Journal articles on the topic 'Watercolor painting 19th century'
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Qu, Yifeng. "Interpretations of Rice Paper Watercolor Painting in Art Teaching." Review of Educational Theory 3, no. 1 (March 30, 2020): 62. http://dx.doi.org/10.30564/ret.v3i1.1635.
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The ricepaperplant pith is also known as Tetrapanax papyrine, Akebia, or tall gastrodia fruit, a kind of shrub or small tree of the Araliaceous. It is native to south China and Taiwan Prov., the raw material of rice paper. Extract its central tissue from the stem to make pith slices which could be made as the watercolor painting paper. It arose in Guangzhou in the 19th century, and the themes are mainly focused on reflecting the social life scenes as well as various characters in late Qing Dynasty, such as officials, soldiers, juggling, weaving, playing instrument, etc. The works are lively, vivid, and bright in colors. As the result of using western painting principles and reflecting Chinese local customs, rice paper watercolor paintings were admired by Westerners at that time. However, as pith paper is fragile, the size of painting was usually small and difficult to conserve, there are few works handed down in China. In recent years, the rice paper watercolor painting has attracted more and more concern, which is of great significance to the study of the development of early Western paintings in China.
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Demchenko, Alexander I. "The Great Saratov Triad of the Early 20th Century." ICONI, no. 3 (2019): 52–64. http://dx.doi.org/10.33779/2658-4824.2019.3.052-064.
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Saratov is justifiably called one of the most significant centers of the artistic culture of the Russian Near-Volga Region. When analyzing the condition of that domain of the plastic arts represented by painting and graphics, it is necessary to state that during the course of the entire 19th century (not to mention the previous century) the figures of the artists were merely episodic: Jean Baptiste Savin, a Frenchman in his origin (famous for his portraits and watercolors), watercolor painter Maria Zhukova, Andrei Godin (who was the first teacher of Mikhail Vrubel) and Feodor Vassiliev (the first instructor of Victor Borisov-Musatov), portraitists and church painters Lev Igorev and Nikolai Rossov. For the most part, the artists who worked beyond the confines of Saratov were its natives, who were veritably well-known artists – Vassily Zhuravlev and Alexei Kharlamov. The high flourishing of painting in Saratov at the end of the 19th and the beginning of the 20th century was prepared by the activities of Hector Baracchi, originally from Italy, and graduate from the St. Petersburg Academy of the Arts Vassily Konovalov. They exerted a decisive influence on the local artistic school, the main representatives of which were Victor Borisov-Musatov, Pavel Kuznetsov, Piotr Utkin, Alexander Savinov, Kuzma Petrov-Vodkin (a native of Khvalynsk), as well as sculptor Alexander Matveyev. However, there were three names which have become the most “celebrated” for Saratov, which led the brilliant assemblage of remarkable artists pertaining to the visual arts and were in the vanguard of the so-called era of “cultural boom,” as the high artistic accomplishments of the late 19th and early 20th century are sometimes referred to. They are Victor Borisov-Musatov, Pavel Kuznetsov and Kuzma Petrov-Vodkin. The present essay is devoted to them.
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Fomicheva, Daria Vladimirovna. ""Picturesque graphics": three pencil technique, multi-layered charcoal drawing." Secreta Artis, no. 1 (July 11, 2021): 16–46. http://dx.doi.org/10.51236/2618-7140-2021-4-1-16-46.
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The article describes methods of achieving painterly qualities while drawing with soft materials, which include: 1) creation of a polychrome image effect using an extremely limited color palette (white, black and red chalk (sanguine)); 2) thorough work on a multi-layer charcoal drawing employing techniques similar to those of multi-layer watercolor, oil and pastel painting, as well as papier-pelle drawing. The study was first conducted by analyzing drawing manuals, catalogs of manufacturers and suppliers of art materials from France, Great Britain, Germany, USA and Russian Empire in the second half of the 19th – early 20th century. What is more, the author of the article assembled a collection of antique tools and materials for drawing with charcoal, black chalk or crayon, stumping chalk (pulverized charcoal), sanguine and white chalk, the use of which was widespread in the aforementioned period. The annex to the article provides photographs of the described instruments and materials accompanied by the aggregate data from art manuals, catalogs and price lists of drawing material suppliers from London, Paris, New York, St. Petersburg, Moscow and Kazan, published over a period from 1851 to 1913. The drawing tradition of the second half of the 19th century is among one of the most complex and challenging in the entire history of graphics, as it peculiarly combines in itself a variety of instruments and delicate thoroughness of techniques. As a result of the research, the author was able to expand and complement the existing knowledge about graphic techniques, which allows for teaching academic drawing and studying the history of drawing by applying new data and unique illustrative material.
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Mishchenko, Iryna. "Nature and image: a city in the art of Chernivtsi of the 20th – the beginning of the 21st century." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 149–53. http://dx.doi.org/10.32461/2226-3209.2.2021.239994.
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The purpose of this article is to consider the peculiarities of the reflection of the city – its architecture and inhabitants – in the works of Chernivtsi artists of the 20th and early 21st century, to analyze the differences between their views on the reproduction of urban motifs. The methodology consists in the application of the historical-chronological method, art analysis, and generalization, comparative and systematic approach. The scientific novelty lies in the introduction into scientific circulation of works by artists of the specified time, in understanding the evolution in the reflection of the city in the works of authors with various artistic orientations. Conclusions. In the paintings and graphics of the 20th – 21st centuries, several options for solving urban landscapes can be defined, among which the most common is a careful reflection of existing architectural monuments. In the 19th century in European art, in particular in Impressionist painting, the desire to convey not only the appearance but above all the spirit of the city became noticeable, depicting the townspeople, emphasizing the bustle or poetry of squares and streets. At the turn of the 20th-21st centuries the artists are no longer limited to the usual fixation of what is seen, but try to create a conceptual image of the city, to tell a story through iconic images and symbols, reveal their own position in particular and to preserve the authenticity of an object or the city in general. Such a variety of approaches for creating an urban landscape is partly due to differences in preferences formed during studies in art institutions and is also characteristic for the art of Chernivtsi – a city where people of many nationalities with different cultural traditions have lived side by side for centuries. Ultimately, the artists who worked here in the 20th century were often graduates not only of Ukrainian schools or universities, but also of well-known European institutions, including Vienna, Munich, Florentine, Berlin, Kraków, or Bucharest academies. While in the second half of the 19th – early 20th century the city often appears as the sum of certain architectural structures in the works of artists of Bukovina and visiting masters (F. Emery, R. Bernt, J. Shubirs), in the second half of the 19th – first third of the 20th century the artists mostly try to recreate the dynamics of urban life instead, sometimes depicted with a touch of irony, using the grotesque in the image of the inhabitants (lithography and watercolors by F.-K. Knapp, O. Laske and G. Löwendal). Subsequently, we meet emphasized mood images, in which the author's subjective perception of a particular motive, which he seeks to reproduce in a work full of emotions, is important (L. Kopelman, G. Gorbaty). A peculiar historical retrospection is present in the exquisite graphics of O. Kryvoruchko and in the distilled-finished sheets of O. Lyubkivsky, and the lyrical watercolors and sketches of N. Yarmolchuk represent the non-festive side of the city center. In O. Litvinov's paintings Chernivtsi surprises with desolation and restraint, and in M. Rybachuk's paintings it is distinguished by an unexpected riot of colors. Therefore, each of the artists creates his own image of Chernivtsi, which landscapes often become only a stimulus for the author's imagination, allowing him to depict a completely individual sense of space and life of the city.
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Важкая, М. А. "Icons from the collection of Tatyana Mavrina (1900–1996) in the Department of Private Collections of the Pushkin State Museum of Fine Arts." Iskusstvo Evrazii [The Art of Eurasia], no. 2(25) (June 30, 2022): 80–85. http://dx.doi.org/10.46748/arteuras.2022.02.007.
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В 1994–1997 гг. в отдел личных коллекций Государственного музея изобразительных искусств им. А.С. Пушкина поступило 25 икон из собрания художника Татьяны Алексеевны Мавриной (1900–1996). Особенностью данной коллекции является творческий подход при ее формировании. Наибольшая часть икон носит народный характер, прекрасно сочетаясь с сохраняющими древнерусские традиции русскими прялками XIX века или акварельными работами, выполненными Т.А. Мавриной. В исследовании представлено несколько икон из собрания художника Татьяны Алексеевны Мавриной, позволяющих увидеть стремление коллекционера собрать яркие образцы древнерусской иконописи XV–XVII веков. Некоторые иконы ранее упоминались в искусствоведческих исследованиях (поясные изображения архангелов Михаила и Гавриила из деисусного чина, икона «Битва новгородцев с суздальцами»), тогда как икона «Богоматерь на престоле и Никола Можайский с избранными святыми на полях» подробно описана впервые. Данная статья затрагивает лишь часть исследования иконописи из собрания Татьяны Алексеевны Мавриной, необходимой для введения в научный оборот образцов русской иконописи XV–XVII веков. 25 icons from the collection of the artist Tatyana Alekseevna Mavrina (1900–1996) entered the Department of Private Collections of the Pushkin State Museum of Fine Arts in 1994–1997. The collection is distinguished by a creative approach in its formation. Most of the icons are of a folk character, perfectly combined with the Russian spinning wheels of the 19th century, which preserve ancient Russian traditions, or watercolor works by T.A. Mavrina. The study presents several icons from the collection of the artist Tatyana Alekseevna Mavrina. They allow you to see the collector's desire to collect bright examples of ancient Russian icon painting of the 15th–17th centuries. Some of the icons were before mentioned in art research (belt images of the archangels Michael and Gabriel from the Deesis Rank, the icon “The Battle between Novgorod and Suzdal”), while the icon “Mother of God enthroned and Nikola Mozhaisky with some saints on the fields” is described in detail for the first time. This article covers only part of the study of iconography from the of Tatyana Mavrina collection necessary for the introduction to the scientific circle of the samples of Russian icon painting of the 15th–17th centuries.
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Yadav, Vishal. "RELIGION IN THE COLOR SYSTEM UNDER BADRINATH ARYA." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3678.
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Indian modern art is considered to have started from the mid-19th century. When the English ruler decided to set up art colleges in Madras, Calcutta, Mumbai, Lahore and Lucknow to train Indian artists in European art. These art colleges hired English artists who painted using natural English method. During this time, Japanese artists Hidisa and Taikan came to Calcutta who trained the Wash system first in India to Avindranath Thakur and this is how the Wash system was born in India. When it comes to the Indian wash system, first comes the atmosphere of the Bengal School, by which trained artists were established in all the important art centers of the country and an atmosphere of wash painting was created all over the country. In such a situation, after the Bengal School, Lucknow has emerged as the second center for wash depictions. Here, another developed form of wash came out, where opaque or opaque colors were used in Bengal, whereas in Lucknow it was avoided. The technique of wash painting was originally introduced by Avindnath Thakur in Calcutta. Some of his subjects were appointed in Lucknow Arts and Crafts College, thus the technique was further developed in Lucknow and later all these artists worked in this medium and developed it in which Arpit Kumar Haldar, Abdul Rahman Chughtai, LM Sen and Badrinath Artists like Arya kept experimenting with watercolor in the wash method.
भारतीय आधुनिक कला की प्रारंभ 19वीं सदी के मध्य से मानी जाती है। जब अंग्रेजी शासक ने यूरोपियन कला में भारतीय कलाकारों को प्रशिक्षित करने के लिए मद्रास, कलकत्ता, मुंबई, लाहौर व लखनऊ में कला महाविद्यालय स्थापति करने का निर्णय लिया। इन कला महाविद्यालयों ने स्वाभाविक अंग्रेजी पद्धति से चित्रण करने वाले अंग्रेजी कलाकारों की नियुक्ति हुई। इसी दौरान जापान के कलाकार हिदिसा और ताईकान कलकत्ता आए जिन्होंने वाॅश पद्धति का प्रषिक्षण भारत में सर्वप्रथम अविन्द्रनाथ ठाकुर को दिया और इसी प्रकार भारत में वाॅश पद्धति का जन्म हुआ। जब भारतीय वाॅश पद्धति की बात आती है तो सबसे पहले बंगाल स्कूल का एक ऐसा वातावरण समाने आता है जिससे प्रशिक्षित होकर कलाकार देश के सभी महत्वपूर्ण कला केन्द्रों में स्थापित हुए और वाॅश चित्रण का एक वातावरण पूरे देश में सृजित हुआ। ऐसे में बंगाल स्कूल के बाद लखनऊ वाॅश चित्रण के लिए दूसरे केन्द्र के रुप में उभरा। यहां पर वाॅश का दूसरा विकसित रुप सामने आए जहां बंगाल में अपारदर्शी या अल्पदर्शी रंगों का प्रयोग हुआ वहीं लखनऊ में इससे बचा गया। वाॅश चित्रकला की तकनीक प्रारंभ मूलतः अविन्दनाथ ठाकुर ने कलकत्ता में किया था। उनके कुछ विषय लखनऊ कला एवं शिल्प महाविद्यालय में नियुक्ति हुए इस प्रकार वह तकनीक लखनऊ में और विकसित हुई तथा बाद में इन सारे कलाकारों ने इस माध्यम में काम करते हुए इसका विकास किया जिसमें आर्पित कुमार हालदार, अब्दूल रहमान चुगताई, एल0 एम0 सेन व बद्रीनाथ आर्य जैसे कलाकारों ने जलरंग से वाॅश पद्धति में प्रयोग करते रहे।
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Zherdiev, Vitalii V. "A.YE. BEIDEMAN’S MURALS IN ST. ALEXANDER NEVSKY CATHEDRAL IN PARIS IN CONNECTION WITH THE CRIMEAN PERIOD OF THE ARTIST’S OEUVRE." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 41 (2021): 149–62. http://dx.doi.org/10.17223/22220836/41/12.
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The article is about the little-known murals in St. Alexander Nevsky Cathedral in Paris (1859– 1861, architect R.I. Kuzmin), painted by Alexander Yegorovich Beideman (1826–1869). The scientific novelty of the results obtained is in the fact that for the first time A. Beideman’s religious works from the Parisian cycle are introduced and placed into scientific circulation. This cycle is master’s most significant preserved religious work and unique in the Orthodox ecclesiastical art of Western Europe of the second half of the 19th century. Although such brilliant masters as E.S. Sorokin, P.S. Sorokin, M.N. Vasilyev and F.A. Bronnikov worked on the creation of the polychrome ensemble of the Parisian cathedral together with Beideman, his murals in Paris became one of the first in the academic period of Russian ecclesiastical art, in which the transition to the traditions of Byzantine iconography was manifested. Beideman painted eighteen images in the lower part of the temple and on the pillars. Images of Our Lady of Akhtyr with St. Mary Magdalene and St. John are in the niche to the left of the central apse; the Deesis with the Virgin and St. John the Baptist is in the niche to the right of the central apse. Images of Christ the Great Bishop, St. Jacob the Apostle, St. John Chrysostom, St. Basil the Great and St. Gregory the Theologian are in the central apse. Images of St. Mitrofan of Voronezh and St. Joseph the Songwriter are in the sacristy. The image of New Testament Trinity is in the conch. Images of Metropolitans of Moscow Peter, Alexius, Jonah, and Philip are on the pillars below the evangelists. The artist avoided a bright palette, working mainly in the ocher-silver gamma, which, along with the frontality and pronounced statics, gave a sense of “incorporeity” to the figures of the saints. The closeness to the traditional iconography was given by the monumental architectonics of the flowing robes and the almost iconographic austerity of the faces. But, nevertheless, there is a big difference in the style solution of Beideman’s paintings in the Parisian cathedral compare to his easel and monumental works of different years. Especially comparing to Beideman’s watercolor etudes for the murals in the Holy Cross Exaltation Church in Livadiya (architect I.A. Monighetti) and St. Olga church of in Mikhailovka near Strelna (architect D.I. Grimm). The author of the article comes to the conclusion, based on the field research materials, his own restoration and research experience and the comparison of Beideman’s surviving works, in particular, in Livadiya, that the painting in the Parisian cathedral could have been somewhat modified over time. But the artist’s conscious stylistic manner is also possible. The chronology of Beideman’s creative path, the exact period of his work in Paris, has been clarified in comparison with the period of his work in the Livadiya church in Crimea.
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Pardayev, Bakhtiyor A., and Mirolim I. Khudoiberdiyev. "TO DEVELOP THE SKILLS AND COMPETENCIES OF WATERCOLORS FOR FUTURE TEACHERS OF FINE ARTS." CURRENT RESEARCH JOURNAL OF HISTORY 03, no. 02 (February 1, 2022): 18–25. http://dx.doi.org/10.37547/history-crjh-03-02-04.
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Watercolor is a Latin word that means water-based paint, as well as watercolor painting. Watercolor was widely used in ancient Egypt, Japan, and from the 21st century the work of major works of art in watercolor is highly developed. Working with watercolors was developed in England a century and a half ago. The following is a description of the origin and processing technology of watercolors.
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Tatham, David, Albert Boime, Elizabeth Johns, and John Wilmerding. "19th-Century American Painting." Art Journal 51, no. 4 (1992): 95. http://dx.doi.org/10.2307/777290.
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Wrede, Maria, Maria Brynda, and Zofia Głowicka. "Informacja o zbiorach dawnego Muzeum Księży Marianów im. ks. Józefa Jarzębowskiego w Fawley Court (Wielka Brytania) – obecnie w Muzeum im. ks. Józefa Jarzębowskiego w Licheniu Starym koło Konina." Z Badań nad Książką i Księgozbiorami Historycznymi 14, no. 1 (March 24, 2020): 63–89. http://dx.doi.org/10.33077/uw.25448730.zbkh.2020.182.
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History of the Museum of Marian Fathers, founded at the college for boys in Bielany, the district of Warsaw, reconstituted in the Fawley Court at Henley-on-Thames, Great Britain, and finally moved to the Shrine of Our Lady of Sorrows in Licheń Stary, is the key to understanding the content and organization of this collection. Patriotic, religious and educational aspects of the museums, its role for the Polish diaspora in Great Britain, and its depletion in the results of historical changes. Presentation of the collection content” museum objects – sidearm, sculptures, artistic fabrics, drawings and watercolors, paintings, graphics, commemorative items; book collection – books from the 19th and 20th centuries, journals, music prints, maps, and cityscapes. A more detailed presentation of the collection of early printed books, ephemera, and journals from the 19th century.
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Goldberg, Marcia. "Textured Panels in 19th-Century American Painting." Journal of the American Institute for Conservation 32, no. 1 (1993): 33. http://dx.doi.org/10.2307/3179650.
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Goldberg, Marcia. "Textured Panels in 19th-Century American Painting." Journal of the American Institute for Conservation 32, no. 1 (January 1993): 33–42. http://dx.doi.org/10.1179/019713693806066492.
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Andriaka, Sergey Nikolayevich. "The Mysrety of Flowers. The Mystery of Color. Painting in Multi-Layer Watercolor Technique." Secreta Artis, no. 4 (January 21, 2021): 28–39. http://dx.doi.org/10.51236/2618-7140-2020-3-4-28-39.
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The article is dedicated to composing and painting a floral still life in multi-layer watercolor. The author, drawing on his more than half a century experience in creative and pedagogical work, reveals major challenges faced by artists. The primary focus is directed towards a particularly demanding task of arranging a still life ensemble harmonious in terms of color, with flowers occupying a central place, while all other elements (stems and leaves, vase, background, etc.) play a role of a tactful and apt “accompaniment”. In this regard, the author examines successful tone and background choices for flower still lifes, taking into account the peculiarities of color perception depending on the color palette of the surrounding environment. Using his creative work as an example, the author unveils the key principles behind arranging and painting still lifes with bouquets of blue, white, yellow and red flowers, field herbs, as well as floral still lifes on deep dark backgrounds. The author explores the question of proper layer-bylayer transmission of chiaroscuro, light and shade. Likewise, the most common difficulties connected to watercolor painting, as well as the best ways to overcome them are delineated. The article is intended for teachers and students of art schools at all levels; it will also be of interest to professional artists as the author offers solutions to complex problems arising when one works with color in a particularly exigent multi-layer watercolor technique.
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Hilton, Alison, and Elizabeth K. Valkenier. "The Wanderers: Masters of 19th-Century Russian Painting." Russian Review 52, no. 1 (January 1993): 106. http://dx.doi.org/10.2307/130872.
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Howden-Chapman, P. "Poverty and painting: representations in 19th century Europe." BMJ 325, no. 7378 (December 21, 2002): 1502–5. http://dx.doi.org/10.1136/bmj.325.7378.1502.
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Huang, Xinyi. "The influence of Japanese Ukiyo-e on Western painting art in the 19th Century." BCP Social Sciences & Humanities 20 (October 18, 2022): 304–10. http://dx.doi.org/10.54691/bcpssh.v20i.2334.
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Ukiyo had a profound influence on western painting in the 19th century. It can be seen from the works of Artists such as Monet and Van Gogh that they extensively used, imitated and improved Japanese Ukiyo techniques such as brushwork, composition and color. In addition, under the historical background and social environment at that time, the expression of thoughts and emotions was also greatly influenced by Ukiyo. This paper, starting from the origin and characteristics of Japanese Ukiyo, explains in detail the influence of Japanese Ukiyo-e on western painting in the 19th century, explores the way of expression of Impressionist and post-Impressionist works, analyzes the process of its absorption and re-innovation of Ukiyo-e, in order to provide some reference for modern painting creation. This paper explores the influence of Japanese Ukiyo on western painting in the 19th century in two chapters. First of all, from the origin of Japanese Ukiyo, style, techniques, representatives of the detailed interpretation of Japanese Ukiyo artistic characteristics; Secondly, based on the background of the introduction and integration of Ukiyo in western painting art, the paintings of Monet and Van Gogh, the representative painters of Impressionism and post-Impressionism, are extracted respectively, so as to explore the influence of Japanese Ukiyo on western painting art in the 19th century in terms of style, techniques and ideas.
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Chernysheva, Maria A. "The New Historical Narrative in the 19th Century Painting." Actual Problems of Theory and History of Art 8 (2018): 140–48. http://dx.doi.org/10.18688/aa188-1-13.
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GO, Yeon-Jeong, and Jehyun LEE. "Recreation of Japanese Image from 19th Century French Painting." Europe Culture Arts Association 13, no. 2 (September 30, 2022): 81–100. http://dx.doi.org/10.26854/jeca.2022.13.2.81.
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Kwon, Jy-Eun. "Study on the Guardian Painting of the 19th Century." Journal of Art and Culture Studies 1 (December 31, 2012): 83. http://dx.doi.org/10.18707/jacs.2012.12.1.83.
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Lilien Filipovitch-Robinson. "Interpreting Western Academic Traditions in 19th-Century Serbian Painting." Serbian Studies: Journal of the North American Society for Serbian Studies 1, no. 2 (2009): 293–305. http://dx.doi.org/10.1353/ser.0.0031.
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Carlyle, Leslie. "Paint Driers Discussed in 19th-Century British Oil Painting Manuals." Journal of the American Institute for Conservation 38, no. 1 (1999): 69. http://dx.doi.org/10.2307/3179839.
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Carlyle, Leslie. "Paint Driers Discussed in 19th-Century British Oil Painting Manuals." Journal of the American Institute for Conservation 38, no. 1 (January 1999): 69–82. http://dx.doi.org/10.1179/019713699806113538.
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Bragina, Natalia, and Jelena Jermolajeva. "THE DOLL IN THE PAINTINGS OF THE LATE 19TH – EARLY 20TH CENTURIES: HERMENEUTIC ANALYSIS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 20, 2020): 616. http://dx.doi.org/10.17770/sie2020vol5.4859.
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The semantics of the doll in painting is not sufficiently investigated in art history and culture studies. The doll is never an accidental or unimportant component of a painting; it reveals deep psychological and symbolic undertones, complicates and concretizes the content of the painting. Each art style deals with this topic in its own way. The aim of the article is to analyse the interpretation of the image of the doll in various styles of painting of the second half of the XIX century – beginning of the XX century: in realistic painting, in symbolism, impressionism, and modernism. The research methods are the analysis of literature, the descriptive method, the hermeneutic method, and the comparative analysis method. The article may be useful for researchers in art and cultural studies, and can be used at school and university courses in the History of Art and Culture.
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Jung, Jin-Hee. "Busan's Chilseong faith and the tejaprabha painting in the 19th century." HANGDO BUSAN 44 (August 31, 2022): 259–98. http://dx.doi.org/10.19169/hd.2022.8.44.259.
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PARSONS, C. "An Outline of 19th-Century European Painting from David through Cezanne." Oxford Art Journal 11, no. 1 (January 1, 1988): 74–75. http://dx.doi.org/10.1093/oxartj/11.1.74.
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Ogden, Kate Nearpass. "Musing on Medium: Photography, Painting, and the Plein Air Sketch." Prospects 18 (October 1993): 237–81. http://dx.doi.org/10.1017/s0361233300004920.
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The relationship of photography and painting has greatly intrigued art historians in recent years, as has the uneasy status of photography as “art” and/or “documentation.” An in-depth study of 19th-century landscape images suggests two new premises on the subject: first, that opinions differed on photography's status as an art in the 19th Century, just as they differ today; and, second, that the landscape photograph is more closely related to the plein air oil sketch than to the finished studio easel painting. For ease of comparison, the visual material used here will consist primarily of landscapes made in and around Yosemite Valley, California, in the 1860s and 1870s; comparisons will be made among paintings by Albert Bierstadt, photographs by Carleton Watkins and Eadweard Muybridge, and works in both media by less famous artists.
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Mastrotheodoros, Georgios P., and Konstantinos G. Beltsios. "Original Varnish Recipes in Post-Byzantine Painting Manuals." Heritage 4, no. 4 (October 17, 2021): 3572–82. http://dx.doi.org/10.3390/heritage4040197.
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During the last decades, manuscripts have become increasingly available through digitization and deposition in online repositories. This trend has very much facilitated primary source research, as scholars are no longer subjected to time- and effort-consuming processes such as travel, applications for photography permissions, and so on. In this framework, the authors set forth the results of research that deals with post-Byzantine panel-painting varnish recipes which were found in a hitherto unpublished Greek painting manual dating back to 1824. The recipes in consideration are compared to those existing in the renowned “Hermeneia” by Dionysios of Fourna (early 18th century) painter’s manual. A brief discussion dealing with various pertinent terms, along with a note on data deriving from the analytical investigation of varnish samples stemming from post-Byzantine icons are also included in this work. The study reveals a shift towards lean and intermediate varnish recipes during the early 19th century that might reflect the progression of resins and oleoresins, and the gradual replacement of oil-based varnishes. In addition, a unique recipe describing various methods of varnish application is transcribed and commented upon. Finally, the analytical data revealed an unexpected employment of a protein-based varnish in a mid-19th century icon.
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Sedleryonok, Valeria D. "Venetian Cinquecento Pictures and France in the 1820s: Painting, Perception, Influence." Vestnik of Saint Petersburg University. Arts 12, no. 1 (2022): 69–89. http://dx.doi.org/10.21638/spbu15.2022.104.
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This article deals with reassessing Venetian Cinquecento painting in France in the 1820s. This research is a series of case studies related to this problem and providing various types of historical analysis. It examines particular artworks, artistic, social, political contexts, and the influence of Venetian art on the formation of a new artistic language in France in the 1820s. Using an analysis of a wide range of both visual and verbal primary sources, I explore theoretical and practical aspects of the reassessment of Venetian Cinquecento painting in early nineteenth-century France. The paper presents a detailed examination of various French publications of that time regarding Venetian art, as well as a comparative analysis of artworks by Venetian and French artists, namely, Jacopo Robusti, Paolo Veronese, Andrea Schiavone, Eugène Delacroix, Xavier Sigalon, and Eugène Devéria. In this article, I address the following questions. What was the knowledge about Italian Renaissance art in France in the early 19th century? What place did the Venetian school take among the Italian schools of painting in the French consciousness at that time? How was Venetian painting perceived, revisited and presented? How did it influence the formation of a new artistic language in the 1820s? This study reveals the causes, specifics, aspects, and far-reaching consequences of the reconsideration of Venetian Cinquecento painting in the 1820s and its significance for the understanding of the patterns of art development in 19th-century France.
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Tamburini, Diego, Meejung Kim-Marandet, and Sang-ah Kim. "Dye Identification in Mounting Textiles of Traditional Korean Paintings from the Late Joseon Dynasty." Heritage 6, no. 1 (December 21, 2022): 44–66. http://dx.doi.org/10.3390/heritage6010003.
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In the framework of the ‘Amorepacific Project for the conservation of Korean pictorial art’ (2018–2023) at the British Museum, three traditional Korean paintings have been investigated with the aim of supporting their conservation and obtaining information about the dyes used in the mounting textiles and other mounting elements. The paintings include a rare example of late 18th-century traditional Korean portraiture (accession number 1996,0329,0.1); a late 19th-century two-panel screen silk painting of Pyeongsaeng-do-Scenes of life (accession number 2016,3028.1); and a late 19th-century twelve-panel screen silk painting representing the Five Confucian virtues (accession number 1957,1214,0.1). The mounting textiles were investigated non-invasively by using digital microscopy and fibre optic reflectance spectroscopy (FORS), and the results guided a minimally invasive sampling campaign. Fourteen samples were analysed by using high-pressure liquid chromatography coupled with diode array and tandem mass spectrometry detectors (HPLC-DAD-MS/MS), leading to the identification of the natural dyes indigo, sappanwood (Biancaea sappan, formerly Caesalpinia sappan), amur cork tree (Phellodendron amurense) and safflower (Carthamus tinctorius) in the mounting elements of the 18th-century portrait. These results confirmed some of the non-invasive observations and were in agreement with the production date of the painting. Both natural and synthetic dyes were identified in the mounting textiles of the panel screens. Among the synthetic dyes, fuchsin (C.I. 42510), methyl violet 3B (C.I. 42536), methyl blue (C.I. 42780) and benzopurpurin 4B (C.I. 23500) were identified. These are early synthetic dyes first synthesised between the 1860s and the 1880s, suggesting that the silk textiles are likely to have been dyed in the last part of the 19th century.
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Tarasova, Maria, and Sabina Maremkulova. "РЕПРЕЗЕНТАЦИЯ ПОНЯТИЯ «СОЦИУМ» В РУССКОЙ ЖИВОПИСИ БЫТОВОГО ЖАНРА XIX ВЕКА." Social Anthropology of Siberia 2, no. 1 (March 31, 2021): 15–28. http://dx.doi.org/10.31804/2687-0606-2021-2-1-15-28.
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The aim of the study is to reveal the ways of representing the concept of “society” in the works of the genre art in the Russian painting of the 1860-1870s. The research is carried out using the method of philosophical and art history analysis of works of fine art. The main object of the study is the painting “Rural procession on Easter” by Vasiliy G. Perov. The study describes the specific features of the genre art in the Russian painting of the 19th century. The research shows how works of the genre art realize their didactive and educating functions. A theoretical analysis of the concepts of “everyday life”, “being”, “society” made it possible to conclude how genre painting of the 19th century models both an ideal person who is in co-existence with the absolute spirit, and a person who is far from the ideal. In the research the authors reveal two worldview models that developed in Russian painting in the 1860-1870s: a model of a perfect human being and a model of a person who is mired in everyday life. The study proves that the latter human model is represented in index signs of characters that worship only material values. The study investigates the versatility of the pictorial model of the Russian society, represented not only as a community absorbed in the routine of the everyday life, but also as a group of people whose life is elevated upwards to the true existence. The research has resulted in the typology of characters of paintings of the genre art, where the type of the character depends on the model of the society represented by the work of art. In its conclusion the study discloses two models of representing the society in Russian painting of the genre art in the 19th century. According to the first model, the everyday principle acts as an absorber of being. The second model represents a society in which everyday life manifests true existence, in harmony with nature and filled with the divine essence.
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Sinem Kucuk, Kamile. "The Sociocultural Aspects of Merchant Class in the Light of Russian Painting Art." European Journal of Multidisciplinary Studies 2, no. 1 (August 30, 2016): 81. http://dx.doi.org/10.26417/ejms.v2i1.p81-85.
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The merchant class, which contributed to the improvement of Russia, evolved due to politicial reforms. Especially in 1861 the emancipation reform of the Russian serfs caused social and culturel changes in the life of merchants. In 19th and early 20th century, the works of Russian genre painters P.A. Fedetov, A.P. Ryabushkin, V.G. Perov, F. Juravlev and B.M. Kustodiyev not only reflected the social situation and stereotypes of merchants, but also revealed cultural history of the mentioned class. In this paper it is aimed to disclose the evolution of merchant class in 19th and the early 20th century, observing and analysing the art of Russian painting in sociocultural perspective.
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김남희. "Research on Comparison of Gamrotaenghwa and Genre Painting of the 19th-Century." Journal of Art Education 32 (September 2012): 277–98. http://dx.doi.org/10.35657/jae.2012.32.0.012.
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Lee, Jong chan. "The Characteristics and Significance of 19th century buddhist painter seohwi`s painting." JOURNAL OF KOREAN CULTRUAL HISTORY 50 (December 31, 2018): 75–99. http://dx.doi.org/10.29334/mhsh.2018.12.50.75.
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Both, Mária Gabriella. "Mozaikok a tájfestészet és a geográfia kapcsolatából." Kaleidoscope history 11, no. 22 (2021): 379–88. http://dx.doi.org/10.17107/kh.2021.22.379-388.
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At the turn of the 18th and 19th centuries, natural sciences supported and drove economic development in a previously not experienced way. Europe created a new “mental image” of nature, scientific ideas with a newly emerging confidence while combining theoretical and practical researches. The Age of Enlightenment is best characterized by A. Humboldt’s discovery travels. The utilitarian approach of the age radically changed the relationship between landscape and people, first in the English speaking countries. This study endeavours to present the interrelations of men and landscape through the changes in landscape painting at the beginning of the 19th century while emphasizing the earlier definition of the geographic environment and indicating geography as an heir of the landscape painting. John Constable broke with the tradition of academic painting and found the idyllic landscape in rural England. In the New World, landscape painting used the European traditions, exemplified by the works of Thomas Cole, the first major American landscape painter. His iconic painting ’Oxbow’ followed the patterns of the traditional European landscape imaging, indicating ideas of the Sublime and the Beautiful of Poussin’ works.
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Lacina, Jan, and Petr Halas. "Landscape Painting in Evaluation of Changes in Landscape." Journal of Landscape Ecology 8, no. 2 (November 1, 2015): 60–68. http://dx.doi.org/10.1515/jlecol-2015-0009.
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Abstract One of common methods of determining landscape change usually is to compare maps and photographic images of the same places in different time horizons. Landscape painting, which has a long and rich tradition in the Czech Republic, can be used similarly. Landscape-ecological interpretation of selected works by painters of the 19th century - Julius Mařák, František Kaván and Antonín Slavíček was done in this paper. Some pictures of the Českomoravská vrchovina (Bohemian-Moravian highlands) by Josef Jambor from the mid-20th century were used for detailed comparative analysis to the level of habitats. We compared 80 landscape paintings and found that most of the painted sceneries have changed for worse.
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Kostić, Ana. "Religious art and the public in the Principality of Serbia (1830-1882)." Zbornik radova Filozofskog fakulteta u Pristini 52, no. 2 (2022): 193–211. http://dx.doi.org/10.5937/zrffp52-36847.
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In the Principality of Serbia in the 19th century, the Orthodox Church represented a significant entity and had a privileged position as a state and national institution. This all affected its place in public life, as well as the public control of all the church activities regarding the churches' construction, equipping, painting, and renovation. Thus, the aesthetical criteria, demands, and effects of the cultural and scientific public were a tremendous factor in making church art common during the 19th century. The public had an influence on art development through various forms in the Principality of Serbia, and some of the instruments were both daily and periodical (printed) press. The public's attitude towards the church art was stated in the press and humongously affected the people's consciousness of the Church and church art's significance in relation to the state and nation, as well. Also, the ordering parties' tastes had thus been formed, which also had an impact on the complex mechanisms of the general church art trends during the 19th century. This kind of practice was characteristic of 19th-century Europe and Russia, and from there it was also accepted and developed in Serbia. Despite the fact that in the 19th century the Serbian people had lived in the territory of three states - the Ottoman Empire, the Principality/Kingdom of Serbia, and Austria, the periodical literature and newspapers had been available to the Serbian social and cultural elite at the mentioned territories. Since the press had not been strictly limited by the state boundaries, a wider reading audience had been familiar with the information and attitudes about art presented in both the newspapers and periodical literature, which were printed in Serbia and Austria, as well. The newspapers coming out in the period 1830-1882, such as Šumadinka, Srbske novine, Novine Čitališta beogradskog, Sion, Podunavka, Golubica, Orao, and others, contained different aesthetical attitudes on the church painting and architecture, but also considered various problems on the topics of erecting and painting the churches. The public significance of the works regarding the construction and equipping of the churches had been highlighted. Certain models of the church architecture and painting had been promoted, along with the individual artists' works. By reading the daily and periodical press, the reading public had been informed about the church heritage from the past through the reports about medieval churches and some debates on their renovation. Finally, the public of experts promoted, by using the (printed) press, certain advisable behavior models, such as the contribution activities towards the Church which were seen as the ultimate patriotic endeavor.
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Hennrich, Dirk Michael. "Tragische Dispositionen der Moderne. Stimmung und Aura im Wandel des Landschaftsbegriffs." Philosophica: International Journal for the History of Philosophy 23, no. 46 (2015): 19–30. http://dx.doi.org/10.5840/philosophica2015234618.
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The present text deals with the relation between the consolidation and the development of landscape-painting and the concept of landscape during the 19th century and the catabasis of a certain economy of disposition until our days. The process of the transformation and overcoming of landscape-painting reflects the decadence of an entire epoch, influencing the introduction of the dispositions into philosophy, as well the initiation of a new philosophical discipline, the Philosophy of Landscape.
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Potashova, Ksenia A. "Historical Painting Development Program and Battle Ekphrasis in Aesthetic Thought in the Beginning of the 19th Century." Two centuries of Russian classics 4, no. 4 (2022): 38–53. http://dx.doi.org/10.22455/2686-7494-2022-4-4-38-53.
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The subject of the research in the article are the categories of assessment of historical painting and the poetics of the battle image in the aesthetic thought of the early 19th century. The article deals with the views of N. M. Karamzin, G. R. Derzhavin, V. A. Zhukovsky reflected in aesthetic articles, poetry, epistolary on the cognitive nature of art and the specifics of the artistic perception of the historical process. The writers’ reasoning about historical plots, the heroic personality in history, the role and nature of the artist’s imagination significantly supplemented the academic program for the development of art. The author of the article proves that Karamzin, Derzhavin and Zhukovsky identified and substantiated the necessary components of the historical theme in painting and literature in their aesthetic reflections, which formed the thesaurus of their artistic and aesthetic thought. The result of the study was the reconstruction of aesthetic system of historical painting developed by writers at the beginning of the 19th century. The analysis of the battle descriptions by Karamzin, Derzhavin and Zhukovsky made it possible to identify the very process of their achieving vivid imagery when creating a verbal picture and to determine the mechanisms of visualization.
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Korolija-Crkvenjakov, Daniela, Snežana Mijić, and Željko Mandić. "Portraits on canvas from photos as a 19th-century portrait making technique." Zbornik Akademije umetnosti, no. 10 (2022): 115–29. http://dx.doi.org/10.5937/zbaku2210115k.
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The relationship between painting and photography has been dynamic since its invention in 1839. Seeking its place among the arts, photography was a useful tool for many. In this way portraits were made, which before the invention of photography were the privilege of higher social strata, and their production required spending long hours in a painting studio. With the advent of photography, portraits of individuals and entire families have become much more accessible to ordinary people, and the new technique has gained immense popularity. The possibility of getting portraits from photos as a status symbol was very tempting. In order to respond to such requests from clients, photographic studios teamed up with painters to create oil portraits painted from photography made on canvas. Such portraits became a substitute for classic painted portraits, but they were created faster and were less expensive. Often portraying important historical figures, they have found their place in museum collections. In addition to documentary value, they are also important for the history of art techniques, due to the specific way of production. Despite their popularity at the time of their creation, modern analyses of oil painted portraits made from photography on canvas are rare, and have been published mostly in conservation journals. After the introduction to the techniques and materials described in the literature, the paper presents two oil portraits from a photography made on canvas: a portrait of Isaija Oluić, abbot of the Krupa Monastery, from the fund of the Dalmatian Diocese of the Serbian Orthodox Church, made by Vlaho Bukovac, and a portrait of Nika Mihajlović, prominent Sombor lawyer and philanthropist, from the fund of the City Museum in Sombor, painted by Uroš Predić. The analytical approach to the identification of oil painting techniques from photography (optical analysis and the analysis of materials) was pointed out, as well as the fact that they are sensitive objects in museum collections, the protection of which should be given due attention.
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Sitnikova, A. A. "NORTHERN EXPEDITIONS AND THE IMAGE OF THE ARCTIC IN FOREIGN PAINTING OF THE 19TH CENTURY." Northern Archives and Expeditions 6, no. 1 (March 30, 2022): 240–49. http://dx.doi.org/10.31806/2542-1158-2022-6-1-240-249.
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The article presents the results of a philosophical and art study of works of European and American pictorial art of the 19th century, in which artists, using various methods (personal expeditions and travels, based on drawings from diaries of polar explorers and photographs, discovering a nature similar to the North nature in an accessible environment etc.), create an image of the Arctic and the North, as well as images of people involved in the study and development of the northern expanses of the Earth. The research was conducted on the basis of the study of paintings by such artists as K.D. Friedrich, W. Bradford, F.E. Church, J. Buck, E.G. Landseer, B. Riviere, J.M. Swan, S. Pierce and H.Yu.L. Portman. Based on the results of the study it was concluded that the Arctic was a source of previously unseen images (icebergs, animals — Inhabitants of the northern expanses, etc. attracted special attention of artists) in the visual culture of the 19th century; as well the Arctic was the source of ideas about the mystical secrets of the universe since the main impulse for attention to Arсtiс from the side of artists in the 19th century became mysteriously (at that time) disappeared expedition of John Franklin.
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Krelenko, N. S. "«Dance at Le Moulin de la Galette» by P. O. Renoir: Urban Amusements in the Impressionist Art." Izvestiya of Saratov University. History. International Relations 12, no. 4 (2012): 45–49. http://dx.doi.org/10.18500/1819-4907-2012-12-4-45-49.
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The author of the article uses an artwork as a visual source for the research. The painting Dance at Le Moulin de la Galette by the great impressionist artist A. Renoir allows studying the scene from daily life in Paris in the last third of the 19th century.
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Jeffery, J. V. "The Varley family: engineers and artists." Notes and Records of the Royal Society of London 51, no. 2 (July 22, 1997): 263–79. http://dx.doi.org/10.1098/rsnr.1997.0022.
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In June 1871, at the age of 43, Cromwell Fleetwood Varley was elected a Fellow of the Royal Society. In May of the same year Varley and three of his brothers were four of the sixty–six original members who together formed the Society of Telegraph Engineers, the organization that was the forerunner of today's Institution of Electrical Engineers. During the second half of the 19th century the four Varley brothers contributed in no small measure to the developing telegraph and electrical industries in Britain. During the first half of the 19th century Varleys of the previous generation made an equally important contribution to the art of landscape painting.
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Titarenko, E. M. "Russian painting of the 19th century in the context of the projective aesthetics of N.F. Fyodorov." Solov’evskie issledovaniya, no. 4 (December 15, 2019): 114–27. http://dx.doi.org/10.17588/2076-9210.2019.4.114-127.
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The article is dedicated to the insufficiently studied problem of N.F. Fyodorov’s projective aesthetics research connected to his interpretation of Russian painting of the 19th century. The objects of the analysis are such works of the philosopher as “The Question of Restoration of Kinship among Mankind. The Means for the Restoration of Kinship (Sobor)” (1880s), “About the Kremlin Walls Paintings” (1893), “Kremlin Walls” (1893), “The brilliant robber. (About Ge’s Painting “The Crucifixion”)” (1894), “Moscow Rumyantsev’s Museum by the Kremlin and the Monument to the Founder of this Museum in the Kremlin” (1898) and other works. The article considers N.F. Fyodorov’s analysis of paintings by A.A. Ivanov, N.N. Ge, V.V. Vereschagin, and I.E. Repin. The comparative investigation of the aesthetic program and artistic ideas of Ivanov and Fyodorov is based on the analysis of the painting “The Apparition of Christ before the People” (1858). The article traces the influence of the artist’s works on the conceptual and compositional creation of the “pictorial demonstration” of Fyodorov’s aesthetic supramoralism. It uncovers the specificity of the philosopher’s religious-philosophical discourse, defined by the iconographic traditions and imaginary system of Christian art. The analysis of Fyodorov’s texts dedicated to the paintings by Ge and Repin, reveals that he does not accept the aesthetic program of realism. The article defines the meaning of projective ecphrasis in Fyodorov’s critical account of Ge’s “Biblical cycle” as a theurgical project. The reception of Vereschagin’s painting is considered in the context of the historiosophical ideas of Fyodorov, based on the principles of Christian eschatology.
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Stavrianos, C., N. Petalotis, O. Pantelidou, C. Papadopoul, A. Pantazis, and L. Grigoropou. "Humans Biting Themselves or Others: Nine Cases in European Painting (15-19th Century)." Research Journal of Medical Sciences 5, no. 3 (March 1, 2011): 155–60. http://dx.doi.org/10.3923/rjmsci.2011.155.160.
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Andreev, Ivan I., Sergey V. Sirro, Anastasiya A. Lykina, Aleksandra A. Smolyanskaya, Alexander V. Minin, Olga V. Kravtsenyuk, Michel Menu, and Olga A. Smolyanskaya. "Necessity and Use of a Multilayer Test Object Based on an Anonymous 19th Century Copy of a Painting by Ivan Konstantinovich Aivazovsky (1817–1900)." Heritage 5, no. 4 (October 4, 2022): 2955–65. http://dx.doi.org/10.3390/heritage5040153.
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The emergence of new research methods in the field of heritage science always raises a large number of questions related to their applicability, reproducibility of results on similar objects, complementarity with other methods, and development of new research methods. To solve such problems, it is necessary to have a test object with the required structure. A multilayer test object based on a fragment of a copy of a 19th century painting by I.K. Aivazovsky was created and described. Analytical studies of the colourful layers were carried out on a Fourier-transform infrared (FT-IR) spectrometer with an attenuated total reflectance (ATR) attachment in single-reflection mode with a diamond crystal. As part of the use of one research method, differences between painting layers of the 19th and 20th centuries were revealed. Results are presented in the IR graphs. The aim of the work was to identify the characteristics of the pictorial layers inherent in the copy of the painting by I.K. Aivazovsky. This will improve the methodology of technological expertise of the I.K. Aivazovsky’s artworks.
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Gao, Hui. "Oriental Elements in Cezanne’s Art." BCP Social Sciences & Humanities 18 (June 30, 2022): 266–69. http://dx.doi.org/10.54691/bcpssh.v18i.994.
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Paul Cezanne is one of the representative artists of post-impressionism in France. In the early 19th century, Japanese paintings were famous and influenced by the second industrial revolution and respected Oriental works of art. Many Western artists initially increased Oriental elements to create but superficial. In the mid-19th century, with the emergence of Oriental art stores in the streets of France, the popularity of Oriental works has been further developed. Until the late 19th century, represented by Cezanne artists, art has been dared to explore and innovate on the road. Painting, especially in the late paintings of many potential injections of Oriental elements. Cezanne did not go to the East; a visible blend of Eastern and Western art exploration seems to have a hidden fusion very early. Therefore, this paper attempts to conduct a preliminary discussion on three aspects of composition, artistic temperament, and color, which helps us further explore the early integration of Eastern and Western art.
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Barnaś-Baran, Ewa. "Opieka Krakowskiego Towarzystwa Dobroczynności nad ołtarzem i obrazem Matki Boskiej w Bramie Floriańskiej w XIX i na początku XX wieku." Prace Historyczne, no. 147 (1) (2020): 63–85. http://dx.doi.org/10.4467/20844069ph.20.004.12458.
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The care of the Cracow Charitable Society over the altar and painting of Our Lady at the Florian Gate in the 19th and early 20th centuries The aim of this article is to present the actions taken by the Cracow Charitable Society in order to protect the altar and the painting in the Florian Gate. The image of Our Lady was handed over to the Society for care in 1817, which it provided until the communist authorities disbanded the Society in 1951. In order to renovate the painting and altar, the Society mainly raised funds through public sacrifices and donations of individual people. Among the benefactors there were many affluent and well-known people from Cracow, as well as anonymous individuals. Source materials reveal that the image was revered both by the inhabitants of Cracow and its surroundings and that the religious services held there in the 19th century were infused with patriotic spirit. Next to the painting an alms box was placed for financial donations to the poor who were cared for by the Society – it had the highest income among all the poor boxes in Cracow. Today, the Florian Gate still houses an altar with a painting, which is currently under the care of the Daughters of Charity.
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Pérez-Jiménez, Aurelio. "The Lamp of Anaxagoras (Plu., Per. 16.8-9) and its Reception in the Art of the 17th-19th centuries." Ploutarchos 14 (October 30, 2017): 69–106. http://dx.doi.org/10.14195/0258-655x_14_4.
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In this article I follow the trails wich the famous anecdote of Anaxagoras, Pericles and the lamp (Plu., Per. 16.8-9) has let in European art of the last centuries. I will comment the details of different artistic pieces from the17th century emblematic and from Neoclassical painting and sculpture of the 18th and 19th Centuries, as well as some 19th French ‘pendules’, to put in value the importance that this anecdote has had in European art, due to its didactic strength and to its litterary plasticity.
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Abramkin, I. A. "Metamorphoses of Portrait Genre in Russian Art at the Turn of the 18th–19th Centuries." Art & Culture Studies, no. 4 (December 2021): 216–31. http://dx.doi.org/10.51678/2226-0072-2021-4-216-231.
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The article is dedicated to the research of changes in the development of portrait painting in Russian art at the turn of the 18th–19th centuries. A more common approach in the academic literature is a study of typological variants for the portrait image within the stable system, formed under the influence of classicism, or the review of a new concept in portrait painting, embodied by the artists of Romantic period. In that regard the transitional stage, related to the fundamental revision of portrait’s nature as a specific genre, lacks the close attention of researchers. The crisis of Enlightenment’s ideals at the end of the 18th century causes a rethinking of the relationship between a person and the outside world. This tendency directly influences the art of portraiture, which is now distinguished by more expressed dynamism of image. This is particularly important to the national tradition of portrait painting in the 18th century, which before showed the static approach for the representation of model and the moderation of portrait characteristic. Meanwhile, the fluidity becomes not only a method of artistic expression in a single work, but also a guiding principle for the modification of portrait painting at the system level. In other words, there is a new understanding of the fundamental categories inherent in the portrait genre: the popularity of more compact forms of portrait art, the ratio of ceremonial and chamber trends, new relationships between the master and the model, the active interaction of the individual and the surrounding nature. The interest in English culture also plays an important role in these processes. Despite the transitional nature of the era and external influences, Russian portrait painting at the turn of the 18th–19th centuries remains one of the main national features of genre — the prevalence of semi-ceremonial variants of image.
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Mohanu, Dan. "A Cantacusine foundation between the act of secularization and contemporary restoration - The Doamnei Church in Bucharest." CaieteARA. Arhitectură. Restaurare. Arheologie, no. 8 (2017): 145–64. http://dx.doi.org/10.47950/caieteara.2017.8.07.
Full textAbstract:
Neglected through the 18th-19th centuries by the priors of the Cotroceni Monastery, dispossessed of its riches and income, the Doamnei Church slowly entered a downward spiral of degradation and devastating events. In 1868, in an era when the Church suffered the effects of secularization and Occidental renewal, the foundation of Lady Mary suffered radical reparation. The essential gesture, that produced the change and the damaging simplification of the iconographical discourse was the partial hammer[1]ing of the 17th century painting, and its covering with a new layer of painting, after the taste and mentality that has defined the second half of the 19th century. The information acquired from the analisys of archive photographies, corroborated with in situ observations, allowed for the reconstruction of the dramatic journey that the old painting of the Doamnei Church was to suffer, from the destructive act of hiding it under a new pictorial décor to the moment of its rediscovery and bringing to light.The recent reconstitution, of an archaeological type, of the iconographical ensemble from 1683 lead to a new lecture of the manner in which the works of painters Constantinos and John developed. The interruption of the iconographical programme of the Doamnei Church and their leaving the site generates questions and hypotheses regarding the evolution of the reign of Șerban Cantacuzino.