Gotowe bibliografie tematyczne / Painting (Fine art)

Gotowa bibliografia na temat „Painting (Fine art)”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 20 lutego 2023

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Artykuły w czasopismach na temat "Painting (Fine art)"

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Shavkatovich, Khalilov Ruslan. "PENCIL IN FINE ART THE PLACE OF COMPOSITION". CURRENT RESEARCH JOURNAL OF PEDAGOGICS 03, nr 04 (1.04.2022): 67–72. http://dx.doi.org/10.37547/pedagogics-crjp-03-04-15.

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The article is devoted to the theoretical analysis of academic painting and the basics of graphic drawing in the practical studies of fine art as well as the methodology of teaching the role of drawing in painting.
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Iswahyudi. "Towards Remediation of Indonesian New Fine Arts". Britain International of Linguistics Arts and Education (BIoLAE) Journal 2, nr 3 (12.11.2020): 797–809. http://dx.doi.org/10.33258/biolae.v2i3.332.

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Modern Indonesian painting mainly developed from the situation of the Dutch East Indies and Mooi-Indie art that was dominant at that time. The independence of the Republic of Indonesia became a very important milestone in the development of modern Indonesian painting. This is inseparable from the occurrence of a high dynamics and change through various political regimes in power starting from the leadership of Sukarno, Suharto and subsequent presidents. Each of these political regimes also played an important role in the development of modern art that occurred so as to bring out its own characteristics. Until the early 1990s, talking about art was something that seemed synonymous with painting. Although works of art with a combination of mediums have been included in exhibitions since the 1970s, but works in the form of paintings are still very dominant, even in some writings on art the imaginary boundary between painting and other art is discussed explicitly, but the term "Painting" is usually interchangeable with the term "fine art". The development of art that has become increasingly hybrid has helped to shape the climate and new audience, affirming real ideas that are at odds with painting that has already been established. Being different from established art knowledge, hybrid art agents become newcomers who find a place in the struggle in the realm of Indonesian art. Western characters which are an important consideration for painters become subject to change in the fourth phase. This change is caused by a variety of things, including the emphasis on the use of traditional forms, symbolic and decorative, because as a reaction to the political situation. Since 1942-1965, Indonesians have produced more figurative art. The pioneers in this field are artists who when abroad are like in the United States, Europe, and Japan already acquainted with traditional non-Western art in the arena of modern and international circuits.
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Barron, Irving R., i Gaurav Sharma. "Toward CanvasChain: A Block Chain and Craquelure Hash Based System For Authenticating and Tracking Fine Art Paintings". Electronic Imaging 2020, nr 4 (26.01.2020): 399–1. http://dx.doi.org/10.2352/issn.2470-1173.2020.4.mwsf-399.

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Determining the authenticity of a painting is not an easy task. First, distinguishing fake paintings from originals is challenging, and often even art experts cannot reliably identify forgeries. Counterfeiters can also create spurious documentation to support the “authenticity” of fake paintings. In this work, we present work toward CanvasChain, a system for authenticating/tracking paintings that uses a blockchain in combination with a robust hash of the crack patterns (craquelure) on the surface of paintings. The robust hash is used as a painting’s fingerprint, which is used in a blockchain to validate and authenticate the painting. We present an initial realization of CanvasChain using a robust hash based on the BRISK feature descriptor and the neo blockchain, which supports smart contracts for basic required transactions. We present results from tests conducted on the proposed system to assess both the robust hash and the blockchain. Cost estimates obtained from the prototype realization indicate that the system is cost effective: e.g. it costs approximately US $1.85 to register a painting and benefit from the blockchain. As future work, we identify additional components required to make CanvasChain a full-fledged solution.
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Doluda, A. О., O. S. Puklich, T. S. Romanenko i O. S. Drobysheva. "FORENSIC FINE ART RESEARCH OF PAINTINGS". Theory and Practice of Forensic Science and Criminalistics 18 (26.12.2018): 534–42. http://dx.doi.org/10.32353/khrife.2018.62.

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The features of performing and the main directions of research on objects of forensic fine art examination, namely works of painting. It is noted that according to the performance technique, the painting is divided into oil, tempera, watercolor and encaustic painting (wax as a binder of paints). Proved the need to know the expert of the painting technology. It is important to distinguish the materials that served as the basis, since each of them has its own composition, structure and features, which tells on their properties, and this, in turn, affects the character and condition of all components of painting and, in particular, the colorful layer as the most defining feature. Different types of craquelure and its origin are considered. It is indicated that craquelure is formed under the action of various factors, and therefore it differs both in form, location-oriented disposition, and formation method.The criteria for determining the composition creation time and its authenticity are defined. It is noted that craquelure is one of painting authenticity features, therefore, on non-authentic composition, in order to pass them off as genuine, craquelure is formed by means of mechanical action that is fairly easy to recognize, or by means of painting technology violating. Considered the need for comprehensive research. It is proved that correspondence of an handwriting to the author handwriting in the signature is one of the most important features of composition authenticity which is determined according to the methods of forensic handwriting researches by the relevant specialists and it is performed as a comprehensive fine art and handwriting examination. Another of the most important authenticity features is the correspondence of the chemical composition of coloring pigments and their origin to the time of applicability and time of composition creation which is determined with the involvement of the appropriate specialists in while performing a comprehensive forensic fine art and chemical examination.
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Chen, Bingquan. "Classification of Artistic Styles of Chinese Art Paintings Based on the CNN Model". Computational Intelligence and Neuroscience 2022 (30.08.2022): 1–7. http://dx.doi.org/10.1155/2022/4520913.

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People’s appreciation needs of Chinese paintings have gradually increased. The research on automatic classification and recognition of Chinese painting artistic style and its authors have great practical value. This study presents a Chinese painting classification algorithm with higher classification accuracy and better robustness. Using a convolutional neural network (CNN) to extract the features of Chinese painting, the image features of Chinese painting are extracted by fine-tuning the pretrained VGG-F model. The mutual information theory is introduced into embedded machine learning, so that the embedded principle is affected by feature selection and feature importance. An embedded classification algorithm based on mutual information is proposed, and Chinese painting is classified.
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Karabalayeva, B. R., S. Pelshe i N. L. Seitakhmetova. "MODERNIZATION PROCESSES IN THE MODERN FINE ART". BULLETIN 5, nr 387 (15.10.2020): 281–87. http://dx.doi.org/10.32014/2020.2518-1467.170.

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Today, in the visual arts of Kazakhstan, the actual art is developing dynamically. Although the popularity of new technologies has been observed only in the last decade, there are selected, unique works in the actual art of Kazakhstan. The artists received the core of actual art they were interested in from the conceptual art of Russia. It began to expand, because in General, within the framework of conceptual art, social and basic ideas were very well developed. This affected not only the spiritual process, but also people's thoughts. The main search for contemporary art can be observed in the creation of mythological images. The attempt of brush masters to abstract originates from bold fantasies that smoothly pass to iconic images, along with various ways of image; there are attempts to convey the idea of compositional works. In the article, the authors review the space of historical development of the art of Kazakh painting. In addition, the modern art of painting in Portugal is offered as an analysis of the set themes and positions of modern art of painting, comparative analyses are provided. Today’s visual art landmarks will be used to analyze the predictive and critical point of view of the past and future.
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Ceaușu, Felicia. "Fine Arts: 6. The Healing Power of Art-Therapy". Review of Artistic Education 16, nr 1 (1.03.2018): 203–11. http://dx.doi.org/10.2478/rae-2018-0022.

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Abstract In Europe, since the middle of the 19th century, physicians realized that by plastic creation an improvement of the mental state of many patients can be achieved. Painting, household chores or gardening were meant to eliminate boredom and to take the patients out of isolation. Various activities of today’s art-therapy. At the beginning of the 20th century, various authors showed interest for the paintings and drawings of mental patients. The interest attracted by the psycho-pathological art allowed the organization of international exhibits with the artistic works of the mental patients. The scientific approach of these ways of pathoplastic expression determined the emergence of institutions, studies, periodicals and international reunions concerning this topic.
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Linrothe, Rob. "Hidden in Plain Sight". Archives of Asian Art 70, nr 2 (1.10.2020): 225–44. http://dx.doi.org/10.1215/00666637-8620384.

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Abstract This is a review article of Janet Gyatso's 2015 award-winning book, Being Human in a Buddhist World: An Intellectual History of Medicine in Early Modern Tibet. The art-historical aspects of the book—mainly confined to the first chapter, “Reading Paintings, Painting the Medical, Medicalizing the State” and based on a perceptive art-historical reading of a set of medical paintings and its copies—had yet to be reviewed by an academically-trained art historian. This review underscores the fine art-historical insights deserving the attention of art historians working in parallel contexts of the often tense relationship between religious and empirical epistemologies. At the same time, the evaluation of certain readings of the visual record lead to suggested revisions in the support they provide to Gyatso's primary argument. In addition, other precedents of depictions “from life” in Tibetan art history are offered to help contextualize claims of originality or uniqueness. Finally, an analysis is presented of less formal, freehand painting versus more formalized, iconometric execution, calibrated with vernacular subject matter versus iconographically predetermined themes. Both of the painting modes and subject types are combined in the painting set analyzed by Gyatso supporting her assessment of the innovation of the artists selected by the patron, Desi Sangyé Gyatso (1653–1705).
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Nepriiatel, Iulia. "Symbolism and Semantics of Animalistic Images in Russia's People's Paintings: Yesterday, Today, Tomorrow". Proceedings of Altai State Academy of Culture and Arts, nr 2 (2022): 32–39. http://dx.doi.org/10.32340/2414-9101-2022-2-32-39.

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The author briefly describes genesis and meaning of imaginative systems of traditional painting of Russian and Altaians (in particular, Mezen, group of Severodvinsk, and Uymon paintings) backed by results of studies got by fine art experts and art historians. The paper shows a relation between age of various types of decorative paintings and a level of their complexity and semantic richness. Theoretic approaches to understanding of cultural senses of typical animalistic images, that produce freestanding semiotic composition are arranged. Also, the author analyzes zoomorphic motifs in ornamental systems as well; it stressed out that such systems pass sign information in a language of people's painting besides an aesthetic message.
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Wang, Liming. "Discussion on the Teaching Strategy of Oil Painting in Colleges under the Background of Multiple Art Culture Development". Lifelong Education 9, nr 6 (28.09.2020): 136. http://dx.doi.org/10.18282/le.v9i6.1323.

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The development of multiculturalism is the inheritance of human civilization and the result of the further deepening of globalization. The diversified development of fine art culture is one of the main situations of fine art development. The art creation theories, conceptual methods, and painting skills, etc., all exhibit diverse characteristics. Based on this background, college oil painting teaching also needs to grasp this multicultural situation, carry out curriculum teaching reform and innovation, and promote the diversified development of fine arts education. This article introduces the development trend of multiple arts culture and its impact on domestic oil painting, analyzes the current status of oil painting teaching in colleges and universities, and explores effective countermeasures for oil painting teaching in colleges and universities in the context of multiple art culture.
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Rozprawy doktorskie na temat "Painting (Fine art)"

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Watrous, Shawn. "Undersound: An Investigation of Painting as a form of Expression". Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1366359903.

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Degges, Douglas Ross. "Master of fine arts thesis". Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/2854.

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In the course of studying painting for the past three years at the University of Iowa, I have found collaborating with other artists to be a great way for me to try on different hats. Two of these collaborations in particular, The Old Man Study Group with Hamlett Dobbins (Memphis, TN) and The Coracle Drawing Club with David Dunlap (Iowa City, IA), have given me the license and opportunity to pretend to be someone else. These collaborative projects have asked me to consider, and at times adopt, even if only for a moment, the interests and concerns of another maker. A few months into these two projects, I noticed that the work I was making on my own, in the isolation of my own studio, was suddenly open to the world's innovations, and not just my own.
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Simons, Bridget Anne. "An irreal realm: painting as a means of reflecting on oneirism". Master's thesis, University of Cape Town, 2013. http://hdl.handle.net/11427/13995.

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My interest in oneirism grew out of my search for a concept that would encapsulate my concerns in painting at the start of this project, namely the formal values I exploited, the quotidian subject matter I favoured, and the sense of contemplation I wished to convey. The correlations I perceived between my concerns and oneirism became more emphatic as my research progressed. The more I read about oneirism, the more I became aware of how the concept could be translated into painted form, a process which in turn inspired my practice. This document serves as a means to reflect on something of this complementary process. Within this framework, my discussion of theories related to oneirism is presented to amplify my painting practice. As a reflection on oneirism, the body of work submitted for my MFA comprised paintings in ink and oil. Many pieces were based on snapshots of views and objects in my surroundings. I often cropped the photographs to focus on a single object or a minor detail of a view. My approach was figurative, although it verged on abstraction depending on the source imagery I selected. I used a close-value palette that was dominated by chromatic greys. The structure of my paintings is quite simple in formal terms and my work is generally small in scale. I used these features and selected my subject matter to parallel theories about the oneiric zone that I discovered in my research. In terms of my aims in this project, and the media and approach I used in my practice, the figurative paintings of Italian artist Giorgio Morandi (1890-1964) and contemporary Belgian painter Luc Tuymans (b. 1958) were most compelling. I responded to their muted palettes and, for me, their work shares a contemplative quality, despite differences in subject matter and approach. However, I was also intrigued by certain artists who used media other than paint to produce work that related to my concerns. I thus touch on the work of some of these artists, in addition to Tuymans and Morandi.
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McMorran, Susan Mary. "Interactive painting : an investigation of interactive art and its introduction into a traditional art practice". Thesis, Northumbria University, 2007. http://nrl.northumbria.ac.uk/3125/.

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This practice-based study investigates the application of an individual studio practice, grounded in Painting, to notions of interactive art, and seeks to establish how the interactivity might impact upon the meaning and the affective power of the work. It investigates the current state of interactive art, its ancestry, development and contextualisation, leading up to its presumed current location within New Media. The thesis examines a range of both theoretical and practical artistic research outputs. It investigates interaction models and taxonomies from New Media, and a range of other interactive disciplines, in order to inform the development of successful paradigms for interactivity as a parameter of an emotionally engaging and communicative art. A number of problems are identified in conflicting conceptual models; an emphasis on the technical and behavioural over the visual, and on human- human over viewer-work interaction; an emphasis on the open meaning and the dispersed author undermining notions of intrinsic meaning; and a foregrounding of play, of pleasure, rather than a deep emotional engagement. The practice, supported by comparisons with related practices, peer discussion and viewer feedback, develops a language of small gestures, textures, layers, sounds and behaviours. It develops away from New Media towards an exploration of the specific nature of the computer as painting medium, and identifies specific models which are useful in informing the development of screen-based painting as interactive. It identifies the model of Interactive Painting as a way of conceptualising the work, which is informed by several key models. Firstly, it identifies Elemental Interactivity; intrinsic, related to both the form and the content, an integrated element, in which the work and its behaviour are one. This is supported by models of Intuitive Interaction and Real-World Models, supporting viewer perception of real-world activities, and informed by characteristics of Simplicity (of interaction and process), and by a small scale and intimate kinaesthetic or Gestural Interactivity. The study identifies a successful model in Open-Ended Exploratory Interaction within a Navigable Space, which is informed by the concept of Wholeness, of the interactive artwork as a holistic or integrated object, which behaves. It identifies Interpretive Interaction as a means of building layers into the work and including a model of Making Cognitive Interaction Concrete. This Interpretive Interaction is contrasted by elements of goal-driven or creative interactivity, providing a shifting dynamic and dramaturgy. It identifies this dramaturgy, the use of humour, pace, mood and elements of and surprise as means of producing the important shift between Immersion and Reflection. Finally, the study examines the visual qualities of the medium. Through comparisons between this medium and Painting, it identifies a specificity for a genre of Interactive Painting, as expressive, immersive, rich, imaginative - a dynamic, controllable and Human re-interpretation of old and new media.
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Labuschagne, Emily. "Masters, master, masturbate (a master's debate) - relooking at the home, body and self through seventeenth century Dutch still life painting". Master's thesis, Faculty of Humanities, 2020. http://hdl.handle.net/11427/32716.

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The still life genre has been, and arguably still is, regarded as the lowest form of painting in Western fine art history. The absence of the human figure in still life painting means that the artist does not require knowledge of either human anatomy or history for the production of the work. Given seventeenth century female painters' exclusion from the academies where anatomy was taught, it was thus a genre regarded as appropriate for female painters in Europe prior to the nineteenth century. Such dictates of propriety were indicative of gender constructs that relegated women to the private sphere of society and the domestic environment. As an accompaniment to my Masters in Fine Art exhibition titled Masters, Master, Masturbate (A master's debate), this text explores what still life painting may reveal about the relationship between the home, the body and the self in the present day. Produced from my position as a contemporary, white, female painter of Dutch descent raised within an Afrikaner culture in the context of South Africa, I suggest that a critical reconsideration of this apparently constrictive genre offers potentially liberating perspectives of gender constructs and the female painter.
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Goodyear, Alison. "Privileged, unique and temporary : interpreting aesthetic experiences of the painter-painting relationship through an address to and from practice". Thesis, University of the Arts London, 2017. http://ualresearchonline.arts.ac.uk/12456/.

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This practice led research examines the art historical hypotheses of Denis Diderot and Michael Fried on the role of aesthetic absorption in painting practice. It engages with these hypotheses through collaboration with six contemporary abstract painters in an address to and from painting practice. The collaboration was conducted in order to examine aesthetic absorption from the perspective of studio practice in order to develop greater understanding of its relevance to contemporary abstract painting. This was achieved by completing six objectives. First, a lexicon of the terms surrounding aesthetic absorption was developed along with a brief account of the history of engagement with the concept of aesthetic absorption. This was followed by individually interviewing each collaborator, then gathering them together for two round table discussions. All dialogue produced was transcribed, and along with the research material was made available to the collaborators through a wiki site. This material was then reflected upon through painting practice and thesis writing, to be presented finally as a written thesis and viva presentation. By opening up this in-depth dialogue on the practicalities behind Diderot and Fried’s art historical theories, this research has highlighted the concerns and hesitancies of a specific group of artists in their engagement with absorption. It bridges the gap between theory and practice by examining how painters have negotiated aesthetic absorption and the associated positions of painter-beholder and painting-beholder. This research has redefined those positions and relationships by mapping and analyzing the experiences described in the dialogues. As such, the contribution to knowledge of this research lies in its finding a new understanding of how painters can negotiate those positions. This is relevant to painting practice for two important reasons. First, it allows us, in a more structured way, to better understand the differences in the register of experience from banal or pathological types of absorption to aesthetic absorption in painting practice. Secondly, this understanding provides a framework to enable more coherent and focused programmatic modes of address from the studio in negotiating painter-beholder and painting-beholder relationships, thus providing greater conviction from the position of practice.
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Ambron, Michael. "Painting as Becoming". The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343739050.

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Nichol, Catherine. "Claiming process : a strategy of production in approaching notions of self, biography and community in painting". Master's thesis, University of Cape Town, 2002. http://hdl.handle.net/11427/25921.

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My project is an exploration of process within the painting medium, themed round my experiences of 'self' and community, as located in my past and present circumstances. Throughout my work, my intention has been to explore my social, personal and political 'beliefs' in order to create a body of paintings that both reflects and challenges my 'belief' structures. In my work there are contradictory desires for change and stability, and an ongoing struggle between location and dislocation.
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Kruger, Maria. "Growing Things: An Investigation in the ways that plant-growth may inform the process of painting". Master's thesis, Faculty of Humanities, 2019. http://hdl.handle.net/11427/30513.

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My project interrogates traditional Western landscape painting in light of the contemporary understanding that ‘nature’ has been rearticulated, even plasticised and hence rendered malleable, through human action. The idea of a plasticised natural environment is concomitant with the age of the Anthropocene which has brought with it a tremendous rise in the use of plastic since the 1950s, and the consequent polluting effect it has had on the ‘natural’ environment. In recent years evidence indicates that traces of plastic are now in the earth, which suggests a need to rethink what exactly the ‘natural’ environment is comprised of. With reference to traditional Western landscape painting, my work explores the idea of a socially and materially constructed landscape. Utilising the medium of acrylic paint, I reimagine the landscape by using a material that embodies plastic. Removing the dried and solidified acrylic paint from its ground, the landscape painting is liberated from its supporting canvas and frame in an attempt to deconstruct traditional Western landscape painting. My project aims to rearticulate the language and meaning that is associated with landscapes and the natural environment.
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Threapleton, James E. "The corroded surface : portrait of the sublime". Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/9193/.

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Derived from the Latin corrodere, meaning to ‘gnaw to pieces’, corrosion as a transformative physical process is nature at its most sublime, engendering fear and power, producing the obscure and reducing form to the darkness ‘beneath all beauty as promise of its ultimate annihilation’ (Beckley, 2001: p. 72). The thesis considers corrosion as subtraction, erasure and negation in relation to the painting process. Through experimentation with the ruination of both content and painting’s plastic, material properties the thesis reflects upon how the disruption or destruction of image and surface might relate to the un- representable. Within the history of twentieth century art negation has been cited as the defining spirit of the Modernism (TJ Clark: 1986). Jean François Lyotard suggests that it is the sublime that has provoked this destructive, nihilistic tendency and given Modern and postmodern art its ‘impetus and axioms’ (Lyotard: 1979). As the 2010 Tate research project, The Sublime Object attests, the sublime is once again ‘now’. Painting was conspicuous in its absence from the project, perhaps because as Simon Morley states ‘most sublime artworks these days tend to be installations. It is certainly getting harder for painting, the traditional vessel for evoking visual sublimity, to elicit such effects’ (2010, p. 74). This thesis will examine Morley’s position by considering how the composition of the un-presentable may be alluded to through de-composition and corrosion in painting. An expressionist enquiry into the tension between figure and ground the thesis investigates a relationship between mark, surface and the sublime.(1) Notoriously difficult to capture, the sublime is intrinsically contradictory, making an effective, overarching theory on the subject all but impossible to sustain (Forsey: 2007). Highlighting some of the problems surrounding the theory of the sublime James Elkins, in his essay ‘Against the Sublime’ (2009), suggests that the term has been mistaken for a trans-historical category and that it has been used and abused to smuggle religious content into contemporary critical writing. Further more, he describes the post-Kantian postmodern sublime as so intricate and linguistically complex as to render it effectively redundant without substantial qualification. Elkins has called for a moratorium on the term sublime and a redress of language in favor of new, direct terms (2009). This project asks if painting can facilitate this redress and provide these terms. Note (1): An enquiry that applies a necessarily heuristic approach to a project engaged with subjective, felt experience in painting characterized by and articulated through the primacy of gestural abstraction.
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Książki na temat "Painting (Fine art)"

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Moyer, Susan Louise. Silk painting for fashion and fine art: Techniques for making ties, scarves, dresses, decorative pillows, and fine art paintings. New York: Watson-Guptill, 1995.

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Chen, Walter. The fine art of Chinese brush painting. New York: Sterling Pub., 2006.

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Chen, Walter. The fine art of Chinese brush painting. New York: Sterling Pub., 2006.

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Turner, Cyril B. Painting original fine art miniatures: Informative series. Great Yarmouth: Cyril B. Turner, 1993.

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Encaustic art: The complete guide to creating fine art with wax. New York: Watson-Guptill Publications, 2010.

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Theo, Stevens, red. Basic principles & language of fine art. Newton Abbot: David & Charles, 1989.

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A, Guli͡aev V. The fine art of Russian lacquered miniatures. San Francisco: Chronicle Books, 1993.

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Renée, LeWinter, red. Fine art photoshop: Lessons in digital drawing and painting. Indianapolis, Ind: Hayden Books, 1997.

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Inman, Diane K. The fine art of angling: Ten modern masters. Incline Village, Nev: Di Les Books, 2007.

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Painted alive: The fine art bodypainting of Craig Tracy. Atglen, PA: Schiffer Publishing Ltd, 2012.

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Części książek na temat "Painting (Fine art)"

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Michael, M. A. "Chapter 32. Inventing Gothic Painting: Creating Fine Art". W Tributes to Paul Binski, 386–97. Turnhout, Belgium: Brepols Publishers, 2021. http://dx.doi.org/10.1484/m.hmtrib-eb.5.130065.

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Sánchez-Guillén, Ariel, i Alejandra Berriel-Benvenuto. "National School of Fine Art. University Extension and Mural Painting". W Cultural and Creative Mural Spaces, 83–95. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-53106-5_6.

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Huang, Xingsheng, Sheng-hua Zhong i Zhijiao Xiao. "Fine-Art Painting Classification via Two-Channel Deep Residual Network". W Advances in Multimedia Information Processing – PCM 2017, 79–88. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-77383-4_8.

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Paul, Alexis, i C. Malathy. "An Innovative Approach for Automatic Genre-Based Fine Art Painting Classification". W Advances in Intelligent Systems and Computing, 19–27. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-10-8237-5_3.

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Masod, Muhammad Yusuf, Mahadzir Mohamad i Intan Natasha Abdul Azim. "An Overview of the Digital Inkjet Printing for Fine Art Painting Reproduction". W Proceedings of the International Symposium on Research of Arts, Design and Humanities (ISRADH 2014), 363–71. Singapore: Springer Singapore, 2015. http://dx.doi.org/10.1007/978-981-287-530-3_37.

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Ribés, Alejandro. "Image Spectrometers, Color High Fidelity, and Fine-Art Paintings". W Advanced Color Image Processing and Analysis, 449–83. New York, NY: Springer New York, 2012. http://dx.doi.org/10.1007/978-1-4419-6190-7_14.

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Heng, Jiuan. "Ritual and the Body in Literati Painting". W Life the Play of Life on the Stage of the World in Fine Arts, Stage-Play, and Literature, 323–46. Dordrecht: Springer Netherlands, 2001. http://dx.doi.org/10.1007/978-94-010-0826-6_22.

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Bochicchio, Luca, Patrizia Moretti, Annalisa Chieli, Aldo Romani, Chiara Ruberto, Lisa Castelli, Brunetto Giovanni Brunetti, Antonio Sgamellotti i Laura Cartechini. "CHAPTER 7. “Art is Not Science”: A Study of Materials and Techniques in Five of Enrico Baj's Nuclear Paintings". W Science and Art, 139–68. Cambridge: Royal Society of Chemistry, 2020. http://dx.doi.org/10.1039/9781788016384-00139.

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Méndez Baiges, Maite. "“We are all Demoiselles d’Avignon” or the Breaching of the Dominant Gaze". W Les Demoiselles d'Avignon and Modernism, 67–101. Florence: Firenze University Press, 2022. http://dx.doi.org/10.36253/978-88-5518-656-8.07.

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In his thesis on Les Demoiselles d'Avignon, Steinberg postulated the fundamental role of the spectator (object of the appealing gazes of the five young nudes in the painting) as the catalyst of the meanings in the painting. From then on new critical perspectives would speculate about this subject, targeted by the personages in the painting, who bears so much responsibility in articulating the interpretation of the scene. Doubts were raised about the universal character of the gaze, the universal character of the receptor of the work of art and of Modern Art. From the end of the 20th century and activated by the most recent methodological approaches such as feminism and post-colonialism, new critical voices provoked the breaching of the dominating gaze. This chapter broaches the interpretations of this paradigmatic work of Modern Art made by feminist and post-colonial and subaltern theories, questioning the very proposals of Modernism. Feminism shows how gender conditioning affects the reception of a work of art. And allied with this, post-colonialism and subaltern theory begin to seriously question the way historiography has considered, or not, the relevance of Art négre in the avant-guard eclosion.
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Flach, Sabine. "Moving is in Every Direction". W Bewegungsszenarien der Moderne, 165–76. Heidelberg, Germany: Universitätsverlag WINTER, 2021. http://dx.doi.org/10.33675/2021-82537264-10.

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Traditionally, art history divided the arts into four genres: painting and sculpture, poetry and music. Hence the art-historical canon was dominated by a strict division into the arts of space and those of time. Movement (both of an internal and externalized kind) did not find a place within this classificatory corset. In 1766, Gotthold Ephraim Lessing framed the classical art-theoretical approach through his famous text ‚Laocoon: An Essay on the Limits of Painting and Poetry‘, in which he splits the arts into those unfolding in time and those unfolding in space. Lessing’s ‚Laocoon‘ is the founding text defining poetry and music as time-based, sculpture and painting as space-orientated. By 1900, this strict system of classification and hierarchization began to dissolve, giving way to cross-border experiments in the arts of the twentieth century up to the present day. This overturning of classical genre divisions between the static and the dynamic arts, between sculpture, installation, and performance enables us to examine artworks as variations of movement in terms of ‚constellations between scene and scenario‘. Furthermore, the development of movement as an artform implies the activation of the audience in participatory arts practice.
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Streszczenia konferencji na temat "Painting (Fine art)"

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Petrinec, Aleksandra. "INFRARED PAINTING IN FINE ART OF NADA ZILJAK". W 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018h/61/s15.048.

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Sologub, G. N., i L. A. Petrukhina. "DIGITAL PAINTING AS AN ACTUAL TREND IN CONTEMPORARY ART". W Культура, наука, образование: проблемы и перспективы. Нижневартовский государственный университет, 2021. http://dx.doi.org/10.36906/ksp-2021/93.

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The article considers the problems and topicality of using digital technologies in fine art, focuses on the present conditions and possibilities of applying traditional painting techniques in the virtual space. There can be distinguished the main instruments of a digital painter and artistic means of specialized programs. The issue of the specific peculiarities of digital painting in comparison with traditional one is touched upon in the paper.
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Lombardi, Thomas, Sung-Hyuk Cha i Charles Tappert. "A graphical user interface for a fine-art painting image retrieval system". W the 6th ACM SIGMM international workshop. New York, New York, USA: ACM Press, 2004. http://dx.doi.org/10.1145/1026711.1026729.

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Menai, Baya Lina, i Mohamed Chaouki Babahenini. "Recognizing the style of a fine-art painting with EfficientNet and Transfer learning". W 2022 7th International Conference on Image and Signal Processing and their Applications (ISPA). IEEE, 2022. http://dx.doi.org/10.1109/ispa54004.2022.9786371.

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Andrew, Gretchen Andrus. "Wearable Technology and Electronic Visualisation of Artistic Process Google Glass meets Fine Art Painting". W Electronic Visualisation and the Arts (EVA 2014). BCS Learning & Development, 2014. http://dx.doi.org/10.14236/ewic/eva2014.74.

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Puthenputhussery, Ajit, Qingfeng Liu i Chengjun Liu. "Color multi-fusion fisher vector feature for fine art painting categorization and influence analysis". W 2016 IEEE Winter Conference on Applications of Computer Vision (WACV). IEEE, 2016. http://dx.doi.org/10.1109/wacv.2016.7477619.

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Yang, He. "Discussion about the Influence of Western Painting Teaching on the Fine Arts in the Qing Dynasty". W 2016 3rd International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-16.2017.146.

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Martynova, N. V., i D. R. Slipetskaya. "IMPROVEMENT OF ART SKILL OF FUTURE TEACHER OF THE FINE ARTS DURING TRAINING AT THE MASTER CLASS IN THE EQUIPMENT MULTILAYERED WATERCOLOR PAINTING". W INNOVATIONS IN THE SOCIOCULTURAL SPACE. Amur State University, 2020. http://dx.doi.org/10.22250/iss.2020.41.

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Authors of article claim that future teacher of the fine arts during educational process in higher education institution has to seize a large number the technician and methods of watercolor painting. With it is helped by master classes from experts in the field. Future teacher of the fine arts has to not only learn it, but also own a teaching technique. Level of his art skill depends on continuous self-improvement and is the key to successful future pedagogical activity.
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Rutsinskaya, Irina, i Galina Smirnova. "TEA PARTIES IN RUSSIAN PAINTING IN THE SECOND HALF OF THE NINETEENTH – BEGINNING OF THE TWENTIETH CENTURY: REFLECTIONS OF EVERYDAY LIFE AND SOCIAL HISTORY". W NORDSCI Conference Proceedings. Saima Consult Ltd, 2021. http://dx.doi.org/10.32008/nordsci2021/b1/v4/33.

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"Tea in Russia is not only the drink loved by millions of people but also a national symbol closely and inseparably connected with Russian culture. The dominance of realism in Russian fine art in the second half of the nineteenth – beginning of the twentieth century gave birth to the widespread popularity of genre painting which started playing a very special role in the country. It is not surprising that tea parties became common themes in these works. Over a cup of tea, the characters in the paintings perform everyday activities: chatting, contemplating, indulging in memories, while taking the opportunity to enjoy their favourite drink. Paintings are a unique and rarely used source for social history and culture studies as they allow us not only to reconstruct the everyday life of past eras, but also to study how contemporaries saw, perceived, and evaluated a variety of everyday practices. The research undertaken is descriptive and analytical with reference to the principles of historicism, academic reliability and objectivity that help to determine important trends and patterns and characterize the various social phenomena and developments that took place in Russia during the period under study. Unlike Western European painting, the representation of tea ceremonies on the canvases of Russian artists romanticizes both the philosophical aspect and the harmonizing function of the ceremony, but at the same time focuses attention on social issues, which obviously reflects the specifics of national consciousness. The present research is based on the analysis of eighty-two genre painting works by Russian artists (among them there are the well-known ones by: Ivan Bogdanov, Vasiiy Makovsky, Konstantin Makovsky, Vasily Perov, Konnstantin Korovin, etc.). They not only provide the audience with information about different aspects of everyday culture in Russia from the second half of the nineteenth to the beginning of the twentieth century but also trace the trends in the development of public consciousness and help to determine the main social problems that characterize the historical period and the attitude of society to them. The process of the democratization of society in the second half of the nineteenth century is reflected in the depiction of the ambiguous relationship between society and the church. The canvases draw attention to the place of tradition in the life of an individual and a family, the changing social role of the nobility which exemplifies the passing era, increasing interest in the way of life of the intelligentsia, and creating the image of the merchant as a new social class with a specific culture. At the beginning of the twentieth century, the nostalgic description of the tea party as a symbol of a bygone era of prosperity and a lost past prevails."
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Smolka, Bogdan, Rastislav Lukac, Konstantinos N. Plataniotis i Anastasios N. Venetsanopoulos. "Robust retrieval of fine art paintings". W Optical Metrology, redaktor Renzo Salimbeni. SPIE, 2003. http://dx.doi.org/10.1117/12.504101.

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Raporty organizacyjne na temat "Painting (Fine art)"

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Frykman, Judith. A series of paintings, drawings, and compositions, oriented toward a fine arts direction in the use of synthetic and mixed media. Portland State University Library, styczeń 2000. http://dx.doi.org/10.15760/etd.224.

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