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Siga este link para ver outros tipos de publicações sobre o tema: Painting.

Livros sobre o tema "Painting"

Autor: Grafiati

Publicado: 4 de junho de 2021

Última modificação: 29 de julho de 2024

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Veja os 50 melhores livros para estudos sobre o assunto "Painting".

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1

Insoll, Chris. Paintings about painting - Chris Insoll. Falmouth: Falmouth Art Gallery, 2001.

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2

Takeda, Teppei. Paintings of painting: Teppei Takeda. Tokyo, Japan: United Vagabonds, 2019.

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3

Canoilas, Hugo. HCPP: Hugo Canoilas, paintings against painting. Guimarães - Portugal: Centro Cultural Vila Flor, 2011.

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4

Lambie, Jim. Painting not painting. St. Ives, Cornwall: Tate St. Ives, 2003.

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5

Bower, Jane. Painting. Danbury, CT: Children's Press, 1998.

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6

Thomas, Isabel. Painting. Chicago, Ill: Heinemann Library, 2011.

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7

Robins, Deri. Painting. Minnetonka, MN: Two-Can, 2006.

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8

America, Boy Scouts of, ed. Painting. 2^a ed. Irving, Tex: Boy Scouts of America, 2002.

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9

1909-, Wijesekera Nandadeva, Sri Lanka. Commissioner of Archaeology. e Sri Lanka Purāvidyā Depārtamēntuva, eds. Painting. [Colombo, Sri Lanka: Commissioner of Archaeology], 1990.

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10

Stocks, Sue. Painting. New York: Thomson Learning, 1994.

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11

Hodge, Anthony. Painting. North Mankato, Minn: Stargazer Books, 2004.

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12

S, Burroughs William. Painting. Amsterdam: Suzanne Biederberg Gallery, 1988.

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13

Papikʹi͡an, R. Painting. [Russia: AO "Vneshtorgizdat", 1994.

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14

Cowley, Joy. Painting. Leeds: Arnold-Wheaton, 1985.

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15

Ruth, Thomson. Painting. Chicago: Childrens Press, 1994.

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16

Henry, Sally. Painting. New York: PowerKids Press, 2009.

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17

Haq, Saqiba. [Painting]. Lahore: Hamail Art Galleries, 2008.

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18

Feagin, Susan. Painting. Editado por Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0029.

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This article identifies four categories of issues that arise in relation to painting as an art. The first concerns the ontological status of paintings as physical objects: the importance of different types of paint and their material support, the values contingent on them, and the conservation and restoration issues that arise because anything physical is subject to decay. The second category concerns the perception and valuation of visual form and attempts to define painting's nature and value in purely visual terms. The third explores ontological and interpretive issues raised by the different forms painting takes in different cultures. The fourth concerns personal agency and autonomy in relation to personal expression, to representations of individuals and cultural practices within painting, and to ties between painting's epistemic potential and its social status.

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19

Rudd, Anthony. Painting and Presence. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192856289.001.0001.

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Abstract This book is concerned with why (or whether) paintings have value: why they might be worth creating and attending to. I start from the challenge expressed in Plato’s critique of the arts generally according to which they do not lead us to what is true and good, and may take us away from them. I try to show that this Platonic challenge can be answered in its own terms, that painting is good because it does lead us to truth. What paintings can give us is a non-discursive ‘knowledge by acquaintance’ in which the essence of the painting’s subject matter is made present to the viewer. I trace this understanding of painting as ontologically revelatory from the theology of the Byzantine icon to classical Chinese appreciations of landscape painting, to the work of Merleau-Ponty and other Phenomenologists inspired by European Modernist art. I argue that this account of painting as disclosing the essences of things can also take up what is right about expressive and formalist theories of painting and that it can apply as much to abstract as to representational painting. But disclosing the reality of things can only be of value if the reality disclosed is itself of value, and in the concluding part of the book I argue that the value of painting can only be properly understood in the context of a wider metaphysics or theology in which value is understood not as a human projection but as a basic characteristic of reality as such.

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20

Painting Paintings 1975. Gagosian / Rizzoli, 2017.

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21

Dickins, Rosie. Famous Paintings Magic Painting Book. Usborne Publishing, Limited, 2023.

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22

Rudd, Anthony. Painting and Presence : : Why Paintings Matter. Oxford University Press, 2022.

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23

Yu, Xingxing. Painting: The Painting. YU, XINGXING, 2024.

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24

Yu, Xingxing. Painting: The Painting. YU, XINGXING, 2024.

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25

Yu, Xingxing. Painting: The Painting. YU, XINGXING, 2024.

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26

Painting Not Painting. Tate Publishing, 2003.

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27

Painting: Painting (Action Art). Heinemann, 2005.

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28

Painting & Frills (Decorative Painting). 9^a ed. Plaid, 2004.

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29

Moore, George. Modern Painting: Modern Painting. BiblioBazaar, 2007.

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30

British Abstract Painting: Painting. Flowers East, 1994.

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31

Bhatia, Aashirya. Paintings by Aashirya Bhatia: Unique Word Painting. Lulu Press, Inc., 2021.

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32

Shing-chien, Ch'ien. Painting Waterfowls (Chinese Paintings for Beginners #19). ART Book Co., Ltd., 1990.

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33

Brown, Christopher. Dutch Paintings (National Gallery Schools of Painting). Univ of Washington Pr, 1990.

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34

Painting : Painting Top Guide for Beginners: Acrylic Painting. Independently Published, 2022.

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35

Decorative Painting Techniques: Whisper Painting (Decorative Painting Techniques). Sterling/Chapelle, 2007.

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36

VanVoorst, Jenny Fretland. Painting. Jump! Incorporated, 2016.

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37

Booth, Alison. Painting. RedDoor Publishing Limited, 2021.

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38

Calver, Paul. Painting. Penguin Random House, 2014.

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39

Pattison, George. Painting. Editado por Joel D. S. Rasmussen, Judith Wolfe e Johannes Zachhuber. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780198718406.013.22.

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In the wake of the Romantic movement, Christian theologians gave renewed attention to the arts, including painting, which entered one of its most turbulent phases in the nineteenth century. The chapter examines the revalorization of the Middle Ages as the epitome of a Christian culture; symbolism, especially as represented in the English painter G. F. Watts; and the emergence of French modernism as a secularizing tendency. Constructively, the chapter demonstrates that the nineteenth century can still provide a significant resource for reflection on theology and painting. Critically, it finds nineteenth-century theology was unprepared for the dramatic convulsions of the early twentieth century that would transform the landscape of modern art.

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40

Fremon, Jean. Painting. Black Square Editions, 2000.

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41

Gasser, H. Painting. Golden books, 2000.

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42

Scrace, Carolyn. Painting. Book House, 2020.

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43

Moore. Painting. Franklin Watts, Incorporated, 2000.

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44

Tigg, Geoff R. Painting. Wyatt-MacKenzie Publishing, 2013.

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45

Beschastnov, N. P. Painting. Book on Demand Ltd., 2018.

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46

Painting. Rosen Publishing Group, 2009.

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47

Painting. Scholastic Paperback, 2009.

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48

Painting. Watts, 2008.

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49

Painting. RedDoor Publishing Limited, 2021.

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50

Attombri, Sara. Painting. Lulu Press, Inc., 2014.

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