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Journal articles on the topic 'Drawing on canvas'
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John Joseph, Renien. "Single Page Application and Canvas Drawing." International journal of Web & Semantic Technology 6, no. 1 (January 31, 2015): 29–37. http://dx.doi.org/10.5121/ijwest.2015.6103.
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Egmond, Florike. "Aldrovandi, truthfully drawing naturalia, and local context." Acta ad archaeologiam et artium historiam pertinentia 32, no. 18 N.S. (September 13, 2021): 81–96. http://dx.doi.org/10.5617/acta.9020.
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This essay focuses on the 16th -century Bolognese naturalist and collector Ulisse Aldrovandi (1522-1605) and his enormous image collection of naturalia. Do these images present a specifically Bolognese form of visual natural science, and was his visual format of truthfulness new at the time? Did Local visual culture leave clear marks on Aldrovandi's image collection? On cover:ANNIBALE CARRACCI (BOLOGNA 1560 - ROME 1609), An Allegory of Truth and Time c. 1584-1585.Oil on canvas | 130,0 x 169,6 cm. (support, canvas/panel/str external) | RCIN 404770Royal Collection Trust / © Her Majesty Queen Elizabeth II 2021.
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Khanmohammadi, Ehsan, Mostafa Zandieh, and Talieh Tayebi. "Drawing a Strategy Canvas Using the Fuzzy Best–Worst Method." Global Journal of Flexible Systems Management 20, no. 1 (December 4, 2018): 57–75. http://dx.doi.org/10.1007/s40171-018-0202-z.
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Liu, Wen Tao. "Applied Information Technology in Graphics Algorithm Implementation Based on the Web Canvas." Advanced Materials Research 908 (March 2014): 543–46. http://dx.doi.org/10.4028/www.scientific.net/amr.908.543.
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The canvas in the HTML5 provides very powerful ability to realize complex graphics and image operations. It can be used for developing information application about graphics such as chart module, scientific computing visualization, drawing software, animation system and information visualization and so on. It will play an important role in the web game for PC or mobile platform because the HTML5 has the platform-independent feature. In this paper a system of graphics algorithm presentation is provided and it uses the prototype object and image data structure of canvas rendering context 2D model to define the custom function to implement the graphics algorithm. It demonstrates the realization process of the principle of graphics algorithms and it shows that the canvas has great flexibility and scalability characteristics.
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Benkara, Dana. "Restaurarea unei picturi pe pânză de Aurél Náray (1883–1948)." Anuarul Muzeului Etnograif al Transilvaniei 34 (December 20, 2020): 317–30. http://dx.doi.org/10.47802/amet.2020.34.17.
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"The restoration of a painted canvas by Aurél Náray (1883-1948) This study shows the restoration work made on the painted canvas of the Hungarian artist Aurél Náray (1883-1948), depicting an ecclesiastic subject (Saint Joseph with the infant Jesus). This oil painting comes from a private art collector and has the following dimensions: 42x57.5 cm, being sustained by a wooden stretcher. The painting is signed and dated by the artist himself on the lower left corner (“Aurél Náray 909”). The canvas is fixed on the underframe with metallic nails; as a result of the wood having dried, the frame shows slight distortions. The face of the painting displays small portions of missing white primer and/ or colour, erosions of the paint layer, two little punctures in the canvas, and a small area of distorted canvas placed toward the lower edge of the painting. Adherence of thin dirt can be observed on the surface of the painting while the back of the canvas bears heavy traces of dust and dirt, especially on its margins. The actual restoration process of the painted canvas referred to the following: drawing up the initial photograhic documentation, superficial dust cleaning on the back of the canvas, detachment of the painting from its old underframe and the building of a new and proper wooden stretcher. After the plainness of the painting was restored and the two small pricked points on the canvas were consolidated (with the use of Beva 371 adhesive), a strip lining on the margins of the canvas was carried out, in order to be able to fix the canvas on the new underframe. Cleaning of the surface came next, followed by the filling of the missing primer layer with putty. The chromatic integration of the painting was accomplished (after having sealed the original paint with a thin layer of intermediary varnish) with the use of low oil content colours and the final protection of a second satin varnish layer. Keywords: painted canvas, restoration, stretcher, strip lining, varnish "
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Salem Khalifa, Azaddin. "Drawing on students' evaluation to draw a strategy canvas for a business school." International Journal of Educational Management 23, no. 6 (August 14, 2009): 467–83. http://dx.doi.org/10.1108/09513540910981014.
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Kelly, Gwen, Tim Ewers, and Lanna Proctor. "Activities for Students: Developing Spatial Sense: Comparing Appearance with Reality." Mathematics Teacher 95, no. 9 (December 2002): 702–12. http://dx.doi.org/10.5951/mt.95.9.0702.
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Drawing changed radically when someone discovered that three-dimensional objects could be made to look real on a two-dimensional canvas. The ability to work with perspective is critical in many fields, including engineering, architecture, and construction. Beyond that, most of us use perspective skills almost daily, for example, when interpreting pictures of three-dimensional objects.
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Katayama, Shinya, Takushi Goda, Shun Shiramatsu, Tadachika Ozono, and Toramatsu Shintani. "On a Drawing-Frequency based Layered Canvas Mechanism for Collaborative Paper Editing Support Systems." International Journal of Networked and Distributed Computing 2, no. 2 (2014): 91. http://dx.doi.org/10.2991/ijndc.2014.2.2.3.
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Bhattacharya, Joydeep, and Hellmuth Petsche. "Drawing on mind's canvas: Differences in cortical integration patterns between artists and non-artists." Human Brain Mapping 26, no. 1 (2005): 1–14. http://dx.doi.org/10.1002/hbm.20104.
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Lee, Joonsung. "A Development of Drawing Canvas Generates Interactive Textile Pattern - Focusing on Christmas Pattern Using Processing -." Journal of Digital Design 13, no. 4 (October 2013): 621–31. http://dx.doi.org/10.17280/jdd.2013.13.4.061.
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Rudnick, Martin, Jan Riezebos, Daryl John Powell, and Annika Hauptvogel. "Effective after-sales services through the lean servitization canvas." International Journal of Lean Six Sigma 11, no. 5 (January 2, 2020): 943–56. http://dx.doi.org/10.1108/ijlss-07-2017-0082.
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Purpose A lean approach is frequently applied in the primary processes of a company, but less in after-sales service. Servitization leads to a change from pure product providers to integrated product-service systems (PSS) providers. The after-sales services may benefit from a lean approach to effectively integrate usage data of the installed product base. This paper aims to develop a lean servitization canvas to open-up possibilities for additional revenue streams for organizations in the after-sales market. Design/methodology/approach This paper develops and proposes the use of a lean servitization canvas for effective after-sales services by drawing on insights from two industrial cases where physical goods are produced and serviced. Both cases are within the train maintenance and rail infrastructure sector in Central Europe. Based primarily on a literature review, a lean servitization canvas has been developed and further validated in the case studies. Findings The paper shows how value can be achieved for providers of integrated PSS by adopting the lean servitization canvas. Research limitations/implications The research focuses on industrial services for high-capital goods in the rail and infrastructure sectors. This can be seen as a limitation of the research, as the lean servitization canvas has not yet been tested in other sectors. Practical implications For companies, the use of a lean approach to servitization integrates primary processes and after-sales services and offers new opportunities to develop business. Originality/value This paper provides insights into how the current product range and customer base of a company may be included in an after-sales business model that benefits from a lean approach.
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Kadir, Nuraeni. "Analysis of entrepreneurship perception and business developmental strategy of silk in Wajo Regency, South Sulawesi, Indonesia." International Journal of Law and Management 60, no. 1 (February 12, 2018): 102–13. http://dx.doi.org/10.1108/ijlma-11-2016-0114.
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Purpose This paper aims to investigate the entrepreneurship perception and business developmental strategy of silk business in Wajo Regency, South Sulawesi Province, Indonesia. Design/methodology/approach The study subject was the silk industry located in Wajo Regency, South Sulawesi Province. The study population was 544 silk weavers running the business of silk weaving. The study sample consisted of 235 respondents. To prove the hypothesis stated by the author, the canvas business model analysis method was used to identify entrepreneurship perception, and SWOT (strength, weaknesses, opportunities and threats) analysis was conducted to understand the potential of the strategy of weaving business development in Wajo Regency, South Sulawesi Province, Indonesia. Findings Business model canvas (BMC) is a complex business model that becomes simple through a canvas approach, drawing a sheet of the canvas containing a map of nine elements (box), allowing businessmen to identify the business potential. The nine elements of the canvas that should be understood and considered for running a business are customer segment, value proportion, channel, customer relationship, revenue steam, key resource, key activities, key partnership and cost structure. To improve farmers’ entrepreneurship perception, it would be nice for the weavers who run the silk business should constantly consider the nine elements of BMCso that in running their businesses, they can understand different considerations and create a progressive and developing silk industry. Originality/value This research is about merger two concept of business development in entrepreneurship to increase revenues, with the location of study as originality (no previous research for this relationship): Auditor in Wajo regency South Sulawesi Province in Indonesia. Based on the background stated above, this study aims to analyze entrepreneurship perception and silk industry developmental strategy in Wajo Regency, South Sulawesi Province, Indonesia.
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Miall, R. C., and John Tchalenko. "A Painter's Eye Movements: A Study of Eye and Hand Movement during Portrait Drawing." Leonardo 34, no. 1 (February 2001): 35–40. http://dx.doi.org/10.1162/002409401300052488.
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The mental processes that al-low an artist to transform visual images-e.g. those of his model-into a picture on the canvas are not easily studied. The authors re-port work measuring the eye and hand movements of a single artist, chosen for his detailed and realis-tic portraits produced from life. His eye fixations when painting or drawing were of twice the duration of those when he was not painting and also quite different from those of novice artists. His eye-hand co-ordination pattern also showed dif-ferences from that of novices, be-ing more temporally consistent. This preliminary work suggests that detailed and quantitative analy-sis of a working artist is feasible and will illuminate the process of artistic creation.
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Bladon, Anthony. "Editor's introduction." Journal of the International Phonetic Association 17, no. 1 (July 1987): 8–9. http://dx.doi.org/10.1017/s0025100300003169.
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Revising the International Phonetic Alphabet (IPA) is a pressing task which should find its natural forum for debate in this Journal, above all others. Elsewhere (Ladefoged (1987); and in our own pages, Ladefoged and Roach (1987)) the President and Secretary of the International Phonetic Association issue a call to arms for this task, drawing attention to some preliminary questions on which the Association needs to have a clear view. One question is that of the IPA's constituency: who are the users of the IPA, and what are their different needs for a phonetic alphabet? To help find out, the Association hopes to canvas as wide a population of IPA users as possible, drawing from non-members as well as members.
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Karakas, Fahri, and Emine Sarigollu. "Drawing a canvas of career dreams and passions in life context: A visual study on self-making." Academy of Management Proceedings 2014, no. 1 (January 2014): 17063. http://dx.doi.org/10.5465/ambpp.2014.17063abstract.
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Wu, Yan, Yanying Zhou, Fan Wang, Haowen Zhang, Bingsheng Chen, and Mengshan Li. "DESIGN AND IMPLEMENTATION OF WECHAT APPLETS AIRCRAFT BATTLE." International Journal of Research -GRANTHAALAYAH 7, no. 8 (August 31, 2019): 175–80. http://dx.doi.org/10.29121/granthaalayah.v7.i8.2019.652.
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With the rise and development of WeChat applets, their convenient features are very popular with users, making their number of users develop rapidly. With the emergence of small games in WeChat applets, more and more non-game players are also attracted. This article is about a classic flight shooting game " Airplane Wars" developed by WeChat developer tools and JavaScript language. It mainly uses canvas drawing and sprite wizard to detect collisions and other functions. It can realize smooth human-computer interaction and animation rendering. It has rich game elements and high playability.
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Yen, Karen. "Moving Atlas (artist portfolio)." Borders in Globalization Review 1, no. 1 (November 25, 2019): 91–103. http://dx.doi.org/10.18357/bigr11201919269.
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Using the language of maps, I take on the role of cartographer by tracing emotions, sensations, perceptions and the unchartered realms of my imagination associated with being a person of an ever changing diaspora. Using acrylic paints, paper collage and charcoal on canvas and paper, I rearticulate the practice of mapping by drawing from the landscapes of my memory and imagination. This allows me to temporarily orient myself in this vast world while venturing beyond the boundaries of geography to examine the contradictions between the nature of our imagination and physical boundaries.
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Wegemer, Gerard. "What Holbein & Lockey Captured in The Family of Sir Thomas More: A Family “furnished for the whole scope of human life”." Moreana 45 (Number 173), no. 1 (June 2008): 103–16. http://dx.doi.org/10.3366/more.2008.45.1.12.
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This article explores the striking differences between the predominantly religious scene in Holbein’s 1526/27 Basel drawing of the More family and the predominantly secular scene found in the Holbein/Lockey 1530/1593 oil portrait of the More family found at Nostell Priory. This paper suggests a reading of both works of art, including an interpretation for the choice of the specific books by Seneca and Boethius in the Nostell Priory portrait. It also reviews the history of the portrait, indicating that Holbein probably began this oil painting, or at least prepared the canvas, and that Lockey completed it as a faithful imitation of the original.
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Gijlers, Hannie, Armin Weinberger, Alieke Mattia van Dijk, Lars Bollen, and Wouter van Joolingen. "Collaborative drawing on a shared digital canvas in elementary science education: The effects of script and task awareness support." International Journal of Computer-Supported Collaborative Learning 8, no. 4 (September 8, 2013): 427–53. http://dx.doi.org/10.1007/s11412-013-9180-5.
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Fang, Yu, Bo Ai, Jing Fang, Wenpeng Xin, Xiangwei Zhao, and Guannan Lv. "Multi-Scale Flow Field Mapping Method Based on Real-Time Feature Streamlines." ISPRS International Journal of Geo-Information 8, no. 8 (July 30, 2019): 335. http://dx.doi.org/10.3390/ijgi8080335.
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Traditional static flow field visualization methods suffer from many problems, such as a lack of continuity expression in the vector field, uneven distribution of seed points, messy visualization, and time-consuming calculations. In response to these problems, this paper proposes a multi-scale mapping method based on real-time feature streamlines. The method uses feature streamlines to solve the problem of continuity expression in flow fields and introduces a streamline tracking algorithm which combines adaptive step length with velocity matching to render feature streamlines in a real-time and multi-scale way. In order to improve the stability and uniformity of the seed point layout, this method uses two different point placement methods which utilize a global regular grid distribution algorithm and feature area random distribution algorithm. In addition, this method uses a collision detection algorithm to detect and deal with the unreasonable covering between streamlines, which alleviates visual confusion in the resulting drawing. This method also uses HTML5 Canvas to render streamlines, which greatly improves the drawing speed. Therefore, use of this method can not only improve the uniformity of the seed point layout and the speed of drawing but also solve the problems of continuity expression in the vector field and messy visualization.
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Santucci, Anna. "La ninfa ‘Cyrene’ in un dipinto di Edward Calvert (1799–1883)." Libyan Studies 36 (2005): 111–16. http://dx.doi.org/10.1017/s0263718900005549.
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AbstractCyrene is the tide of an oil on canvas by Edward Calvert (1799–1883), an English artist of the Victorian age, who was a follower of William Blake and member of the group the ʿAncientsʾ. The figure of Cyrene reproduces the Aphrodite statue (sc. Figure M) from the East Pediment of the Athenian Parthenon; probably Calvert studied the marble sculpture in the ʿTemporary Elgin Roomʾ of the British Museum, when he was a student at the Drawing and Life school of the Royal Academy. The painting is difficult to date, but the hairstyle of Cyrene could pertain to the 1830s or 1840s. The unusual subject could be influenced by the first English expeditions in North Africa.
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Mitjans, Frank. "Oedipus's Riddle: Elizabethan transformation of the family portrait of Thomas More, an Appendix to “Non sum Oedipus sed Morus”." Moreana 56 (Number 212), no. 2 (December 2019): 133–59. http://dx.doi.org/10.3366/more.2019.0058.
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Holbein produced a drawing of Sir Thomas More and his Family which was a preparatory sketch for a larger painting. The painting was acquired by Karl von Liechtenstein-Kastelkron (1623–95), Archbishop of Olomouc, Moravia, and was last recorded in 1691 as being kept in the episcopal residence in Olomouc; it is generally assumed that the painting was lost in the 1752 fire at the Archbishop's château in Kroměřiž. There are, however, five extant versions of the Family Group. The three main versions are the full-sized oil on canvas, The Family of Sir Thomas More (1592), now at Nostell Priory, and two paintings of Sir Thomas More, his Household, and Descendants: one kept at the National Portrait Gallery, the other at the Victoria and Albert Museum, London. There has been much discussion about the transformation from a family at prayer—as portrayed in the original drawing—to a conversation on Seneca. Based on editions of Oedipus prior to the Nostell painting, the history of More's descendants, and a cameo that belonged to More's family, this paper argues that the Elizabethan transformation is a story of conformity and non-conformity.
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Chedgzoy, Kate, Elspeth Graham, Katharine Hodgkin, and Ramona Wray. "Researching memory in early modern studies." Memory Studies 11, no. 1 (January 2018): 5–20. http://dx.doi.org/10.1177/1750698017736834.
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This essay pursues the study of early modern memory across a chronologically, conceptually and thematically broad canvas in order to address key questions about the historicity of memory and the methodologies of memory studies. First, what is the value for our understanding of early modern memory practices of transporting the methodologies of contemporary memory studies backwards, using them to study the memorial culture of a time before living memory? Second, what happens to the cross-disciplinary project of memory studies when it is taken to a distant period, one that had its own highly self-conscious and much debated cultures of remembering? Drawing on evidence and debates from a range of disciplinary locations, but primarily focusing on literary and historical studies, the essay interrogates crucial differences and commonalities between memory studies and early modern studies.
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Starkey, Andrew, Kate Steenhauer, and Jack Caven. "Painting Music: Using artificial intelligence to create music from live painted drawings." Drawing: Research, Theory, Practice 5, no. 2 (December 1, 2020): 209–24. http://dx.doi.org/10.1386/drtp_00033_1.
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This article describes the development of artificial intelligence (AI) techniques that monitor a painting or drawing evolving in real time and produce musical notes that relate to the individual elements of art as the artwork develops on the canvas. The article describes the practical approach required to capture the artwork unfolding in real time and then describes the framework used to develop the correlations between visual art and music. The AI technique exploits these areas of similarity within the two distinct artforms in order to respond to the live-painted elements and produce musical notes that reflect the development of the evolving artwork. A prototype of this system was implemented in a live stage performance at Aberdeen May Festival 2019 whose narrative centred on the question Is AI good or bad? Other outputs of this project are a 20-minute film and a body of (tangible) visual artwork for digital platforms and gallery environments informed and inspired by AI. The integration of these disciplines through AI transforms a static artform into one that is dynamic, interactive, transformational, transient and temporal.
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Antoldi, Fabio, Elisa Capelletti, and Chiara Capelli. "Reconsidering the multi-sports club business model: designing effective new strategies in the face of environmental changes." Measuring Business Excellence 20, no. 4 (November 21, 2016): 10–27. http://dx.doi.org/10.1108/mbe-08-2016-0040.
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Purpose This paper aims to discuss the importance of reconsidering the business model in the organizations, to ensure success over time. The paper lies on the analysis and development of the strategies of ten “Società” Canottieri’ – multi-sports clubs in Northern Italy. Design/methodology/approach The strategies of these clubs have been studied via detailed interviews, as well as data and document analysis. Subsequently, two workshops with the management of the clubs were carried out, to collect evidence of the challenges to their sustainability and to identify possible strategies to overcome these challenges. Findings Drawing on Osterwalder’s Business Model Canvas framework and Demil et Lecocq’s approach to business model (a Penrosian approach about the on-going dimension of change as a permanent state of organization), the paper describes how recently emerging issues (external and internal changes) have challenged the traditional business model of these clubs. Finally, authors identify specific actions necessary to (re)create a new value proposition and to modify the sports clubs’ organization in the future, to assure sustainability and success. Originality/value Currently, business model analysis within contexts of (apparent) no economic value creation still remains a relatively unexplored field. The paper describes an effective methodology to implement the business model analysis into a group of independent non-profit organizations. To implement this analysis, the authors adopted the model of Business Model Canvas, but using a transformational and dynamic approach.
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Thomson, Jody, and Bronwyn Davies. "Becoming With Art Differently: Entangling Matter, Thought and Love." Cultural Studies ↔ Critical Methodologies 19, no. 6 (February 14, 2019): 399–408. http://dx.doi.org/10.1177/1532708619830123.
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In this article, we put new materialist concepts to work in an experiment in thinking-with-matter. We write our way into an encounter with two artworks by Australian French Impressionist John Russell, hanging in an exhibition space at the Art Gallery of New South Wales. In being-with and becoming-with the pictures, we go off the beaten track, not concerning ourselves with aesthetics, critique, meaning-making, or sociocultural conventions. We begin with W. J. T. Mitchell’s question what do pictures want? We extend his question, drawing on new materialist philosophers, to explore what is made possible when the matter of paint-on-canvas is encountered, not as inert, but as lively, affective, and intra-active. Our experiment moves to what happens in between ourselves as human subjects and the more-than-human matter of these works of art.
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Choegyal, Sonam, and Monamorn Precharattana. "Indoor Rainbow Model: An Apparatus for Observing Spectrum in Classroom." Applied Mechanics and Materials 879 (March 2018): 260–66. http://dx.doi.org/10.4028/www.scientific.net/amm.879.260.
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The beautiful colors of the rainbow have always fascinated humans and especially children are inspired to various artworks such as drawing, canvas painting, poster, wall decals and so on. Since refraction and reflection of light cannot be seen taking place in raindrop during rainbow formation, children are unaware of all these details. Although throughout the year past, there are many literatures on theoretical and mathematical aspects of rainbow formation, however there are very few studies in education context to teach about this phenomenon to the children in particular by observing and measuring. Therefore, in this paper we are proposing a model that can be used for hands-on learning with high school students about the formation of spectrum in glass sphere. With the help of the model students can see the angle at which different color lights are deviated by the glass sphere and finally, students can also relate the concept learnt from this lesson to real life phenomenon about spectrum formation by rain drop.
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Field, Douglas. "Mapping the International Underground: Jeff Nuttall and Global Counterculture." Bulletin of the John Rylands Library 93, no. 1 (March 2017): 1–21. http://dx.doi.org/10.7227/bjrl.93.1.1.
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Despite publishing nearly forty books between 1963 and 2003, Jeff Nuttall remains a minor figure in the history of the International Underground of the long 1960s. Drawing on his uncatalogued papers at the John Rylands Library, this article seeks to recoup Nuttall as one of the key architects of the International Underground. In so doing, my article argues that Nuttalls contributions to global counterculture challenge the critical consensus that British avant-garde writers were merely imitators of their US counterparts. By exploring the impact of Nuttalls My Own Mag (1963–67) and Bomb Culture(1968), it can be shown that Nuttall was a central catalyst of, and contributor to, the International Underground. As a poet, novelist and artist, Nuttalls multidisciplinary contributions to art were at the forefront of avant-garde practices that sought to challenge the perceived limitations of the novel as a social realist document and visual art as a medium confined to canvas.
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Alam, Jasmine, Mustapha Ibn Boamah, and Rob Moir. "An examination of the social economy: some new theoretical insights." International Journal of Social Economics 45, no. 6 (June 11, 2018): 940–56. http://dx.doi.org/10.1108/ijse-10-2016-0274.
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PurposeThe purpose of this paper is to analyze social profit institutions (SPIs) in the context of the social economy. By drawing on case studies of existing businesses, this paper attempts to situate these businesses more broadly within the social economy.Design/methodology/approachVarious case studies are investigated to illustrate the innovative features of each model through a Lean Canvas tool.FindingsThe findings of the paper provide academics and social entrepreneurs alike more clarity on some of the evolving defining attributes and design features of each of the models SPIs employ.Research limitations/implicationsOne of the future challenges is to devise a framework or categorization system that encompasses all of the new forms of businesses, and hybrids, in a way which reflects their uniqueness and individual design.Practical implicationsIt allows for entrepreneurs in search of a sustainable business model to develop innovative business models and it provides better understanding on how to meet dual objectives.Originality/valueThe paper proposes a definition for SPIs and establishes the importance of classifying SPIs.
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Corazzini, Kirsten, Donald (chip) Bailey, Kayla Wright-Freeman, and Eleanor McConnell. "MHEALTH PROTOTYPE AND PILOT PROTOCOL TO ENHANCE SOCIAL SUPPORT FOR PERSONS LIVING WITH DEMENTIA." Innovation in Aging 3, Supplement_1 (November 2019): S72. http://dx.doi.org/10.1093/geroni/igz038.279.
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Abstract An emerging component of mHealth is the use of tailored mobile applications (app) to facilitate self-management of chronic illnesses, including the mapping of social networks to assist adults living with chronic illnesses to help them be able to identify sources of social support. The purpose of this study is to describe a prototype app to support persons living with dementia (PLWD) in the community and their informal caregivers to map social networks and identify sources of emotional, instrumental, informational, and appraisal of social support. Adapting the Network Canvas open-source software and drawing upon a previously-developed mobile application for adults to self-manage chronic illnesses, we share the key specifications, including health care provider output, preliminary end user feedback, and the pilot protocol designed to test the feasibility. Findings illustrate the importance of leveraging social network data in novel ways to enhance self-management and well-being among PLWD and their caregivers
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Howard, Frances, Andy Bennett, Ben Green, Paula Guerra, Sofia Sousa, and Ernesta Sofija. "‘It’s Turned Me from a Professional to a “Bedroom DJ” Once Again’: COVID-19 and New Forms of Inequality for Young Music-Makers." YOUNG 29, no. 4 (April 1, 2021): 417–32. http://dx.doi.org/10.1177/1103308821998542.
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Given the unprecedented circumstances of the COVID-19 pandemic and increasingly uncertain socio-economic conditions, cultural practice remains a stable canvas upon which young people draw the most agency and exercise a sense of freedom. This article reports on an international research collaboration, drawing on the voices of 77 young musicians from three countries—Australia, England and Portugal—who were interviewed about their music-making practices during lockdown. Despite reporting loss of jobs and income and the social distancing restrictions placed upon the ability to make music, most young music-makers were positive about the value of having more time, to be both producers and consumers of music. At the same time, however, our data also highlight increasing forms of inequality among young music-makers. This article argues that despite short-term gains in relation to developing musical practice, the longer-term impacts of COVID-19 on the music industry will affect the sector for years to come.
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Silvia, Sarah. "The Importance of Social Media and Digital Marketing to Attract Millennials’ Behavior as a Consumer." JOURNAL OF INTERNATIONAL BUSINESS RESEARCH AND MARKETING 4, no. 2 (2019): 7–10. http://dx.doi.org/10.18775/jibrm.1849-8558.2015.42.3001.
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The use of social media and digital marketing is nowadays becoming a strategic tool in terms of building brand awareness and running a marketing campaign. Shifting from the era of conventional or mass media, by using social media and digital marketing, the marketers can track brand’s competitors and have more measurable campaign results. The usage of having these online activities is also to know about people’s opinion about the product, building brand reputation, and most importantly very targeted for the millennials. The study is descriptive in nature. The study used The Hook Canvas Model in Marketing by Nir Eyal. The study objective is to investigate why social media and digital marketing is significant to do branding and marketing activities lately, and what are the proper steps for doing so. The description is based on the explanation of social media and digital marketing usage, especially for Millenials era, explaining the steps of doing digital and online campaign, while also describing The Hook Canvas Model by Nir Eyal for the latest social media and digital marketing phenomenon. The data used in the study include interview, observation, and library research. The data were analyzed in three stages, such as reduction, presentation, and conclusion drawing. The results of the study show that social media and digital marketing campaign are not only useful to create brand awareness and engage the customers but also crucial in terms of measurement. By doing these kinds of marketing efforts (digitally), the effectiveness of each campaign can be measured, the behavior of the customers or even the potential ones could be tracked beforehand, and the reach of the message could be spread wider rather than making only traditional marketing efforts. social media in digital marketing
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Jelley, Jane. "From Perception to Paint: the Practical Use of the Camera Obscura in the Time of Vermeer." Art & Perception 1, no. 1-2 (2013): 19–47. http://dx.doi.org/10.1163/22134913-00002006.
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This is a report of a studio experiment to explore how images from the camera obscura could have been used directly by artists of Vermeer’s era. It has a pragmatic and practical approach, bringing a painter’s eye and experience to the problems of transferring images from the lens to a canvas, using the primitive technology and unrefined materials available then. It addresses how an artist could use the condensed, flattened images from camera obscura projections in his painting process, when the subject could appear reversed and inverted on the screen or on the wall. It considers how the limitations of the materials that make transfers possible might affect studio practice, and ultimately the stylistic qualities of the work produced. This paper outlines a simple printing method that would enable the seventeenth-century painter to transfer monochrome images, corrected in orientation, from the lens to a canvas with relative ease, for use as the painting progressed in the stages prescribed at the time. Prints made on the ground layer could form the basis of underpainting, while those on top layers could transfer highlights and optical effects, not seen with the naked eye. This technique would allow the painter to be in the light of his studio, facing his motif, when working in colour. Reference is made to art historical literature and contemporary workshop treatises, and all materials used are authentic. The results obtained using this process are consistent with the visual evidence of the way in which Vermeer applied his paint, and with recent scientific examination of his work. The findings suggest possible causes for some of the unusual qualities of Vermeer’s work, in particular the strong tonal polarity in the underpainting with no evidence of drawing, his choice of material in the ground layers, and the qualities of variable focus.
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Madan-Soni, Roma. "Untitled, Work by Fadi Yazigi, curated by Myriam Jackiche Atelier, Damascus, Syria, 1 January–1 December 2019." Craft Research 11, no. 2 (September 1, 2020): 314–27. http://dx.doi.org/10.1386/crre_00032_5.
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Fadi Yazigi’s exhibition Untitled creatively examines the effects of historical and political instabilities in his homeland over the last decade. Yazigi’s audience stands in the centre of an array of crafted exhibits that range from medium- to large-size everlasting bronze sculptures and brittle clay reliefs to figurative paintings decorating the surfaces of friable rice-paper canvas and fragile daily baked bread. The exhibition’s title is metaphorical: it embodies the ambiguities, inequalities and uncertainties in the daily lives of ordinary people in war-struck Syria. The ‘everyday use’ materiality of Yazigi’s craft assumes a form that reflects the complexities, contradictions and negotiations in the ‘trope of the everyday’ in the region and on a global scale. Yazigi’s work centres on people and human emotions with a nostalgic feeling towards the beings he meets. Yazigi smears oil, ink and acrylics as he employs techniques of drawing, painting, sculpting and moulding, using earth-sourced materials like paper, bread, soil and metal presenting the lives of ordinary people and their humane emotions.
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Scally, Jennifer B., and Rhiannon Lord. "Developing physical activity interventions for children with a visual impairment: Lessons from the First Steps initiative." British Journal of Visual Impairment 37, no. 2 (January 13, 2019): 108–23. http://dx.doi.org/10.1177/0264619618823822.
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Children with a visual impairment are less active than their sighted peers. Yet, they are born with the potential to match their sighted peers’ motor skill competency and levels of physical fitness. Environmental barriers are one of the main causes of inequities. This article provides insight on these issues, drawing upon a physical activity intervention called ‘First Steps’, a British Blind Sport initiative that aimed to get more children with a visual impairment more active. Physical activity packs were delivered to 53 children, aged 5–15 years, with a visual impairment. Of these participants, 62% had additional impairments or medical conditions. A mixed-methods approach was used to gather participants’ experiences of physical activity prior to receiving this pack and canvas opinion on how the pack changed their activity levels. The findings revealed inequitable experiences of physical activity. The First Steps pack made considerable progress in developing children’s physical activity levels. Participants’ motor skills, social interactions, and confidence improved. Organisations working with this population might look to adopt a similar concept. Recommendations for those wishing to do so are provided.
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Poole, Adam. "Re-theorising the funds of identity concept from the perspective of subjectivity." Culture & Psychology 26, no. 3 (March 20, 2019): 401–16. http://dx.doi.org/10.1177/1354067x19839070.
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This paper is a theoretical response to recent developments in the funds of identity literature which has seen the introduction of two interconnected concepts, ‘dark funds of identity’ and ‘existential funds of identity’. While these recent concepts may expand the canvas from which researchers draw in developing interventionist approaches for minoritised students, they nevertheless polarise positive and negative emotions and experiences which is problematic on a conceptual level. This paper addresses this issue by first presenting how funds of identity and existential funds of identity have been theorised, arguing that there remains a tension between the distributed theory of the original conceptualisation of funds of identity and the phenomenological and subjective dimension that underpins existential funds of identity. In order to resolve this tension, I situate the funds of identity concept within a cultural historical tradition, drawing upon González Rey’s work on subject sense and subjectivity in order to propose an alternative conceptualisation of funds of identity that allows researchers to transcend the dichotomy of positive and negative emotions.
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Hatch, Mary Jo, and Dvora Yanow. "Methodology by Metaphor: Ways of Seeing in Painting and Research." Organization Studies 29, no. 1 (January 2008): 23–44. http://dx.doi.org/10.1177/0170840607086635.
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Scholars paint theoretical canvases, using words, without always making transparent the logic of inquiry embedded within their writing. This is especially so when writing for their own epistemic communities, whose members share a set of usually unspoken methodological presuppositions concerning the `reality status' of what they study and its `know-ability'. When research topics engage scholars across epistemic communities, as in organizational studies, arguments may be difficult to parse precisely because these presuppositions remain implicit, unnoted and, perhaps, unnoticed. By enabling new ways of seeing familiar things, metaphors can facilitate such encounters by making the implicit less so. We turn to painting to enable metaphoric understanding of methodological differences in organizational and other social science scholarship, drawing on examples from the organizational identity literature. Much as artists look at the world around them and render things on canvas using a range of techniques, so researchers use methods reflecting ontological and epistemological presuppositions about their research worlds. Contrasting Rembrandt with Pollock presents, through metaphor, our case for seeing differences between realists and interpretivists, whether they paint or do research.
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DE GIORGI, LAURA. "Chinese Brush, Western Canvas: The travels of Italian artists and writers, and the making of China's international cultural identity in the mid-1950s." Modern Asian Studies 51, no. 1 (December 21, 2016): 170–93. http://dx.doi.org/10.1017/s0026749x16000263.
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AbstractAfter 1955 the People's Republic of China looked to Western Europe to develop new economic and cultural relations, and to project its new image as an independent Socialist state. In this new context, between 1955 and 1957 several Italian delegations visited China to explore the possibility of cooperation between China and Italy in the field of literature and art. This article investigates the most important of these delegations, led by the jurist, Piero Calamandrei, in 1955, and some subsequent initiatives, such as the exhibition of Italian artists held in Beijing in 1956. Drawing mainly from Italian published and private sources, the article explores how Socialist China's revolutionary cultural identity was understood and received in Italy in this period. It does so with special reference to the impact of Soviet cultural influence on China, and the prospect of Sino-Italian cooperation in the field of arts and literature as a way to bridge the East–West political and ideological divide.
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Bruyn, J. "François Venant. Enige aanvullingen." Oud Holland - Quarterly for Dutch Art History 111, no. 3 (1997): 163–76. http://dx.doi.org/10.1163/187501797x00195.
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AbstractSince J. G. van Gelder was able to identify a number of works by François Venant (1591/92-1636) in 1938 (note 2) and Kurt Bauch and Astrid Tümpel added to these one painting and a drawing (notes 14 and 3), the artist has been known as one of the so-called Pre-Rembrandtists. Together with his contemporaries Claes Cornelisz. Moeyaert (c. 1590/91-1655) and Jacob Pynas (1592/93-after 1650) he was one of the younger artists of this group. Its style was dominated by Pictcr Lastman (1583-1633) and Jan Pynas (1581/82-1633), both of whom underwent the influence of Adam Elsheimer during their stay in Rome. Venant married a younger sister of Lastman in 1625. The latter's influence on his work had however set in well before that year. Jacob's Dream, signed and dated 161(7?) (note 10, fig. 2) testifies to this, as well as showing traces of Elsheimer's influence, possibly transmitted by Jan Pynas (notes 12 and 13, fig. 3). A somewhat later signed work, David's parting from Jonathan (note 5, fig.1), closely follows Lastman's version of the subject of 1620 (note 6) though the grouping of the two figures may be taken as typical of Venant's personal style. In an unsigned picture of Gideon's Scacrifice, which may also be dated to the early 1620s (note 14, fig. 4), the artist once more makes use of motifs from various works by Lastman. Two undated drawings would seem to represent a slightly later stage in the artists's development. The Baptism of the Eunuch (notes 16 and 18, fig. 5) betrays the attempt to emulate Lastman's pictures on the subject, especially one of 1623 (note 17), by enhancing the dramatic actions in the scene, and so does Gideon's Sacrifice (note 20, figs. 6 and 8), which seems to be based on Lastman's Sacrifice of Monoah of 1627 (note 21, fig.7). To these works, spanning a period from 1617 (?) to the late '20s, may be added two more, another drawing and a painting. The drawing of Daniel at Belshazzar's Feast was formerly attributed to Lastman (notes 25-33, figs. and 10). While the technique, notably the use of wash, differs from that in the drawings mentioned above, the similarities to these in linear rhythm and conception are such that they may all be attributed to the same hand. The technical differences may be accounted for by assuming a slightly later date and, more particularly, a different purpose; whereas the other drawings were in all likelihood self-contained products, Belshazzar's Feast appears to be a sketch for a painting. The last phase of Venant's career seems to be represented by the largest painting known to us and the only one on canvas, Elisha Refusing Naäman's Gifts (note 34, fig. 11). It shows the artist disengaging himself from Lastman at last, possibly after the latter's death in 1633. While the composition is still reminiscent of his carlier work, here Venant seems to have made a fresh start by allowing study from life to play a more important role than before. The landscape differs radically from earlier backgrounds and may well have been influenced by Barholomeus Breenbergh, who returned from Italy around 1630 and whose influence may also be detected in the heavy wash that marks the Belshazzar drawing. The artist's further development was cut short by his untimely death, probably of the plague, in 1636.
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Grant, Susan, and Alice Fisher Fellow. "Nurses Across Borders: Displaced Russian and Soviet Nurses after World War I and World War II." Nursing History Review 22, no. 1 (2014): 13–36. http://dx.doi.org/10.1891/1062-8061.22.13.
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Russian and Soviet nurse refugees faced myriad challenges attempting to become registered nurses in North America and elsewhere after the World War II. By drawing primarily on International Council of Nurses refugee files, a picture can be pieced together of the fate that befell many of those women who left Russia and later the Soviet Union because of revolution and war in the years after 1917. The history of first (after World War I) and second (after World War II) wave émigré nurses, integrated into the broader historical narrative, reveals that professional identity was just as important to these women as national identity. This became especially so after World War II, when Russian and Soviet refugee nurses resettled in the West. Individual accounts become interwoven on an international canvas that brings together a wide range of personal experiences from women based in Russia, the Soviet Union, China, Yugoslavia, Canada, the United States, and elsewhere. The commonality of experience among Russian nurses as they attempted to establish their professional identities highlights, through the prism of Russia, the importance of the history of the displaced nurse experience in the wider context of international migration history.
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Singh, Santosh Kumar. "Contemporary Socio-Cultural Issues in Recent Mithila Paintings." Social Inquiry: Journal of Social Science Research 1, no. 1 (December 27, 2019): 8–27. http://dx.doi.org/10.3126/sijssr.v1i1.26913.
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This article examines how Mithila art functions as a window to Maithili values and its current innovations in the field which notes the change both in society and the canvas. Two illustrious contemporary Mithila painters, Rani Jha from India and S. C. Suman from Nepal, shows how Mithila art has swerved from traditional motifs and themes to the on-going socio-cultural and socio-political issues even as the aim of painting is commercial, that is, to earn money by making the art saleable among foreign tourists and art lovers. While Rani Jha mostly highlights women’s issues, Suman remains engaged with Nepal’s volatile political situation which sometimes makes him pessimistic and sometimes optimistic. It also makes the point that Mithila painting is largely women-centred, despite the hold of patriarchy. The one, controlling, socio-semiotic meaning of Mithila art is that it is an expression of women’s assertiveness and agency of their subjectivity within the Lakshman Rekha drawn by Maithili patriarchy. The objective of this research is to show how the geographically confined Maithili drawing happens to communicate larger issues at national and global levels at a fresh time. And to prove the main argument, this study makes use of the theoretical framework of socio-semiotic analysis. A semiotic analysis of the artwork in the light of the specific socio-cultural contexts of Mithila reveals that the art not only alerts and modifies the mindset of the stakeholders but also visualizes the socio-cultural troubles of the existing era.
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Privitera, Antonella, Maria Francesca Alberghina, Elèna Privitera, and Salvatore Schiavone. "Multispectral Imaging and p-XRF for the Non-Invasive Characterization of the Anonymous Devotional Painting ‘Maria Santissima delle Grazie’ from Mirabella Imbáccari (Sicily, Italy)." Heritage 4, no. 3 (September 10, 2021): 2320–36. http://dx.doi.org/10.3390/heritage4030131.
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This work presents the results of the in situ, non-invasive diagnostic investigations performed on the canvas oil painting depicting Madonna and Child, venerated as ‘Maria Santissima delle Grazie’ by the local religious community. The work of art (72 cm × 175 cm) is located on the high altar of the main Church in Mirabella Imbáccari, near Catania (Sicily, Italy). The painter is anonymous, and the supposed dating is the late eighteenth century. Although the painting has never been studied before, it has been attributed to a Sicilian workshop in the literature, raising the doubts of the art historian who conducted this study and who hypothesized a Neapolitan manufacture. Furthermore, due to the good conservation state detected by a macroscopic examination, doubts also arose about dating. To shed light on these aspects, a technical-scientific examination proved necessary. Multispectral imaging techniques (IR Reflectography, UV-induced visible Fluorescence, X-ray) are carried out for the study of the execution technique, the identification of underlying remakes, sketch drawing and the evaluation of the conservation conditions. XRF spectrometry analysis is performed for the identification of the chemical elements constituting the pigments (inorganic chromophores). The diagnostic results allowed this research to confirm the dating suggested by the historical-stylistic knowledge and to highlight new technical peculiarities supporting the attribution to a Neapolitan workshop.
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Burdina, S. V., and L. N. Sultanova. "Peculiarity of Embodiment of Literary Text by N. Leskov in Libretto of Opera by R. Shchedrin “The Enchanted Wanderer”." Nauchnyi dialog, no. 5 (May 30, 2020): 272–85. http://dx.doi.org/10.24224/2227-1295-2020-5-272-285.
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On the example of reading two texts the story of N. Leskov “The Enchanted Wanderer” and the libretto of “opera for a concert stage” by R. Shchedrin the mechanism of transformation of a literary text into an opera libretto text is described in the article. The principles of elimination, intensification and re-emphasis are described as basic principles of such a transformation. It is shown how their implementation affects the concept of the main character, genre features and the architectonics of the libretto. Particular attention is paid to the concept of the main character. It is concluded that, working with Leskov’s text, reducing and supplementing it, shifting individual accents, R. Shchedrin as a whole does not deviate from the narrative in the interpretation of the concept of the main character, does not violate the genre specificity of the work, the general drawing of its plot and plot canvas. The relevance of the article is due to the fact that Shchedrin’s opera “The Enchanted Wanderer” (last production - New York, 2015) still causes a considerable research reaction both in Russia and abroad. The novelty of the article is due to the fact that there is no literary study on the comparative analysis of two texts: the story of Leskov and the opera libretto by Shchedrin. Meanwhile, the consideration of the ways and methods that artists went to implement the main idea of the work seems important and interesting.
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Sovhyra, Tetiana. "ARTIFICIAL INTELLIGENCE AND ISSUE OF AUTHORSHIP AND UNIQUENESS FOR WORKS OF ART (TECHNOLOGICAL RESEARCH OF THE NEXT REMBRANDT)." CULTURE AND ARTS IN THE MODERN WORLD, no. 22 (June 30, 2021): 156–63. http://dx.doi.org/10.31866/2410-1915.22.2021.235903.
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The purpose of the article is to explore the specifics and uniqueness of visual works created using AI technology. The research methodology is based on applying analytical, theoretical, and conceptual research methods of technological art and the interrelation between digital technologies and art in general. The scientific novelty lies in the fact that the art forms that created using digital technologies were analysed for the first time. In the article, we have considered the phenomenon of technological art due to integrating art and technology. Conclusions. It is revealed that due to the mathematical analysis of the artists’ artworks, certain algorithms of the author’s work can be found, the main components of the work of art can be analysed, and the sign system of art can be transformed into a system of a different order which is numerical one. Thus, the colour, shape, positioning of the objects on the canvas (composition) — everything turns into numerical formulas and combinations. The graphic drawing is transformed into digital, algorithmic. A certain number system is being built, which allows to group works (one artist, era, art movement) into single collection systems, analyse and identify similar algorithmic chains, and create new art products based on these algorithms using the obtained numerical combinations. It means that with algorithmic analysis, it is possible to compare and even combine different types of art within one plane, one form, and one art product.
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Abdul Karim, Khairi Asyraf. "Seni Kreatif Dengan Penggunaan Medium Sisa Dalam Era Norma Baharu." Idealogy Journal 6, no. 2 (September 1, 2021): 35–42. http://dx.doi.org/10.24191/idealogy.v6i2.298.
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Creativity involves thinking skills and thinking that conveys ideas, while critical thinking is thinking that assesses ideas. Creative thinking terminology also carries the meaning of thinking outside the box. The current scenario does not limit us to work, but rather become more creative in thinking of an idea. The creative idea in this artwork arose when a situation asked us to always stay at home, and barred us from going out looking for the material. The uniqueness in its process is the use of materials that replace canvas, acrylic or watercolor, and drawing tools. This is due to the difficulty in obtaining art supply sources due to the Movement Control Order (MCO/PKP) which is still in force. Referring to the scenario, why don't we look around to get an idea? What is the impact if we use existing materials around to be used as a medium? Have we ever considered taking such action when faced with this situation? Isn't that called creativity? Could this be what the New Norm means? This artwork has a back to the basic concept. When the new norm takes place, it is like a baby who needs to learn the norms of life. The abstract paintings created feature basic shapes such as squares and oval that we often see everywhere in our day. It describes the basic concepts as we begin to learn to draw. This is very much related to the new norm that we need to get used to and start from the basics. It’s not just about art, it’s about creativity.
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Hidden, Karen, and Jonathan Tresman Marks. "Misaligned Needs in the Pursuit of Shared Value: A Multi-Stakeholder Study of the Shift from Corporate Social Responsibility to Corporate Social Entrepreneurship in an Emerging Economy." Journal of Entrepreneurship and Innovation in Emerging Economies 6, no. 2 (May 8, 2020): 363–82. http://dx.doi.org/10.1177/2393957520913766.
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Corporate social responsibility (CSR) has long been highlighted by business and society as essential. However, it has been suggested that over time, the relationship between the corporate donor and their CSR recipients has become fragmented. CSR investments that are predominantly business-driven have led to missed opportunities in fostering a potentially brand loyal market, developing future employees and entrepreneurs and facilitating innovation and growth within the broader economy. In order to address these short comings, it has been argued that a shift from CSR to corporate social entrepreneurship (CSE) may yield a broader set of benefits—for the company, its recipients and society at large. The aim of CSE is to create accelerated and disruptive change in pursuit of new social and economic opportunities. Literature, however, is limited as to the role stakeholders play in this process, especially in contexts where needs and values are not aligned. The current study, drawing on CSE theory, was undertaken to provide a mutually sustainable model of engagement between stakeholders. It also aims to address Porter and Kramer’s (2006) suggestion that there does not appear to be a strategically aligned process available for the benefits of both corporate donors and their recipients. A combination of phenomenology and Grounded Theory was used as methodological frameworks for this research. Staff from Dell Computers South Africa and two of their donor-funded recipients were used as part of the sample group. Eight categories emerged from the data analysis, and a conceptual model, based on the traditional Business Model Canvas, was developed. This model acts as a visual tool for corporates and recipients when engaging in CSE practices as well as a conceptual framework to inform future research and advance theory in the field of CSE.
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Kok, Erna. "A love couple revealed, Jacob Adriaensz Backer's so called David en Bathsheba identified as Isaac and Rebecca." Oud Holland - Quarterly for Dutch Art History 124, no. 2-3 (2011): 119–40. http://dx.doi.org/10.1163/187501711798264201.
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AbstractJacob Backer signed and dated (1640) a history piece that until now was entitled David and Bathsheba and is located in Tokyo. The image however, lacks the traditional iconographical motifs from which we can recognize this old biblical story. In this article I propose that the painting is a portrait historié of the wealthy Amsterdam couple Marinus Lowysse and Eva Ment represented as Isaac and Rebecca. Backer modelled his biblical love couple after Rafael's fresco Isaac and Rebecca spied upon by Abemelich in the Vatican. Backer must have known that image from Sisto Badalocchio's print of 1607 in Historia del Testamento Vecchio - this collection of fifty prints was reprinted in Amsterdam in 1638. The identification as Isaac and Rebecca does not show at first sight in the present painting. Therefore, we have to take in consideration that the current image is heavily over painted and the canvas is reduced by almost 65 %. Fortunately a drawing in Braunschweig – that was convincingly attributed by Peter van den Brink as a modello by Backer - offers a clear idea of the monumental standing format of the original painting and it's explicit erotic content. This is particular notable in the slung-leg motif that contemporaries undoubtedly would have recognized as the act of making love. The erotic allusions, the rare subject, and the unusual huge standing format are indicative of a commission. The identification of the commissioners derives from the striking likeness, in features and clothing, that the man in the Tokyo painting shows with the portrait of Marinus Lowysse, that he – as we know - commissioned from Backer in the same year of 1640, a Portrait historié of Marinus Lowysse en Eva Ment, with their children, presenting the history of Christ and the Canaanite Woman, now in Middelburg. Recently an unknown painting of Backer turned up at the art market, which is very likely another portrait of Marinus Lowysse; apparently he was an important client of Backer.
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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 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.
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Pichugina, Olga K., and Denis V. Ilitchev. "“THE MADONNA WITH A VEIL” BY RAPHAEL SANTI. ORIGINAL. COPIES. IMITATIONS." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 40 (2020): 172–83. http://dx.doi.org/10.17223/22220836/40/14.
Full textAbstract:
The article is devoted to the history of the existence and technique of the original, copies and imitations of the Madonna with the Raphael Madonna del velo, one of the most popular objects of copying in the European pictorial culture of the 16th – 17th centuries. The history of the original Raphael is closely connected with the medieval icon of Madonna del Popolo, revered as the hand-made work of the apostle Luke and the lifetime portrait of the Mother of God. The glory of the medieval original in the eyes of contemporaries was projected onto the picture of Raphael, giving it the status of an actual interpretation of the ancient shrine. This explains the special interest in its copying. During the 16th century, the original Raphael, now stored in the Conde Museum in Chantilly, France, was updated, radically changing the plot of the work. In the XVII century, imitations of Raphael's paintings were often distributed, often created by large masters. The article deals with the methods of copying, typical for artistic practice of the 16th century. As a rule, the painting, which came out of the walls of the workshops of famous artists, was the product of the collective work of the master – the owner of the workshop, apprentices and pupils. The finished composite composition created by the master was previously performed in the form of a cardboard-priporokh, the so-called spolvero, with which it was transferred to a picturesque base. The cardboards were carefully preserved, donated and handed down by inheritance. Traces of spolvero are found in the original Madonna del velo. Currently in the scientific literature there are references to more than one hundred copies of the Madonna with a veil. Some of them are considered works of the 16th century. The most famous copies are kept in the Louvre, the Center of P. Getty, the collection of D.P. Morgan and Del Drago. The Louvre copy of the painting is considered the closest to the original. In all of these works, the drawing of the part of the composition related to the initial version of the original is relatively accurately reproduced. The figure of Josef, which appeared later, is reproduced in different versions with significant variation in the position and proportions of the head and hand drawing. It can be assumed that the compositions of early copies were created either directly from Rafael’s cardboard. Or usеd copies from it. The figure of Josef may have been directly copied from the original or created from cardboard, in which the drowing was of simplified schematic nature. Two-figured copy of the painting, displaced from panel to canvas by one of the Russian school of restoration A.F. Mitrokhin in 1827, kept in the Urals in the Art Museum of Yeraterinburg.
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Recke, Moritz Philip, and Stefano Perna. "Emergent Narratives in Remote Learning Experiences for Project Based Education." Electronic Journal of e-Learning 19, no. 2 (April 21, 2021): 59–70. http://dx.doi.org/10.34190/ejel.19.2.2142.
Full textAbstract:
The University of Naples Federico II (Italy) offers a nine-month formative training program aimed at software development for the Apple technology ecosystem to ~400 learners per year and utilises the Challenge Based Learning (CBL) methodology as a framework for learning. As a collaborative and self-guided, inquiry-based learning method, it focuses on learners’ intrinsic motivation while working on real world problems organised in projects (Challenges in CBL) with an experiential and progressive approach to apply acquired knowledge in real world scenarios, ideate solution concepts and build innovative digital products. To overcome limitations of spiral curriculum or elaboration theory, the authors applied narrative theory to design the program’s educational experience for the academic year 2019/2020 as a cohesive journey within a communal learning environment with a coherent and connected structure of narratively driven learning Challenges. The authors present concepts to develop their approach further towards an emergent narrative experience design system to manage the educational journey as it develops, rather than scripting it. This paper evolves the authors’ Narrative Experience Design Canvas to model educational experience design that encourages unscripted, emergent narratives for experiential education with the goal of fostering learners’ engagement, agency and creativity. Derived in part by models developed for digital interactive storytelling or educational video games, it categorises the components for designing an educational experience that allows the learning progression to be driven by learners as co-authors and describes mechanisms that allow unscripted narratives to emerge based on intrinsic motivation. Additionally, the authors present considerations for synchronous and asynchronous learning to evolve their framework for application in blended or remote learning scenarios. Drawing upon findings for remote learning and experiential e-learning - ee-learning - presented by scholars as well as implications identified during the COVID-19 pandemic and the resulting switch to remote learning within the program at University of Naples Federico II in 2020, it is shown how combining narrative elements with experiential e-learning principles can result in increased engagement, motivation and sense of community in learners. Using the example of an individual learning unit - a Challenge - considerations from overall course design down to day-to-day learning activities within the course are presented. For the future, the authors indicate action points to develop this model into an Emergent Narrative System for designing narratively driven and experiential software development education programs and indicate areas of further research on learning activity design for blended or remote learning experiences.