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Journal articles on the topic 'COLOURS IN PAINTING'

Author: Grafiati

Published: 3 June 2025

Last updated: 31 July 2025

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1

Nieves, Juan Luis, Juan Ojeda, Luis Gómez-Robledo, and Javier Romero. "Psychophysical Determination of the Relevant Colours That Describe the Colour Palette of Paintings." Journal of Imaging 7, no. 4 (2021): 72. http://dx.doi.org/10.3390/jimaging7040072.

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In an early study, the so-called “relevant colour” in a painting was heuristically introduced as a term to describe the number of colours that would stand out for an observer when just glancing at a painting. The purpose of this study is to analyse how observers determine the relevant colours by describing observers’ subjective impressions of the most representative colours in paintings and to provide a psychophysical backing for a related computational model we proposed in a previous work. This subjective impression is elicited by an efficient and optimal processing of the most representative

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2

Vinay, Kumar. ""COLOR AS FIELD" Weightless & Floating Free." International Journal of Research - GRANTHAALAYAH Composition of Colours, December,2014 (2017): 1–5. https://doi.org/10.5281/zenodo.887517.

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“Although the composition and function of colour are two of the most important factors in determining the qualitative content of a painting, the reciprocal relation of colour to colour produces a phenomenon of a more mysterious order. This new phenomenon is psychological. A high sensitivity is necessary in order to expand colour into the sphere of the surreal without losing creative ground. Colour stimulates certain moods in us. It awakens joy or fear in accordance with its configuration. In fact, the whole world, as we experience it visually, comes to us through the mystic realm of colours. O

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3

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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4

Kougemitrou, I., G. Economou, J. Giovanopoulos, I. Baziotis, G. Leontakianakos, and V. Stathopoulos. "A mineralogical study of pigments used in two Iakovidis paintings: Verification of artwork authenticity using Raman micro-spectroscopy method." Bulletin of the Geological Society of Greece 47, no. 1 (2013): 392. http://dx.doi.org/10.12681/bgsg.11014.

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For the purpose of the current study, we examined two paintings, an original and a fake one, entitled “Still life with grapes”, and claimed both to be created from the Greek Painter G. Iakovidis. The current Research Project has been carried out at the Centre Nikias, an innovative Research Centre specialised on certification, maintenance and restoration of art works. Raman spectroscopic analysis has been carried to verify the authenticity of the used pigments and also the originality of the two paintings. The Raman spectra acquired confirmed four different colours in both painting`s pigments:

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Dr., Pooja Gupta. "DIFFERENCE BETWEEN PAINTING COLOURS & TECHNICAL COLOURS." International Journal of Research - GRANTHAALAYAH Composition of Colours, December,2014 (2017): 1–3. https://doi.org/10.5281/zenodo.887499.

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For a minute can we imagine the world around you without colors, how boring and unexciting life would be. Colors play a very important role in our life and it has been confirmed that our actions and responses are influenced by them. Every color has a unique effect on individuals and arouses various responses. In modern time there are lots of confusions regarding colour theory or colour concepts as for a painting student colour theory is different and for computer designer a colour theory is extremely high configure. The whole concept is based on misconceptions which we face. To make it clear w

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6

Sonika. "RAINBOW OF COLOURS – THE PAHARI MINIATURE PAINTING”." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1–4. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3534.

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Indian miniatures are in the art world a class by themselves. ‘Miniature’ generally refers to a painting or illumination, small in size, meticulous in detailing and delicate in brushwork1. Indian Miniature Painting has a long history of over thousand years and presents a comprehensive record of the religious and emotional feelings of the Indian people. These paintings show the Indian genius in its pure form. Its inspiration is rooted in the people’s hearts, keeping close to their poetry, music and drama. The great merit of this art is the exquisite delicacy of drawing with decorative details.

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7

Kiran, Dhiman (Research scholar). "COLOURS IN PAINTING (CHITRKALA ME RANG)." International Journal of Research - GRANTHAALAYAH Composition of Colours, December,2014 (2017): 1–3. https://doi.org/10.5281/zenodo.888703.

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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

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8

Gupta, Pooja. "DIFFERENCE BETWEEN PAINTING COLOURS & TECHNICAL COLOURS." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1–3. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3517.

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For a minute can we imagine the world around you without colors, how boring and unexciting life would be. Colors play a very important role in our life and it has been confirmed that our actions and responses are influenced by them. Every color has a unique effect on individuals and arouses various responses. In modern time there are lots of confusions regarding colour theory or colour concepts as for a painting student colour theory is different and for computer designer a colour theory is extremely high configure. The whole concept is based on misconceptions which we face. To make it clear w

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9

Bellia, L., F. Fragliasso, and E. Stefanizzi. "Effects of light source spectrum and background colour on the perception of paintings." Lighting Research & Technology 52, no. 1 (2019): 36–63. http://dx.doi.org/10.1177/1477153519847254.

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This paper presents an experiment on the effect of light on the perception of paintings. The experiment was performed in a test-room where a typical museum exhibition set-up was simulated. Two different paintings were shown to 44 participants, under different light scenes obtained by using tuneable LED (Light Emitting Diode) wallwashers. To set the light scenes, the following parameters were modified: correlated colour temperature of the lighting, illuminance on the painting and the colour of the background wall. Participants answered a questionnaire to assess the perception of the paintings’

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10

Wango, Kamau. "‘Foundations of Landscape Painting’ – Colour Application, Textural Effects and Development of Holistic Composition. Analysis of Selected Landscape Paintings by Second Year Students at Kenyatta University, Nairobi, Kenya." East African Journal of Arts and Social Sciences 5, no. 1 (2022): 284–317. http://dx.doi.org/10.37284/eajass.5.1.744.

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Landscape painting is a popular undertaking among students, particularly those taking formative painting units, some of whom have never used prescribed media such as watercolours, oils or acrylics; and others who have not been exposed to painting at the university level. In one of the second-year painting units where students study colour and its application, they are required to paint landscapes in watercolours and either acrylics or oils. Landscape painting gives them the opportunity to study and apply colour on paper or canvas since landscapes and other outdoor painting studies provide them

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Dr., (Mrs.) Sonika. "RAINBOW OF COLOURS – THE PAHARI MINIATURE PAINTING"." International Journal of Research - GRANTHAALAYAH Composition of Colours, December,2014 (2017): 1–4. https://doi.org/10.5281/zenodo.887559.

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Indian miniatures are in the art world a class by themselves. ‘Miniature’ generally refers to a painting or illumination, small in size, meticulous in detailing and delicate in brushwork1 . Indian Miniature Painting has a long history of over thousand years and presents a comprehensive record of the religious and emotional feelings of the Indian people. These paintings show the Indian genius in its pure form. Its inspiration is rooted in the people’s hearts, keeping close to their poetry, music and drama. The great merit of this art is the exquisite delicacy of drawing with decorative details.

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12

Piskunov, Y. "Practical aspects of colour science in the educational process. Using a limited palette." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 188–92. http://dx.doi.org/10.33838/naoma.27.2018.188-192.

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The paper presents the practical aspects of colour science in the context of the interaction of colours and obtaining certain shades. As a practical teaching methodology, the use of a limited palette of three primary colours in several modifications has been offered. The given individual author's observations and conclusions formed in the process of teaching painting in the higher art school. The paper presents some of the author's observations and conclusions emerged in the process of teaching painting in a higher art school. A practical problem is the shallow knowledge of the physical featur

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Narbona, Eduardo, José C. del Valle, and Justen B. Whittall. "Painting the green canvas: how pigments produce flower colours." Biochemist 43, no. 3 (2021): 6–12. http://dx.doi.org/10.1042/bio_2021_137.

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Flowering plants are characterized by the production of striking flower colours and these colours are primarily caused by the accumulation of pigments in cells of the floral organs. The extraordinary array of colours displayed in flowers relies on four main pigment groups: chlorophylls, carotenoids, flavonoids and betalains. With thousands of different compounds, flavonoids are the most diverse and widespread pigment group. They include coloured anthocyanins, aurones and chalcones, as well as many flavonoid compounds such as flavones and flavonols that are invisible to humans, but visible to m

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14

Loboda, Anastasia Yu, Igor N. Trunkin, Roman D. Svetogorov, et al. "A Study of the Pigments and Cohesive Colour Layers of the Paintings in a Church from the Tenth to Thirteenth Centuries on the Plateau of Eski-Kermen." Materials in Archaeology, History and Ethnography of Tauria, no. XXVI (2021): 156–74. http://dx.doi.org/10.37279/2413-189x.2021.26.156-174.

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In 2018–2019, the excavations of an aisleless church dated from the tenth to thirteenth centuries and located in quarter II on the territory of a provincial Byzantine town atop of the plateau of Eski-Kermen discovered fragments of wall-plaster with polychrome painting. There are several shades of green, two shades of red, white (beige), yellow (ochre), and grey-brown colours. This paper presents the results of studies of the colour layer, determines pigments and cohesive colour components, and uncovers the features of the painting technique applied to the walls of the church. Four groups of sa

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15

Kumar, Vinay. "“COLOR AS FIELD” WEIGHTLESS & FLOATING FREE." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1–5. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3521.

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“Although the composition and function of colour are two of the most important factors in determining the qualitative content of a painting, the reciprocal relation of colour to colour produces a phenomenon of a more mysterious order. This new phenomenon is psychological. Ahigh sensitivity is necessary in order to expand colour into the sphere of the surreal without losing creative ground. Colour stimulates certain moods in us. It awakens joy or fear in accordance with its configuration. In fact, the whole world, as we experience it visually, comes to us through the mystic realm of colours. Ou

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16

Hung, Chia-Ching. "A study on a content-based image retrieval technique for Chinese paintings." Electronic Library 36, no. 1 (2018): 172–88. http://dx.doi.org/10.1108/el-10-2016-0219.

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Purpose The purpose of this study is to build a database of digital Chinese painting images and use the proposed technique to extract image and texture information, and search images similar to the query image based on colour histogram and texture features in the database. Thus, retrieving images by this image technique is expected to make the retrieval of Chinese painting images more precise and convenient for users. Design/methodology/approach In this study, a technique is proposed that considers spatial information of colours in addition to texture feature in image retrieval. This technique

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17

Župan, Ivica. "Majstor mirenja, spajanja i kombiniranja suprotnosti." Ars Adriatica, no. 2 (January 1, 2012): 257. http://dx.doi.org/10.15291/ars.454.

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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 hi

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18

Dang, R., Y. Yuan, G. Liu, C. Luo, and J. Liu. "White LED spectrum for minimising damage to Chinese traditional heavy colour paintings." Lighting Research & Technology 50, no. 6 (2017): 911–20. http://dx.doi.org/10.1177/1477153517707996.

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Optical radiation can cause permanent damage to the colours of high-responsivity Chinese traditional paintings. The white light emitting diode is flexible, efficient and can create similar colour phenomena with different spectra, making it easy to adjust the spectral irradiance distribution according to specific requirements. It is important to establish quantitative influence rules of white light emitting diode narrowband light for protecting traditional paintings, which optimises the constitution and proportion of the white light emitting diode spectrum according to the lowest damage level.

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19

Shawin, Mohammad Ferdous Khan. "Rural Life of Bangladesh Reflected in Hashem Khan’s Painting." Idealogy Journal 6, no. 2 (2021): 28–34. http://dx.doi.org/10.24191/idealogy.v6i2.290.

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Hashem Khan is considered as one of the key figures in Bangladesh art scenario. Born in Chandpur, Hashem Khan was graduated from the Faculty of Fine Art, Dhaka University in 1961. He was a Professor at the Faculty of Fine Art, University of Dhaka with 44-year experience and retired in the year 2007. He has achieved Ekushey Padak and Independence Day Award (The highest civilian award in Bangladesh) for his significant contributions in art and culture. Rural lifestyle is very unique in Bangladesh. Many poets, musicians, visual artists have taken inspiration from rural culture and life style of B

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20

Zhao, Huayue. "Analyzing the Digital Inheritance of Nanyang Branding Painting from the Perspective of Cultural Anthropology." Journal of Education, Humanities and Social Sciences 20 (September 7, 2023): 156–64. http://dx.doi.org/10.54097/ehss.v20i.11440.

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Nanyang branding painting has a development history of more than 2,000 years since it was introduced at the end of the Western Han Dynasty, during which many legends about branding painting have been passed down. The characteristics of branding painting are the use of plant carbonation mechanism, the use of temperature-controlled techniques, hot branding as the main, set of colours as a supplement, not using other colours of the art expression methods. By sketching and baking on bamboo, wood, rice paper, silk and other materials, branding painting aptly combines the various expression techniqu

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21

Sinclair, Rolf. "Howard Russell Butler: Painter Extraordinary of Solar Eclipses." Culture and Cosmos 16, no. 1 and 2 (2012): 345–55. http://dx.doi.org/10.46472/cc.01216.0255.

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Howard Russell Butler (1856-1934) was a successful landscape and portrait painter who discovered a rare talent for seeing an image briefly and then painting it from memory and a few notes. He originally studied physics at Princeton, worked in the nascent telephone industry, and then practiced law. His avocational interest in painting grew until, at age 28, he made the decision to become a professional artist. He sometimes used his unusual talent to quickly sketch transient phenomena (or a busy patron) and then later finish the painting. Since colour photography was then unable to capture the p

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Figueiredo, Melanie. "Ephemeral Fluid of Reality." in:cite journal 3 (August 31, 2020): 76–77. http://dx.doi.org/10.33137/incite.3.34721.

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For fluid paintings, acrylic colours are mixed and poured onto a canvas, and then blown air is used to spread the paint out. It is difficult to predict and plan what the painting is going to look like, even with great precision when blowing the air. To me, that is what rhythm in everyday life is- unpredictable, adaptable and hectic.

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Freire-Lista, David M., Ezequiel Vázquez, Pablo Barreiro Castro, et al. "Mural Paintings Characterisation Using X-ray Fluorescence and Raman Spectroscopy—A Case Study: Nossa Senhora das Neves Chapel, Vilar de Perdizes, Galicia—North Portugal Euroregion." Heritage 6, no. 12 (2023): 7277–92. http://dx.doi.org/10.3390/heritage6120382.

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Sixteenth-century mural paintings of Nossa Senhora das Neves in Vilar de Perdizes (Galicia—North Portugal Euroregion) were analysed. An iconographic study has allowed us to understand the meaning of the seven scenes that constitute the mural painting. X-ray fluorescence (XRF) and Raman spectroscopies determined the compounds used in this mural painting, both in the original and in later repaintings. The black paint was bone black. Hydroxyapatite characteristic bands and those of the associated phosphates have been identified. White lime was used as white paint. Lepidocrocite and goethite were

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Pal, Saptamita, and Azad Kalam Mir. "Modernization of Tribal Wall Paintings: A Study on the Santhal Community of Dhatkidih Village of Galudih, Purba-Singbhum, Jharkhand." NDC E-BIOS 3, no. 1 (2023): 61–71. https://doi.org/10.5281/zenodo.11165765.

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<em>Painting has been one of the oldest forms of expression for many different tribal populations. Wall painting is one of the many types of visual art. In recent times, tribal wall paintings have been modernized. The present study aimed to understand the modernization of wall painting among the tribal population of Jharkhand. The observation was done on a Santhal population residing in Dhatkidih village in East Singhbhum district of Jharkhand, approximately one and a half kilometers from Galudih railway station. The village consists of seventy-five households with a population of 350, distrib

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Milić, Snežana. "Boje u rečniku „Turcizmi u srpskohrvatskom jeziku“ Abdulaha Škaljića." Узданица 18, no. 1 (2021): 181–96. http://dx.doi.org/10.46793/uzdanica18.1.181m.

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Abdulah Škaljić’s dictionary Turcisms in Serbo-Croatian language con- tains 73 words that describe colours. However, our list records 82 lexemes that describe some of the colour nuances that Škaljić explains with a word, phrase or clause. The ex- cerpted material was classified on the basis of three criteria: light and dark colours, pale (whitish) and dark (blue) colours, and visual categorization of colours in painting (red and its shades, blue and its shades and yellow and its shades). The words describing red and the shades of red are the most frequent, while those related to yellow and the

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Barinova, Ekaterina V. "Ekphrasis in Sylvia Plath’s Poem “Yadwigha, on a Red Couch, among Lilies”." World Literature in the Context of Culture, no. 14 (20) (2022): 113–19. http://dx.doi.org/10.17072/2304-909x-2022-14-113-119.

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The article provides an analysis of ekphrasis in the poem "Yadwigha, on a Red Couch, among Lilies" by the American poet and writer Sylvia Plath. In the poem, inspired by Henri Rousseau's painting «The Dream», ekphrasis is revealed in the detailed description of the picture, precise transfer into the text of the painting’s imagery and colours. At the same time, emotions, individual perception and accents, characteristic of the poetess’ creative consciousness, are introduced into the detailed description of the painting. The poem is a traditional text for Plath, where the richness of visual imag

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Braga, Ion Cristian, Razvan Udroiu, and Anisor Nedelcu. "Improving the laser engraving quality of padpainted and spray-painted mechatronic devices." MATEC Web of Conferences 299 (2019): 06004. http://dx.doi.org/10.1051/matecconf/201929906004.

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Considering the cost reduction in automotive processes, in the case of mechatronic devices that use2-3 colours for symbols, a solution is to replace the multi-component molding injection with the painting of a white component substrate in different colours. However, combined painting techniques, namelypad-painting and spray-painting, can lead to many risks, especially when those symbols are obtained bylaser etching, so removing the final paint layer to let only the first coloured layer be visible. The paper's aim is to present the analysis and reduction of the variation due to the different th

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Kozorezenko, Petr. "The Image of the Icon in the Works of the Severe Style Artists." Scientific and analytical journal Burganov House. The space of culture 17, no. 2 (2021): 79–100. http://dx.doi.org/10.36340/2071-6818-2021-17-2-79-100.

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The appeal to the artistic traditions of different eras – peculiar perception of the techniques of post-impressionism, the heritage of the Russian avantgarde, the search of the Soviet painters of the 1920s–1930s, as well as the art of Proto-Renaissance and Ancient Rus, became an important impetus to the creativity of the severe style artists. With artistic experiments and active use of various graphic lines, they skillfully combined the experience of ancient Russian art in their works; they used the icon and fresco painting traditions and primitivism painting together with modern patterns. Anc

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Sulkowska-Tuszyńska, Krystyna. "KILKA UWAG O KOLORYSTYCE BAZYLIKI NORBERTANEK W STRZELNIE W XIII-XIV WIEKU." Slavia Antiqua. Rocznik poświęcony starożytnościom słowiańskim, no. 62 (November 8, 2021): 347–74. http://dx.doi.org/10.14746/sa.2021.62.15.

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The article sums up the reflections on the relics of medieval plaster and layers of paint on the walls, columns and pillars of the Norbertine nuns convent in Strzelno completed around the 2nd-3rd quarter of the 13th century. The relics of the polychromies observed by numerous enthusiasts of the Romanesque Strzelno and discovered during archaeological excavations were topped with the results of conservation-restoration works which uncovered the first figural polychromies in the chancel’s apse. Following verification of the dating of the colours of the church’s interior, an indication was made t

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Lizun, Damian, Teresa Kurkiewicz, Mateusz Mądry, Bogusław Szczupak, and Jarosław Rogóż. "Evolution of Liu Kang’s Palette and Painting Practice for the Execution of Female Nude Paintings: The Analytical Investigation of a Genre." Heritage 5, no. 2 (2022): 896–935. http://dx.doi.org/10.3390/heritage5020050.

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The comprehensive technical investigation of female nude paintings by the Singapore pioneer artist Liu Kang (1911–2004) provided the evidence for a discussion of the evolution of his palette of colours and his working process for expression in this genre, particularly the execution of female bodies. As the artist’s free expression in classical nude paintings was limited by the censorship imposed by the Singapore government, the investigated artworks span two periods, 1927–1954 (early career) and 1992–1999 (the “golden years”, during which censorship policies were relaxed). Hence, eight paintin

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Kessler, Erwin. "GOETHE’S ZUR FARBENLEHRE (1810) AND ARTHUR SEGAL’S DAS LICHTPROBLEM IN DER MALEREI (1925)." Studii de istorie a filosofiei universale 32 (January 24, 2025): 123–39. https://doi.org/10.59277/sifu.2024.09.

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Goethe’s Zur Farbenlehre (1810) and Arthur Segal’s Das Lichtproblem in der Malerei (1925) deal with the various assessments, considerations and usages of Goethe’s Theory of Colours on the background of the aesthetics of the nineteenth and the early twentieth centuries. The paper follows Goethe’s appreciation of his own research and theory of colours throughout his lifetime, as it emerges from his Conversations with Eckermann. This contribution frames Goethe’s artistic activities as an interpretative context of his theories of the colour spectrum. A special attention is paid to the relationship

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Sucevic Miklin, Maja. "Overpaints and inpainting on the “Black flag” by Ljubo Babić." Ge-conservacion 18, no. 1 (2020): 291–97. http://dx.doi.org/10.37558/gec.v18i1.848.

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This paper will present the restoration carried out at the end of 2017 on an oil painting called the “Black flag”, by Ljubo Babić, that stands today as one of the five more important paintings in Croatian modern art history. The focus will be on previous interventions – retouches and overpaintings – that were found on such an important painting, as well as the complex process of inpainting. After a partial removal of the previous interventions, some particles of dirt were still left embedded in the texture. This condition and the artist's paint effects determined the inpainting process.

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Petru, Simona. "Red, black or white? The dawn of colour symbolism." Documenta Praehistorica 33 (December 31, 2006): 203–8. http://dx.doi.org/10.4312/dp.33.18.

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In this paper the use of the pigments in the Paleolithic is presented, and some ideas of the symbolic meaning of colours are suggested. The colour red might have been a symbol of transformation, and as such, it was used in burials and for painting the Venus figurines. In the Slovenian Paleolithic, there is scant evidence of importance of colour and only a few finds of stones used for the grinding of the red pigment have been found.

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Nel, A. "Die kleur van vers en verf: Antjie Krog in gesprek met Marlene Dumas." Literator 22, no. 3 (2001): 21–38. http://dx.doi.org/10.4102/lit.v22i3.1054.

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The colours of poem and paint: Antjie Krog in conversation with Marlene Dumas Antjie Krog engages South African born painter Marlene Dumas in an intertextual dialogue in her most recent anthology Kleur kom nooit alleen nie. This series of poems is titled “skilderysonnette” (sonnets of a painting). Six of the nine of Krog’s “word paintings” are eponymous with Dumas’s paintings and therefore almost require an examination of the interplay of the respective texts. This article examines the relationship between the relevant poems and paintings. The specific conversation between Krog’s word texts an

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Prevost, Roxane. "The Jack Pine: Preserving the Northern Ontario Landscape through Painting, Music, and Short Film." Articles 36, no. 2 (2018): 35–45. http://dx.doi.org/10.7202/1051596ar.

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In her program note, Canadian composer Jocelyn Morlock explains that she was inspired by Tom Thomson’s 1916–17 painting, which depicts a Jack pine clinging to a rock on the edge of water, for her solo piano piece The Jack Pine (2010). Julian Beecroft later posted a short film of the Algonquin Park, accompanied by Morlock’s work. This article examines some of the intersections between the transition of colours in the painting and the harmonic colours of the music through voice-leading analysis, and some of the ways in which the music successfully depicts the different scenes of the short film.

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Roslan, Aimi Atikah, and Syed Alwi Syed Abu Bakar. "Contemporary Colors in Artworks." Idealogy Journal 4, no. 2 (2019): 20–27. http://dx.doi.org/10.24191/idealogy.v4i2.143.

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The purpose of this study is to discuss on contemporary colours in artwork. Contemporary colours have developed a bridge between theory and practice, particularly in the production of works of art. While other studies have been conducted on colours solely, this one focuses on the relationship between artwork and contemporary colours. This teaches the reader that contemporary colours are an integral component of the world of painting and design art. The study of contemporary colours employs artwork to address the subject about the significance of modern colours. As a result, the significance of

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Unković, Nina. "Matej Sternen as a Restorer: Selected examples in Slovenia and Croatia." Ars & Humanitas 11, no. 1 (2017): 204–23. http://dx.doi.org/10.4312/ah.11.1.204-223.

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Matej Sternen (1870–1949) is better known as an impressionist painter rather than for his restoration work, even though in his impressive career he discovered and restored a considerable number of works, especially frescos in Slovenia and Dalmatia (Croatia). His strong interest in restoration can be seen in the numerous notes he wrote about painting technologies, restoration and conservation techniques. This enriched his entire opus, as it stimulated him to try numerous painting techniques and genres, such as frescoes. Sternen was a painter who constructed his paintings very carefully, and a m

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Unković, Nina. "Matej Sternen as a Restorer: Selected examples in Slovenia and Croatia." Ars & Humanitas 11, no. 1 (2017): 204–23. http://dx.doi.org/10.4312/ars.11.1.204-223.

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Matej Sternen (1870–1949) is better known as an impressionist painter rather than for his restoration work, even though in his impressive career he discovered and restored a considerable number of works, especially frescos in Slovenia and Dalmatia (Croatia). His strong interest in restoration can be seen in the numerous notes he wrote about painting technologies, restoration and conservation techniques. This enriched his entire opus, as it stimulated him to try numerous painting techniques and genres, such as frescoes. Sternen was a painter who constructed his paintings very carefully, and a m

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Melo, Helena P., António João Cruz, Jana Sanyova, Sara Valadas, and Ana Margarida Cardoso. "Paint, Colour, and Style: The Contribution of Minerals to the Palette of the Descent from the Cross, Attributed to the Portuguese Painter Francisco João (act. 1558–1595)." Minerals 13, no. 9 (2023): 1182. http://dx.doi.org/10.3390/min13091182.

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The paint materials and techniques of The Descent from Cross, a panel painting attributed to the Portuguese painter Francisco João (act. 1558–1595), were investigated with a combination of visible, ultraviolet, and infrared imaging and an analysis of paint samples with microscopic, spectroscopic, and chromatographic techniques. The colour palette is composed of lead white, lead–tin yellow, minium, vermilion, ochres of different colours, umber, smalt, azurite, verdigris, charcoal black, and a variety of different-coloured red lakes made of brazilwood and cochineal. An oil-based medium was ident

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Staniforth, Sarah, and Ian C. Bristow. "Interior House-Painting Colours and Technology 1615-1840." Studies in Conservation 43, no. 1 (1998): 59. http://dx.doi.org/10.2307/1506637.

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Demo, Šime. "Painting the New Reality: Colours in Neo-Latin." Arctos – Acta Philologica Fennica 49 (June 1, 2016): 33–55. https://doi.org/10.71390/arctos.85013.

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Pandanwangi, Ariesa. "komparasi karya seni lukis MOOI Indie Antara Seniman Indonesia dan Seniman Dari Barat Periode 1930-an." Jurnal Budaya Nusantara 2, no. 2 (2019): 305–11. http://dx.doi.org/10.36456/b.nusantara.vol2.no2.a1968.

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The purpose of this study is to compare the 1930s indie mooi painting works between Indonesianartists and western artists. The samples of this study were paintings of Indonesian artists andWestern artists made in 1930s. Each work of these artistsis selected to represent his period. Hiswork is, therefore, analyzed using Feldman&#39;s theory. The results of this study show that manyartists' creative ideas are inspired by the scenery of Indonesia. These creative ideas lead to themesemerged which visualizing fields and mountains on their indie mooi paintings. The primarilyreason of visualizing

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Pandanwangi, Ariesa. "komparasi karya seni lukis MOOI Indie Antara Seniman Indonesia dan Seniman Dari Barat Periode 1930-an." Jurnal Budaya Nusantara 2, no. 2 (2019): 305–11. http://dx.doi.org/10.36456/jbn.vol2.no2.1968.

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The purpose of this study is to compare the 1930s indie mooi painting works between Indonesianartists and western artists. The samples of this study were paintings of Indonesian artists andWestern artists made in 1930s. Each work of these artistsis selected to represent his period. Hiswork is, therefore, analyzed using Feldman&#39;s theory. The results of this study show that manyartists' creative ideas are inspired by the scenery of Indonesia. These creative ideas lead to themesemerged which visualizing fields and mountains on their indie mooi paintings. The primarilyreason of visualizing

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Dang, R., Y. Yuan, C. Luo, and J. Liu. "Chromaticity shifts due to light exposure of inorganic pigments used in traditional Chinese painting." Lighting Research & Technology 49, no. 7 (2016): 818–28. http://dx.doi.org/10.1177/1477153516644866.

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Museum lighting must use a light source suitable for preserving the colours of the objects being lit. This paper examines how prolonged exposure to three light sources typically used in museums affect the chromaticity of five pigments commonly used in Chinese traditional heavy colour painting. The three light sources were tungsten halogen with an infrared filter, metal halide and an RYGB-type LED. The chromaticities of the pigments were measured at regular intervals over 1152 hours of exposure. These data were used to reveal the chromaticity shifts occurring and hence the relative effect of ea

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Walter, Philippe. "Chemical Analysis and Painted Colours: the Mystery of Leonardo's Sfumato." European Review 21, no. 2 (2013): 175–89. http://dx.doi.org/10.1017/s1062798712000348.

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At the end of the 15th century, Italian painters explored the new effects made possible by the use of the oil medium. They created a sense of depth and relief by following the Flemish technique of glazes, which allowed the spreading of very thin and translucent layers, rich in medium and with low pigment content. A striking example is given by the realization of the shadows in the paintings of Leonardo da Vinci: the Master used the so-called ‘sfumato’ technique based on the use of glazes to obtain a ‘smoky’ aspect for the creation of flesh tones, with very subtle contours that seem to have no

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Porwal, Tina. "HARNESSING IN INDIAN CONTEMPORARY ART AND INDIAN MEDIA MARKET: THE FUTURE POSSIBILITIES." International Journal of Research -GRANTHAALAYAH 6, no. 12 (2018): 209–12. http://dx.doi.org/10.29121/granthaalayah.v6.i12.2018.1109.

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In primitive times, humans first created sketches in caves with coal. The development of time introduced man's colours and gradually begun to wind up the shades of nature even in colours. Then gradually the chemical colours (substance colours) were used for painting. Alongside every one of these advancements, the artist has not abstained from illustration on the PC while changing himself after some time. The world of art and artist is extremely bizarre and stranger. There is also attraction and fear in this world and there is always a neglected place for this world. In contemporary times when

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Dr., Tina Porwal. "HARNESSING IN INDIAN CONTEMPORARY ART AND INDIAN MEDIA MARKET: THE FUTURE POSSIBILITIES." International Journal of Research - Granthaalayah 6, no. 12 (2018): 209–12. https://doi.org/10.5281/zenodo.2544807.

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In primitive times, humans first created sketches in caves with coal. The development of time introduced man's colours and gradually begun to wind up the shades of nature even in colours. Then gradually the chemical colours (substance colours) were used for painting. Alongside every one of these advancements, the artist has not abstained from illustration on the PC while changing himself after some time. The world of art and artist is extremely bizarre and stranger. There is also attraction and fear in this world and there is always a neglected place for this world. In contemporary times w

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Hlobil, Tomáš. "Bernard Bolzano on colours, shapes, and non-figurative painting." Umění 71, no. 4 (2023): 347–55. http://dx.doi.org/10.54759/art-2023-0403.

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Bodrogi, Peter, Diana Carella, and Tran Quoc Khanh. "Weighting the Relevance of the Different Colours in Subjective Assessments of Colour Preference." Light & Engineering, no. 03-2020 (June 2020): 37–46. http://dx.doi.org/10.33383/2019-105.

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Observers made subjective colour preference judgements about different arrangements of coloured objects in different scenes. While doing so, observers had to assess the importance (so-called weight) of every one of seven colour groups or hue groups (skin tone, red, orange, yellow, green, blue and purple). The scenes were illuminated by high-CRI spectra at four different correlated colour temperatures (CCTs). Red and orange obtained the highest weights (this means that red and orange are the most important colours for subjective colour preference); yellow, green and blue were intermediate while

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BRISSAUD, Ivan, Gérard LAGARDE, and Pierre MIDY. "STUDY OF COLOUR MULTILAYERS IN A PAINTING BY PIXE TECHNIQUE." International Journal of PIXE 07, no. 01n02 (1997): 1–16. http://dx.doi.org/10.1142/s0129083597000023.

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A new procedure for the investigation of acrylic paint layers superposed on an aluminim foil has been recently suggested. The experimental technique consisted in a series of PIKE analyses at various incident proton energies. The sequence of colours and the thicknesses of the layers were established very satisfactorily. Here, we apply this technique to a painting made with six acrylic colours from Liquitex Inc. Analyses at various points yield a good agreement with the information given by the painter. In this article we report on the results obtained for one of the points and we present and di

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