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Journal articles on the topic 'Face painting'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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1

Zhan, L., Z. Wang, X. Zhao, Z. Liu, and G. Liu. "THE MONITORING AND ANALYSIS OF THE CHINESE TRADITIONAL ARCHITECTURE PAINTING DECAY – THE CASE OF JILAN PAVILION IN THE SUMMER PALACE." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W5 (August 23, 2017): 737–41. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w5-737-2017.

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The painting is one of the most decorative elements of ancient Chinese architecture and it is sensitive to the natural environment. The outdoor painting is very easily to be affected by the natural environment and its color is easily to decay. In order to study the relationship between the painting decay and the physical environment, the two paintings on both east and west inner eaves of Jilan Pavilion beside the Kunming Lake in Summer Palace are taken as the research objects, because these two paintings are painted at the same period but their decay degrees are greatly different. Since 2013,
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Schenk, Astrid, and Jeroen Stumpel. "Facial Types in Painting and Recognition Skills: Laymen as Connoisseurs." Art and Perception 5, no. 2 (2017): 143–67. http://dx.doi.org/10.1163/22134913-00002063.

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The history of art attribution in painting demonstrates that connoisseurs compare faces and facial features in their efforts to ascribe paintings to regions, schools, workshops and specific artists. Connoisseurs do not generally reflect on their application of face recognition or its importance. Since connoisseurs apply both specialist perception skills (recognising a brushstroke technique, for instance) and generic perception skills, an experiment was performed aiming to eliminate a connoisseur’s specialist skills. The experiment was performed using laymen observing faces, derived from painti
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Ramanda Syah Putra, Erlina Novianti, and Silviana Amanda Aurelia. "TEKNIK PENCAHAYAAN BEAUTY SHOT GLOW IN THE DARK FACE PAINTING DENGAN KONSEP REOG PONOROGO." Jurnal Dimensi DKV: Seni Rupa dan Desain 8, no. 2 (2023): 185–202. http://dx.doi.org/10.25105/jdd.v8i2.18396.

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The Beauty Shot Glow in The Dark Face Painting Lighting Technique with Reog Ponorogo Concept. Beauty shot photography is based on the idea that everything in the photo must look beautiful, attractive, and have an aura. Face painting is a face painting process as a medium to be painted. Along with the times, face painting has experienced a creative modification in the use of paint, namely glow in the dark painting which can light up or refract its color in the dark. Glow in the dark face painting is to paint using special paint media that cannot cause irritation and damage to the skin. Besides
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Peers, Glenn. "Real Living Painting: Quasi-Objects and Dividuation in the Byzantine World." Religion and the Arts 16, no. 5 (2012): 433–60. http://dx.doi.org/10.1163/15685292-12341234.

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AbstractThis article examines an issue that has troubled Byzantine art historians: what Byzantines meant by “living painting.” It attempts to simplify the problem by accepting the sources at face value (painting was indeed alive) and to complicate our understanding of painting (painting occupied a subject-position just as fully as humans did). It uses the notion of ‘dividuals,’ which are opposed to discrete entities like individuals, and of ‘quasi-object,’ so that painting, metal work, stones, and people all appeared in some fashion as objects, but only superficially so. The cases used to esta
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Suhandi, Noverainsy Millenia. "Sunset Pura Ulun Bali Sebagai Inspirasi Dan Aplikasi Tata Rias Face Painting." JURNAL RUPA 7, no. 2 (2022): 91. http://dx.doi.org/10.25124/rupa.v7i2.3801.

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Face painting is a kind of art that use a face to be the media; it is included in the art of makeup because it changes the face of some people to get the purpose of art. For now, face painting has grown into makeup and makes a face look more glamorous in any event, such as a Halloween party, carnival, UV glow painting, and fashion art wear. Many artists or influencers in cosmetology apply new techniques to get unique makeup. One of them is the grading color technique, a color transition gradually, combining some elements of change with exciting unity. Beautiful view of nature in Dewata Bali Is
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Downing, Crystal, and Frances E. Dolan. "Face Painting in Early Modern England." PMLA 109, no. 1 (1994): 119. http://dx.doi.org/10.2307/463017.

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Mengham, Rod. "thurnauer: vt and vi, to paint in the second person." Text Matters, no. 5 (November 17, 2015): 221–30. http://dx.doi.org/10.1515/texmat-2015-0016.

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Many of the figures in Thurnauer’s paintings who fix us with their gaze have been borrowed from the work of Manet, the artist who organized so many of his paintings around a face-to-face confrontation of viewer and work. The painting returns the viewer’s gaze with total impartiality, making us see our own motives and investments more than the illusion that the figure in the painting will accommodate them.
 Issues of language often surface literally in paintings by Thurnauer; written language appears sometimes as part of the material fabric in which human figures move or recline. The textu
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Paramita, Divia Indri, and Hayatunnufus Hayatunnufus. "Perbandingan Hasil Face Painting Menggunakan Teknik Manual Dan Teknik Airbrush Pada Makeup Karakter." JURNAL PENDIDIKAN DAN KELUARGA 11, no. 02 (2020): 219. http://dx.doi.org/10.24036/jpk/vol11-iss02/648.

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Prias is not only required to enhance the appearance of the face and hair, but also a total appearance complete with supporting appearance that can reinforce one's character. This study aims to determine the results of face painting using manual techniques and airbrush techniques on character makeup and determine the differences in face painting results between manual techniques and airbrush techniques on character makeup. The type of this research is Quasy Experimental. The study population was 45 students with 4 samples. T test test analysis technique. Based on the research results obtained
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Abdul Rahim, Rosliza, Mumtaz Mokhtar, and Ishak Ramli. "A Review Of Alternative Ways Malaysian Artists Approach Self-portraits Painting." Idealogy Journal 8, no. 1 (2023): 152–58. http://dx.doi.org/10.24191/idealogy.v8i1.415.

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Painting for presentation Self-portraits have been revolutionised on several occasions. To achieve different effects in their portrait painting, the artist experimented and manipulated various media. Portraits are commonly defined in art as a likeness of a person, particularly a face till shoulders, but there are other ways to define a portrait and a painting. There is a lack of comprehension and interpretation of the topic. As a result, the purpose of this research is to trace the history of the self-portrait. From the 1940s to the 2000s, reviews were written in the form of a year-by-year chr
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Darmawan, Andreas James. "Visual Design Face Painting: Language Expressions Stylized for Wayang Punakawan." Humaniora 8, no. 1 (2017): 57. http://dx.doi.org/10.21512/humaniora.v8i1.3696.

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On this research, the author focused on the scope of Punakawan face painting that expected to become a starting point from the first step in making the visual standardization proposals, which the visual variety of face painting Punakawan was not consistent yet. The research objective was to become one of the methods to re-popularizing by building a visual consistency in Punakawan face painting so that it became more modern and simple without losing the original characteristics of it. The method was performed in the visual design, from visual references research, visual analysis and matching wi
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Neode, Haris Candra, I. Gede Yosef Tjokropramono, and I. Dewa Putu Gede Budiarta. "Figures of Classic Kamasan Painting as Inspiration for the Creation of Modern Painting." CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI 3, no. 2 (2023): 174–89. http://dx.doi.org/10.59997/ctkr.v3i2.2994.

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The classic painting of Wayang Kamasan began when the Modara puppet painting, made by I Gede Mersadi was favored by the king of Klungkung. Then he was given the nickname Modara according to the puppet figure he painted. By king Klungkung Modara was sent to work on many projects so that his puppet painting style spread and until now it is known as Classical Painting Wayang Kamasan. The characteristic of this painting can be seen from the coloring technique that uses the sigar warna and sigar mangsi techniques. (Ni Wayan Sri Wedari, 2022:9). Broadly speaking, the forms of wayang can be distingui
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Pottasch, Carol. "The transformation of Adriaen Thomasz. Key’s Portrait of William of Orange." Ge-conservacion 18, no. 1 (2020): 190–99. http://dx.doi.org/10.37558/gec.v18i1.827.

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When the iconic portrait of William of Orange by Adriaen Thomasz Key was brought to the conservation studio of the Mauritshuis, examination of the radiograph showed that part of the painting was not original. Prior to the painting’s arrival in the Mauritshuis, the left plank of the original oak support had been lost or removed, and replaced by another plank. Also, the whole painted surface, except for the face, was broadly overpainted. During the recent treatment, the conservators made the decision to remove most of the overpaint, and retouch the painting in an illusionistic way. Different opt
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Zhao, Wanpeng. "Change and Reflection: the Boundary and Relevance in the Study of Painting in Song Dynasty." Journal of Education, Humanities and Social Sciences 20 (September 7, 2023): 21–24. http://dx.doi.org/10.54097/ehss.v20i.11413.

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In the face of the disciplinary crisis of art history, the methodology of the study of Song painting has been adjusted accordingly. Similar to other humanities, the study of Song painting draws on interdisciplinary research results, inherits its research methods, and has achieved rich research results, further promoting the research vision of the discipline. Reflecting on the research results of Song painting under the guidance of interdisciplinary research methods, we can find that the problem of demarcation and correlation is a serious problem that must be faced.
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14

Dolan, Frances E. "Face Painting in Early Modern England - Reply." Publications of the Modern Language Association of America 109, no. 1 (1994): 120. http://dx.doi.org/10.1632/s0030812900175789.

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15

Guo, Qing. "Development Trend of Car Painting Technology." Advanced Materials Research 591-593 (November 2012): 2573–82. http://dx.doi.org/10.4028/www.scientific.net/amr.591-593.2573.

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In recent years, a great amount of new car painting technology emerges. New wet on wet Aqueous compact coating process reduces energy consumption and improves process efficiency, which contribute to large decline in costs of car manufacturers. New nano face paint has higher performance than traditional paints in scoring preventing and resistance to body paint off. Prefilming technology gives rise to less environment pollution, facility investment, fast remodeling, which shocked the automobile painting industry. According to the current situation of painting in China and the international techn
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Abdul Rahim, Rosliza, Mumtaz Mokhtar, Verly Veto Vermol, and Rafeah Legino. "Iconography Underpinning Malaysian Portrait Painting." Environment-Behaviour Proceedings Journal 6, SI5 (2021): 119–24. http://dx.doi.org/10.21834/ebpj.v6isi5.2936.

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Malaysian portrait paintings were introduced in the 1930s where local artists started using the subject in their art-making. In art, portraits are generally known as the likeness of a person, especially a face and shoulders, but in fact, there are more ways to define portrait and painting. There is a lack of understanding and interpretation on the subject. Consequently, this study aims to trace the chronology of the development of Malaysian portrait paintings. The stylistic and contextual issues, including its formalistic format, media, themes and styles, and artists, are also examined in this
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Asperti, Andrea, Gabriele Colasuonno, and Antonio Guerra. "Portrait Reification with Generative Diffusion Models." Applied Sciences 13, no. 11 (2023): 6487. http://dx.doi.org/10.3390/app13116487.

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An application of Generative Diffusion Techniques for the reification of human portraits in artistic paintings is presented. By reification we intend the transformation of the painter’s figurative abstraction into a real human face. The application exploits a recent embedding technique for Denoising Diffusion Implicit Models (DDIM), inverting the generative process and mapping the visible image into its latent representation. In this way, we can first embed the portrait into the latent space, and then use the reverse diffusion model, trained to generate real human faces, to produce the most li
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MacKay, Barbara. "Uncovering buried roles through face painting and storytelling." Arts in Psychotherapy 14, no. 3 (1987): 201–8. http://dx.doi.org/10.1016/0197-4556(87)90002-5.

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Kiepuszewski, Łukasz. "Face Substances. The rhetoric of Kapists’ self-portraits: between self-reflection and confession." Ikonotheka, no. 30 (May 28, 2021): 51–67. http://dx.doi.org/10.31338/2657-6015ik.30.3.

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Self-portraits are specific kinds of pictures where the subject’s experience is closely combined with the act of painting. Such works constitute a mixture of internal iconic power with external reality, e.g. the artist’s body, his thought, and theory, etc. This applies in particular to self-portraits painted by the members of the Paris Committee since the idiomatic nature of painting was the primary quality on which they based the language and poetics of their art. This paper analyses selected self-portraits by Józef Czapski (1896–1993), Zygmunt Waliszewski (1897–1936), Piotr Potworowski (1898
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Latto, Richard. "Turning the Other Cheek: Profile Direction in Self-Portraiture." Empirical Studies of the Arts 14, no. 1 (1996): 89–98. http://dx.doi.org/10.2190/198m-911x-pr9g-u18e.

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The spatial organization of the forty-seven self-portraits in the exhibition “Face to Face: Three Centuries of Artists' Self-Portraiture” held at the Walker Art Gallery, Liverpool, was analyzed and compared with previously published studies, all of which have obtained their data predominantly from non-self-portraits. In the seventeenth century there was a significant asymmetry in self-portraits for both the direction of profile, with most paintings showing the right profile, and the direction of lighting, with most paintings showing the light coming from the left of the painting. Both these as
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Flores, Juan. "Entropy Signature for Crack Networks in Old Paintings: Saturation Prospectus." Entropy 20, no. 10 (2018): 772. http://dx.doi.org/10.3390/e20100772.

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In desiccated films, particularly with old paintings, molecular bonds may break to create intricate patterns of macroscopic cracks. The resulting directions of the cracks quantifiably enable an evaluation of the entropy and degree of disorder in the network. Experimental tests on prepared samples and a two-interacting-variables model allow the evolution of entropy to be tracked. Calculations were performed, primarily using data from the painting Girl with a Pearl Earring by Vermeer, revealing that the left side of the girl’s face features a crack structure with higher entropy (or less order) t
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Wong, Yoong Wah Alex, and Ernesto Carlos Pujazon Patron. "A Review of the Interrelationships between Painting, Photography, Facial Recognition, and Artificial Intelligence Technologies in Portraiture Aesthetics." Athens Journal of Τechnology & Engineering 11, no. 2 (2024): 167–86. http://dx.doi.org/10.30958/ajte.11-2-4.

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We see faces every day, and all of them leave us with different impressions. Our brains also respond emotionally to new and familiar faces we find in non-animated objects, paintings, and sculptures. To retain such memory of a face or express our feelings, we create portraits. Portraits have fascinated us for millennia. This paper reviews the interrelationships between painting, photography, facial recognition, and artificial intelligence technologies in portraiture aesthetics. The importance of portraits as a subject in artistic creation, studies, and research has led to various advancements i
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Behrisch, Tanya J. "Painting Deep Time: Encountering Landforms’ Alterity and Phusis Through Phenomenology and Oil Painting." Phenomenology & Practice 16, no. 1 (2021): 90–107. http://dx.doi.org/10.29173/pandpr29503.

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The practice of oil painting landforms, rocks and sea water in Jervis Inlet, British Columbia (BC) puts me in dialogue with land’s resistant alterity. By closely attuning to landforms, and by stepping back and blurring my focus at regular intervals while practicing oil painting of landforms, I experience phusis of land and of my painting. Through self-concealment and emergence, land alternates between revealing and enfolding its character, resisting my human comprehension but speaking to more-than-human elements in myself. The slow accretive process of oil painting lends itself to phenomenolog
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Wymer, Rowland, Annette Drew-Bear, and Judith Dundas. "Painted Faces on the Renaissance Stage: The Moral Significance of Face-Painting Conventions." Modern Language Review 90, no. 4 (1995): 974. http://dx.doi.org/10.2307/3733072.

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Dolan, Frances E., and Annette Drew-Bear. "Painted Faces on the Renaissance Stage: The Moral Significance of Face-Painting Conventions." Shakespeare Quarterly 47, no. 2 (1996): 219. http://dx.doi.org/10.2307/2871112.

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Van Den Brink, Peter B. R. "Davidgeeft Uria de brief voor Joab: Niet Govert Flinck, maar Jacob Backer." Oud Holland - Quarterly for Dutch Art History 111, no. 3 (1997): 177–86. http://dx.doi.org/10.1163/187501797x00203.

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AbstractThe large Daivid gives Uriah Joab's letter in the Gemäldegalerie Alte Meister in Dresden has long been regarded as a late work by Govert Flinck, and compared with his David and Bathsheba, dated 1651, in Dublin. The two paintings are undoubtedly comparable as far as the composition is concerned. Nevertheless, these two history pieces differ considerably in style and technique. The figures in the Dublin picture are clearly recognizable as Flinck's stock-in-trade types, whereas none of the figures in David and Uriah seem to display any relationship to his painted oeuvre. Kurt Bauch pointe
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Weinstein, Cindy. "La Reproduction interdite: Magritte's Reproduction of Pym." Poe Studies 55, no. 1 (2022): 32–58. http://dx.doi.org/10.1353/poe.2022.a864936.

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ABSTRACT: This essay links the representation of faces in Poe's The Narrative of Arthur Gordon Pym —their disfigurement, unrecognizability, self-estrangement—with the absent face in René Magritte's La Reproduction interdite . A triadic relation exists among three figures in the painting: Poe, Magritte, and the (unseen) man in the mirror, Edward James. For example, Poe's writings inspired Magritte, whose oeuvre includes several versions of Le Domaine d'Arnheim ; Magritte's interest in language, particularly apparent in Ceci n'est pas une pipe and La Clef des songes , intersects with Poe's lingu
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Keshelava, Grigol. "The Cosmos in “Ginevra de’ Benci’’ by Leonardo da Vinci." International Journal of Social Science Studies 9, no. 1 (2020): 29. http://dx.doi.org/10.11114/ijsss.v9i1.5109.

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Leonardo observed the celestial phenomena to study the phenomenon of light and shadow, which was to be used in painting. The object of the research is the painting “Ginevra de’ Benci’’. This work was created in 1474-1478 by Leonardo da Vinci. In the left half of the painting the oval shape detail bordered with faint contour is observed. Trough the Paint X program, we moved this detail to the right part of the painting in the place of a round shadow near the face of Ginevra. According to our interpretation, the bright and oval face of Ginevra de’ Benci is a metaphorical image of the moon. The d
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Son, Jungah, Marko Peljhan, George Legrady, and Misha Sra. "A Computational Tool for Recoloring Based on User Emotions." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 19, no. 1 (2023): 352–59. http://dx.doi.org/10.1609/aiide.v19i1.27531.

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This work describes a system to recolor a user’s painting based on the perceived emotional state of the viewer. An automatic palette selection algorithm is used to generate color palettes for a set of emotions. A user can create a painting using one of the generated palettes. To notify the end of the painting, the user clicks on the DONE button. Once the button is pressed, the colors of the user's painting change as the facial expression of the user changes. Facial emotion recognition is used in this process to classify the emotional status of the user’s face.
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Rukmanandi, Gatrin, and Amir Gozali. "KONTEKSTASI PILPRES 2014 & 2019 TERHADAP REMAJA MILENIAL SEBAGAI SUMBER INSPIRASI PENCIPTAAN KARYA SENI LUKIS." TEXTURE : Art and Culture Journal 4, no. 1 (2022): 11–16. http://dx.doi.org/10.33153/texture.v4i1.4195.

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Creation of a painting with a background of anxiety as well as the experience that has been generated from the 2014 & 2019 presidential election at that time. The presidential elections in 2014 and 2019 at that time made a lot of people especially teenagers in the millennial generation to receive the negative impacts they received directly and indirectly. These incidents also shape the attitudes of the millennial generation to face the turmoil of this presidential election. The purpose of creating this artwork is to explain the concept, process and visual description of the work whose sour
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Arijčuk, Petr. "Daniel Gran und die Anfänge seines Schaffens in den böhmischen Ländern." Opuscula historiae artium, no. 1 (2023): 22–39. http://dx.doi.org/10.5817/oha2023-1-2.

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Paintings by François Roëttiers (1685–1742) delivered in 1732 for the side altars of the Church of St John of Nepomuk in Krahulčí near Telč, whose builders and patrons were Count Franz Anton of Liechtenstein-Kastelkorn and his wife Marie Anna of Halleweil, are the unique contribution in the Czech Lands of this painter of Flemish origin, who later settled in Vienna. However, the artist of the original image on the high altar of the same church, St John of Nepomuk adoring the crucifix, now missing, is not this painter. The original Baroque painting was replaced in 1890 by the current painting by
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Song, Min-A., and Ju-Yeon Do. "Analysis of Beauty Illustration and Face Painting Designs Created with Picasso’s Art Style-based Painting Techniques." Journal of Health and Beauty 17, no. 3 (2023): 100–109. http://dx.doi.org/10.35131/ishb.2023.17.3.100.

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Trawiński, Tobiasz, Natalie Mestry, and Nick Donnelly. "The Effect of Prior Viewing Position and Spatial Scale on the Viewing of Paintings." Vision 7, no. 3 (2023): 55. http://dx.doi.org/10.3390/vision7030055.

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The visual inspection of scenes is disrupted when participants are forced to begin inspection away from the centre of an image. The present study explored the effect of the starting point on the visual inspection of paintings. Eye movements were recorded while participants viewed paintings for later identification in a yes/no discrimination task. The viewing of each painting was preceded by the presentation of a pseudo-randomly positioned Navon figure. Participants were instructed using a cue to attend to either the local or global level of the Navon figure. Each painting was split into region
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Fried, Michael. "Manet's Modernism, or, the Face of Painting in the 1860s." Journal of Aesthetics and Art Criticism 56, no. 3 (1998): 319. http://dx.doi.org/10.2307/432379.

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Carrier, David, Michael Fried, and James H. Rubin. "Manet's Modernism: Or, The Face of Painting in the 1860s." Art Bulletin 79, no. 2 (1997): 334. http://dx.doi.org/10.2307/3046250.

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Wang, Huijing. "Edge Cloud and Mobile Auxiliary Equipment of Fine Art Painting Course Teaching Auxiliary System Design." Advances in Multimedia 2022 (June 3, 2022): 1–9. http://dx.doi.org/10.1155/2022/5407035.

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Due to the development of information technology, the new type of smart campus integrates teaching, scientific research, office services, and many other applications, and online education information resources show a blowout growth. Art and painting teaching courses in the cloud era also face a series of digital challenges. In view of the development of digital teaching mode, art and painting course is different from other courses and has higher requirements for the transmission of audio and video. How to transmit the audio and video generated during interactive teaching efficiently and with l
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Benkara, Dana Maria. "Restaurarea picturii Peisaj cu biserică, de Ștefan Popescu." Anuarul Muzeului Etnograif al Transilvaniei 30 (December 20, 2016): 267–77. http://dx.doi.org/10.47802/amet.2016.30.14.

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The paper presents some important aspects of the restoration- conservation process of a painted canvas, belonging to Ştefan Popescu, a romanian painter, whose creation, at the beginning of the 20th century, was famous especially through its landscapes. Stylistic and technological aspects of the painting were analyzed. The painting depicts a realistic landscape, with a house and an imposing stone church. A detailed account of the conservation state of the painting prior the restoration was made. The actual restoration process started with the cleaning of the superficial dirt and dust from the b
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Juwita, Putri, Desniarti Desniarti, and Fita Fatria. "THE ANALYSIS OF THE POETRY “PAINTING THE MOTHER’S FACE” BY SEVRYADE ANUGRAH SAMBOLANGI FROM THE INNER STRUCTURE." Sensei International Journal of Education and Linguistic 1, no. 2 (2021): 236–41. http://dx.doi.org/10.53768/sijel.v1i2.33.

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Poetry is one of the most interesting and beautiful forms of literary work. The beauty of poetry does not only lies in words. The beauty of poetry is also formed by the physical and mental structures. The physical structure is the builder of poetry from the outside, while the inner structure of poetry is the spirit of a poem, so it is very important in a poem itself. This study aims to analyze the poem “Painting the Mother's Face” by Sevryade Anugrah Sambolangi from the Inner Structure. In this case, the observations or studies of poetry, especially in terms of language style are often carried
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You, Qingqing. "Analysis of the Role of Sound in the Construction of Oriental Aesthetics in the Film "Dwelling in the Fuchun Mountains"." BCP Social Sciences & Humanities 15 (March 13, 2022): 161–66. http://dx.doi.org/10.54691/bcpssh.v15i.414.

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"Dwelling in the Fuchun Mountains”, known as Gu Xiaogang's debut film, was screened at the closing ceremony of La Semaine de la critique at the 72nd Cannes International Film Festival and received a lot of attention. Charles Tesson, in the pre-screening introduction, compared the film to Edward Yang's "A Brighter Summer Day" and said it was a "Chinese film like you've never seen before". The film told a story of an elderly mother who unexpectedly experienced a stroke and lost her mind on her birthday party, leaving four families to face the test of love and reality. From a quiet daily scene, t
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Kang, Ju-Hyeong. "A study on the possibility of combining the dismantlement of faciality with digital character creation: Focusing on the 'Art Brut' of Jean Dubuffet." K-Culture·Story Contents Reasearch Institute 1 (July 31, 2022): 27–46. http://dx.doi.org/10.56659/kdps.2022.7.1.27.

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This paper examines the possibility that the discourse of dismantlement of faciality can be combined with character creation in the digital age by analyzing the facial images in Jean Dubuffet's Art Brut painting focusing on Gilles Deleuze's concept of 'faciality'.
 According to Deleuze, the face is a layer of linguistic expression deterritorialized from the body, and it is the mechanism of faciality that fixes humans to signifiance and subjectification by a single code that dominates Western civilization. This paper attempts to capture the prototype of the face that the mechanism of facia
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Tretyakova, A. E., Yu T. Hanova та V. V. Safonov. "Искусство живописи в Чили и реставрационные технологии THE ART OF PAINTING IN CHILE AND RESTORATION TECHNOLOGIES". Вестник антропологии (Herald of Anthropology), № 2022 №3 (12 вересня 2022): 209–20. http://dx.doi.org/10.33876/2311-0546/2022-3/209-220.

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Произведения искусства станковой масляной живописи — живые свидетели своего времени, эпохи, хрупкие и беззащитные перед переменами и небрежным отношением. Каждый автор, художник‑живописец — это не только видение талантом окружающего мира, но и источник информации о культуре и социуме того периода, когда он жил. В данной работе сделана попытка исследовать картину с целью атрибуции и реставрации, сохранения культурного пласта, оставленного последующим поколениям. Объектом исследования является живописное произведение из частного собрания российского коллекционера без подрамника с множественными
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Fried, Michael. "Manet in His Generation: The Face of Painting in the 1860s." Critical Inquiry 19, no. 1 (1992): 22–69. http://dx.doi.org/10.1086/448662.

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Wenjing, Liang, and Nadia Mohd Nasir. "Principles and Practice of Landscape Design: An Application of Traditional Chinese Landscape Painting." Global Journal of Emerging Science, Engineering & Technology 1, no. 1 (2023): 12–18. http://dx.doi.org/10.56225/gjeset.v1i1.16.

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As a unique artistic form, traditional Chinese landscape painting has aesthetic value and a close relationship with garden design. This study mainly explores the principles and practices of landscape design based on traditional Chinese landscape painting. Firstly, it introduces the brief history of the development of traditional Chinese landscape painting and its relationship with garden design. Then, it analyzes the characteristics of traditional landscape painting and garden design principles. Then, the application of traditional Chinese landscape painting in landscape design was analyzed, i
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Haay, Happy Alyzhya, Suryasatriya Trihandaru, and Bambang Susanto. "INTRODUCTION OF PAPUAN AND PAPUA NEW GUINEAN FACE PAINTING USING A CONVOLUTIONAL NEURAL NETWORK." BAREKENG: Jurnal Ilmu Matematika dan Terapan 17, no. 1 (2023): 0211–24. http://dx.doi.org/10.30598/barekengvol17iss1pp0211-0224.

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In this research, the face painting recognition of Papua and Papua New Guinea was identified using the Convolutional Neural Network (CNN). This CNN method is one of the deep learning that is very well known and widely used in face recognition. The best training process model is obtained using the CNN architecture, namely ResNet-50, VGG-16, and VGG-19. The results obtained from the training model obtained an accuracy of 80.57% for the ResNet-50 model, 100% for the VGG-16 model, and 99.57% for the VGG-19 model. After the training process, predictions were continued using architectural models wit
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Larsen, Frode. "Leonardo da Vinci in Raphael's School of Athens." Journal of Humanistic Mathematics 11, no. 2 (2021): 196–243. http://dx.doi.org/10.5642/jhummath.202102.09.

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At the center of the School of Athens, Raphael painted Plato with a face similar to that of Leonardo da Vinci. In this article I argue that the likeness was intentional, and that Raphael’s fresco contains a set of references to the book De Divina Proportione, to which Leonardo contributed with drawings of polyhedrons. De Divina Proportione was written by Leonardo’s friend and teacher of mathematics, Luca Pacioli, and contains arguments for raising the status of the art of painting, similar to the arguments found in Leonardo’s Paragone. Pacioli and Leonardo thought painting should be regarded a
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Wang, Jitai. "Works of the artist Yue Minjun in the dialogue of traditions of Western European and Chinese painting." Человек и культура, no. 3 (March 2020): 1–16. http://dx.doi.org/10.25136/2409-8744.2020.3.32579.

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This article provides a comprehensive analysis of the visualized ego-image of the artist with grinning face as the key character of Yue Minjun’s paintings – one of the prominent representatives of cynical realism trend in Chinese contemporary painting. The image is interpreted through the prism of Chinese socialism, Eastern and Western art traditions.  The author describes in detail the works from different series, determines typical features of individual manners, and compares works for revealing the common to cynical realism set of artistic means. The article elu
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Bantinaki, Katerina, Fotini Vassiliou, Anna Antaloudaki, and Alexandra Athanasiadou. "Plato: Educating through Images." Journal of Aesthetic Education 57, no. 4 (2023): 18–35. http://dx.doi.org/10.5406/15437809.57.4.02.

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Abstract In Book X of the Republic, Plato develops a structured criticism of the images of painting in order to denigrate, by means of analogy, the cognitive value of poetry. Yet Plato persistently employs verbal images at points of utmost importance with regard to his philosophical aims. In the face of Plato's critique of the image, his methodic use of images can seem paradoxical: critique and method point in opposing directions with regard to the cognitive value of the image. The aim of this article is to promote a moderate cognitivist stance on Plato's use of verbal images, using to this en
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Apressyan, Armen R. "Street artists: acquiring a face." Chelovek 33, no. 2 (2022): 165. http://dx.doi.org/10.31857/s023620070019517-5.

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Despite the growing popularity of street art, the names of street artists — with the possible exception of one or two - are not known to the general public, street art is impersonal in the mass consciousness. Of course, there is a significant amount of information resources dedicated to street art, but they do not significantly affect the wide popularity of artists. Like many years ago, even the names of very interesting authors are known only to a narrow circle of fans of the genre. An absurd situation is emerging: even Banksy, who can be considered as the most famous street artist in the wor
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Lee, Yon-Hee. "A Study on the Symbolic Function of Make-up and Face-painting." Journal of the Korean Society of Clothing and Textiles 32, no. 10 (2008): 1608–18. http://dx.doi.org/10.5850/jksct.2008.32.10.1608.

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Salavessa, Eunice, José Aranha, Rafael Moreira, and David M. Freire-Lista. "Proto-Early Renaissance Depictions, Iconographic Analysis and Computerised Facial Similarity Assessment Connections: The 16th Century Mural Paintings of St. Leocadia Church (Chaves, North of Portugal)." Heritage 7, no. 4 (2024): 2031–54. http://dx.doi.org/10.3390/heritage7040096.

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The aim of this paper is to analyse facial similarity and apply it to identify the individuals depicted in the mural paintings of the apse of St. Leocadia Church, located in Chaves Municipality (North of Portugal), which were painted during the first quarter of the 16th century. This study also compares the portraits of this mural paintings with the oil paintings by the Proto-Renaissance Portuguese painter Nuno Gonçalves. Through this research, the feasibility of face recognition technology is explored to answer many ambiguities about Manueline stylistic identity and iconography. Additionally,
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