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Journal articles on the topic 'Art Paintings'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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1

Barron, Irving R., and Gaurav Sharma. "Toward CanvasChain: A Block Chain and Craquelure Hash Based System For Authenticating and Tracking Fine Art Paintings." Electronic Imaging 2020, no. 4 (2020): 399–1. http://dx.doi.org/10.2352/issn.2470-1173.2020.4.mwsf-399.

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Determining the authenticity of a painting is not an easy task. First, distinguishing fake paintings from originals is challenging, and often even art experts cannot reliably identify forgeries. Counterfeiters can also create spurious documentation to support the “authenticity” of fake paintings. In this work, we present work toward CanvasChain, a system for authenticating/tracking paintings that uses a blockchain in combination with a robust hash of the crack patterns (craquelure) on the surface of paintings. The robust hash is used as a painting’s fingerprint, which is used in a blockchain t

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Yang, Hongyi, and Han Yang. "Evolution of Entropy in Art Painting Based on the Wavelet Transform." Entropy 23, no. 7 (2021): 883. http://dx.doi.org/10.3390/e23070883.

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Quantitative studies of art and aesthetics are representative of interdisciplinary research. In this work, we conducted a large-scale quantitative study of 36,000 paintings covering both Eastern and Western paintings. The information entropy and wavelet entropy of the images were calculated based on their complexity and energy. Wavelet energy entropy is a feature that can characterize rich information in images, and this is the first study to introduce this feature into aesthetic analysis of art paintings. This study shows that the process of entropy change coincides with the development proce

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Kasnowihardjo, Gunadi. "GAMBAR CADAS KALIMANTAN TIMUR: Satu Bukti Seni Lukis Kutai Purba." Berkala Arkeologi 28, no. 2 (2008): 13–22. http://dx.doi.org/10.30883/jba.v28i2.360.

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Art including painting is an element of culture. Therefore art also becomes an object of archaeological research. Rock art paintings found in prehistoric caves in Kutai Timur regency of East Kalimantan Province are categorized as art paintings of prehistoric era. In prehistoric archaeology, arts and religion were difficult to be separated. Rock art paintings should be analized by religion approach and arts approach as well.

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Yu, Lan, and Yukari Nagai. "An Analysis of Characteristics of Children’s Growth through Practical Art." Healthcare 8, no. 2 (2020): 109. http://dx.doi.org/10.3390/healthcare8020109.

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Children’s paintings reflect their growth environments and psychological conditions, and these growth environments represent children’s family and educational environments in primary schools. The characteristics of these paintings change as children grow, and children’s expressiveness in the paintings also improves. Children’s paintings are a representation of their perceptions of things; children transform their perceptions into images that can be understood and observed by people. This research studies the growth characteristics of children based on professional painting techniques. A digita

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Chen, Hanyi, and Hua Li. "Painting Creation in the Context of Contemporary Art: A Brief Discussion on the Painting Art of Marlene Dumas." Region - Educational Research and Reviews 3, no. 1 (2021): 20. http://dx.doi.org/10.32629/rerr.v3i1.243.

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Easel painting shined in modern art, however, its influence faded in contemporary art. Marlene Dumas, a contemporary artist in the field of easel painting, displays a form differentiated from modern art in her paintings. Her creations break the inherent traditional image mode; her thoughts on artistic concepts are based on the study of artistic language. She holds a strong concern for the issues of social life, and demonstrates true feelings and emotions in the paintings.

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Feller, C., E. R. Landa, A. Toland, and G. Wessolek. "From soil in art towards Soil Art." SOIL Discussions 2, no. 1 (2015): 85–132. http://dx.doi.org/10.5194/soild-2-85-2015.

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Abstract. The range of art forms and genres dealing with soil is wide and diverse, spanning many centuries and artistic traditions, from prehistoric painting and ceramics to early Renaissance works in Western literature, poetry, paintings, and sculpture, to recent developments in cinema, architecture and contemporary art. Case studies focused on painting, installation, and cinema are presented with the view of encouraging further exploration of art about, in, with, or featuring soil or soil conservation issues, created by artists, and occasionally scientists, educators or collaborative efforts

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Aytaç, A. "Turkish textiles which have been described in paintings of artist Şevket Dağ." Universum Humanitarium, no. 1 (July 13, 2021): 73–89. http://dx.doi.org/10.25205/2499-9997-2021-1-73-89.

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The perception of painting that started with the Turks, the Gokturks and the Uighurs was expressed mostly in miniature after Islam. There was a false perception that Islam imposed a ban on painting. Therefore, not much painting art was seen in the Ottomans until recently. There are mostly miniature paintings in the Ottomans. The art of painting has developed in the last periods of the Ottoman Empire. One of the most important representatives of that period was Şevket Dağ. She is one of the first graduates of Şevket Dağ Sanayi-i Nefise School. There are no foreign influences in Şevket Dağ's pai

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Bueno Ramírez, Primitiva, Rodrigo De Balbín Behrmann, Luc Laporte, et al. "Paintings in Atlantic Megalithic Art: Barnenez." Trabajos de Prehistoria 69, no. 1 (2012): 123–32. http://dx.doi.org/10.3989/tp.2012.12083.

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B.K., Jyoti Prakash. "Nepali Painting: Traditional Motifs in Modern Art." Journal of Advanced Academic Research 3, no. 1 (2017): 173–76. http://dx.doi.org/10.3126/jaar.v3i1.16626.

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Art is mirror of society. Human Civilization developed through art. Philosopher Langinus said that the power of the art is to create sublime to viewers. There is lot of philosophy in art history but still no any conclusion or scientific answer about the art but art is more contemporary due to the globalization and individual expression. In the case of Nepali art, before the "Kirat" and "Lichhabi" period had also some paintings and sculpture. Because of the weak surface we didn't have any paintings but can know from the petrography of Lichhabi period. In the world the ancient time had been foun

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Schmitter, Monika. "TheQuadro da Portegoin Sixteenth-Century Venetian Art*." Renaissance Quarterly 64, no. 3 (2011): 693–751. http://dx.doi.org/10.1086/662848.

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AbstractDuring the sixteenth century a symbiotic relationship developed between the form, use, and symbolic associations of the Venetian portego, the central reception and entertainment hall of Venetian palaces, and the paintings that were increasingly commissioned to ornament these spaces. The intended placement of the paintings affected their size, format, composition, subject matter, and contemporary interpretation. At the same time, the works of art themselves reflected upon and helped to define the social meanings of the space and the activities taking place there. Analyzing documentary s

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Pedram, Behnam, Mahdi Hosseini, and Gholam Reza Rahmani. "The Importance of Painting in Qajar Dynasty Based on the Sociology Point of View." Journal of History Culture and Art Research 6, no. 3 (2017): 985. http://dx.doi.org/10.7596/taksad.v6i3.967.

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<p>The paintings of Qajar dynasty are the most thriving and important artworks in Qajar dynasty. Studying Qajar painting helps importantly to identify and study the art and culture of Qajar dynasty. Existence of lots of paintings, diversity of designs, color and subject, combining tradition and modernism were factors for selecting this dynasty to investigate. As the painting is the visual history of each era, sociology studying of painting in this dynasty will make one to understand common culture and thinking of people in that society. Amount of influence of western culture especially d

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Lin, Fen, and Mike Yao. "The Impact of Accompanying Text on Visual Processing and Hedonic Evaluation of Art." Empirical Studies of the Arts 36, no. 2 (2017): 180–98. http://dx.doi.org/10.1177/0276237417719637.

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This study explores how accompanying text affects the way an individual views and interprets a painting. We randomly assigned participants to view 20 paintings from the classical era with factual information, contextualized background information, or no information displayed next to them. We then recorded their visual gaze using an eye-tracking device and asked them to evaluate the paintings. The results show that how people view a painting and how they evaluate a painting are two distinct cognitive processes. The contextual information serves to orient the viewing process. The accompanying te

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Gribkov, Vitaly S., and Vladimir M. Petrov. "Color Elements in National Schools of Painting: A Statistical Investigation." Empirical Studies of the Arts 14, no. 2 (1996): 165–81. http://dx.doi.org/10.2190/2udk-vpbk-ywjv-7l6q.

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A deductive model to explain the functioning of art brings forward regularities concerning the color elements which are used in paintings. To provide optimal perception both of individual paintings and of systems of paintings it is necessary to organize them in such a way that: each given painting consists of four spectral color elements and one or two non-spectral ones (black and/or white); each national school of painting should be based on its “color-and-light standard” which is nothing but white color representing sunlight, and the properties of this “standard” should respond to the parame

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Zhao, Wentao, Dalin Zhou, Xinguo Qiu, and Wei Jiang. "How to Represent Paintings: A Painting Classification Using Artistic Comments." Sensors 21, no. 6 (2021): 1940. http://dx.doi.org/10.3390/s21061940.

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The goal of large-scale automatic paintings analysis is to classify and retrieve images using machine learning techniques. The traditional methods use computer vision techniques on paintings to enable computers to represent the art content. In this work, we propose using a graph convolutional network and artistic comments rather than the painting color to classify type, school, timeframe and author of the paintings by implementing natural language processing (NLP) techniques. First, we build a single artistic comment graph based on co-occurrence relations and document word relations and then t

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Dhiman, Kiran. "COLOURS IN PAINTING (CHITRKALA ME RANG)." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1–3. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3555.

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Colours are life of paintings. Without colours ‘painting’ seems incomplete and dull. Painting is visual expression, which is made combining two basic elements ‘drawing’ and ‘colouring’. Colours add the charm to an artwork. Monochrome shade is also having its own value but colours make it more appealing and lively.Since the upper paleolithic prehistoric times human being practice 'art' specially paintings in rock shelting to express their thoughts, which means it was a mode of communication from the beginning. This art creates, for the viewer, a degree of experiential contact with prehistoric a

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Lin, Chih-Long, Si-Jing Chen, and Rungtai Lin. "Efficacy of Virtual Reality in Painting Art Exhibitions Appreciation." Applied Sciences 10, no. 9 (2020): 3012. http://dx.doi.org/10.3390/app10093012.

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Virtual reality (VR) technology has been employed in a wide range of fields, from entertainment to medicine and engineering. Advances in VR also provide new opportunities in art exhibitions. This study discusses the experience of art appreciation through desktop virtual reality (Desktop VR) or head-mounted display virtual reality (HMD VR) and compares it with appreciating a physical painting. Seventy-eight university students participated in the study. According to the findings of this study, painting evaluation and the emotions expressed during the appreciation show no significant difference

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Qian, Wenhua, Dan Xu, Zheng Guan, Kun Yue, and Yuanyuan Pu. "Simulating Chalk Art Style Painting." International Journal of Pattern Recognition and Artificial Intelligence 31, no. 12 (2017): 1759026. http://dx.doi.org/10.1142/s0218001417590261.

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Different kinds of illustrations and artistic imagery can be generated or simulated through the nonphotorealistic rendering (NPR) technique. However, designing and simulating new NPR artistic styles remains extremely challenging. Chalk art style is a very famous artistic work all over the world, and few algorithms have been put forward to illustrate this style. This paper presents a novel NPR technique which generates a chalk art drawing from a 2D photograph automatically. We aim at obtaining a set of lines surface with coarse appearance and generating stroke textures of the real chalk paintin

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Bajda, Justyna. "Image – écrit – traduction." Między Oryginałem a Przekładem 25, no. 45 (2019): 13–32. http://dx.doi.org/10.12797/moap.25.2019.45.01.

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Painting – Text – Translations. Representation of the Colour Blue in Descriptions of Paintings in Art Books Colour is a basic category for describing a painting. At the same time, it is one of the most problematic categories for an art historian who describes a real artefact as well as a translator who only works with a description of the artwork.The aim of this article is to present the terms used to refer to the colour blue that appear in descriptions of paintings reproduced in art books. The scope of the analysis was limited to French Impressionist paintings. The collected material wa

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O'Hear, Anthony. "Art and Censorship." Philosophy 66, no. 258 (1991): 512–16. http://dx.doi.org/10.1017/s0031819100065153.

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We spent a wonderful morning in the van Gogh gallery in Amsterdam. Of course we knew all the paintings, we had seen them all in reproduction, and the building was more like a bank vault than a setting for art. But what art! At first sight how small and uniform the paintings were in reality: yet every blade of grass, every flower in a field, every olive tree, every vibration in the sky, every patch of colour, every brush stroke, testified to life and to a life vibrating beneath the surface form. In a true sense, an artist inspired, an artist breaking convention, artistic and social, but neverth

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Feller, C., E. R. Landa, A. Toland, and G. Wessolek. "Case studies of soil in art." SOIL 1, no. 2 (2015): 543–59. http://dx.doi.org/10.5194/soil-1-543-2015.

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Abstract. The material and symbolic appropriations of soil in artworks are numerous and diverse, spanning many centuries and artistic traditions, from prehistoric painting and ceramics to early Renaissance works in Western literature, poetry, paintings, and sculpture, to recent developments in film, architecture, and contemporary art. Case studies focused on painting, installation, and film are presented with the view of encouraging further exploration of art about, in, and with soil as a contribution to raising soil awareness.

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Locher, Paul, and Yvonne Nagy. "Vision Spontaneously Establishes the Percept of Pictorial Balance." Empirical Studies of the Arts 14, no. 1 (1996): 17–31. http://dx.doi.org/10.2190/x8u3-ctq6-a7j1-8jq8.

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The present experiment sought empirical evidence that pictorial balance can be detected spontaneously with the first glance at a painting. Stimuli consisted of color and black-and-white reproductions or adaptations of structurally balanced paintings and one or more reconstructed less balanced versions of each work of art. Art-trained and untrained subjects rated the compositions for balance on a 6-point Likert scale after presentation durations which permitted either a single fixation (100 ms) or multiple fixations (5 s). The results show that both naive and sophisticated participants discrimi

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Miyashita, Tsutomu. "A New System to Appreciate the Visual Characteristics of a Painting." Leonardo 42, no. 4 (2009): 342–49. http://dx.doi.org/10.1162/leon.2009.42.4.342.

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A painting-viewing system is proposed as a tool to help painting appreciation and to improve the museum experience. This system simultaneously highlights certain visual characteristics of multiple paintings, thus informing users of the links between paintings and the semantic elements that may appear superficially different, and also conveying the art-historical explanation of those characteristics. Through this system's evaluation, the approach based on “the awareness of the visual characteristics” may be effective as a method of developing the user's interest in the paintings. When this syst

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Bubić, Andreja, Ana Sušac, and Marijan Palmović. "Observing Individuals Viewing Art." Empirical Studies of the Arts 35, no. 2 (2016): 194–213. http://dx.doi.org/10.1177/0276237416683499.

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Understanding the mechanisms underlying the perception of artworks is of significant interest in experimental esthetics. Therefore, in this study, we utilized eye-tracking for investigating how participants familiar and unfamiliar with paintings’ titles viewed Kandinsky’s abstract and figural artworks. The analysis of behavioral data indicated that knowledge of the title increased participants’ liking of the presented paintings and demonstrated a general preference for figural over abstract paintings. Next, we focused the analysis of eye-movement data on areas of the paintings that depict them

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Zhao, Shuhong, and Sheng Gui. "The research on door guardian painting’s function and implication." Chinese Sociological Dialogue 2, no. 1-2 (2017): 52–66. http://dx.doi.org/10.1177/2397200917711464.

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Door guardian painting is one of the greatest treasures of Chinese art, bearing the weight of the simple feelings and the life awareness of Chinese people. As a specific cultural symbol, door guardian paintings symbolize a kind of popular folkloric culture which has experienced changes under the influence of a changing society. Through door guardian paintings, people’s attitudes and understandings can be observed in their unremitting dreams of a better life. This article begins with the door guardian painting’s tardy development, then discusses its functions and implications in Chinese society

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Sanad, Reham, and Zainab Salim Aqil Alhadi Baomar. "A study of landscape painting development – Past, present and future perspectives." New Trends and Issues Proceedings on Humanities and Social Sciences 8, no. 1 (2021): 01–11. http://dx.doi.org/10.18844/prosoc.v7i4.5774.

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This study is focused on landscape paintings’ characteristics throughout history. It starts with primitive cave paintings passed through the ancient civilisations, then followed by the main art movements and styles and ends with the contemporary style landscape paintings. Future prospects and expectations for landscape representations were also considered. It was found that landscape representation has been the focus for most artists because of its link to their normal lives. In the primitive caves, illustrations of plants and animals were found covering caves’ walls. Landscape backgrounds wer

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Hihab, Ramdani Quraiss. "Sebuah Perancangan Sistem Informasi Pemasaran dan Penjualan Lukisan pada Polesan Art Galeri." Ultima InfoSys : Jurnal Ilmu Sistem Informasi 10, no. 1 (2019): 36–42. http://dx.doi.org/10.31937/si.v10i1.1115.

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Abstract— This research was conducted to design a web-based painting sales information system design in an art gallery. The research method used in this study uses descriptive methods, namely by explaining the phenomena that occur from data collected through observation and interviews. And using a structured approach method and for system development using the waterfall method. The results of this study are website-based painting sales application designs in art galleries. Currently the painting marketing process is still limited to certain areas, which makes it difficult to increase the sales

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Van Bueren, Truus. "'de beste Schilders van het gantsche Nederlandt' Karel van Mander en het Haarlemse cultuurbeleid 1603-1606." Oud Holland - Quarterly for Dutch Art History 105, no. 4 (1991): 291–305. http://dx.doi.org/10.1163/187501791x00164.

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AbstractKarel van Mander's Schilder-Boeck was published in 1604. During this period the Haarlem city council was pursuing an active cultural policy in which painting played a central role. In 1603, the porter at the Prinscnhof was instructed not to refuse admission to people who wanted to view the paintings and other objects of art housed there. That same year Hendrik Goltzius, Cornelis van Haarlem and Hendrik Vroom were commissioned to paint pictures of their own choice to commemmorate their art. The paintings were to hang in the Prinsenhof. In 1605 the council cndcavoured to ensure the city'

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Kurniawan, Iwan Jaconiah. "Intercultural Interaction: Indonesia and Soviet Society in the Sphere of Art Paintings in the Second Half of the XXth Century." Contemporary problems of social work 6, no. 2 (2020): 65–71. http://dx.doi.org/10.17922/2412-5466-2020-6-2-65-71.

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the paper studies the problem of defining an intercultural interaction. The authors analyzed scientific works to identify and classify the Indonesian social realism art painting. In the second half of the XXth century, Indonesian artists had a close relationship with the Soviet Society in the sphere of fine art. The true influence can be found in the social-realism art movement between 1950–1965s in Indonesia during the first President Soekarno era. But the social-realism art movement was no longer because of the horizontal political conflict on September 30, 1965 as well-known as revolution.

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Yin, Xiaoke. "A Comparative Study on the Spatial Consciousness of Traditional Paintings in the East and the West." Journal of Contemporary Educational Research 5, no. 7 (2021): 45–50. http://dx.doi.org/10.26689/jcer.v5i7.2354.

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This article compares and analyzes the development history, ideological culture, and philosophical concepts of traditional paintings, landscape paintings, and still life paintings in the East and the West. The essence of painting is a form of visual consciousness. There is a unique way of processing and expressing spatial consciousness in different images, regions, and humanistic spirits of Eastern and Western paintings. The difference in spatial awareness promotes mutual learning, guidance, and promotion between the Chinese and Western art which have different historical backgrounds, aestheti

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Subedi, Abhi. "My Understanding of Manuj Babu and his Art." SIRJANĀ – A Journal on Arts and Art Education 5, no. 1 (2018): 6–15. http://dx.doi.org/10.3126/sirjana.v5i1.39737.

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Manuj Babu Mishra (1936-2018) was a modern artist who is mainly known for his paintings and his drawings. Nepali art critic Narayan Bahadur Singh as early as 1976 mentioned about his multiple skills in art. But Mishra was also one of those painters who ushered in an era of modern consciousness shared equally by painters and poets. His contemporaries some of whom are still painting though on a smaller scale, made experiments with their arts in modernist style. An era of distorting forms, breaking the fine figurality and using flatness by shunning the illusion of three dimensional shapes rather

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Nimbolkar, Vivek, and Alka Khade. "TRENDS IN CONTEMPORARY PAINTINGS." International Journal of Research -GRANTHAALAYAH 7, no. 11 (2019): 154–60. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3728.

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Before there was an art of abstract painting, it was already widely believed that the value of a picture was a matter of colors and shapes alone. Music and architecture were constantly held up to painters as examples of a pure art which did not have to imitate objects but derived its effects from elements peculiar to itself. But such ideas could not be readily accepted, since no one had yet seen a painting made up of colors and shapes, representing nothing. If pictures of the objects around us were often judged according to qualities of form alone, it was obvious that in doing so one was disto

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Qu, Yifeng. "Interpretations of Rice Paper Watercolor Painting in Art Teaching." Review of Educational Theory 3, no. 1 (2020): 62. http://dx.doi.org/10.30564/ret.v3i1.1635.

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The ricepaperplant pith is also known as Tetrapanax papyrine, Akebia, or tall gastrodia fruit, a kind of shrub or small tree of the Araliaceous. It is native to south China and Taiwan Prov., the raw material of rice paper. Extract its central tissue from the stem to make pith slices which could be made as the watercolor painting paper. It arose in Guangzhou in the 19th century, and the themes are mainly focused on reflecting the social life scenes as well as various characters in late Qing Dynasty, such as officials, soldiers, juggling, weaving, playing instrument, etc. The works are lively, v

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Fagg, John. "Near Vermeer: Edmund C. Tarbell's and John Sloan's Dutch Pictures." Modernist Cultures 11, no. 1 (2016): 86–117. http://dx.doi.org/10.3366/mod.2016.0127.

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This article considers drawings and paintings made by the American artists Edmund Tarbell and John Sloan in relation to the art of the seventeenth-century Dutch Republic. Claims about, interpretations of, and enthusiasm for ‘Dutch Pictures’ were prominent features of the transatlantic artworld in the years around 1900. Art critics, including George Moore, Charles Caffin, James Gibbons Huneker and Frank Jewett Mather, discussed the relationship between historical Dutch painting and contemporary art, while American collectors and museums purchased and displayed large numbers of paintings by Remb

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Zavyalova, Anna. "“Spring Palace Paintings” in Chinese Traditional Painting." Ideas and Ideals 13, no. 1-2 (2021): 414–24. http://dx.doi.org/10.17212/2075-0862-2021-13.1.2-414-424.

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The article considers the erotic genre of traditional Chinese art, chun gong hua (‘spring palace paintings’), which was developed in painting. The study uses comparative - historical, cultural and historical methods, as well as methods of systematization, analysis and synthesis. The author traces the formation and evolution of the genre, reveals its specific features. The paper analyzes the system of artistic images of the works of chun gong hua, reveals that they are based on the ideas of Taoism, which are visualized through painting, which made it possible to reveal a second, meaningful plan

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Firstov, Valeriy, Victor Firstov, Alexander Voloshinov, and Paul Locher. "The Colorimetric Barycenter of Paintings." Empirical Studies of the Arts 25, no. 2 (2007): 209–17. http://dx.doi.org/10.2190/10t0-2378-0583-73q4.

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The locations of the colorimetric barycenter or “center of gravity” of the pictorial fields of paintings were compared graphically with the geometric centers of the art works. The art stimuli consisted of reproductions of 1332 paintings of different compositional genres created by renowned Russian artists. It was observed that artists' manipulation of a color palette and their spatial control of color within a composition resulted in the location of the colorimetric barycenter of a painting corresponding closely to its geometric center for both representational and abstract paintings. This fin

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De Kinkelder, Marijke C. "Franciscus Hamers, dozijnschilder in Antwerpen." Oud Holland - Quarterly for Dutch Art History 118, no. 3-4 (2005): 203–12. http://dx.doi.org/10.1163/187501705x00349.

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AbstractIn I987 a painting with illegible signature was shown at the RKD. When in spring 2002 a painting with similar signature came alight at a Paris art-dealer, it proved possible to read the signature correctly and identify the artist as the Antwerp-based Franciscus Hamers, only known through his membership of the guild in I674. Several other paintings could be attributed to him either on stylistic grounds or by recognising the characteristic signature. The paintings presented here show that he proved to be what was known in the seventeenth century as 'dozijnschilder' (lit: dozen painter),

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Tan, Noel Hidalgo, and Stephen Chia. "Current Research on the Rock Art at Gua Tambun, Perak, Malaysia." Bulletin of the Indo-Pacific Prehistory Association 31 (May 26, 2012): 93. http://dx.doi.org/10.7152/bippa.v31i0.9967.

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The rock art site of Gua Tambun in Perak, Malaysia was first reported by J. M. Matthews in 1959, following the discovery of the rock paintings by a British military officer. An estimate of more than 80 forms of animals, humans, geometric designs and many other indistinct and vague forms of paintings were reported to be found on the walls of the rock shelter. Since then, no further in-depth research of the rock art has been reported, while time and weather have eroded and faded the paintings even more. In early January 2009, the site was revisited by the authors to document and to study the roc

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Painesi, Anastasia. "Historical Events as a Means of Iconographic Interpretation: The Reconstruction of Lost Greek Historical Paintings of the Fifth and Fourth Centuries B.C." Cahiers d'histoire 31, no. 2 (2013): 157–79. http://dx.doi.org/10.7202/1019288ar.

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The disappearance of Greek monumental painting causes fundamental problems in the study of this particular form of art. Texts referring to or works of art inspired by Greek paintings seem to be frequently inadequate at the task of providing a realistic reconstruction of the painted works. Nevertheless, the reconstruction of the date and type of representation of historical paintings seems to be facilitated by texts of historical context that offer valuable informations on the events that inspired the painters of the fifth and fourth Centuries B.C. This paper will examine specific cases of Clas

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Dahesh, Mitra. "The Role of painting in prevention of crime." Religación. Revista de Ciencias Sociales y Humanidades 4, no. 22 (2019): 222–25. http://dx.doi.org/10.46652/rgn.v4i22.572.

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Art has recently been considered as one of the therapeutic methods in medical science. Since one of the most important measures in dealing with criminals is therapeutic and habilitation measures, taking into account my personal interests in art particularly paintings and regarding the effect of artwork creation on human personality. A criminal by creating a work of art, in another word by releasing his personality can retell all hidden secrets or evacuate his inner emotions. Art has the effect of spiritual freshening, ethic and skill education, spare time making for criminals. Therefore, the s

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Linrothe, Rob. "Hidden in Plain Sight." Archives of Asian Art 70, no. 2 (2020): 225–44. http://dx.doi.org/10.1215/00666637-8620384.

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Abstract This is a review article of Janet Gyatso's 2015 award-winning book, Being Human in a Buddhist World: An Intellectual History of Medicine in Early Modern Tibet. The art-historical aspects of the book—mainly confined to the first chapter, “Reading Paintings, Painting the Medical, Medicalizing the State” and based on a perceptive art-historical reading of a set of medical paintings and its copies—had yet to be reviewed by an academically-trained art historian. This review underscores the fine art-historical insights deserving the attention of art historians working in parallel contexts o

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Mitchell, Kate. "Painted Traces: Art and Ekphrasis in Elizabeth Kostova's The Swan Thieves." Victoriographies 9, no. 3 (2019): 259–79. http://dx.doi.org/10.3366/vic.2019.0353.

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Nineteenth-century writers like Jane Austen, Mary Elizabeth Braddon, and Oscar Wilde were fascinated with the power of art. In their novels, the portrait could reveal secrets and capture the essence, or truth, of its subject. But how might painting be understood as a trace not of character so much as history? What power does the artwork have to connect us to past lives and histories today, continuing their activity into the present? Elizabeth Kostova's The Swan Thieves (2010) explores these questions by depicting artwork as talismanic, providing (a fantasy of) access to a past that is at once

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Bourached, Anthony, George H. Cann, Ryan-Rhys Griffths, and David G. Stork. "Recovery of underdrawings and ghost-paintings via style transfer by deep convolutional neural networks: A digital tool for art scholars." Electronic Imaging 2021, no. 14 (2021): 42–1. http://dx.doi.org/10.2352/issn.2470-1173.2021.14.cvaa-042.

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We describe the application of convolutional neural network style transfer to the problem of improved visualization of underdrawings and ghost-paintings in fine art oil paintings. Such underdrawings and hidden paintings are typically revealed by x-ray or infrared techniques which yield images that are grayscale, and thus devoid of color and full style information. Past methods for inferring color in underdrawings have been based on physical x-ray uorescence spectral imaging of pigments in ghost-paintings and are thus expensive, time consuming, and require equipment not available in most conser

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Rohit Reddy, Karmuru, Riya Barui, and Sayantani Biswas. "Kalighat Paintings as a medium of communication in Colonized Bengal province." International Journal of English Learning & Teaching Skills 3, no. 4 (2021): 2582–91. http://dx.doi.org/10.15864/ijelts.3410.

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Kalighat’s paintings originated in West Bengal, India in the 19th century, near Kalighat Kali Temple, in Calcutta, India, and and from being souvenir pieces taken by visitors to the Kali Temple, the paintings developed over a period of time as a distinct Indian form of painting and art. The Kalighat Paintings developed to depict a range of themes ranging from mythological characters to depictions of the social scene. The paintings served as a kind of mirror of the society in which they worked. Under the influence of an increasingly growing European society, they underwent a transformation. The

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Wood, Denis. "Map Art." Cartographic Perspectives, no. 53 (March 1, 2006): 5–14. http://dx.doi.org/10.14714/cp53.358.

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Artists make maps. Inspired by maps made by the Surrealists, by the Situationists, by Pop Artists, and especially by Conceptualists of every stripe, artists in increasing numbers have taken up the map as an expressive medium. In an age less and less enamored of traditional forms of representation – and increasingly critical – maps have numerous attractions for artists. Beyond their formal continuities, maps and paintings are both communicative, that is, constructs intended to affect behavior. As the energy of painting has been dispersed over the past half century into earth art, conceptual art

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Bralović, Miloš. "The collage-shaped worlds of Gustav Mahler's 'Rückert' symphonies." New Sound, no. 44-2 (2014): 179–98. http://dx.doi.org/10.5937/newso1444179b.

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The main goal of this paper was to reveal the very beginnings of collage technique in Western art. Musical materials taking place in the scherzo movements of Gustav Mahler's Fifth, Sixth and Seventh Symphony are arranged astonishingly similar to arrangement of different materials (i.e. fabric, wallpaper, newspaper fragments etc.) in first collage paintings by Picasso and Braque. Considering the fact that composing of the symphonies occurred significantly earlier than the first collage paintings, we come to a conclusion that collage technique pioneered not in the art of painting but in that of

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Bi, Wei, Ju Wu, and Rungtai Lin. "Research on the Case of Art Therapy and Cognition of Autistic Children." World Journal of Social Science Research 5, no. 2 (2018): 172. http://dx.doi.org/10.22158/wjssr.v5n2p172.

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<em>Due to congenital brain damage, autistic children suffer from difficulties in overall development, especially in interpersonal relation, language and behavior. Many scholars try to understand the inner world of autistic children through various treatments, but only painting, the most primitive language for children, is also the most direct way to express the autistic children’s mind. Therefore, there seems to be a certain degree of corresponding relation between artistic creation and message expression, but artistic creation is actually a complex mental activity, and it is difficult

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Wilkinson, Marcia, and Derek Robinson. "Migraine Art." Cephalalgia 5, no. 3 (1985): 151–57. http://dx.doi.org/10.1046/j.1468-2982.1985.0503151.x.

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An analysis is made of 207 drawings and paintings entered for a migraine art competition. All types of visual disturbances were depicted. One hundred and fifty-four of the paintings showed spectral appearances with fortification or teichopsia in 99. Sixty-two showed either a partial or complete hemianopic loss. Metamorphopsia was seen in 32 and pain was depicted in some form or another in 80. Situational or trigger factors were shown in 23.

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Miller, Alison J. "An Amalgamation of Power and Paint: Gajin Fujita, Los Angeles Street Art, and Images of Edo Japan." Asian Diasporic Visual Cultures and the Americas 5, no. 3 (2019): 329–56. http://dx.doi.org/10.1163/23523085-00503005.

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The paintings of Gajin Fujita (b. 1972) express the urban Asian diasporic experience in vivid images filled with historic and contemporary cultural references. Creating an amalgamation of contemporary sports figures, hip-hop culture, historic Japanese painting conventions, street art, and the visual language of Edo Japan (1600–1868), Fujita reflects his diverse experiences as a citizen of twenty-first century Los Angeles in his paintings. This article introduces the artist and provides a nuanced examination of his works vis-à-vis an understanding of the larger issues addressed in both Edo arti

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Actis-Grosso, Rossana, Carlotta Lega, Alessandro Zani, Olga Daneyko, Zaira Cattaneo, and Daniele Zavagno. "Can music be figurative? Exploring the possibility of crossmodal similarities between music and visual arts." Psihologija 50, no. 3 (2017): 285–306. http://dx.doi.org/10.2298/psi1703285a.

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According to both experimental research and common sense, classical music is a better fit for figurative art than jazz. We hypothesize that similar fits may reflect underlying crossmodal structural similarities between music and painting genres. We present two preliminary studies aimed at addressing our hypothesis. Experiment 1 tested the goodness of the fit between two music genres (classical and jazz) and two painting genres (figurative and abstract). Participants were presented with twenty sets of six paintings (three figurative, three abstract) viewed in combination with three sound condit

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Bruquetas Galán, Rocío. "A Changing Art. Nineteenth-Century Painting Practice and Conservation." Ge-conservacion 13 (June 29, 2018): 100–101. http://dx.doi.org/10.37558/gec.v13i0.587.

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A Changing Art. Nineteenth-Century Painting Practice and Conservation Ed. Por Nicola Costaras, Kate Lowry, Helen Glanville, Pippa Balch, Victoria Sutcliffe y Polly Satlmarsh) Londres: Archetype (en asociación con The British Association of Paintings Conservator-Restorers, BAPCR), 2017. ISBN: 9781909492547 Dimensiones: 246 x 175 mmPáginas: 144Ilustraciones en color

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