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Relevant bibliographies by topics / History of Art ; Painting

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Academic literature on the topic 'History of Art ; Painting'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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Journal articles on the topic "History of Art ; Painting"

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B.K., Jyoti Prakash. "Nepali Painting: Traditional Motifs in Modern Art." Journal of Advanced Academic Research 3, no. 1 (2017): 173–76. http://dx.doi.org/10.3126/jaar.v3i1.16626.

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Art is mirror of society. Human Civilization developed through art. Philosopher Langinus said that the power of the art is to create sublime to viewers. There is lot of philosophy in art history but still no any conclusion or scientific answer about the art but art is more contemporary due to the globalization and individual expression. In the case of Nepali art, before the "Kirat" and "Lichhabi" period had also some paintings and sculpture. Because of the weak surface we didn't have any paintings but can know from the petrography of Lichhabi period. In the world the ancient time had been found to be developing from religious and cultural development. It is absolutely relevant to be saying that the Nepali paintings were also the cause of the religious development. The history of the Nepali painting had been developed on religious base from the history to contemporary situation. So the main objective of the research is to find the core relation between traditional and modern painting.

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Wallach, Bret. "Painting, Art History, and Geography." Geographical Review 87, no. 1 (1997): 92. http://dx.doi.org/10.2307/215660.

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WALLACH, BRET. "PAINTING, ART HISTORY, AND GEOGRAPHY." Geographical Review 87, no. 1 (2010): 92–99. http://dx.doi.org/10.1111/j.1931-0846.1997.tb00062.x.

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Linrothe, Rob. "Hidden in Plain Sight." Archives of Asian Art 70, no. 2 (2020): 225–44. http://dx.doi.org/10.1215/00666637-8620384.

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Abstract This is a review article of Janet Gyatso's 2015 award-winning book, Being Human in a Buddhist World: An Intellectual History of Medicine in Early Modern Tibet. The art-historical aspects of the book—mainly confined to the first chapter, “Reading Paintings, Painting the Medical, Medicalizing the State” and based on a perceptive art-historical reading of a set of medical paintings and its copies—had yet to be reviewed by an academically-trained art historian. This review underscores the fine art-historical insights deserving the attention of art historians working in parallel contexts of the often tense relationship between religious and empirical epistemologies. At the same time, the evaluation of certain readings of the visual record lead to suggested revisions in the support they provide to Gyatso's primary argument. In addition, other precedents of depictions “from life” in Tibetan art history are offered to help contextualize claims of originality or uniqueness. Finally, an analysis is presented of less formal, freehand painting versus more formalized, iconometric execution, calibrated with vernacular subject matter versus iconographically predetermined themes. Both of the painting modes and subject types are combined in the painting set analyzed by Gyatso supporting her assessment of the innovation of the artists selected by the patron, Desi Sangyé Gyatso (1653–1705).

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Pedram, Behnam, Mahdi Hosseini, and Gholam Reza Rahmani. "The Importance of Painting in Qajar Dynasty Based on the Sociology Point of View." Journal of History Culture and Art Research 6, no. 3 (2017): 985. http://dx.doi.org/10.7596/taksad.v6i3.967.

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<p>The paintings of Qajar dynasty are the most thriving and important artworks in Qajar dynasty. Studying Qajar painting helps importantly to identify and study the art and culture of Qajar dynasty. Existence of lots of paintings, diversity of designs, color and subject, combining tradition and modernism were factors for selecting this dynasty to investigate. As the painting is the visual history of each era, sociology studying of painting in this dynasty will make one to understand common culture and thinking of people in that society. Amount of influence of western culture especially during Naser al-Din Shah Era has been at the same time with the creation of these paintings and combination of these paintings with our past legacy schools lead us to the thinking and willing of Qajar artists. As Qajar art and different kinds of painting art were the foundation of contemporary Iran’s painting by a research around this Dynasty, the reasons of excellence, lacks and origins of contemporary painting of Iran can be understood. Research methodology at the beginning was based on library studies while there were little reading resources in books, magazines, internet, documentation, presence in places and photography and then studying of what was seen heard and read.</p>

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Barker, Emma. "History Painting/Painting History." Art History 22, no. 5 (1999): 760–67. http://dx.doi.org/10.1111/1467-8365.00186.

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SMITH, BENJAMIN W., and JOHAN A. VAN SCHALKWYK. "THE WHITE CAMEL OF THE MAKGABENG." Journal of African History 43, no. 2 (2002): 235–54. http://dx.doi.org/10.1017/s002185370100799x.

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Research in the Northern Province of South Africa has revealed a most surprising new rock art find: a painting of a camel. This paper investigates how and why a camel came to be painted in the remote rock art of the Makgabeng hills. Analysis of archival material allows one to attribute the painting to a Northern Sotho artist who was active in the first decade of the twentieth century. The purpose of the painting is revealed in its context; it forms part of a collection of paintings which ridicule elements of ineptness in the ways of the new white intruders. We argue that this pointed humour helped the Makgabeng community to overcome some of the trauma of the displacement and violence which characterized the era of the first white settlement in northern South Africa.

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Törmä, Minna. "Chinese Landscape Painting as Western Art History." Konsthistorisk Tidskrift/Journal of Art History 80, no. 3 (2011): 184–86. http://dx.doi.org/10.1080/00233609.2011.583679.

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Lee, Byunghwee, Min Kyung Seo, Daniel Kim, et al. "Dissecting landscape art history with information theory." Proceedings of the National Academy of Sciences 117, no. 43 (2020): 26580–90. http://dx.doi.org/10.1073/pnas.2011927117.

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Painting has played a major role in human expression, evolving subject to a complex interplay of representational conventions, social interactions, and a process of historization. From individual qualitative work of art historians emerges a metanarrative that remains difficult to evaluate in its validity regarding emergent macroscopic and underlying microscopic dynamics. The full scope of granular data, the summary statistics, and consequently, also their bias simply lie beyond the cognitive limit of individual qualitative human scholarship. Yet, a more quantitative understanding is still lacking, driven by a lack of data and a persistent dominance of qualitative scholarship in art history. Here, we show that quantitative analyses of creative processes in landscape painting can shed light, provide a systematic verification, and allow for questioning the emerging metanarrative. Using a quasicanonical benchmark dataset of 14,912 landscape paintings, covering a period from the Western renaissance to contemporary art, we systematically analyze the evolution of compositional proportion via a simple yet coherent information-theoretic dissection method that captures iterations of the dominant horizontal and vertical partition directions. Tracing frequency distributions of seemingly preferred compositions across several conceptual dimensions, we find that dominant dissection ratios can serve as a meaningful signature to capture the unique compositional characteristics and systematic evolution of individual artist bodies of work, creation date time spans, and conventional style periods, while concepts of artist nationality remain problematic. Network analyses of individual artists and style periods clarify their rhizomatic confusion while uncovering three distinguished yet nonintuitive supergroups that are meaningfully clustered in time.

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Hung, Wu. "Art in a Ritual Context: Rethinking Mawangdui." Early China 17 (1992): 111–44. http://dx.doi.org/10.1017/s0362502800003692.

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This paper reexamines the famous painting from Mawangdui Tomb number 1. Instead of approaching it as an independent “work” and matching its images with fragmentary textual references, I explore its relationship with other buried objects, the tomb's structure and symbolism, and the ritual process during which the tomb was constructed. Based on ancient ritual canons, I reject the popular opinion that the painting served to summon the departed soul or to guide the soul to Heaven. Rather, the painting formed part of the jiu-group (“the body in its long home”) at the center of the burial, and enclosed by the guan-coffins decorated with images of protection and immortality, and again by the guo-casket, a replica of the deceased's household (zhai). The painting's meaning and function must be comprehended within this architectural-ritual context. Moreover, neither the painting nor the whole tomb represents a coherent conception of the afterlife. This feature separates this tomb from those constructed earlier and later, and represents a transitional period in the history of early Chinese art and religion.

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Dissertations / Theses on the topic "History of Art ; Painting"

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Pfohl, Katie A. "American Painting and the Systems of World Ornament." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11537.

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This dissertation examines the work of nineteenth-century American painters Frederic Edwin Church, William Michael Harnett and Albert Pinkham Ryder, and focuses on the relationship between their work in painting and their work in the decorative arts. Through their decorative work, all three artists explored "systems of world ornament" that introduced them to an international range of ornamental form by compiling, cataloguing, and comparing ornament from nearly all cultures and eras. Combining all of world culture single folios, these "systems of world ornament" promised to help American artists and designers study and sort a wide range of cultural influences into temporal and geographic order and thus make sense of the increasingly internationalized nature of American material culture. As this dissertation argues, the study of these "systems of world ornament" became for American artists and designers a powerful--if problematic--tool for distilling the increasingly international nature of American art and culture into a material form--and a formal painterly language--that opened it up to comment and critique. Ornament has to a large extent been understood as a mode of retreat rather than engagement with the clean lines and streamlined aesthetic of the twentieth-century, a crust that had to be cleared from painting's surface so that it might embrace the revolutionary potential of the technological and artistic innovations of the twentieth-century, but this dissertation argues the opposite--that ornament crucially informed American painters' attempts to update painting in response to the artistic challenges of increasingly internationalized twentieth-century life.<br>History of Art and Architecture

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Taschian, Helen. "Naturalism and Libertinism in Seventeenth-Century Italian Painting." Thesis, University of California, Santa Barbara, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3612041.

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<p> The work of Caravaggio, which was recognized as revolutionary in his own time and exerted a profound influence on seventeenth century painting all over Europe, has prompted a wide range of interpretations among modern art historians. Some, emphasizing the controversy generated by his religious pictures, have seen him as a daringly irreverent artist, while others have found his unidealized "naturalistic" style fundamentally well-suited to the spirit of the Catholic Counter-Reformation. Some detect a boldly overt homoeroticism in many of his pictures, while others claim not to see it at all. Some understand him to have worked in an unprecedentedly direct, almost visceral way, while others emphasize his sympathy with new directions in the sciences or the intellectual sophistication with which he played his naturalistic style against the precedents of classical and earlier Renaissance art. </p><p> Caravaggio's difficult personality has also lent itself to different readings. Some see him as a sociopath, if not a psychopath, while others see him calculatedly performing the role of social rebel in a manner that looks forward to the self-consciously dissident posturings of modern artists. Some art-historians have been led to conclude that he had highly-developed non-conformist values and tendencies that could be described as "libertine" in at least some of the varied senses in which that word was used during his time. </p><p> The aim of this dissertation is to discuss the relation of Caravaggio's work and personal example to his immediate art-historical and cultural context, but also to trace their influence on an ever-more-disparate group of artists active in the seventeenth century in order to see whether his style, sometimes characterized as "Baroque Naturalism," actually implied a set of values beyond its efficacy as an artistic strategy, whether a commitment to it implied or was understood to imply a non-conformist or libertine orientation that might be a matter of deep conviction on the part of the artist or a position felt to be appropriate to certain themes or in certain contexts. </p><p> The first chapter examines Caravaggio himself, while the second discusses three artists—Giovanni Baglione, Orazio Gentileschi, and Guido Reni—who knew him personally and responded to his work as it burst so dramatically on the scene in the very first years of the century. The third chapter discussed three artists who were active shortly afterward, whose engagement with Caravaggio testifies to a wider field of influence: Valentin de Boulogne, Domenico Fetti, and Guido Cagnacci. The final chapter sets two very different artists—Salvator Rosa and Nicolas Poussin—side by side in order to expose both the radically different responses to Caravaggio's legacy and the diverse senses in which the word "libertine" must be understood. </p><p> While the evidence does seem to suggest that at least some artists utilized Caravaggesque naturalism in order to invoke a well-defined "alternative tradition," one that was understood to imply a certain range of values, very few committed themselves to his approach strictly or for very long. Poussin rejected it emphatically. Yet Poussin, too, deliberately positioned himself on the margins of the Roman art world in order to cultivate a distinctive approach to art, one that seems to have been consciously based on deeply-held philosophical convictions. The lesson seems to be that Caravaggio's example made it possible for later artists to develop strategies with which to express their dissent from the prevailing values and practices of their time, and that even if their work did not look like his, they were indebted to him.</p>

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Hennig, Sybille. "The machine and painting: an investigation into the interrelationship(s) between technology and painting since 1945." Thesis, Rhodes University, 1986. http://hdl.handle.net/10962/d1009435.

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Introduction: We, i.e. contemporary Western man, live in a society which has increasingly embraced Science and Technology as the ultimum bonum. The Machine, i.e. Science and Technology, has come to be seen as an impersonal force, a New God - omniscient, omnipotent: to be worshipped and, alas, also to be feared. This mythologem has come to pervade almost every sphere of our lives in a paradigmatic way to the extent where it is hardly ever recognized for what it is and hence fails to arouse the concern it merits. While some of the more perceptive minds - such as Erich Fromm, Rufino Tamayo, Carl Gustav Jung, Konrad Lorenz and Arthur Koestler, to mention but a few - have started ringing the alarm bells, the vast majority of our species seem to plunge ahead with their blinkers firmly in place (more or less contented as long as they can persude themselves that these blinkers were manufactured according to latest technological and scientific specifications). Man’s uniquely human powers - his creative intuition, his feelings, his moral and ethical potential, have become sadly neglected and mistrusted. Homo sapiens – “homo maniacus” as Koestler suggests? - is now at a crossroads: he has reached a point where the next step could be the last step and result in the annihilation of man as a species. Alternately, avoiding that, there is the outwardly less drastic but essentially equally alarming possibility of men becoming robots, while a third alternative has yet to be found. While it does appear as if a lot of young people, noticeably among students, have started reacting against the over mechanization of life, these reactions often tend to follow the swing-of-the-pendulum principle and veer towards the other extreme, throwing out the baby with the bathwater and falling prey to freak-out cults in a kind of mass-irrationalism, rejecting science and technology altogether. Artists who by their very nature perhaps are particularly sensitive - in a kind of seismographic way - to the currents and undercurrents of their age, have become aware of the effects of science and technology on our way of living, and many of them have in one way or another taken a stand in relation to the position of man in our highly technological world. Looking at the art produced over the last four decades, it is truly astonishing to what extent our changed world reflects in our art - a world and a Weltbild very different from that of our ancestors even just a few generations ago. The purpose of the present study is to survey some of the observations and commentaries that painters and certain kindred spirits from the sciences over the last few decades have offered, in the hope of, if not answering, at least defining and posing anew some of the questions that confront us with ever-increasing urgency.

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Moloney, Donal. "Slippages between the picture plane and the painting surface : an analysis, through my paintings, of specular highlights, proximal spaces and the Lacanian gaze." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/12069/.

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The aim of this practice-based research project is to examine how specular highlights and proximal spaces, when perceived through the Lacanian gaze, might confound our perception of Cartesian perspectivalism in representational painting. I will analyse and question such a combination of specific visual characteristics identified within three of my paintings and related theories of looking. Specifically, these include Hal Foster’s (1996: 138) reading of the ways in which the Lacanian ‘gaze’ disrupts Cartesian perspectivalism, Norman Bryson’s (1990: 71, 79) writing on the reversal of the ‘Albertian gaze’ and Arthur Faisman and Michael S. Langer’s (2013: 1) definition of ‘specular highlights’. By analysing and mapping theoretical concerns that come from close readings of three of my paintings I will investigate whether or not our perception of Cartesian perspectivalism can be somewhat confounded by these specific visual characteristics. I will also discuss how overloading the viewer with an excessive use of specular highlights could disrupt any underlying narratives within the paintings. This will be done by subsequently re-examining these theoretical concerns back through my painting practice, forming what Dean and Smith (2009: 19) have termed an ‘Iterative Cyclic Web’. My hypothesis is that these three paintings may be nexus for a particular oscillation between different ways of looking contained within the paintings I will discuss: looking through the surface, looking across the surface and a form of being looked at from inside the surface. This thesis will be underpinned by two interconnected elements. Firstly, there will be an exhibition of selected paintings I have made, together with painting experiments and supporting material. Secondly, chapters in this text will outline the theoretical analysis of my painting practice and the subsequent studio-based analysis of questions derived from the theoretical analysis. This thesis as a whole will closely follow a practice-based research methodology drawn from Katie MacLeod’s (2000: online) writing on ‘revealing a practice’. I will move back and forth between practice and writing as a method for analysing and developing a multifaceted response to my research question.

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Cardwell, Thomas. "Still life and death metal : painting the battle jacket." Thesis, University of the Arts London, 2017. http://ualresearchonline.arts.ac.uk/12036/.

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This thesis aims to conduct a study of battle jackets using painting as a recording and analytical tool. A battle jacket is a customised garment worn in heavy metal subcultures that features decorative patches, band insignia, studs and other embellishments. Battle jackets are significant in the expression of subcultural identity for those that wear them, and constitute a global phenomenon dating back at least to the 1970s. The art practice juxtaposes and re-contextualises cultural artefacts in order to explore the narratives and traditions that they are a part of. As such, the work is situated within the genre of contemporary still life and appropriative painting. The paintings presented with the written thesis document a series of jackets and creatively explore the jacket form and related imagery. The study uses a number of interrelated critical perspectives to explore the meaning and significance of the jackets. Intertextual approaches explore the relationship of the jackets to other cultural forms. David Muggleton’s ‘distinctive individuality’ and Sarah Thornton’s ‘subcultural capital’ are used to emphasise the importance of jacket making practices for expressions of personal and corporate subcultural identity. Italo Calvino’s use of postmodern semiotic structures gives a tool for placing battle jacket practice within a shifting network of meanings, whilst Richard Sennett’s‘material consciousness’ helps to understand the importance of DIY making practices used by fans. The project refers extensively to a series of interviews conducted with battle jacket makers between 2014 and 2016. Recent art historical studies of still life painting have used a materialist critique of historic works to demonstrate the uniqueness of painting as a method of analysis. The context for my practice involves historical references such as seventeenth century Dutch still life painting. The work of contemporary artists who are exploring the themes and imagery of extreme metal music is also reviewed.

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Gephart, Kathryn B. "Ellen Anderson, Mildred Burrage, and the Errancy of Modernist Painting." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1367942693.

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Kim, Mina. "Pan Tianshou (1897-1971): Rediscovering Traditional Chinese Painting in the Twentieth Century." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1469004754.

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Sprinkle, Mark E. "Picturing home: Domestic painting and the ideologies of art." W&M ScholarWorks, 2004. https://scholarworks.wm.edu/etd/1539623460.

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This dissertation describes domestic painting in Atlanta, Georgia between 1995 and 2004 as a market defined by its intentional connection of the ideologies and spaces of art with those of bourgeois domesticity. The first half of the work seeks to contextualize the market's various objects and texts within public and academic discourses on culture that commonly posit an antithesis between the practices of bourgeois women (especially decoration) and "high" or avant-garde art, as suggested by the sentiment, "GOOD ART WON'T MATCH YOUR SOFA." Thus, Chapter 1 addresses the promises and pitfalls of sociological approaches to understanding art in general, Chapter 2 addresses two recent field studies of local markets as examples of how methodological decisions can mask ideological bias, and Chapter 3 discusses the historical context behind the divorce of art and the home as part of the gendering of aesthetic creativity as a predominantly masculine pursuit, each chapter examining the place of the literature itself in the creation of the categories of art. The second part of the dissertation provides an account of the way paintings produced in the market encode its social and spatial relations as a way of visualizing the private home and its interpersonal contents. In Chapter 4, the author proposes intuitive vision to name distinctive visual habits and bodily practices of bourgeois domesticity in contemporary Atlanta, especially the role of artworks in the phenomenological space of the home. Chapter 5 focuses on integration as domestic painting's central quality and goal: the market's various agents are integrated in a coherent social milieu not restricted to art-related roles, but that is, nevertheless, focused through aesthetic experience of the physical and stylistic features of artworks as they, themselves, are integrated into specific domestic settings. Chapters 6 and 7 chart the concrete terrain of 'home-like' spaces devoted to the production and distribution of paintings in the market, while developing the distinction between phenomenological and sight-based representations of domesticity. Finally, the Conclusion returns to the supposed antithesis between avant-garde aesthetics and the various practices known collectively as decoration as a way to address the question, "What is bourgeois art?"

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BURI, MAUREEN E. "CRIMES OF PASSION: RAPE AND ABDUCTION IN FLEMISH MYTHOLOGICAL PAINTING, 1600-1650." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1179770118.

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Taner, Melis. ""Caught in a Whirlwind:" Painting in Baghdad in the Late Sixteenth-Early Seventeenth Centuries." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493409.

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Throughout the sixteenth and seventeenth centuries, the province of Baghdad changed hands between the Aq Qoyunlu Turkmen tribal confederation, the Safavids and the Ottomans. From the last decade of the sixteenth to the first few years of the seventeenth centuries, there was a florescence of art production in Baghdad, at a time when the province was under Ottoman rule. This dissertation focuses on a period of rivalry and exchange between the Sunni Ottoman and the Shiʿite Safavid dynasties in the late-sixteenth and early-seventeenth centuries and elucidates the appearance and disappearance of a lively, yet short-lived, art market in the frontier province of Baghdad. A close study of the corpus of over thirty illustrated manuscripts, often described as exhibiting an “eclectic” style, and produced in Baghdad within a decade, shows that there was a broadening base of patronage as well as an open market for the purchase of art. While scholarship on the art of the book in Baghdad considers the corpus of illustrated manuscripts solely from the perspective of an Ottoman “context,” this dissertation takes a broader, transregional perspective and studies the art market in Baghdad through the complex layers of Ottoman and Safavid relations. It questions notions of a “school” of painting and emphasizes movement and encounters instead. It also proposes that in the context of an early modern consolidation of imperial identity (represented purposefully distinctly through monumental architecture, painting, decoration, objects in the Ottoman, Safavid and Mughal empires), Baghdad as a frontier province between the Ottomans and the Safavids challenges notions of cultural, ornamental and decorative idioms. Its hybridity is the very product of the “whirlwind” of affairs between the Ottomans and the Safavids. The dissertation begins with a study of Ottoman-Safavid relations from the last quarter of the sixteenth to the first quarter of the seventeenth centuries. Making use of an unpublished history of Baghdad along with other published and unpublished chronicles, it presents an overview of the complex relations between the two rival empires as well as between the center, Istanbul and the province, Baghdad. This sets the background to the following chapters. Chapter 2 concentrates on a group of single-page paintings produced in Baghdad, which have heretofore escaped scholarly attention. These paintings bespeak a broadening base of patronage as well as an increasing interest in collecting art. The following chapter concerns illustrated popular religious literature, which constitutes the majority of manuscripts produced in Baghdad. It raises questions on the use of models, repetition of compositions and production of illustrated manuscripts for the speculative market. The fourth chapter takes a different turn and concentrates on the patronage of one of the eminent governors of Baghdad, Sokolluzade Hasan Paşa (d. 1602). Focusing on the ambitious project of an illustrated universal history, which was composed for this governor by a Baghdadi author, this chapter deals with the conception of history in the province. The final chapter brings attention to a group of illustrated genealogies most likely produced for the open market. These Ottoman-Turkish genealogies place the Ottoman dynasty as the pinnacle of history. However, one early-seventeenth-century manuscript in Persian turns the genre on its head and presents a pro-Safavid view through text and image within a largely Ottoman genre. Alterations done to its text to then suit a possible Ottoman owner highlight the in-betweenness of Baghdad.<br>History of Art and Architecture

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Books on the topic "History of Art ; Painting"

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Hirsh, Sharon L. Grace Hartigan: Painting art history. Trout Gallery, Dickinson College, 2004.

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Grace, Hartigan, Trout Gallery, and Maryland Institute, College of Art., eds. Grace Hartigan: Painting art history. Trout Gallery, Dickinson College, 2003.

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Painting Texas history to 1900. University of Texas Press, 1992.

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Hillyer, V. M. A child's history of art: Painting. Calvert Education Services, 2004.

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Prendergast, Christopher. Eylau: Napoleon and history painting. Clarendon Press, 1997.

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Selina, Skipwith, ed. A history of Scottish art. Merrell in association with The Fleming-Wyfold Art Foundation, 2003.

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Flores, Patrick D. Painting history: Revisions in Philippine colonial art. Office of Research Coordination, University of the Philippines, 1998.

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Art: A history of painting, sculpture, architecture. 4th ed. Prentice Hall, 1993.

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Hartt, Frederick. Art: A history of painting, sculpture, architecture. 4th ed. Prentice Hall, 1992.

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Art: A History of Painting, Sculpture, Architecture. 4th ed. Prentice Hall, 1993.

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Book chapters on the topic "History of Art ; Painting"

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Soussloff, Catherine M. "Michel Foucault and the Point of Painting." In Art History. Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444324716.ch5.

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Maeda, Tamaki. "'National Painting' Unbound." In East Asian Art History in a Transnational Context. Routledge, 2019. http://dx.doi.org/10.4324/9781351061902-11.

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Arata, Shimao. "Reconsidering the History of East Asian Painting." In East Asian Art History in a Transnational Context. Routledge, 2019. http://dx.doi.org/10.4324/9781351061902-2.

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Hardy III, Charles. "Painting in sound: Aural history and audio art." In Studies in Narrative. John Benjamins Publishing Company, 2009. http://dx.doi.org/10.1075/sin.10.19har.

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Barragán, Paco. "Painting History, Manufacturing Excess: How the Artistic Configures the Political." In Art, Excess, and Education. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-21828-7_3.

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Bruni, Silvia, and Vittoria Guglielmi. "CHAPTER 11. Raman Spectroscopy for the Identification of Materials in Contemporary Painting." In Raman Spectroscopy in Archaeology and Art History. Royal Society of Chemistry, 2018. http://dx.doi.org/10.1039/9781788013475-00157.

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Williams, Kim. "Architecture, Mathematics and Theology in Raphael’s Paintings." In Crossroads: History of Science, History of Art. Springer Basel, 2011. http://dx.doi.org/10.1007/978-3-0348-0139-3_3.

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Szépe, Helena. "Painting in Documents: The case of Venice." In Illuminierte Urkunden Beiträge aus Diplomatik Kunstgeschichte und Digital Humanities / Illuminated Charters Essays from Diplomatic Art History and Digital Humanities/9783412512385. Böhlau Verlag, 2019. http://dx.doi.org/10.7788/9783412512385.333.

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Noble, Petria. "A Brief History of Metal Soaps in Paintings from a Conservation Perspective." In Metal Soaps in Art. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-90617-1_1.

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Wang, James Z., Baris Kandemir, and Jia Li. "Computerized Analysis of Paintings." In The Routledge Companion to Digital Humanities and Art History. Routledge, 2020. http://dx.doi.org/10.4324/9780429505188-27.

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Conference papers on the topic "History of Art ; Painting"

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Kvasz, Ladislav. "Visual illusions in painting, or what could computer graphics learn from art history." In the 23rd Spring Conference. ACM Press, 2007. http://dx.doi.org/10.1145/2614348.2614350.

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Yuchen, Song, Ehsan Qasemi, Adel Ardalan, Huijing Gao, and Amir H. Assadi. "Deep Learning Art History from Data: Baroque Intellectual Influence on the Romantic Era Painting." In 2017 International Conference on Computational Science and Computational Intelligence (CSCI). IEEE, 2017. http://dx.doi.org/10.1109/csci.2017.65.

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Stork, D. G., and M. K. Johnson. "Estimating the location of illuminants in realist master paintings Computer image analysis addresses a debate in art history of the Baroque." In 18th International Conference on Pattern Recognition (ICPR'06). IEEE, 2006. http://dx.doi.org/10.1109/icpr.2006.501.

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Shimode, Yutaro, Atsushi Endo, Chieko Narita, Yuka Takai, Akihiko Goto, and Hiroyuki Hamada. "Skill Level Differences of Urushi Craftspeople in Urushi Products." In ASME 2012 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/imece2012-88288.

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There are various traditional crafts in Japan. Japanese modern manufacturing industries have stemmed from the traditional crafts. And there is craftspeople’s wisdom in the traditional crafts technique inherited for years, which is well known as “tacit knowledge”. Especially in Kyoto which has 1200 years history, many traditional crafts have been inherited. In this study, Urushi crafts was focused. Japanese lacquer is called “Urushi” in Japanese. Urushi have meanings such as Urushi tree, its resin and also Urushi crafts. Urushi has been used 9000 years ago in Japan. In this long history, Urushi crafts techniques have been developed, refined and inherited by many Urushi craftspeople. As a result, Urushi affect Japanese culture and aesthetic feeling greatly. Urushi has been viewed as special, and admired as black with the highest grade. Therefore, the Japanese word “Shikkoku” has been generated, inhere, “Shi” means Urushi, and “Kkoku” means black color. Urushi has various characteristics. For example, Urushi coating surface is very smooth and glossy. It is considered that these characteristics are influenced by skill level of craftspeople. Then this study aims to analyze a difference between expert craftspeople and non-expert craftspeople in the painting process of Urushi. Body and eye motion between expert and non-expert craftspeople were analyzed and compared. As a result, there were differences in the time of painting with brush. And more there were differences in eye movement. It is considered that these differences were due to the difference of skill level, and in turn, the quality of Urushi products has been influenced.

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Dandolo, C. L. Koch, A. M. Gomez-Sepulveda, A. Hemandez-Serrano, et al. "Contribution of terahertz time-domain analysis to art history: The case of the paintings of the Santo Entierro de Nuestro Señor Jesucristo altarpiece." In 2017 42nd International Conference on Infrared, Millimeter, and Terahertz Waves (IRMMW-THz). IEEE, 2017. http://dx.doi.org/10.1109/irmmw-thz.2017.8066998.

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Huang, Yiyuan, and Alain Lioret. "Cerebral interaction and painting." In SIGGRAPH Asia 2013 Art Gallery. ACM Press, 2013. http://dx.doi.org/10.1145/2542256.2542260.

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Ishibashi, Ken. "Digital scratch art painting interface." In International Workshop on Advanced Image Technology, edited by Phooi Yee Lau, Kazuya Hayase, Qian Kemao, et al. SPIE, 2019. http://dx.doi.org/10.1117/12.2521491.

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Zhang, Yuanming. "Aesthetic Analysis on Line Art in Chinese Painting Art." In 2017 International Conference on Culture, Education and Financial Development of Modern Society (ICCESE 2017). Atlantis Press, 2017. http://dx.doi.org/10.2991/iccese-17.2017.133.

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Chiyu, Pan. "Painting Creation Using Computer Graphics Art." In 2016 International Conference on Robots & Intelligent System (ICRIS). IEEE, 2016. http://dx.doi.org/10.1109/icris.2016.56.

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Crowley, Elliot J., Omkar M. Parkhi, and Andrew Zisserman. "Face Painting: querying art with photos." In British Machine Vision Conference 2015. British Machine Vision Association, 2015. http://dx.doi.org/10.5244/c.29.65.

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Reports on the topic "History of Art ; Painting"

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Zhang, Ling, Brent Holland, and Eulanda Sanders. From Chinese Painting to Wearable Art: The Development of Wearable Art Design Process Model and Evaluation Methods for Wearable Art Designers. Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-1755.

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Miller, Jennifer. The Politics of Nazi Art: The Portrayal of Women in Nazi Painting. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.7033.

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Taylor Tynes, Taylor Tynes. Fresco Painting at the University of South Carolina: Medium of the Past, Art of Today. Experiment, 2016. http://dx.doi.org/10.18258/6800.

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Orenstein, Harold S. Selected Readings in the History of Soviet Operational Art. Defense Technical Information Center, 1990. http://dx.doi.org/10.21236/ada231842.

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Ashdown, Susan P., and Kimberly A. Phoenix. Half Scale, Full Engagement: Uniting Art, History and Technology to Teach Patternmaking. Iowa State University, Digital Repository, 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1342.

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Carlin, P. W., A. S. Laxson, and E. B. Muljadi. The History and State of the Art of Variable-Speed Wind Turbine Technology. Office of Scientific and Technical Information (OSTI), 2001. http://dx.doi.org/10.2172/776935.

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Galenson, David. Anticipating Artistic Success (or, How to Beat the Art Market): Lessons from History. National Bureau of Economic Research, 2005. http://dx.doi.org/10.3386/w11152.

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Wiel, S. The science and art of valuing externalities: A recent history of electricity sector evaluations. Office of Scientific and Technical Information (OSTI), 1995. http://dx.doi.org/10.2172/503480.

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McGowan, Kevin M. A Great War More Worthy Of Relation Than Any That Had Preceded It: Thucycides History of the Peloponnesian War as a Rosetta Stone for Joint Warfare and Operational Art. Defense Technical Information Center, 2006. http://dx.doi.org/10.21236/ada463540.

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Webb, Philip, and Sarah Fletcher. Unsettled Issues on Human-Robot Collaboration and Automation in Aerospace Manufacturing. SAE International, 2020. http://dx.doi.org/10.4271/epr2020024.

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This SAE EDGE™ Research Report builds a comprehensive picture of the current state-of-the-art of human-robot applications, identifying key issues to unlock the technology’s potential. It brings together views of recognized thought leaders to understand and deconstruct the myths and realities of human- robot collaboration, and how it could eventually have the impact envisaged by many. Current thinking suggests that the emerging technology of human-robot collaboration provides an ideal solution, combining the flexibility and skill of human operators with the precision, repeatability, and reliability of robots. Yet, the topic tends to generate intense reactions ranging from a “brave new future” for aircraft manufacturing and assembly, to workers living in fear of a robot invasion and lost jobs. It is widely acknowledged that the application of robotics and automation in aerospace manufacturing is significantly lower than might be expected. Reasons include product variability, size, design philosophy, and relatively low volumes. Also, the occasional reticence due to a history of past false starts plays a role too. Unsettled Issues on Human-Robot Collaboration and Automation in Aerospace Manufacturing goes deep into the core questions that really matter so the necessary step changes can move the industry forward.

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