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Journal articles on the topic 'Figure painting'
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1
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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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 (October 28, 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 distinguished through the shape of the face, body shape or abdomen and coils as well as detailed parts of the eyes, eyebrows, nose, mouth, mustache, and other detailed shapes. (I Made Yasana, Menggambar Wayang Klasik Bali 1). Gede Modara who created the Kamasan Wayang style inspired the author to create puppets with a new style through the figures in the Kamasan Classical Puppet. This creation process aims to preserve the Kamasan Classical Puppet and develop it into a modern painting without eliminating the existing packages. The paintings created are expected to be able to become the characteristics of the author.
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Gillam, Barbara J. "Figure-Ground and Occlusion Depiction in Early Australian Aboriginal Bark Paintings." Leonardo 50, no. 3 (June 2017): 255–67. http://dx.doi.org/10.1162/leon_a_01423.
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Aboriginal painting has been largely treated as conceptual rather than perceptual and its visual impact little examined. In this article the author shows the perceptual skill and innovation demonstrated by Aboriginal bark painters in depicting figure-ground and occlusion. This has heuristic value for studying occlusion perception and adds visual meaning to the conceptual meaning of the paintings.
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Ahmarofi, Nurul Syifa@Siti Aishah, Elis Syuhaila Mokhtar, Issarezal Ismail, and Ida Puteri Mahsan. "Chronology of Representation of Women in Painting in Malaysia: From 1930 to 2020." Idealogy Journal 7, no. 2 (September 1, 2022): 98–105. http://dx.doi.org/10.24191/idealogy.v7i2.354.
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Through the figure of women, various roles, situations, cultural identities, social and economic aspects are depicted in addition to presenting the aesthetics of women. The involvement of women in various situations and characters is important to know their characteristics, duties and responsibilities. This study focuses on the general chronology of the use of female figures in painting in Malaysia through a visual study by previous and recent painters. Through this analysis, the use of female figures in local paintings can be known and further contribute to the documentation process in an organized manner in addition to learning cultural values, identity and national treasures.
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Stahr, Radka. "Kvindelige arketyper og kompositorisk sammensmeltning. Om nogle paralleller mellem Blixens fortælling ”De standhaftige slaveejere” og Munchs piktoriale model [Female archetypes and compositional fusion. On some parallels between Blixen's short story “De standhaftige slaveejere” and Munch's pictorial model]." Folia Scandinavica Posnaniensia 32 (April 21, 2023): 4–18. http://dx.doi.org/10.14746/fsp-2022.32.01.
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This article analyses the hitherto unexplored influence of Edvard Munch on Karen Blixen's work. Blixen was a great connoisseur of art and can therefore be assumed to have known Munch's work. In the short story “De standhaftige slaveejere” we find several parallels to the so-called “Munch's pictorial model”, i.e. a set of common features of his work (specifically his expressionist phase). Most striking is the similarity of the characters to those in Munch's painting Kvinden i tre stadier, which Blixen adopts both in terms of their appearance and their archetypal roles. She is particularly inspired by the colour connotations associated with the characters portrayed in the painting, and creates the figure of a beautiful and innocent girl in a white dress accompanied by an ascetic governess in black. Even the male character in Blixen's short story recalls Munch's archetype of the weak, melancholic man who is about to be destroyed by women. We also find a significant parallel in relation to the typical composition in Munch's paintings, where the individual figures are merged into one. Blixen makes use of this composition in the concrete description of the figures in her story; at the same time, on an abstract level, it is possible to interpret both figures as one multidimensional figure.
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Jurković, Ivan, and Ivana Prijatelj Pavičić. "Nova interpretacija sadržaja slike Lazzara Bastianija u samostanu sv. Frane u Zadru." Radovi Zavoda za hrvatsku povijest Filozofskoga fakulteta Sveučilišta u Zagrebu 52, no. 3 (December 14, 2020): 225–85. http://dx.doi.org/10.17234/radovizhp.52.25.
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The sacristy of the monastic Church of St. Francis (Sveti Frane) in Zadar, held by the Franciscan Province of Saint Jerome, holds a painting by Lazzaro Bastiani, a Venetian painter of the early Renaissance. The painting is venerated as a depiction of the Virgin of Mercy (Ara Coeli). The upper section of the painting features the Blessed Virgin Mary and the infant Jesus. The Virgin is shown sitting in a mandorla made of angels with a crescent beneath her feet. God the Father is placing a crown on her head. Two angels are holding the ends of her outspread cloak, in front of which are saints: the men on the right and the women on the left. A church is depicted against the backdrop of a hilly landscape. It is positioned on a mound, with a railing ending in a staircase leading to it. The lower section of the painting features three groups, all genuflecting: men to the left, children in the middle, and women to the right. The group of men is dominated by the figure of Pope Sixtus IV (1471‒1484). Even after 175 years of research, the following questions remain contested: • the dating of the painting and the date of its arrival in Zadar • the identification of the patrons and the interpretation of the painting’s symbolism • the identification of the shrines depicted in the painting, and, finally • the identification of the historical figures featured. The aim of the authors is to try to elucidate, at least in part, the theological and historical context of the painting’s production, and to identify the historical figures and the shrine of the Blessed Virgin Mary depicted therein.
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Bagshaw, Steve, Richard Bryant, and Michael Hare. "The Discovery of an Anglo-Saxon Painted Figure at St Mary's Church, Deerhurst, Gloucestershire." Antiquaries Journal 86 (September 2006): 66–109. http://dx.doi.org/10.1017/s0003581500000068.
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The church of St Mary at Deerhurst in Gloucestershire is well known for its Anglo-Saxon fabric and sculpture. In 1993 a painting of an Anglo-Saxon figure was discovered, and in 2002 it became possible for the authors to study the painting in detail.The painting is on one of a pair of triangular-headed stone panels set high in the internal east wall of the church. The discovery provides a significant addition to the tiny corpus of known Anglo-Saxon wall paintings. The identity of the standing, nimbed figure remains elusive, but the figure can be tentatively dated on art historical grounds to the middle to late tenth century.The authors also explore the structural context of the painting. It is suggested that in the first half of the ninth century the church had an upper floor over the central space (the present east end), and that this floor possibly extended over the whole church. At the east end, there were internal openings from this upper floor into a high-level space in the polygonal apse. At a later date two of these openings were blocked and covered by stone panels, one of which is the subject of this paper. It is possible that the panels flanked a high-level altar or an opening through which a shrine, set on a high-level floor in the apse, could be viewed.
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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 (August 22, 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 regions of interest (ROIs) defined by face, theme, and context to allow the analysis of eye movements. These data were directly compared with a subset of those initially reported in our previous study in which the same experiment was run but without the inclusion of the Navon figure. The inclusion of the Navon task lowered the discrimination accuracy in the yes/no discrimination task. More importantly, eye movements to the paintings were disrupted across the entire period over which they were viewed and not just in the period following the offset of the Navon figure. The results show the sensitivity of eye movements to the conditions present at the beginning of viewing. The results have implications for the viewing of paintings (and other images) in the real world, where the starting conditions for inspection cannot be controlled.
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Liu, Kaixuan, Sha Lu, Jiayu Zhao, Zhuolei Jin, Chun Zhu, Keqing Zhu, Xinyue Hao, Bin Zhang, Zhao Lü, and Xianyi Zeng. "Research on Archaeology and Digital Restoration of Costumes in Spring Outing Painting of Madam Guo." Sustainability 14, no. 19 (September 27, 2022): 12243. http://dx.doi.org/10.3390/su141912243.
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Spring Outing Painting of Madam Guo is one of the representative works of Zhang Xuan, a famous Chinese court painter of the Tang dynasty (618–907), who was the “leader” of the trend of figure painting in the Tang dynasty and had a great influence on later figure painting. The costumes of the characters in the paintings not only show the artistic aesthetics of the prosperous Tang dynasty, but also reflect the rich cultural connotation. At present, the research on this painting is mainly about character discrimination and painting appreciation. There are few studies involving the costumes in this painting. With the rapid development of digital clothing technology, it provides a new way and path for the restoration of ancient costumes. Based on the costume archaeology of Spring Outing Painting of Madam Guo, this paper uses 3D virtual simulation and reverse engineering technology to restore the costume style of the characters in the picture, realize the digital restoration and protection of the style drawing, paper pattern, and 3D simulation drawing of the characters’ costumes in the picture. Finally, we introduce the fuzzy analytic hierarchy process (FAHP) to comprehensively evaluate the costume restoration effect. Our proposed method solves the problem of the constraints of time and space on the presentation of ancient traditional costumes, promotes the excellent historical culture of China, and provides a certain reference for the modern redesign of ancient costumes.
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Ieven, Bram. "Deleuze Modernist." Deleuze Studies 5, no. 1 (March 2011): 84–96. http://dx.doi.org/10.3366/dls.2011.0009.
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This article discusses the distinction between Figure and Form that Deleuze introduces in Francis Bacon: The Logic of Sensation. He uses the distinction to articulate the difference between two trajectories in modernist painting: the first focusing on sensation, the second on cerebral abstraction. I argue that the distinction between Form and Figure – and the disjunction of two types of modernist painting initiated by this distinction – is not as easy to maintain as might appear at first sight. Mapping the lineages of modernist painting from Paul Cézanne to Georges Braque and Theo van Doesburg, the essay argues that the sensuous forces operative in a painting of the Figure are equally at play in the painting of the Form. Modernist painting might therefore be understood as the continuous collapse between Figure and Form, rather than as their strict separation.
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Wagner, Anne M. "Why Monet Gave up Figure Painting." Art Bulletin 76, no. 4 (December 1994): 612. http://dx.doi.org/10.2307/3046059.
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HongWonKi. "A Study on Figure Painting Teaching Based on the Plasticity of Taoist and Buddhist Figure Painting." Journal of Art Education 28 (December 2010): 235–60. http://dx.doi.org/10.35657/jae.2010.28.0.010.
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Chen, Feifei. "Opera Figures in Ink and Wash Scene — Analysis of Guan Liang and Han Yu’s Ink and Wash Opera Figures." Studies in Art and Architecture 2, no. 4 (December 2023): 50–57. http://dx.doi.org/10.56397/saa.2023.12.08.
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In the long history of records, China is a big country, has a complete set of its own cultural system, and these systems will always reveal a subtle connection. The combination of Chinese painting and Chinese opera is enough to reflect the extensive and profound Chinese culture. In the folk tradition, there are a lot of folk art to stage opera characters for the performance of the theme, while opera art has become more and more popular. In the form of painting to describe the opera, in the Ming and Qing Dynasties, some artists began to use this way to express the opera, but the number is very small and did not form a large scale, and it did not break away from the style of literati painting, resulting in the failure to cause more researchers at the time of the pro-gaze. After the modern society, a group of overseas artists returned, the advanced western humanistic thought into the painting, bold attempt to a variety of painting language performance, the theme of the performance is also more extensive. Mr. Guan Liang’s opera figure painting is a model of this period. He is an explorer who takes opera figures as the main performance theme of painting, and combines his own creative experience to successfully create countless opera figures with different personalities in the performance language of Chinese painting. Finally, he formed his own independent painting style, different from the artistic style of literati painting. After that, more and more painters began to express operas in Chinese paintings. Among them, Han Yu, Gao Made, Lin Fengmian and so on, the works have their own unique spiritual outlook, explored a new path of painting, these excellent works not only from the inheritance of traditional culture, but also reflects the rich and colorful art of today’s era, in the history of Chinese art will leave a glorious page.
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Gardner, Colin. "Barnett Newman's Zip as Figure." Deleuze Studies 6, no. 1 (February 2012): 42–54. http://dx.doi.org/10.3366/dls.2012.0045.
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Challenging the formalist critical legacy of Clement Greenberg and Michael Fried, this essay advocates an alternative philosophical lineage for Modernist painting through a specific focus on Barnett Newman's vertical stripe or ‘zip’. This genealogy is rooted in Newman's own self-confessed interest in painting as a disclosure of the sensation of time and Deleuze's overt break with Kant. In light of the latter, the zip takes on the function of Deleuze's Figure: the material support that generates, sustains and also disperses a precise sensation.
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Bian, Xiangyang, and Meng Niu. "The Feasibility and Methodology for Water and Land Paintings in the Study of the Ming Dynasty Costumes." Asian Social Science 14, no. 1 (December 26, 2017): 136. http://dx.doi.org/10.5539/ass.v14n1p136.
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Chinese Water and Land painting contains lots of figure costume modeling, providing intuitive and vivid image data for the study of ancient costumes. It is a new medium for the study of Chinese ancient costumes. This paper analyzes the feasibility and methodology for Water and Land paintings in the study of the Ming Dynasty. With the Ming costumes in the Water and Land Paintings, this paper discusses the shape, color, texture and fabric patterns of the ancient dresses. The feasibility of using Water and Land Paintings to study ancient costumes is further analyzed in this paper. This paper emphasizes the importance of ancient dresses in Water and Land Painting for the study of its wearing effect, and the specific methods of research that are put forward.
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SHPAK, L. YU. "COMPARATIVE ANTHROPOLOGICAL CHARACTERISTICS OF ATTIC WHITE-GROUND VASE PAINTING." Moscow University Anthropology Bulletin (Vestnik Moskovskogo Universiteta Seria XXIII Antropologia), no. 1/2024 (April 12, 2024): 134–45. http://dx.doi.org/10.55959/msu2074-8132-24-1-12.
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Introduction. Of the numerous ceramic production centers of ancient Greece, the Attica region is notable for its continuous development of vase painting styles. Compared to the black-figure and red-figure painting techniques, the polychrome painting of Attic vases on a white-ground may indicate polymorphism in the pigmentation of the ancient Greeks. Materials and methods. The material was collected in digitized museum collections and thematic literature. The color and nature of the characters' hair were studied from vase painting and funerary painting. Anthroposcopic method and simple statistics were used. The significance of differences between groups was assessed using the chi-square test. Results and discussion. In all samples of Attic vase painting, the wavy nature of the hair is predominant, and this frequency does not change significantly over time. The highest frequency of straight nature of the hair (13.3%) is observed in white-ground vase painting. In comparison with the characters in vase paintings, modern Greeks have predominantly straight, lightly wavy hair, especially in women, and then wavy hair. For all style groups of Attic vase painting, no gender differences in nature of the hair were identified. The depiction of hair color on white-ground vase paintings of the early classical and classical times is significantly different: in the earlier vase painting, black and dark brown predominate, and in the later ones, brown/light brown and red-brown. The minimum frequency of dark shades of the hair is noted in Hellenistic funerary painting; it shows, like the white-ground vase painting of the classics, a lighter-pigmented population. The hair color of the modern Greek population is predominantly dark. Based on the hypothesis that the artist depicts familiar forms as traditional ones and reflects the anthropological characteristics of his group, the polymorphism of pigmentation and nature of the hair of the ancient and modern Greek populations is different. Conclusion. Groups of art sources that differ in chronology and style do not represent the hair pigmentation of the population of ancient Greece in the same way. To further study polymorphism of pigmentation of the ancient population, it is necessary to correct the methodology to correlate the actual colors used in vase/mural painting with the hair color classes of the traditional color scale, as well as the use of additional comparative materials.
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Lee, Yeonju. "The Increase in the Commissioning of Paintings during the Late Joseon Period and Its Impact." Korean Journal of Art History 315 (September 30, 2022): 177–212. http://dx.doi.org/10.31065/kjah.315.202209.006.
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The late Joseon period witnessed significant growth in the commissioning of paintings. This increased demand for paintings, which led to changes in the production and consumption of paintings, is evidenced by the increased number of painting inscriptions that specified the names of clients. Those painting inscriptions indicate that the client placed an order to the painter in person, via a broker, or through correspondence. They also reveal which pictorial subjects were particularly favored by clients. For instance, demand for paintings of true-view landscape of the client’s family hometown or of famous scenic places was particularly high among scholarofficials, and yet demand for conceptual landscape paintings still remained high. The portrait was emblematic of the genre of paintings that were to be commissioned first. Aspirations to take pleasure in Chinese literati culture were expressed in the consumption of narrative figure paintings. The subject of immortals, which symbolized the wish for longevity, and the subjects of flowers, plants, birds, and animals, which served as auspicious decoration, also gained currency as the basis of demand for painting broadened. The terms of commissioning paintings as formed in the late Joseon continuously shaped the painterly practice even after the fall of the Joseon, heralding the way paintings were distributed and consumed in modern Korea.
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Yayah Rukiah. "Visual Elements of "Semar Calligraphy" on Cirebon Glass Painting of Kusdono’s Work." IICACS : International and Interdisciplinary Conference on Arts Creation and Studies 1 (April 6, 2020): 43–47. http://dx.doi.org/10.33153/iicacs.v1i1.14.
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This research is focused on the visual elements contained on Kusdono's Cirebon glass painting. The writer uses descriptive qualitative research methods to examine the visual elements, with the technique of collecting data from books and journals that relates to the research object. The purpose of this study is to examine and find the meaning of Cirebon glass paintings. The results of this research are Semar as the main figure in the clown who always do good, keep the truth and obey the tenet that closely related to Islam. Arabic calligraphy reinforces Semar's figure. On the Cirebon glass painting, there are many mega mendung ornaments and wadasan which are Cirebon batik motifs, as well as the colors used in the coastal colors due to the geographical location of Cirebon City near the beach.
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Saeid, Samaneh, and Laleh Atashi. "Vintage Ladies in Cubist Exhibitions: Pablo Picasso's Cubist Women and Judith Butler's Performativity." k@ta 22, no. 1 (July 12, 2020): 28–35. http://dx.doi.org/10.9744/kata.22.1.28-35.
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As a prominent figure in the history of painting, Pablo Picasso has bestowed upon the world his uniquely striking paintings in different styles, the most revolutionary of which being his Cubist art. The representation of women occupies a significant space in Picasso’s Cubist works. While the painter’s style is highly revolutionary, rejecting the accepted principles of painting, the subject matter does not change as such: nude women are objectified with a cubist look. Judith Butler’s theory of gender performativity which examines the roots of naturalized concepts of gender, has been applied to Picasso’s representations of women in his cubist paintings. This research examines the way naturalized definitions of gender have found their way into Picasso’s paintings. By applying the Butlerian concept of gender performativity to a number of Picasso’s cubist artworks, we try to indicate how stereotypes of gender linger in the discourse of modernism. Analyses lead to the conclusion that although the cubist style of painting is an experimentation in form, hardly any avant-gardism can be traced in the representation of gendered identities in Picasso.
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Prayoga, I. Made Adi Putra, I. Wayan Kondra, and I. Dewa Putu Gede Budiarta. "Barong Landung as Inspiration for the Creation of Painting Works." CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI 3, no. 2 (October 28, 2023): 197–206. http://dx.doi.org/10.59997/ctkr.v3i2.3002.
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The classic painting art of Wayang Kamasan has a distinctive depiction of figures, coloring techniques and complementary ornaments so that it has been preserved and maintained until now. In Bali there is also Barong Landung which has a historical background and interesting characteristics. The creation of this work and writing aims to find the author's unique painting style which is inspired by the figure of Wayang Kamasan by raising the topic of Barong Landung. The method used in the process of creating this work of art is the method of writing by Hawkins, which includes the stages of exploration, improvisation, and forming. The results of this activity are in accordance with the stages carried out, namely (1) during the exploration stage, ideas and relevant studies are generated regarding the works created; (2) the improvisation stage resulted in a sketch on a sketchbook; and (3) the formation stage produced six paintings according to the plot or history of Barong Landung
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Augustin, Birgitta. "Qian Xuan Pounding the Balustrade." Archives of Asian Art 74, no. 1 (April 1, 2024): 1–36. http://dx.doi.org/10.1215/00666637-11169063.
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Abstract In the late thirteenth century, the poet-painter Qian Xuan 錢選 (style [zi (字)] Shunju 舜举, sobriquets [hao 號] Zhaxi weng 霅溪翁, Yutan 玉潭; ca. 1235–ca. 1307) created a horizontal, multi-colored landscape painting known today as Wang Xizhi Watching Geese and owned by the Metropolitan Museum of Art in New York; a copy of the painting exists in the collection of the National Palace Museum in Taipei. The work depicts a waterside pavilion in which a figure stands with his right hand seemingly resting on the balustrade. This article offers a new interpretation of the painting's scene, and it will argue that the figure's hand on the balustrade is the key to an additional perspective of the painting's artistic statement. It begins by analyzing the painting composition, which includes the artist's inscription, before proceeding to a discussion of balustrade in Song ci-poetry and its significance in Qian Xuan's painting. A closer look at the architecture of the pavilion further reveals that the subject and theme of this painting is that of a dejected Song scholar-poet who laments his country's fate.
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Modares, Mahshid. "Realism in Nineteenth Century Iranian Figure Painting." International Journal of the Arts in Society: Annual Review 4, no. 1 (2009): 171–82. http://dx.doi.org/10.18848/1833-1866/cgp/v04i01/35565.
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Malott, Maria E. "What Influences Audience Response to Figure Painting?" Psychological Record 68, no. 3 (September 2018): 331–41. http://dx.doi.org/10.1007/s40732-018-0313-0.
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Rukiah, Yayah, Sarwanto Sarwanto, Sutarno Sutarno, and Sunardi Sunardi. "Visual Elements of Semar Calligraphy on Cirebon Glass Painting of Kusdono’s Work." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 15, no. 2 (December 3, 2020): 71–79. http://dx.doi.org/10.33153/dewaruci.v15i2.3161.
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This research is focused on visual elements contained in Kusdono's Cirebon glass painting. To examine the meaning of visual elements, the writer uses the aesthetic approach and Erwin Panofsky's iconographic approach through 3 stages: the description of pro-iconography, iconography, and finally, iconology. The methodology used is a descriptive qualitative research method, with data collection techniques from books and journals related to the research object. The purpose of this study is to examine and uncover the meaning of Cirebon glass paintings. These research results are Semar as the principal figure in the clown who always do good, keep the truth, and obey His teachings closely related to Islam. Arabic calligraphy reinforces Semar's figure. Many use mega cloudy and wadasan ornaments in the Cirebon glass painting, which are Cirebon batik motifs. Also, the colors used are coastal colors due to the City of Cirebon's geographical location close to the beach.
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Deng, Xiaoying, and Xingmei Xu. "Analysis of the Formal Language in Contemporary Minority Nationality-Themed Fine Brushwork Figure Painting." Economic Society and Humanities 1, no. 1 (January 2024): 61–65. http://dx.doi.org/10.62381/e244111.
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Minority nationality-themed fine brushwork figure paintings, focusing on the portrayal of ethnic minority people, represent a unique genre dedicated to depicting the spirit of ethnic minority people. It occupies a distinctive niche within the broader continuum of Chinese art, carrying forward the creative passion and artistic pursuit of each generation of fine brushwork artists towards minority culture. With the progress and development of the times, classic works have always been the treasure of artistic creation in this genre. These thematic paintings manifest profound artistic expression and regional characters, especially exhibiting ethnic distinctiveness in their formal language. To be outstanding, creators must achieve a comprehensive understanding of the formal language of this genre, thus only by respecting the cultures of the minority areas and optimizing the creation can this type of painting innovate and develop, staying true to its roots while encouraging innovation.
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Loughmiller-Newman, Jennifer A. "CANONS OF MAYA PAINTING." Ancient Mesoamerica 19, no. 1 (2008): 29–42. http://dx.doi.org/10.1017/s0956536108000308.
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This paper presents an analysis of the size and spatial organization of text segments and anthropomorphic figures on Classic Maya polychrome vases. Based on a sample of 110 vases that contain both text and images and are complete enough to measure the relevant variables, I demonstrate that a single set of canons for the sizes and placements of text segments and images, separately and with respect to one another, characterizes vessels throughout the polychrome-producing area. Both texts and images exhibit a three-level hierarchy of sizes, with standardized ratios of the primary-to-secondary level and of the secondary-to-tertiary level. Concurrently, significance is added to these sizes through vertical and horizontal arrangement on the vessel surface. This analysis confirms statistically what visual analysis has broadly speculated about in terms of proportion, scale, and similarities between styles. Data are also provided that illuminate issues in the method and meaning of scene layout and the representation of active and inactive figure illustration.
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Ma, Xueyang. "Iconography Analysis--Symbolism in Joan Miró i Ferrà's Surreal Works." Frontiers in Humanities and Social Sciences 2, no. 6 (June 20, 2022): 54–58. http://dx.doi.org/10.54691/fhss.v2i6.893.
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Joan Miró (20 April1839 --25 December 1983), was a Spanish painter, sculptor, ceramicist, printmaker and representative figure of surrealism, is one of the surrealist painting masters in the 20th century who are as famous as Picasso and Dali. In 1924, Miró deeply felt the ideological influence of surrealism in Paris, and he always insisted on the creation of surrealism in his artistic creation career in his later life. In style, Joan Miróis different from Picasso in the same period and Dali in naturalism. Joan Miró said: 'I make no distinction between poetry and painting.'. In his works, it clearly reflects the combination of these two, and ensures the purity, childishness and symbolism of art. This paper starts from the reality, analyzes the poetic grace of the picture caused by the repetition of symbols in Miró's paintings, and focuses on the embodiment of childlike and symbolism in the paintings.
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Ruta, Nicole, Alistair Burleigh, and Robert Pepperell. "Space and Scale in Medieval Painting Reflects Imagination and Perception." Gestalt Theory 44, no. 1-2 (August 1, 2022): 61–78. http://dx.doi.org/10.2478/gth-2022-0006.
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Abstract Prior to the discovery of linear perspective in the fifteenth century, European artists based their compositions more on imagination than the direct observation of nature. Medieval paintings, therefore, can be thought of as ‘mental projections’ of space rather than optical projections, and were sometimes regarded as ‘primitive’ by historians as they lacked the spatial consistency of later works based on the rules of linear perspective. There are noticeable differences in the way objects are depicted in paintings of the different periods. For example, human figures in pre-linear perspective works often vary greatly in size in ways that are not consistent with the laws of optics. Some art historians have attributed this to ‘hierarchical scaling’ in which larger figures have greater narrative significance. But there are examples of paintings that contradict this explanation. In this paper we will consider an alternative to the hierarchical scaling hypothesis: that medieval artists used relative size to elicit empathy and to reflect the perceptual structure of imagination. This hypothesis was first proposed by the art historian Oskar Wulff, but has largely been dismissed since. We argue that artists of this period, far from being naïve, used sophisticated techniques for directing the attention of the viewer to a particular figure in a painting and encouraging them to ‘see’ the depicted space from that figure’s point of view. We offer some experimental evidence in support of this hypothesis and suggest that the way artists have depicted space in paintings has an important bearing on how we imagine and perceive visual space.
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구본현. "Animal Figure and Its Meaning in Painting Poetry." DONG-BANG KOREAN CHINESE LIEARATURE ll, no. 61 (December 2014): 87–124. http://dx.doi.org/10.17293/dbkcls.2014..61.87.
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Barker, E. "Fragonard and the Fantasy Figure: Painting the Imagination." French Studies 67, no. 2 (March 29, 2013): 253. http://dx.doi.org/10.1093/fs/knt012.
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IM, MI-HYUN. "A Study on Landscape Paintings of Geungjae (兢齋) Kim Deuk-shin (金得臣, 1754-1822)." Institute of History and Culture Hankuk University of Foreign Studies 88 (November 30, 2023): 191–224. http://dx.doi.org/10.18347/hufshis.2023.88.191.
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Geungjae (兢齋) Kim Deuk-shin (金得臣, 1754-1822) is known as one of the three genre painters along with Kim Hong-do (金弘道, 1745-1806?) and Shin Yun-bok (申潤福, 1758-1817 afterwards) or only as a painter who had been largely influenced by Kim Hong-do. In fact, he was a 44-year veteran Dohwaseo painter who had participated in important national art projects. Aside from his famous genre paintings, his extraordinary talent in portraits, landscapes, birds and animals, and flowers and animals established him as one of the best painters during the period. Especially, his results in Nokchwijae (祿取才: the state examination for court painters) demonstrates his ability in landscape painting among other themes as well as how much recognition he received at the time; some of these works are currently available.
Kim Deuk-shin’s landscape paintings carry two styles of landscape painting in Late Joseon Dynasty: literati landscape painting of the ideal and conceptual landscape and true-view landscape painting that painted mountains and rivers in Korea. This allows better understanding of his diverse works, as well as the variety of trends and transformations of the landscape painting in the Late Joseon Dynasty. In addition, compared to other themes such as genre, figure painting of Taoism and Buddhism, birds and animals, and flowers and animals that had been apparently influenced by Kim Hong-do’s style, his landscape painting has a different pattern due to being directly and indirectly influenced by a number of preceding painters including Jeong Seon (鄭敾, 1676-1759), Sim Sajeong (沈師正, 1707-1769), Kim Eung-hwan (金應煥, 1742?-1789), and Kim Hong-dothat were largely established in the area of landscape painting At the same time, it is also possible to observe the Gaeseong Kim family’s painting style from Kim Deuk-shin’s landscape paintings as they show association with those of his uncle Kim Eung-hwan, brother Kim Seok-shin (金碩臣, 1958-?) and Kim Ha-jong (金夏鍾, 1793-1875 afterwards). Kim Deuk-shin’s landscape painting style may have been passed on to Kim Seok-shinand Kim Ha-jong through secondary influence from Kim Eung-hwan, who was influenced by Jeong Seon and Sim Sajeong. Based on this, his landscape painting style appears to have had a significant influence on the establishment of the painting style within the Gaeseong Kim family and on later generations of court painters.
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Webster, Susan V. "Of Signatures and Status: Andrés Sánchez Gallque and Contemporary Painters in Early Colonial Quito." Americas 70, no. 04 (April 2014): 603–44. http://dx.doi.org/10.1017/s0003161500003588.
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The 1599 portrait Don Francisco de Arobe and His Sons, Pedro and Domingo by Andean artist Andres Sanchez Gallque (Figure 1) is one of the most frequently cited and reproduced paintings in the modern literature on colonial South America. The painting has been extensively praised, parsed, and interpreted by twentieth- and twenty-first-century authors, and heralded as the first signed South American portrait. “Remarkable” is the adjective most frequently employed to describe this work: modern authors express surprise and delight not only with the persuasive illusionistic power of the painting, the mesmerizing appearance of its subjects, and the artist's impressive mastery of the genre, but with the fact that the artist chose to sign and date his work, including a specific reference to his Andean identity.
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Webster, Susan V. "Of Signatures and Status: Andrés Sánchez Gallque and Contemporary Painters in Early Colonial Quito." Americas 70, no. 4 (April 2014): 603–44. http://dx.doi.org/10.1353/tam.2014.0074.
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The 1599 portrait Don Francisco de Arobe and His Sons, Pedro and Domingo by Andean artist Andres Sanchez Gallque (Figure 1) is one of the most frequently cited and reproduced paintings in the modern literature on colonial South America. The painting has been extensively praised, parsed, and interpreted by twentieth- and twenty-first-century authors, and heralded as the first signed South American portrait. “Remarkable” is the adjective most frequently employed to describe this work: modern authors express surprise and delight not only with the persuasive illusionistic power of the painting, the mesmerizing appearance of its subjects, and the artist's impressive mastery of the genre, but with the fact that the artist chose to sign and date his work, including a specific reference to his Andean identity.
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Sharma, Sanjay. "Hand wasting in Calumny of Apelles." Neurology International 1, no. 1 (September 9, 2009): 12. http://dx.doi.org/10.4081/ni.2009.e12.
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Renaissance painting from the early 15th to mid 16th centuries originated in the area of present-day Italy. Inspired by the works of ancient Greece and Rome, artist produced painting based on topographic observation and the idealistic body proportion. The most of the painting depicts human figure in perfect shape. Calumny of Apelles was painted by the Italian painter Sandro Botticelli. A dark male figure painted in center with bilateral symmetrical distal wasting of limbs and poor body frame. The unusual portrayal may also suggest use of live model suffering from lead toxicity and lead neuropathy.
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Kim, Soon-seob. "A Study on the Aesthetic Awareness and Expression Method of the Landscape Painting in 『Limjeongochi (林泉高致)』 of Kwakhi)." Korean Society of Calligraphy 44 (March 30, 2024): 269–92. http://dx.doi.org/10.19077/tsoc.2023.44.10.
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This study has researched the aesthetic awareness and the expression method of the landscape painting that is described in 『Limjeongochi (林泉高致)』 of Kwakhi, based on the philosophical contemplation of Rihak (Neo-Confucianism) of the Northern Song Dynasty. Landscape paintings were flourished especially in the Song Age. The emergence of this background can result from several factors. Above all, this mirrors the epochal art tendency and view of aesthetics in contrast to those in the previous times, which has something close to do with the spirit of the age when literary paintings came to the fore and Rihak (Neo-Confucianism) of the Song Dynast was deeply embedded in society.
The highly learned Kwakhi, a painter in painting art academy, made an exchange with many literary men, thus, being influenced by Rihak (Neo-Confucianism) in reflection of the sprit of the age that epochal intellectuals held. The aesthetic awareness of landscape in 『Limjeongochi (林泉高致)』, was described not as a realistic painting that recreates nature by the means of visual and sensory elements but as the best good (善) and the best providence (天理) interpreted as universal unity (天一合一) in harmony with reason and emotion. This reflects the aesthetic awareness that cognizes universalism (宇宙論) as the essence of human character, and ultimately the moral principle emphasizing investigation of things (格物致知) and discipline, thereby providing the momentum to highly appreciate the landscape painting.
A characteristic of landscape painting is that this painting expresses the beauty of landscape in a vivid way, regarding transcendental contemplation or nature as the circulating organism that contains poetic implication. This pursues the method of understanding the power (power of mountain) and attribute (essence of mountain) by observing landscape, at close or far distance and looking into all over the three surfaces of the mountain (high, deep, and plain surfaces) for spatial expansion, in order to overcome the problem focusing on a single object, bring a dynamic change in an object so that it could move to and fro with full vigor, and to embody it into a living thing, as if it were actually described in landscape. It can be said that energy that figure paintings put weight on is included in landscape painting, also. In this regard, the fundamental principle of stroke and ink has played the inter-complementary role to vitalize literary paintings, and furthermore expand the natural beauty of vigor from landscape painting into flower bird paintings.
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Kim, Soon-seob. "A Study on the Aesthetic Awareness and Expression Method of the Landscape Painting in 『Limjeongochi (林泉高致)』 of Kwakhi)." Korean Society of Calligraphy 44 (March 30, 2024): 269–92. http://dx.doi.org/10.19077/tsoc.2024.44.10.
Full textAbstract:
This study has researched the aesthetic awareness and the expression method of the landscape painting that is described in 『Limjeongochi (林泉高致)』 of Kwakhi, based on the philosophical contemplation of Rihak (Neo-Confucianism) of the Northern Song Dynasty. Landscape paintings were flourished especially in the Song Age. The emergence of this background can result from several factors. Above all, this mirrors the epochal art tendency and view of aesthetics in contrast to those in the previous times, which has something close to do with the spirit of the age when literary paintings came to the fore and Rihak (Neo-Confucianism) of the Song Dynast was deeply embedded in society.
The highly learned Kwakhi, a painter in painting art academy, made an exchange with many literary men, thus, being influenced by Rihak (Neo-Confucianism) in reflection of the sprit of the age that epochal intellectuals held. The aesthetic awareness of landscape in 『Limjeongochi (林泉高致)』, was described not as a realistic painting that recreates nature by the means of visual and sensory elements but as the best good (善) and the best providence (天理) interpreted as universal unity (天一合一) in harmony with reason and emotion. This reflects the aesthetic awareness that cognizes universalism (宇宙論) as the essence of human character, and ultimately the moral principle emphasizing investigation of things (格物致知) and discipline, thereby providing the momentum to highly appreciate the landscape painting.
A characteristic of landscape painting is that this painting expresses the beauty of landscape in a vivid way, regarding transcendental contemplation or nature as the circulating organism that contains poetic implication. This pursues the method of understanding the power (power of mountain) and attribute (essence of mountain) by observing landscape, at close or far distance and looking into all over the three surfaces of the mountain (high, deep, and plain surfaces) for spatial expansion, in order to overcome the problem focusing on a single object, bring a dynamic change in an object so that it could move to and fro with full vigor, and to embody it into a living thing, as if it were actually described in landscape. It can be said that energy that figure paintings put weight on is included in landscape painting, also. In this regard, the fundamental principle of stroke and ink has played the inter-complementary role to vitalize literary paintings, and furthermore expand the natural beauty of vigor from landscape painting into flower bird paintings.
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Barringer, Judith M. "The Mythological Paintings in the Macellum at Pompeii." Classical Antiquity 13, no. 2 (October 1, 1994): 149–66. http://dx.doi.org/10.2307/25011012.
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This article attempts to establish and examine the context of the two remaining mythological paintings in the Macellum, the central market of Pompeii. Panels of Io and Argos and of Penelope and Odysseus grace the interior walls, and while the identification of the Penelope figure has been the subject of debate, she clearly derives from Greek prototypes of Penelope, both material and theatrical. Indeed, scholars suggest that the Io panel and perhaps the Penelope painting as well are copies of Greek panel paintings created by a fourth-century B.C. artist, but it is argued here that their pairing seems to be a Roman creation and that they were part of a larger narrative program. The paintings are compositional opposites and share the narrative technique of depicting moments of quiet tension; this choice of narrative moment is one that began in the Greek world; particularly during the Hellenistic period, and was developed and enhanced by the Romans. Moreover, this interest in creating tension for the spectator, and in the relationship between viewer and image, is also demonstrated by the inclusion of a spectator figure in the Penelope painting. Although the other paintings do not survive, their subjects are known from a nineteenth-century drawing and from nineteenth-century descriptions, and these too share the same narrative technique. If the lost paintings are (also) copies of Greek originals, then the Macellum may have served as a picture gallery for Pompeii's inhabitants. A careful reading of the Macellum paintings (both extant and lost) of Greek myths, their juxtaposition and relationship to each other, and their reception in Roman literature and society reveals that the paintings were arranged as a program, a moralizing ensemble, designed to instruct the viewer on the proper behavior of Roman matrons.
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Kozieł, Andrzej. "Anton Martin Lublinský, that is Karl Dankwart : a few words about the painting Martin Středa as defender of Brno and its author." Opuscula historiae artium, no. 1-2 (2022): 158–65. http://dx.doi.org/10.5817/oha2022-1-2-13.
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The painting Martin Středa as defender of Brno (Moravian Gallery in Brno) is the most monumental representation of the Jesuit Martin Středa / Stredonius (1587–1649), who won fame and the eternal gratitude of the citizens of Brno for his active participation in the defence of the city during the four-month siege by the Swedish army in 1645. Older authors saw Michael Willmann as the author of the painting. However, Milan Togner attributed this work to Anton Martin Lublinský (1636–1690). As it turns out today, the author of this monumental work was Karl Dankwart († 1704) – the author of numerous fresco decorations and oil paintings and court painter to the Polish king John III Sobieski. The authorship of this Silesian artist of Swedish origin is supported both by formal analogies and the provenance of the painting from the former Jesuit conventin Brno. Dankwart's painting of Father Středa was probably a part of the gallery of full-figure portraits of the founders and benefactors of the convent. We can assume that the picture was not the only work that Dankwart produced for the Jesuits of Brno.
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Zou, Xiangping. "The value and historical meaning of freehand brushwork in figure painting of the Song Dynasty." OOO "Zhurnal "Voprosy Istorii" 2023, no. 3-1 (March 1, 2023): 154–63. http://dx.doi.org/10.31166/voprosyistorii202303statyi25.
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As the pinnacle of the development and evolution of Chinese classical painting art, the painting art of the two Song dynasties is famous for its high technical skills, detailed subjects. This paper analyzes the artistic value and historical meaning of Yi Yi figurepaintingfrom the background study and style analysis of Yi Yipaintings in the two Song dynasties, combining two works, “Painting of Immortals with Ink” and “Tai Bai Xing Yin”.
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Brendle, Ross. "The Pederastic Gaze in Attic Vase-Painting." Arts 8, no. 2 (April 2, 2019): 47. http://dx.doi.org/10.3390/arts8020047.
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An image on an Attic red-figure kylix attributed to the Antiphon Painter, showing a single youth wrapped tightly in a mantle, represents a type of figure often found in pederastic courting scenes and scenes set in the gymnasium, where male bodies were on display. Subject to the gaze of older men, these youths hide their bodies in their cloaks and exhibit the modesty expected of a boy being courted. While many courting scenes show an erastês approaching a tightly-wrapped erômenos, in this scene, the boy stands alone with no source of modesty-inducing gaze within the image. Combined with the intimate manner in which the user of this cup would experience the image as he held it close to his face to drink, it would appear to the drinker that it is his own gaze that provokes the boy’s modesty. This vase is one of several in which we may see figures within an image reacting to the eroticizing gaze of the user of the vessel. As the drinker drains his cup and sees the boy, the image responds with resistance to the drinker’s gaze. Though seemingly unassuming, these pictures look deliberately outward and declare themselves to an anticipated viewer. The viewer’s interaction with the image is as important to its function as any element within the picture.
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Coco, Janice M. "Inscribing Boundaries in John Sloan's Hairdresser's Window: Privacy and the Politics of Vision." Prospects 24 (October 1999): 393–416. http://dx.doi.org/10.1017/s0361233300000430.
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The Public Reception Of An Image stands as a testament to its cultural 1 and social meanings. Nevertheless, the painting Hairdresser's Window (Figure 1) by the American Realist John Sloan (1871–1951) has yet to be considered in light of its contemporary criticism. The response of Sloan's early-20th-century audience was ambivalent and thus raises questions concerning the social issues embodied in this painting. Because Hairdresser's Window contains the major motifs recurring throughout Sloan's oeuvre (for example, windows, stereotyped figures, working-class women, and the inclusion of spectators within the picture), it will be used as paradigm to explore the social relevance of his personal mode of spectatorship, a practice that had its counterpart in the public sphere and was paralleled in other works of American Realist painting.