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1
Gruner, Billy. "Painting the object : recent formal Australian painting." Phd thesis, Sydney College of the Arts, 2003. http://hdl.handle.net/2123/4992.
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2
Domin, Jacqueline. "Painting perceptions /." Online version of thesis, 1990. http://hdl.handle.net/1850/10902.
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3
Clucas, Graham. "Painting silence." Thesis, University of Plymouth, 2002. http://hdl.handle.net/10026.1/1102.
Повний текст джерелаАнотація:
This research examines the history and theory of silent painting to discover why particular paintings were called silent, what the term was meant to signify, and how the quality of silence was discernible in the paintings it described. The imderstanding thus gauied is in tum the subject of further analysis through (documented) reflective practice, which recognises a broader context of contemporary theoretical and practical viewpoints. The purpose is to investigate, through practice, the characteristics and potentialities of silence. From the emergence of'silent' painting in America during the 1950s and 60s, the idea of silence is examined in terms of its associations with Abstract Expressionism and Minimalism. An initial assiunption that 'silent painting' is simply another way of referring to monotonal painting is at first expanded to accommodate theories promoting the grid as an equally effective device for achieving silence, but then challenged. Questions arise concemmg intention and the lack of it, degrees of silence, the nature of silence, the different ways in which silence can be read, the impossibility of silence, the feeling of silence, and the quality of silence aimed at in my own practice. An overall concem of the research is the integration of theory and practice. The thesis presented here provides an historical and theoretical explication, guided and shaped by questions arising from practice. It includes a critique of the work produced. The scientifically demonstrated argument that silence is impossible is countered by one foimded on feeling. It is on the basis of feeling (not expression) that, in the later stages of the research, suitable strategies are devised for painting silence.
4
Wilson, Gina Strecker. "Narrative Painting." PDXScholar, 1992. https://pdxscholar.library.pdx.edu/open_access_etds/4527.
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5
Wenholz, Mary Peta. "Painting about painting: the contemporary expansion of medium specificity." Thesis, The University of Sydney, 2007. https://hdl.handle.net/2123/28934.
Повний текст джерелаАнотація:
Studio:
The work submitted for examination in December 2007 at SCA
Galleries, consists of a painting constructed within the gallery
space, and is the culmination of the research undertaken during
the Masters of Visual Arts program. Untitled (Vinyl wall
composition) I (2007) investigates how the act of making can
function as a speculative activity interested in both the
materiality of painting and the architectural context in which the
work is placed.
Research Paper:
The objective of this research paper is to investigate the
theoretical concerns raised by the studio work. It explores the
contemporary position of medium specificity through the work of
Tony Tuckson, Robert Ryman, Bernard Frize, Alan Charlton, Daniel
Buren and Katharina Grosse.
Discussion of the work of each of these artists focuses on the way
in which the physical characteristics of the materials used to
construct a painting can inform how the work is read and the ways
in which the architectural context can influence how a painting is
perceived.
Through exploring the practices of each of these artists and
establishing the conceptual strategies employed by each, this
paper seeks to locate the central concerns of my practice within
the discourse of contemporary painting.
6
Dupuis, Matthew Morris. "Charles Lebrun, painting the King and the King of painting." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0016/MQ29489.pdf.
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7
Ng, Yuk-lan. "Mid-Muromachi flower and bird painting in Ashikaga painting circles /." View the Table of Contents & Abstract, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38030962.
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8
Dupuis, Matthew. "Charles Lebrun : painting the king and the king of painting." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26684.
Повний текст джерелаАнотація:
This thesis examines the transformation in the representation of painters during Charles LeBrun's tenure as Life-Chancellor to the Academie Royale de Peinture et de Sculpture, from an initial definition in terms of the monarchy at Versailles to one founded on the practice of the art of painting. To promote the status of painters and painting, Louis XIV was celebrated as the protector of the arts in a royal portrait by Henri Testelin and was depicted as the ideal subject of art in paintings by Nicolas Loir and others. A painter's stature was then derived from the skillful manner in which he painted the history of the King. Engraved portraits accompanied by verse of Charles LeBrun and Adam Frans Van der Meulen identify allegorical painters as more distinguished than those who painted in a natural style. In both cases, Louis XIV is posited as being the source, subject, and eloquence of the art celebrating his achievements. Nicolas de Largillierre's Portrait of Charles Lebrun is modeled on Testelin's royal portrait and offers a portrayal of the artist which advocates service to the monarchy, but it grounds aesthetic activity in the body of the painter. This conception of LeBrun, in turn, serves as a paradigm for Pierre Mignard to create a self-portrait that proclaims his status in relation to the art of painting rather than through service to the King.
9
Ng, Yuk-lan, and 吳玉蘭. "Mid-Muromachi flower and bird painting in Ashikaga painting circles." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B45015624.
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10
Olofsson, Max. "Painting in the twenty-tens;where to now? : (You can’t touch this!)." Thesis, Kungl. Konsthögskolan, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-212.
Повний текст джерелаАнотація:
The essay is a manifesto-like personal take on painting, and a redefinition of painting in the digital age. Careless usage of the term ”painting” has led to a diluted descriptive function and a waning categorizing capacity; almost anything can be called painting, which in turn puts actual painting in an awkward position – where it, apart from being itself, could be almost anything. The term “painthing” is introduced to distinguish painting from works that beside its two-dimensional visual information also makes a point of its specific materiality. It brings up cave paintings and links to video-games, suggesting that video-games have gone through the reversed evolution of the history of painting – from abstraction to representation. It speaks of the problems of documentation – the translation of visual information (or re-flattening of a flat surface) – and the cultural equalization of information and images on the internet through the common denominator the pixel. It also describes “information painting”, which in short is digital painting where there is no physical object to be translated to a documentation of itself, but rather a painting that is original in its documentation form (its digital form), painting that strives to be nothing but the utopia of an image – the untouchable/unreachable visual information.
11
Samrelius, Gustav. "Painting is fun." Thesis, Kungl. Konsthögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-69.
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12
Moffett, Jessica. "Painting the impulse." Thesis, Montana State University, 2005. http://etd.lib.montana.edu/etd/2005/moffett/MoffettJ0505.pdf.
Повний текст джерелаАнотація:
My primary focus in my paintings is the male figure. These paintings have evolved in a non linear progression. I went from representational to partly abstract and back to representational infused with sequential art. During this development, I decided to paint my figures to resemble comic book characters of my own creation and paint them to represent emotional qualities of spontaneity and dualities of my psyche.
13
Walsh, Kerry. "Potions and painting." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20040701.155706/index.html.
Повний текст джерелаАнотація:
Thesis (M.A. (Hons.)) -- University of Western Sydney, 2003."A thesis presented to the University of Western Sydney in partial fulfillment of the requirements for the degree of Master of Arts (Honours) Creative Arts, December 2003" Includes bibliography.
14
Daw, Micah Daniel. "Painting the Liminal." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1276667967.
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15
Ambron, Michael. "Painting as Becoming." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343739050.
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16
Yaeger, Matthew. "Hands On Painting." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3823.
Повний текст джерелаАнотація:
How can we know something through how it is sensed? Making anthropomorphic, three-dimensional paintings through a set of basic, at-hand materials, I’m interested in how empathy, modesty, and doubt can mediate a tangible experience of an object. Challenging notions of perception, I want to create a heightened sense of awareness in which the intangible can be seen or felt.
17
Frost, Lola Audrey. "Negativity in painting." Thesis, Goldsmiths College (University of London), 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.497498.
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18
Joy, Clair. "Contemporary landscape painting." Thesis, Goldsmiths College (University of London), 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.523650.
Повний текст джерелаАнотація:
This thesis will look at the concept of contemporary landscape painting as well as examples of artists whose work could be described as landscape painting in a contemporary context. I will be using different models (both theoretical and artistic) from those associated with the history of landscape painting to look at what contemporary landscape painting might now be. My purpose is twofold: to argue that the concept of landscape has been redefined and as a result landscape painting has new ways of being thought about, and to establish a context for my own practice. I look at the idea of space-time to investigate how it defines place and as a result redefines landscape painting in a contemporary context. As a way of doing this I look at montage and at maps/mapping, both as ideas and as ways of working. Differing approaches and mediums as 'producing' spaces, rather than an emphasis on depicted visual characteristics (of buildings or the rural for instance), is also discussed as a concept that relates to contemporary landscape painting. Paintings can have a diverse materiality that may embody and refer to our experience of place. Paintings may also engage the 'discursive site' of landscape, reflecting the questions and issues related to shifting conceptual understandings of 'landscape' . I look at the work of three established artists that may be seen as establishing new contexts in which to see contemporary landscape paintings. These artists are Robert Smithson, Alighiero Boetti and Eugenio Dittborn. Examples of artists who connect with concepts of space-time as unexpected and unpredictable, or use the co-existence of different 'spaces' in their methods of making and in their subject matter, are described as contemporary landscape painters. I have selected the artists Julie Mehretu, Sarah Morris, Angela de la Cruz, Neil Jenney, Nigel Cooke and Keith Tyson.
19
Henry, Anne L. "Animated electronic painting /." Online version of thesis, 1992. http://hdl.handle.net/1850/12240.
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20
Bundgaard, Helle. "An Indian cloth painting and its art worlds : perceptions of Orissan patta paintings." Thesis, SOAS, University of London, 1994. http://eprints.soas.ac.uk/29346/.
Повний текст джерелаАнотація:
This study examines how a particular kind of Indian painting comes to have value. The focus of analysis is on the social life of paintings rather than the purely aesthetic. This is explored through a detailed examination of perceptions of the paintings amongst producers, consumers and art critics. The study is an attempt to apply the sociological institutional theory of art on Orissan patta paintings by developing the sociological approach into what I consider to be an anthropological approach. The Orissan patta paintings, with which the study is concerned, are circulated not only within India but also abroad and thus move through different cultural milieus. Following Arjun Appadurai (1986) pattas can be said to have a social life, whose value and meaning change through time and place (1986). The paintings are located in several value systems. These systems will often meet in the very transaction which moves a painting from one sphere to another. One of the central questions raised in the thesis is how particular kind of paintings come to have value and whether they are endowed with different layers of value. The model I have developed is of an art world consisting of interpenetrating layers with different semantic registers. The differences in evaluation and interpretation of the paintings at different points in their "social life" lead me to argue that the layers have the character of separate yet interacting worlds.
21
Clancy, Majella. "Painting, gender and space : an examination of contemporary women's painting practice." Thesis, Ulster University, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.695399.
Повний текст джерелаАнотація:
This thesis explores aspects of contemporary women's painting practice. It investigates cultural, geographical, social and pictorial space across representations of class, gender and race. It begins with an examination of modernist histories through the language of paint. Modernist codes of sexual and cultural difference are interrogated and disrupted allowing for alternative readings of gender, culture, race and painting practices. I examine concepts of space and time found in modernist and postmodemist theory. I propose strategies in paint that collapse boundaries and categorisations, creating a space in-between canonical meaning and definitions allowing for oscillating feminine positions and perspectives. This research focuses on two women painters as case studies - the African-American painter Ellen Gallagher and the Pakistani-born, American-based painter Shahzia Sikander. Selected works from their practice are analysed alongside my own painting practice where links are established and variances highlighted, thus reflecting a contemporary understanding of women's painting in a global context. Significantly my thesis proposes feminist strategies in painting whereby cross-cultural exchange and multiple visual strategies are employed to signify new terms and conditions for contemporary women's painting. I examine hybridity and its relationship to feminine painted space where the complexities of cultural identity are interrogated. I conclude by analysing the position of contemporary women's painting within the framework of the global exhibition. This research uses a feminist methodology and works across art practice, art theory and art history. It creates a space from which contemporary women's painting can be understood as a materially and theoretically expanded practice.
22
Branham, Barbara Leedy. "Some visual issues of painting : an exploration of the painting process." PDXScholar, 1989. https://pdxscholar.library.pdx.edu/open_access_etds/3856.
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23
Abdullah, Hannah. "New German painting : painting, nostalgia & cultural identity in post-unification Germany." Thesis, London School of Economics and Political Science (University of London), 2012. http://etheses.lse.ac.uk/617/.
Повний текст джерелаАнотація:
During the past decade one of the bestsellers in the American art market was a group of figurative-representational paintings from post-Unification Germany. Dubbed “New German Painting”, this body of work included artists with explicit East German affiliations, such as the so-called “New Leipzig School”, as well as artists who trained at academies in former West Germany. While the American art critical discourse predominantly promoted the art as a new kind of German history painting, which confronted the country’s recent past of division and reunification, the reception amongst German art critics was more negative by far. The latter did not see a serious engagement with recent German history in the new body of art, and dismissed the painting as catering to a growing post-socialist nostalgia industry. Moreover, the traditional figurative style of painting, which was adopted in particular by artists trained at academies in post-Wende East Germany, was often criticized as an aesthetically and politically reactionary artistic position. In spite of the obvious social and political connotations of the art critical discourse on the “New German Painting”, art historical scholarship has barely examined this new body of art in light of underlying interactions between the painting’s aesthetic content and the social-political context of post-Unification Germany. This is a surprising omission, considering that scholars of modern German art are traditionally deeply concerned with the interplay between aesthetic and political continuities and discontinuities. A possible explanation for this gap in the literature is that art history lacks a framework to capture the intersecting aesthetic and social-political notions that have emerged in the discourse on the painting. This thesis aims to overcome this shortcoming by examining the phenomenon “New German Painting” from an interdisciplinary perspective that combines sociological with art historical approaches. The theoretical perspective builds on innovations in the sociology of art, which complement established concerns with social structure with a sensibility for aesthetic specificity. In the empirical parts of the thesis this perspective is used to trace continuities between the new painting and its reception with earlier moments in German post-World War II art history; as well as to examine the social context and historical moment in which the painting emerged. Particular attention is paid to affinities between the discussion of the “New German Painting” and current crossdisciplinary academic literature on nostalgia in post-Wende Germany. Overall, the thesis argues that this more encompassing approach is better suited for revealing how the phenomenon “New German Painting” sits at the centre of debates about collective memory and cultural identity in post-1989 Germany, including the complex relations between the former East and West that characterise these debates.
24
Boutote, Mary L. "A question of borders /." Online version of thesis, 1992. http://hdl.handle.net/1850/11147.
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25
Ratcliff, Jeremy Richard. "An apology of painting." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3618.
Повний текст джерелаАнотація:
Thesis (M.F.A.) -- University of Maryland, College Park, 2006.Thesis research directed by: Dept. of Art. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
26
Fragoulis, Anastasia. "Painting circles, a novel." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq39043.pdf.
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27
Chu, Siu-Hang. "Making digital painting organic /." View abstract or full-text, 2007. http://library.ust.hk/cgi/db/thesis.pl?CSED%202007%20CHU.
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28
Armstrong, John Anthony. "The appreciation of painting." Thesis, University College London (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309058.
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29
Tucker, Judith Ann. "Painting landscape : mediating dislocation." Thesis, University of Leeds, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.425628.
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30
Topsfield, Andrew. "Rajput painting in Mewar." Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361864.
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31
Sliwinski, Peter R. "Powder painting of aluminium." Thesis, Aston University, 1985. http://publications.aston.ac.uk/14478/.
Повний текст джерелаАнотація:
The mechanisms involved in the production of chromate-phosphate conversion coatings on aluminium have been investigated. A sequence of coating nucleation and growth has been outlined and the principle roles of the constituent ingredients of the chromate-phosphate solution have been shown. The effect of dissolved aluminium has been studied and its role in producing sound conversion coatings has been shown. Metallic contamination has been found to have a dramatic influence on chromate-phosphate coatings when particular levels have been exceeded. Coating formation was seen to be affected in proportion to the level of contaminaton; no evidence of sudden failure was noted. The influence of substrate and the effect of an acidic cleaner prior to conversion coating have been studied and explained. It was found that the cleaner ages rapidly and that this must .be allowed for when attempting to reproduce industrial conditions in the laboratory. A study was carried out on the flowing characteristics of polyester powders of various size distributions as they melt using the hot-stage microscopy techniques developed at Aston. It was found that the condition of the substrate (ie extent of pretreatment), had a significant effect on particle flow. This was explained by considering the topography of the substrate surface. A number of 'low-bake' polyester powders were developed and tested for mechanical, physical and chemical resistance. The best formulation had overall properties which were as good as the standard polyester in many respects. However chemical resistance was found to be slightly lower. The charging characteristics of powder paints during application by means of electrostatic spraying was studied by measuring the charge per unit mass and relating this to the surface area. A high degree of correlation was found between charge carried and surface area, and the charge retained was related to the powder's formulation.
32
Souza, Emiliano Daniel de. "Shakespeare, television, and painting." reponame:Repositório Institucional da UFSC, 2012. http://repositorio.ufsc.br/xmlui/handle/123456789/93787.
Повний текст джерелаАнотація:
Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente, Florianópolis, 2010Made available in DSpace on 2012-10-25T03:24:44Z (GMT). No. of bitstreams: 0
Este estudo trata da adaptação de peças de William Shakespeare à televisão. Abrange, em especial, duas produções da BBC Shakespeare Series, a saber, Antony and Cleopatra (1981), dirigida por Jonathan Miller, e Cymbeline (1983), dirigida por Elijah Moshinsky. Ambas foram filmadas numa época em que a maioria dos produtores e diretores da BBC concebiam a televisão como um meio no qual as produções tinham que parecer mais realísticas possíveis, como numa abordagem fílmica realística. Miller e Moshinsky, por outro lado, fizeram uso de estilização#uma abordagem não realística#em suas produções, tomando pinturas do final do século XVI e do século XVII como inspiração para a composição de cenários, figurinos, iluminação e organização do espaço. Este estudo busca fazer uma análise comparativa de elementos visuais das referidas produções, assim como verificar a presença e a eficácia de estilização como abordagem de se televisionar as peças de Shakespeare.
33
Speed, Isabella Maria Louise. "Painting Souvenirs of Italianicity." Thesis, Curtin University, 2020. http://hdl.handle.net/20.500.11937/86327.
Повний текст джерелаАнотація:
‘Souvenirs of Italianicity’ investigates the complexities of souvenirs within the domestic every day, and the potential of still life painting to engage with and to reflect on felt experiences surrounding these objects. The souvenirs that are the subject of the painting project are miniature reproductions of iconic sculptures from the old masters that quietly reside within the home of my family, not to pay tribute to the artists, but as objects embedded with hereditary significance.
34
Ah, Kuoi Michelle. "Jekyll and Hyde approach to painting: the antagonistic strategy in contemporary abstract painting." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/12009.
Повний текст джерелаАнотація:
This paper examines my paintings in conjunction with three painters; Albert Oehlan, Charline von Heyl and Christopher Wool. These painters utilise a combination of visual languages and adopt an antagonistic or contradictory painting strategy indebted to Willem de Kooning, the Dutch American Abstract Expressionist. The discussion involves how these artists have manoeuvred their own positions in painting and how they have created their own painting lexicon against the paradigm of the cyclical viability of Contemporary painting. The emphasis is on each artist’s avoidance of binary opposites; whether it is between abstraction and figuration, or the stylistic tools and tropes within the painting. The paradox in writing this paper has been that the language utilised to describe abstraction is fixed with the language of modernism. In other words, the visual lexicon has developed and the language to describe it has not. Similarly, any language and linguistic classification of art works against and is insufficient to the fluid nature of many of the paintings.
35
Lu, Yang. "Tour Into Painting : System Design for Virtual Exhibition of Chinese Hand-Scroll Painting." Thesis, Ecole centrale de Nantes, 2022. https://tel.archives-ouvertes.fr/tel-03921024.
Повний текст джерелаАнотація:
La peinture chinoise à rouleau (CHSP) est une forme de peinture chinoise typique. La manière correcte de regarder une CHSP est de la faire défiler à la main. Regarder une CHSP est considéré comme une expérience fantastique de visite dans son monde diégétique. Dans les expositions actuelles de CHSP, ces points ne sont pas bien représentées. Premièrement, la plupart des CHSP sont présentés dans des boîtes en verre. Les spectateurs ne peuvent pas les manipuler en les faisant défiler. Deuxièmement, l'expérience de la visite d'une peinture n'est interprétée que par de simples annotations. Les spectateurs ne peuvent pas acquérir une expérience complète à partir de ces annotations. Cette recherche a exploré l'utilisation de la réalité virtuelle (RV) pour combler ces lacunes. L'objectif de cette recherche est de développer un système d'exposition basé sur la RV, qui peut simuler de manière synchrone l'expérience de visualisation de l'ancien spectateur dans le monde réel et l'expérience de visite dans le monde diégétique. Le système est présenté comme une application de RV qui comprend une CHSP interactive qui peut être manipulé selon les principes originaux. De manière synchrone, l'utilisateur de la RV sera déplacé en fonction de son point de focalisation sur la CHSP virtuelle, puis un monde diégétique englobant et aléatoire sera construitThe Chinese Hand-Scroll Painting (CHSP) is a typical Chinese painting form. The proper way to view a CHSP is scrolling it by hands. Watching a CHSP is considered as a fantasy experience of touring in its diegetic world. In current exhibitions of CHSPs, these points are not well represented. First, most of CHSPs are presented in glass boxes. Viewers can not manipulate it in scrolling manner. Second, the experience of touring into painting is only interpreted by simple annotations. Viewers can not gain a full experience based on them. This research aims to implementing these shortcoings by developing a VR-based exhibition system, which can synchronously simulate the ancient viewer's viewing experience in the real world and the touring experience in the diegetic world. The system is presented as a VR application that includes an interactive CHSP that can be manipulated according to the original principles. In a synchronous way, the VR user will be moved according to his focus point on the virtual CHSP, and then, an encompassing, random diegetic world will be built
36
Jung, Chien-Wen, and 榮芊雯. "Painting to Photo: Compositing Photos for Realizing Paintings." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/76344817748468053151.
Повний текст джерелаАнотація:
碩士國立臺灣大學
資訊網路與多媒體研究所
101
Before the widespread of modern capture devices, painting played an important role in depicting and recording the real world for human. These paintings provide immediate depictions of the real world, and usually have artistic appearances. While modern devices aim at recording the world in the form of photorealistic appearance, it is challenging to produce a photorealistic counterpart of a painting. In this paper, we present a method for ``transferring'' an input painting into a photorealistic appearance by referring several photos which are partly similar to the painting. With a number of user-specified corresponding strokes on both the painting and photos, the ``transferred'' result is generated by deforming these corresponding strokes with a structure-aware warping technique and composing the warped photo regions with the painting-guided compositing technique. We demonstrate the effectiveness of the proposed method on a variety of paintings.
37
王道乾. "The Painting Creation Based on Taiwan Temple Decoration Paintings." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/01801897884905366879.
Повний текст джерелаАнотація:
碩士臺北市立師範學院
視覺藝術研究所
93
Entering the 21st Century, the folk belief in Taiwan has undraped its veil of mysticism, but the temple still plays an important role in Taiwan society. From the cultural point of view, the temples preserve the complete assets of traditional folk arts in architectures or temple fairs, and are the main objects to reflect the folk cultures and various traditional arts. Therefore, the unique cultures derived from temples become the native characters and indispensable parts in Taiwan.Based on the above theory, the process of this research is, by taking the study on temple decoration paintings in Taiwan as a starting point, absorbing the nutriment of creation from the discussion of traditional arts, realizing the humanity activities and social phenomenon came from temples, and therefore creating a piece of work which is with style and reflects the social phenomenon nowadays in Taiwan. The frame work of this research is as follows in brief:1. Introduction: consisted by motivation and purposes, ranges and restriction, research schemes, terms definition.2. Literature Study: consisted by two parts, discussion on temple decoration paintings in Taiwan and analysis on painting creation of temple arts.3. Analysis on Creation Theory: explanation on formation and practice of creation concepts, from personal point of view on creation, the process to the chosen theme, to the analysis on the styles and skills of creation.4. Work Illustration: analysis on the graduation work, including motivation, subjects, skills and the concepts to be conveyed.5. Conclusion: acquisition and apprehension during the researching process, as well as future expectation.
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LIU, HSING-CHIH, and 劉興治. "Exerting into Painting—Liu Xingzhi's Creation of Flowing Color Paintings." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/8jcv3t.
Повний текст джерелаАнотація:
碩士亞太創意技術學院
文化創意設計研究所
106
Researchers use the topic of “Exerting into Painting—Liu Xingzhi's Creation of Flowing Color Paintings” to hope to break through the concept of teachers and create a new style with modern art in Taiwan. Since 2004, he has created seven spirits in his paintings as a creative idea: 1. fun and direct; 2. in shape; 3. simple; 4. making existence ; 5.lingering; 6. unexpected, and 7. complete it quickly. After years of hard work, he experienced eight kinds of creative techniques of flowing color painting, including 1. Thematic background painting; 2. Landscape flowing color painting; 3. Ink and ink technique painting; 4. Creative scenery flowing color painting; 5.Fantastic free-flowing paintings; 6. To the point Creating flowing color paintings; 7. Relieving healing paintings; 8. Character-type paintings. In addition, in the process of creation of flowing color paintings, water or diluted fluids are used as medium to apply different pigment characteristics such as watercolor, oil paint, acrylic, cement paint, glaze, etc., and painted on cloth, wood, slate, or ceramic materials. Different forms of expression have been recognized and appreciated by the art world. Flowing color painting is a painting technique that emphasizes speed and movement. If we combine the art of performing music, we can also give full play to the effects of art feast. After many years of research and creation, the flowing color paintings have formed a unique style of painting. They hope to go deep into the teaching and display of schools and communities in the future, so that the flowing color paintings can be fully promoted and form a new wave of painting. Key Words: Exerting into Painting , flowing color painting, Liu Xingzhi's flowing color painting, Yuán- fǔ flowing color painting, The eight techniques of flowing color painting
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LU, YU-CHEN, and 呂昱辰. "AR Painting: Multi Kinect Reconstruction and 3D Painting." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/30833531016720675740.
Повний текст джерелаАнотація:
碩士銘傳大學
資訊傳播工程學系碩士班
105
Many peoples have the experience of graffiti; however, not every real objects can be drawn. So we design a system to draw graffiti on not only paper/wall but also any object. Our system can paint on a virtual object reconstructed from KinectV2 camera. And the result will display on the real object in real time by projection mapping. The system consists of three parts, including model reconstruction, 3D painting, and projection mapping. First, the 3D coordinates of chessboard corners are used to compute the transformation matrices of multiple KinectV2 cameras. The point cloud data will be aligned by these matrices in the model reconstruction. Second, the user can hold controllers to paint model in virtual reality. Because the point number of those point cloud data is enormous, we use KD-Tree to increase the speed of interaction. Finally, we construct a corresponding texture of the model, and display the texture on the object in projection mapping. In conclusion, we integrate KinectV2 cameras, HTC Vive, and a projector in our graffiti system. Therefore, the user can paint an object by virtual reality devices, and at the same time, the other audience will see the result by projection mapping.
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Li, Chi-yu, and 李季育. "Mondrian Studies: "The New Plastic in Painting" and His Neoplastic Paintings." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/42989351758588759250.
Повний текст джерелаАнотація:
碩士國立中央大學
藝術學研究所
86
Abstract The Abstract art, which firstly appeared in the beginning of 20th century, was a new form of art expression. From the beginning of this cent- ury, there has been various styles of abstract art. By the formal elements, we could divide the abstract art into two categories: first, those with the for m simplified from objects in nature; second, those without. In this content, Klee belongs to the first and Kandinsky, the second. Also, the expression of various artists are quite different. Some abstract art styles in the early 20th century put emphasis on the spiritual content. And the works of abstract expressionism focus on the sensation brought by the medium the artists used on the work. The "Neoplasticism" of Mondrian is the abstract art with the spiritual content. There have been various studies on Mondrian. Some deal with the form of his art, while others deal with the comparison of life and creation. These studies contribute a great deal in the research of Mondrian. What is missing is that there has no such research which combines both the spiritual content and the abstract form. Therefore, we want to discuss this artist from two approaches: his writings(theory), and his paintings. By these two aproaches, we try to depicts the spiritual content. "The New Plastic in Painting" because of its thoroughness, therefore, is another focus of this research in addition to the neoplastic paintings. What we are concerned here are the exact expression of "form" and "content" in "The New Plastic in Painting" and neoplastic painting. Since, we will pay attention in both materials in three aspects: "the formal elements," "the formal relationship," and "the expression," which derived from Meyer Schapiro's description of style. By these approaches, we know the creative process of Mondrian. He made use of various art forms in the art history to express the spiritual content, which was already confirmed by himself. And generally speaking, for Mondrian, "the formal relationship" in painting is the bridge between the two ends of "formal elements" and "content." The construction of this bridge depends quite a lot on the writings of the artist. His writings are the direct expression of what he believes without the process of argumentation. Both situations show that Mondrian is very subjective in paintings and writings.
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Jung, Tsai Fu, and 蔡馥榕. "「Alternative Genre Paintings」－The Study of Tsai Fu Jung 's Painting." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/2vsy4g.
Повний текст джерелаАнотація:
碩士國立臺中教育大學
美術學系碩士班
102
This creation aims to probe into the works and process of serial creation from 2011 to 2014. The purpose is to combine the elements of childhood images, such as Bougainvillea, brick houses, dragonflies, cats, toys and eyes in the creation by depicting characters and sceneries in childhood. By non-logical style of Surrealism, it constructs fantasy scenes of fairy tales in illustration books and infuses scenes of fairy tales in changed sceneries of the past village life. The stories of lives are established and alternative genre paintings filled with imagination are created. As to theories, we explore the styles of genre paintings in China, Japan and the West and adopt the works in contemporary paintings which match the time, depict lives and express personal feelings. We probe into and develop the direction and expressive style of the serial creation and introduce the development and interpretation of fairy tales. Besides origin of fairy tales, we explain the reality behind fairy tales, including social and cultural identification, self-view and process of social change. By personification of fables, we suggest the meanings of the paintings and the stories of creation of fairy tales. In art history, there were various styles. With the change of time, lives go on and leave the traces. By observing people and scenes in daily lives in the creation, we attempt to develop the ideas of creativity for the practice, recall the fragmental past, follow childhood consciousness and recreate the wonderful childhood which has been passed.
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Zhang, Qi-Chang, and 張琪昌. "Expression of time in paintings - A Study of Zhang QiChang's Painting." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/kczucs.
Повний текст джерелаАнотація:
碩士國立臺灣師範大學
美術學系
104
In this study, with “time” as the spindle, it discusses the complex relationship between time’s expression and ways of expression and the painting. In the meantime, the author focuses his perspective on the people around him in daily life, and reveals the psychological characteristics of people, especially the young people of this era, by demonstrating their images and complex characters in figurative realistic approach. And also by studying how other artists express “time” in their artworks and understanding their point of view, the author aims to enrich his own knowledge of art and thus figures out the direction and route of his own creation, enriches content of the work, and enhances his level of creation. As an abstract concept, "time" is widely discussed in various fields and becoming an important subject. In this study, by analyzing “time” in the art creations, the author believes that “time” means the flow of life while life reflects the existence of time. In today's era, packaged as a product, works of art breaks the layer sense of art over human’s emotions. It is then becoming important to open the package layer by layer and see the most essential things. The author hopes to figure out the psychological changes that truly exist in the young people during their teenage, by exploring the complex relationship between time and life through creation practice. In this study, the author reviews four series of works, including "Memory Series”, "Youth Group Painting Series", "Time Series" and "Quiet Time Series”, to explore time issues in artworks, and discuss about time atmosphere in paintings from views of memory, light and shadow, and life scenes. Through close combination of creation practice and expression implications, the author vividly and accurately conveys ideas of creation to readers through pictures.
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CHOU, PEI-YU, and 周旆瑜. "Explore the signs in painting of Paul Klee--in mysellf paintings." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/46411352764924776406.
Повний текст джерелаАнотація:
碩士臺北市立教育大學
視覺藝術研究所
94
“SIGNS” takes a great part in Paul Klee’s art creation. Klee has said that creation of signs made him feel steady in the heart and that’s why signs can always show Klee’s inner thoughts and feelings. His paintings does not reproduce the visible, it makes visible by the way of using signs. To Klee, signs are like language of arts: sign is also the foundation of Klee’s artworks. Exploring the beginning and developing of signs in Klee’s career, we can judge from three important periods in his life; visit to Tunisia, World War I and his old life. Besides, we can give examples of his works clarifying his important spiritual meanings according to the shapes and styles of signs, classifying into four groups: letters, arrow signs, drawing signs and music signs. From the creation of signs incorporated with my life experience and talking to my ego, I listened to my own voice and developed my personal characteristic language of signs. By the way of using the characteristics of acrylic media and techniques,I also created the effects of softness and concision and gave the audience a very comfortable vision.
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張祐強. "The Synthesis of Image-Mosaic Painting Style Based on Artist’s Paintings." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/81859352898265515550.
Повний текст джерелаАнотація:
碩士國立交通大學
多媒體工程研究所
103
Chuck Close is an American contemporary artist who is famed for his realistic paintings, through his massive-scale portraits. The objective of this thesis is to mimic one of this painting style. In the painting process, a photo is taken as the reference, then he puts a grid on the photo and also on the canvas and paints on cells of the canvas according to those of the photo. Therefore, this painting style is similar to mosaic tiles. Also, it is usually referred to as pointillism because he uses many colors in a small cell. When getting closer, it looks very colorful. But stand far enough, colors are fused through optical color mixing, and then a photorealistic painting arises consequently. However, the painting process is time-consuming. It is hard for common people to paint like that. Accordingly, we propose an approach to transfer an input image to this style automatically.
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LIU-YI-WEN and 劉怡雯. "Flower Meaning and Flower Painting—Exploring a Series of Floral Paintings." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/85392043185864361144.
Повний текст джерелаАнотація:
碩士大葉大學
造形藝術學系碩士在職專班
96
The research focuses on flowers and explores historic changes of floral paintings. By examining the past, the researcher expects to learn the advantages of traditional artists and then develop a realistic, detailed and symbolic style of painting. The thesis is entitled Flower Meaning and Flower Painting – Exploring a Series of Floral Paintings. “Flower meaning” examines theories of floral paintings. “Flower painting” presents and interprets the researcher’s personal creation of floral paintings, composed of three series – seasonal flowers, dialogues with flowers, and flowers in vases. First of all, the thesis introduces the motivation, purposes, scope and methods of the research. Then, the researcher explores the development of Western floral paintings and Chinese flower and bird paintings, and makes references to works of traditional artists. After that is the theoretical foundation of the research. It mainly discusses worship of nature and the realistic and detailed style of drawing plants. The researcher obtains inspiration from the symbolic meaning of nature, and provides some examples of Chinese and Western paintings to illustrate the creation style. Next, the researcher explains her own creation beliefs and ways to practice them. The 34 pieces of paintings, which fall into three series, are briefly introduced and interpreted respectively. In addition, the researcher’s prospect of future creation is presented. Key Words : flower painting
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Cafcules, Stephanie. "Concrete Painting." Master's thesis, 2014. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/6066.
Повний текст джерелаАнотація:
This thesis explores the evolution of my artwork with synthetic materials through influences of the Minimalist and Process Artists of the 1960's and 1970's, inspiration from natural forms, and my exploration of concrete painting. Each work reveals discoveries of different processes and materials, accelerating the creation of new works. It is my hope this thesis will inform viewers about the process and concepts that my work embodies.M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Emerging Media; Studio Art and the Computer Track
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Chen, wei-tu, and 陳威圖. "Message-Painting." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/a7by86.
Повний текст джерелаАнотація:
碩士國立臺南藝術大學
造形藝術研究所
101
This thesis draws on the transformation of my creative work since 2006. By reviewing the module of my creative work, I used to extract senses from my life experience, and take these senses as an object of my creation. When I noticed the limitation of depending on senses to form my creation, I turned to take the observation of everyday life as an object of my creative work. Through chapter one buttered bubble, by demonstrating the old module of my creative work, it shows that I aimed to provoke the reader to watch and “sense” instead of to watch and “imagine”. Chapter two monotonous cartoon, by analyzing the forming process of work “monotonous cartoon”, it becomes clear how motion pictures transferred from readable information into visual relaxation. This also shows that my point of view had changed from interior study to extrinsic study. Chapter three message-painting, by examining the limitation of depending on senses to form my creation, I pinpointed how I changed from senses based into concepts based, and outlined both the concept and form of my work “message-painting”. Chapter four conclusion, is making a self examination on the establishment of my creative concept, to see if there was a place which can be further strengthened.
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Pei-yi, Chen, and 陳珮怡. "Painting˙Adornment˙TechniqueEssays on Chen pei-yi Painting Work." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/78927811797185998929.
Повний текст джерелаАнотація:
碩士東海大學
美術學系
99
This discourse would be started with the works completed in 2009, during this period of time I focus on the “unisex teens,” with portraits and creates a series of works centered on the topic “pets.” And these are the scope I would like to discuss about. I couldn’t help myself to collect those handsome boys whose faces were as fine as porcelain dolls with tender temperament. In the beginning of creating this series, I once desired to capture those teasing and ambiguity expressions occasionally as well as the gestures filled with laziness and lust. Besides, I also wanted to figure out the ways of choosing and portraying these kinds of unisex images which were androgynous or even lack of sexuality. However, I couldn’t be simply satisfied by the process of catching the feature of the model during the continuing production process. I started to put some flowers and feathers on the young; disassemble those flowers and birds in a tender and beautiful way; then patched those fragments like some delicate clothes. Only by dressing up for them, my desires could be comforted and my lately creation could also be completed. In The first chapter of the text will illustrate my creating motivation, researching methods and materials, and researching content and range. The second chapter discusses how to face the deficiency of desire and how to deal with it under the influence of contemporary consuming culture. The third chapter explains the diverting and pasting technique of the mark with flowers and birds and the projecting on fetishism in the self creation, with the “objectification” viewpoint which is from Jean Baudrillard, a French sociologist and philosopher in the early 20th century, and the postmodern theories, then will explain the selection of the form of classical portraits and how the personal umbrageous qualities being presented in the pictures. Chapter Four is the analysis of works, centered on “Little Pet”、”Feather Hat”、”Fairy”, and will talk about the process of making, painting elements, Asian Gouache , techniques, and ideas, etc. In Charter Five, there I will acclaim my observations and feedbacks during the process of completing my works of this year, and discuss the potential and the directions of my works aftermath.
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WU, CHIH-PO, and 吳志伯. "Optimization Process of Accomplishing Painting by Automatic Painting System." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/5w5sju.
Повний текст джерелаАнотація:
碩士中華科技大學
機電光工程研究所在職專班
107
The painting organization includes a spray gun fixed organization、translation organization、elevating mechanism and rotary mechanism . The painting organization operates in coordination PLC and the man-machine interface by the sequential control way，may provide the functionality spray coating work service. The system uses PLC programs，carries on a series of movements including the distance of a spray gun to the painting thing、the quantity of painting、the distance of the X axis and Y axis displacement parameters，and then the rotary mechanism may rotat by the painting things.The automated system assists the spray coating work，designs the flow the spray coating work which one stable also can control，reaches the spray coating good rate promotion. This research primary intention，in by way of the painting organization: May adjust the aerograph painting quantity by the scale division way, and performs the automated formula control, and by obtains the optimization painting flow by way of the actual painting experiment.How much does the penetration paint material blowout quantity adjust，the thing and the spray gun is away from and the painting cover scope tests makes the record， penetration records the experimental result to establish the optimization painting flow. Experimental parameters include: painting quantity adjustment (3mm、 5mm、 7mm)、thing and the spray gun are away from (50mm、 80mm、 100mm)、the painting coverage (2mm、5mm、 7mm、10mm、12mm)，discusses the optimization the painting flow. The result showed the painting quantity adjusts 5mm，the thing and the spray gun is away from 80mm, its effect is best，overlaps the displacement as for the painting cover to differ from because of the spray gun type. The best situation of acicular aerograph (the A pin valve) is 5mm、the pyramidal aerograph (the B pin valve) is 12mm by experiment. Key words: The painting quantity，painting coverage， the painting mechanism.
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王苾芬. "Perceivable Ink Painting, Affective Books—Exposition of Wang Pi-Fen’s Ink Paintings." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/knj3v9.
Повний текст джерелаАнотація:
碩士國立臺灣師範大學
美術學系在職進修碩士班
101
This study aims to present human thinking, perceive the underlying sound of humanity, retrace the understanding orginated from reality, and explore the relationship between human mind and ink paintings. By means of association with different patterns and images of books, inspiration to achieve a free artistic conception for painting is aroused. Life, the origin of creation, requires its accumulation for creation. In the pattern of books, art symbols are applied to express feelings, discover social problems and various phenomena in daily lives, and we hereby create artistic works with their characteristics. During the process, we are able to probe into every existence, stirring people's insight and reflection, so correct values are formed. Books are the greatest carriers for culture, thoughts, and knowledge. They are the laddder for civilization as well as the essence of human wisdom. It is the unique, local, and epochal thinking in artistic works that makes the creation prossess the nature of traditional and modern strokes, so the underlying process of exploration goes on in depth. It is when our aesthetic experience turns into an epitome of daily life that art will spread ,thrive, and take on its value and significance. When people are true to themselves, the artistic works can be provided with vitality. It is hoped that in this study, personal visual symbols are created and another new spiritual window is to be opened.