Relevant bibliographies by topics / Figure painting

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Figure painting'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Figure painting"

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Shi, Xueyan, and Zainuddin Abindinhazir. "THE RELATIONSHIP BETWEEN TIME FACTOR AND FIGURATIVE FACTOR IN CHINESE AND ITALIAN FIGURE PAINTING IN THE 15TH CENTURY." International Journal of Heritage, Art and Multimedia 6, no. 20 (December 5, 2023): 01–14. http://dx.doi.org/10.35631/ijham.620001.

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The Time factor used or emerged in painting is an issue that has been discussed for almost 1 century. However, there has never been any specific study related to time and figure painting. In addition, the author finds the time factor used in Italian and Chinese painting in the 15th century, which always depends on the figurative factor of the painting. So, this study is to explore the presentation of time factors in figure paintings in Italy and China from the 15th century to the 16th century and find out the rules between figurative factors and time factors in figure painting during this period.
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Na Ri, Ge Le. "Characteristics of Mongol Figures in Persian Miniature Paintings." Highlights in Art and Design 4, no. 2 (September 1, 2023): 62–64. http://dx.doi.org/10.54097/hiaad.v4i2.12855.

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Among art categories, Persian miniature paintings have a very high reputation. Persian miniature paintings are also called Iranian miniature paintings. Persian miniature paintings first appeared in illustrations in books. Miniature painting began to have a significant Mongolian style in the 13th century AD. At the same time, it was influenced by Mongolian art and finally reached its peak in the 15th and 16th centuries. Because the Mongols at that time wanted to write "Historical Collection" and other similar types of works, they added some illustrations. This movement effectively promoted the development and growth of Persian miniature painting in the world, allowing Persian miniature painting known to more people, and the development of Persian miniature painting has broken the previous constraints on figure painting in Islamic countries and created its own distinctive artistic style. After relevant investigation and understanding, it was found that the current academic research on Persian miniature paintings is mostly around the techniques, composition and color of Persian miniature paintings. For this reason, this thesis research will mainly be based on the research of other scholars. In it, the image of Mongolian figures in Persian miniature paintings is discussed in detail to deepen the understanding of Persian miniature paintings.
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Liu, Peipei, and Yakup bin Mohd Rafee. "Integrating Miao Traditional Elements into Chinese Figure Painting: Exploring Significance and Cross-Cultural Exchange." Art and Society 3, no. 1 (February 2024): 1–12. http://dx.doi.org/10.56397/as.2024.02.01.

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This paper endeavors to investigate the utilization of Miao traditional elements in Chinese figure painting, assessing its significance and potential value in the realm of Chinese painting creation. The study examines the contemporary landscape of Chinese figure painting, identifying its prevailing issues, while also delving into the fundamental characteristics and application techniques of traditional Miao elements. By analyzing the works of prominent artists Pang Xunqin, Liu Quanyi, and Feng Yuanming, who have adeptly incorporated Miao traditional elements into their paintings, this research aims to bolster the preservation and perpetuation of Miao cultural heritage, augment the artistic expression within Chinese paintings, and foster cross-cultural exchanges and dialogues. Employing a qualitative research approach, this investigation adopts literature review and artwork analysis to discuss the integration of Miao traditional elements in Chinese figure painting. The research findings illustrate that the traditional elements inherent to the Miao ethnicity exude unparalleled artistic allure and cultural significance within Chinese figure paintings, thereby presenting novel creative resources and modes of expression for the wider domain of Chinese artistic creation. This research contributes to the enrichment of Chinese artistic heritage while facilitating a harmonious exchange of cultural values between the Miao minority and the broader Chinese cultural landscape.
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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 textual elements are not superimposed on the figures but appear to exist in the world they inhabit, requiring the painter to relate figure to ground in a process of interlacing. When the viewer’s eye traverses the painting it falls under the magnetic influence of the text to the extent that viewing must succumb in some degree to the operations of reading with its specific rhythms and expectations. In these paintings, visual and verbal languages provide us with different maps of the same territory; and Thurnauer’s hybridized representations argue that the world can only be rendered through a dialogue, an interlocution of different forms, genres, media. We approach her work, not as viewers whose function is predicated through a gaze regulated according to the distorting demands of consumption or control, but as readers engaged in a critical activity seeing around the edges of historically produced versions of the self.
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Ma, Feifei. "My Opinion on Urban Figure Ink Painting." International Journal of Education and Humanities 11, no. 2 (November 6, 2023): 110–11. http://dx.doi.org/10.54097/ijeh.v11i2.13547.

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There are skillful and clumsy works, and ancient and modern paintings. Since the development of ink and wash figure painting, there have been many themes of ancient costumes, ethnic minorities, and drama, but there are few themes of urban characters. It seems that there are special reasons for this. Traditional Chinese ink and wash character themes generally focus on ancient costumes, with long and complex clothing patterns. Many Chinese character painters nowadays depict a large number of Tibetan people, dance figures, or new ladies. The characters have long clothing patterns and lines, and their shapes are also closer to traditional ancient costume character costumes. Therefore, it is relatively easy to graft traditional pen and ink programs onto the above-mentioned themes, which is quite lazy in the current innovation of ink characters. In the process of socialization today, urban culture is an important representation of modern culture. If we continue to draw contemporary urban characters in a conservative traditional ink style, it will feel out of place. The theme of urban figures is a major challenge and opportunity in the process of Chinese figure painting. How to use more vivid language to depict urban characters is an important topic that contemporary Chinese character painters need to ponder deeply.
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Sharma, Yam Prasad. "Nepali Paintings: A Departure From Religious Contents to Secular Subject Matters." Tribhuvan University Journal 36, no. 01 (December 31, 2021): 85–95. http://dx.doi.org/10.3126/tuj.v36i01.43582.

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Traditional Nepali paintings are religious since they are based on Hindu and Buddhist myths. Manuscript illuminations and paubhas, the examples of religious paintings, have magical and mystical contents. Characters of myths have been portrayed and mythical stories have been narrated in visual form. There are a series of changes from traditional Nepali paintings to contemporary works. In painting, secular elements are introduced through didactic visual narratives from Hitopadesha manuscript. The moral lessons are taught through animal fables. Early paubhas are fully religious but later paubhas include portraits of the donors or the persons who asked to paint the picture at the bottom of the painting. The main part of the painting is religious but the portraits are secular. In later paubhas, the figures of the donors become larger and take equal space in the painting. Gradually, the portrait became bigger than the religious figure at the end of the Malla period. From the beginning of the Shaha period, portraits existed independently. During the Rana rule, the art of portrait painting reaches the climax since the Ranas loved the image of themselves and their family members. The artworks exist independently without reference to myths and religious texts. There is the transition from religious contents to secular subject matters. This article traces the development of secular elements in Nepali paintings. It compares the paintings in terms of the inclusion of secular elements.
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Qian, Xingyu. "Oriental Consciousness in André Masson’s Automatic Paintings." SHS Web of Conferences 183 (2024): 03001. http://dx.doi.org/10.1051/shsconf/202418303001.

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André Masson has long been regarded as a representative figure of surrealist and automatism painting, but a closer look at his works makes it easy to find a dialogic nature with ancient Chinese calligraphy and painting. Influenced by Breton's concept of automatic writing, his works also draw on Chinese ink paintings of the Song Dynasty, abandoning perspective and playing the important role of white space. This paper tries to sort out the lineage of the emergence of Oriental consciousness in Masson's automatic paintings and explains the specific expression of Chinese painting in his art.
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Baines, John, Richard Jaeschke, and Julian Henderson. "Techniques of Decoration in the Hall of Barques in the Temple of Sethos I at Abydos." Journal of Egyptian Archaeology 75, no. 1 (August 1989): 13–30. http://dx.doi.org/10.1177/030751338907500103.

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In 1983 and 1988 the Egypt Exploration Society's Abydos Mission recorded the paintings and reliefs in the Hall of Barques of the temple of Sethos I at Abydos. The paintings of Sethos I were executed in 9 main stages, from initial design to the final painting of details. Many corrections can be identified, both small ones in paint in the drafts and larger changes where the surface was recovered in plaster. Before the figures were painted, the figure area was covered with a fine plaster wash, to which black outlines were applied while it was still damp. There was a chemical reaction between black paint and plaster and little black is preserved. The black pigment contains an iron-rich pigment which is poorly crystalline (Appendix 2). Sunk relief carving within the outlines of the paintings was partly carried out under Ramesses II. Different levels of skill and divisions of labour in carving can be identified; problematic hieroglyphs were left to a later hand. Both relief and painting are characterized by speed of execution. The painting in the south-east corner of the hall was cleaned and recopied in 1988; the techniques used are described in Appendix 1.
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Holmwood, Sigrid. "The peasant paints: Minor painting and peasant cosmopolitics." Journal of Contemporary Painting 8, no. 1 (April 6, 2023): 73–96. http://dx.doi.org/10.1386/jcp_00040_1.

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This article discusses the idea of ‘peasant-painting’ as minor painting, playing with the contrast between ‘paintings-of-peasants’ and ‘paintings-by-peasants’. I argue that the appearance of the figure of the peasant as a genre of Western European painting is inextricably linked with the rise of capitalism and the construction of the modern individualized self, separate from nature. Through ‘naturalistic’ images of peasants in landscapes this in turn enabled the bourgeois gaze to naturalize unequal capitalistic relations. I shall then contrast these paintings-of-peasants, with paintings-by-peasants in the Southwest of Sweden. By examining the conditions of their emergence and circulation, and their use and meaning, we can see that these peasants had an alternative conception of the self and a peasant cosmopolitics which did not separate humans from non-humans. I argue that their practice was a minor painting which formed a communal resistance to the modernizing project in the mid-eighteenth to mid-nineteenth centuries.
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Chen, Yiming. "Exploring the Spatial Expression of New Meticulous Figure Painting." Highlights in Art and Design 4, no. 1 (August 28, 2023): 35–38. http://dx.doi.org/10.54097/hiaad.v4i1.11658.

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Painting space is an important component of painting in visual arts. This paper takes the spatial expression form of "New Meticulous Painting" as the starting point, first briefly expounds the concepts of "New Meticulous Figure Painting" and "Painting Space", and summarizes and refines the general presentation methods of "New Meticulous Figure Painting" on the visual screen. For example, it has the characteristics of "Surreal Atmosphere", "Grey Tone", "Weakened Lines" and "Rich in Modern Urban Elements". Secondly, I try to understand the diversity of spatial expression forms of figure painting in the context of "New Meticulous Painting", combine my own creative works with practice, and make a multi-dimensional deconstruction analysis of the composition of painting language forms of spatial expression in the visual picture of my own works, aiming at exploring the artistic concept and technique composition of painting creation, so as to give the author more ideas and possibilities for his own creation.
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Dissertations / Theses on the topic "Figure painting"

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Chou, Pei-Yung. "Striking visual contrasts /." Online version of thesis, 1990. http://hdl.handle.net/1850/10961.

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Johnes, Jonathan R. "Human movement the transition of people through space and time /." Muncie, Ind. : Ball State University, 2008. http://cardinalscholar.bsu.edu/378.

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Pillemer, Mica Yoram. "Vision and contemplation an exploration within the medium /." Amherst, Mass. : University of Massachusetts Amherst, 2009. http://scholarworks.umass.edu/theses/298/.

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Morley, Simon. "The Anadyomene Movement : metamorphics of figure-ground." Thesis, University of Southampton, 2012. https://eprints.soton.ac.uk/354402/.

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‘Figure-ground’ is about the production of meaning based on the perception of contrasts or binary oppositions and segregations. Viewers of my paintings, and of the kind of paintings that interest me, have the impression that the ‘figure’ subsides or slips or fades into ‘ground’, or that the ‘ground’ is more powerful or dominant than the‘figure’, or that the ‘figure’ is insecurely attached, suggesting it is incapable, unwilling, too acquiescent or complicit to fully differentiate itself from the ‘ground’. I address flux, mutation, indistinctness and complementarity within the visual field of painting. I develop and extend the heuristic context for the interpretation of my studio practice and for work of a similar kind, and then feedback this new context into my practice in order to generate new works, also in the process shedding a new light on my interpretative models. Beyond this, I also make a more general argument for the re alignment of the relationship between art theory and practice - one that can better incorporate a sense of in between-ness, indistinctness or liminality. My approach is comparative: I look at East Asian art and ideas and, in particular, deploy the writings of the French Sinologist and philosopher François Jullien, in whose work there is the attempt to expand Western epistemology, ontology, semantics and aesthetics via a discussion of Chinese thought and aesthetics. Jullien proposes a paradigm that draws the ‘in-out’ respiratory rhythm or pulse within the perceptual field towards the centre of a theory of representation, a theory that seeks to account for consciousness from the ‘inside’ rather than the ‘outside’. The consequence of this relocation of agency is an interpretative framework that is firmly grounded in a nondualistic and holistic approach, foregrounding affect and empathetic relationships between artist and work, viewer and work, and self and the world. Traditional East Asian thought begins with similar premises to poststructuralism in the West: the ‘self’ is an illusion and the possibility of knowledge of reality independent of thought is dismissed as untenable because there is no objective reality accessible to us. Everything depends on the bias of the mind, rather than on anything we can identify as an innate attribute of reality itself, thus there is no escape from our lived experience, and we are profoundly limited by the interpretive knowledge of our mind; we are trapped within the ‘prison house of language’. But within the different recursive orientations that characterize ‘East’ and ‘West’ the interpretation and consequences of these insights are understood in quite different ways. I explore why this should be the case and what some of the consequences are, both theoretically through the written text and performatively through my studio work.
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Souza, Borges Raquel. "Human figure as automaton : directing as gesture as painting." Thesis, University of Reading, 2016. http://centaur.reading.ac.uk/69931/.

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Larkin, Pamela Marie. "A universal and personal art through tradition and invention /." Online version of thesis, 1990. http://hdl.handle.net/1850/10883.

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Cecil, Joseph S. "The figure as an exploration of cultural/self identity." Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1371197.

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The primary objective of this creative project was the exploration of cultural and self identity and the painting techniques used for their creation. The paintings are an attempt to portray through the use of the human figure and symbolic elements to communicate my personal struggle relating to events in my past, present, and future. In these three large paintings I have explored an approach reminiscent to German Expressionism style along with more contemporary motifs which are derived from my research and past experiences in painting at Ball State University. It was very important for me to spend time researching artist involved in the German expressionist movement, because they have been an integral part of reshaping the way I approach art. This body of work required a variety of traditional oil painting techniques including: canvas construction, under painting, stumbling, and glazing.
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Talevski, Lubo. "The mind's eye /." Online version of thesis, 1993. http://hdl.handle.net/1850/11774.

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Grace, Mauree Art College of Fine Arts UNSW. "Expression of human emotion as an aspect of timelessness in single figure painting." Publisher:University of New South Wales. Art, 2009. http://handle.unsw.edu.au/1959.4/43657.

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This MFA project aims to express a particular range of emotions in an attempt to convey a sense of timelessness through a series of single figure paintings done from life. This project derives from an interest in exploring the concept of timelessness. Jean Baptiste Simeon Chardin's Little Girl with Shuttlecock, 1737, gave me the idea to convey timelessness figuratively. The project has employed some of the strategies established by both Chardin and Johannes Vermeer's single figure paintings in relation to composition and design, colour and tone, the brush mark and the narrative. Nevertheless, the expression of stillness is vital in conveying a sense of timelessness.
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Hoyt, Sue Allen. "Masters, pupils and multiple images in Greek red-figure vase painting." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1150472109.

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Books on the topic "Figure painting"

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Smith, Stan. Drawing & painting the figure. London: Quantum Books, 2002.

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Michael, Brunelle, Cortabarria Beatriz, and Parramón Ediciones Editorial Team, eds. Painting the human figure. Hauppauge, N.Y: Barrons Educational Series, 2008.

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Graves, Douglas R. Figure painting in oil. Mineola, N.Y: Dover Publications, 1996.

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Roig, Gabriel Martín i. Painting the human figure. Hauppauge, N.Y: Barrons Educational Series, 2008.

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Smith, Stan. Drawing and painting the figure. Richmond: Tiger Books International, 1988.

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ill, Ballestar Vincenç, and Parramón Ediciones Editorial Team, eds. Painting the figure in pastels. Hauppauge, N.Y: Barron's Educational Series, 1996.

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Ivon, Hitchens. Ivon Hitchens: Figure subjects. [UK]: Abbot Hall Art Gallery, 1993.

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Southern Illinois University School of Medicine. Department of Medical Humanities, ed. The Human figure in modern painting. Springfield, Ill: Dept of Medical Humanities, Southern Illinois University, School of Medicine, 1985.

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Paulson, Ronald. Figure and abstraction in contemporary painting. New Brunswick: Rutgers University Press, 1990.

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David, Milne. Painting the figure: David Milne, sixteen paintings from 1911-1914. Toronto: Mira Godard Gallery, 1996.

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Book chapters on the topic "Figure painting"

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McCausland, Shane. "Figure Painting: Fragments of the Precious Mirror." In A Companion to Chinese Art, 113–35. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781118885215.ch5.

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Lachman, Charles. "Figure Painting." In Evaluations of Sung Dynasty Painters of Renown, 16–55. BRILL, 1989. http://dx.doi.org/10.1163/9789004645356_007.

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Taylor, Luke. "Iconic Representation." In Seeing the Inside, 147–93. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198273905.003.0007.

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Abstract A key characteristic of Kunwinjku bark painting is the way that iconic representation is the predominant means of design generation and a primary frame of reference for the interpretation of the meaning of bark paintings. For Kunwinjku the figures in bark paintings are considered to be lifelike or relatively naturalistic representations of natural species or Ancestral beings. A painting may encode other levels of meaning, but an understanding of these meanings is contingent upon the correct interpretation of the figure represented in the painting.
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Berger, Harry. "Caterpillage: Death and Truthiness in Seventeenth-Century Dutch Still Life Painting." In Go Figure, 91–111. Fordham University Press, 2022. http://dx.doi.org/10.1515/9780823291694-006.

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Anderson, Judith H., and Joan Pong Linton. "Caterpillage Death and Truthiness in Seventeenth-century Dutch Still Life Painting." In Go Figure, 91–111. Fordham University Press, 2011. http://dx.doi.org/10.5422/fordham/9780823233496.003.0006.

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BARRESI, SEBASTIANO. "Sicilian Red-figure Vase-painting:." In The Regional Production of Red Figure Pottery, 235–46. Aarhus University Press, 2014. http://dx.doi.org/10.2307/jj.608200.16.

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"The Fantasy Figure in European Painting." In Fragonard and the Fantasy Figure, 49–90. Routledge, 2017. http://dx.doi.org/10.4324/9781315094007-3.

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HEDREEN, GUY. "Vase-painting and Narrative Logic:." In Red-figure Pottery in its Ancient Setting, 133–46. Aarhus University Pres, 2012. http://dx.doi.org/10.2307/jj.608266.15.

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Boegehold, Alan L. "Some Attic Red-Figure Scenes." In When a Gesture Was Expected, 29–35. Princeton University Press, 2022. http://dx.doi.org/10.23943/princeton/9780691242224.003.0003.

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This chapter discusses three scenes drawn from the corpus of Attic red-figure vase-painting to show how pictured gestures invite certain interpretations, and create some ambiguities, and in one case deliver what may be a political message. The Vote on the Arms, a legendary event that in its original telling could not have included such later implements as ballots, inspired a number of early Attic Red Figure painters to compose a version in which Achaian heroes act as judges. Although the heroes in the paintings are not labeled as such, the identification seems sure. In these scenes, Athena, Odysseus, and Aias express themselves vividly by means of gestures that the artists saw around them every day. Some postures, even when widely represented in varying contexts in painting and sculpture, continue to be ambiguous: lively genre scenes in which men and women gesticulate as they converse still do not reveal all of their secrets. In one popular scene, men and woman engage in spirited conversation, using their hands as they speak, either in the midst of some sort of mercantile situation or just concluding. In a third example, labels identify female figures on a pyxis by the Meidias Painter, where Eukleia and Eunomia are set together by position and by gesture. The labels are consonant with certain political currents of the time.
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Taylor, Luke. "Themes and Paintings in Ceremonies." In Seeing the Inside, 102–26. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198273905.003.0005.

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Abstract In the creation of bark paintings for sale Kunwinjku artists frequently paint design elements that are characteristic of paintings used in ceremonies. In doing this they intend that the meanings of the design in the ceremonial context carry over to the bark painting medium. For example, the production of a rarrk ceremonial design within a figure painted in a bark painting may associate the subject-matter with a particular clan design also used in the Mardayin ceremony. Or, a painting of a figurative subject may connote a particular ceremony by virtue of the way the Ancestral subject is related to ceremonial performances. Bark paintings encode meanings in different ways and knowledge of the ceremony in question is a prerequisite to understanding the widest connotations of the work. Revelation of ceremonial knowledge is controlled through the ordered initiation to Kunwinjku ceremony.
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Conference papers on the topic "Figure painting"

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Wada, Marina, Akito Nakano, Yoshifumi Mizuno, and Hisakazu Hada. "The Light Painting by a Fluorescence String Figure." In ACE2016: International Conference on Advances in Computer Entertainment Technology. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/3001773.3001823.

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Ju, Rong, and Zhaoyang Shao. "Study on Chinese Freehand Figure Painting Development Context and Aesthetic Qualities." In 2015 International Conference on Economics, Social Science, Arts, Education and Management Engineering. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/essaeme-15.2015.36.

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Артемова, А. А. "ORCHID PAINTING IN ART OF CHUSA KIM JEONGHUI (1786–1856)." In Месмахеровские чтения — 2024 : материалы междунар. науч.-практ. конф., 21– 22 марта 2024 г. : сб. науч. ст. / ФГБОУ ВО «Санкт-Петербургская государственная художественно-промышленная академия имени А. Л. Штиглица». Crossref, 2024. http://dx.doi.org/10.54874/9785605162926.2024.10.16.

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Чхуса Ким Чонхи — центральная фигура культурной жизни Кореи XIX в. среди художников- интеллектуалов — посвятил свою жизнь исследованию природы творчества, был признанным специалистом в области науки и искусства, а также объединил вокруг себя художников, увлеченных его идеалами. В данном исследовании будет предпринята попытка проанализировать три произведения Ким Чонхи в жанре живописи орхидей и дать краткую характеристику его творчеству на разных этапах жизненного пути. Chusa Kim Jeonguhui is a major figure in 19th century Korean Art Circles among literati painters. He became well-known as a painter, calligrapher and a scholar, who devoted his life to a creative journey in Classical arts and studies. His main body or paintings is done in Orchid painting genre, so we’re going to examine three of his art pieces in this genre to analyze his creative approach in different stages of his life.
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Zhihui, Wang. "qMontageq Mentality on the Art of Painting —Study about Figure Painting Scenes of Convergence in the Five Dynasties and Song Dynasty." In AASRI International Conference on Industrial Electronics and Applications (IEA 2015). Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/iea-15.2015.164.

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Sakata, Tomofumi, Keiichi Watanuki, and Kozawa Motohiro. "Influence of History of Art Learning on Understanding of Beauty and Ugliness in Painting." In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003240.

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Japanese elementary school teachers can teach art classes to elementary school students without receiving any art education. For this reason, there are no common evaluation criteria for art classes, and teachers create their own evaluation criteria and assign grades. The teachers' own evaluation criteria often include their own interests, suggesting that the students may not be receiving a fair evaluation. It is possible that elementary school students dislike art classes due to unfair evaluation. A dislike of art from an early age can lead to a lack of imagination and creativity. In addition, we are becoming a mature society with a rapidly declining birthrate and an aging population, and it is expected that each individual, as the bearer of a sustainable society, will be nurtured to create new values that will lead to the growth of individuals and society with qualitative enrichment driven by the diversity of the individual. One of the changes in a mature society is the rapid evolution of artificial intelligence. It is claimed that artificial intelligence is starting to think and comprehend knowledge conceptually on its own, and it is predicted that this would significantly alter the nature of employment and the significance of knowledge acquired in schools. At the same time, this leads to a reaffirmation of the fact that no matter how much artificial intelligence evolves and becomes capable of thinking, it is the greatest strength of human beings to provide the purpose of thinking and to judge the goodness, correctness, and beauty of the purpose. School education is required to enable children to actively face various changes, solve problems in collaboration with others, discern various types of information, realize a conceptual understanding of knowledge, reconstruct information and connect it to new values, and reconstruct purposes in complex changing situations. It is also required to be able to reconstruct objectives in the face of complex changes in circumstances. Thus, art education is considered crucial, and it is important to understand what aspects of art are perceived as beautiful or ugly in the process of learning art. Therefore, the purpose of this study was to understand the differences in the sense of beauty and ugliness in paintings between students majoring in art and those who are the same age as the students and have no prior art study experience.We conducted an experiment using paintings from each period of Western art history as the paintings for judging the beauty and ugliness of a painting. By evaluating the beauty and ugliness of art paintings from each period, we selected a variety of paintings from simple to complicated for the purpose of judging the beauty and ugliness of the paintings. We also aimed to quantify the beauty/ugliness points that do not change depending on the age or the complexity of the painting.Fractal analysis was used for the analysis. A fractal is a similarity between the whole and a part of a figure. Fractals are often found in nature and in living organisms, and fractal structures can also be found in works of art. In particular, fractals are seen in the paintings of Abstract Expressionist painters, whether by accident or necessity. It has been reported that fractal dimension and art are closely related. In this study, we consider fractals in color tones as well as in structure.As a result, art majors were able to clearly point out the beauty and ugliness of complicated paintings. Students who did not study fine arts saw the whole complicated painting as beautiful, and were unable to point out clear beauty or ugliness points. For simple paintings with only one person, the art majors were able to point out the beauty and ugliness of the painting in more detail. Students who did not study art pointed out the beauty and ugliness of a simple painting in a large and general way. Fractal analysis showed that the beauty/ugliness points pointed out by the experts maintained a medium fractal dimension. The fractal dimension of the beauty/ugliness points pointed out by students who had not studied art maintained a high fractal dimension, indicating that they perceived beauty/ugliness in more complex areas.The above results indicate that as students learn more about art, they are able to understand the beauty and ugliness of a picture more intricately and perceive beauty and ugliness in areas with a medium fractal dimension.
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Ju, Rong, and Zhaoyang Shao. "Research on the Significance and Necessity of Conducting Professional Sketch Course on Freehand Figure Painting Education." In 2015 International Conference on Economics, Social Science, Arts, Education and Management Engineering. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/essaeme-15.2015.37.

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Xue, Shuqin. "Analysis on the Perspective Transformation and Expansion of Contemporary Ink Figure Painting. From "group" to "individual"." In 2016 3rd International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-16.2017.151.

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Guo, Peihua. "Inheritance and Deliberation - An Analysis of the Misunderstandings in the Creation of Modern Fine Brushwork Figure Painting." In 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.64.

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Ceriachi, Melissa. "RECOVERY OF A SEVERELY DETERIORATED PAINTING: THE MARTYRDOM OF SAINT SEBASTIAN BY GIOVANNI SANTI (15TH CENTURY). INTEGRATIVE PROPOSAL." In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. València: Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13492.

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This contribution examines a painting on wood: The Martyrdom of Saint Sebastian, by Giovanni Santi. This work of art is the altarpiece of the chapel dedicated to the saint, located in Urbino's Church of San Bartolomeo. The history of this work of art is inextricably linked to that of its conservation: initially, the artwork was difficult to read due to the serious state of deterioration of the paint layer, with a loss of significant portions of the painting, including pictorial parts that played a decisive role in the rendering of the image. This had significant implications when it came to choosing the methodology for the pictorial reintegration of the painting. The aim was to reduce the negative effects caused by the state of deterioration as much as possible, to improve the readability of the work. Following a conservative restoration of the panel and of the polychromy, and after submitting it to art historian officer for a careful and close evaluation, a differentiated pictorial reintegration of the work was planned, applying the Florentine “selezione cromatica" method for the main figure, Saint Sebastian, and for all lacuna treatments. This intervention was carried out using tempera colours, overlapping by hatching three pure colours, chosen from the primary and secondary colours. I continued the “selezione cromatica” on the integrations, using varnish colours until achieving the desired tone, maintaining a tone of brilliancy and chromatic vivacity similar to the painting by Santi. The other parts of the painting had been very seriously damaged due to irrecoverable losses and can no longer be reconstructed; these were treated by experimenting with the “chromatic abstraction” reintegration with tonal variations within the layers of abstraction. The method involves the application of a cross-hatching where no shape is reconstructed, in a four-colour scheme (yellow, red, green/blue, black), in tempera colours.
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Sepe Camargo, Gabriel. "Garder mon aile dans ta main: The genesis of the Open Hand." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.938.

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Abstract: The main hypothesis of this paper is that in the image of the Open Hand it is possible to find the reconciliation between two significant themes of the symbolic universe engendered by Le Corbusier: instrumentality and detachment. The genesis of the Open Hand is therefore to be seen as grounded among his late 1940s plastic works, which notably display the gradual movement of certain elements of figuration toward an iconic role. The hand appears as a crucial theme to Le Corbusier. Unlike other themes that have been set as pictograms — as the meander, the solar journey of 24 hours, and the bull figure —, the hand will not find its definitive form until very late in the architect’s work. The hand’s “other” seems to be another image from his painting: the winged figure, half woman and half animal, that appears in a wall at the Pavillion Suisse (mural, 1948) and illustrates the cover of Poésie sur Alger (1951). The image suggests an alienation from the worldly experience and the tragedy represented by the historical time, related to the volatility of natural phenomena. These two figures seem to synthesize the two attitudes governing the work of Le Corbusier thereafter. It is in Le Poème de L’Angle Droit (1947-1953) that the core of the symbolic system of Le Corbusier is found. The duality achieves its final result in the figure of the Open Hand, elected as the synthesis of the entirety of his symbolic system. Resumen: La principal hipótesis de este trabajo es que en la imagen de la Mano Abierta es posible encontrar la reconciliación entre dos temas importantes del universo simbólico engendrada por Le Corbusier: instrumentalidad y el desapego. Por tanto, la génesis de la Mano Abierta es ser visto entre sus obras plásticas finales de 1940, que sobre todo muestran el movimiento gradual de ciertos elementos de la figuración hacia un papel icónico. La mano aparece como un tema crucial para Le Corbusier. A diferencia de otros temas que se han establecido como pictogramas - como el meandro, el viaje solar de 24 horas, y la figura del toro -, la mano no encontrará su forma definitiva hasta muy tarde en la obra del arquitecto. El "otro" parece ser una imagen de su pintura: la figura alada, mitad mujer y mitad animal, que aparece en el Pabellón Suisse (mural, 1948) e ilustra la portada de Poésie sur Alger (1951). La imagen sugiere una alienación de la experiencia mundana y la tragedia representada por el tiempo histórico, relacionado con la volatilidad de los fenómenos naturales. Estas dos figuras parecen sintetizar las dos actitudes que rigen la obra de Le Corbusier a partir de entonces. Es en Le Poème L'Angle Droit de (1947-1.953) que el núcleo del sistema simbólico de Le Corbusier se encuentra. La dualidad logra su resultado final en la figura de la Mano Abierta, elegido como la síntesis de la totalidad de su sistema simbólico. Keywords: Open Hand; Le Poème de L’Angle Droit; Chandigarh; instrumentality; detachment. Palabras clave: Open Hand; Le Poème de L’Angle Droit; Chandigarh; instrumentalidade; desapego. DOI: http://dx.doi.org/10.4995/LC2015.2015.938
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Reports on the topic "Figure painting"

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Perron, E. Figure painting in the high school; experiments and recommendations. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.690.

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Poloboc, Alina. Fancy Fifi. Intellectual Archive, December 2023. http://dx.doi.org/10.32370/iaj.2996.

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The painting is a fascinating work that captures the essence of extravagance and vibrant lifestyle of Miami through its main character, a confident and fun-loving woman. The artist has depicted a stylish and elegant figure walking through the city streets with a posture that reflects her confidence and determination. The choice of blue as the main color throughout the painting is a bold and impactful decision. Blue is typically associated with tranquility and calmness, but the artist has used it to create an atmosphere full of energy and vitality. Additionally, there are eye-catching details in red colors, such as the painted lips, the crown on the head of the figure, as well as the shoes and bag, which give the painting a touch of glamour and sophistication. The use of color and details is a fundamental part of the artwork, helping to convey the personality and style of Fancy Fifi. The figure stands out against a neutral background, emphasizing her presence and making her even more striking. The composition of the painting is very well executed, conveying a sense of movement and dynamism. Overall, the painting "Fancy Fifi" is a work full of style and personality, capturing the essence of Miami and the extravagance of its main character. The artist has created a striking and attention-grabbing painting that is sure to captivate all viewers.
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Poloboc, Alina. Josh Tampico. Intellectual Archive, November 2023. http://dx.doi.org/10.32370/iaj.2988.

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Josh Tampico is a painting from the Fancy Collection 2022, portraying a charismatic and creatively charged character with a keen sense of music. This vibrant portrayal depicts the brilliant music composer from Madrid, known for his distinctive blue hair. Having collaborated with numerous internationally renowned singers, Josh Tampico is a noteworthy figure in the music industry. The creation of this artwork is the result of a collaborative artistic project. The strategic use of the color blue by the painter Alina Poloboc in this piece symbolizes strength, trust, and creativity. Notably, the painting of Josh Tampico currently serves as both the logo and the official cover of one of his music albums. This particular painting stands out as one of the artist`s most successful works, of which she takes great pride.
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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.
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Leading Figures in Venezuelan Painting of the Nineteenth Century. Inter-American Development Bank, September 1999. http://dx.doi.org/10.18235/0006227.

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Twenty-one paintings by twelve of the most important 19th centuryVenezuelan artists, never before shown outside of Venezuela, that reveal parallels and differences with the development of painting elsewhere in the hemisphere, from the collections of the Gallery of National Arts of Venezuela, the Central Bank of Venezuela, and the Polar Enterprises Collection, all in Caracas.
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Figari's Montevideo: 1861 - 1938. Inter-American Development Bank, September 1995. http://dx.doi.org/10.18235/0006406.

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Thirty-eight works including drawings, photographs and paintings that illustrate the life and times of artist Pedro Figari in Montevideo, Uruguay; from Montevideo's National Library, the Juan Manuel Blanes Municipal Museum, the National Museum of Visual Arts, the National History Museum, as well as several private collections.
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