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Rajbhandari, Jasmine. "Aestheticism in Uttam Nepali’s Abstract Works". Journal of Fine Arts Campus 4, nr 1 (31.12.2022): 18–27. http://dx.doi.org/10.3126/jfac.v4i1.51758.
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The aim of this paper is to explore aesthetic beauty in abstract paintings of Uttam Nepali. The available researches had only found out that he was an abstract painter and painted his feelings and emotions. This article argues that forms and colors he created are for the sake of their beauty. The art forms provide aesthetic pleasure to the viewers. The abstract paintings are analyzed and interpreted in qualitative method. The article focuses that Nepali created the structure of colors and lines by proper arrangements which increases the aesthetic qualities of abstract works and has no any utility purpose. It concludes that the value of Uttam Nepali’s abstract art in the development of Nepali contemporary art is only because of his individual aesthetic form.
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Rajbhandari, Jasmine. "Female voice in Nepali Art". Journal of Fine Arts Campus 5, nr 2 (31.12.2023): 8–17. http://dx.doi.org/10.3126/jfac.v5i2.67284.
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The emergence of female voices in Nepali art noticeably began in 1989. The recent practices of female Nepali artists not only represent their personal emotional experiences but also convey strong messages. Their work talks about the various challenges faced by women in the patriarchal society of Nepal, and aims to bring positive changes such as equal space and freedom from social barriers. They not only address gender issues, but also question the right to give birth and abortion. Additionally, they address social disorders such as rape, Chhaupadi practices, untouchable issues during menstruation, and many other political issues in their work. This writing is based on qualitative research design and explores the work of ten Nepali women artists, using the theory of Feminism. Today, Nepali art is rapidly developing due to globalization and education. One of the main reasons for this progress is the rise in consciousness and education of female artists. They have demonstrated unique vision and creativity to lead the entire genre towards a better future. National and international art galleries exhibit their works, and even international museums collect their pieces. Their work is attracting the art market and also is getting critical acclaims.
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Subedi, Abhi. "Abstract Paintings and Nepali Context". SIRJANĀ – A Journal on Arts and Art Education 8, nr 1 (13.07.2022): 6–21. http://dx.doi.org/10.3126/sirjana.v8i1.46652.
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Abstract art as discussed in this essay covers a period of time that spans about sixty years. The introduction of the abstract art in Nepal marks a certain opening in both art education and practice among the artists. The initial challenge of the abstract art was to make it a familiar subject both among the art lovers as well as among those who respected art but were not able to appreciate it fully. A challenging period came when artists began to work towards making abstract art an acceptable and a very useful artistic practice. The tension between skill of the artists and the indifference of the public is a universal problem. But now the gap is being narrowed down everywhere. The concept of abstract art in Nepal comes from education in schools in Europe and India in the initial phase and later in Nepal itself where art pedagogy became a norm in different art schools and colleges. But artists freely made their paintings abstractas the commonly accepted mode of art. Artists of different generations execute abstract paintings without being critical or interpretative about it. But now things are changing in Nepal. New generation artists who are oriented to the abstract and free forms of art are working to develop a system by putting together the art education, practice and very importantly, the level of public acceptance for that. We should carefully review the history and the present status of that. We should also make the art works 'desirable'. The other important character of Nepali abstract painting is that the artists always work in the contact zones of the representational and the expressionist features. I have interpreted that meeting point as a contact zone. This article attempts to give examples of that dynamic process. Nepali abstract paintings mark a new mode of artistic dynamism in Nepal.
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Sharma, Yam Prasad. "Contemporary Nepali Arts: Some Shocking Trends". Journal of Fine Arts Campus 3, nr 1 (31.12.2021): 1–5. http://dx.doi.org/10.3126/jfac.v3i1.42488.
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In contemporary Nepali arts, there are some trends that shock any sensible viewer or any informed person in the area. Some artists repeat the same subject matter, figure and technique throughout their life or from the beginning of their profession till now. The presentation of the same thing all the time creates monotony and nausea in the viewers. The question arises: how can an artist do the same thing all the time? Some artists see the works of famous western artists in art history books, art magazines and the world wide web, and they copy their subject matters and techniques thinking that they can create works and be famous. Some artists randomly splash and pour colors on the canvas and say that the mess and confusion in the canvas is abstract art. They opine that nobody can understand abstract art. They are fooling the viewers. Some artists call themselves modern Nepali artists, for they have practiced modern techniques of western arts. Some artists print the photograph on the canvas, make the photograph rough using paints and call it their paintings thinking that the viewers will be fooled. Some artists do realistic paintings with sweats and tireless efforts to earn their livelihood but when it comes to the exhibition of artworks, they make abstract paintings in few minutes. We can find such naïve and shocking trends in some senior artists as well, and young artists following their footprints. As a result, a substantial portion of Nepali art has already entered the whirlpool presenting its non-existent situation which demands immediate rescue from real artists and intellectuals. The scenario of art can be an analogy of the social and political situation of Nepal. We talk about great revolutions, changes and achievements but the situation of people is getting worse and civilization has been degenerated.
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Darshandhari, Saur Ganga. "Appropriating the Mona Lisa in the Contemporary Nepali Painting". SIRJANĀ – A Journal Of Arts and Art Education 9, nr 1 (6.07.2023): 78–89. http://dx.doi.org/10.3126/sirjana.v9i1.56271.
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There is no boundary in creating, or recreating new work whether in art, literature, music, film, drama, or any medium. The practice of artists using original objects or images in their artworks with changes of the original ones is considered appropriation in art, or appropriate art. This paper focuses on the appropriation of the Mona Lisa in the contemporary Nepali paintings. The Mona Lisa, the most sought-after work of art, was created by Leonardo Da Vinci during c. 1503-1506 is presently housed in the Louvre Museum, Paris. There are several examples of Vinci’s art turned into appropriate art by artists from around the world. In 1919, Marchel Duchamp appropriated adding a moustache and beard with a pencil in a postcard reproduction of the Mona Lisa. Moreover, this appropriation of the Mona Lisa can be seen in Nepali artists' paintings as well. It can be seen in the works of the eminent artist Manuj Babu Mishra to the up-and-coming artists like Laxman Bajra Lama and many others. While making conscious and unconscious dialogues with the Mona Lisa, Nepali contemporary artists seem to be apparently driven by traditional myths, icons, motifs, and religions. Here, ten of the appropriate arts of the Mona Lisa, created by contemporary Nepali artists will be discussed.
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Sharma, Yam Prasad. "Socio-Cultural Dynamics in K. K. Karmacharya’s Artworks". AMC Multidisciplinary Research Journal 3, nr 1 (31.12.2022): 24–38. http://dx.doi.org/10.3126/amrj.v3i1.55819.
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Contemporary Nepali artist K. K. Karmacharya's artworks present socio-cultural issues of the contemporary context of Nepal. The life of the people, their context and activities vividly appear on the canvas. The paintings explore spiritual themes, cultural rituals and social activities in the community. The compositions not only represent the external world but also respond to the situation in visual form. Nepali tradition and ordinary works get space on his canvas. Some art forms mirror the society as it is and some works take corrective measures. They criticize the people and society from distance. The works are connected to the artist, his surroundings and his living experience. This study follows a qualitative approach for research since the artworks can be interpreted in multiple ways.
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Hamal, Koshal. "Inter-Art Dynamics of Kalapremi’s Artworks: A Critique of Contemporary Nepali Arts". Outlook: Journal of English Studies 15 (15.07.2024): 127–36. http://dx.doi.org/10.3126/ojes.v15i1.67771.
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The 'inter-art' refers to an artwork that is composed of more than one art form of the visual arts, such as sculpture, painting, video art, photography, ceramics, installation, performance, etc., showing the relationship between them. This study reveals the idea of inter-art relationships in the works of Gopal Kalapremi Shrestha, widely known as ‘Kalapremi’. The main objective of this paper is to explore the inter-art dynamics of Kalapremi’s artworks. The paper also aims to identify the key art genres in the creations of Kalapremi and to discuss the underlying meaning of his style. The paper reveals the importance of having multiple skills and techniques for an artist in today's contemporary art contexts. The effect of the inter-art relationship shows the dynamism, progressiveness, limitlessness, and unconventionality of an individual art practice. It mainly focuses on the inter-art relationship as a major tool to analyze creativity.
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Subedi, Abhi. "Widening Sphere of Modern Art and Literature in Nepal: A study of the interface between them". SIRJANĀ – A Journal on Arts and Art Education 7, nr 1 (21.09.2021): 6–27. http://dx.doi.org/10.3126/sirjana.v7i1.39340.
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I see modernism in painting in this region as an evolutionary process that should trigger discussions about its constituent features. This argument harps on the two questions. Is modernism only an emulation of the Western style and methods in paintings and literature, or is it also the evolution of native cultural consciousness that is reflected in the experiments made by painters in art and by writers in creative literary works? To answer these questions, this article includes discussions about evolutions of modernism in paintings and culture in meta-artistic and literary discourses. Examples are drawn from very selective discussions about literature and works of art for reason of space. The basic argument of this article is that modernism in Nepali paintings should be seen in its evolutionary process. Modernism in art is not a condition that we see in palpable form today. It has grown over a long period of creative engagements and efforts both by painters and literary writers. Nepali art students' exposure to art education in Kolkata and literary writers' engagements with print-capitalism in Banaras over a century ago have played significant roles in introducing modernism in both paintings and literature. But I have said clearly that the use of the Western techniques and education has played great role in this process. We can see that in the interface between art and literature, which should be seen in the widening sphere of such sharing in terms of both techniques, and native orientations.
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Sharma, Yam Prasad. "Some Emerging Nepali Abstract Painters of 1980s". SIRJANĀ – A Journal Of Arts and Art Education 9, nr 1 (6.07.2023): 48–63. http://dx.doi.org/10.3126/sirjana.v9i1.56256.
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Nepali artists of 1980s further developed the subjective, abstract and plural art trends with their individual identity in the paintings. The movement was from objective representation to subjective expression; concrete reality to abstract concept; from external world to the inner experience; and from visible appearance to the invisible existence. Some representative artists of this period are Kiran Manandhar, Sharad Ranjit, Navindra Man Rajbhandari, and Jeevan Rajopadhyay. Mananandhar's paintings emphasize the inner expression through altered art forms. Sharad Ranjit presents the dancing colors suggesting the implied rhythm of the universe. Rajbhandari's artworks present the quest of light in the darkness and rhythmic melody in the silence. Jeevan Rajopadhyay's colorful compositions stand for themselves with the focus on the aesthetic pleasure of the colors and abstract shapes. Creative works of these artists attempt to capture the invisible and intangible aspects of reality in the aesthetic visual form. There is the curiosity to know the unknown – to see the unseen. The visual forms attempt to present this side of the reality through lines, rhythmic curves, unusual shapes, strange colors, and novel images. Since the visual forms are plural and open-ended, there is the possibility of multiple interpretations. Thus, this research is qualitative.
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Budhathoki, Mahendra Kumar. "Karuna Rasa- Aestheticized Pathos as Tragedy in Parashu Pradhan's The Telegram on the Table and A Relationship". Pursuits: A Journal of English Studies 8, nr 1 (7.05.2024): 110–18. http://dx.doi.org/10.3126/pursuits.v8i1.65342.
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Art and literature essentially depict a life and its emotions; the portrayed emotions in works of art touch the readers’ heart. The readers feel both pain and pleasure in tragedy. The study aims to expose karuna rasa, pathetic, tragic emotions in Parashu Pradhan's The Telegram on the Table and A Relationship from the perspective of the rasa theory. This paper discusses the tragic feelings and pathetic emotions of Nepali people depicted and inferred in Pradhan’s stories; it also analyzes the formation of karuna rasa, pathetic relish in reading his stories. This study is a library research and qualitative research; it has exploited Bharatmuni’s rasa theory as a theoretical tool. The main finding of the research is that the main rasa, emotion is the emotions of pathos, karuna rasa in these stories. The death of Krishna’s wife in the first story and the death of Ganga in the later one generate the pathetic sentiment, karuna rasa in the stories. The sufferings and miseries of Krishna and of Gyancha and Ganga in Kathmandu city in the later one evokes tragic emotions. Pradhan provides ample rooms for rasa evocation in the stories. The Nepali situation and environment intensify karuna rasa, aestheticized pathos and tragic relish in the stories. Although rasa realization may differ from one readers to next, pathetic sentiment, tragic feeling or karuna rasa is evoked in reading stories. The karuna rasa realization posits his writings grandeur in Nepali literature.
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Sharma, Yam Prasad. "Nepali Paintings: A Departure From Religious Contents to Secular Subject Matters". Tribhuvan University Journal 36, nr 01 (31.12.2021): 85–95. http://dx.doi.org/10.3126/tuj.v36i01.43582.
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Traditional Nepali paintings are religious since they are based on Hindu and Buddhist myths. Manuscript illuminations and paubhas, the examples of religious paintings, have magical and mystical contents. Characters of myths have been portrayed and mythical stories have been narrated in visual form. There are a series of changes from traditional Nepali paintings to contemporary works. In painting, secular elements are introduced through didactic visual narratives from Hitopadesha manuscript. The moral lessons are taught through animal fables. Early paubhas are fully religious but later paubhas include portraits of the donors or the persons who asked to paint the picture at the bottom of the painting. The main part of the painting is religious but the portraits are secular. In later paubhas, the figures of the donors become larger and take equal space in the painting. Gradually, the portrait became bigger than the religious figure at the end of the Malla period. From the beginning of the Shaha period, portraits existed independently. During the Rana rule, the art of portrait painting reaches the climax since the Ranas loved the image of themselves and their family members. The artworks exist independently without reference to myths and religious texts. There is the transition from religious contents to secular subject matters. This article traces the development of secular elements in Nepali paintings. It compares the paintings in terms of the inclusion of secular elements.
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Khanal, Hota Raj. "Critical Art of Teaching Writing: Nepali Educators' Insights into Crafting Young Minds". Education and Development 33, nr 1 (18.07.2024): 1–16. http://dx.doi.org/10.3126/ed.v33i1.66565.
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This study is based on the perception and understanding of preprimary level teachers of Nepal. The study was based on the narrative inquiry of the qualitative paradigm. The objective of this study was to explore the freedom in teaching writing to enhance writing skill in preprimary level learners. Based on the objective as well as through the eyes of participants, the collected information was interpreted and concluded that innovative techniques are lacking at preprimary level for effective learning. The study also used social literacy as a lens for the interpretation and description of information to find out the hidden reality. To reveal a method of teaching writing skill, information was collected through in-depth interview with two participants from two different schools selected purposely. Collected information was tabulated, categorized and developed into themes. This study revealed that wall writing, ground writing, and carbon copy symbols techniques are innovative techniques of teaching writing for small children who study at preprimary level and that are incorporated with freedom and natural learning.
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Sharma, Yam Prasad. "Joyful Colors in Krishna Prakash Shah's Abstract Artworks". International Research Journal of MMC 2, nr 3 (3.10.2021): 13–23. http://dx.doi.org/10.3126/irjmmc.v2i3.40056.
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Aesthetic pleasure and joy are the dominant features of Krishna Prakash Shah's colorful compositions. Shah, one of the renowned contemporary Nepali abstract artists, presents art forms without referential and recognizable contents. In other words, the form itself is its content. The works have the power to arouse rapture and relish through harmonious colors although the viewers may not able to find fixed significance. Coherent colors, rhythmic waves, playful shapes and organic composition in his paintings contribute to create beauty and provide aesthetic pleasure to the viewers. This research paper analyzes Shah's abstract paintings from the perspective of aestheticism and traces joyful colors and rhythmic waves in his works. The study uses qualitative methods of research since there can be multiple interpretations of the same artwork, and the subjectivity of the critic has a significant role to derive the thesis statement.
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Chitrakar, Madan. "Purna Man Chitrakar (1864 - 1939 AD): A Pioneer - Least Celebrated". SIRJANĀ – A Journal on Arts and Art Education 5, nr 1 (1.12.2018): 16–27. http://dx.doi.org/10.3126/sirjana.v5i1.39738.
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A frequent debate or an issue favorite amongst the art-history buffs is usually found around when and who first used oil paints as a medium of painting and introduced photography in Nepal. On many occasions, the credits were attributed to a legendary name – Bhaju Man Chitrakar or Bhaju-macha. But it appears now many of those narratives were made more based on the popular hearsays rather than actual study of his oeuvre of works or a credible analysis of the circumstances then.
The essay here seeks to analyze the roles of the prominent artists then – spanning late 80s of the 19th century to the late 30s of the 20th century. It is found the role played by a least celebrated artist Purna Man Chitrakar, seemed more credible – in ushering a new era, described as ‘Pre-modern’, with the irrefutable accounts of his workings in oil colors and photography.
Moreover, his mentorship of many of the junior artists later proved momentous – leading to create different new streams in the evolution of Nepali Art – later.
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Shalem, Avinoam. "“What a Small World”: Interpreting Works of Art in the Age of Global Art History". Getty Research Journal 13 (1.01.2021): 121–42. http://dx.doi.org/10.1086/713432.
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Adi, Sigit Purnomo. "PELATIHAN PEMBUATAN MINIPRINT DENGAN MENGGUNAKAN MEDIA TRIPLEK DI KOMUNITAS MAKMOER ART PROJECT SUKOHARJO". Abdi Seni 12, nr 1 (3.11.2021): 45–50. http://dx.doi.org/10.33153/abdiseni.v12i1.3748.
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Abstract Miniprint is one of the print size formats in graphic arts that is not yet very popular in Indonesia. Miniprint format prints in small sizes both matrix and paper. Printing in small sizes is fun. Small format requires patience and technical skill in visualizing the artist's ideas and ideas. Considering that miniprints have many features apart from a small format, they can also be carried everywhere and can also be used as an aesthetic element or room decorator and have good selling power, encouraging the author to hold a workshop or training on making miniprints in the Makmoer Art Project Sukoharjo community. The selection of the training venue in the Makmoer Art Project Community is because this community is indeed engaged in the arts and humanity. A community that always provides free workshops to people in need. Community service methods, problem identification, training and mentoring, evaluation. The works produced in this training after completion are then framed in a minimalist way. The miniprints produced are small-sized works of graphic art, using a matrix of plywood. These works are used as aesthetic elements of the house or as room decoration. Works for the aesthetic element of the house are currently popular among the public so that they have a selling value and can be used as an alternative in entrepreneurship.
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Gentle, Paul, i Marco Giliberti. "Were valuable art works an economic form of money during the German Third Reich Period and its aftermath?" Public and Municipal Finance 6, nr 4 (20.12.2017): 33–38. http://dx.doi.org/10.21511/pmf.06(4).2017.04.
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This examines the special use of art works as a store of value in Germany during the Third Reich era. Some Jews were able to buy their freedom, as the fascists closed in. Then as the Third Reich fell, some escaping fascists used art works to secure freedom outside of Germany. One of the characteristics of money is a store of value. When confidence in a currency is present, the more conventional form of money takes precedence. A respected, economic form of currency and coin has all three elements of money: medium of exchange, store of value and unit of account. This last trait is especially absent when using various art works as money, as there is no agreed upon unit of account with such different art. Furthermore, art works could not qualify as a medium of exchange, since only a very small amount of the population was involved in this way of dealing in art during the stressed times for the Third Reich.
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Bowen, Barbara C. "A Neglected Renaissance Art of Joking". Rhetorica 21, nr 3 (2003): 137–48. http://dx.doi.org/10.1525/rh.2003.21.3.137.
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This article proposes that we add to the small number of Renaissance works on the art of creating or using facetiae an almost unknown De arte iocandi by an almost unknown Mattheus Delius, who died young. The work is a poem in four books, in Ovidian elegiac couplets, obviously inspired by the De arte bibendi of Vincentius Obsopoeus; both works have been assumed to be paradoxical encomia but arein fact seriousalbeit playful compendia of rules. Delius is interested not in the rhetorical use of jokes as weapons, but in something very close to Erasmus's festivitas. The preface by Melanchthon almost qualifies as an independent art of joking, and together they add valuable information to our knowledge of Reformation wit.
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Thomas, Leslie. "ART WORKS Projects: Claiming Public Space for Human Rights". Revista Electrónica de Derecho Internacional Contemporáneo 3, nr 3 (18.12.2020): 167–70. http://dx.doi.org/10.24215/2618303xe013.
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ART WORKS Projects (AWP) was born out of desperation. A photo of a small boy who had been murdered in a genocidal attack against civilians in Darfur by a Sudanese government intent upon their eradication led to the formation first of the DARFUR/DARFUR exhibition of large-scale exterior projections and eventually to AWP. The founders, by and large architects, filmmakers, editors, photographers, lawyers, and designers, weren’t naive enough to believe that art can always end genocide (or any other grave human rights abuse), but they knew it impacted them and so they theorized that the same could happen to policymakers, voters, and ultimately, perpetrators.
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Yang, Zeyin. "Application and Development of Digital Enhancement of Traditional Sculpture Art". Scientific Programming 2022 (3.02.2022): 1–8. http://dx.doi.org/10.1155/2022/9095577.
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Sculpture art, as an important carrier of spiritual civilization, also portrays a prosperous scene as an industry with urban and cultural development. Three-dimensional technology offers a new platform for sculpture creation, allowing for the digitization of sculpture works via electronic information technology, and the display of sculpture works in front of people via displays, facilitating the exchange and dissemination of information and promoting the growth and progress of the entire sculpture creation industry. We plan to use digital enhancement technology to conduct small-scale creation experiments on traditional sculpture works, discuss the method of GA (Genetic Algorithm) in image restoration processing, investigate the method of image segmentation processing based on the genetic algorithm, and propose the method of image segmentation processing based on the fuzzy membership surface genetic algorithm, in order to verify and solve the creation difficulties of traditional sculpture works.
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Akimov, Dmytro. "Marketing researches and promotion works of art in the fine art’s marketing". Almanac "Culture and Contemporaneity", nr 1 (31.08.2021): 139–44. http://dx.doi.org/10.32461/2226-0285.1.2021.238609.
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The purpose of the article. Research and analysis of marketing technology algorithms by means of market segmentation in fine arts marketing. The methodology of the study is to apply comparative, empirical, and theoretical methods. This methodological approach allows us to analyze the processes of segmentation of the fine arts market with the subsequent use of research results in the marketing processes of promoting works of art from artist to consumer. The scientific novelty consists in expanding the notions about the research of marketing processes in the art market. The article establishes that in the second half of the XX century - at the beginning of the XXI century in the art market very actively and effectively were used and are used marketing models and technologies. But professional scientific activity, scientific researches in the field of art market marketing have been conducted and are conducted insufficiently. Therefore, it can be stated that artistic creativity is the area of meticulous attention of large, small, and medium-sized businesses, which, in turn, created the art market, but still has not attracted specialists in this field of sociological, economic, marketing sciences. Scientific, research work on the positioning of works of art aims to determine the main market qualities of works of art, their recognizability for further promotion of works in the markets using advertising and other marketing mechanisms. The main purpose of the article: analysis of the specifics of the realization of classical marketing technologies (marketing researches, positioning of works of fine art) in the marketing of fine arts. Conclusions. The analysis of the problems of using traditional marketing technologies in art marketing carried out in the article gives grounds to state that such technologies are used in the art market, but they differ significantly from other market areas. Besides, due regard should be paid to the effectiveness of marketing technologies in the art market. Note that such traditional marketing technology as marketing researches is insufficiently used in the marketing of fine arts. Technology deserves special attention in art marketing. The technology of positioning works of art and artists deserves special attention in art marketing. The positioning of works of art in the implementation of the marketing approach allows the market to implement such strategies to meet the demand for works of art as: negative demand, lack of demand, latent demand, declining demand, irregular demand, full demand, excessive demand, unwanted demand.
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Pan, Liang. "Trends in the development of institutions and forms of artistic communication in modern St. Petersburg". Философия и культура, nr 4 (kwiecień 2024): 127–40. http://dx.doi.org/10.7256/2454-0757.2024.4.70254.
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The subject of the study is the works of contemporary St. Petersburg artists of different generations and creative trends, as well as the forms and features of their communication with each other and with the general as well as professional public. The trends of artistic communication in the city are determined by the activities of such institutions as art and non-art museums, art galleries and exhibition centers, which are a classic form of presentation of contemporary art; alternative venues such as creative spaces and art clusters. The field of attention also includes the attraction of St. Petersburg authors to the organization of small artistic associations, mainly art groups, for example, "Unconquered", "North-7", "Parasites", etc. In addition to works of art, theoretical works and reflections by researchers of contemporary art in St. Petersburg and the spaces of its public presentation are involved. The methodological basis is the analysis of the works of St. Petersburg masters of the beginning of the XXI century in the context of the development of urban institutions of artistic communication. The research is based on theoretical works devoted to the problem of artistic communication and trends in the current art process. Comparative-interpretative and typological methods are used to compare the works of artists and forms of artistic communication. The problem of artistic communication in the field of fine art in St. Petersburg is becoming the subject of a separate study. This area of city life is currently developing quite dynamically, as new art associations, curatorial practices and alternative classical platforms for the presentation of the work of authors belonging to different generations and art movements are emerging. Traditional museums and galleries, as well as creative spaces, art clusters and other often non-core institutions, such as libraries and cafes, are involved in this process. Against this background, the features of St. Petersburg artistic communication crystallize, which is characterized by a desire to organize communities, to fuse realistic traditions and current trends, to escapism and symbolism, as well as an interest in oriental themes and stylistics.
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Gromov, Mikhail N. "Methodology of the Study of Ancient Russian Art and Culture". Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 65 (2022): 269–78. http://dx.doi.org/10.37816/2073-9567-2022-65-269-278.
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Old Russian art and Old Russian philosophy have many similar typological features. Therefore, the consideration of ancient Russian art, from a philosophical point of view, has a certain methodological significance. Old Russian texts can be divided into three groups according to the degree of saturation of their philosophical and aesthetic content. The first group consists of the most serious books, including: “The source of knowledge” by John of Damascus, “Dioptra” by Philip the Hermit, “The logic of Aviasaph” and a number of others. The second group, the most numerous, includes the works of Metropolitan Hilarion, Maxim the Greek, Cyril of Turov, some Apocrypha and other works. The third group includes monuments of business writing. The works of the second group require careful textual study. In addition to monuments of writing, it is important to consider non-verbal sources: monuments of painting, architecture, and small plastic art. In the whole, all of them provide a general yet clear overview of the Old Russian art.
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Harbie, Putri R. A. E. "Curation and Presentation to Enrich Value on Intermedia Art in a Contamporary Art Exhibition". IMOVICCON Conference Proceeding 1, nr 1 (3.07.2019): 108–15. http://dx.doi.org/10.37312/imoviccon.v1i1.12.
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The moving image has evolved into a very common medium used in both narrative and non-narrative way, exhibited in a film festival or art exhibition. Narrative film nowadays distributed digitally and can be exhibited in both the big screen and small screen (such as mobile phone, laptop screen, mini projector) without possibly losing any storytelling value. While non-narrative film/video mostly exhibited in a special treatment to enrich the main message. The small screen was commonly used to present this medium in an art exhibition. Art manager has a responsibility to curate and presents the intermedia works in order to reach either aesthetic value or financial value. There is a myth that intermedia art isn't a profitable collectible item, so when an artist uses the medium it was considered an artwork made for fun.
In this research, the writer will analyze small screen exhibition on one of the largest contemporary art exhibition in Yogyakarta, ARTJOG. The research method used was qualitative with literature, archive, and interview approach. Hopefully, this research will be a good discourse between moving image and fine art.
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Agratina, Elena E. "Jean-Honoré Fragonard: The New in the Notions of “Sketchiness” and “Completeness”". Observatory of Culture 18, nr 2 (31.05.2021): 174–85. http://dx.doi.org/10.25281/2072-3156-2021-18-2-174-185.
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The second half of the 18th century was a time of active changes in the perception of art, rethinking many concepts and phenomena. One of them was the pictorial sketch, which transformed from a preparatory stadium work into an independent, complete piece of art. Many art theorists and critics, as well as painters themselves had contributed to this rethinking. Many young artists, bored of historical painting and indifferent to all the academic principles, were searching for new media of expressiveness, using the sketch-like pictorial manner to give their works a new dynamism and an impression of “easy production”. The article is dedicated to J.-H. Fragonard (1732—1806), an artist in whose works the “sketchiness” became a conscious artistic method used in small-format pieces, in large-scale canvases, and even in panels. The use of such a technique in grand scale works is considered to be an extreme unconventionality, which, however, was not appreciated by Fragonard’s contemporaries and even by scholars of the next two centuries. Fragonard’s series of ‘Fantasy Portraits’ attracted enough investigators’ attention, but his series ‘Progress of Love’ has only recently begun to be recognized by researchers as an unusual and bold for that time artistic experience. Based on the analysis of the artist’s selected works, the author builds her original research, designed to highlight Fragonard’s special role in the evolution of art on the way from the Modern Period to Contemporary History. The relevance of the present article is caused by too little examination of this topic: minimal in Russia and relatively small in France. Besides consultation with research literature, this required the author to constantly directly refer to the 18th-century sources, such as treatises by art connoisseurs and scholars, art criticism, and catalogues of exhibitions arranged by the Royal Academy of Painting and Sculpture or the Académie de Saint-Luc.
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Qu, Yifeng. "Interpretations of Rice Paper Watercolor Painting in Art Teaching". Review of Educational Theory 3, nr 1 (30.03.2020): 62. http://dx.doi.org/10.30564/ret.v3i1.1635.
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The ricepaperplant pith is also known as Tetrapanax papyrine, Akebia, or tall gastrodia fruit, a kind of shrub or small tree of the Araliaceous. It is native to south China and Taiwan Prov., the raw material of rice paper. Extract its central tissue from the stem to make pith slices which could be made as the watercolor painting paper. It arose in Guangzhou in the 19th century, and the themes are mainly focused on reflecting the social life scenes as well as various characters in late Qing Dynasty, such as officials, soldiers, juggling, weaving, playing instrument, etc. The works are lively, vivid, and bright in colors. As the result of using western painting principles and reflecting Chinese local customs, rice paper watercolor paintings were admired by Westerners at that time. However, as pith paper is fragile, the size of painting was usually small and difficult to conserve, there are few works handed down in China. In recent years, the rice paper watercolor painting has attracted more and more concern, which is of great significance to the study of the development of early Western paintings in China.
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Kravcenko, Vladimir. "Some issues on the development of digital art in the Republic of Moldova". Arta 30, nr 1 (sierpień 2021): 124–29. http://dx.doi.org/10.52603/arta.2021.30-1.18.
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The paper examines the creative segment of digital art, which has been carried out by professional graphic artists in the independent Republic of Moldova, including finished artworks produced in big and small print runs, and also unique graphic works. Sketches and technical drawings of any kind are excluded from the study. Important data is provided about different images (chiesel works, book illustrations, caricatures, postage stamps, ex-librises), which were rendered digitally both in full and in part. Also, concise information is offered on the professionals practicing the respective type of digital art over the years. There is also contoured the process of nationwide spread of the digital images and the specifity of the digital creative tool. The author also examines the professional attitude towards digital art in the Republic of Moldova in terms of the relationship between mass production, traditional handmade art and digital execution technique. The reasons and conditions for the dissemination of digital images in national art are specified. The dynamics of opinions on the role of the computer in the creation and modification of graphic works at different stages of the evolution of digital and traditional technology in the Republic of Moldova is traced.
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Tsiuliupa, Natalia, Victoria Bytsyak i Larisa Smyk. "PECULIARITIES OF WORKING ON WORKS OF SMALL FORM IN THE PIANO CLASS". Мистецька освіта та розвиток творчої особистості, nr 2 (2023): 74–77. http://dx.doi.org/10.32782/art/2023-2-13.
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Jackson, Philip W. "Dewey's 1906 Definition of Art". Teachers College Record: The Voice of Scholarship in Education 104, nr 2 (marzec 2002): 167–77. http://dx.doi.org/10.1177/016146810210400201.
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This paper contains an appreciative exegesis of a single sentence extracted from a speech that John Dewey delivered to an audience of teachers in 1906. The sentence was selected for analysis because of the extraordinarily concise manner in which it tacitly connects to a wide variety of Deweyan doctrines, particularly those having to do with Dewey's vision of human flourishing. The overall goal of the analysis is simply to bring the sentence to the attention of a wider audience. By displaying the hidden richness of this small string of words, delivered almost nonchalantly, one suspects, and on such a relatively inauspicious occasion, my hope is to prevent a tiny gem from remaining lost and forgotten within the vastness of Dewey's published works.
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Liu, Zhuang Zhuang, Zhi Feng Liu i Guo Ping An. "Geometric Mobiles Innovative Design Method Based on the Computer Simulation Environment". Applied Mechanics and Materials 248 (grudzień 2012): 190–96. http://dx.doi.org/10.4028/www.scientific.net/amm.248.190.
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Geometric mobiles is a new kinetic art which become a new technique combined with basic science and modern art. Geometric mobiles design and calculation by mechanics and mathematics in order to have a slowly and elegant movements. An innovative and efficient design method is first established based on virtual technology and polymorphs small cell centroid point analytical rule. The method reveals the intrinsic relationship between Geometric mobiles and mathematics & mechanics modeling, provides the mathematics foundation for art works innovative and next research.
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Walden, George. "Contemporary Art, Democracy, and the State". Royal Institute of Philosophy Supplement 45 (marzec 2000): 85–95. http://dx.doi.org/10.1017/s1358246100003325.
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Not long before the change of Government in Britain in 1997, the then Heritage Secretary, Virginia Bottomley, made a speech in which she praised British contemporary art, describing it as the most exciting and innovatory in the world. Unexciting as it seemed, her observation was profoundly innovatory, indeed in its small way historic. To my knowledge no British Cabinet Minister, still less a Conservative, has ever given an official seal of approval to what is conventionally regarded as avant-garde art. The Labour Government has echoed its predecessor's praise at a higher volume, as if determined to out-do it. The sanctification by the state of works of contemporary art has now become part of the discourse of officialdom.
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Park, Jung A. "A Study on the Status of Digital Work Recognition Based on NFT: Focusing on text mining analysis". Korea Institute of Design Research Society 7, nr 2 (30.06.2022): 9–19. http://dx.doi.org/10.46248/kidrs.2022.2.9.
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Recently, NFT, an irreplaceable token called convergence art that combines digital technology and art, is attracting attention in the field of design and art. The purpose of this study is to analyze NFT technology-based digital works that are rapidly growing along with rapid demand for IT technology through issues of the times, the development of cryptocurrency blockchain technology, and the trend change in the art market through text mining. As a method of research, text mining is conducted by setting the last year as a collection period from March 2021 to February 2022, when NFT grew the most rapidly using TextStom of Big Data tools. As a result, first, it was confirmed that works, sales, metaverse, and media, which are major controversial keywords in the NFT field reviewed in previous studies, are the main keywords that provide the foundation of potential means in planning NFT technology-based digital works. Second, NFT's "coin", "sales", "game", "metaverse", and "work" keywords showed that NFT art was provided in the form of a metaverse, or was considered to be the value of content creation in the form of a game or brand character. Third, it can be seen that it is considered as a new platform closely related to NFT digital work creators, such as guaranteeing intellectual property rights in virtual exhibitions related to copyrights in the nature of blockchain and securing accessibility to digital works. Fourth, although it was a small proportion in word sentiment analysis, it was found that NFT could cause financial losses in terms of negativity, and art or profits as investment products had a bubble in market prices, so it was necessary to be cautious. Starting with the analysis map proposed in this study, it is hoped to be helpful as current status data that can be referred to when constructing digital works based on NFT technology.
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Jiang, Bingchao, i Min-Lyoung Choi. "A Study on Water-based Paints Applied for Art Makeup". Journal of the Korean Society of Cosmetology 28, nr 5 (31.10.2022): 1054–71. http://dx.doi.org/10.52660/jksc.2022.28.5.1054.
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In creating works of ‘Art Makeup’ called ‘the pinnacle of makeup’ specific and systemic learning is required for inexperienced beginners or students to acquire basic knowledge or quality of art makeup. For this reason, we analyzed characteristics of water-based paints in order to examine what changes in colors there were when these paints mixed with water were applied to the skin and became completely dry in a certain time. We also looked into their consistency-how long they lasted against drying speed, stimulation or contact. The findings are as follows. First, in the water-based paints we analyzed, we saw color fading with change in color purity and decreased saturation compared to original products when they were completely dry. Especially, in the case of achromatic color, white, completely dry, decreased in lightness, resulting in very low whiteness compared to the original product, whereas black, completely dry, increased in lightness, resulting in low blackness compared to the original product. Therefore, in expressing works with black and white in high lightness, it would be better if achromatic color is used for the sake of painting over or applying a little achromatic color on a small part of the skin for highlight effect. Second, water-based paints which are applied to the works undergo a drying process to preserve the works. In the drying process, we found a very large deviation in time depending upon color. Hence, in creating art makeup works, arranging sequence of colouring needs to take into account the drying speed which varies depending upon color. Finally, water-based paints had consistency against stimuli such as a little bit movement unless there were direct stimuli to them after they were applied to the skin and became completely dry. But they turned out to be vulnerable to watery stimuli such as sweat. Therefore, location, lighting, and temperature should be taken into consideration in creating works. Especially, in a sweating-triggered environment, a lot of attention should be paid to keep the works intact. If necessary, water resistant products may be a good choice.
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Nguyen Thi Thanh, Nga. "A SURVEY ON THE RESEARCH OF TRADITIONAL CULTURAL SYMBOLS APPEARED IN THE Y.KAWABATA NOVELS IN VIETNAM". Journal of Science Social Science 65, nr 11 (listopad 2020): 54–63. http://dx.doi.org/10.18173/2354-1067.2020-0071.
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Kawabata is one of Japan’s leading writers. Kawabata’s works are a place to preserve and preserve old traditional values becoming a miraculous bridge to bring Japan across the ocean to the whole world, and to bring the world to the land of beautiful cherry blossoms. Therefore, his works have been the object of many large and small research projects domestically and internationally. Within the scope of the article, we have conducted surveys of works and articles on traditional cultural symbols in Kawabata’s novels under the following angles: Biography, Poetry, Psychoanalysis and Culture, thereby, affirming the talent and the unique art style of Kawabata. Beauty is at the heart of culture and art in Japan so Kawabata’s writing point of view also focused on the ultimate beauty including its expression and the way in which it is expressed.
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Zimmermann, Julia. "Ambivalenzen der Darstellung und Zirkelschlüsse der Interpretation. Die Tanzdarstellung Hiltbolts von Schwangau im ‚Codex Manesse‘ und der Reigen höfischer Tugenden im ‚Roman de la Rose‘". Das Mittelalter 23, nr 2 (6.11.2018): 427–46. http://dx.doi.org/10.1515/mial-2018-0022.
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AbstractNumerous studies covering courtly dancing and its portrayal in medieval European religious art and literature seem to have, to a large extent, exhausted this subject. Nevertheless, works on courtly dances remain, for the most part, more speculative in nature than apparent at first glance. This is amazing when we consider the importance of courtly dance in literature and art dating from the Middle Ages, as there are only few Middle High German poems in which collective dance is not mentioned. Contrasting with this great number and wide range of references to dance is its small footprint in works dealing with the history of dance. Only a small number of works touch up this issue, and these have only collected and analysed fragments of the source material available. Hence, any conclusions cannot but lack critical depth with regard to the varying degrees of stylisation present, and their importance when attempting to draw comparisons between reports bound by tradition and stereotyped in nature, and those that exhibit greater literariness. This paper aims to discuss these problems and serves as a contribution to the field of the history of dance as reflected in medieval literature.
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Sung, Gum-Ju, i Yong-Mi Jin. "A Study on Hair Art with the Motif of Winter Flowers". Journal of the Korean Society of Cosmetology 27, nr 6 (31.12.2021): 1307–12. http://dx.doi.org/10.52660/jksc.2021.27.6.1307.
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The purpose of this study is to increase the artistic value of hair art. And it is about providing basic data and expanding contributions to follow-up research. Hair art works reinterpret the inner beauty of winter flowers that bloom in full bloom in the cold winter. The research method collected prior studies and references based on winter flowers. Also, we selected four types of winter flowers and analyzed their shapes and colors. I created 4 pieces of hair art. As a result, the colorful color of work 1 increased the aesthetic effect due to its high chroma. Works 2 expresses the elegance of irregularly blooming petals on a single stalk. In work 3, warm yellow flowers are soft and cozy on a scrawny tree. The flower in work 4 is seductive navy purple. And the large and small flowers were placed stably with increased concentration. In conclusion, the possibility of creating hair art from a new perspective was confirmed by applying several colors with white wigs. In future research, we look forward to the possibility of combining hair art with nature motifs and re-lighting it with formative art to satisfy its value.
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Krasnova, I. V. "FORMATION OF THEIR OWN STYLE IN THE WORK OF ARTISTS OF CHUGUEV". Topical Issues of Culture, Art, Education 4, nr 38 (2023): 7–24. http://dx.doi.org/10.32340/2949-2912-2023-4-7-24.
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The article is devoted to the study of the life and work of representatives of the art school of painting in Chuguev. Due to the huge losses of their heritage, it still remains a blank spot in the history of national culture. The uniqueness of the masters of the brush of a small military settlement, which was Chuguev in the 19th century, consists in the fact that they came from a soldier and peasant environment. Mastering various technical techniques of painting, they worked in different genres. This allowed the Chuguev artists to create works of a secular and spiritual nature, including icons and frescoes. New names of Chuguev painters are introduced into scientific circulation, the characteristic of the works of Chuguev masters that have reached our time is given, and the peculiarities of their creativity are highlighted. The myth of the influence of Western European art on the work of the Chuguev masters is debunked. The Chuguev Art School is part of the Russian art school. Its significance lies in the fact that in the conditions of military settlements, examples of high art were created, understandable and close to every resident. The works created by local artists contributed to the creation of a special spiritual atmosphere in the Chuguev military district, the development of a common mentality and spiritual unification of the swedens – people of different nationalities and faiths.
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Abramkin, Ivan A. "Comparing Literary Criticism and Art History: The Problem of Sentimentalism in Russian Historiography". Vestnik of Saint Petersburg University. Arts 13, nr 1 (2023): 188–206. http://dx.doi.org/10.21638/spbu15.2023.109.
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The article is devoted to the historiography of sentimentalism in the Russian scientific tradition. The purpose of the research is to compare the methods used in literary and art studies to overview this phenomenon. The uncertainty of ideas about sentimentalism in the visual arts requires an appeal to literary studies. A careful analysis of works on sentimentalism in this field revealed the special role of the works of M. M. Bakhtin and G. N. Pospelov, who created original concepts of this phenomenon, and has made it possible to state a wide range of methods. Consideration of the sentimentalism problem in the history of art has demonstrated not only the generality of ideas and a small number of methods in comparison with literary criticism, but also the main principles inherent in the scientific tradition. Firstly, the idea of sentimentalism is based on abstract theses. Secondly, the main approach is to compare sentimentalism with classicism and Romanticism, which prevents determining its place in the art of the 1790s. Thirdly, the pictorial system of sentimentalism is considered in the most general form and turns out to be devoid of a thorough art historical description. A critical analysis of historiography allowed to identify promising areas of modern research of sentimentalism in art criticism: a careful analysis of the artistic features of works, the study of the metamorphoses of the portrait genre as well as a comparison of the Russian portrait with European art of the 18th — early 19th centuries.
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Marter, Joan M. "The Engineer Behind Calder’s Art". Mechanical Engineering 120, nr 12 (1.12.1998): 53–57. http://dx.doi.org/10.1115/1.1998-dec-2.
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This article reviews the significance of Alexander Calder’s, a renowned sculptor, technical and engineering expertise that has become increasingly clear in recent years. Calder’s most important innovation in the development of wire sculpture was the suspension of his wire forms from a single wire thread. A small wood-and-wire caricature of a monkey was the first, soon followed by several caricatures of Josephine Baker, the star of La Revue N è gre at the Folies Bergè re and an international sensation in 1925. Like Leonardo da Vinci, Calder was primarily interested in problem solving, in experimenting with materials, mechanical systems, and devices. Calder’s studio was like a laboratory, with experimental works piled into corners or suspended from hooks in the ceiling. The most engaging aspect of Calder’s sculpture was its interaction with space. Mobiles participated in lively dialogues with their environs, reacting to air currents and human touch.
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Dudkiewicz, Margot, i Uliana Havryliv. "Experiencing art in city space on the example of the environment of the Galeria Labirynt in Lublin". Przestrzeń Urbanistyka Architektura 2022, nr 2 (grudzień 2022): 49–66. http://dx.doi.org/10.37705/pua/2/2022/04.
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Art in public space is still untapped potential. The garden at ‘Labirynt’ Gallery is an opportunity to publish a work of art and a place for a wide range of artistic activities. Here, access to works will be free and universal, and the art exhibited in public space will enter into a dialogue with the viewer. The design concept was influenced by the terrain, the existing vegetation, and the gallery building style. A new communication system, elements of small architecture, plantings, and illuminations were designed. The design of the Gallery’s surroundings was to make the facility recognizable and friendly.
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Heckenberg, Kerry. "Conflicting Visions: The Life and Art of William George Wilson, Anglo-Australian Gentleman Painter". Queensland Review 13, nr 1 (styczeń 2006): 1–21. http://dx.doi.org/10.1017/s1321816600004244.
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Research for this paper was prompted by the appearance of a group of nine small landscape paintings of the Darling Downs area of Queensland, displayed in the Seeing the Collection exhibition at the University Art Museum (UAM), University of Queensland from 10 July 2004 until 23 January 2005. Relatively new to the collection (they were purchased in 2002), they are charming, small works, and are of interest principally because they are late-colonial depictions of an area that was of great significance in the history of Queensland.
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Prati, Silvia, Francesca Volpi, Raffaella Fontana, Paola Galletti, Loris Giorgini, Rocco Mazzeo, Laura Mazzocchetti, Chiara Samorì, Giorgia Sciutto i Emilio Tagliavini. "Sustainability in art conservation: a novel bio-based organogel for the cleaning of water sensitive works of art". Pure and Applied Chemistry 90, nr 2 (23.02.2018): 239–51. http://dx.doi.org/10.1515/pac-2017-0507.
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Abstract Organo- and hydrogels have been proposed in the restoration field to treat different types of surfaces. The possibility to retain solvents and to have a controlled and superficial action allowed to use these materials for the removal of very thin layers applied on ancient historical objects, when the under paint layers are particularly delicate and water sensitive. In the last years, an increased attention has been devoted to the proposal of more healthy products to guarantee the safeguard of the operators. Few attention has been devoted to the development of green methods which foresee the use of renewable and biodegradable materials. The aim of this paper is to test a green organo-gel for the cleaning of water sensitive surfaces like varnished egg tempera paintings. The gel has been tested experimented on mock ups varnished with natural and synthetic materials and has been validated on a small portion of a Cimabue painting for the removal of two varnishes applied on two different test areas of the painting.
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Alieva, Olga O. "The Images, Technique and Stylistic Features of the Baroque Style in the Works of the Urals Stonecutters". ICONI, nr 1 (2021): 40–51. http://dx.doi.org/10.33779/2658-4824.2021.1.040-051.
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The article examines the particularities of the development in the Urals region of the genre of fi gurative sculpture of small forms from assembled stone by means of comparison with the art of the Italian masters from the baroque period, the establishers of this type of stonecutting art. The small fi gurative sculpture from assembled stone (polylite), which has developed as an independent genre of the art of stonecutting in the 17th century in Italy, acquired further development not only in Western Europe, but also in Russia, in the large-scale centers of artistic elaboration of stone in the country. In the region of the Ural Mountains, notwithstanding the pre-revolutionary conditions, the mastery of the principles of preparation of anthropomorphic images in the polylite technique took place only during the Soviet period as a particular school of preparation of specialists. At the contemporary stage it becomes possible to observe an active development of this genre in the artworks of the stonecutters of the Urals. The present-day fl ourishing of the polylite fi gurative sculpture of small forms in the works of the Urals-based stonecutters is connected here not only with the culture of elaborating this material and the successive continuity of the skills of working in the polylite technique, but also with the turn to the traditions of polychrome fi gurative compositions of Florentine masters of the Baroque Era, the effectiveness and naturalist qualities of their depiction.
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Mochalsky, N. A. "ARTIST DMITRY MOCHALSKY AND HIS WORKS". Arts education and science 1, nr 2 (2020): 103–12. http://dx.doi.org/10.36871/hon.202002013.
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"Girlfriends", "Virgin Soil Newlyweds", "A Protracted Explanation", "New Settlers. From a Tent to a New House", "Day off", "Tractor Tent" — these and other works were created by the artist Dmitry Mochalsky during the thaw era, his small genre compositions of the war years were continued in the whole cycle of works "People of Virgin Lands". This stage in the artist's work is characterized by a free manner of painting, the discovery and revival of the traditions of color, coming from the masters of the beginning of the century. The main direction in the works of artists of the 1908s–1988s was the image of the simple man, in contrast to the heroic canvases of the "cult of personality" period, this was facilitated by the weakening of censorship and condemnation of many previous negative trends in art.
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SCHEDEL, MARGARET ANNE. "Alternative venues for computer music: SoundGallery_Living Room_ARTSHIP". Organised Sound 9, nr 3 (grudzień 2004): 301–3. http://dx.doi.org/10.1017/s1355771804000500.
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The audience for contemporary classical music is small – the audience for computer music is even smaller. Traditional concert halls are failing to generate interest in new instrumental music, much less computer music, while museums are having much more success with new art, including art with a technological component. By marketing our music to art galleries and museums, we can reach an audience predisposed to accept the new and unusual in artistic expression. Presenting the works of music outside a traditional proscenium setting also helps shatter any a priori definitions of ‘music’ audiences may hold. Using the term ‘Sound Art’ instead of ‘music’ may also help to free people struggling to appreciate unfamiliar sounds.
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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 (13.06.2022): 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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Lee, Jennifer. "Portable Prototypes: Canterbury Badges and the Thomasaltar in Hamburg". Arts 10, nr 3 (27.07.2021): 51. http://dx.doi.org/10.3390/arts10030051.
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Pilgrims’ badges often depicted works of art located at a cult center, and these cheap, small images frequently imitated monumental works. Was this relationship ever reversed? In late medieval Hamburg, a painted altarpiece from a Hanseatic guild narrates the life of Thomas Becket in four scenes, two of which survive. In 1932, Tancred Borenius declared this altarpiece to be the first monumental expression of Becket’s narrative in northern Germany. Since then, little scholarship has investigated the links between this work and the Becket cult elsewhere. With so much visual art from the medieval period lost, it is impossible to trace the transmission of imagery with any certainty. Nevertheless, this discussion considers badges as a means of disseminating imagery for subsequent copying. This altarpiece and the pilgrims’ badges that it closely resembles may provide an example of a major work of art borrowing a composition from an inexpensive pilgrim’s badge and of the monumental imitating the miniature.
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Bulak, Ksenia A. "The Theme of the High North in the Art of Krasnoyarsk Artist Stepan Fedorovich Turov". Vestnik of Saint Petersburg University. Arts 14, nr 1 (2024): 78–96. http://dx.doi.org/10.21638/spbu15.2024.105.
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Stepan Fedorovich Turov was drawing artist who has served an important purpose of the development of book illustration at the Krasnoyarsk Krai, he was an artist who has been famous in his own lifetime at home and abroad. Works of art on the theme of the North forms a large part of Turov’s heritage but no one research that characterized specificity of realization of the North at Turov’s creative work has been published until the present. There is very small amount of published works about the artist. I. M. Davydenko’s opening chapter of the catalogue of posthumous exhibition of Turov of the 1983 is only one attempt to bring comprehensive analysis of the art of the artist. At books and papers of T. M. Lomanova, E. D. Getmanski and V. Averikhin only a few artworks made by Turov are examined. The aims of this scientific paper are to summarize data about graphic works made by Turov and devoted to the North and to find specific pictorial patterns that are used at these works. At the paper the key aspects are contemplated where the theme of the North in the art of Turov was found out: book illustration, series of easel etchings, linocut landscapes, ex-libris. There was made a connection between book illustration and easel graphic works made by Turov on the theme of the North. This paper not only brings a coherent picture of the development of the theme of the North in art of Turov for the first time. It also put into scientific circulation an information about unpublished artworks made by Turov and new facts of the artist’s biography connected with the North. It was identified that the theme of the North is essential in art of Stepan Fedorovich Turov. Often he tried out new genres and composition patterns specifically within the theme of the North. There were denoted characteristic features of works of art made by Turov on the theme of the North such as individual method of describing a space and keen perception of the culture of indigenous northern people.
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Pazuchanics, Skye Lee, i Douglas J. Gillan. "Displaying Depth in Computer Systems: Lessons from Two-Dimensional Works of Art". Proceedings of the Human Factors and Ergonomics Society Annual Meeting 49, nr 17 (wrzesień 2005): 1583–87. http://dx.doi.org/10.1177/154193120504901718.
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Virtual depth displays depend on static, monocular cues. Models of integrating monocular cues may be continuous (additive) or discontinuous. Previous research using simple displays and a small number of cues supported continuous cue integration. The present research is designed to expand the understanding of how the visual system integrates information from multiple pictorial cues by investigating combinations of one to ten pictorial cues in visually-rich, two-dimensional displays (paintings and photographs). Participants estimated depth in target paintings and photographs relative to a standard two dimensional display. Certain results suggest that the visual system integrates cues in a largely additive way, but after a number of cues are present there may be an additional boost in perceived depth resulting in a best-fittingdiscontinuous model of cue combination. However, this discontinuous effect may be due to designdecisions made by the painters rather than exclusively to the perceptual processes of the viewers. Analyses of these design decisions provide lessons for the design of two-dimensional displays.
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Lobasheva, Irina F. "Kazan art school and its heritage in the collection of the State museum of fine arts of the Republic of Tatarstan". Historical Ethnology 5, nr 3 (27.11.2020): 362–72. http://dx.doi.org/10.22378/he.2020-5-3.362-372.
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Kazan Art School is a famous Russian educational institution that became an art educational center in the Volga-Kama Region and the Trans-Urals. In 2020, the school represented by N.I. Feshin Kazan Art College celebrates its 125th anniversary. It was opened under the direct tutelage of the Imperial Academy of Arts (1895) on the initiative of the Academy graduates, natives of the Kazan Region N.N. Belkovich, G.A. Medvedev, H.N. Skornyakov, I.A. Denisov, and Yu.I. Thyssen with the assistance of the city authorities. The historical walls of the school are marked by the teaching and pedagogical contribution of such legendary personalities as N.I. Feshin, P.P. Benkov and B.I. Urmanche, A.M. Rodchenko, P.A. Radimov, P.M. Dulsky, D.D. Burliuk, V.K. Timofeyev and other famous masters of the Russian art. The collection of the State Museum of Fine Arts of the Republic of Tatarstan contains the main artistic heritage of the school of the pre-revolutionary period and the first years of Soviet history (1895–1920s), which is considered in the given article. Conventionally, this legacy consists of three main parts. The main part includes works by the founders, teachers and students of the Kazan Art School. It is a fairly extensive collection of several hundred paintings and graphic works, as well as a small number of sculptural exhibits. The collection gives an opportunity to get acquainted with typical examples of the creative manner of the main representatives of the school. All of them are characterized by a special individuality of the visual language, but a diverse visual range is united by a common culture of vision. The collection is also particularly valuable due to the fact that it presents rare famous examples of the work of such artists as Yu.I. Thyssen, L.F. Ovsyannikov, F.P. Gavrilov, N.I. Mikhailov and others. An art museum operated at the Kazan school, which was created with the active involvement of the Academy of Arts.The museum operates at the school in a transformed form up to the present day. The collection of the Fine Arts Museum of the republic contains the bulk of the works of this collection, which gives an idea of the scale of the Academy of Arts activities to support the school with donated works. There are about 80 of them in total. The names of many are well known in the history of Russian art: I.E. Repin, I.I. Shishkin, A.P. Bogolyubov, K.E. Makovsky, V.V. Mate, A.F. Gausch, F.S. Zhuravlev, A.A. Kiselev, R.F. Franz and others. The museum collection also contains works by the most famous student of the Kazan Art School – Nikolai Ivanovich Feshin (1881–1955), who later was an equally famous school teacher (since 1909). The largest collection of Feshin's works in Russia, including painting, graphics, sculpture, decorative and applied art of the master (over 180 works) is kept in Kazan.