Academic literature on the topic 'Portrait painting Psychological aspects'
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Journal articles on the topic "Portrait painting Psychological aspects"
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Marcus, Esther-Lee, and A. Mark Clarfield. "Rembrandt's Late Self-Portraits: Psychological and Medical Aspects." International Journal of Aging and Human Development 55, no. 1 (July 2002): 25–49. http://dx.doi.org/10.2190/8lq5-cc7w-ujdf-tnm0.
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The Dutch painter Rembrandt (1606–1669) left behind the largest series of self-portraits in the history of art. These paintings were produced over a period of time from age 22 years until just a few months before Rembrandt's death at age 63. This series gives us a unique opportunity to explore the development, maturity, and aging of the artist. The changes in Rembrandt's face and expression from one self-portrait to the next may be attributable to any combination of the following factors: normal aging changes, modifications and developments of his artistic style, alterations in the way he viewed himself, and changes in the way Rembrandt wanted us to see him. In addition, the modifications may be attributed in part to some illnesses from which the artist may have suffered and/or to a decline in his eyesight that may have influenced both his ability to detect details and his ability to paint.
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Samoshchuk, Oksana. "PSYCHOLOGICAL ASPECTS OF SALVADOR DALÍ'S PERSONALITY AND CREATIVE PROCESS." PSYCHOLOGICAL JOURNAL 6, no. 1 (January 30, 2020): 175–86. http://dx.doi.org/10.31108/1.2020.6.1.17.
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The article is devoted to the study of the psychological aspects of Salvador Dalí’s personality and creative process. Based on the analyzed data taken from cultural and historical conditions of the artist's life, as well as from biographical, autobiographical facts and works of art, the following groups of factors were found that influenced both the psychological characteristics and elements of the artist's creative products. The group of macro factors includes geographical, in particular the tendency to portray the landscape, where the artist lived, as the background image in his paintings; global events (the image of the Civil War was used in the painting "Soft Construction with Boiled Beans: Premonition of Civil War" (1936)). Micro factors include two subcategories: close social environment and personal events. The death of the elder brother had seemingly an intense influence on artist's personality and creativity that led to the development of guilt in the parents who treated Dalí in a special way, as their second and only son. This situation formed a sense of permissiveness and uniqueness that, becoming Dalí’s fixed personality traits, were manifested in art: the widespread use of free associations and a surrealistic approach in paintings. Freud's ideas had an exceptional influence on Salvador Dalí, and led to the development of a unique method in his works of art - a paranoid-critical method that allows mixing real objects in paintings with the fantastic ones. It is worth noting the influence of two strong childhood emotional impressions that have signs of psychological trauma: contemplation of the decomposition process of a hedgehog’s corpse and entomophobia of grasshoppers. These two events formed individual images that the artist often used in his surrealist paintings. Therefore, based on these facts we can talk about the existence of a certain mechanism that transform the image of psychological trauma into a permanent element of creativity. The results of the study showed the presence of the following Dalí’s main personality traits: shyness (especially in childhood and adolescence), narcissistic personality type, alienation and closed nature, ambition and the desire for recognition. Thus, it can be argued that there is a certain mechanism in the creative process that transforms the formed psychological traumas and phobias into stable symbolic elements of creative products. The consistent effect of certain events in a life on personality structure was established and, accordingly, the impact of such events on a choice of a certain style in creativity was revealed.
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Wałczyk, Krzysztof. "Biblical Inspirations in Nikifor’s Paintings." Perspektywy Kultury 26, no. 3 (October 1, 2019): 31–46. http://dx.doi.org/10.35765/pk.2019.2603.05.
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Nikifor Krynicki (Epifaniusz Drowniak, 1895-1968) was one of the most popular non-academic Polish painters worldwide. To show the biblical inspiration in his creative output I chose two categories from various thematic aspects: self-portraits and landscapes with a church. There are plenty of Nikifor’s paintings showing him as a teacher, as a celebrating priest, as a bishop, or even as Christ. A popular way to explain this idea of self-portraits is a psychological one: as a form of auto-therapy. This analysis is aims to show a deeper explanation for the biblical anthropology. Nikifor’s self-portraits as a priest celebrating the liturgy are a symbol of creative activity understood as a divine re-creation of the world. Such activity needs divine inspiration. Here are two paintings to recall: Potrójny autoportret (The triple self-portrait) and Autoportret w trzech postaciach (Self-portrait in three persons). The proper way to understand the self-identification with Christ needs a reference to biblical anthropology. To achieve our real-self we need to identify with Christ, whose death and resurrection bring about our whole humanity. The key impression we may have by showing Nikifor’s landscapes with a church is harmony. The painter used plenty of warm colors. Many of the critics are of the opinion that Nikifor created an imaginary, ideal world in his landscapes, the world he wanted to be there and not the real world. The thesis of this article is that Nikifor created not only the ideal world, but he also showed the source of the harmony – the divine order.
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PETEK, Nina. "Aesthetics of the Classical Period of the Islamic Mughal Empire in India through a Portrait of Abū al-Fath Jalāl al-Dīn Muhammad Akbar." Asian Studies 6, no. 1 (January 30, 2018): 73–109. http://dx.doi.org/10.4312/as.2018.6.1.73-109.
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The reign of Abū al-Fath Jalāl al-Dīn Muhammad Akbar (1556–1605) was a fruitful period of the political, cultural and spiritual synthesis of Persian, Indian, and European tradition, as well as an artistic and aesthetic renaissance. This cosmopolitan, universal and charismatic ruler strived for the external, political, material and spiritual well-being of his colourful empire. In search of a balance between the external and internal, and in his endeavours for the unification and uniformity of India he gradually created a completely new style of Mughal arts, which is a stunning reflection of his personality’s transformations, principles, insights, interests, and spiritual growth.The paper focuses on a psychological portrait of the ruler, who dictated aesthetics and the style of the classical period of Mughal arts which consists of the three basic developmental phases of Akbar’s enigmatic character. The thesis on the parallel development of Akbar’s personality and Mughal arts is supported by research on the influence of certain European and Persian aesthetic elements, and mainly on the influence of Indian philosophical-religious tradition (the doctrines on rasa, bhakti, yoga, and tantra). The early period of Mughal arts, with predominantly realistic elements, coincides with the ruler’s dynamic, youthful enthusiasm and immense curiosity to acquaint himself the most varied aspects of external events and appearances. The second, the mature period, which enriches this earlier realism by means of mystical elements and the symbolism of Indian pre-Mughal painting, is marked by the shift into the interior and by searching for the harmony between the material and spiritual. In the late period of Mughal painting, however, reflexive and lyrical works prevail, which are a reflection of completion of Akbar’s spiritual quests, and the unique project of multifaceted synthesis that he undertook and promoted.
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Kapnina, Halyna I. "Psycholinguistic Characteristics of the Discourse with a «Colour Black» Component (based on E.M. Remarque’s works)." Alfred Nobel University Journal of Philology 2, no. 22 (2021): 138–47. http://dx.doi.org/10.32342/2523-4463-2021-2-22-12.
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In recent decades, colour vocabulary has been actively studied by the Ukrainian and foreign scientists. Modern Linguistics has significant achievements in research of this issue, however, some of its aspects, in particular, psycholinguistic characteristics of the discourse with a colour element, still remain relevant and poorly researched. Colour has always played an important role in artistic discourse. The names of individual writers are inextricably associated with certain coloronyms, which is a so-called marker in their work. One example of this phenomenon is the colour black, that is dominant in the discourse of E.M. Remarque, which, given the mostly dramatic themes of the author’s novels, is quite expected, especially if the fact is considered through the prism of Psycholinguistics. The purpose of the given scientific investigation is to provide psycholinguistic characteristics of the discourse with the «black colour» component in E.M. Remarque’s works and to identify the impact it has on the reader in the process of perceiving the outstanding author’s texts. Implementation of the stated tasks of research involved the integrational usage of general scientific methods (such as description, induction, deduction), as well as the analysіs of dictionary definitions, current native and foreign psycholinguistic sources; contextual and structural-thematic analysis; modelling and classification of actual material. The results of the analysis of the Remarque’s discourse with the «black colour» component allow us drawing the following conclusion: the coloronym «schwarz» in E.M. Remarque’s is characterised by a wide semantic content, wherein the black colour is used by the writer both to determine the colour of the described object neutrally and to convey figurative negative semantics. Lexemes denoting black, in their direct meaning, indicate the colour of the depicted object directly. Using the colour nomination «schwarz» in symbolic meaning, the author resorts to «painting» in dark natural phenomena, which are not characterised by black; depicts dishonest and illegal actions; demonstrates negative attitude towards people. Using the specified colour nomination as the colour of clothing, objects, buildings, as well as emotions, experiences and feelings, non-verbal means of intensification the semantics of “black” – the designation of poses, gestures, facial expressions, body movements the author demonstrates not only his personal attitude towards the characters of his novels, but by focusing the consciousness of the reader on their difficult psychological and physical state, he encourages to rethink the causes and consequences of their actions. Stable association with the black colour, peculiar for a long historical and cultural development of mankind, and therefore with sad events in human life, losses, failures, loneliness, is verbalized in all analysed Remarque’s works. Thus, the black colour is the necessary element of the psycholinguistic portrait of Remarque’s character.
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Tomicka, Joanna A. "Nadzwyczajna zwyczajność. Rembrandt rytownik. Nowatorstwo wobec tradycji." Artifex Novus, no. 3 (October 1, 2019): 114–29. http://dx.doi.org/10.21697/an.7068.
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SUMMARY
The scientific interests of Rev. Professor Janusz Pasierb revolved mostly around questions related to Polish art, often in the perspective of European interconnections, inspirations, as well as differences. The present study has been inspired by an observation by Rev. Professor Pasierb made in reference to a sphere of human activity unrelated to art. Describing in one of his papers the figure of Bishop Konstantyn Dominik (1870–1942), Professor Pasierb employed the phrase extraordinary ordinariness17. In the present text, this term will be used to discuss an artist whose oeuvre depicts ‘extraordinary ordinariness’ in the most multi-aspected and spectacular way. Rembrandt van Rijn was at once a traditionalist and innovator, both in regard to the range of employed subjects and compositional schemes and his craftsmanship. His knowledge of the achievements of his forerunners, continuously developed, inspired his own artistic quest. Despite the fact that he was a painter in the period when elaborated allegory was universally employed, he insisted on the realism of scenes and directness of compositions in order to bring out the extra-sensual dimension, based on symbolism hidden in prosaic life. His works open spaces of universal experiences and feelings, at the same time inclining us to pose questions concerning their complex intellectual interpretation or Rembrandt’s technique. His mastery is equally palpable in his biblical compositions, landscapes or brilliant psychological portraits, while each of the genres was depicted by him both in painting and in graphic arts, which was rare in the times when most artists specialized in only one medium, or even in one genre, like portraits or landscapes, in one medium. Rembrandt is one of the artists referred to as painters-engravers (peintre-graveur), like Albrecht Dürer or Lucas van Leyden before him. In graphic arts in particular, he introduced new technical and compositional solutions, issuing works that often astound with their innovative approach and extremely individual interpretation. Rembrandt’s versatility in terms of addressing various genres is particularly visible in his prints. Certain subjects were resumed by him as he looked for ever new solutions. Several chosen examples of graphic works depicting religious themes combining in various aspects traditionalism and innovation will be discussed to illustrate Rembrandt’s iconographic, compositional and technical concepts and search.
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Sullivan, Margaret A. "Alter Apelles: Dürer’s 1500Self-Portrait." Renaissance Quarterly 68, no. 4 (2015): 1161–91. http://dx.doi.org/10.1086/685123.
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AbstractThe persistence of interpretations that view Dürer’s 1500Self-Portraitas a Christlike image in spite of the issue of blasphemy it raises is due in large part to the lack of a competing historical narrative, one that accounts for the unusual aspects of the painting without recourse to religious imagery. In this article, Dürer’s motivation in creating this unprecedented painting and the strategies he used in constructing it are analyzed from the perspective of his contemporaries. In this alternative view, the humanist context is crucial, with Dürer emulating the greatest artist of the ancient world by composing the 1500Self-Portraitin ways that accord with Apelles’s art, practice, and reputation as it was transmitted through the literature of the ancient world.
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Pottasch, Carol. "The transformation of Adriaen Thomasz. Key’s Portrait of William of Orange." Ge-conservacion 18, no. 1 (December 10, 2020): 190–99. http://dx.doi.org/10.37558/gec.v18i1.827.
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When the iconic portrait of William of Orange by Adriaen Thomasz Key was brought to the conservation studio of the Mauritshuis, examination of the radiograph showed that part of the painting was not original. Prior to the painting’s arrival in the Mauritshuis, the left plank of the original oak support had been lost or removed, and replaced by another plank. Also, the whole painted surface, except for the face, was broadly overpainted. During the recent treatment, the conservators made the decision to remove most of the overpaint, and retouch the painting in an illusionistic way. Different options were considered for re-integrating the addition. This paper discusses the ethical and historical aspects that played an important role in the decisions to restore this painting.
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Gamidov, Timur Saidovich. "NEW MEANS OF EXPRESSION IN PORTRAIT PAINTING OF ALEXEY AVGUSTOVICH (1960-s)." Herald of the G. Tsadasa Institute of Language, Literature and Art, no. 26 (June 4, 2021): 83–86. http://dx.doi.org/10.31029/vestiyali26/12.
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The article describes the portrait genre in the painting of the famous Dagestan artist A. Avgustovich. Examples of his creative searches and innovative incarnations, which expanded the artistic and stylistic structure of the Dagestan fine arts of the 1960s, are given. The emotional-psychological and figurative-specific characteristics of the disclosed characters, the richness and variety of the used means of artistic expression are investigated.
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Leonhard, Karin. "Painted Gems. The Color Worlds of Portrait Miniature Painting in Sixteenth- and Seventeenth-Century Britain." Early Science and Medicine 20, no. 4-6 (December 7, 2015): 428–57. http://dx.doi.org/10.1163/15733823-02046p06.
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It has been argued persuasively that we should see the art of the portrait miniaturist as being closely related to the art of the goldsmith – with the painted ‘jewel’ of the portrait set into a richly ornamented piece of jewelry. Indeed, there is a close affinity between Nicholas Hilliard’s art of portrait miniature painting and goldsmithery. His Treatise’s famous section devoted to precious stones reflects this idea, as it is concerned with the relationship of those stones to the colors used in the miniatures, colors that can be seen as surrogates for the stones themselves. Color, light and shadow – these three aspects of how to render the natural world into paint are closely related: it is the complexity of the relationship that demanded a painting technique that took care not to create chiaroscuro-effects and specifically not let color be ‘corrupted’ by shadows or ‘mixed’ with other colors.
Dissertations / Theses on the topic "Portrait painting Psychological aspects"
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Parker, David. "Painting as process : a Jungian approach to image and imagination as experiential practice in contemporary culture." Thesis, University of Northampton, 2012. http://nectar.northampton.ac.uk/5049/.
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Drawing on Jungian and Post Jungian Psychology as theoretical frameworks, the psychologically transformative properties of painting are explored as aesthetic process and aesthetic product in abstract painting. Consideration is given to precedents within modern culture and the arts in relation to mainstream and marginal practice, along with the concept of the Other as Outsider. Speculations on the idea of altered states of consciousness are explored in relation to different values (both cultural and a-cultural) and the primacy of imagination in the formation of affective relationships between self and world.
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Sexton, Siobhan. "'The Proust of painting' : Jacques-Émile Blanche, the 'neurasthenic portrait' and the nervous elite of Paris, 1900." Thesis, University of Plymouth, 2017. http://hdl.handle.net/10026.1/8810.
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Jacques-Émile Blanche (1861-1942) is rarely included in histories of late nineteenth-century French art, despite his prolific career as an artist who produced over 2,000 paintings. A portraitist, Blanche’s upbringing as the son of an eminent psychiatrist provided him with a wealth of sitters connected to his father’s fashionable clinic and, I argue, a distinctive approach to their representation. These relatively unstudied portraits of famous Parisian intellectuals and socialites deserve our attention as works of ‘psychological impressionism’. Combining penetrating observation with painterly execution, Blanche’s methods emphasised the ‘nervous’ disposition of his sitters. Blanche’s practice as a portraitist is one of the reasons for his neglect. His contemporaries were evasive when it came to writing about the genre, uncertain of how to evaluate it – a critical apprehension that has persisted to this day. Art historians are as implicated in what may be thought of as a hesitation around the status and significance of portraiture in late-nineteenth-century French art. The thesis seeks in part to redress this through its examination of Blanche’s portraits as intuitive works of art that not only reflected but also, more actively, produced particular forms of knowledge about the ‘nervous’ condition of Parisian high society. With a focus on Blanche’s depictions of Marcel Proust (1871-1922) and the Comtesse de Castiglione (1837-1899), the thesis considers Blanche’s ‘neurasthenic portraits’ in relation to discourses on modern psychiatry, modernity, and modern art, drawing attention to how they enrich our understanding of the social, cultural and artistic contexts in which Blanche lived and worked. By situating Blanche’s artistic practice within his father’s clinical practice, and by embracing a methodology that draws upon both the histories of art and psychiatry, I argue that the language of Blanche’s portraiture was environmentally connected to the language of nervous disorder. As such this thesis will provide an original contribution to the scholarship on Blanche and offer significant insights into the entanglement of art, culture and nerves in nineteenth-century Paris.
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Robins, Amanda School of Arts UNSW. "Slow art : meditative process in painting and drawing." Awarded by:University of New South Wales. School of Arts, 2006. http://handle.unsw.edu.au/1959.4/31214.
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This exegesis is an exploration of meditative process in painting and drawing and accompanies an exhibition of paintings and large drawings called What Lies Beneath. The text contains several passages, called "meditations," which accompany the themes approached in the chapters and give insight into the thoughts and practices of the artist. The methodology involves the examination of the evidence of the work produced by selected artists, looking at the words of artists in notebooks, diaries and interviews and surveying a small number of local contemporary artists. The text opens up the possibilities of drapery and garments and of still life as paths to meditative practice in painting and drawing. The qualities that characterize meditative process/practice, derived from my observations, are categorized. Some of the strengths of these processes are revealed through the examination of the work of artists, both contemporary and historical. The work of Vermeer, Sanchez Cotan, Francisco Zurbaran and contemporary artists Anne Judell, Simon Cooper, Jude Rae, Alison Watt and Eva Hesse highlight different aspects of the meditative process in painting and drawing. The art works in the exhibition are documented and bring out the meditative processes that have contributed to their creation, including the use and meaning of the subject (drapery and the garment as a form of still life).
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Jooste, Ané. "Childhood sexual abuse and contemporary trauma theory : a visual exploration in selected South African artworks." Diss., 2020. http://hdl.handle.net/10500/27260.
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Text in English, with abstracts and keywords in English and XhosaThe study delves into traumatic memories rooted in the unconscious mind and the modalities of expression of traumatic memories of childhood. Specific reference is made to the trauma studies of Cathy Caruth and Bessel van der Kolk. Using a framework of contemporary trauma theory, I argue that trauma manifests through childhood sexual abuse (CSA) manifests in trauma and that a number of artworks by myself, Penny Siopis and Nathani Lüneberg, reflect such trauma. The research is conducted as practice-led research and focuses on interpretations of selected artworks as well as a theoretical component. The body of large-scale digital paintings plays a significant role in the research process, which implies that theory leads practice and vice versa. The work encompasses the visual exploration of CSA and it is specifically analysed according to my interpretation of symbols such as the naked female body and intimate scenes which illustrate, vulnerabilty, curtains that metaphorically represent a view into my unconscious mind. The symbol of the uterus or the womb, where a foetus or unborn baby develops and grows, is a symbol of nurturing and protection. The artworks are primarily considered according to notions of CSA that cause betrayal and traumatic associations with sex, angst and psychological fragility in children. The exhibition portrays the psychobiological and psyhoanalytical aspects of childhood trauma resulting from CSA. The creative work consists of four digital paintings and seven photographic artworks. The artworks in The Silent Wound Series portray CSA, childhood trauma, and traumatic memories in the unconscious. Dealing with the understanding and representation of childhood trauma such as CSA, these themes are continuously embodied in my artworks. As the portrayal of the fragile girl child’s body as a signifier in the artworks relates to my personal situation, I choose an empathic view of childhood trauma within the study, portraying traumatic events and the memories thereof in the unconscious. The aim of the study is to recognise how digital painting and photography enable the representation and understanding of CSA and traumatic memories and how the silenced and abused child’s voice can be expressed through the affective and transactive quality of art. The main study objective is to investigate if traumatic memories occur in victims of CSA.
Uphononongo lungena nzulu kwiinkumbulo ezoyikisayo ezendele kwingqondo eleleyo kunye neendlela zokubonisa iinkumbulo ezibuhlungu zobuntwana. Ngokukhethekileyo kujoliswe kuphando olwenziwe kwizifundo zomothuko zikaCathy Caruth noBessel van der Kolk. Ndisebenzisa isakhelo sethiyori yanamhlanje, ndivakalisa ukuba umothuko wokuxhatshazwa ngokwesondo ebuntwaneni (i-CSA) bubonakala kuloyiko kwaye eminye yemisebenzi yam yobugcisa, uPenny Siopis kunye noNathani Lüneberg, ibonisa uloyiko olunjalo. Uphando lwenziwa njengophando olukhokelwa kukuziqhelanisa kwaye lujolise kutoliko lwemisebenzi yobugcisa ekhethiweyo kunye nenxalenye yethiyori. Uvimba wemizobo emikhulu yedijithali idlala indima ebalulekileyo kwinkqubo yophando, oko kuthetha ukuba ithiyori ikhokelela ekusebenzeni kwaye nangokuphendulelekileyo. Umsebenzi uquka uphando olubonakalayo kwe-CSA kwaye ucazululwa ngokukodwa ngokokutolika kwam iisimboli ezinje ngomzimba wabasetyhini ehamba ze kunye nemiboniso esondeleleneyo ebonisa, ukuba sesichengeni, iikhethini ngokukwekwayo ezimele imbono kwingqondo yam eleleyo. Uphawu lwesibeleko okanye isibeleko, apho umbungu okanye usana olungekazalwa lukhula khona kwaye lukhule, siluphawu lokondla nokukhusela. Imisebenzi yobugcisa iqwalaselwa ikakhulu ngokwemibono ye-CSA ebangela ukungcatshwa kunye nomanyano oludakumbisayo ngezesondo, ixhala kunye nobu-ethe-ethe ngokwengqondo ebantwaneni. Umboniso uzoba iimeko zengqondo ephilayo kunye nohlalutyo lwengqondo elimeleyo yobuntwana ebangelwe yi-CSA. Umsebenzi wobugcisa unemizobo emine yedijithali kunye neefoto zobugcisa esixhenxe. Imisebenzi yobugcisa kwi-Silent Wound Series izoba i-CSA, umothuko wobuntwana, kunye neenkumbulo ezibuhlungu ezikwingqondo eleleyo. Ukusebenza nokuqonda nokutolika ukwenzakaliswa kobuntwana okufana ne-CSA, le mixholo ihlala iyinxalenye kwimisebenzi yam yobugcisa.Njengoko ukwenza uzobo lomzimba o-ethe-ethe womntwana oyintombazana njengomboniso kwimisebenzi yobugcisa kunxulumene nemeko yam yobuqu, ndikhetha umbono onovelwano wokwenzakala kobuntwana kolu phononongo, ndibonisa iziganeko ezihlasimlis 'umzimba kunye neenkumbulo zazo ezingqondweni ezileleyo. Injongo yophando kukufuna ukuqonda ukuba imizobo ngedijithali kunye nokufota kukwenza njani ukumelwa kunye nokuqondwa kwe-CSA neenkumbulo ezenzakalisayo nokuba ilizwi elithulisiweyo nempatho-mbi yomntwana linokuvakaliswa njani ngokomgangatho ochaphazelayo notshintshayo wobugcisa. Eyona njongo iphambili yophando kukuphanda ukuba iinkumbulo ezibuhlungu ziyenzeka kumaxhoba e-CSA.
Arts and Music
M.V.A.
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"潛意識的解放在當代藝術的意義." 2010. http://library.cuhk.edu.hk/record=b5896667.
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霍秀霞."2010年9月".
"2010 nian 9 yue".
Thesis (M.F.A.)--Chinese University of Hong Kong, 2010.
Includes bibliographical references (leaves 36-37).
Abstracts in Chinese and English.
Huo Xiuxia.
Chapter 1. --- 引言----一場革命 --- p.7
Chapter 2. --- 呈現物本身----潛意識 --- p.8
Chapter 2.1 --- 潛意識的定義 --- p.8
Chapter 2.2 --- 佛洛伊德潛意識學說在超現實主義上的現實思考 --- p.10
Chapter 3. --- “潛意識的解放´ح在當代呈現的模式 --- p.14
Chapter 3.1 --- 拉康與克莉斯托娃 --- p.14
Chapter 3.2 --- 如何衍生成爲當代模式 --- p.18
Chapter 3.3 --- "我的創作""Automatic drawing´ح與泥塑空殼" --- p.24
Chapter 4. --- 結論
Chapter 5.1 --- 潛意識的工作 --- p.29
Chapter 5.2 --- 我的理想國 --- p.32
圖片來源 --- p.35
參考書目 --- p.36
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Van, Heerden Ariana. "The flow brain state of painting and drawing artists." 2014. http://encore.tut.ac.za/iii/cpro/DigitalItemViewPage.external?sp=1001485.
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D. Tech. Fine and Applied ArtThe aim of this study was to investigate whether there is an association between art making and the brain state known as flow, a construct defined by Mihaly Csikszentmihalyi. Links were sought between artists' perceived propensity to experience flow and quantified experimental data of the same art-making events. A predominantly psychological theoretical framework had to be created, contextual as well as conceptual, of historical and contemporary leanings that have formulated understandings of creativity and flow. These indicate that flow can trace its origins to concepts of human happiness and excellence, motivation, self-determination and peak experiences. These concepts illustrate that in pursuing intrinsic endeavours such as art making, a person is continuously engaged in reflectivity and deliberation concerning his or her actions and aims, which tend to be self-motivated or autotelic. In this study the autotelic and self-reflecting leanings of art making were found to be germane to flow. A key aspect for understanding the flow experience is Arne Dietrich's hypothesis of transient hypofrontality, described as enabling the temporary suppression of the analytical and meta-conscious capacities of the explicit system. In this study, transient hypofrontality was found to be germane to interpretations of flow and art making.
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Schiff, Kerry-Gaye. "Discourses of workplace violence : painting a picture of the South African Police Service." Thesis, 2010. http://hdl.handle.net/10500/4844.
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Workplace violence is reported to be on the increase, and within the South African Police Service, the inherently stressful nature of policing leads to high rates of suicide and violent behaviour. Contemporary investigations of workplace violence reveal epistemological, methodological and theoretical biases towards positivistic, rational-empirical approaches resulting in partial understandings and limited scope. This study aimed to qualitatively explore workplace violence as a socially embedded act. In-depth, semi-structured interviews were conducted with a primary participant and three others directly related to him in order to supplement existing understandings from a social constructionist perspective. Discourse analysis allowed for discovery of socio-historically located discursive networks, while an ethnographic or empathic technique was used to gain insight into the life worlds of participants. Discourses of organisational negligence, betrayal and concurrent discourses of group solidarity and cohesion and organisational culpability reveal a reliance on external locus of control and avoidance coping. Discourses of absolution due to another‟s involvement, retribution, justice, and innocence perverted by a stronger agency relied on strategies of justification, denial, disclaimer, excuse or apology to negotiate positive participant identities. Discourses of masculinity allowed for a corroboration, justification and maintenance of male violence in general, and social discourses of female subjugation and commodification were used as a means to deflect responsibility and as justifications for actions of violence towards women. Inherent in all discourses was a deep socially and historically embedded conception that facilitates violent action as an expression of maleness in all spheres of life. From an ethnographic or empathic perspective, participants‟ world views were polarised around masculinity and femininity, suggesting that an ability to remain unemotional in situations of turmoil is a highly-prized characteristic of maleness, especially in a hypermasculine setting such as the police. The implicit and explicit approbation for the expression of masculine stoicism, as opposed to feminine or „weaker‟ emotions, causes recruits to experience isolation and shame if unable to face traumatic situations with the requisite dispassion, leading to negative coping mechanisms, depression, and suicide or violence.
The conclusion can be drawn that prevention of violence relies on extrication of the concept of violence from masculinity at ideological, cultural and social levels within the SAPS, and the concurrent reduction in justificatory discourses reliant on an external locus of control. This has considerable implications, including the radical transformation of the organisation through the development of a clear vision of the future that can be supported by management, members and the community; the empowerment of employees through active participation in decisions and development of skills through training; rigorous modification of the practices that generate inequitable social conditions; and the revolution of cultural practices that venerate and enforce gendered inequalities.Psychology
D. Litt. et Phil. (Consulting Psychology)
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McBurney, Erin. "Art and Power in the Reign of Catherine the Great: The State Portraits." Thesis, 2014. https://doi.org/10.7916/D8CC0XT5.
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This dissertation examines the relationship between art and power in the reign of Catherine II of Russia (1762-1796). It considers Catherine's state portraits as historical texts that revealed symbolic manifestations of autocratic power, underscoring the close relationship between aesthetics and politics during the reign of Russia's longest serving female ruler. The Russian empress actively exploited the portrait medium in order to transcend the limitations of her gender, assert legitimacy and display herself as an exemplar of absolute monarchy. The resulting symbolic representation was protean and adaptive, and it provided Catherine with a means to negotiate the anomaly of female rule and the ambiguity of her Petrine inheritance. In the reign of Catherine the Great, the state portraits functioned as an alternate form of political discourse.
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Tsai, Wendy. "A response to space in the natural environment : painting as a phenomenological study of the Blue Mountains, NSW." Master's thesis, 2015. http://hdl.handle.net/1885/150365.
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My Masters research engages with the ways as a painter, I increasingly struggle to give form to my relationship with the Blue Mountains. Although it is a familiar natural environment, this struggle has articulated my research question: Can problems associated with representing vast natural environments like the Blue Mountains be overcome through an analysis of personal embodied experience? This thesis examines the complexities of translating the perceptual and corporeal experience of the Blue Mountains. This site is rich in social history, from Indigenous occupation through to the listing of its status as a World Heritage Area in 2000. It is also a place of early childhood memories and has been my home for the last 20 years. My research has investigated these histories and the physical landscape in an organically responsive practice of both charcoal drawing and watercolour on paper. The written exegesis of 20,000 words, describes the outcome of the research in four bodies of work on paper: Nests, Vertigo, Absence and Presence and Keepsake. The Nests works explore the symbolism of the nature of nests, while also providing the opportunity to more ambiguously trace the labyrinthine form of the mountains. Vertigo considers the implications of edges, and of distance and intimacy. In Absence and Presence, I advocate for what is hidden in the landscape, including the competing and forgotten stories about place. The final works identify how I have brought the horizon and vastness into intimate images that can also become objects to be held in the palm of the hand. I have argued in the exegesis from the perspective of psychoanalytic theory and phenomenology, how the development of a personal symbolism originating in an embryonic nest has enabled me to approach some of the more problematic concepts of vastness that this natural environment holds. This trope evolved through my studio research, and was developed through a series of constructed and productive binaries, such as intimacy and distance, past and present, and loss and attachment. I argue through the studio practice and writing that the development of these approaches have contributed to the renewed accessibility, for my audience, and myself, of a distinctly over-represented and culturally determined site.
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Chaitow, Tanya School of Arts UNSW. "Nothing personal." 2007. http://handle.unsw.edu.au/1959.4/44254.
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The autobiographical nature of my work deals with the space between the innocence of childhood and the wisdom of adulthood. I explore the complexities of personal experience, old and new landscapes and the scar tissue of memory. The work deals with beginnings and departures, relationships and conflict of power and vulnerability in the quest to make sense of life. My work connects with moments of childhood that I try to retain as a touchstone for authentic experience. The images are derived from personal and familial experiences, moving through to the universal to tell the human tale, using the human body as a metaphor. The body becomes the subject matter for expressing ideas about our universal and personal concerns. I explore the gulf between the real and the unreal through examining themes such as identity, vulnerability, anxiety, fear, alienation, abandonment, loss, corruption of innocence, love and death within a contemporary urban framework. These emotions are played out against the backdrop of daily domesticity and reflect the physical reality of the world around us, often exposing the contrast between the orderly veneer of our daily lives and our emotional reality. My work methodology uses narrative found in books, films, fairy tales or fables to explore the conflicting emotions which structure human identity and interaction. I use the stories as a way of approaching ideas or emotions and exploiting the story as a focus of cultural knowledge. In the search for emotional truth I draw parallels between my art practice and the search for authenticity within the theatre. My work is an attempt to explain my own creative process in relation to the artists who have influenced me, my childhood, its rich tradition of storytelling and my passion for theatre and literature as well as a search for meaning in my own relationships and life's journey. This is conveyed through a series of paintings and works on paper.
Books on the topic "Portrait painting Psychological aspects"
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La cause des portraits. Paris: POL, 2009.
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Schefer, Jean Louis. La cause des portraits. Paris: POL, 2009.
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Act of portrayal: Eakins, Sargent, James. New Haven: Yale University Press, 1985.
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Michel, Leiris. Francis Bacon: Full face and in profile. Barcelona: Poligrafa, 1987.
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Fleckner, Uwe. Abbild und Abstraktion: Die Kunst des Porträts im Werk von Jean-August-Dominique Ingres. Mainz: P. von Zabern, 1995.
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Michel, Leiris. Francis Bacon. Barcelona: Ediciones Polígrafa, 1987.
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Michel, Leiris. Francis Bacon, full face and in profile. Barcelona: Ediciones Poligrafa, 1987.
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Leiris, Michel. Francis Bacon. Paris: Albin Michel, 1987.
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Michel, Leiris. Francis Bacon. Barcelona: Ediciones Poligrafa, 1987.
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Francis Bacon. New York: Rizzoli, 1988.
Find full textBook chapters on the topic "Portrait painting Psychological aspects"
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"Middle Ages." In Advances in Religious and Cultural Studies, 262–302. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-1706-2.ch010.
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The sources to mind evolution study were chosen. The methods of the depicting space in the painting of the European Middle Ages and painting of previous and synchronous cultures are considered. The trends in the development of medieval pictorial art are established and their connections with the general laws of evolution of the human mind are revealed. When analyzing markers of evolutionary changes, the most active channels were established, and the forecast following from the scenario of self-organization of complex systems was checked. The results of the analysis are presented in the form of a psychological portrait of one of the most outstanding women of the Middle Ages - Eleanor of Aquitaine. The behavior patterns of the Middle Ages main estates representatives were described.
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"Neolithic." In Advances in Religious and Cultural Studies, 138–62. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-1706-2.ch006.
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The examples of Neolithic paintings created on different continents are given. Particular attention is paid to clarifying the dating and identification of paintings. Other types of artistic and production activities of people are considered, as well as data on their social, religious, and cultural achievements. Along with the well-known galleries of Neolithic painting in Tassili (Algeria) and the Spanish Levant, the lesser-known ones, in particular, the Stone Grave (Ukraine), are considered. Changes to the World Tree myth in the Neolithic are closely related to the cult of the dead. The correlations of markers and the state of levels and channels of subjective space are determined. A generalized psychological portrait of a man of the Neolithic epoch is compiled, and his behavioral patterns are described.
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"Eneolith." In Advances in Religious and Cultural Studies, 163–91. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-1706-2.ch007.
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Since the number of Eneolithic cultures has grown considerably in contrast with the previous epochs, it was necessary to determine the criteria and select the cultural content. The choice of the Cucuteni-Tripolye and the Harappa-Mohenjo-Daro, as well as of the Eurasian steppe cultures has been substantiated, and the artifacts for analysis have been selected. Comparisons of the space depicting features with the characteristics of Neolithic painting have been performed. A detailed reconstruction of the World Tree myth has been carried out, and features of the Eneolithic version have been compared with the Neolithic ones. The correlations of markers and the state of levels and channels of subjective space are determined. A generalized psychological portrait of a man of the Eneolithic era is compiled, and his behavioral patterns are described.
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Knoll, Gillian. "‘Love’s Use’ in Campaspe." In Conceiving Desire in Lyly and Shakespeare, 183–218. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474428521.003.0006.
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Lyly’s Campaspe explores the roles of creative instruments—easel and canvas, pigments and words—in the erotic relationship between the painter Apelles and his model Campaspe. Like any object placed between two bodies in some kind of dynamic relation, these erotic instruments invariably generate friction and heat between Lyly’s lovers. Chapter 5 traces the medium and metaphor of painting, which shapes Apelles and Campaspe’s interactions according to particular artistic features. This chapter considers the erotic qualities of Campaspe’s portrait via classical and early modern psychological accounts of the “phantasm,” a pneumatic image of a beloved that can take on a life of its own. Lyly’s euphuistic language is an erotic instrument in its own right. Providing the lovers with more than a vocabulary, it affords them a structure, a conceptual system, which gives their experience of erotic desire its shape, its medium, and its meaning.
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"Paleolithic." In Advances in Religious and Cultural Studies, 106–37. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-1706-2.ch005.
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The examples of Paleolithic painting, their dating and cultural context are given. Basically, these are the works found in the caves of Chauvet, Altamira, Lascaux. The features of space depicting and some other features of the images been analyzed. Their difference from the contemporary patterns of space depicting been discussed. The connection of such signs with the levels of subjective space is established, which allows us to judge the development of its channels. The origin of the World Tree myth dates back to the Paleolithic epoch, there are very few images to judge upon its plot. Nevertheless, it is possible to reconstruct the Paleolithic version of the myth, based upon indirect signs. It also gives the chance to judge upon the state of mind of the Paleolithic humans. The results of the reconstruction of the mind and behavior of the Paleolithic human are presented in the form of a generalized psychological portrait and description of the behavior pattern.
Conference papers on the topic "Portrait painting Psychological aspects"
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Runcan, Remus, Patricia Luciana Runcan, Cosmin Goian, Bogdan Nadolu, and Mihaela Gavrilă Ardelean. "SELF-HARM IN ADOLESCENCE." In NORDSCI International Conference. SAIMA Consult Ltd, 2020. http://dx.doi.org/10.32008/nordsci2020/b1/v3/27.
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This study provides the synonyms for the terms deliberate self-harm and self-destructive behaviour, together with a psychological portrait of self-harming adolescents, the consequence of self-harm, the purpose of self-harm, and the forms of self-harm. It also presents the results of a survey regarding the prevalence of people with non-suicidal self-harming behaviour, the gender of people with non-suicidal self-harming behaviour, the age of the first non-suicidal self-harming behaviour in these people, the frequency of non-suicidal self-harming behaviour in these people, the association of the non-suicidal self-harming behaviour with substance misuse in these people, the relationships of the people with non-suicidal self-harming behaviour with their fathers, mothers, and siblings, the relationships of the people with non-suicidal self-harming behaviour with their friends, the possible causes of self-harming behaviour in these people, and the relationship of people with non-suicidal self-harming behaviour with religion. Some of the results confirmed literature results, while others shed a new light on other aspects related to people with non-suicidal self-harming behaviour