Relevant bibliographies by topics / 1980s painting

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic '1980s painting'

Author: Grafiati
Published: 4 June 2025
Last updated: 23 June 2025

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Journal articles on the topic "1980s painting"

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Sakhno, Irina. "The Metaphysics of Presence and the Invisible Traces: Eduard Steinberg’s Polemical Dialogues." Arts 11, no. 5 (2022): 85. http://dx.doi.org/10.3390/arts11050085.

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The article examines the paintings by Eduard Steinberg, a Soviet non-conformist painter from the 1950s to the 1980s from the standpoint of the plastics of his language. The author focuses on Steinberg’s polemical dialogues with the greatest names in Russian and European avant-garde art, including both common points and disagreements. By analyzing the painter’s texts through the prism of poetics of the invisible and the ontology of traces, the author observes Steinberg’s early art of the 1960s and 1970s as an attempt to create a symbolic language and attach an ideographic status to art. Through simultaneous use of two artistic strategies—mystical and religious symbolism, coupled with metageometry Steinberg arrives at optical formalism and spectator dialectics, vying to see the invisible and record the polysemantic nature of the symbolic sign. The article analyzes the influence Vladimir Veisberg and his “invisible painting” had on Steinberg, including the “white on white” style, as well as Giorgio Morandi’s still-life vision of metaphysical painting. The author believes that by relying on analogies and reminiscences, Steinberg refers his audience to his predecessors and joins them in an intertextual dialogue. A special place here belongs to Kazimir Malevich with his radicalism, his trend towards metasymbolism and the language of the basic forms—the circle, square and cross. All of these are close to Steinberg’s geometric plastics of the 1970s and 1980s. Staying true to the pure forms of Suprematism, Steinberg builds up an aesthetics of the geometric forms of his own, where abstract art comes together with the ontological progress towards God. The Countryside series (1985–1987) shows influence of Кazimir Malevich’s Peasant Cycle, some principles of icon painting and Neo-Primitivist art.
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Kadikova, Irina F. "Specifying the chronology of some pigments application according to the results of the investigation of the Soviet painting of the second half of the 20th century." Podlinnik, no. 2 (June 2024): 9–26. https://doi.org/10.28995/3034-3224-2024-2-9-26.

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The article systematizes the cases of occurrence in the works of Soviet masters of the late 1940s–1980s of a number of pigments that are more characteristic of painting of the first half of the XX century: emerald green, vermilion, chrome yellow, zinc yellow and chrome orange. The first two named pigments were actively used in both European and Soviet painting until the 1930s, when the production of art paints based on them was suspended (emerald green) or significantly reduced (vermilion). However, as a result of the study of the paint materials of paintings, sufficient evidence has been obtained that the production of such paints continued in the second half of the XX century. Since emerald green was not produced in the USSR, it can be assumed that Soviet artists used imported paint based on this pigment. Some of these pigments (chrome yellow, zinc yellow and orange chrome) were produced in the USSR, but were used only for the production of II category paints intended for decorative works. This can explain their extremely rare presence in the composition of paint layer of paintings. Thus, the study of Soviet painting of the second half of the 20th century allowed to clarify the chronology of the use of a number of pigments.
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Brut, Sorin. "The Art of Nikolai Estis in the Soviet Abstract Painting of 1950s–1980s." Vestnik of Saint Petersburg University. Arts 13, no. 4 (2023): 664–84. http://dx.doi.org/10.21638/spbu15.2023.404.

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The work of the abstract artist Nikolai Estis is considered for the first time in the context of the Soviet version of abstract expressionism, which began to form during the Khrushchev thaw. The author analyzes the conditions, causes and sources that influenced the emergence of interest in abstractionism among a number of Soviet artists in the late 1950s, as well as the features of the forming of the abstract manner of Nikolai Estis. For the first time, a comparative analysis of the conceptual foundations and solutions of the works of Estis and other representatives of Soviet abstract expressionism such as Vladimir Nemukhin, Lidia Masterkova, Lev Kropivnitsky, Evgeny Mikhnov-Voitenko is carried out. The work of Estis is also compared with the works of Jackson Pollock that are consonant with him. The process of formation of Nikolai Estis as an abstract artist was significantly different from the folding of the abstract manner of his older contemporaries. Estis went to abstract painting gradually and wrote the first completely abstract works already in the 1970s. Accordingly, the meanings of abstract art associated with the period of the Khrushchev thaw affected his painting only partially. The works of Estis of the 1970s are the closest to the canvases of Vladimir Nemukhin and Lev Kropivnitsky of the 1950s and 1960s, but they also have significant differences. In the 1980s, the artist’s style changed and became closer to some of the early works of Yevgeny Mikhnov-Voitenko and the paintings of Jackson Pollock. At the same time, the works of the Moscow abstract artist remain original. The ideas of the work of Estis and the Soviet artists under consideration are in many ways close. They are associated with an attempt to escape from the everyday point of view and display the hidden device of reality. The study shows that the work of Nikolai Estis fits into the general line of development of the Soviet version of abstract expressionism. At the same time, in line with this direction, the painter managed to develop an individual manner.
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Merewether, Charles. "Chabet: The Russian connection." Journal of Contemporary Painting 6, no. 1-2 (2020): 79–92. http://dx.doi.org/10.1386/jcp_00015_1.

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This article focuses on the Filipino artist Roberto Chabet and his Russian Paintings of 1984. It explores the influence of Russian art, especially Vladimir Tatlin on his work in the 1980s and others, notably Malevich and El Lissitzky’s Proun work. The article looks back at Chabet’s trips to Europe and his first installations and work on paper in the 1970s, prefiguring the radical nature of his subsequent Russian painting.
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Buchloh, Benjamin H. D. "A Conversation with Jutta Koether." October 157 (July 2016): 15–33. http://dx.doi.org/10.1162/octo_a_00257.

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Benjamin Buchloh speaks with German artist, musician, and critic Jutta Koether about the many ways in which Koether blurs the lines between painting and performance in her practice, “reinstalling,” in her words, painting as a “platform, a potential, [and] a performance.” Koether discusses the formative role of New Wave and punk culture in her practice, particularly her time at Spex magazine; her studies in Cologne in the late 1970s and the anti-aesthetic impulse in painting from Picabia to Polke to Kippenberger; and her time in New York in the late 1980s and ′90s. Special attention is paid to her relationship to Poussin, both in her paintings The Seasons and The Sacraments and in her performance at Harvard in April 2013, as well as to early works like Inside Job (1992).
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Anghel, Călin, and Radu Totoianu. "Colecția de pictură Sava Henția a muzeului din Sebeș: constituire și dezvoltare." Terra Sebus. Acta Musei Sabesiensis, no. 16 (December 31, 2024): 415–34. https://doi.org/10.63578/terrasebus.2024.17.

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The Sava Henția Painting Collection of the Museum of Sebeș: Constitution and Development The Municipal Museum Ioan Raica Sebeș holds an important collection of works by Transylvanian painter Sava Henția (1848–1904). Its beginnings date back to the late 1950s, when the first six paintings were purchased from Ecaterina Erdt in Sebeș. The development of the collection gained focus in 1966 when a temporary exhibition dedicated to Sava Henția was organized at the museum, bringing together works from its own collection and from private collectors. There was also an initiative to set up a memorial house in the nearby Sebeșel, the painter’s birthplace. In the 1970s and 1980s, the collection grew year by year and has become one the most important in Romania today, comprising 46 works.
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Z.R., Khamzatova. "PHILOSOPHICAL AND CULTURAL ASPECTS OF UNDERSTANDING SOVIET PAINTING OF THE 60-80S OF THE XX CENTURY (BASED ON THE MATERIAL OF A. ASUKHANOV'S CREATIVITY)." “Educational bulletin “Consciousness” 24, no. 11 (2022): 83–91. http://dx.doi.org/10.26787/nydha-2686-6846-2022-24-11-83-91.

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The purpose of the article is a culturological analysis of the artistic creativity of Amanda Abasovich Asukhanov in the context of the development of Soviet painting in the 1960s-80s. The study involves the consideration of socio-cultural, regional, national-ethnic aspects, contemporary trends of the artist, which are manifested in the painting of the Honored Artist of Russia, People's Artist of the Chechen Republic, Honored Artist of the Republic of Dagestan, a representative of the first generation of Chechen artists who joined the Union of Artists of the USSR. From the point of view of the socio-cultural situation, the period of the artist's work of the 1960s-1980s is considered in detail, when his artistic worldview, philosophical position was formed, which was reflected in a number of paintings.
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Хожамуратов, Қ.Б. "THE FOUNDATIONS AND FORMATION OF PAINTING IN THE FINE ARTS OF KARAKALPAKSTAN IN THE 1970S AND 1980S." MODERN SCIENCE AND RESEARCH 3, no. 2 (2024): 341–45. https://doi.org/10.5281/zenodo.10675386.

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Sklyarenko, Galyna. "Ukrainian wall painting of the 1960s-1980s: the evolution of the artistic language." CONTEMPORARY ART, no. 18 (November 29, 2022): 175–88. http://dx.doi.org/10.31500/2309-8813.18.2022.269727.

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The article is devoted to the analysis of one of the most paradoxical phenomena of artistic culture of the late Soviet era - monumental and decorative art, which, despite its programmatic socio-political involvement, became part of “Soviet modernism”, combining social utopia with a variety of formal, plastic, stylistic, aesthetic directions, which reflected the search for a new national and individual author’s artistic language and imagery. Significant, that exactly murals and architecture put beginning to the processes of the aesthetic updating, that became the signs of social and political thaw in the USSR. Keeping the main tasks “ of leninist plan of monumental propaganda”, monumental -decorative art in Ukraine grew into a certain “aesthetic niche”, where found a display wide address to reasons of folk art and different aspirations of modernism, and at the same time and development of new withcomposition charts of late Soviet iconography. The evolution of wall painting – from mainly planar and decorative solutions of the 1960s to complex figurative and spatial constructions of the 1970s and 1980s, the expansion of wall painting techniques ( mosaics, frescoes, stained glass windows, sgraffito, mosaic reliefs, encaustics, various types of painting, etc.) reflected the demonstration processes in Soviet art, where through wall painting new images, languages and aesthetics entered the public space, which significantly expanded its official canonical dimensions.
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Matsumura, Kimiko. "The Death of Painting and Its Afterlife in Morimura Yasumasa’s Portrait (Futago)." Arts 12, no. 5 (2023): 196. http://dx.doi.org/10.3390/arts12050196.

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This essay performs a close reading of Morimura’s Portrait (Futago) to establish how the artist’s multi-media approach echoes 1980s declarations about the end of painting while also proposing alternatives for its historical and material afterlife. In many ways, the artist’s performances make the crises brought on by the emerging global economy visual, and as such pointed to a number of slow deaths: of painting, of capitalism, of Japanese tradition. But the images do not merely document the demise. Instead, they present a scenario in which multiplicities define contemporary being. By considering how the work engages with photography, performance, and painting, I argue that Morimura’s approach to modality pointed out inherently Western assumptions about painting as well as its incompatibility with a holistic global identity in the 1980s and 90s. Exploiting the stereotypes of his media, Morimura makes tangible painting’s complicity with Western hegemony and destabilizes it in ways that propose a new global subject.
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Dissertations / Theses on the topic "1980s painting"

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Keshmershekan, Abdolhamid. "Contemporary Iranian painting : neo-traditionalism during the 1960s and 1990s." Thesis, SOAS, University of London, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.409536.

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Brand, Carol Frances. "A narrative in relief : the historiography of English modern painting (1910-1915), from the 1910s to the 1950s." Thesis, University of Plymouth, 2011. http://hdl.handle.net/10026.1/2249.

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The groups of painters in England who experimented with new visual expressions of modernity between 1910 and 1915 are the subject of this historiographical research. More precisely, the accounts of Vorticism, Bloomsbury post-Impressionism and the modern art of painters associated with Sickert, (principally the Camden Town Group), have been critically examined over a forty year period in order to trace the narrative of their place in contemporary art criticism and their entry into histories of what soon became the recent past. This textually-based methodology has produced an insight into the forces acting upon the critical reception of a particular period subsequently seen by historians as a discrete phase in the evolution of British art. The readings of texts are organised chronologically so as to illustrate the iv formation of a historical narrative and its variants, and to show how immediate responses and retrospective evaluations connect discursively. The findings of the research have four aspects. Firstly, it has been fruitful to isolate the narrative of the years 1910-15 over forty years so as to test whether it is possible, using this longitudinal methodology, to comment productively on the integrity of this historical episode, and to establish how the narrative became a critical orthodoxy governed by a limited range of analytical perspectives. Secondly, estimations as to the quality of the art produced in these years developed a distinct, often negative, patterning in journalism and art historical writing and this is also traced in some detail over time. Dominant tropes in the critical language have been identified over this forty year period which became the default positions of historical analysis and which, I argue, impeded sophisticated or revisionist thinking. With a few notable exceptions, the analysis of early English modern art is poorly served by its commentators in this period and this weakened discursive health. Thirdly, this thesis also considers the nature and influence of, periodicals, newspapers, ‘little magazines’ and the genres of art-writing that were extant between 1910 and 1956 and relates this to the distinctions and similarities between art criticism and art history at this time. A fourth analytic strand concerns outside influences on the production of critical and historical texts. It explores the impact of promotional art writing, and exposes the professional pressures on, and rivalries between, writers and considers some of the wider political circumstances through which this particular debate on recent art was refracted.
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Salter, Gregory. "Domesticity and masculinity in 1950s British painting." Thesis, University of East Anglia, 2013. https://ueaeprints.uea.ac.uk/48105/.

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This thesis examines how men experienced domesticity in the 1950s in Britain and analyses the role that artistic representations play in the expression and formulation of this masculine selfhood in this context. It considers domesticity at this historical moment as an inherently flexible concept: one that takes in the private spaces of the home as well as more public realms and aspects beyond it, and includes a variety of relationships, both familial and non-familial. At the same time, it highlights the social structures surrounding domesticity in Britain at this time – exemplified by the policies and aims of the welfare state and post-war reconstruction, and their reflection in institutions and social beliefs – particularly their assumptions about specific gender roles, particularly in relation to masculinity, in the context of the family, sexuality and work. As a result, my thesis examines how four male artists operated in this context – as individuals negotiating particular identifications of masculine selfhood within their own private and unstable conceptions of domesticity, in relation to, and sometimes at odds with, the public social structures in Britain around them. It focuses on the art of four male artists working in Britain in the immediate post-war period: John Bratby, Francis Bacon, Keith Vaughan and Victor Pasmore. By placing their work in a wide social and cultural context, including social history, sociology, psychoanalysis, literature, and the popular press, this thesis significantly expands the academic work on modern art in Britain after the Second World War. Furthermore, it begins to interrogate and expand on the relationship between art, domesticity, selfhood, and, more broadly, everyday life. By focusing on the ways in which art and life interact in the work of these artists, it argues that artistic representations, for these artists at this historical moment, serve as ways to negotiate the unstable and seemingly impossible task of selfhood, within the expansive, fluctuating realms of domesticity.
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Iturralde, Mantilla Diana. "Between New York and the Andes, Abstraction and Indigenismo: Camilo Egas's Paintings from the 1940s and 1950s." Master's thesis, Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/506052.

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Art History<br>M.A.<br>Recent studies of Andean Indigenismo and Andean abstraction tend to overlook the intersections between these two artistic trends, as well as schematize the production of artists who experimented with both. The scholarship on Ecuadorian artist Camilo Egas, for example, only focuses on his role as a precursor of Indigenismo without delving into the diverse artistic styles that intertwine in his transnational career. Such selective interest in his Indigenist production, which tends to focus on his early works from the 1910s to the 1930s in Ecuador, Paris, and the first decade in New York, might be related to the fact that his oeuvre from those periods can be clearly connected to documented developments of modern nationalist painting in the Andean region. Yet, this gap in art historical studies ignores the compelling visual experimentations that Egas undertook in the 1940s and 1950s while residing in New York. Particularly interesting is an exhibition of these works organized in Quito in 1956 by the Casa de la Cultura Ecuatoriana, and Egas’s peculiar avant-gardist role in the country’s artistic milieu, at a time when Indigenismo, the country’s dominant aesthetic trend, was being challenged by other alternatives. In this thesis, I examine Egas’s position in-between two different contexts, cultures, and temporalities, which informed artistic experimentations and how these two contexts did not necessarily ascribe to the same ideas of modernism and art’s role in society. This thesis is based in archival research conducted both in Quito, Ecuador, and in New York. From May 2017 to February 2018 I visited several archives in public institutions and private holdings in both countries in search of the exhibited artworks, exhibition ephemera, written reviews of the work, relevant correspondence, Egas’s personal documentation of his work, and other existing academic material, to inform my research and writing.<br>Temple University--Theses
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Kleopfer, Kirstie Lane. "Norman Rockwell's civil rights paintings of the 1960s." Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1179431918.

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Thesis (M.A.)--University of Cincinnati, 2007.<br>Title from electronic thesis title page (viewed July 13, 2007). Includes abstract. Keywords: Norman Rockwell; civil rights; illustrations; African Americans. Includes bibliographical references.
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KLEOPFER, KIRSTIE L. "NORMAN ROCKWELL'S CIVIL RIGHTS PAINTINGS OF THE 1960s." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1179431918.

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Hajela, Christie. "Painting Photography: Robert Bechtle and the Critical Legacy of 1960s Photorealism." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19335.

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In the early 1970s, New York gallerist Louis K. Meisel devised a formal set of criteria to identify a group of artists he referred to as Photorealists. Despite the serious limitations of Meisel’s initial formulation, his criteria for assessing what constitutes Photorealism continue to dominate the critical discourse surrounding this artistic approach. This thesis revisits the critical legacy of 1960s Photorealism through a case study of artist Robert Bechtle and, in contrast to Meisel, identifies Bechtle’s work as deeply informed by other contemporary artists engaged with photographic imagery. By better appreciating Bechtle’s craft-based approach to the painting tradition and positioning his work in the broader history of the ongoing “dialogue” between painting and photography, this thesis ultimately provides a more expansive and robust understanding of Photorealist practices in the 1960s as well as their critical legacy.
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Bellefleur-Attas, Mireille. "Leon Bellefleur and Surrealism in Canadian painting (1940 - 1980) : the transmigration of an ideology." Thesis, Birkbeck (University of London), 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.491692.

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Surrealism made its appearance in Canadian art in the early 1940s, twenty years after its inception in France. The distance, both in terms of space and of time, has had major implications for the manner in which surrealist ideas have been conveyed and transformed pictorially, even as they were assimilated, in this culturally-distinct society. This process may be observed in English Canada, notably in the work of Jock Macdonald and Jack Shadbolt. But it is in French-speaking Quebec that the surrealist philosophy -in particular, its appeal to the unconscious and the non-rational powers of the human mind in apprehending and imaging the real differently- has impacted most profoundly, as its effect there extended, beyond aesthetics, to the social sphere. The climate of repression maintained by the government in collusion with the clergy in the 1940s and 50s provoked dissidence -variously overt or covert-among the avant-garde: in fostering a desire for change, Surrealism played a key role in the struggle, not least at the level of semantics. Two separate groups developed around the prominent figures of Alfred Pellan and Paultmile Borduas, each with a different but ultimately complementary conception, and attendant artistic concerns, of the surrealist ideology. Bridging the two tendencies is the painter L6on Bellefleur (born in 1910), whose oeuvre over a long career epitomises the phenomenon of transmigration that characterises the Canadian experience of Surrealism. Defining himself as a surrealist-inspired artist rather than a Surrealist, Bellefleur has nonetheless consistently drawn on the movement's guiding principles (poetry, love, freedom, automatism), techniques (many based on the concept of 'objective chance'), and ancillary interests (such as the occult), to produce a body of non-figurative works which, defying conventional notions of surrealist art, offer an indigenous vision of Breton's 'convulsive beauty'.
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Christ, John X. 1974. "Painting a theoretical world : Stuart Davis and the politics of common experience in the 1930s." Thesis, Massachusetts Institute of Technology, 2004. http://hdl.handle.net/1721.1/28806.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2004.<br>Includes bibliographical references (leaves 272-281).<br>(cont.) relationship with American Scene painting. His engagement with these themes suggests that the pictorial reorganization of spatial experience that anchored his practice as a socially engaged artist is inextricably bound to the politics of place.<br>This dissertation examines Stuart Davis's paintings of the 1930s in relation to his conviction that art could transform reality by extending and reordering the spatial dimensions of common experience. While Davis's enthusiastic involvement with Marxism had a significant impact upon the development of his ideas during the thirties, his reception of liberal aesthetic theory, as exemplified in the writings of the philosopher John Dewey, played a more fundamental role in his understanding of the social function of art. By situating Davis's activities within the context of other artists and intellectuals who sought to rebuild public life through the aesthetic organization of common experience, Davis's strong political convictions are brought together with his abstract art within an integrated interpretive framework. He described cubism as an extension of the realist tradition that could express his reactions to the modem environment and in so doing offer a conceptual model to guide future action. Through a complex and not always consistent theoretical rationale, he related the formal structure of his paintings to their ability to communicate his vision of common experience to a broad audience without violating the logic of two-dimensional design. The social and political value of aesthetically reordering common experience was understood by many between the World Wars to reside in art's capacity to facilitate the formation of a shared national identity and cultural discourse. The profound geographic and spatial transformations associated with modernity played a crucial role in this conception of identity. Davis's contributions to these issues is examined in relation to his understanding of the internationalism of his modernist art and his complex<br>by John X. Christ.<br>Ph.D.
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Schumacher, Sara. ""Uomini-statua-oggetto" : Giorgio de Chirico's mythologized mannequin paintings in late 1920s Paris /." Thesis, Connect to online version of this title in UO's Scholars' Bank, 2007. http://hdl.handle.net/1794/6004.

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Books on the topic "1980s painting"

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Godfrey, Tony. The new image: Painting in the 1980s. Abbeville Press, 1986.

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A, Leni͡a︡shin V., ed. The Soviet character: Paintings by Soviet artists, 1960s-1980s. Aurora Art Publishers, 1986.

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Leeds (England). City Art Gallery and Visual Centre for Contemporary Art & The George Bernard Shaw Theatre (Carlow, Ireland), eds. Sean Scully: Works from the 1980s. Czernin Verlag, 2010.

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Museum of Modern Art (Oxford, England), ed. Current affairs: British painting and sculpture in the 1980s. Museum of Modern Art, 1987.

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Gary, Garrels, Storr Robert, San Francisco Museum of Modern Art., Walker Art Center, and Städtisches Kunstmuseum, eds. Willem de Kooning: The late paintings, the 1980s. San Francisco Museum of Modern Art, 1995.

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Bown, Matthew Cullerne. A dictionary of twentieth century Russian and Soviet painters, 1900-1980s. Izomar, 1998.

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Gary, Garrels, Storr Robert, and San Francisco Museum of Modern Art., eds. Willem de Kooning: The late paintings, the 1980s. San Francisco Museum of Modern Art, 1995.

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Montesinos, Armando. Idea: Pintura fuerza : en el gozne de los años 70 y 80 = Idea : painting-force : the hinge between the 1970s and 1980s. Museo Nacional Centro de Arte Reina Sofía, 2013.

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Museum, Nottingham Castle, ed. Critical realism: Britain in the 1980s through the work of 28 artists : a Nottingham Castle touring exhibition. Nottingham Castle Museum], 1987.

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Casey, Michael. The Post-avant-garde: Change, influence, and patterns of practice in Finnish painting of the 1980s. M. Casey, 1999.

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Book chapters on the topic "1980s painting"

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Quattrocchi, Luca. "Mettersi al punto giusto: Franco Villoresi ‘maestro’ dell’atelier di pittura dell’Ospedale neuropsichiatrico di Arezzo | Franco Villoresi." In Arte ai margini. Firenze University Press, USiena Press, 2024. http://dx.doi.org/10.36253/979-12-215-0400-2.08.

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This essay deals with the activity of painter Franco Villoresi (1920-1975), from his beginnings in Rome in the late 1940s to his involvement as a "master" in the painting atelier for the patients of the Arezzo Neuropsychiatric Hospital, opened in 1958 by his friend Furio Martini, vice-director of the institute. Villoresi’s first works drew on Mario Mafai’s paintings, his master. Villoresi achieved expressive autonomy in the 1950s in the framework of an alienating realism, with views of suburbs and train stations in which faceless human silhouettes wander as if lost. This phase was followed by the period of the “Grandi personaggi”, a satire of the respectability and conformism of wealthy society. During his teaching in the Aretine hospital atelier (from 1958 to 1961), in contact with a sorrowful humanity unadulterated by conventions and superstructures, Villoresi elaborated the theme of the mask, which was to become the constant emblem of his painting to come in all its moral and existential implications.
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Kadikova, Irina, Svetlana Pisareva, Irina Grigorieva, and Maria Lukashova. "Pigments of Soviet Artists in the 1950s – Late 1970s." In Conservation of Modern Oil Paintings. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19254-9_12.

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Méndez Baiges, Maite. "“Naked Problems”. Origin and Reach of the Formalist Interpretations." In Les Demoiselles d'Avignon and Modernism. Firenze University Press, 2022. http://dx.doi.org/10.36253/978-88-5518-656-8.04.

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The first solid interpretation of the damsels to make a mark was delivered from formalist criteria. Thus, as far as was possible the content of the work was disregarded, studying only in great detail all its pictorial or purely plastic values that proclaimed the great avant-guard revolution: the substitution of the Renaissance visual order with the modern visual order. From this point of view the Demoiselles appear as the seed of one of the most relevant avant-guard movements —Cubism. This chapter deals with the origin and how the formalist version shaped the painting —and Modern Art itself (from the 1920s until approximately the 1960s).
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Méndez Baiges, Maite. "Other Criteria. Problematic Nudes." In Les Demoiselles d'Avignon and Modernism. Firenze University Press, 2022. http://dx.doi.org/10.36253/978-88-5518-656-8.05.

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In the 1960s and 1970s this formalist version seen in the previous chapter began to show signs of fatigue. Some critics and art historians began to show interest in the personages on stage in Les Demoiselles. Early on John Nash linked the damsel squatting at lower right of the canvas with the myth of Medusa. Leo Steinberg immediately formulated a series of questions that constituted a direct attack against the formalist version. Why should we examine a painting that presented five naked prostitutes, all gazing fixedly at the viewer, merely from the formalist perspective? The time had come to take into account the content of the painting and consequently all of modern art which had been restricted by the prevailing formalism. This chapter tells how the formalist arguments were refuted and cleared the way for the iconological studies that placed the powerful sexual content in the foreground. The person mainly responsible for this was Leo Steinberg who sparked off an authentic revolution on the way to deal with this work and Modernism as a whole.
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Man, Eva Kit Wah. "Experimental Painting and Painting Theories in Colonial Hong Kong (1940–1980): Reflections on Cultural Identity." In Chinese Contemporary Art Series. Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-662-46510-3_7.

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Defeyt, Catherine, Francisca Vandepitte, Joy Mazurek, Elodie Herens, and David Strivay. "Investigation on the Speckles Syndrome Affecting Late 1920s Oil Paintings by René Magritte." In Conservation of Modern Oil Paintings. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19254-9_19.

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Pavic, Mirta, and Martina Munivrana. "A View Through the Meander: A Conservation Study of Knifer’s Oil Paintings from the 1960s." In Conservation of Modern Oil Paintings. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19254-9_13.

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de Groot, Jazzy, Lise Steyn, Maartje Stols-Witlox, and Klaas Jan van den Berg. "Decision-Making Processes Regarding the Treatment of Modern Oil Paintings (1950s–Present) Exhibiting Paint Dripping and Oil Exudates." In Conservation of Modern Oil Paintings. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19254-9_29.

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"Painting as Puzzle:." In Painting in the 1980s. Intellect Books, 2022. http://dx.doi.org/10.2307/j.ctv36xvp8q.6.

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"New Image Painting:." In Painting in the 1980s. Intellect Books, 2022. http://dx.doi.org/10.2307/j.ctv36xvp8q.5.

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Conference papers on the topic "1980s painting"

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Fraebel, Troy. "Assuring Quality with Certified Coating Contractors, Applicators, and Inspectors." In Coatings+ 2019. SSPC, 2019. https://doi.org/10.5006/s2019-00018.

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Abstract Those who started in the industrial painting industry back in the 1980s may remember that third-party inspectors, hired by the owner, performed all of the inspection activities and documentation. The NACE Coating Inspection Program (CIP) had just begun in the early 80s, but those getting certified did not work for a contractor. That has changed. Now contractor quality control (QC) and owner quality assurance (QA) are much more clearly defined. Quality management systems (QMS) based on ISO 9001 are now found in the coatings industry. SSPC's Painting Contractor Certification Programs (PCCP), which was initiated in 1987, has taken hold in many industry segments, and individual painters are now being certified. It is finally clear that the painting contractor is responsible for front line inspections.
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Khan, Shameem A. "Paint System Performance Warranty." In SSPC 2015 Greencoat. SSPC, 2015. https://doi.org/10.5006/s2015-00031.

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Bridges are a vital part of the primary infrastructures of transportation. To protect the bridges, a bridge painting program in Maryland was initiated in 1980. At that time lead based paints were used for painting the bridges. Around 1986, due to environmental, workers safety and health issues, Maryland as well as other states ceased using lead based paints. As a result new paint technology was developed for bridge paintings needs.
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Feldmane, Iveta. "THE HEROIC AND THE GUILTY BODY IN POLITICAL AND SOCIAL POSTERS OF LATVIA DURING THE PERIOD OF SOVIET OCCUPATION." In 11th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2024. SGEM WORLD SCIENCE, 2024. https://doi.org/10.35603/sws.iscah.2024/s07.18.

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The poster as the genre of graphic arts is a medium where the representation of the human body functions as an important semiotic sign. This genre has also reflected and influenced the most diverse spectrum of artistic, social and political processes. In addition to informative and illustrative content, the inclusion of the human body in the composition of the poster has always had ideological purpose. The aim of this paper is to discuss how political ideology integrates the images of the human body in the posters and how it contradicts the individuals� personal feelings and bodily experiences. The case study of two categories of posters from the Soviet period (1950s � 1980s) indicates the ideological strategies of sports promotion posters and anti-alcoholism propaganda posters. Political propaganda posters, including sports posters, reveal the body politics of the communist ideology: to create a uniform, disciplined, desexualised, masculine bodies capable of embodying the image of the �New Soviet Hero�. I suggest that the main artistic tendencies of the so-called �harsh� or �severe� style that evolved in Latvian painting at the time can be seen in the sports posters of this period. Anti - alcoholism posters tend to employ a cartoon aesthetic. This tradition has its roots in the mass propaganda of the Russian Revolution (1917), which encouraged the emergence of extreme dichotomies in visual communication. These posters show the human body as a ridiculous and weak object that deserves to be condemned by family members, friends and all society. In this communication programme, alcoholism is not presented as a disease and a global problem of Soviet society, but as a �bad choice� of individuals. The research is based on archival studies of Soviet posters from the Institute of Art History of the Art Academy of Latvia. Complex research methods have been applied, including iconography, semiotics, contextual and comparative analysis.
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Schwerdt, Tom, and Johnnie S. Miller. "3rd-Party Inspection." In SSPC 2013 Greencoat. SSPC, 2013. https://doi.org/10.5006/s2013-00060.

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Up until the 1970s, Texas Department of Transportation (TxDOT) inspection, including paint inspection, was an internal, hands-on process. Bridge painting was largely a Department-led effort, with the application completed by in-house crews and the inspection performed by a TxDOT inspector. Painting projects that were contracted out still had a TxDOT inspector with direct bridge painting experience on site to inspect the work and oversee the project.
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Hendricks, Genevieve. "Le Corbusier’s Postwar Painterly Mythologies." In LC2015 - Le Corbusier, 50 years later. Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.828.

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Abstract: Le Corbusier’s graphic output was prolific, consisting of hundreds of paintings, thousands of drawings and watercolors, and scores of collages, lithographs, and murals throughout his career. By the late 1940s his double-nature as artist-architect emerged as a key component to his work, as he highlighted the correlations and correspondences that informed his creative endeavors. His post-war works, specifically his series of Taureaux paintings, reveal the development of such themes as well as the transformation of earlier works as he turned to a mythologically-inspired vocabulary of totemic figures and animals, developing a private cosmology of sun and moon, male and female, the machine and Mediterraneità. Keywords: Le Corbusier, Visual Arts, Painting, Taureaux. DOI: http://dx.doi.org/10.4995/LC2015.2015.828
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Tomassoni, Rosella, Valentina Coccarelli, and Francesco Spilabotte. "THE CRISIS OF THE EGO IN THE PAINTINGS AND DRAWINGS OF GIAN CARLO RICCARDI: BRIEF PSYCHOLOGICAL REFLECTIONS." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/vs08.10.

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The main purpose of this study is to analyse and examine some of the paintings of the Italian avant-garde artist Gian Carlo Riccardi. Our work will focus in particular on a psychological study of the paintings and drawings realised by the artist. Our study basically focuses on the compositions created between the 1980s and 1990s and the graphic works executed in the 2000s. The first category examines certain works characterised by intense abstractionism. The pictorial material used by Gian Carlo Riccardi is manipulated, contaminated and destroyed, leaving only �relics�, symbolising a crisis of the ego. The second category analyses the drawings that make up the �Bestiary� collection. Gian Carlo Riccardi imprints on the blank sheets, the deformity and physical and moral decadence of the humanity represented, a bestiary humanity. This research aims to show how, through the works examined, Gian Carlo Riccardi synthesises individual and collective anguish through heterogeneous pictorial interventions, within which the gesture lacerates and lays bare the underlying �cutaneous� tissue, and illustrations where the sign traces the outlines of naked bodies revealing the scabrous reality of the commodification of flesh.
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Tibilova, E. B. "FROM SUPREMATISM AND CUBISM TO CAMERAL LIRISM. EVOLUTION OF COLOR DECISION IN PAINTING OF LEV YUDIN. 1920–1930S." In ЦВЕТ В ПРОСТРАНСТВЕННЫХ ИСКУССТВАХ И ДИЗАЙНЕ. Федеральное государственное бюджетное образовательное учреждение высшего образования «Санкт-Петербургская государственная художественно-промышленная академия имени А.Л. Штиглица», 2022. http://dx.doi.org/10.54874/9785604868850_317.

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Duvallon, Vincent Peu. "Learning From ...: Site-Specific Education in a Global Context." In 2023 ACSA/EAAE Teachers Conference. ACSA Press, 2023. http://dx.doi.org/10.35483/acsa.teach.2023.52.

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Analyzing the intellectual debate at Cornell School ofArchitecture in the 1970s, Sébastien Marot coined the term“manifeste situé” to describe three publications: Berlin: AGreen Archipelago in 1977, Collage City and Delirious NewYork in 1978. These publications completed a cycle that beganten years earlier at Yale University, where architecture educationdeparted from the modernist canon to root itself in thereading of the vernacular commercial environment.Charles W. Moore’s agenda when he took over the School ofArchitecture at Yale in the 1960s was to bring design teachingoutside the studio, reacting to beaux-arts atavism thatsurvived modernism, where design is taught in-vitro. Initiatedby investigating the New Haven social and urban conditions,this pedagogical project culminated with Robert Venturiand Denise Scott Brown’s urban design-inspired studio inLas Vegas in 1968 and Levittown in 1970. These systematicexplorations of America’s backyard, through sketching,painting, photographing, filming, and reading, aimed to shiftdesign education’s focus toward political space and awayfrom architectural forms. The ambition was to address therapidly developing problems of the urban environment andrelate architecture to a broader culture. Whithin this context,Venturi and Scott-Brown’s seminal publication, Learning fromLas Vegas, would redefine architectural education.Fast forward fifty years, our paper examines the relevanceof this education model in a Sino-American institution. Weexplore how working with existing settings can make architecturaleducation more relevant and engage students effectivelyin China’s increasingly homogenous educational landscape.We question whether architecture can remain political in thiscontext and how to redefine the notion of context as a designmimic in global practices. Drawing parallels between the1970s US education context and present-day China, we adopta foreign perspective to examine the relationship betweenarchitecture education, politics, architectural canons, andvernacular landscapes
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Marcattili, Letizia, and Maria Canavan. "Retouching a Retouched Painting: Evaluation and re-treatment of historic retouchings in the conservation of a painting by Lavinia Fontana." In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13544.

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A major conservation and research project on The Visit of the Queen of Sheba to King Solomon by Lavinia Fontana was completed at the National Gallery of Ireland in Dublin in 2021. The painting, a large-scale oil on canvas (256 x 325 cm), was one of a number of pictures restored in the late 1960s by a team of conservators from the Istituto Centrale del Restauro in Rome, who came to Dublin during the establishment of the first conservation studio at the Gallery. The visiting restorers brought novel ideas and materials with them from the Istituto that would shape the Irish approach to conservation for decades to come. The prevailing ethos at the time in Italy was based on a minimal intervention approach with the use of novel, synthetic materials that had not yet been introduced to the collection of the National Gallery of Ireland. The painting, after treatment by the Istituto team, recorded material evidence of a particular moment in the development of conservation in Italy and Ireland. Large areas of historic loss and damage across the surface of the painting had been reintegrated by the Italian restorers with the application of retouchings in the tratteggio style, also known as rigatino, using a Paraloid-based medium. In some cases, portraits and other significant details in the image were fully reconstructed by the retouchings. Underlying instability required the removal of some of these retouchings during the most recent treatment, but others could be retained if desired. With the help of archival images and documentation, a decision-making model was developed to evaluate the quality and historic value of these retouchings and to determine which to preserve, which to modify and which to remove. Reduction of retouchings often necessitates replacement, and the partial preservation of the historic retouchings brought further factors to bear on the decision-making model for the chromatic reintegration of the painting. A return to the tratteggio technique was chosen for the larger instances of loss compensation in the treatment, albeit with a finer hatching so that the newer reintegration remains distinguishable from the historic one. This was complemented with a pointillist technique over textured fillings for smaller and shallower losses. Furthermore, where blistering and heat damage in the paint layers resulted in uneven topography, a third auxiliary technique was used. The desired texture was found when testing Paraloid-based gels on a mock-up and applied to bring continuity the surface texture in these areas of the painting. With this approach we intend to meet the conservation needs of the object, restore the legibility of the image and retain the evidence of the historic intervention of this founding team of Italian restorers at the National Gallery of Ireland.
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Дьяконова, Ю. Б. "Study of an Early Little-known Canvas “Carousel” by Vassily Rozhdestvensky." In Сохранение культурного наследия. Изобразительные искусства. Исследования и реставрация. Материалы V Международной научно-практической конференции. Crossref, 2024. https://doi.org/10.62625/4574.2024.96.94.025.

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Доклад посвящен малоизвестной картине В. В. Рождественского «Карусель» (1910–1911) из собрания семьи. Произведение несколько раз участвовало в выставках в начале 1910-х гг., однако позднее не выставлялось ни разу и не вошло в монографии и очерки о творчестве художника. Архивные поиски позволили найти дополнительные сведения о картине и обстоятельствах ее создания. Технологические исследования произведения дополняют картину раннего творчества мастера. This paper considers an early little-known canvas “Carousel” (1910–1911) by Vassily Rozhdestvensky from the collection of the artist’s family. It was exhibited only in the early 1910s, and was not included in monographs and essays about Rozhdestvensky. Archive researches revealed additional data about painting and its creation context. Technological studies of the canvas complement the picture of the master’s early work.
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Reports on the topic "1980s painting"

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Kupfer, Monica E. Perceptive Strokes: Women Artists of Panama. Inter-American Development Bank, 2013. http://dx.doi.org/10.18235/0006215.

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The IDB Cultural Center is proud to host this exhibit honoring the Republic of Panama, host country of the IDB Annual Meeting, which will take place from March 14¿20, 2013. The exhibition highlights the history of modern and contemporary art by Panamanian women and will include paintings, photographs, sculptures, and video art from the 1920s to the present. The 22 artworks, selected by Panamanian curator Dr. Monica E. Kupfer, reveal the ways in which a varied group of female artists have experienced and represented significant geopolitical events in the nation¿s history. Their interpretations also show the position of women in Panamanian society, and their views of themselves through their own and others¿ eyes. Among the artists are: Susana Arias, Beatrix (Trixie) Briceño, Fabiola Buritica, Coqui Calderón, María Raquel Cochez, Donna Conlon, Isabel De Obaldía, Sandra Eleta, Ana Elena Garuz, Teresa Icaza, Iraida Icaza, Amelia Lyons de Alfaro, Lezlie Milson, Rachelle Mozman, Roser Muntañola de Oduber, Amalia Rossi de Jeanine, Olga Sánchez, Olga Sinclair, Victoria Suescum, Amalia Tapia, Alicia Viteri, and Emily Zhukov.
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Selected Paintings from the Art Museum of the Americas. Inter-American Development Bank, 1994. http://dx.doi.org/10.18235/0006429.

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Twenty paintings by major Latin American artists, presented on occasion of the IDB's publication of the book Art of Latin America l900-1980, written by the late Argentine-Colombian art historian and critic Marta Traba.
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Three Moments in the Arts of Jamaica. Inter-American Development Bank, 1997. http://dx.doi.org/10.18235/0006433.

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Forty-two paintings, lithographs and sculptures in wood, bronze and stone, that illustrate the 18th century colonial era, early 20th century and the 1960s and '70s; from the National Gallery of Jamaica, the National Library of Jamaica and the private collections of Wallace Campbell and Guy McIntosh.
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