Articles de revues : « Of easel painting »

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Li, Meiru. « The Non-interpretability of Painting ». International Academic Journal of Humanities and Social Sciences 1, n^o 1 (28 mai 2022) : 9. http://dx.doi.org/10.56028/iajhss.1.1.9.

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Goethe once said that everyone could see materials, but connotation was only found by those who dealt with it, and form was a secret to the majority of people. This article is aim to discuss the currently situation of contemporary easel painting and its de-interpretation,from the development of easel painting,i present the irreplaceable visual sense,and therefore ,to offer a referent direction about the easel painting’s future.

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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, n^o 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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Bordalo, Rui, Paulo J. Morais, Helena Gouveia et Christina Young. « Laser Cleaning of Easel Paintings : An Overview ». Laser Chemistry 2006 (11 janvier 2006) : 1–9. http://dx.doi.org/10.1155/2006/90279.

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The application of laser cleaning to paintings is relatively recent despite its use on stone-based materials for over 30 years. The cleaning of paintings is of high importance, because it is the least reversible invasive intervention, as well as the most usual of all conservation treatments. Paintings are multilayer system of heterogeneous nature, often very sensitive and inherent difficult to clean. Being a noncontact method, laser cleaning has advantages compared to alternative techniques. Over the last decade, there have been important research studies and advances. However, they are far from sufficient to study the effects on painting materials and to establish the best parameters for each material under investigation. This paper presents a historical overview of the application of laser technology to the cleaning of paintings giving special emphasis on the research of the last decade. An overview of the current research into the interaction between the radiation and the different painting materials (varnish, pigments, and medium) is also given. The pigment's mechanisms of discoloration and the presence of media as a variable factor in the discoloration of pigments are discussed.

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Ogden, Kate Nearpass. « Musing on Medium : Photography, Painting, and the Plein Air Sketch ». Prospects 18 (octobre 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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Zverev, Vladimir Vladimirovich. « Artistic peculiarities of Nikolay Koshelev’s church painting ». Исторический журнал : научные исследования, n^o 5 (mai 2021) : 127–37. http://dx.doi.org/10.7256/2454-0609.2021.5.35681.

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This article is dedicated to the works of the Russian artist Nikolay Koshelev of the turn of the XIX – XX centuries in the genres of religious and church painting. The introduction of the principles of historicism and realism into the Russian culture of the XIX century discovered a new perspective on religion themed easel paintings, church art and iconography, as well as created opportunities for the new content and formal means for depicting the subjects of painting. The article leans on the monumental cycle “The Passion Journey of Christ” by Nikolai Koshelev for the Church of Saint Alexander Nevsky in Jerusalem. The article traces the complex intertwinement with of the features of church painting with the features of academic easel religious painting in the context of artistic culture of the turn of the XIX – XX centuries. The detailed analysis of the monumental cycle of “The Passion Journey of Christ” at the Alexander Metochion in Jerusalem (created between 1890 and 1900)  reveals certain peculiarities of the artistic form of Nikolay Koshelev's works in the context of Russian church and religious painting of the XIX - early XX centuries. This topic should be viewed in relation to the general problems of modernization of public consciousness and cultural life in Russia of that time.

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Sun, Yang. « In Pursuit of the Primitiveness of Easel Painting - The Emergence of Bad Painting ». Journal of Education, Humanities and Social Sciences 8 (7 février 2023) : 1638–42. http://dx.doi.org/10.54097/ehss.v8i.4537.

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Art, as a manifestation of the human mind, is not valued for its objective depiction of the external world but the subjective recreation based on objective objects. The intuitive feelings and inner beliefs of painting override the objective reality of the depicted objects. And bad painting with the unreserved catharsis of emotions exists as a new artistic trend and a creative path that emerged in Europe and America in the late 1970s. At the same time, Gombrich believed that any painting that meets the two criteria of baseline mode and minimum mode can be classified as primitivism art, and the rebelliousness of bad painting to the established rules, the originality of its content and the pursuit of the true nature of painting share similarity to primitivism art. Throughout the history of art in China and abroad, the phenomenon of bad painting has appeared periodically in the process of art everywhere, and the development process of art itself has also undergone a spiral development from barbaric obscurantism to scientific truth-seeking and finally return to primitive. Therefore, this paper will analyze the phenomenon of bad painting at home and abroad, its spiritual connotation and philosophical foundation, establish the connection between bad painting and primitivism art, explore the primitive interest in bad painting art, and discuss how bad painting uses its unique approach to promote the aesthetic revolution of contemporary easel painting.

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NEKHVYADOVICH, Larisa Ivanovna, et Gela Borisovna FRADKINA. « KAZAKH EASEL PAINTING OF THE LATE TWENTIETH CENTURY ». European Journal of Arts, n^o 2 (2021) : 3–13. http://dx.doi.org/10.29013/eja-21-2-3-13.

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Doutre, Michael, Alison Murray et Laura Fuster-López. « Effects of Humidity on Gessoes for Easel Paintings ». MRS Proceedings 1656 (22 août 2014) : 167–71. http://dx.doi.org/10.1557/opl.2014.828.

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ABSTRACTGessoes are widely used in easel painting as grounds or preparatory layers; in art conservation, gessoes are employed as infill materials to level a loss in the paint surface in preparation for inpainting. The goal of this investigation was to establish the relationship between the mechanical behavior of various gessoes when exposed to different relative humidities (25%, 50%, and 100%) and to compare modern commercial gesso products with a traditional gesso. The materials included two commercial artists’ acrylic gessoes (composed of largely titanium dioxide and aqueous dispersions of acrylic polymers), two commercial spackling compounds frequently used in the conservation of easel paintings, and a traditional gesso (calcium carbonate and rabbit skin glue). Uniaxial tensile testing was used to characterize the elastic modulus, strain at failure, and ultimate tensile strength (UTS) of the materials. By understanding the physical limits of these materials under different conditions, damage to artworks and the failure of conservation treatments containing these types of materials may be prevented or reduced.

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Porter, Jennifer Herrick, Chiara Pasian, Roberta De Angelis et Nathalie Debono. « Cleaning of Oil-on-Stone Wall Paintings : Lessons Learned From Easel Painting Conservation ». Studies in Conservation 65, sup1 (29 avril 2020) : P254—P257. http://dx.doi.org/10.1080/00393630.2020.1753354.

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Elsayed, Yosr. « IDENTIFICATION OF THE PAINTING MATERIALS OF A UNIQUE EASEL PAINTING BY MAHMOUD SA'ID ». Egyptian Journal of Archaeological and Restoration Studies 9, n^o 2 (1 décembre 2019) : 155–69. http://dx.doi.org/10.21608/ejars.2019.66984.

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Fediun, Ye. « Portraits of the 1950s–1970s from the Funds of the Kharkiv State Academy of Design and Arts ». Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2021, n^o 02 (octobre 2021) : 175–85. http://dx.doi.org/10.33625/visnik2021.02.175.

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This article examines the stylistic and imaginative features of the academic portraits created by the students of Kharkiv Art and Industry Institute (the KAII) in the 1950s and 1970s, which are now kept in the collections of the Kharkiv State Academy of Design and Arts (KSADA). It was found that the leading principle in the KAII teaching system during that period was the tradition of realistic portraiture, which was based on the principles of academic tonal drawing and volumetric-plastic representation of the form. The KAII applicants had a high level of professional training in art disciplines, and later the administration of the institution offered the best of them to join the teaching staff of the Institute (O. Martynets, N. Mynko, A. Demura, Ye. Bondarenko). The main components of the art education system of the Kharkiv Academic School of Painting in the 1970s underwent some changes due to the revision of the course of training for artists. Thus, in the 1950s the institute trained specialists only in the fields of “easel painting”, “theatrical and decorative painting”, “sculpture” and “easel graphics”, and in the 1960s new specializations in design education were opened: “interior and equipment”, “industrial design”, “industrial graphics and packaging”. Curricula for teaching drawing and painting for the new specializations were created on the basis of methodological materials of I. Repin Leningrad Institute of Painting, Sculpture and Architecture; V. Mukhina Moscow Higher Art and Industrial School, and Leningrad Higher Art and Industrial School. The paper shows that later the teaching methods for all the professional disciplines were adapted and improved by the KAII teachers under the influence of the latest requirements of that time. It is outlined that under the guidance of artists-teachers Yefrem Svitlychnyi and Mykhailo Rybalchenko, their students performed academic works that were influenced by monumental and decorative art and design, which flourished in Ukraine at that time. In most of the educational works in the 1960s and 1970s, certain stylistic changes can be traced in comparison with the paintings of the previous years. The analysis of academic works of that period shows a symbiosis of the easel and decorative forms.

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Koestler, R. J., E. Parreira, E. D. Santoro et P. Noble. « Visual Effects of Selected Biocides on Easel Painting Materials ». Studies in Conservation 38, n^o 4 (novembre 1993) : 265. http://dx.doi.org/10.2307/1506370.

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Leanse, Victoria. « Easel painting materials and techniques in Spain, 1614–1682 ». Conservator 9, n^o 1 (janvier 1985) : 49–50. http://dx.doi.org/10.1080/01410096.1985.9995005.

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Koestler, R. J., E. Parreira, E. D. Santoro et P. Noble. « Visual effects of selected biocides on easel painting materials ». Studies in Conservation 38, n^o 4 (novembre 1993) : 265–73. http://dx.doi.org/10.1179/sic.1993.38.4.265.

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Voronina, O. Yu. « New Horizons of Visual and Auditory Perception : OST Art in the Context of Sound Experiments of the 1920s ». Art & ; Culture Studies, n^o 1 (février 2022) : 134–63. http://dx.doi.org/10.51678/2226-0072-2022-1-134-163.

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This paper discusses unobvious links between the art of the Society of Easel Artists (OST) and the sound experiments of the 1920s. And it is for the first time that this subject is the focus of research. This theme was secondary in the creative practice of the OST artists, but selecting it for research is relevant due to a growing general trend towards the study of marginal phenomena that clearly highlight cultural mechanisms. This paper aims to broaden understanding of the complex nature of the painting of the Society of Easel Artists (OST) by introducing the previously unaccounted and, nevertheless, significant data about the cultural context in which the society functioned. After the revolution, all aspects of sound became very attractive for the implementation of different scientific and artistic intentions. The most significant among them were put in practice by L. Termen, P. Lazarev, A. Avraamov, M. Matyushin, S. Nikritin, and Dz. Vertov. The appeal of the OST painters to the “alien” sphere of sound testified to the paradoxicality of their easel painting and was a way of diversification into other fields of art (e.g. poster art, photography, cinema, etc.) in an attempt to “expand” painting without breaking its traditional form. The simultaneous compound scenes in the paintings of the Society of Easel Artists (OST), which connect different points of view, train the exceptional ability of our consciousness to “hear” the whole world at once, like we seem to hear the rhythmically organized films of the 1920s by Dziga Vertov. The other side of the high levels of noise in the canvases by the OST painters is a strange “muteness”. It can be regarded as a direct parallel to physical research into unheard ultra- and infrasound having a strong impact on the environment, or to studies into “deafening silence” carried out at the Phonological department of the State Institute of Art Culture. The conclusion that follows from this study is that the attempt undertaken by the Society of Easel Artists to make the viewer comprehend the whole world through auditory and visual perception was in line with the experiments of the 1920s both in science and in art. The final aim of the OST group was to organize the psychology and life of the people of the future by means of this artistic method.

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Ulyanova, Natalia. « A picturesque interior space ». проект байкал, n^o 73 (21 octobre 2022) : 104–6. http://dx.doi.org/10.51461/pb.73.18.

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The dwelling interior is an essential component of everyday happiness. One of the most ancient and effective means to achieve psychological comfort in the house is easel interior painting. The process of creating interior paintings for two very different customers is considered through specific examples. It is shown that the final result should take into account both the personal characteristics of the person for whom the picture is intended and the ergonomic characteristics of the living space, its size, lighting, and so on.

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Perfilyeva, Irina Yu. « Contemporary Artistic Enamel : Stylistic and Innovative Development Trends ». Vestnik of Saint Petersburg University. Arts 10, n^o 4 (2020) : 586–608. http://dx.doi.org/10.21638/spbu15.2020.404.

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Artistic enamel from the 1920s to the 2010s, has experienced a difficult path of development. In the early twentieth century, it represented a variety of techniques in regard to the artistic processing of metals. Today, it is an independent type of plastic arts, which synthesized both technical and technological innovations, as well as stylistic features of contemporary art and current artistic practices. In the history of artistic enamel several stages are clearly visible. The beginning of the process lies in the penetration of the principles of easel art into decorative art, which occurred in the first post-revolutionary decade due to the participation of leading masters of the Russian avant-garde in the creation of enamel works. During the second stage, the artists of the next generation attempted to combine the principles of easel painting with the national traditions that prevailed in the centers of folk arts and crafts. The third stage was inspired by the entry into the process of monumentalists and the active participation of Russian artists in international creative enamel symposia. In the fourth stage, the role of a structuring factor in the development of domestic enamel art was played by individual creative workshops that opened in different regions of Russia. Easel enamel of the 2010s is characterized by the multidimensionality of the artistic space, the creation of enamel works at the junction of different types of characteristics: both traditional and contemporary. These are classic “paintings”, panels and easel three-dimensional objects in which enamel is combined with other materials, but also monumental and decorative art objects and digital painting in enamel. Contemporary Russian art enamel represents an independent type of plastic arts, in which, in addition to traditional ones, there are numerous innovative author’s technical and technological techniques as well as methods of work.

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Klyachkovskaya, E. V., N. M. Kozhukh, V. A. Rozantsev et S. V. Gaponenko. « Layer-by-Layer Laser Spectrum Microanalysis of Easel-Painting Materials ». Journal of Applied Spectroscopy 72, n^o 3 (mai 2005) : 371–75. http://dx.doi.org/10.1007/s10812-005-0084-7.

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Stoyanova, Magdelena, Detelin Luchev, Lilia Pavlova et Irina Provorova. « Technical Visualizations of Easel Painting. Integration of Imaging Techniques and Textual Repertories ». Digital Presentation and Preservation of Cultural and Scientific Heritage 5 (30 septembre 2015) : 321–30. http://dx.doi.org/10.55630/dipp.2015.5.29.

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Technical visualizations (TV) of easel painting, both partial or extended, are typically concerned with prospecting its structure, technique, material composition and eventual posterior interventions in order to facilitate the mapping of its characteristics being identical to those of other similar objects. For both types the main challenge is being able to integrate and compare the significant increase in the quantity and quality of image-based data resulting from rapid technological advancement in recent years. Their second critical component matches the algorithm of logical processes that, in principle, should be followed by analysis of a specific artistic technique on a unique artefact. The third crucial point is the translation of interdisciplinary to schematic or imagebased data and the standardization of dictionaries used to enable their sharing. TVs are functional to the understanding of complex cases and, although the reliability of their issues is not absolute but only a nulla osta, they represent an important step towards the drastic reduction of errors produced by discontinued, fragmentary experiments in dating and authentication of easel painting.

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Andriaka, Sergey Nikolayevich, et Yana Ernestovna Zelenina. « Supervising graduate projects : Specifics of easel painting in multi-layer watercolor ». Secreta Artis, n^o 1 (11 juillet 2021) : 60–65. http://dx.doi.org/10.51236/2618-7140-2021-4-1-60-65.

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Lopez, Kristina, Andrea Dewey, Erin E. Barton et Mary Louise Hemmeter. « The Use of Descriptive Praise to Increase Diversity During Easel Painting ». Infants & ; Young Children 30, n^o 2 (2017) : 133–46. http://dx.doi.org/10.1097/iyc.0000000000000088.

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Schenk, Franziska, et Andrew Parker. « Iridescent Color : From Nature to the Painter's Palette ». Leonardo 44, n^o 2 (avril 2011) : 108–15. http://dx.doi.org/10.1162/leon_a_00114.

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The shifting rainbow hues of iridescence have, until recently, remained exclusive to nature. Now, the latest advances in nanotechnology enable the introduction of novel, bio-inspired color-shifting flakes into painting—thereby affording artists potential access to the full spectacle of iridescence. Unfortunately, existing rules of easel painting do not apply to the new medium; but, as nature inspired the technology, an exploration of natural phenomena can best inform how to overcome this hurdle. Thus, by adopting a biomimetic approach, this paper outlines the optical principles underlying iridescence and provides technical ground rules for its incorporation into painting.

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Petrova, Lyudmila Evgenievna, Evgeny Alexeyevich Fitmov et Elena Evgenievna Fomenko. « Empathy as a factor of development creative individuality of students ». KANT 40, n^o 3 (mars 2021) : 257–62. http://dx.doi.org/10.24923/2222-243x.2021-40.49.

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The purpose of the study is to offer a point of view on solving the problem of developing the creative individuality of students. The article considers the ways of revealing the empathic abilities of students through the visual arts. The article is a description of the process of analysis and interpretation of works of easel painting by students. Special attention is paid to the description of the manifestation of emotional states of the individual in the process of studying works of art. The authors propose to consider creative individuality as a property of a person, reflecting the ability to appreciate, interpret and create an artistic image with various visual materials, characterized by the diversity of the idea, process and product, determined by the aesthetic attitude of the individual to the surrounding world. As a result, the specificity and role of classes on the analysis of easel paintings in the development of students ' creative individuality are revealed, the choice of methods and techniques that contribute to the development of individual perception of fine art is justified.

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Procop, Natalia. « Recreational Centers in Chisinau in the Vision of Visual Artists ». Supplement 9, n^o 1 (24 juillet 2021) : 116–29. http://dx.doi.org/10.37710/plural.v9i1s_8.

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One of the genres of easel painting that remains less pretentious to politics is landscape. The city of Chisinau, one of the most important cities of the Republic, was and remains a source of inspiration for artists Eugenia Gamburd, Rostislav Ocușco, Mihail Petric, Filimon Hămuraru, Ludmila Țonceva, Vasile Toma, Inesa Țîpina, Petru Jireghea, Ion Jumatii, Ion Chitoroagă, Florentin Leancă and others. That is one of the topics addressed by artists reflecting moments of relaxation, rest, sports - recreational centres (parks, lakes, stadiums etc.). This article analyzes the paintings from the collection of the National Museum of Art of Moldova, but also the private collections of plastic artists concerning the rest areas of Chisinau. These paintings made on the subject under research can be attributed not only to the landscape genre but also, in some cases, to genre painting. The subject becomes current for painters with the arrangement of the capital’s parks: The square of the Ensemble of the Metropolitan Cathedral of Chisinau, the Public Garden of Chisinau, the Botanical Garden, the Valley of Roses park, the Valley of Mills park, the Ghidighici Reservoir, the Dinamo Stadium etc.

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Dubrovin, V. M., et P. A. Chekantsev. « Landscape Painting : Features of Educational Creative Work ». Prepodavatel XXI vek, n^o 1, 2020 (2020) : 200–205. http://dx.doi.org/10.31862/2073-9613-2020-1-200-205.

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Landscape is a traditional genre of easel painting and graphics. In the educational process, this genre is present in theoretical and practical courses in the disciplines of “Drawing”, “Painting” and “Composition”, its elements hold an important place in the Plein air programs. The landscape cannot be simply “copied” from nature, striving to make the image extremely similar to what you see. The authors recommend that students persistently master the methods of practical work on a realistic landscape, complementing them with the study of the theoretical foundations for solving the spatial, compositional, color and tonal problems of the complex art of landscape painting both in the classroom and in the open air.

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Inshakov, Alexander N. « Monumental Painting by Sergei Romanovich : Former and Unfulfilled ». Vestnik of Saint Petersburg University. Arts 11, n^o 1 (2021) : 102–26. http://dx.doi.org/10.21638/spbu15.2021.107.

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The article is devoted to an important period in the life and work of the Moscow artist Sergei Romanovich (1894–1968), one of the most interesting young artists of the Russian pictorial avant-garde of the second half of the 1910s, a student and later friend of Mikhail Larionov. From the late 1930s to the mid-1950s, Romanovich was an employee of the Workshop of Monumental Painting at the Academy of Architecture of the USSR. Together with Lev Bruni and Vladimir Favorsky, he worked on the decoration of the Red Army Theater, participated in the development of projects and interior design of theater and exhibition spaces, new public buildings in Moscow and other cities of the country. Romanovich turned to monumental art largely forced, unable to seriously engage in easel painting and exhibit his work in the 1930s. The author of the article analyzed the main works performed by Romanovich in the field of monumental art. Special attention is paid to Romanovich’s interest in painting by outstanding masters of the Renaissance and modern times, which had a certain influence on his monumental works: among the most important artists are Raphael, Michelangelo, and Delacroix. The article also reveals the connections and mutual influences between the easel work and the monumental painting of Romanovich. In his work, there was also a “counter” influence: the artist’s interest in outstanding monuments of monumental art of the past influenced his search in the field of painting. The author demonstrates this influence by referring to an analysis of several famous works by Romanovich in the late 1940s. The most important place in the artist’s heritage is occupied by religious painting. In the conditions of the USSR of the 1940s–1950s, Romanovich could not depict and fulfill his talent as a muralist in religious art.

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Perfilyeva, Irina Yu. « JEWELRY IN THE SEMIOTIC FIELD OF SOVIET EASEL PAINTING 1920-1930’s ». Articult, n^o 2 (2018) : 119–35. http://dx.doi.org/10.28995/2227-6165-2018-2-119-135.

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Brissaud, I., A. Guilló, G. Lagarde, P. Midy, T. Calligaro et J. Salomon. « Determination of the sequence and thicknesses of multilayers in an easel painting ». Nuclear Instruments and Methods in Physics Research Section B : Beam Interactions with Materials and Atoms 155, n^o 4 (septembre 1999) : 447–51. http://dx.doi.org/10.1016/s0168-583x(99)00484-x.

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Borovikova, Sof’ya M. « CLARIFYING THE EXISTENCE OF THE WORKSHOP OF HANS HOLBEIN THE YOUNGER DURING HIS PERIODS OF WORK IN ENGLAND ». RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, n^o 4 (2021) : 115–27. http://dx.doi.org/10.28995/2073-6401-2021-4-115-127.

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Hans Holbein Jr was a key figure in the history of English paint- ing. Many questions related to his biography and creative method still remain open. One of them is whether the artist had assistants in the work on orders for easel painting during his stay in England. In recent years, many studies of that period painting technology have been carried out in general and Holbein’s works in particular, that allow to approach the issue solution. The article con- tains and compares the results of the most significant works related to that. Their analysis shows that the probability of the existence of a workshop or as- sistants for Holbein in his English periods is very high. That is supported by a number of circumstantial evidence. Firstly, the method of work of the master and the specifics of the demand for easel painting in England of that period made it profitable to hire assistants. Secondly, the facts of the biography of Hans Holbein the Younger indicate that working in workshops based on the di- vision of labor or with a group of artists was a natural practice for him. Thirdly, there are many works created during Holbein’s lifetime, from his drawings, in his style, but not by his hand, which suggests the possibility of their painting under the direction of Holbein by his assistants or students. The final solution of the question of the existence of Holbein’s workshop is necessary to clarify the attribution of his works and to understand the genesis of the English paint- ing tradition.

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Kizyma, Yuliia. « The sacred aspect of the image of the child in the early 20th century Polish and Western Ukrainian painting : socio-historical context and local specifics ». Text and Image : Essential Problems in Art History, n^o 1 (2021) : 64–82. http://dx.doi.org/10.17721/2519-4801.2021.1.04.

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he late 19th and early 20th centuries marked significant changes in the social perception of children and childhood in Europe and the US. The phenomenon was vividly reflected in works of art, including painting. Images of children and childhood acquired new positive connotations. A rather ambiguous notion of “innocence” became one of the most important characteristics of childhood. The category was associated with children’s ability to receive more profound and intense religious experiences in comparison to those of adults. Poetry, philosophy, and art of that time emphasized this aspect of idealised childhood. In this research, we examine and compare works of easel and monumental painting on religious subjects by American and Western European as well as Polish and Ukrainian artists which depict children and childhood. We address both works intended for sacred spaces and secular paintings containing symbols and allusions borrowed from Christian imagery. The article looks into the genesis of the sacralised image of children and childhood in Western cultures, its specific features and ways of its representation in painting, including local traditions. The study focuses on the portrayal of peasant children in paintings by Polish and Ukrainian artists (Jacek Malczewski, Kazimierz Sichulski, Wlastimil Hofman, Oleksa Novakivskyi, Yulian Butsmaniuk) on religious subjects. The sacralisation of village children in Central and Eastern European art constitutes a peculiar artistic phenomenon closely associated with the social structure as well as political situation in the region. In the course of the research we employed a range of methods—formal, iconographical, iconological analysis, content analysis and semiological analysis.

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Spinu, Constantin. « Identity convergence in the tapestry and painting of Ecaterina Ajder ». Akademos, n^o 2(61) (septembre 2021) : 154–60. http://dx.doi.org/10.52673/18570461.21.2-61.16.

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Ecaterina Ajder, representative of the early `80s of plastic artists from the Republic of Moldova, constantly opts for endowing the work of art with innovative stylistic values. Plastic tradition and modernity originally connect in her creation, contributing to the generation of current messages through image. Preferring to materialize her thematic and plastic predilections in the genre of artistic tapestry and easel painting, Ecaterina Ajder has drawn and consolidated over the decades her unmistakable stylistic facet, in which the insurmountable landmarks of folk art have found a favorable artistic fulfillment and integration into relevant contemporary creative trends. In the artistic tapestry, the painter significantly capitalized both the aesthetic expressions obtained from the classic weaving, and from combining it with various techniques such as felt and embroidery. When referring to the easel painting she highlighted the traditional aspects of structural-constructive constitution of the image field and, at the same time, the impressive artistic expressions, obtained after practicing mixed techniques, giving priority to the collage methodology. In the artist’s creation, both the conceptualization and aesthetic interpretation of the theme, as well as the way of operating with plastic means imminently contribute to the demarcation and supplementing of the semantic area of the work with high value expressions.

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Yurieva, Tatiyana V. « FEATURES OF THE AMERICAN PERIOD OF ICON PAINTER P.M. SOFRONOV’S WORK ». Verhnevolzhski Philological Bulletin 23, n^o 4 (2020) : 214–20. http://dx.doi.org/10.20323/2499-9679-2020-4-23-214-220.

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The article for the first time gives an analysis of the work of the world famous, but little studied in Russia, Old Believer icon painter and restorer icons Pimen Maksimovich Sofronov in the third, American period. The author systematizes scattered information about his artistic activities in the United States, makes a chronology of the creation of his works during this period, and makes an analysis of them. The description of the temples where P.M. Sofronov worked, and the painting of their interiors, is given for the first time in scientific literature. Analyzing the biographical data and the work of the icon painter in the third, American period, which turned out to be the longest, the author of the article concludes that at this time the quality of the master's work is changing. Since, in Europe, P.M. Sofronov gained the experience of wall painting of churches, now, in North America, he was able to fully realize this side of his talent by making the transition from easel icon painting to monumental painting. Now the researcher's attention has been given to extensive temple complexes, often consisting of both stenographs and iconostases, which have their own specific program. The author interprets the canon in accordance with the architectural space that is provided to him for painting. Each time it is a new theological and artistic task. Having completed such major works as paintings of the interiors of Trinity Cathedral in Brooklyn, the Church of the Three Saints in Ansonia, the Church of Peter and Paul in Syracuse, the Vladimir Church in Trenton, St. Trinity in Weinland, the artist made a significant contribution to the church art of Russian emigration.

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Smolińska, Marta. « Dermatologia malarska. Obraz skóry a skóra obrazu ». Artium Quaestiones, n^o 27 (8 septembre 2018) : 129–69. http://dx.doi.org/10.14746/aq.2016.27.6.

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Since the 1990s, the motif of mimetically reproduced human skin, concentrating the recipient’s attention on the sense of touch and on the surface which separates theinside from the outside, seems to have been more and more popular. It has been quite ostentatiously exposed in the works of such well-known artists as Ron Mueck, Patricia Piccinini, Pipilotti Rist, John Isaacs, and Nicole Tran Ba Vang, becoming anemblem of the present. The paradox is, however – and this is one of the claims formulated in the present essay – that the motif’s most complex versions do not appear in photography, installations or the new media, but in easel painting which has been often dismissed as inadequate to new ideas. To provide evidence – the paintings of Magdalena Moskwa, Bartosz Kokosiński, Paweł Matyszewski, Grzegorz Sztwiertnia, Saskia de Kleijn, and Marina Schulze – the author has distinguished the so-called painterly dermatology. The present time, which offers no striking generational manifestoes or dominant artistic currents, has brought us a revealing metaphor coined by Yuri Lotman who compares the activity of artists to the dissociated energy of a minefield where we can here random explosions but it is impossible to predict if and where they will actually take place. Thus, it is the author’s contention that the painterly dermatology can be perceived as one of such explosions – they can be distinctly “heard” on the contemporary global art stage and included as a singular phenomenon in a broader tendency connected to the exploration of the body in the era of media convergence.The selected artists, who have identified the motif of skin with the surface of a painting, have a initiated tension between the transformation of the body into the body of art, which is significantly close to the tradition of religious painting, and the transposition of the human skin into the skin of a painting, which stresses a metapainterly aspect and a dialog with the potential of the medium. The complexity of the painterly dermatology inaugurates a narrative which runs across not only of modernism and postmodernism, but also a centuries-old artistic tradition. Moreover, skin as a limit phenomenon is situated between the inside and the outside, putting this dualistic division into doubt. As a topic, it is both archaic and contemporary. Also, it should not be forgotten that the growing interest in the motif of skin is taking place in the context of changes of the hierarchy of the senses, downgrading sight in favor of touch and the tactile qualities of art which activate the sensomotoric and soma esthetic perception. After all, the sense of touch has always been located in the skin. Referring to Geoges Didi-Huberman, Hans Belting, and David Freedberg’s anthropology of painting as well as to Vilém Flusser’s extended philosophical dermatology, the author suggests that the easel painting provides the ground for the most complex artistic experiments in which the medium continues its self-critical work, being continuously reinvented, even though it does not remain as pure as Clement Greenberg wanted it to be. The question of the “painterly dermatology” corresponds to a claim of Rosalind Krauss that the “post-media era” does not dismiss the problem of the medium but readdresses it in a polemical context. The medium in the paintings of Moskwa, Matyszewski, Kokosiński, Sztwiertnia, de Kleijn, and Schulze, in which the picture of the skin is also the skin of the picture, has been defined in the essay as a network of conventions which determines a zone mediating between the material stratum of the painting and its aesthetic qualities, initiating critical and differentiating dialogs with the received tradition.

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Schenatto, J., P. H. O. V. Campos et M. A. Rizzutto. « Non-destructive methods of analysis to characterize an easel painting by Victor Meirelles ». Journal of Physics : Conference Series 2340, n^o 1 (1 septembre 2022) : 012007. http://dx.doi.org/10.1088/1742-6596/2340/1/012007.

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Abstract The use of analytical, non-destructive, non-invasive, and portable techniques applied to the Cultural Heritage research represents a great collaboration between different sciences. With these methods, artwork can have its original pigments identified, as well as be checked for other pigments used in interventions. These techniques allow to identify the artist’s creative process without having to move the artwork to the laboratory. This study’s main advantage is assisting art historians, restorers and conservators, and correlating time-period artworks. The painting “Dr José Maria Chaves” (1873) by Victor Meirelles, from MASP’s collection, was the subject of this study by using imaging (VIS, RAK, UVL, and IRR) and spectroscopies (ED-XRF and Raman) methods. Through these it was possible to identify a few “pentiments” performed by the artist, many interventions, and different layers of varnish. Besides that, it was suggested the pigments used by the artist, highlighting the base preparation with Lead White and the uncommon use of Naples Yellow. This results help to increment the database about the Brazilian artist and his historical period, providing a better understanding of creative techniques, palletes, interventions, and strengthing the database for future works.

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Paranyuk, Viktoria. « Painting Light Scientifically : Arkhip Kuindzhi's Intermedial Environment ». Slavic Review 78, n^o 2 (2019) : 456–80. http://dx.doi.org/10.1017/slr.2019.97.

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In art historical scholarship, inasmuch as he is considered at all, the painter Arkhip Kuindzhi has long been viewed as a peculiar outlier. His landscapes, with their coloristic drama, light effects, and simplified forms, hardly fit the accounts of Russian nineteenth-century painting that focus on the development of the realist school. Questioning the artist's anomalous status, this essay discusses his canvases from the 1870s and 1880s within the broader framework of nineteenth-century popular visual amusements, discourses on realism, and the physiology of vision. Considered through this wider lens—beyond the institution of easel painting and beyond Russia—Kuindzhi is revealed to be an innovator whose approach to painting was profoundly modern and aligned with the aesthetic preoccupations of many west European artists. His painterly pursuits and exhibition practices, furthermore, force a reconsideration of the biases associated with the established narrative of modern art in the west.

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Koos, Marianne. « Malerei als Augentrug. Alexander Roslins Selbstporträt mit Marie-Suzanne Giroust-Roslin an der Staffelei ». Zeitschrift für Kunstgeschichte 83, n^o 4 (16 décembre 2020) : 506–53. http://dx.doi.org/10.1515/zkg-2020-4004.

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AbstractThis article examines the unique self-portrait of Alexander Roslin and his artist wife, Marie- Suzanne Giroust-Roslin (1767, Stockholm, Nationalmuseum), in which a male painter for once leaves the place at the easel to a painting woman. This complex multi-figure painting not only commemorates the couple’s friendship with the sitter, Henrik Villhelm Peill. Rather, it is conceived as a double image of love and advertisement – especially for her art. Further, with this painting Roslin takes a programmatic stand for his own concept of painting as much as for that of his wife: Criticized by Denis Diderot in 1765 for not painting but – like women at the toilet table – literally applying makeup, in this selfportrait with his painting wife Roslin undertakes a conspicuous narrowing of these (so different) activities. Roslin takes up the reproach of beautiful appearance and deception in order to let this criticism collapse in a second moment in the artistic concept of the artful deception of the eye – in a deceptively real painting, which – unlike women’s makeup – negates all difference between being and appearance. An in-depth analysis of the extraordinarily refined self-portrait of Madame Roslin with the laughing self-portrait of Maurice-Quentin de La Tour supports this interpretation. In a broader perspective this study is understood as a contribution to the investigation into the metaphorization of painting layers, picture surfaces, and forms of color application in pre-modern art and art criticism.

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Koch Dandolo, Corinna L., Gilda María Pasco Saldaña, Mirta Asunción Insaurralde Caballero, Monserrat Alma Gómez Sepúlveda, Arturo Ignacio Hernández-Serrano, Alejandro Mesa Orozco, Joselyn Alvarado Calderón et al. « Terahertz Time-Domain Imaging to Guide a Conservation Intervention on a Stratified Easel Painting ». Journal of Infrared, Millimeter, and Terahertz Waves 39, n^o 8 (14 juin 2018) : 773–84. http://dx.doi.org/10.1007/s10762-018-0505-3.

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Pospíšilová, E., K. Novotný, P. Pořízka, J. Hradilová, J. Kaiser et V. Kanický. « Influence of laser wavelength and laser energy on depth profiling of easel painting samples ». Chemical Papers 73, n^o 12 (13 mai 2019) : 2937–43. http://dx.doi.org/10.1007/s11696-019-00803-z.

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Koch-Dandolo, Corinna L., Troels Filtenborg, Kaori Fukunaga, Jacob Skou-Hansen et Peter Uhd Jepsen. « Reflection terahertz time-domain imaging for analysis of an 18th century neoclassical easel painting ». Applied Optics 54, n^o 16 (28 mai 2015) : 5123. http://dx.doi.org/10.1364/ao.54.005123.

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Sobczak, Tomasz. « A Few Words about Tomasz Sobczak’s Easel Painting “You Are an Artist Only from Time to Time” (Mr. Nobody) ». Creativity. Theories – Research - Applications 2, n^o 2 (1 novembre 2015) : 249–64. http://dx.doi.org/10.1515/ctra-2015-0024.

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Abstract The energy of a painting is born with every brush stroke. The vitality, the acerbity, the distance, the record of emotions in general - these are only a few elements of the reality in which a PAINTING is born. In the likeness of fulfilment together with the projection of dreams. A unique diary of passing thoughts that are written within a line and a dab, thoughts that would never find their way to a recipient if not for the genius of an attempt. An attempt to register a mood, the moments when one looks for respite, together with the moments infused with the fever of the creation of answers to a question of the order and the harmony. The meaning of creation, constant in its message. Give the best you may and can give, and you will get even more. May you, dear sir, keep living in a creative and unique way! May you, dear lady, keep living in a creative and unique way!

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Tretyakova, A. E., Yu T. Hanova et V. V. Safonov. « Искусство живописи в Чили и реставрационные технологии THE ART OF PAINTING IN CHILE AND RESTORATION TECHNOLOGIES ». Вестник антропологии (Herald of Anthropology), n^o 2022 №3 (12 septembre 2022) : 209–20. http://dx.doi.org/10.33876/2311-0546/2022-3/209-220.

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Произведения искусства станковой масляной живописи — живые свидетели своего времени, эпохи, хрупкие и беззащитные перед переменами и небрежным отношением. Каждый автор, художник‑живописец — это не только видение талантом окружающего мира, но и источник информации о культуре и социуме того периода, когда он жил. В данной работе сделана попытка исследовать картину с целью атрибуции и реставрации, сохранения культурного пласта, оставленного последующим поколениям. Объектом исследования является живописное произведение из частного собрания российского коллекционера без подрамника с множественными разрывами, утратами, повреждениями красочного слоя — трещинами в местах заломов холста, также кракелюрами по всей поверхности произведения. Как показало изучение живописного слоя, автором произведения является чилийский художник Альберто Валенсуэла Льянос, который обозначил время создания — 1904 г. Размеры картины — 68 см х 59 см. Работа нехарактерна для А. В. Льяноса, рисовавшего в основном пейзажи, т. к. это женский портрет. Картина, в целом, находилась в неудовлетворительном состоянии, наблюдается общая хрупкость холста, пожелтение по всей поверхности, коричневые масляные пятна, общее пылевое загрязнение. Авторами проведен комплекс реставрационных работ, обеспечивающих определенное восстановление облика картины, позволяющее проводить дальнейшие исследования. Easel oil paintings are living witnesses of their time, fragile and defenceless in the face of change and negligence. Each painter provides not only a talent’s vision of the world around them, but also information about the culture and society to which they belonged. This paper attempts to investigate a single painting in order to attribute and restore it and to preserve the cultural layer it represents for subsequent generations. The object of the study is a painting without stretcher with multiple tears and losses of the paint layer — cracks in the creases of the canvas and craquelures covering the entire surface of the work. The study revealed that the painting is by the Chilean artist Alberto Valenzuela Llanos, and is dated 1904. Dimensions of the painting — 68 cm x 59 cm. The work is unusual for Valenzuela Llanos, who painted mainly landscapes, because it is a portrait of a woman. The painting, in general, was in poor condition, with general fragility of the canvas, yellowing over the entire surface, brown oil stains, and general dust contamination. The authors carried out restoration works, allowing for further research of the painting.

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Собкович Ольга. « ТВОРИ ПЕТРА ХОЛОДНОГО-СТАРШОГО З ПРИВАТНИХ КОЛЕКЦІЙ. НОВІ ШТРИХИ ДО ДОСЛІДЖЕННЯ МИСТЕЦЬКОЇ СПАДЩИНИ ». International Journal of Innovative Technologies in Social Science, n^o 2(23) (28 février 2020) : 3–9. http://dx.doi.org/10.31435/rsglobal_ijitss/28022020/6942.

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This publication analyses the artwork by Petro Kholodny Sr., the distinguished artist of the first third of the XX century, from private collections, that gives an opportunity to better comprise and study the artist's searches in different periods of his creative work in the visual-stylistic and genre-thematic spheres. The Moscow collection of easel paintings by the Kholodny family is analysed, showing a range of artistic interests up to 1917. Landscapes and sketches from this collection testify his fascination with plein-airism and, at the same time, with heritage of impressionism. Artist’s portraits and landscapes from various private collections outside and within Ukraine and little-known works of sacral painting of the Lviv period are also analysed: sketches of icons; the “Blahovishchennia” (Annunciation) icon reflecting the national line of modernist style in Ukraine. The mentioned images greatly expand the interpretation of Kholodny Sr’s searches in the synthesis of modern art and Ukrainian-Byzantine tradition and his coloristic feeling.

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Stoyanova, Magdelena, et Tibor Lukić. « Mapping the Conservations Status of Easel Painting. Craquelure Structure Visualization by Binary Image Segmentation Approach ». Digital Presentation and Preservation of Cultural and Scientific Heritage 5 (30 septembre 2015) : 141–55. http://dx.doi.org/10.55630/dipp.2015.5.13.

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In easel painting (icons) mapping the status of conservation (MCS) is a complex process of prospecting in various spectral, graphic, and spatial techniques, integral analysis and “technical” visualizations of the data whose function is to lay out detected damages or symptoms, not directly perceivable from the VIS, UV, IR or X-r imaging. In this work, the results of a multimethodological survey applied to the end of detecting sharp discontinuities (boundary of cavities, wrinkles and fractures in the host medium) are illustrated. As, due to the microscopic size and depth of a crackle/wrinkle fragment or net, it may be rather difficult to single out its position and extent because of the generally low signal-to-noise (S/N) ratio, binary image segmentation and highresolution data acquisition has been adopted for improving the visibility of the studied area.

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Bochi, Patricia A. « The Enigmatic Activity of Painting the Seasons at an Easel : Contemplative Leisure or Preemptive Measure ? » Journal of the American Research Center in Egypt 40 (2003) : 159. http://dx.doi.org/10.2307/40000297.

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Libby, Susan H. « Beyond the Easel : Decorative Painting by Bonnard, Vuillard, Denis, and Roussel, 1890-1930. Gloria Groom ». Studies in the Decorative Arts 9, n^o 2 (avril 2002) : 147–50. http://dx.doi.org/10.1086/studdecoarts.9.2.40663014.

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Caselli, Elisabetta, Simonetta Pancaldi, Costanza Baldisserotto, Ferruccio Petrucci, Anna Impallaria, Lisa Volpe, Maria D’Accolti et al. « Characterization of biodegradation in a 17th century easel painting and potential for a biological approach ». PLOS ONE 13, n^o 12 (5 décembre 2018) : e0207630. http://dx.doi.org/10.1371/journal.pone.0207630.

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Davis, Mary B. « Through native eyes : American Indians write about their art ». Art Libraries Journal 17, n^o 4 (1992) : 5–12. http://dx.doi.org/10.1017/s030747220000804x.

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During the 20th century, and particularly since its adoption of easel painting, the continuing development of American Indian art has resisted attempts to contain and circumscribe it within definitions and categories imposed by outsiders — art critics, art historians, and the authors of many of the most readily available books on the subject. Native Americans are determined not only to remain in control of their art but also to have a say in how it is interpreted. A bibliography of sources follows an introductory survey of Native American statements about Native American art.

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Khairulina, A. V. « ON THE METHODS OF O. N. LOSHAKOV IN TEACHING EASEL PAINTING From his experience at the Vladivostok Art School in 1960–1962 ». Arts education and science 1, n^o 3 (2021) : 16–21. http://dx.doi.org/10.36871/hon.202103002.

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The article explores the first pedagogical experience of Academician of the Russian Academy of Arts, Honored Artist of the Russian Federation, Professor Oleg Nikolaevich Loshakov in Vladivostok. The work provides a brief overview on the history of the formation of professional arts education in the Far East. Positive influence of Oleg Loshakov — graduate of the Moscow State Academic Art Institute named after V. I. Surikov on improving the quality of the educational process at the Vladivostok Art School is noted. He contributed greatly to the development of fine arts in Primorsky Krai as a teacher and representative of the Moscow School of Painting. Further creative activity of O. N. Loshakov who painted landscapes on Shikotan Island together with a group of young artists that were his first graduates is described. The materials of the article expand the range of ideas about the artist's work in the Far East, and reveal new aspects of his landscape paintings of the 1960s. Special consideration is given to the monumental landscape in the master's work. The relevance of the topic is determined by the lack of materials devoted to the period of O. N. Loshakov's formation as a teacher and artist.

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Cruz, António João, Helena P. Melo, Sara Valadas, Catarina Miguel et António Candeias. « The Matter from Which an Orange Colour Is Made : On the Arsenic Pigment Used in a Portuguese Mannerist Painting ». Heritage 5, n^o 3 (13 septembre 2022) : 2646–60. http://dx.doi.org/10.3390/heritage5030138.

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The painting The Descent from the Cross, painted in 1620 by Pedro Nunes (1586–1637), presents two large figures with orange-coloured fabrics with conservation problems. Through the analysis of two samples with several analytical techniques, especially scanning electron microscopy combined with X-ray spectroscopy and Raman microscopy, it was possible to conclude that the orange colour is due to a complex artificial pigment made of amorphous arsenic sulphide. It essentially consists of spherical particles obtained by sublimation and condensation, possibly from orpiment, which ended up being joined with irregularly shaped particles resulting from crushing of the residual fraction obtained by solidification and fusion. This is a rare documented case of the extensive use of artificial arsenic sulphides in European easel painting, especially outside Italy. The conservation problems can be explained by the great sensitivity of the arsenic sulphides to photodegradation and the formation of powdery compounds.

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Martínez-Weinbaum, Marina, Míriam Lozano-Carbó, Laura Maestro-Guijarro, Paula María Carmona-Quiroga, Mohamed Oujja et Marta Castillejo. « Comparison of the Use of Traditional Solvents and Nanosecond 213 nm Nd:YAG Laser in Thinning Naturally Aged Varnish on a Contemporary Oil Easel Painting ». Heritage 6, n^o 2 (22 janvier 2023) : 957–67. http://dx.doi.org/10.3390/heritage6020053.

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The removal of aged varnish on artistic paintings is a delicate intervention and the use of UV laser for this purpose is of special relevance. In particular, the use of nanosecond-pulsed lasers operating at 213 nm has been noted to produce good results in mock-up samples, but it has not been tested in real artworks. In this paper, we report on the application of this procedure for the first time on a contemporary oil easel painting with naturally aged varnish. The obtained results were compared with those achieved using traditional solvents, specifically a mixture of ligroin:acetone. Additionally, hot water was used to remove surface dirt. The performance of the different cleaning procedures was assessed with a range of techniques, including low-power microscopy, UV lamp illumination, laser-induced fluorescence (LIF), and laser-induced breakdown spectroscopy (LIBS). Of the tested treatments, the best performance is obtained by nanosecond laser irradiation at 213 nm using an adequate laser fluence (typically 0.14 J/cm2) that allows controlled and efficient removal of the outermost aged varnish layer without affecting the underlying non-aged varnish and paint layers.

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Articles de revues sur le sujet « Of easel painting »

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