Academic literature on the topic 'American Small painting'

Contemporary Russian oil paintings have realized the inheritance and development of classical paintings. Although it is deeply influenced by European and American oil painting creations, it is commendable that it did not fully follow the creative framework of Western works, but realized the image of absorbing the essence of it and then integrating it into Eastern literature and art, and finally formed the integration of Chinese and Western oil paintings in Russian oil painting with a unique creative style. With the continuous development of science and technology, mankind has put forward higher-level requirements for nature, society, science, and technology, and many new things are rising in these aspects. As an emerging industry, Internet of things technology is becoming an important part of modern information technology. It can not only change the way and content of information dissemination and processing but also improve people’s quality of life and meet the growing material and cultural needs of the people. This paper first introduces the basic structure, style characteristics, and development process of Russian modern oil painting, then expounds the application of Internet of things technology and artificial intelligence technology, and then uses the method of questionnaire to investigate the innovation and development of Russian modern oil painting. Finally, the survey shows that senior students know more about Internet of things technology, while applied majors know more than non-applied majors. The grade that knows the least is freshmen, which is related to the degree of exposure to professional knowledge. Students majoring in Russian modern oil painting can share their painting experience through the Internet of things, learn online painting resources through the Internet of things, and add extra income to their part-time painters through the Internet of things. However, due to the Limited breeding technology of students, a small number of students can be part-time online painters, and most students use the Internet of things for knowledge input. Senior students majoring in Russian modern oil painting know more about artificial intelligence, and junior and sophomore students have a general understanding of this field. Through research, the team proposed the innovative development of modern Russian oil painting under the background of Internet of Things and artificial intelligence for reference, and formed our own oil painting creation style by integrating a variety of techniques.

Japanese culture with its unique monuments of architecture, sculpture, painting, small forms, decorative and applied arts, occupies a special place in the development of world art. Influenced by China, Japanese masters created their own unique style based on the aesthetics of contemplation and spiritual harmony of man and nature. In the context of "Japan's inspiration" the work refers to the influence of the art of the Land of the Rising Sun on American decorative arts and, in particular, on the silver jewelry industry in trends of a new aesthetic direction of the last third of the XIXth century, the "Aesthetic movement". The article provides a brief overview of the history of the emergence and development of decorative silver art in the United States. The important centers of silversmithing in the USA and the most important American manufacturers of the XIXth century are described in more detail. The article also touches on the influence of Japanese aesthetic ideas on European creative groups and on the formation of innovative ideas in European decorative arts. At the same time, an attempt is made to trace the origin, development trends, evolution and variations of "Japanesque" style in American decorative and applied art, in particular, in the works of Edward Moore and Charles Osborne (Tiffany & Co jewelry multinational company).

Igor Rončević has been painting for a very long time with the consciousness that his painterly signature can be constructed from a series of disparate fragments, and so his collage paintings are composed of elements or stylistic details thanks to which his canvas has become a place where ambivalent worlds meet - an ntersection of their paths. Rončević is therefore, a painter of ludic individualism, but, at the same time, painter with wide erudition and above all, a curious pirit, who, in a unique way - in different clusters of itations - applies and joins together experiences from he entire history of art. In his works we have for some ime observed the meetings of some of at first sight rreconcilable contrasts - the experiences of Pop art, European and American abstraction, experiences of gestural and lyrical provenance, different traces and tyles of figuration... All this heterogeneous material has been relativized in his interpretation, often even in blasphemous combinations; in a conspicuously easy and organic way, these combinations merge into a unique whole consisting of forms and meanings which are difficult to decipher. Analysis of Rončević’s paintings reveals the absence of a specific rational system that accumulates the building blocks of a painting - a mental landscape - but not the absence of a peculiar talent for creating compositional balance in a painting.The basic building block in the cycle Dulčić’s fragments is the line - stripes, that is linear, ribbon-like shapes, curved lines which meander on the surface of the canvas, and in the painted area, lines freely applied with a finger in fresh paint. The basic ludic element is colour, and the cartography of the canvas is a road with innumerable directions. The painter, treating the surface of the canvas as a field of total action, creates networks of interlacing multicoloured verticals, lively blue, blue-green and brown hues, coloured without an apparent system or principle, and also of varying width but, despite the seemingly limited starting points of his painting, he creates situations rich in interesting shifts and intriguing pictorial and colouristic happenings. The painter’s main preoccupation is the interaction of ‘neon’ colours (obviously a reference to the twentieth-century’s ‘neon’ enthusiasts), which has been achieved with a simple composition consisting of a knot of interwoven ribbons of intense colours which belong to a different chromatic register in each painting. Streams of complementary or contrasting colours, which spread out across the painted field like the tributaries of a river, subject to confluence, adopting features of the neighbouring colour, sharing the light and darkness of a ‘neon’. Although the impression implies the opposite, the application of colours, their touching and eventual interaction are strictly controlled by the skill of a great colourist. Dulčić’s fragments display Rončević’s fascinating power of unexpected associative perception. The painter now reaches for the excess of colour remaining on his palette from the work on previous paintings. He applies the colour to the canvas with a spatula in a relief impasto, and he revives the dried background with a lazure glaze of a chosen colour. On a saturated but still obviously ‘neon’ grid, the painter - evenly, like a collage detail - applies islands of open colour on the surface of the painting, which he finally paints with a brush, applying vertical white lines over the colour. These shapes of an associative and metaphorical nature are an integral part of the semantic scaffolding of composition but, without particular declarative frameworks and associative attributes, we can never precisely say what they actually represent although they are reminiscent of many things, such as seeds, bacteria, cellular microcosm, unstable primitive forms of life, the macrocosm of the universe, the structures of crystals, technical graphs, calligraphy, secret codes... The linear clarity of the drawing makes motifs concrete and palpable, possessing volume, in fact, possessing bulging physicality. In new paintings, the personal sign of the artist, which arrived in the painting from the activity of the conscious and the unconscious, has been replaced with small shapes, most similar to an oval, which look like separate pieces attached to the surface of the painting and which are reminiscent of specific painterly and artistic tendencies. Their monochrome surfaces are filled with verticals which are particles of the rational or, to put it better, from the constructivist stylistic repertoire, reminiscent, for example, of Daniel Buren’s verticals. Two divergent components - the abstract and the rational - stylistically and typologically separate, but chronologically parallel - pour into an evocative encounter which reveals a nostalgia towards two-dimensional painting. Experiences of posters and graphic design, gestural abstraction, abstract expressionism, lyrical abstraction and everything else that can be observed in this cycle of paintings are a homage to global modern painting, while the islands on the paintings pay tribute to the constructivist section of the twentieth-century avant-garde. The contents of Rončević’s paintings are also reminiscent of the rhythmicality of human figures in Dulčić’s representations of the events on Stradun, town squares, beaches, dances... In addition, to Rončević, as a Mediterranean man - in his formative years - Dulčić was an important painter and, if we persist in searching for formal similarities in their ‘handwritings’, we will find them in the hedonism of painterly matter and the sensuality of colour, luxuriant layers, the saturation of impasto painting, gestural vitality, but mostly in the Mediterranean sensibility, the Mediterranean sonority of colour, their solarity, the southern light and virtuosity of their metiérs. Like Dulčić, Rončević is also re-confirmed as a painter of impulses, of lush, luscious and extremely personalized matter, of layers of pigments, of vehement and moveable gestures, of fluid pictorialism…* * *Let us also say in conclusion that Rončević does not want to state, establish or interpret anything but to incessantly reveal possibilities, their fundamental interchangeability and arbitrariness, and following that, a general insecurity. With the skill of an experienced master painter, he also questions relationships with eclecticism and the aesthetics of kitsch; for example, he explores how far a painter can go into ornamentalization, decorativeness and coquetry without falling into the trap of kitsch but to maintain regularly the classy independence of a multilayered artifact and to question the very stamina of painting. He persistently reveals loyalty to the traditional medium of painting, the virtuosity of his métier and a strong individual stamp, strengthening his own position as a peculiar and outstandingly cultivated painter, but he also exhibits the inventiveness which makes him both different and recognizable in a series of similar painting adventures.

Japanese culture with its unique monuments of architecture, sculpture, painting, small forms, decorative and applied arts, occupies a special place in the development of world art. Influenced by China, Japanese masters created their own unique style based on the aesthetics of contemplation and spiritual harmony of man and nature. In the context of "Japan's inspiration" the work refers to the influence of the art of the Land of the Rising Sun on American decorative arts and, in particular, on the silver jewelry industry in trends of a new aesthetic direction of the last third of the XIXth century, the "Aesthetic movement". The article provides a brief overview of the history of the emergence and development of decorative silver art in the United States. The important centers of silversmithing in the USA and the most important American manufacturers of the XIXth century are described in more detail. The article also touches on the influence of Japanese aesthetic ideas on European creative groups and on the formation of innovative ideas in European decorative arts. At the same time, an attempt is made to trace the origin, development trends, evolution and variations of "Japanesque" style in American decorative and applied art, in particular, in the works of Edward Moore and Charles Osborne (Tiffany jewelry multinational company).

Kendall Walton's Mimesis as Make-Believe is the most significant event in Anglo-American aesthetics in many a year, and joins a small pantheon of landmark books such as Nelson Goodman's Languages of Art, Richard Wollheim's Art and Its Objects and Arthur Danto's Transfiguration of the Commonplace. Walton's aim is to provide a comprehensive account of the representational arts—literature, drama, cinema, painting, drawing, sculpture—from both the generative and the receptive points of view. That is to say, he attempts to explain how representations are fashioned, what their representational status consists in, how representations are apprehended and what the experience of them characteristically involves. Inthese aims he is to my mind enormously, if not completely, successful.

This article offers findings from workshops researchers undertook with 60 Myanmar refugee women who convened in small groups of 10 to envision the properties and functioning of a resettlement community center in Dallas, Texas. The intent of the center is the preservation of Myanmar culture while it enables members to accommodate the demands of social integration in American society. In each workshop, a Myanmar artist captured group discussion through storyboarding. The artist then visually portrayed in painting or pencil a principal metaphor informing the resettlement supports participants wanted for themselves and their families. The authors consider the applicability of the arts as a tool for visually representing intervention concepts. Those visual images can inform the design of a support system that participants would find culturally acceptable, practical, and inclusive of the multiple ethnicities that form the Myanmar refugee community.

The artist Endel Kõks (1912–1983) is a member of the same generation of Estonian art classics as Elmar Kits and Lepo Mikko. After Kits’s and Kõks’s debut at the exhibition of the Administration of the Cultural Endowment’s Fine Art Foundation (KKSKV) in Tallinn in 1939, the three of them started to be spoken about as the promising Tartu trio. In 1944, Endel Kõks ended up in Germany as a wounded soldier, while Kits and Mikko remained in Estonia. The Kõks’s works that have surreptitiously arrived in his homeland are incidental and small in number. Thus, without any proof, an image developed or was developed of him in Soviet-era art history as a mediocre painter and especially as a weak abstractionist, which is somewhat prevalent even today. I would dispute this based on the conclusions that I reached when helping to organise the exhibition of exile Estonian art between 2008 and 201142 and Endel Kõks’s solo exhibition between 2011 and 201343; conclusions that I have supplemented with the opinions expressed by exile Estonian art historians and artists.In 1951 Kõks moved to Sweden. Paul Reets has highlighted the years between 1952 and 1956, and assumed that these were difficult years due to the contradictions he faced. According to Reets, one obstacle was influence of the Pallas on Kõks’s painting style, which was conservative and adhered to the trends of Late Cubism. According to both Eevi End and Paul Reets, Kõks painted his first abstract painting in 1956 Rahutus (Restlessness) according to the former and Konflikt (Conflict) according to the latter). A black-and-white photo exists of Restlessness, which is slightly reminiscent of Pollock, and this is not the same work that P. Reets refers to. They both note that this was a convincing and mature abstraction not a searching for form, and as Reets states, Kõks had severed himself from the Pallas.The abstract paintings created between 1956 and 1960 – Kompositsioon (Composition) (1958), Rõõmus silmapilk (Joyful Moment) (1959) and others – are constructed on the impact of a joyfully colourful palette and lines, and demonstrate a kinship with the abstract works of Vassili Kandinsky. There is also a similarity to Arshile Gorky, whose works he may have seen at the exhibition of modern American art in Stockholm in 1953.Kõks’s transition into a pure form of abstraction occurred in 1963. Reets has characterised this as a “the most wondrous year that one can expect to see in an artist’s life. Not an unexpected year, but one that was unexpectedly and extremely rich when it came to his works.” The artist started to create series of works, of which the best known is undoubtedly Elektroonika (Electronics), which was comprised of 36 sheets. According to Kõks, he developed the need and idea to create the series while listening to experimental music, watching experimental films and thinking about nuclear physics. Created with a glass printing technique, or vitreography, each work is unique due to the post-printing processing, paint dripping, spraying and additional brushstrokes and images. Of course, all this alludes to Jackson Pollock.In 1962, Kõks painted the abstract composition Astraalne (Astral), which depicts a red circle and bent violet rectangle next to it on an interesting yellowish-brown surface that creates a rough effect. Using only these two symbols, the artist creates a sense of floating in cosmic space. Starting in 1964–1965 this style gradually came to dominate his work, and in was in this style that Kõks created the works that express the greatness of his talent and the charm of the “shaper of nature forms” in the purest sense.The construction of these works is brilliantly simple, and comprised of symbols and images placed on a relatively uniform surface. The nervous brittleness and rapid movement have disappeared from the paintings. The mood is calm and reveling. There is a monumental feel to many of the pictures. Masterful, delicate colour combinations triumph. And as time goes on, the more abundant and interesting the texture becomes. Eevi End believes that Kõks was influenced by Ellsworth Kelly, Kenneth Noland and other representatives of the school of Hard-edge painting that other influential direction operating in American abstractionism during the 20th century. Kõks himself has defined his abstract paintings as biomorphic abstraction, characterized by a free formalism, spatiality and atmospherics (Arshile Gorky, William de Kooning, Mark Tobey, Mark Rothko, and Jackson Pollock.)Kõks’s abstraction that features intellectual and cognizant images is totally the opposite of Elmar Kits’s excellent and spontaneous colourful abstraction. Kits remains true to the Pallas colour tradition; Kõks breaks out of it. Kõks feels secure painting abstract pictures and enjoys the game, which cannot be said of the thoroughly abstract works of Lepo Mikko or Alfred Kongo. Those who doubt this statement should remember that, in order to provide an assessment of Kõks’s abstract pictures, one must have seen them in Europe, the U.S. and Canada. Conclusions cannot be drawn based exclusively on the works in Estonia. As an abstractionist, he is in no way weaker than his contemporaries, just very different and the determination of superiority is a matter of taste. Endel Kõks’s greatness lies in the fact that he was able to fit with what was happening in world art (which many exile artists could not); he experimented with new directions and finally put together something new for himself, and thereby developed Estonian art as a whole.

hcmf// 2014 kicked off with a typically tough and knotty concert from Petr Kotik's chamber orchestra Ostravská banda, who performed a collection of UK premieres for small ensemble by Christian Wolff, three Czech composers and another American. The concert was billed as a tribute to Wolff, who was in attendance and who celebrates his eightieth birthday this year, and this acknowledgement of his status as one of the few remaining high modernists allowed the festival to begin with a celebration of the music with which it has been most closely associated. First up was Wolff's 37 Haiku, a setting of a poem (or 37 poems) by John Ashbery, sung by Thomas Buckner with an accompanying ensemble of oboe, horn, viola and cello. Like the poems, Wolff's settings are self-contained but accumulative, and, as the composer says in the programme notes, the ‘may form’ a whole. Variety is achieved through shifts within the accompanying instrumentation (some settings having none), line and fragmentation, instrumental technique, suggestions of common-practice harmony, flashes of word painting and spoken accompaniment from the instrumentalists (one haiku is spoken by the violinist, another is spoken in fragments across the ensemble). Coherence across these fragments is created simply through the presence of Wolff's mature and distinctive post-Webern sound world.

The purpose of this research was to analyze open-air mural painting museums in Uruguay as a model of tourism resilience, sustainability, and social development, being one of the first Latin American examples to demonstrate the ability to adapt to change and overcome external shocks through the creation of creative community landscapes. To do so, documentary research, photographic documentation, and field research were carried out in order to explore the opportunities of mural tourism in small locations in Uruguay. In the nineties, a new type of artistic production was created in Uruguay, initially characterized by its decentralization. This was somewhat of a revolution in the muralist field as, until this time, Montevideo had been the center of cultural tradition, considered the intellectual focus of the country, and had concentrated the largest number of murals. For this reason, the birth of new muralist nuclei in small rural enclaves, which traditionally had not had much access to culture and no link to muralism, is remarkable. Secondly, this new movement sought to diversify economic activity given the consequences of the severe economic crises and environmental catastrophes that were and are still prevalent in these areas. Therefore, these new creative landscapes were conceived as important examples of the resilience of cultural tourist destinations. The results emphasize that, until now, the idea of giving muralism a new use as a tool for local economic development had not been envisaged with reference to mural art in Uruguay. This new rethinking has given rise to the so-called Regionalization Processes of Uruguayan wall production. The most relevant cases are those developed in the municipalities of San Gregorio de Polanco (1993), Rosario (1994), and Pan de Azúcar (1998).

The image of Our Lady of Copacabana, a gilded polychrome sculpture carved in maguey wood in 1583, is one of the most important devotions in the Americas. In former research, we have identified the use of gypsum, Armenian bole, cerussite and atacamite in its polychromy. In this study, a red sample taken from the Virgin's tunic and a blue sample extracted from the cloak have been analysed with the aim to identify both pigments and offer insights into the painting technique. Analysis by micro-Raman spectroscopy complemented with scanning electron microscopy–energy dispersive spectroscopy and high-performance liquid chromatography allowed the identification of carmine lake in the red sample. Analysis by micro-Raman spectroscopy of the surface of the blue sample and its cross section showed the presence of smalt—the blue-glass pigment—over a cerussite layer, bathed by a very thin ultramarine layer—from a probable native origin—following a pictorial tradition that would last even until the eighteenth century. This is the first time that lapis lazuli has been scientifically identified in a Spanish American colonial painted layer. This article is part of the themed issue ‘Raman spectroscopy in art and archaeology’.

Chapter 2 investigates the influence of Modernist art and art theory on this highly sophisticated film artist's formal approach, which includes a rereading of Magnificent Obsession that has been deeply informed by the writings of the pioneering German Expressionist painter Wassily Kandinsky. Some mid-century American responses to Modernist art published in the popular press are also scrutinised before looking at Sirk's depiction of the other characters' reactions to the self-described "Surrealist" artist that appears in his 1951 small town musical comedy Has Anybody Seen My Gal? Finally, two texts that have previously addressed the relationship between film and painting, Brigitte Peucker's Incorporating Images: Film and the Rival Arts and Angela Dalle Vacche's Cinema and Painting: How Art is Used in Film, are considered in passing.

Spaniards know that there is no agreement, neither the landscape with the houses, neither the round with the cube, neither the great number with the small number, it was natural that a Spaniard [Picasso] should express this in the painting of the twentieth century, the century where nothing is in agreement, neither the round with the cube, neither the landscape with the houses, neither the large quantity with the small quantity. America and Spain have this thing in common, that is why Spain discovered America and America Spain, in fact it is for this reason that both of them have found their moment in the twentieth century....

During the same period when American-made maps began to circulate in the public and private spheres, much of the impetus for recognizing maps as a form of spectacle was generated internally from within the maps’ signs, symbols, and inscriptions. Drawing on several hundred American maps, in particular wall maps, this chapter delineates design choices made by successive generations of commercial mapmakers who transformed maps into unique communication platforms intended for the simultaneous transmission of cartographic and noncartographic information. It shows that maps freely borrowed from a visual stock of signs, images, and graphic designs available in a media landscape that included small paintings, large street signs, and the decorative arts. Contending that American mapmakers constructed large and small maps by tapping a common visual literacy, this chapter offers a comprehensive morphology of American map designs, in the course of which it demonstrates a compositional logic linking maps as unique media platforms to nascent expectations about image legibility and commercial visual culture.

The ruined city known locally as Salhiyeh was virtually unknown to western scholarship until the twentieth century (Sarre and Herzfeld 1920, 386–95; Kaizer 2017, 64), but its ancient identity remained unknown until the aftermath of the World War I when collapse of the Ottoman empire saw Britain and France divide up much of the Middle East between them (Velud 1988; Barr 2011). As we saw, during operations against Arabs resisting the new western occupation, British-commanded Indian troops bivouacking at the site dug defensive positions and accidentally revealed wall paintings. These were seen and published by visiting American archaeologist James Henry Breasted (Breasted 1922; 1924), who first identified the ruins as those of the historically attested but unlocated ‘Dura . . . called Europos by the Greeks’ (Isidore of Charax, Parthian Stations, 1). The site thereafter fell inside the newly imposed borders of French-controlled Syria (Velud 1988). More substantial excavations were conducted and published with exemplary speed by Franz Cumont in 1922–3 (Cumont 1926), paving the way for the great Yale University/French Academy expedition overseen by Mikhail Rostovtzeff. This ran over ten seasons: (Dates from the Preliminary Reports, and Hopkins 1979, xxii–xxiv, except ninth and tenth seasons from information in Yale archives provided by Megan Doyon and Richard A. Grossmann.) With a Roman military presence attested from the outset, further traces were encountered throughout the city’s exploration, with the heart of the military base area being identified and excavated in the fifth season, and the great ‘Palace of the dux ripae’ in the ninth. While masterminded by Rostovtzeff, and more nominally Cumont, these giants actually only briefly visited the excavations on a couple of occasions. The dig was conducted under a series of field directors: Maurice Pillet, Clark Hopkins, and finally Frank Brown. These led a small team of American and European architects, artists, and archaeologists, mostly male (although women occupied prominent places on the team, including Yale graduate student Margaret Crosby and most notably Hopkins’s wife Susan); they were mostly young and inexperienced (including Hopkins and Brown).