Bibliographies thématiques / Modern art paintings

Littérature scientifique sur le sujet « Modern art paintings »

Auteur : Grafiati
Publié le 10 mars 2023

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Articles de revues sur le sujet "Modern art paintings"

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B.K., Jyoti Prakash. « Nepali Painting : Traditional Motifs in Modern Art ». Journal of Advanced Academic Research 3, no 1 (11 février 2017) : 173–76. http://dx.doi.org/10.3126/jaar.v3i1.16626.

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Art is mirror of society. Human Civilization developed through art. Philosopher Langinus said that the power of the art is to create sublime to viewers. There is lot of philosophy in art history but still no any conclusion or scientific answer about the art but art is more contemporary due to the globalization and individual expression. In the case of Nepali art, before the "Kirat" and "Lichhabi" period had also some paintings and sculpture. Because of the weak surface we didn't have any paintings but can know from the petrography of Lichhabi period. In the world the ancient time had been found to be developing from religious and cultural development. It is absolutely relevant to be saying that the Nepali paintings were also the cause of the religious development. The history of the Nepali painting had been developed on religious base from the history to contemporary situation. So the main objective of the research is to find the core relation between traditional and modern painting.
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Ye, Zhihao, et Xinyun Jiao. « Contemporary Art on Realistic Subjects in the New Era of Lacquer Painting ». Asian Journal of Social Science Studies 7, no 7 (1 août 2022) : 75. http://dx.doi.org/10.20849/ajsss.v7i7.1249.

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By using lacquer painting creation with realistic themes as an example, this essay will examine the primary issues with lacquer painting creation with realistic themes in the context of the modern period.It will summarize the key pathways and construction expansion choices for lacquer painting creation with realistic themes by analyzing the creative issues and traits of lacquer painting with realistic themes, and it will provide the future path perspective that may be supported.Modern lacquer paintings with realistic topics suffer from a loss of pictoriality, a weakening of pictoriality, and a lack of aesthetic merit. Lack of creative integrity and originality; little aesthetic effect; lack of a modern viewpoint or historical significance. It is clear that there is a “tendency to profit,” and commercialization results in repetition and homogenization. A few representative lacquer paintings and artworks have been examined by the author.By emphasizing the incorporation of styles from other forms of painting and increasing the lacquer painting’s creative expressive language, the author offers answers.The development of lacquer paintings with realistic subjects in the context of the new period is suggested as well as workable solutions.
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Chen, Hanyi, et Hua Li. « Painting Creation in the Context of Contemporary Art : A Brief Discussion on the Painting Art of Marlene Dumas ». Region - Educational Research and Reviews 3, no 1 (4 février 2021) : 20. http://dx.doi.org/10.32629/rerr.v3i1.243.

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Easel painting shined in modern art, however, its influence faded in contemporary art. Marlene Dumas, a contemporary artist in the field of easel painting, displays a form differentiated from modern art in her paintings. Her creations break the inherent traditional image mode; her thoughts on artistic concepts are based on the study of artistic language. She holds a strong concern for the issues of social life, and demonstrates true feelings and emotions in the paintings.
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Kombui, Babaaradio, Dickson Adom et Samuel Prophask Asamoah. « Nana Yaw Frimpong : A royal footprint of modern Ghanaian painting ». Journal of African History, Culture and Arts 1, no 1 (8 décembre 2021) : 1–10. http://dx.doi.org/10.57040/jahca.v1i1.90.

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Ghanaian modernist painting started with the establishment of Achimota school in 1927 where the artists learned to combine the traditional Ghanaian artforms with the European representation artistic techniques. Though the influences of this new movement went beyond the academically trained artists to affect the self-trained artists, very little is known about it. The main objective of this paper was to conduct a biographical study of Nana Yaw Frimpong who without any art college training, booked a notable slot for himself through his painting within the modern Ghanaian art space. An Iconographic analysis of five paintings of Nana Yaw Frimpong using Erwin Panofsky’s three-step approach which include 1. the pre-iconographical description, 2. the iconographical analysis, and 3. the iconological interpretation. The selected paintings were compared to the philosophical underpinnings of the works of the earlier academically trained artists from the Achimota school. The findings revealed that the philosophy and style of Nana’s paintings were the philosophical foundations of modern painting in Ghana hence, placing Nana within the Ghanaian modern painting space.
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Yang, Hongyi, et Han Yang. « Evolution of Entropy in Art Painting Based on the Wavelet Transform ». Entropy 23, no 7 (11 juillet 2021) : 883. http://dx.doi.org/10.3390/e23070883.

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Quantitative studies of art and aesthetics are representative of interdisciplinary research. In this work, we conducted a large-scale quantitative study of 36,000 paintings covering both Eastern and Western paintings. The information entropy and wavelet entropy of the images were calculated based on their complexity and energy. Wavelet energy entropy is a feature that can characterize rich information in images, and this is the first study to introduce this feature into aesthetic analysis of art paintings. This study shows that the process of entropy change coincides with the development process of art painting. Further, the experimental results demonstrate an important change in the evolution of art painting, and since the rise of modern art in the twentieth century, the entropy values in painting have started to become diverse. In comparison with Western paintings, Eastern paintings have distinct low entropy characteristics in which the wavelet entropy feature of the images has better results in the machine learning classification task of Eastern and Western paintings (i.e., the F1 score can reach 97%). Our study can be the basis for future quantitative analysis and comparative research in the context of Western and Eastern art aesthetics.
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Zhao, Yuanyuan. « Formation and Schema Analysis of Oil Painting Style Based on Texture and Color Texture Features under Few Shot ». Computational Intelligence and Neuroscience 2022 (13 juin 2022) : 1–10. http://dx.doi.org/10.1155/2022/4125833.

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Texture has strong expressiveness in picture art, and color texture features play an important role in composition. Together with texture, they can convey the artistic connotation of portrait, especially in oil painting. Therefore, in order to make the picture form oil painting style and oil painting schema, we need to study the texture and color texture in combination with the previous oil painting art images. But now, there are few samples of good oil paintings, so it is difficult to study the texture and color texture in oil paintings. Therefore, in order to form a unique artistic style of modern oil painting and promote the development of modern oil painting art, this paper studies the texture and color texture characteristics in the environment of few oil painting works. This paper establishes a model through deep neural network to extract the image incentive and color texture of oil painting art works, which provides guidance for promoting the development of oil painting art. The experiments in this paper show that the depth neural network has high definition for the extraction of texture and color texture of small sample oil painting images, which can reach more than 85%. It has high guiding significance for the research and creation of oil painting art.
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Park, J. P. « Art-Historical Fiction or Fictional Art History ? » Archives of Asian Art 72, no 2 (1 octobre 2022) : 181–219. http://dx.doi.org/10.1215/00666637-9953432.

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Abstract In 1634 Zhang Taijie (b. 1588) published a woodblock edition of Baohuilu (A Record of Treasured Paintings), an extensive catalog of a massive painting collection he claimed to have built. This work would seem to be a useful resource for historians of Chinese art since it provides accounts of paintings by artists whose works are no longer extant. But there is one major problem: the book is a forgery. What is more, Zhang also forged paintings to match the documentation he created, so he could also profit from trading in them. Interestingly, the book also echoes unfounded claims registered in art-historical writings of the time, wherein leading critics and connoisseurs, including Dong Qichang (1555–1636), propounded completely contrived arguments by which they tried to establish legitimate lineages in Chinese art. Such propositions represent, borrowing from Eric Hobsbawm's insight, a kind of “invented tradition,” a fictional history of practice and artifact that runs as some thought it ought to have, rather than as it did. By looking into all the three major components of forgeries in early modern China that are referenced throughout Zhang Taijie's catalog—(1) fabricated texts, (2) forged paintings, and (3) fake histories/theories—this paper aims to explain how Baohuilu facilitated Zhang's candid desire for fame and profit in the booming art market of the time, while unveiling certain cultural, social, and genealogical anxieties and tensions negotiated in the form of art-historical theories.
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Wang, Shue. « Modern Chinese painting on military themes : "new realism" and loyalty to traditions ». Человек и культура, no 4 (avril 2022) : 46–56. http://dx.doi.org/10.25136/2409-8744.2022.4.38497.

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In the contemporary art of China, a special role belongs to painting on a military theme. Its formation began in connection with the need to keep a visual chronicle of the revolutionary struggle for the New China, the assertion of its status in the eyes of the people. Initially, realism was chosen as the main artistic method. By the turn of the XX and XXI centuries, as a result of the influence of modern art trends, a "new realism" emerged. The subject of this article is the pictorial work of contemporary Chinese artists who dedicate their paintings to military subjects and themes. He pays special attention to the art criticism analysis of the formal and substantive side of the paintings of the late XX – early XXI centuries. The main conclusion of the study is the establishment of the fact that under the influence of the so-called "new realism" Chinese painting associated with images of war, army, navy, has changed in the direction of images relevant to the era, as well as methods and techniques of image construction. However, at the same time, it should be noted that there is still a connection with traditions, which allows us to characterize the process of evolution of the Chinese school of battle painting. The novelty of the article is the introduction to the scientific circulation of Russian art criticism of a series of paintings by Chinese masters devoted to military topics. In general, the battle genre in Chinese painting is associated in the work with the formation of the People's Republic of China and is considered in a political and socio-cultural context.
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Mather, George. « Aesthetic Judgement of Orientation in Modern Art ». i-Perception 3, no 1 (janvier 2012) : 18–24. http://dx.doi.org/10.1068/i0447aap.

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When creating an artwork, the artist makes a decision regarding the orientation at which the work is to be hung based on their aesthetic judgement and the message conveyed by the piece. Is the impact or aesthetic appeal of a work diminished when it is hung at an incorrect orientation? To investigate this question, Experiment 1 asked whether naïve observers can appreciate the correct orientation (as defined by the artist) of 40 modern artworks, some of which are entirely abstract. Eighteen participants were shown 40 paintings in a series of trials. Each trial presented all four cardinal orientations on a computer screen, and the participant was asked to select the orientation that was most attractive or meaningful. Results showed that the correct orientation was selected in 48% of trials on average, significantly above the 25% chance level, but well below perfect performance. A second experiment investigated the extent to which the 40 paintings contained recognisable content, which may have mediated orientation judgements. Recognition rates varied from 0% for seven of the paintings to 100% for five paintings. Orientation judgements in Experiment 1 correlated significantly with “meaningful” content judgements in Experiment 2: 42% of the variance in orientation judgements in Experiment 1 was shared with recognition of meaningful content in Experiment 2. For the seven paintings in which no meaningful content at all was detected, 41% of the variance in orientation judgements was shared with variance in a physical measure of image content, Fourier amplitude spectrum slope. For some paintings, orientation judgements were quite consistent, despite a lack of meaningful content. The origin of these orientation judgements remains to be identified.
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M. Bayer, Thomas, et John Page. « The ingenious marketing of modern paintings ». Journal of Historical Research in Marketing 6, no 2 (13 mai 2014) : 211–33. http://dx.doi.org/10.1108/jhrm-04-2013-0023.

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Purpose – This paper aims to analyze the evolution of the marketing of paintings and related visual products from its nascent stages in England around 1700 to the development of the modern art market by 1900, with a brief discussion connecting to the present. Design/methodology/approach – Sources consist of a mixture of primary and secondary sources as well as a series of econometric and statistical analyses of specifically constructed and unique data sets that list nearly more than 50,000 different sales of paintings during this period. One set records sales of paintings at various English auction houses during the eighteenth and nineteenth centuries; the second set consists of all purchases and sales of paintings recorded in the stock books of the late nineteenth-century London art dealer, Arthur Tooth, during the years of 1870/1871. The authors interpret the data under a commoditization model first introduced by Igor Kopytoff in 1986 that posits that markets and their participants evolve toward maximizing the efficiency of their exchange process within the prevailing exchange technology. Findings – We found that artists were largely responsible for a series of innovations in the art market that replaced the prevailing direct relationship between artists and patron with a modern market for which painters produced works on speculation to be sold by enterprising middlemen to an anonymous public. In this process, artists displayed a remarkable creativity and a seemingly instinctive understanding of the principles of competitive marketing that should dispel the erroneous but persistent notion that artistic genius and business savvy are incompatible. Research limitations/implications – A similar marketing analysis could be done of the development of the art markets of other leading countries, such as France, Italy and Holland, as well as the current developments of the art market. Practical implications – The same process of the development of the art market in England is now occurring in Latin America and China. Also, the commoditization process continues in the present, now using the Internet and worldwide art dealers. Originality/value – This is the first article to trace the historical development of the marketing of art in all of its components: artists, dealers, artist organizations, museums, curators, art critics, the media and art historians.
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Thèses sur le sujet "Modern art paintings"

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Doughty, Elizabeth Lynn 1984. « Modern Individualism : Paintings by Oscar Howe before the Annual National Indian Painting Competition at the Philbrook Museum of Art, 1958 ». Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10822.

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ix, 68 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
In 1958 Yanktonai Sioux painter Oscar Howe's (1915-1983) submission to the Annual National Indian Painting Competition at the Philbrook Museum of Art was rejected for deviating too far from the established conventions of "traditional Indian painting." Howe's innovative use of style and his subsequent declarations against the premises of his rejection established the artist as a major figure in the development of Native American painting in the twentieth century. The existing literature on Howe is predominantly biographical and lacks contextual or stylistic analysis. In particular, an under-analyzed relationship is prevalent between his mature style and his early works. This thesis aims to address the social, cultural, educational, political, and stylistic influences that prepared the artist to evolve the formal aspects of his painting. This discussion will expand the discourse on Howe by revealing trends of continuity in the artist's transition from his earlier style to an experimental style and showing that neither is without the influence of the other.
Committee in Charge: Leland M. Roth, Chair; Joyce Cheng; Brian Klopotek
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Cosgrove, Mary. « Paul Henry and Irish modernism ». Thesis, University of Ulster, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.243622.

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David, Elise J. « Making Visible Feminine Modernities : The Traditionalist Paintings and Modern Methods of Wu Shujuan ». The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338316520.

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Rhodes, James W. Jr. « An Analysis of Visual and Verbal Appropriates in Mark Tansey's Philosophers Paintings ». VCU Scholars Compass, 1997. http://scholarscompass.vcu.edu/etd_retro/37.

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Critics have considered the work of Mark Tansey either simplistic or accessible only to viewers with extensive art historical backgrounds. His paintings hang in the best museums of the world, from the Metropolitan Museum of Art to the Museum Moderner Kunst, Vienna. However, an inherent conflict arises. For critics, Tansey must be either accessible or inaccessible, and not both. Yet, Tansey's paintings operate precisely on this edge between the extraordinarily simple and the overwhelmingly complex. To understand the complexities of this dilemma it would be helpful to analyze Tansey's paintings that deal with philosophers and literary critics, which are the most complicated works in his oeuvre. The philosophers included within these paintings are: Roland Barthes, Jean Baudrillard, Harold Bloom, Paul DeMan, Jacques Derrida, Michel Foucault, Geoffrey Hartman, and Jean-Francois Lyotard. All are postmodernists working in opposition to the reductionist rhetoric of mid-twentieth century modernism. This thesis will consider his images of philosophers that include Mont Sainte-Victorie (1987), The Bathers (1987), Derrida Queries DeMan (1990), and Constructing the Grand Canyon (1990) as the confluence and conflict of ideas that deal with words and images.
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Shulman, Katharine. « Paintings in Transit : A New Means For Protection of Collections, Balancing Traditional and Modern Conservation Philosophies and Methods ». Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/697.

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This thesis examines the motives behind museum loan and exchange policies and how loans can act as a new avenue for protecting and preserving paintings. When borrowed artworks are transported from one museum to another, there are many variables that come into play and careful planning is necessary for the safety of the object. Specific case studies of several well-known and respected museums that engage in and encourage loans will explore the complex nature of lending policies, their effect on the condition of artworks and their significance and impact on the museum world. This thesis culminates in an analysis of the loan fitness and possibility for transport of Joachim Beich’s Untitled, a painting in the Scripps College collection.
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Archer, Carol. « Frames, flows, feminist aesthetics paintings by Judy Watson, Cai Jin and Marlene Dumas / ». Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B3690787X.

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Berger, David S. « Modern Paintings of the Prodigal Son : Depictions by James Tissot, Max Slevogt, Giorgio de Chirico, Aaron Douglas, and Max Beckmann, 1882-1949 ». University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1336741954.

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Akard, Carrie Meitzner. « Southern Genre Painting and Illustration from 1830 to 1890 ». Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc277611/.

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The purpose of this thesis is to give a concise view of stylistic, iconographical, and iconological trends in Southern genre paintings and illustrations between 1830 and 1890 by native Southern artists and artists who lived at least ten years in the South. Exploration of artworks was accomplished by compiling as many artworks as possible per decade, separating each decade by dominant trends in subject matter, and researching to determine political and/or social implications associated with and affecting each image. Historical documents and the findings of other scholars revealed that many artworks carried political overtones reflecting the dominant thought of the white ruling class during the period while the significance and interpretation of other artworks was achieved by studying dominant personal beliefs and social practices.
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Farguson, Julie Anne. « Art, ceremony and the British monarchy, 1689-1714 ». Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:e63509b1-425c-4308-bfc7-d991d46aa693.

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This thesis investigates the ceremonial and artistic strategies of the British monarchy in the years following the Glorious Revolution. By adopting a range of methodologies used in the study of visual culture, the thesis considers royal ceremonies as channels for conveying political messages non-verbally. These could affect attitudes to the monarchy, and inform artistic output. By paying particular attention to the way royal participants performed ceremonially in relation to the various formal and informal architectural settings for the court, the thesis highlights the process of seeing as a communicative act. Being alert to the impact of royal ceremonial and artistic activities on contemporary audiences, the thesis also considers the dissemination of royal imagery in England by commercial means. The thesis surveys paintings, prints and medals produced in England, and places the intended audiences at the centre of the analysis. It also pays keen attention to the impact of war on royal image making, and highlights the political context of continental Europe, especially in relation to William’s role as Stadholder-King but also the exiled Stuart court at St Germain near Paris. The evidence presented here supports a number of conclusions. Firstly, war had a profound impact on all aspects of royal image making. Secondly, royal behaviour and involvement in ceremony were vital elements in the visual presentation of monarchy. Kings and queens were of paramount importance, but their consorts were highly significant. Art was also taken seriously by the monarchy and the Crown tightened controls on royal image making during the period in question. The thesis also concludes that the nationalities of the incumbent monarchs and their consorts, along with their previous experiences and personalities, influenced their individual approach to visual representation. These approaches could shift depending on political circumstances and the personal inclinations of the person concerned.
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Cavallo, Bradley. « MATTER(S) OF IMMORTALITY : OIL PAINTINGS ON STONE AND METAL IN THE SIXTEENTH AND SEVENTEENTH CENTURIES ». Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/456452.

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Art History
Ph.D.
By the second decade of the twenty-first century, the preponderance of scholarship examining oil paintings made on stone slabs or metal sheets in Western Europe during the early modern period (fifteenth–eighteenth centuries) had settled on an interpretation of these artworks as artifacts of an elite taste that sought objects for inclusion in private collections of whatever was rare, curious, exquisite, or ingenious. In a cabinet of curiosities, naturalia formed by nature and artificialia made by man all complemented each other as demonstrations of marvelous things (mirabilia). Certainly small-scale paintings on stone or metal exhibited amidst these kinds of rarities aided in aggrandizing a noble or bourgeois collector’s social prestige. As well, they might have derived their interest as collectables because of the painter’s fame or increased capacity for miniaturization on copper plates, or because the painter left a slab of lapis lazuli, for example, partially uncovered to reveal its visually arresting stratigraphy or coloration. Nonetheless, while the lithic and metallic supports might have added value to the oil paintings it was not thought to add meaning. A totalizing theory about this type of artwork, based on a perception of them as if they had only served as conspicuous consumables, therefore overlooks that in other circumstances the stone and metal supports did contribute to the iconographic substance of the paintings. As this dissertation will argue, the introduction of metal and stone supports allowed patrons and painters literally to add another layer of meaning to an oil painting’s imagery. These materials mattered not just as passive receptacles of meaning but as active shapers of significance. Evidence for this hypothesis exists in the historical record in at least three identifiable contexts: Leonardo da Vinci’s Portrait of Ginevra de’Benci (ca. 1474–1478) in relation to the epistemological debate known as the Paragone; funerary monuments in Roman churches inclusive of painted portraits in relation to theories about color and lifelikeness; medallion-shaped, chest plates known as Escudos de monjas (Nuns’ Shields) worn by nuns of some religious orders in Colonial Mexico in relation to pre-Hispanic sacral materials. All three of these case studies ultimately concern the paradoxical materialization of the immaterial fame of the painter, the soul of the deceased, and the Christian divine. Observing them in tandem provides an outline of the origins and development of the technique of painting with oils on stone and metal, and consequently broadens our understanding of this wider, early modern phenomenon.
Temple University--Theses
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Livres sur le sujet "Modern art paintings"

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Brown, Cecily. Cecily Brown : Paintings. Oxford, England : Modern Art Oxford, 2005.

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Barns-Graham, W. W. Barns-Graham : New paintings. London : Art First, 1995.

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Barns-Graham, W. Wilhelmina Barns-Graham : New paintings. London : Art First, 1997.

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Barns-Graham, W. Wilhelmina Barns-Graham : New paintings. London : Art First, 1999.

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Janet Fish : Paintings. New York : Harry N. Abrams, 2002.

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Ivon, Hitchens. Forty-five paintings. [London] : Serpentine Gallery, 1990.

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Ceccobelli, Bruno. Bruno Ceccobelli : Paintings. Nagoya : Akira Ikeda Gallery, 1986.

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Städtisches Museum Leverkusen, Schloss Morsbroich, dir. Slow paintings. Nürnberg : Verlag für moderne Kunst, 2009.

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Paintings, genuine, fraud, fake : Modern methods of examining paintings. Brussels : Elsevier, 1985.

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Ghenie, Adrian. Adrian Ghenie : New paintings. New York, N.Y : Pace, 2013.

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Chapitres de livres sur le sujet "Modern art paintings"

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Yurovetskaya, Anastasia V., Maria S. Churakova et Irina Kadikova. « Preservation of Russian Abstract Art of the Second Part of the Twentieth Century ». Dans Conservation of Modern Oil Paintings, 199–207. Cham : Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19254-9_14.

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van den Heuvel, Lisanne, Inez van der Werf, Coos van Waas et Klaas Jan van den Berg. « Approaches to the Identification of Royal Talens ETA (Emulsion) Paint in Objects of Art ». Dans Conservation of Modern Oil Paintings, 97–107. Cham : Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19254-9_7.

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Ferrer, Jin Strand, Irina Crina Anca Sandu, Terje Syversen, Ana Margarida Cardoso, António Candeias et Camelia N. Borca. « Investigating Colour Changes in Red and Blue Paints – A Preliminary Study of Art Materials and Techniques in Edvard Munch’s Old Man in Warnemünde (1907) ». Dans Conservation of Modern Oil Paintings, 209–18. Cham : Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19254-9_15.

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Dillon, Lorna. « Surrealism, Pop Art and Modern Aesthetics in Violeta Parra’s Papier-Mâché Sculptures, Paintings and Embroideries ». Dans Violeta Parra’s Visual Art, 81–114. Cham : Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-38407-4_3.

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Bulia, Marina, et Mzia Janjalia. « Medieval Art and Modern Approaches : a New Look at the Akhtala Paintings ». Dans The Medieval South Caucasus. Artistic Cultures of Albania, Armenia and Georgia, 106–23. Turnhout : Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.convisup-eb.5.131085.

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van Duijn, Esther. « The (In)Visibility of the Paintings Restorers of the Rijksmuseum in the First Half of the Twentieth Century ». Dans Histories of Conservation and Art History in Modern Europe, 163–77. New York : Routledge, 2022. http://dx.doi.org/10.4324/9781003127369-14.

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Tummers, Anna, et Robert G. Erdmann. « The Eye Versus Chemistry ? From Twentieth to Twenty-First Century Connoisseurship ». Dans Analytical Chemistry for the Study of Paintings and the Detection of Forgeries, 3–45. Cham : Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-86865-9_1.

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AbstractThis essay traces the evolution of connoisseurship in the Netherlands from the early twentieth century to current and future challenges. In the twentieth century, the attitude of art historians towards chemistry varied from extreme distrust to extreme optimism about the possibilities of the discipline to provide conclusive evidence in authentication matters. While the chemical methods and technical means to research paintings have developed at an unprecedented pace in the twenty-first century, some of the key questions crucial to classifying works of art remain largely the same (e.g. how much consistency to expect in an artist’s brushwork, painting technique and choice of materials?). However, other questions are new (e.g. how to interpret vast amounts of new data?) and call for a fundamentally different approach: for a cross-pollination of (technical) art history, chemistry and data science. While surveying recent developments, this essay discusses the merits and drawbacks of several modern analytical techniques (including as MA-XRF, HIS/RIS, isotope analysis and GC-MS) as well as the potential of digital aids (smart tools). The focal point of this essay is on the Netherlands since advances in the scientific investigation of works of art have repeatedly transformed the practice of connoisseurship here.
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Macneill, Paul. « Modern Painting and Morality ». Dans Ethics and the Arts, 33–46. Dordrecht : Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-8816-8_4.

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Jewsiewicki, Bogumil. « A Century of Painting in the Congo ». Dans A Companion to Modern African Art, 330–46. Oxford : John Wiley & Sons, 2013. http://dx.doi.org/10.1002/9781118515105.ch17.

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Supir, I. Ketut. « Pitamaha Painting Arts : A Cross Between Balinese Painting and Modern Painting ». Dans Proceedings of the 2nd International Conference on Languages and Arts across Cultures (ICLAAC 2022), 190–99. Paris : Atlantis Press SARL, 2022. http://dx.doi.org/10.2991/978-2-494069-29-9_21.

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Actes de conférences sur le sujet "Modern art paintings"

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Shen, Lin. « The Influence of Ancient Rus Religious Art Elements on Russian Modern Paintings ». Dans International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14). Paris, France : Atlantis Press, 2014. http://dx.doi.org/10.2991/icelaic-14.2014.153.

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Wang, Lei, et Yuan Shao. « Research on the Composition Art of Tang Dynasty Tomb Mural Paintings in Shaanxi with Xi'an Area as the Center ». Dans 2017 International Conference on Culture, Education and Financial Development of Modern Society (ICCESE 2017). Paris, France : Atlantis Press, 2017. http://dx.doi.org/10.2991/iccese-17.2017.127.

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Zhang, Yuanming. « Aesthetic Analysis on Line Art in Chinese Painting Art ». Dans 2017 International Conference on Culture, Education and Financial Development of Modern Society (ICCESE 2017). Paris, France : Atlantis Press, 2017. http://dx.doi.org/10.2991/iccese-17.2017.133.

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« On the Decorative Beauty of Lacquer Painting Art ». Dans 2020 Conference on Social Science and Modern Science. Scholar Publishing Group, 2020. http://dx.doi.org/10.38007/proceedings.0000719.

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Li, Jinning, et Yexiang Xue. « Scribble-to-Painting Transformation with Multi-Task Generative Adversarial Networks ». Dans Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. California : International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/820.

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We propose the Dual Scribble-to-Painting Network (DSP-Net), which is able to produce artistic paintings based on user-generated scribbles. In scribble-to-painting transformation, a neural net has to infer additional details of the image, given relatively sparse information contained in the outlines of the scribble. Therefore, it is more challenging than classical image style transfer, in which the information content is reduced from photos to paintings. Inspired by the human cognitive process, we propose a multi-task generative adversarial network, which consists of two jointly trained neural nets -- one for generating artistic images and the other one for semantic segmentation. We demonstrate that joint training on these two tasks brings in additional benefit. Experimental result shows that DSP-Net outperforms state-of-the-art models both visually and quantitatively. In addition, we publish a large dataset for scribble-to-painting transformation.
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DU, YI-FAN. « "SOIL" OF MODERN CHINESE LANDSCAPE PAINTING—ANALYSIS OF RACE, ENVIRONMENT AND THE TIMES ». Dans 2021 International Conference on Education, Humanity and Language, Art. Destech Publications, Inc., 2021. http://dx.doi.org/10.12783/dtssehs/ehla2021/35693.

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As we all know, material civilization and spiritual civilization depend on three factors: race, environment, and times. [1] As a kind of culture, modern Chinese landscape painting has undergone new changes, mainly because the "soil" and "climate" on which it depends for survival have changed. In order to clarify how the changes of modern Chinese landscape painting in recent years are affected by three factors, this article will take the modern Chinese landscape painting as the research object, and study its influence on modern Chinese landscape painting from three aspects: race, environment, and times. The author hopes that this article can provide a reference for the future development of Chinese landscape painting.
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Yi, Lijun. « Discussion on the Painting Language of Acrylic Material in Modern Painting ». Dans 2016 3rd International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2016). Paris, France : Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-16.2017.149.

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Del Gallego, Neil Patrick, Cedric Lance Viaje, Michael Ryan Gerra-Clarin, John Marvic Roque, Gary Steven Non, Jesin Jarod Martinez et Jose Antonio Gana. « A Mobile Augmented Reality Application For Simulating Claude Monet’s Impressionistic Art Style ». Dans WSCG'2021 - 29. International Conference in Central Europe on Computer Graphics, Visualization and Computer Vision'2021. Západočeská univerzita, 2021. http://dx.doi.org/10.24132/csrn.2021.3002.9.

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In this study, we showcase a mobileaugmented reality application where a user places various 3D models in atabletop scene. The scene is captured and then rendered as Claude Monet’s impressionistic art style. One possibleuse case for this application is to demonstrate the behavior of the impressionistic art style of Claude Monet, byapplying this to tabletop scenes, which can be useful especially for art students. This allows the user to create theirown "still life" composition and study how the scene is painted. Our proposed framework is composed of threesteps. The system first identifies the context of the tabletop scene, through GIST descriptors, which are used asfeatures to identify the color palette to be used for painting. Our application supports three different color palettes,representing different eras of Monet’s work. The second step performs color mixing of two different colors in thechosen palette. The last step involves applying a three-stage brush stroke algorithm where the image is renderedwith a customized brush stroke pattern applied in each stage. While deep learning techniques are already capableof performing style transfer from paintings to real-world images, such as the success of CycleGAN, results showthat our proposed framework achieves comparable performance to deep learning style transfer methods on tabletopscenes.
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Fukunaga, Kaori, Yoshimi Ueno et Yasunobu Ito. « Nondestructive observation of multilayered modern paintings by electromagnetic waves ». Dans Optics for Arts, Architecture, and Archaeology VII, sous la direction de Piotr Targowski, Roger Groves et Haida Liang. SPIE, 2019. http://dx.doi.org/10.1117/12.2530142.

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Blanco, Silvia, Berta Carrión et José Luis Lerma. « REVIEW OF AUGMENTED REALITY AND VIRTUAL REALITY TECHNIQUES IN ROCK ART ». Dans ARQUEOLÓGICA 2.0 - 8th International Congress on Archaeology, Computer Graphics, Cultural Heritage and Innovation. Valencia : Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/arqueologica8.2016.3561.

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The usage of augmented reality (AR) and virtual reality (VR) technologies began to grow when smartphones appeared. Until then, the number of portable devices capable of incorporating these technologies was reduced. Video games are the main field where these technologies are applied, but in other fields such as in archaeology, these technologies can offer many advantages. Ruins reconstruction, ancient life simulation, highly detailed 3D models visualisation of valuable objects from the past or even user free movement in missing places are just some examples found in literature.This paper reviews the latest visualisation technologies and their applicability to the rock art field. The main purpose is to disseminate rock art paintings through AR and VR applications. After the image-based three-dimensional (3D) modelling is obtained, an interactive visit to a shelter for displaying rock art paintings is presented. This is one of examples developed in this paper that pretends to apply the revised AR and VR techniques. In addition, an example of AR is developed that can be easily adapted to further applications displaying rock art paintings.
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Rapports d'organisations sur le sujet "Modern art paintings"

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Galenson, David. Masterpieces and Markets : Why the Most Famous Modern Paintings Are Not by American Artists. Cambridge, MA : National Bureau of Economic Research, octobre 2001. http://dx.doi.org/10.3386/w8549.

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Zhang, Ling, Brent Holland et Eulanda Sanders. From Chinese Painting to Wearable Art : The Development of Wearable Art Design Process Model and Evaluation Methods for Wearable Art Designers. Ames : Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-1755.

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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, février 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.
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