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Добірка наукової літератури з теми "The sea in painting"

Автор: Grafiati
Опубліковано: 10 грудня 2022
Оновлено: 29 січня 2023

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Статті в журналах з теми "The sea in painting"

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Oleynik, Maria. "Visual Representation of the Marine Theme in the Artistic Culture of Russia (XVIII–XX Centuries)." Ideas and Ideals 14, no. 2-2 (June 27, 2022): 350–62. http://dx.doi.org/10.17212/2075-0862-2022-14.2.2-350-362.

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Тhe meaning of visual representation includes perception of information through the visual image. This form of information delivery to the general public was known in pagan cultures and asserted itself in Christianity. Since the late 20th century the concept of visualization united in itself not only religious and artistic images, but also the vision of mass culture. The performed research places emphasis on the establishment and the development of visual representation in Russia’s art culture of the ХVIII-XIX centuries. During the reign of Peter the Great, in a succession of state reforms and due to the influence of samples of European art, a transformation of national art culture occured. In this context, maritime art is viewed as one of the visual representation forms. The seascape, as a separate genre of painting, originates in the Dutch landscape. The first marinas were brought by Peter the 1st to decorate palaces and country residences. The victory in the Battle of Chesme (1770) and the joining of Crimea to the Russian Empire prompted Catherine the 2nd to invite J. P. Hackert to perpetuate the glory of Russian weapons. The artist became the first marine painter on Russian soil and performed a series of twelve paintings. The flourishing of the national seascape in Russia took place in the 19th century. The first who took the post of artist at the Ministry of the Sea was I.K. Aivazovsky. Since then the seascape acquired special significance and perpetuates the sea victories of Russia. A subtle metaphysical meaning is present in some romantic landscapes by I.K. Aivazovsky. Sea battle paintings acquired clear realistic features in the painting of A.P. Bogolyubov. The artists are concerned not only with the image of the sea, but also with the architecture of the ship, which forms a separate painting genre: the ship portrait genre. The image of the ship in the paintings of the XIX-XX centuries combines the lines of scripture and poetry, focusing the attention of the viewer on a deep semantic reading of the landscape.
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Song, Hyosup. "Three Korean literati paintings of an orchid in the deconstructive process." Semiotica 2016, no. 208 (January 1, 2016): 223–36. http://dx.doi.org/10.1515/sem-2015-0116.

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AbstractLiterati paintings were drawn by Korean Confucian scholars from the end of the Koryeo period to the end of the Joseon period. As painting these works was considered a method for a scholar’s self-cultivation, literati paintings express plenty of in-depth metaphysical points of significance. Meanwhile, these paintings revealed changes that correspond with changes in cultural circumstances. The present study considers such transformation as a deconstructive process. This research analyzes three Korean orchid paintings to address the following three questions: (1) How are the literati’s thoughts represented in their forms of paintings in the East Asian tradition of poetry–calligraphy–painting in one? (2) How are the interrelations among the pictorial image, verbal message, and empty space revealed in individual literati paintings? (3) How are such interrelations deconstructed amid new cultural circumstances?
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Suparma Netra, I. Made, and Nyoman Wardi. "Konservasi Koleksi Lukisan Museum Le Mayeur." Humanis 23, no. 3 (September 27, 2019): 216. http://dx.doi.org/10.24843/jh.2019.v23.i03.p08.

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As a result of human work, painting is a cultural heritage that has important values. The state of the structure of the paintings which is composed by organic materials makes the painting very vulnerable to the environmental influences and other causes of damage. This research aims to find out about the characteristics of the painting, the types of damage, the factors that cause damage, and its conservation techniques both preventive and and curative to painting collection of Le Mayeur Museum.The results of this research are expected to provide benefits and development of science in the field of archeology about the study of cultural heritage conservation. This study uses qualitative analysis, technology analysis, and comparative analysis. Data collection technique used are direct observation technique, interviews, and library reserach studies. The theories applied are Aesthetic Theory and Conservation Theory.The results obtained namely the characteristic of Le Mayeur’s paintings are representative with women’s theme and surroundings life, the coloring technique using plaque technique with oil paint, watercolor, traditional paint, and pastels color. Generally, there are several types of damage to the painting collection of Le Mayeur Museum, such as physical or mechanic damage, biotic damage, and chemical damage. Those types of damage are caused by physical factors,chemistry factors, biotic factors, and human factors. The conservation techniques carried out at the Le Mayeur Museum include preventive conservation and curative conservation. The preventive actions are carried out with control of temperature, air humidity, intensity of ultraviolet light, and control of air containing salt due to sea water vapor. The curative actions taken are semi-chemist medicine and painting restoration.
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Kapinus, Alexander. "On the Issue of the Painting Technique of the Marine Artist V.I. Shilyaev." Bulletin of Baikal State University 30, no. 2 (June 11, 2020): 185–94. http://dx.doi.org/10.17150/2500-2759.2020.30(2).185-194.

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Seascape is a special genre of painting. To show the vivid life of the sea is not an easy task for an artist. The creative heritage of marine painters not only delights, but also encourages modern artists to look for their own style, to develop their own painting technique to achieve it. The author analyzes the genesis of the special manner of the Far Eastern marine painter V.I. Shilyaev in the representation of a live transformation of the sea wave, attempts to characterize his original painting technique to perform a frozen in time moment of life of the dynamic volume on the plane of the canvas. Maintaining the creative tradition of the great marinists of the past, V.I. Shilyaev filled his works with patriotic content of self-identification of the Russian Far East, developed the art of depicting legendary ships on an aesthetically irresistible sea wave. The author claims that the mixed improvisational technique of visualizing the constantly changing volume and color of the sea wave is V.I. Shilyaev's innovative contribution to the achievements of the Russian seascape painting school.
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刘, 城霞. "Study and Implementation of the Painting Communication Platform Based on .NET." Software Engineering and Applications 10, no. 04 (2021): 509–15. http://dx.doi.org/10.12677/sea.2021.104055.

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Hinrichs, Nina. "Das Eismeer – Caspar David Friedrich and the North." Nordlit 12, no. 1 (February 1, 2008): 131. http://dx.doi.org/10.7557/13.1194.

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The German Romantic painter Caspar David Friedrich (1774-1840) created the work of art Das Eismeer in the years 1823/24. Besides his painting Mönch am Meer it is his most radical painting. It depicts a dramatic and grim subject: A shipwreck in the Arctic Sea. According to different cultural, historical and social contexts there have been many different interpretations of his painting since it was produced.
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Rampazzi, Laura, Cristina Corti, Ludovico Geminiani, and Sandro Recchia. "Unexpected Findings in 16th Century Wall Paintings: Identification of Aragonite and Unusual Pigments." Heritage 4, no. 3 (September 15, 2021): 2431–48. http://dx.doi.org/10.3390/heritage4030137.

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Sixteenth century wall paintings were analyzed from a church in an advanced state of decay in the Apennines of central Italy, now a remote area but once located along the salt routes from the Po Valley to the Ligurian Sea. Infrared spectroscopy (FTIR-ATR), X-ray diffraction (XRD) and scanning electron microscopy (SEM) with a microprobe were used to identify the painting materials, as input for possible future restoration. Together with the pigments traditionally used for wall painting, such as ochre, ultramarine blue, bianco di Sangiovanni, cinnabar/vermilion, azurite, some colors were also found to have only been used since the 18th century. This thus suggests that a series of decorative cycles occurred after the church was built, confirmed by the multilayer stratigraphy of the fragments. Some of these colors were also unusual, such as clinochlore, Brunswick green, and ultramarine yellow. The most notable result of the analytical campaign however, was the ubiquitous determination of aragonite, the mineralogical form of calcium carbonate, mainly of biogenic origin. Sources report its use in Roman times as an aggregate in mortars, and in the literature it has only been shown in Roman wall paintings. Its use in 16th century wall paintings is thus surprising.
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Willaert, Klaas. "Protest at Sea against Deep Sea Mining: Lawfulness, Limits and Remedies." International Journal of Marine and Coastal Law 36, no. 4 (October 27, 2021): 672–83. http://dx.doi.org/10.1163/15718085-bja10077.

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Анотація:
Abstract Protest at sea has been on the rise and this trend has now also manifested itself within the context of deep sea mining. In May 2021, Greenpeace activists approached the Normand Energy, a ship chartered by Belgian deep sea mining contractor Global Sea Mineral Resources (GSR), and interfered with its operations by painting slogans on the hull of the vessel and attaching banners to the umbilical cord of GSR’s prototype nodule collector. On the basis of applicable international principles and provisions, such actions can be considered unlawful, but adequate enforcement and effective remedies are lacking.
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Behrisch, Tanya J. "Painting Deep Time: Encountering Landforms’ Alterity and Phusis Through Phenomenology and Oil Painting." Phenomenology & Practice 16, no. 1 (November 18, 2021): 90–107. http://dx.doi.org/10.29173/pandpr29503.

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The practice of oil painting landforms, rocks and sea water in Jervis Inlet, British Columbia (BC) puts me in dialogue with land’s resistant alterity. By closely attuning to landforms, and by stepping back and blurring my focus at regular intervals while practicing oil painting of landforms, I experience phusis of land and of my painting. Through self-concealment and emergence, land alternates between revealing and enfolding its character, resisting my human comprehension but speaking to more-than-human elements in myself. The slow accretive process of oil painting lends itself to phenomenological research, taking days and weeks for paint to dry before new layers can be applied. This slowness produces phusis within me as an artist, as I am forced to withdraw from the painting while its layers dry and we reassume an unfamiliarity with one another as dual subjects. Through oil painting, landforms’ alterity shifts towards familiarity. Earth’s elements originate in deep time, pre-dating human experience. Cycling within me is a repository of minerals, water, and salinity originating in deep time. This draws attention to alterity within my own body. By practicing phenomenological research through painting landforms, I encounter the phenomenological paradox of deep time and come face-to-face with the originary elemental origin I share with landforms.
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Moore, Mary B., Gudrun Ahlberg-Cornell, and Carina Weiss. "Herakles and the Sea-Monster in Attic Black-Figure Vase-Painting." American Journal of Archaeology 90, no. 1 (January 1986): 108. http://dx.doi.org/10.2307/505998.

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Дисертації з теми "The sea in painting"

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Smith, Marian Brunn. "A Fugitive Sea." VCU Scholars Compass, 2007. http://hdl.handle.net/10156/1952.

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Defibaugh, Elaine R. "Did you see that chair /." Online version of thesis, 1989. http://hdl.handle.net/1850/11323.

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Barnes, John Tristan. "Painting the wine-dark sea traveling Aegean fresco artists in the Middle and late Bronze Age Eastern Mediterranean /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/5762.

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Анотація:
Thesis (M.A.)--University of Missouri-Columbia, 2008.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on August 22, 2008) Includes bibliographical references.
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Obrist, Johann Markus. ""What you see is painting" : Studien zum Werk von Frank Stella /." Zürich : [s.n.], 1996. http://www.ub.unibe.ch/content/bibliotheken_sammlungen/sondersammlungen/dissen_bestellformular/index_ger.html.

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Novotná, Daria. "NEJEN MOdŘE." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2012. http://www.nusl.cz/ntk/nusl-232347.

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Анотація:
9 paintings, oil on canvas or acrylic on canvas - pictures from the sea, beach, wharf and their surroundings during the tourist season - aspects connected with the tourism at the sea - a little bit of romantic up to the border of the irony and kitch, business - processing of the water surface, their colours and shapes, real or seemingly abstract - shifting of the motif or his fragment through the form and colour reduction to the abstract line
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Browne, Deborah. "PAINTING THE SUBLIME LANDSCAPE AND LEARNING TO SEE NATURE ALONG THE WAY." Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4150.

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My thesis is one artist's response to the question of the relevance of landscape painting today, focusing on the communication of the idea of environmental stewardship. The process of studying nature and transferring that vision to canvas promotes greater understanding of the beauty and complexity of elements that comprise ecosystems. The artist possesses a creative impulse finding satisfaction in making artwork that expresses a love of nature as part of a larger worldview. If done well, the persuasive power of such art may be enormous. Comprised of oil paintings and written work, this thesis establishes a way of approaching both landscape painting and the natural environment. Literature pertaining to the contributions of landscape artist Frederic Church, varying aesthetic theories, nature writings, and selected contemporary artists are discussed. The focus then turns to particular landscape elements, introducing the artwork created for the thesis. The thesis concludes with the artist's purpose statement.
M.A.
Department of Liberal and Interdisciplinary Studies
Graduate Studies
Interdisciplinary Studies MA
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Wang, Su-Chin. "See through the dark : reincarnation /." Online version of thesis, 1996. http://hdl.handle.net/1850/11903.

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Edwards, Jamie Lee. "Netherlandish vernacular narrative painting in the age of Bruegel : 'entangling the eyes' & 'enlightening the mind'." Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7703/.

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This thesis sheds new light on the origins and significance of ‘compositional inversion’ in sixteenth-century Netherlandish art. Taking Pieter Bruegel’s inverted religious narratives as primary examples of a wider phenomenon, it seeks to account for the seemingly paradoxical method of narrative obfuscation evident in these works. It does so by situating them in art theoretical, iconographic, social, political and spiritual contexts. Chapter 1 turns to the art theories of Karel van Mander, contained in the first book of Het Schilder-Boeck (1604): ‘Den Grondt … ’. Here I suggest that Bruegel’s inverted compositions exemplify an entire tradition in Netherlandish history painting – the ‘historien’ – that van Mander retroactively theorised in ‘Den Grondt’. According to his theoretical position, Netherlandish inverted ‘historien’ derive their efficacy precisely because they obscure narrative, for by doing so they ‘entangle’ the beholder’s ‘insatiable eyes’ and so encourage sustained interest in the story. Chapter 2 then examines the visual tradition in Netherlandish art that inspired Bruegel’s inverted narratives, and concludes that these works possess a distinctive formal ‘Netherlandishness’ and as such they offer fertile territory for examining Bruegel’s “vernacularity”. Finally, in Chapter 3, I argue that compositional inversion evolved as a visual counterpart to contemporary biblical exegeses, specifically Erasmus’s.
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Lee, Eunji (Jubee). "After the big wind stops I see gentle waves." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5367.

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Анотація:
This thesis covers my reflections on the inspirations and the motivations behind selected works including my candidacy exhibition; Resonance and my thesis exhibition; after the big wind stops I see gentle waves. It contains my life throughout my MFA studies and the development of my art practice. Through its story-within-a-story method of narration and my describing streams of my thoughts, I am attempting to explain the processes of my development and the discoveries I have made, the little things in my daily life, and the big turning points that inspired me. My work and this document have been strongly determined by my poetic imagination and the emotional events and experiences I have had.
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Von, Brasch Marius. "'Distance, however near it may be' : revisiting 'aura' on the axis between painting and digital technology within a Deleuzian framework of 'becoming'." Thesis, University of Southampton, 2012. https://eprints.soton.ac.uk/346350/.

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This practice-based research sets out to explore new ways of visualizing and conceptualizing the notion of aura in art. It departs from Walter Benjamin’s widely known critique of aura, the thesis of which is that aura as ‘uniqueness’ of an artwork decays with the rise of technological reproducibility. Benjamin affirms with the decay of aura also the loss of the transposition of religious projections of distance onto fascist politics. His thesis had a major influence on contemporary critical theory where aura is still approached with great reservations. These concern a relapse into religious structures, which mirror, so the thesis argues, the fact that aura has been, also in Benjamin’s ambivalent conceptualization, left ‘territorialized’ in a regime of transcendence in art. The main research question has been: What could aura mean for painting in the expanded field, especially in relation to digital imaging? The outcomes of this research are paintings, works on paper (both involving the input of digital sources), digital films and writings. The thesis develops a reading and visual ‘mapping’ of aura in the framework of Gilles Deleuze’s (and Félix Guattari’s) ontology of immanence where difference and its repetition as differentiation replaces the static metaphysics of ‘origin’ or ‘essence’. Splendor Solis, a series of book illuminations from the Northern Renaissance proved to become a major visual source for experimentation. Aura is introduced in this alchemical work as the ‘splendour’ of Becoming, the deframing power of the differential processes that accompany individuation. As a sensation experienced in intuitive art practice, aura affects and is affected by a field of interacting multiplicities and the potentiality of temporal differentiations, which reach beyond any ascertained subjectivity into virtual collective questions and problems. Aura suggests as an ‘echo’ of Becoming an involvement with affects, and the research follows strands between qualitative intense moments that activate a ‘wound’ and extend to what Deleuze calls a ‘wound that existed before me’, an experience related to the synthesis of future, which confronts an individual with its emerging double. Constructing, or ‘mapping’ aura as visuals on an axis that involves media of ‘uniqueness’ and digital technology gives those outcomes an ontological status of ‘simulacra’ or assemblages, far from the traditional associations aura would evoke. Touching both experience and experiment, so the thesis argues, aura in immanence can provide an access to the virtualities of the ‘new’ in art practice. The research introduces a visual scenario or ‘conceptual persona’ for intuition, which as method of this research folds both practice and writing. Friedrich Hölderlin’s unfinished play Empedocles at Etna, provides a metaphor or metamorphosis encompassing aura’s and intuition’s involvement with immediacy and duration. The practice documentation of the thesis reflects the strands of the research as plurality of its differentiations, allowing the dynamics of its method in action to reflect the dynamics of aura.
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Книги з теми "The sea in painting"

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Ballinger, Harry Russell. Painting surf and sea. Mineola, NY: Dover, 2008.

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Wolf, Rachel Rubin. Painting ships, shores, and the sea. Cincinnati, Ohio: North Light Books, 1997.

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3

Bright, Jennifer. At the sea. New York: MetroBooks, 1996.

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4

The land & the sea. Llandysul [Wales]: Gomer, 1998.

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5

Peter Lanyon: Air, land & sea. [London]: South Bank Centre, 1992.

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Manet and the sea. New Haven, CT: Yale University Press, 2004.

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7

Rowlett, George. George Rowlett: From the river to the sea. London: Art Space Gallery, 2001.

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8

Kurt Jackson: Painting-sea-sky-light-land-Cornwall. Maidstone, Kent: Crescent Moon, 2008.

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9

1952-, Wilcox Scott, National Maritime Museum (Great Britain), and Yale Center for British Art., eds. Masters of the sea: British marine watercolours. Oxford [Eng.]: Phaidon Press, 1987.

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Cormican, Garrett. Camille Souter: The mirror in the sea. Dublin: Whyte's, 2006.

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Частини книг з теми "The sea in painting"

1

Ruoff, Cynthia. "Images of Water and the Sea in Tristan L’ Hermite’s “La Mer” and in Painting." In The Orchestration of the Arts — A Creative Symbiosis of Existential Powers, 241–54. Dordrecht: Springer Netherlands, 2000. http://dx.doi.org/10.1007/978-94-017-3411-0_16.

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2

Goehr, Lydia. "Sea Scenes." In Red Sea-Red Square-Red Thread, 181–208. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197572443.003.0007.

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Chapter 7 reads Puccini’s La Bohème to highlight the agonistic leitmotifs and life-motifs that thread the concept of bohème back to the Red Sea. What has the landscape of Marcello’s painting, which starts the opera, to do with the portrait of Mimi’s life and final death? If we answer, nothing directly, we play to the idea that the opera’s true beginning is not its first start but its second, when Mimi climbs the stairs to become a muse in the poet’s garret. Yet why not play to both starts, relating them as they are so related in Murger’s scenes?
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Goehr, Lydia. "Passages of Bohème." In Red Sea-Red Square-Red Thread, 83–127. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197572443.003.0004.

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Part II foregrounds the Red Sea anecdote in contrasting emancipatory narratives: in Murger’s story of Marcel’s painting, in Kierkegaard’s pursuit of a life result, and in Puccini’s La Bohème. The anecdote, being about a painting produced contrary to expectation, offers an explanation. What is the relation between expectation and explanation? What are the modern stakes in the social patterns of art’s production? The many ways of social critique are worked through contra the nasty prejudices of anti-Semitic complaint. Chapter 4 reads Murger’s scenes for la vie de bohème given their constant invocations of the Red Sea Passage. What and who was included and excluded from the life? Far from recommending the life, Murger undercut its possibility before its passage even began. What the chapter’s end reveals about the Red Sea painting proves what the chapter argues first: that no masterpiece could be completed by an artist living for the sake of la vie de bohème.
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"When Is a Painting Not a Painting?" In Sex, God, and Rock 'n' Roll, 116–22. 1517 Media, 2020. http://dx.doi.org/10.2307/j.ctvcb5bnj.33.

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Schwarcz, Lilia Moritz. "Painting and Negotiating Colors." In “I Don’t See Color", translated by Hermenegildo Galeana and Bettina Bergo, 70–89. Penn State University Press, 2015. http://dx.doi.org/10.5325/j.ctv14gpd78.9.

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"Paintings by Ian Marshall." In Victory at Sea, ix—x. Yale University Press, 2022. http://dx.doi.org/10.12987/9780300265316-001.

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Tombul, Işıl. "Harem and Woman From Orientalist Pictures to the Cinema." In Advances in Media, Entertainment, and the Arts, 181–96. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-7180-4.ch011.

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Orientalist art played an important role in the orientalist knowledge base. Depictions of the East, especially in the art of painting, have created a representation of the East in the West's mind. However, this representation is exactly what the Westerner wants to see. One of the subjects that Westerners want to see and hear most is the harem. In orientalist art, women are depicted here as if they were always standing naked for their masters. Whereas harem is a place of pleasure and delight for the West, it is a family institution for the East. There is a transition from orientalist paintings to cinema in harem representation. For this reason, this transition from painting to modern art needs to be read intertext. In this study, the reflection of the harem institution from painting to the cinema in the Ottoman Empire is examined. Ferzan Özpetek's movie Harem Suare (1999) was examined together with the paintings of orientalist painters, and intertextual reading was made.
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Goehr, Lydia. "Bohemia-Bohemian-Bohème." In Red Sea-Red Square-Red Thread, 268–92. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197572443.003.0010.

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Chapter 10 explores the friction that makes and breaks the hyphens between Bohemia-Bohemian-Bohème. It begins and ends with the theological and secular winds that bring Shakespeare’s Winter’s Tale into deliberately enigmatic representations of la vie de bohème. A seascape helps then to remake a rural landscape into a cityscape of Paris in its embattled to-and-fro with London. With walking and wandering always at stake, the chapter investigates the many strains of wit in the painting of shoes.
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Goehr, Lydia. "Thought Experiments in Color." In Red Sea-Red Square-Red Thread, 425–55. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197572443.003.0016.

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Chapter 16 moves between thought experiments and puzzles regarding epigraphs in a print culture of black and white. It explores the interaction of the philosophical critique of monochromatic formalism with the monochrome technique broadly applied to the one-colored, non-colored, and all-colored canvases and pages of painting, literature, and history. It offers more twists and turns of perspective drawn from the Red Sea anecdote to connect the red of a sea, square, and thread to the red corner of a room redesigned for the living.
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Balafrej, Lamia. "Calligraphic Line." In The Making of the Artist in Late Timurid Painting, 150–83. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474437431.003.0005.

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In late Timurid manuscript painting, the area devoted to the illustration of the story narrated in the manuscript shrank dramatically, while a multitude of non-illustrative forms proliferated. Painting became filled with figures and motifs that bore no apparent relationship to the surrounding text. This chapter argues that visual abundance destabilized illustration in order to reference taswir, the process of image making. Aspects of composition and technique such as the painting’s even surface and its grid-like composition further lauded the artist’s creative power. This chapter also shows that painting became a metamedium, designed to interrogate the ontological boundaries of painting and to define its relationship, not to the world as we see it but to God’s creation, to the ideal forms and concepts from which reality was created. As such painting represented potential, rather than actual, worlds.
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Тези доповідей конференцій з теми "The sea in painting"

1

Maeda, A., Y. Oe, and N. Yoshizawa. "EVALUATION STRUCTURE ON PREFERENCE OF PAINTING’S APPEARANCE WITH LOW REFLECTANCE IN THE MUSEUM LIGHTING ENVIRONMENT." In CIE 2021 Conference. International Commission on Illumination, CIE, 2021. http://dx.doi.org/10.25039/x48.2021.po45.

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The purpose of this paper is to clarify the evaluation structure of the preference for the visibility of paintings, taking into account the characteristics of paintings with low reflectance. Although illuminance is used in the standards for museum lighting (CIE 157:2004), it is desirable to design lighting that also considers luminance from the viewpoint of perceived brightness. Therefore, we conducted the subjective experiment of oil paintings in which luminance ratio was set as an experimental variable and examined the evaluation structure of paintings with low reflectance. As a result, it was found that the evaluation of black details affects the preference for the visibility of paintings with low reflectance. However, the path diagram of the evaluation structure applied to each painting was different, indicating that it is difficult to represent the characteristics of a painting only by the mean reflectance.
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2

Jeremias-Vila, Pol. "Painting with code." In SA '17: SIGGRAPH Asia 2017. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3134472.3134518.

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3

Xue, Zhiguang, Xinming Wu, and Sergey Fomel. "Predictive painting across faults." In SEG Technical Program Expanded Abstracts 2017. Society of Exploration Geophysicists, 2017. http://dx.doi.org/10.1190/segam2017-17736471.1.

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4

Park, Minji, Yowon Jeong, Jiyun Jeong, Dain Kim, Jungbin Yoon, Haneul Jung, Kyeongju Hawng, and Junghwan Sung. "Painting of Thousandhands Avalokitesvara." In SA '20: SIGGRAPH Asia 2020. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3414686.3427147.

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5

Engelsma, Chris, and Dave Hale. "Painting seismic images in 3D." In SEG Technical Program Expanded Abstracts 2010. Society of Exploration Geophysicists, 2010. http://dx.doi.org/10.1190/1.3513075.

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6

Yamaguchi, Shugo, Takuya Kato, Tsukasa Fukusato, Chie Furusawa, and Shigeo Morishima. "Region-based painting style transfer." In SA'15: SIGGRAPH Asia 2015. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2820903.2820917.

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7

Choi, Yoon-Seok, Soonchul Jung, and Jin-Seo Kim. "Immersive 3D Body Painting System." In SA '20: SIGGRAPH Asia 2020. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3415264.3425467.

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8

Rutsinskaya, Irina, and Galina Smirnova. "VISUALIZATION OF EVERYDAY SOCIAL AND CULTURAL PRACTICES: VICTORIAN PAINTING AS A MIRROR OF THE ENGLISH TEA PARTY TRADITION." In NORDSCI Conference Proceedings. Saima Consult Ltd, 2021. http://dx.doi.org/10.32008/nordsci2021/b1/v4/37.

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"Throughout the second half of the seventeen and the eighteenth centuries, tea remained an expensive exotic drink for Britain that “preserved” its overseas nature. It was only in the Victorian era (1837-1903) that tea became the English national drink. The process attracts the attention of academics from various humanities. Despite an impressive amount of research in the UK, in Russia for a long time (in the Soviet years) the English tradition of tea drinking was considered a philistine curiosity unworthy of academic analysis. Accordingly, the English tea party in Russia has become a leader in the number of stereotypes. The issue became important for academics only at the turn of the twentieth and twenty-first centuries. Currently, we can observe significant growth of interest in this area in Russia and an expansion of research into tea drinking with regard to the history of society, philosophy and culture. Despite this fact, there are still serious lacunas in the research of English tea parties in the Victorian era. One of them is related to the analysis of visualization of this practice in Victorian painting. It is a proven fact that tea parties are one of the most popular topics in English arts of the nineteenth and the twentieth centuries. No other art school in the world referred to the topic so frequently: painting formed the visual image of the English tea party, consolidated, propagandized and spread ideas of the national tea tradition. However, this aspect has been reflected neither in British nor Russian studies. Being descriptive and analytical, the present research refers to the principles of historicism, academic reliability and objectivity, helping to determine the principal trends and social and cultural features and models in Britain during the period. The present research is based on the analysis of more than one hundred genre paintings by British artists of the period. The paintings reflect the process of creating a special “truly English” material and visual context of tea drinking, which displaced all “oriental allusions” from this ceremony, to create a specific entourage and etiquette of tea consumption, and set nationally determined patterns of behavior at the tea table. The analysis shows the presence of English traditions of tea drinking visualization. The canvases of British artists, unlike the Russian ones, never reflect social problems: tea parties take place against the background of either well-furnished interiors or beautiful landscapes, being a visual embodiment of Great Britain as a “paradise of the prosperous bourgeoisie”, manifesting the bourgeois virtues. Special attention is paid to the role of the women in this ritual, the theme of the relationship between mothers and children. A unique English painting theme, which has not been manifested in any other art school in the world, is a children’s tea party. Victorian paintings reflect the processes of democratization of society: representatives of the lower classes appear on canvases. Paintings do not only reflect the norms and ideals that existed in the society, but also provide the set patterns for it."
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Takahashi, Yoshinobu, Kenji Fukuta, and Takaoki Kaneko. "Plasma Treatment for Painting of Polypropylene Bumper." In SAE International Congress and Exposition. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 1985. http://dx.doi.org/10.4271/850320.

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Knispel, Jonathan, and Fraser Bullock. "Collaborative VR painting in web browsers." In SA '17: SIGGRAPH Asia 2017. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3139468.3148451.

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Звіти організацій з теми "The sea in painting"

1

Wilson, Gina. Narrative Painting. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.6411.

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2

AVONDALE SHIPYARDS INC NEW ORLEANS LA. Painting on - Block: The Zone Painting Method Advantage. Fort Belvoir, VA: Defense Technical Information Center, March 1986. http://dx.doi.org/10.21236/ada444036.

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3

Shirley, Margaret. Layered field painting. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.2745.

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Branham, Barbara. Some visual issues of painting : an exploration of the painting process. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.5740.

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5

Wolfe, Justin E. LSST Painting Risk Evaluation Memo. Office of Scientific and Technical Information (OSTI), November 2016. http://dx.doi.org/10.2172/1342020.

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6

Higgins, Gary, and Steven Garlick. The Economics of Shipyard Painting, III. Fort Belvoir, VA: Defense Technical Information Center, October 1990. http://dx.doi.org/10.21236/ada452167.

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7

Blaskiewicz, M. Momentum Painting in SNS Accumulator Ring. Office of Scientific and Technical Information (OSTI), August 2003. http://dx.doi.org/10.2172/1157302.

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Shirley, Margaret. Landscape Painting in the Secondary Classroom. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.2575.

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Beebe-Wang, J. Oscillating Injection Painting and Related Technical Issues. Office of Scientific and Technical Information (OSTI), June 2000. http://dx.doi.org/10.2172/1157258.

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Adams, Carol. Figurative Painting and It's Reverberation in Pairs. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.2570.

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