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Автор: Grafiati
Опубліковано: 27 липня 2024
Оновлено: 28 липня 2024

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Статті в журналах з теми "Painting, European – 19th century"

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Yang, Guangyu. "temporal spirit, expressiveness and nationality of contemporary Chinese painting." Linguistics and Culture Review 5, S2 (July 31, 2021): 472–86. http://dx.doi.org/10.21744/lingcure.v5ns2.1384.

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The relevance of the study is determined by the fact that China, like Japan, took oil painting relatively recently. Japan became closely acquainted with Western technology in the 19th century, but at that time they still imposed a taboo on oil painting, the authorities in every way prevented its spread, protecting the traditions of national art. Only the 20th century allowed new trends to finally settle down. The work shows that the understanding of the European painting technology was widely represented in the imperial Celestial Empire. The article shows that the artists did not make a big problem to learn painting skills from the Europeans (originally the Portuguese). They learned the lessons, techniques and technology of European art, despite the fact that they had never had a similar school before. Separately, it is stipulated that cooperation after the formation of the USSR played a great influence on contemporary paintings. This explains the fact that many paintings by Chinese painters are very similar to Russian school of fine art. The authors determine that the Russian style, fully perceived by the PRC, was formed collectively from the Renaissance approach, with the inclusion of impressionism motifs.
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PARSONS, C. "An Outline of 19th-Century European Painting from David through Cezanne." Oxford Art Journal 11, no. 1 (January 1, 1988): 74–75. http://dx.doi.org/10.1093/oxartj/11.1.74.

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Pavlova, Anna. "Yaroslavl traditions in the classicist period of church wall-painting in Tver region." St. Tikhons' University Review. Series V. Christian Art 51 (September 29, 2023): 155–73. http://dx.doi.org/10.15382/sturv202351.155-173.

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In the article an attempt is made of clearing up the source of the North-East Tver region artistic culture flourishing in the 19th century that especially became strikingly apparent in church wall-painting. Beginning with the early 19th century the painters from the city of Yaroslavl were actively working in the Tver region and introduced various traditions of Yaroslavl into the fine arts. One of the characteristic features of the Yaroslavl painters’ language was the combination of Old Russian and West European devices in the classicism stylistic context that found a reflection in the Tver region monuments. At present the phenomenon of different trends coexistence in the beginning of the 19th century is well known in the specialized literature through the example of icon-painting. A similar occurrence took place in the monumental art but so far it hasn’t been investigated in the scholarly literature. The works of the Yaroslavl painters Banshchikov and Smirnov are preserved in the Resurrection cathedral in Kashin as a masterpiece of wall-painting without renovations or restorations. Through the example of the cathedral paintings the devices of the Yaroslavl painters are being analyzed, in particular the use of the rare Old Testament cycle in the painting programme created on the basis of the popular German engravings from Christoph Weigel Bible (1695). A comparison of the Yaroslavl painters’ style in the Korsun Icon of the Mother of God church in the village of Zelentsovo and a number of the North-East Tver region murals is carried out. The analysis of the interregional connections and the study of the Old Russian traditions firmness in the classicism period favour the deepening one’s knowledge about the view of the Russian art development in the first half of the 19th century. For the Yaroslavl region bordering the Tver region districts Yaroslavl as a strong monumental art centre became one of the main sources of the new artistic traditions.
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Both, Mária Gabriella. "Mozaikok a tájfestészet és a geográfia kapcsolatából." Kaleidoscope history 11, no. 22 (2021): 379–88. http://dx.doi.org/10.17107/kh.2021.22.379-388.

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At the turn of the 18th and 19th centuries, natural sciences supported and drove economic development in a previously not experienced way. Europe created a new “mental image” of nature, scientific ideas with a newly emerging confidence while combining theoretical and practical researches. The Age of Enlightenment is best characterized by A. Humboldt’s discovery travels. The utilitarian approach of the age radically changed the relationship between landscape and people, first in the English speaking countries. This study endeavours to present the interrelations of men and landscape through the changes in landscape painting at the beginning of the 19th century while emphasizing the earlier definition of the geographic environment and indicating geography as an heir of the landscape painting. John Constable broke with the tradition of academic painting and found the idyllic landscape in rural England. In the New World, landscape painting used the European traditions, exemplified by the works of Thomas Cole, the first major American landscape painter. His iconic painting ’Oxbow’ followed the patterns of the traditional European landscape imaging, indicating ideas of the Sublime and the Beautiful of Poussin’ works.
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Antropova, Nataliya D. "HISTORICAL AND PHILOSOPHICAL ASPECTS IN THE RENEWAL OF THE LANGUAGE OF CHURCH MONUMENTAL PAINTING IN FRANCE AT THE TURN OF THE 20th CENTURY ON THE EXAMPLE OF PAINTINGS BY MAURICE DENIS." Architecton: Proceedings of Higher Education, no. 3(71) (September 29, 2020): 21. http://dx.doi.org/10.47055/1990-4126-2020-3(71)-21.

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The study analyzes the historical and philosophical origins of the renewal in church monumental art in French culture at the turn of the 20th century. The crisis that broke out in the second half of the 19th century within the philosophical knowledge and classical religion and an attempt to rethink the evolution of Christianity entailed significant changes in artistic creativity devoted to the sacred theme. The author explores the topic based on the church mural paintings of the French painter Maurice Denis, who stood at the origins of the transformation of the language of religious painting and whose role is significant for the further history of European art. The relevance of the work lies in the fact that all previous studies on this topic were primarily art criticisms. They paid special attention to the analysis of the artistic language and pictorial and expressive means. At the same time, questions of historical and philosophical nature and their role in the formation of new European religious painting were analyzed to a much lesser extent.
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Pérez-Jiménez, Aurelio. "The Lamp of Anaxagoras (Plu., Per. 16.8-9) and its Reception in the Art of the 17th-19th centuries." Ploutarchos 14 (October 30, 2017): 69–106. http://dx.doi.org/10.14195/0258-655x_14_4.

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In this article I follow the trails wich the famous anecdote of Anaxagoras, Pericles and the lamp (Plu., Per. 16.8-9) has let in European art of the last centuries. I will comment the details of different artistic pieces from the17th century emblematic and from Neoclassical painting and sculpture of the 18th and 19th Centuries, as well as some 19th French ‘pendules’, to put in value the importance that this anecdote has had in European art, due to its didactic strength and to its litterary plasticity.
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Stavrianos, C., N. Petalotis, O. Pantelidou, C. Papadopoul, A. Pantazis, and L. Grigoropou. "Humans Biting Themselves or Others: Nine Cases in European Painting (15-19th Century)." Research Journal of Medical Sciences 5, no. 3 (March 1, 2011): 155–60. http://dx.doi.org/10.3923/rjmsci.2011.155.160.

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Borozan, Igor. "Simbolistički opus Mihe Marinkovića i njegova recepcija u srpskoj sredini." Ars Adriatica 9 (February 28, 2020): 133–50. http://dx.doi.org/10.15291/ars.2928.

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The paper analyses the symbolist works in the under-researched opus of painter Miho Marinković. Trained at the Munich Academy of Fine Arts, he is primarily known as a painter of intricate themes that can be categorized as late 19th-century symbolism. In 1904, he settled in Belgrade and became an active participant in the cultural scene of the Serbian capital. In 1911, Marinković’s paintings were exhibited in the Pavilion of the Kingdom of Serbia at the International Exhibition in Rome. His symbolist oeuvre covers the standard themes of symbolist painting, such as Medusa, Lucifer, or The Sinner, which speaks both of the artist’s personality and of the eclectic turn of the century. Symbolism in Marinković’s work reflects his training in Munich, which in the late 19th and early 20th centuries was the European centre of somnambular themes and artistic experiments. In this paper, his oeuvre has been considered in the context of general symbolist structures, with particular references to the Munich symbolism. Some reviews of Marinković’s symbolist paintings have been pointed out, which testify to the history of the reception of his work in the Kingdom of Serbia in the early 20th century. The positive reception of Marinković’s paintings in the Serbian setting is evident from the fact that as many as thirty-five of his works have been included in the holdings of the National Museum in Belgrade.
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Guoyi, Qin. "COLLECTING CHINA ART OBJECTS IN ENGLAND IN THE 19TH CENTURY." Articult, no. 3 (2022): 18–24. http://dx.doi.org/10.28995/2227-6165-2022-3-18-24.

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Анотація:
In the article, in the form of a brief overview, the Chinese influence on European art, in particular on English art, in the 19th century is described. The history of the emergence of Chinese art in Britain is summarized, the main stages of collecting and their prominent representatives are described. The article describes such areas of art as porcelain, engravings, painting, architecture, shows a description of their influence on European art, gives the reasons for the appearance of Chinese art in Europe. This article corrects the current picture of the development of collecting, based mainly on English-language material. The relevance of the study lies in the fact that the relationship of the studied cultures, the influence of Chinese culture on English is considered in the prism of social and political factors. The novelty of this study lies in the fact that the influence of Chinese art on the art of Europe depended on their position in the respective hierarchies: the higher the status of art in China, the less influence it had in Europe; and the higher the status of art in Europe, the less susceptible it was to Chinese influence.
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Kizyma, Yuliia. "The sacred aspect of the image of the child in the early 20th century Polish and Western Ukrainian painting: socio-historical context and local specifics." Text and Image: Essential Problems in Art History, no. 1 (2021): 64–82. http://dx.doi.org/10.17721/2519-4801.2021.1.04.

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

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Coutts, Kieran Howard Julian. "European ceramic design, 1500-1830." Thesis, University of St Andrews, 1994. http://hdl.handle.net/10023/15336.

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This thesis looks at the design and decoration of European ceramics in the period 1500-1830, paying particular attention to their place within the evolution of stylistic trends within European art and design in this period, including the dissemination of designs through prints during the Renaissance; the influence of the import of Oriental goods in the 17th and 18th centuries; the influence of metalwork in the 18th century; and the influence of the Classical revival of the late 18th century. It pays particular attention to the usage of objects and changes in eating and drinking, including the emergence and decline of service a la francaise in the 18th century, and the use of ceramics as room decoration in this period. It also considers ceramic product as an aspect of economic theory such as mercantilism and changes in society and industrial production.
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Lee, Sai-chong Jack, and 李世莊. "China trade painting: 1750s to 1880s." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B45015442.

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Lee, Sai-chong Jack. "Painting in western media in early twentieth century Hong Kong /." Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19668296.

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Gude, Tushara Bindu. "Between music and history Rāgamālā paintings and European collectors in late eighteenth-century northern India /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=2023838261&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Gill, Laura Fox. "Peripheral vision : the Miltonic in Victorian painting, poetry, and prose, 1825-1901." Thesis, University of Sussex, 2017. http://sro.sussex.ac.uk/id/eprint/72673/.

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This thesis explores the influence of John Milton on the edges of Victorian culture, addressing temporal, geographical, bodily, and sexual thresholds in Victorian poetry, painting, and prose. Where previous studies of Milton's Victorian influence have focused on the poetic legacy of Paradise Lost, this project identifies traces of Miltonic concepts across aesthetic borders, analysing an interdisciplinary cultural sample in order to state anew Milton's significance in the period between British Romanticism and early twentieth-century critical debates about the value of Paradise Lost. The project is divided into four chapters. The first explores apocalyptic images and texts from the 1820s-Mary Shelley's The Last Man (1826) and the paintings of John Martin-in relation to Miltonic aetiology and eschatology. These texts offer a complex re-thinking of the relation between personal loss and universal catastrophe, which draws on and positions itself against prophecy and apocalypse in Paradise Lost. In the second chapter I address conceptual connections that cross boundaries of medium and nationality, identifying the presence of a Miltonic notion of powerful passivity in the writing and marginalia of Herman Melville and the paintings and anecdotal appendages of J. M. W. Turner. In the third chapter I consider Milton's importance for A. C. Swinburne's poetic presentation of peripheral sexualities, identifying in Milton's poetry a pervasive metaphysics of bodily 'melting' or 'cleaving' which is essential to Swinburne's poetic project. The final chapter analyses the presence of the Miltonic in the fiction of Thomas Hardy, whose repeated readings of Milton contributed to both establishing his poetic vocabulary, and prompting a career-long engagement with Miltonic ideas. The thesis refocuses attention on peripheral elements of the work of these writers and artists to re-articulate Milton's importance for the Victorians, whilst bringing together models of influence which show the Victorian Milton to be at once liminal and galvanising.
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Sprague, Abbie Noel. "The craftsman painters of the arts and crafts movement." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609045.

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Wong, Mei-kin Maggie, and 黃美堅. "Collecting and picturing the orient: China's impact on nineteenth-century European Art." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B2954452X.

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Sotiropoulos, Michail. "European jurisprudence and the intellectual origins of the Greek state : the Greek jurists and liberal reforms (ca 1830‐1880)." Thesis, Queen Mary, University of London, 2015. http://qmro.qmul.ac.uk/xmlui/handle/123456789/9111.

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This thesis builds on, and contributes to recent scholarship on the history of nineteenth‐century liberalism by exploring Greek legal thought and its political implications during the first decades after independence from the Ottomans (ca.1830‐1880). Protagonists of this work of intellectual history are the Greek jurists—a small group of very influential legal scholars—most of whom flocked to the Greek kingdom right after its establishment. By focusing on their theoretical contributions and public action, the thesis has two major contentions. First, it shows that the legal, political and economic thought of the jurists was not only conversant with Continental liberal currents of the Restoration, but, due to the particular local context, made original contributions to liberalism. Indeed, Greek liberals shared a lot with their counterparts in France, Italy and Germany, not least the belief that liberty originated in law and the state and not against them. Another shared feature was the distinction between the elitist liberal variant of the ‘Romanist’ civil lawyers such as Pavlos Kalligas, and the more ‘radical moderate’ version of Ioannis Soutsos and Nikolaos Saripolos. At the same time, the Greek liberals, seeking not to terminate but to institutionalize the Greek revolution, tuned to the radical language of natural rights (of persons and states) and national sovereignty. This language, which sought to control the rulers, put more contestation in power and expand political participation gained wide currency during the crisis of the 1850s, which exposed also the precarious place of Greece in the geography of European civilization. The second contention of the thesis is that this ‘transformation of thought’, informed the ‘long revolution’ of the 1860s and the new system of power this latter established. By so doing, it shows that liberal jurisprudence provided the intellectual foundations upon which the modern Greek state was build.
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Fitzpatrick, Devin Marie. "The interrelation of art and space an investigation of late nineteenth and early twentieth century European painting and interior space /." Online access for everyone, 2004. http://www.dissertations.wsu.edu/Thesis/Spring2004/d%5Ffitzpatrick%5F043004.pdf.

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Strickrodt, Silke. "Afro-European trade relations on the western slave coast, 16th to 19th centuries." Thesis, University of Stirling, 2002. http://hdl.handle.net/1893/2616.

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This thesis deals with the Afro-European trade on the Western Slave Coast from about 1600 to the 1880s, mainly the slave trade but also the trade in ivory and agricultural produce. The Western Slave Coast comprises the coastal areas of modem Togo and parts of the coastal areas of Ghana and Benin. For much of the period under discussion, this region was dominated by two kingdoms, the kingdom of the Hula (or Pla), known to European traders as Great or Grand Popo, after its coastal port (in modern Benin), and the kingdom of the Ge (Gen/Guin/Genyi), known to European traders as Little Popo, after its main coastal port (in modern Togo). In the nineteenth century, two more ports of trade appeared in the region, Agoud (in modem Benin) and Porto Seguro (in modern Togo). In terms of the Afro-European trade, this was an intermediate area between regions of greater importance to slave traders, the Gold Coast to the west and the eastern Slave Coast (mainly the kingdom of Dahomey) to the east. This thesis gives a detailed reconstruction of the political and commercial developments in the region, especially for the period from the 1780s and the 1860s. The discussion is based mainly on archival material from British, French and African archives, but also makes use of a wide range of published accounts, mainly in English, French and German, and information from oral traditions. Beyond its immediate local interest, the thesis contributes to our understanding of the operation of the Afro-European trade and its impact on African middleman societies. The intermittent commercial success of 'the Popos' illustrates the dynamics of the trade especially clearly. The Western Slave Coast is placed into the wider transatlantic trade network and its role in the trade re-evaluated. The link between the local and overseas economy is illustrated by the centrality of the lagoon, which is discussed in detail. Other important issues that are addressed include the role of the canoemen in the trade, the transition from the slave trade to the palm oil trade and the Afro-Brazilian settlement at Agoue.
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Книги з теми "Painting, European – 19th century"

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Sotheby's (Firm). 19th century european paintings: Including Spanish painting 1850-1930. London: Sotheby's, 2003.

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Sotheby's (Firm). 19th century European paintings: Including Spanish painting 1850-1930. London: Sotheby's, 2001.

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Sotheby's (Firm). 19th century European paintings: Including Spanish painting 1850-1930. London: Sotheby's, 2002.

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4

Roxana, Waterson, and National Museum (Singapore), eds. Singapore through 19th century prints & paintings. Singapore: National Museum of Singapore, 2010.

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5

Sotheby's (Firm). 19th century European paintings and sculpture. New York: Sotheby's, 2001.

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Cleveland Museum of Art. European paintings of the 19th century. [Cleveland]: Cleveland Museum of Art, 1999.

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7

Felix, Kramer, and National Gallery of Victoria, eds. European Masters: Städel Museum, 19th-20th century. Petersberg: Michael Imhof Verlag, 2010.

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8

Mark, Poltimore, ed. Popular 19th century painting: A dictionary of European genre painters. Woodbridge, Suffolk: Antique Collectors' Club, 1986.

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9

Galleries, Hammer. 19th & 20th century European & American paintings: The Gallery Collection, Winter 1987. New York, N.Y. (33 W. 57th St., New York, N.Y. 10019): The Galleries, 1987.

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Sotheby, Parke-Bernet, London. 19th century European paintings including Spanish painting 1850-1930: Auction: Monday, November 19, 2001 .... London: Sotheby's, 2001.

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Частини книг з теми "Painting, European – 19th century"

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Eitner, Lorenz. "French Landscape." In An Outline of 19th Century European Painting, 197–223. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429032714-8.

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Eitner, Lorenz. "David and His School." In An Outline of 19th Century European Painting, 15–54. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429032714-2.

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Eitner, Lorenz. "British Neoclassicism and William Blake." In An Outline of 19th Century European Painting, 75–99. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429032714-4.

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Eitner, Lorenz. "English Landscape." In An Outline of 19th Century European Painting, 121–54. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429032714-6.

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Eitner, Lorenz. "Edouard Manet, 1832-1883." In An Outline of 19th Century European Painting, 289–312. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429032714-11.

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Eitner, Lorenz. "Academic and Salon Painters." In An Outline of 19th Century European Painting, 269–87. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429032714-10.

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Eitner, Lorenz. "Francisco José de Goya y Lucientes, 1746-1828." In An Outline of 19th Century European Painting, 55–73. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429032714-3.

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Eitner, Lorenz. "Impressionism." In An Outline of 19th Century European Painting, 334–418. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429032714-13.

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Eitner, Lorenz. "Edgar Degas, 1834-1917." In An Outline of 19th Century European Painting, 313–31. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429032714-12.

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Eitner, Lorenz. "Introduction." In An Outline of 19th Century European Painting, 1–13. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429032714-1.

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Тези доповідей конференцій з теми "Painting, European – 19th century"

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Lu, Zhang. "THE INTERTEXTUALITY OF RUSSIAN LITERATURE AND RUSSIAN PAINTING IN THE 19TH CENTURY." In INNOVATIONS IN THE SOCIOCULTURAL SPACE. Amur State University, 2020. http://dx.doi.org/10.22250/iss.2020.21.

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The background color of Russian literature and Russian painting art in the 19th century is gloomy and heavy, and there exists text intertextuality between them, which is different from single text and single painting. Literary words and painting invisible words quote, permeate, insinuate and rewrite each other. Literature is the writing of painting, and painting is the color of literature. The main line of literature development and the main line of painting development seem to be twisted together like a rope, presenting spiral development, closely linked, complementary and inseparable.The same value orientation and aesthetic purpose have intertextuality, mutual influence, mutual interaction and mutual transformation, no matter in creation method, theme, artistic style or creation background. Direct description or sharp pen, or by the protagonist of indirect irony, using realistic and critical realism creation method, revealing the tsarist autocracy savage, dissatisfaction with the reality in protest of rebellion, as well as being bullied and oppressed pain and struggle, at the same time reflects the immortality of the Russian national literature and art achievement.
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Farhangpour, Yasaman. "THE EFFECTS OF AESTHETIC HEDONISM IN PAINTING RESTORATION IN THE 19TH CENTURY." In 2nd Arts & Humanities Conference, Florence. International Institute of Social and Economic Sciences, 2018. http://dx.doi.org/10.20472/ahc.2017.002.001.

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Bardik, M. А. "THE PRESERVED MURAL PAINTING OF THE LATE 19TH CENTURY IN THE GREAT PECHERSK CHURCH." In DEVELOPMENT OF CULTURE AND ART IN THE WAR AND POST-WAR PERIODS. Izdevnieciba “Baltija Publishing”, 2023. http://dx.doi.org/10.30525/978-9934-26-341-5-20.

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4

Zhang, Xiaojie. "The Painting Technical Characteristics and Sources of Hungarian Painter MihALy MunkACsy in the 19th Century." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.65.

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Klokočovnik, Jure, and Deja Muck. "3D printed lithophane." In 11th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design, 2022. http://dx.doi.org/10.24867/grid-2022-p44.

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Lithophane is a transparent plate on which, with the help of the different thickness of this plate, an image is formed. Light that passes through the plate from the back side of the plate shows a clear gray image on the front side of this plate. The strength of the transparency is determined by the material of the plate and the light source coming from behind. Without backlighting, the subject on the lithophane cannot be seen. Lithophanes in the form of porcelain vases were discovered in China long before the technique made its way to Europe. In Europe the origins of lithophanes date back to the early 19th century in France. Europeans perfected the technique and also used it to reproduce famous portraits and paintings. Today, the production of lithophanes is experiencing a renaissance with the advent of 3D printing technologies. In the research paper, the process of making lithophane using 3D printing is presented. First, 3D printing technologies are presented, more specifically the technology of extrusion of materials or thermoplastics modelled by joining layers. Then, the materials used for 3D printing with the mentioned technology are presented. Next, the procedures for 3D acquisition and reproduction of reliefs are described, and at the end, the lithophane itself is presented. In the practical part, the whole process of making lithophane is presented. For the creation of the lithophane model, the 3D modelling program Blender was used, and the lithophanes in physical form were made with the Creality Ender 3 3D printer using PLA filament. Droplet and electrophotographic printers were also used to produce colour lithophanes. The influence of LED and halogen lamps on the final impression of lithophane reproduction was also compared. Lithophanes produced with different print settings and different colour reproductions were compared. The results showed that the best wall thickness is one millimetre, and the layer thickness is the smallest value allowed by the printer. The orientation of the lithophane during printing has a great influence on the final image of the design. The best orientation is upright. Color reproduction is best when using electrophotographic printing in combination with acrylic varnish. Lighting research showed that LED is better than halogen lamps. The finished lithophane was of satisfactory quality and could be used as a decoration for the home or to organize an art exhibition with a large number of coloured lithophanes reproducing various artworks and motifs.
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Morozova, Anna Valentinovna. "THE DEVELOPMENT OF RUSSIAN PERCEPTION OF SPANISH PAINTING IN THE PERIOD FROM THE MIDDLE OF THE 19TH CENTURY TO THE BEGINNING OF THE 20TH CENTURY." In 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b41/s12.004.

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7

Ziarkowski, Dominik. "POLISH TOURIST GUIDEBOOKS OF THE 19TH CENTURY IN THE EUROPEAN CONTEXT." In 5th Arts & Humanities Conference, Copenhagen. International Institute of Social and Economic Sciences, 2019. http://dx.doi.org/10.20472/ahc.2019.005.021.

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8

Nobes, D. C., and L. R. Wallace. "Geophysical Imaging of an Early 19th Century Colonial Defensive Blockhouse." In Near Surface 2007 - 13th EAGE European Meeting of Environmental and Engineering Geophysics. European Association of Geoscientists & Engineers, 2007. http://dx.doi.org/10.3997/2214-4609.20146591.

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9

Артемова, А. А. "ORCHID PAINTING IN ART OF CHUSA KIM JEONGHUI (1786–1856)." In Месмахеровские чтения — 2024 : материалы междунар. науч.-практ. конф., 21– 22 марта 2024 г. : сб. науч. ст. / ФГБОУ ВО «Санкт-Петербургская государственная художественно-промышленная академия имени А. Л. Штиглица». Crossref, 2024. http://dx.doi.org/10.54874/9785605162926.2024.10.16.

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Чхуса Ким Чонхи — центральная фигура культурной жизни Кореи XIX в. среди художников- интеллектуалов — посвятил свою жизнь исследованию природы творчества, был признанным специалистом в области науки и искусства, а также объединил вокруг себя художников, увлеченных его идеалами. В данном исследовании будет предпринята попытка проанализировать три произведения Ким Чонхи в жанре живописи орхидей и дать краткую характеристику его творчеству на разных этапах жизненного пути. Chusa Kim Jeonguhui is a major figure in 19th century Korean Art Circles among literati painters. He became well-known as a painter, calligrapher and a scholar, who devoted his life to a creative journey in Classical arts and studies. His main body or paintings is done in Orchid painting genre, so we’re going to examine three of his art pieces in this genre to analyze his creative approach in different stages of his life.
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Plastova, T. "PROBLEMS OF THE EXPOSITION OF PAINTINGS OF THE XXTH C. EXHIBITION EXPERIENCE OF A. PLASTOV'S PAINTINGS." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2543.978-5-317-06726-7/48-50.

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The article is devoted tothe problems of XX century art exposition. The experience of A. Plastov exhibitions and the analysis of principles of European museums expositions allowed us to formulate some principles of XX century painting representation.
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Звіти організацій з теми "Painting, European – 19th century"

1

Gutiérrez Rodríguez, Encarnación. Entangled Migrations The Coloniality of Migration and Creolizing Conviviality. Maria Sibylla Merian International Centre for Advanced Studies in the Humanities and Social Sciences Conviviality-Inequality in Latin America, 2021. http://dx.doi.org/10.46877/rodriguez.2021.35.

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This Working Paper discusses entangled migrations as territorially and temporally entangled onto-epistemological phenomena. As a theoretical-analytical framework, it addresses the material, epistemological and ethical premises of spatial-temporal entanglements and relationality in the understanding of migration as a modern colonial phenomenon. Entangled migrations acknowledges that local migratory movements mirror global migrations in complex ways, engaging with the analysis of historical connections, territorial entrenchments, cultural confluences, and overlapping antagonistic relations across nations and continents. Drawing on European immigration to the American continent and specifically to Brazil in the 19th century, this argument is tentatively developed by discussing two opposite moments of entangled migrations, the coloniality of migration and creolizing conviviality. To do this, the paper engages first with the theoretical framework of spatial-temporal entanglements. Second, it approaches the coloniality of migration. Finally, it briefly discusses creolizing conviviality.
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2

Yatsymirska, Mariya. Мова війни і «контрнаступальна» лексика у стислих медійних текстах. Ivan Franko National University of Lviv, березень 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11742.

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The article examines the language of the russian-ukrainian war of the 21st century based on the materials of compressed media texts; the role of political narratives and psychological-emotional markers in the creation of new lexemes is clarified; the verbal expression of forecasts of ukrainian and foreign analysts regarding the course of hostilities on the territory of Ukraine is shown. Compressed media texts reflect the main meanings of the language of the russian-ukrainian war in relation to the surrounding world. First of all, the media vocabulary was supplemented with neologisms – aggressive and sad: “rashism”, “denazification”, “katsapstan”, “orks”, “rusnia”, “kremlins”, “parebrik”, “in the swamps”, “nuclear dictator”, “putinism”, “two hundred” and others. Numerals acquired new expressive and evaluative meanings: “200s” (dead), “300s” (wounded), “400s” (russian military personnel who filed reports for termination of the contract), “500s” (hopelessly drunk russian soldiers, alcoholics who are unable to perform combat tasks). The language of war intensified the slogans of the struggle for state independence and people’s freedom. The scope of the greeting “Glory to Ukraine! – Glory to Heroes!”. New official holidays have appeared in the history of Ukraine since 2014: “Heroes of the Heavenly Hundred” Day (February 20), “Ukrainian Volunteer Day” (March 14), “Defenders and Defenders of Ukraine Day” (October 14), “Volunteer Day” (5 December). As you know, the professional holiday of the military is the Day of the Armed Forces of Ukraine” (December 6). A special style is characteristic of media texts on military topics: “Iron Force of Ukraine” (Iron Force of Ukraine), “digitize the Army” (for effective simulation of military operations); “grain corridor” (export of Ukrainian grain to African and European countries); “don’t let Ukraine lose” (the position of the Allies at the first stage of the war), “Ukraine must win!” (the position of the Allies in the second stage of the war); “in the Russian-Ukrainian war, the thinking of the 19th century collided with the thinking of the 21st century”, “a politician is a person who understands time” (Grigori Yavlinskyy, Russian oppositionist); “aggressive neutrality” (about Turkey’s position); “in Russia”, “there, in the swamps” (in Russia), “weak, inadequate evil” (about Russia), “behind the fence”; “a great reset of the world order”; “technology of military creativity”; “they are not Russian and not Ukrainian, they are Soviet”, “people without mentality”, “in Ukraine and without Ukraine” (Vitaly Portnikov about a separate category of Russian-speaking citizens in Ukraine); “information bed of Ukraine” (about combat operations on the front line; “when a descendant asks me what I did in those terrifying moments, I will know what to answer. At the very least, I did not stand aside” (opinion of a Ukrainian fighter). Compressed in media texts is implemented in the headline, note, infographic, chronicle, digest, help, caption for photos, blitz poll, interview, short articles, caricature, visual text, commercial, etc. Researchers add “nominative-representative text (business card text, titles of sections, pages, names of presenters, etc.) to concise media texts for a functional and pragmatic purpose.” accent text (quote, key idea); text-navigator (content, news feed, indication of movement or time); chronotope”. A specific linguistic phenomenon known as “language compression” is widespread in media texts. Language compression is the art of minimization; attention is focused on the main, the most essential, everything secondary is filtered out. Compression uses words succinctly and sparingly to convey the meaning as much as possible. For example, the headline “Racism. What is the essence of the new ideology of the Russian occupiers?”. The note briefly explains the meaning of this concept and explains the difference from “nazism” and “fascism”. Key words: compressed media text, language compression, language of war, emotional markers, expressive neologisms, political journalism.
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Leading Figures in Venezuelan Painting of the Nineteenth Century. Inter-American Development Bank, September 1999. http://dx.doi.org/10.18235/0006227.

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Twenty-one paintings by twelve of the most important 19th centuryVenezuelan artists, never before shown outside of Venezuela, that reveal parallels and differences with the development of painting elsewhere in the hemisphere, from the collections of the Gallery of National Arts of Venezuela, the Central Bank of Venezuela, and the Polar Enterprises Collection, all in Caracas.
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A Challenging Endeavor: The Arts in Trinidad and Tobago. Inter-American Development Bank, May 2002. http://dx.doi.org/10.18235/0006229.

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The exhibition traces the development of the visual arts in this Caribbean nation which celebrates its 40th anniversary as an independent Republic in 2002. 49 works in a variety of media cover nearly 150 years of art, including watercolors by Michel Jean Cazabon (19th century), oils by the pre-Independence and the post-Independence generations, and drawing and painting by the latest generation; also included are some masks used in Carnival, and folk figurines illustrating the evolution of the steel-pan, invented in the 20th century. This exhibition was organized with the collaboration of the National Museum of Trinidad and Tobago, the Central Bank of Trinidad and Tobago, and artists such as LeRoy Clarke, Christopher Cozier, Irénée Shaw, Ralph Baney, and Nina Squires.
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