic context. Without physically altering the heritage, the final audiovisual presentation can reach multiple levels of information, helping the observer to understand, for example, the technique and pictorial materiality of the frescos and, at the same time, to discover the different iconographic representations.On the other hand, the successful system realised in the first phase was based on digital treatment of another historical photograph in black and white. This procedure was carried out in several ways such as straightening, rectifying and scaling of historical photograph. After the previous process, the following step was a digital colouring based on the superposition of the captures of the existing fragments to the picture taken by J. Alcon, always taking the colours of the original painting as a reference. The creation of the virtual final image also requires colour management calculations to be transformed into a printed or projected reality. The last step is to print and transfer the image to the wall. This was done with Papelgel®, a temporary support for the transfer of inkjet and pigmented printing inks. In this case the main novelty is the use of an adhesive pattern which improves the transfer of digital print fidelity and maintains the breathability of the wall. In the current phase of intervention, this system is intended to be applied to the rest of the vault once the detached fragments have been relocated to their original position.This project is an important attempt in the search for perfect harmony between the different computing elements. Information technologies offer a new and wide range of possibilities to preserve cultural heritage and participate directly in the intervention processes required for their conservation and restoration.
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Пантелеев, А. Ю., and Р. А. Бахтияров. "TEXT LIKE ART-ELEMENT IN CONTEMPORARY ART WORK’S: E. RUSCHA AND E. BULATOV (COMPARATIVE ASPECT)." In Месмахеровские чтения — 2024 : материалы междунар. науч.-практ. конф., 21– 22 марта 2024 г. : сб. науч. ст. / ФГБОУ ВО «Санкт-Петербургская государственная художественно-промышленная академия имени А. Л. Штиглица». Crossref, 2024. http://dx.doi.org/10.54874/9785605162926.2024.10.57.

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На примере творчества Эрика Булатова и Эда Рушея рассматривается проблема восприятия текста как элемента образного решения в живописных произведениях американского и советского искусства второй половины XX в. Цель статьи — определить, насколько текст и слово способны стать равноправной частью живописного произведения. Актуальность статьи обусловлена новым взглядом на текст как элемент образного решения в живописных произведениях разных художников, но в рамках одного метода. The problem of perception of text as an element of figurative solutions in the pictorial works of American and Soviet art of the second half of the ХХ century is considered on the example of the works of Erik Bulatov and Ed Ruscha.The article studies the ability of text and words to become an equal part of a painting. The relevance of the article is due to a new look at the text as an element of figurative solutions in the paintings of diff erent artists, but within the framework of one method.
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Tomassoni, Rosella, Valentina Coccarelli, and Francesco Spilabotte. "CREATION AND DESTRUCTION: SOME PSYCHOLOGICAL REFLECTIONS IN THE PAINTINGS OF GIAN CARLO RICCARDI." In 11th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2024. SGEM WORLD SCIENCE, 2024. http://dx.doi.org/10.35603/sws.iscah.2024/fs10.20.

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The aim of this study is to analyse some paintings by the Italian, multimedia and avantgarde artist Gian Carlo Riccardi (1933-2015), in which the concept of creation and destruction, or rather, as Freud would say, Eros and the destructive drive, predominate at the same time. Our study will focus in particular on the execution of these works, leading to a kind of �creative destruction�. This work intends to show how Gian Carlo Riccardi uses heterogeneous and salvaged materials to create pictorial works in which contamination, manipulation and non-sense are the result of a creative action. The objects he uses, in fact, are of common and everyday use, promoted and reconverted to an artistic use thanks to the artist�s will. They take on a new life and a new aesthetic function, becoming bearers of further meanings. This research will attempt to show how the destructive act marks the birth of artistic creation in Riccardi�s works, which represent a sort of theatrical performance, in which the artist becomes a �theatrical painter�. The aim of this study is to investigate how destruction is converted into a creative act in Riccardi�s works.
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Sánchez, Mónica. "PROPUESTA DE REUBICACIÓN MEDIANTE RECONSTRUCCIÓN VIRTUAL. CASO DE ESTUDIO: RETABLO MAYOR DE SAN FRANCISCO DE SAN ESTEBAN DE GORMAZ (SORIA)." In ARQUEOLÓGICA 2.0 - 8th International Congress on Archaeology, Computer Graphics, Cultural Heritage and Innovation. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/arqueologica8.2016.3537.

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This paper briefly shows the skills acquired not only in the field of Conservation-Restoration, but also in Virtual Restoration as applied to Cultrual Heritage. The work under consideration is the Mayor Altarpiece of the old Convent of San Francsico, today Church of San Esteban Protomartir in San Esteban de Gormaz, Soria. Built in 1628 in one of the most important workshops of the Diocese, in 1985 renovation works and refurbishment of the church had uncovered wall paintings in advocation to the founder of the Order behind the wooden reredos, one of the few examples of pictorial altarpieces preserved in Spain that forced the transfer of the wooden altarpiece to a shrine in the same locality where it is currently disassembled.This Cultural Property is a great example of heritage on which to apply the techniques of 3D modeling for virtual restoration and reconstruction of the environment as well, which aims to attempt visual recovery and potential unit without counyerfeiting, as methods of conservation, restoration and dissemination of Cultural Heritage.
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10

Doménech, Beatriz, Vicente Guerola, María Castell, and Antoni Colomina. "THE PERCEPTION OF THE CHROMATIC REINTEGRATION FROM THE ADJUSTMENT OF THE WORK CLOTHING. THE LAB COAT AND ITS COLOUR ALTERNATIVES." In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. València: Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13482.

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The present study is focused on the revision of the work clothing of the conservator-restorer, specifically in the lab coat, analysing its colour and the interference it can create regarding the perception of the colours, both of the artwork and of the chromatic palette used to retouch. In this way, the study starts from the review of the corpuscular theory of light. Based on this theory, it is analysed the absorption-reflection process of the interaction of light with matter, as well as it is explained how the colour of the lab coat can hinder or favour the perception and adjustment of the colours in a chromatic reintegration. This investigation is reinforced by a process of experimentation in which the light reflected by both white and black lab coats, is analysed through measurements using a lux meter. The measurements have been made facing pictorial works characterized for a chromatic palette of dark colours or vivid colours, wearing a white lab coat and a black lab coat. Afterwards, the results obtained have been analysed and compared allowing to discover, in a more realistic way, the intensity of the light reflection according to the colour of the work clothing of the conservator-restorer. In addition, the present study is complemented with the realization of an opinion survey to international conservation-restoration professionals. Through this survey, the aim is to find out whether professionals take this factor into consideration during colour reintegration, as well as their general opinion on this issue.
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