Relevant bibliographies by topics / Literature and Painting. eng

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

Academic literature on the topic 'Literature and Painting. eng'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "Literature and Painting. eng"

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Herz, Rachel S., and Gerald C. Cupchik. "The Effect of Hedonic Context on Evaluations and Experience of Paintings." Empirical Studies of the Arts 11, no. 2 (1993): 147–66. http://dx.doi.org/10.2190/36rg-0v9j-4y4g-7803.

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This study examined the proposition that the hedonic context within which paintings are viewed interacts with the hedonic quality of paintings to determine aesthetic evaluation. Hedonic context was manipulated using twelve positive and twelve negative odor cues in three different formats (odor alone, odor + name, name alone). The hedonic quality of paintings was manipulated using six positive, six negative and twelve neutral emotionally toned paintings. Twenty-four males and twenty-four females viewed each painting in the context of a different cue with half of the emotional cue-painting trials being hedonically congruent (e.g., pos-pos) and half hedonically incongruent (e.g., neg-pos). Following each cue-painting trial subjects provided their evaluations of the paintings along artistic (e.g., artistic quality, visual complexity) and subjective-emotional (e.g., personal meaningfulness, pleasantness, tense-relaxed) dimensions. As predicted, all aesthetic evaluations were intensified when the cue and painting were hedonically congruent. Moreover, evaluations of the most emotionally potent painting group (negative paintings) were least influenced by context, and women were more sensitive to congruency and emotional context in general than were men. The results were interpreted in accordance with prior research and principles in experimental psychology and aesthetics.
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Song, Hyosup. "Three Korean literati paintings of an orchid in the deconstructive process." Semiotica 2016, no. 208 (2016): 223–36. http://dx.doi.org/10.1515/sem-2015-0116.

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AbstractLiterati paintings were drawn by Korean Confucian scholars from the end of the Koryeo period to the end of the Joseon period. As painting these works was considered a method for a scholar’s self-cultivation, literati paintings express plenty of in-depth metaphysical points of significance. Meanwhile, these paintings revealed changes that correspond with changes in cultural circumstances. The present study considers such transformation as a deconstructive process. This research analyzes three Korean orchid paintings to address the following three questions: (1) How are the literati’s thoughts represented in their forms of paintings in the East Asian tradition of poetry–calligraphy–painting in one? (2) How are the interrelations among the pictorial image, verbal message, and empty space revealed in individual literati paintings? (3) How are such interrelations deconstructed amid new cultural circumstances?
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Sargentis, G. Fivos, Panayiotis Dimitriadis, and Demetris Koutsoyiannis. "Aesthetical Issues of Leonardo Da Vinci’s and Pablo Picasso’s Paintings with Stochastic Evaluation." Heritage 3, no. 2 (2020): 283–305. http://dx.doi.org/10.3390/heritage3020017.

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A physical process is characterized as complex when it is difficult to analyze or explain in a simple way. The complexity within an art painting is expected to be high, possibly comparable to that of nature. Therefore, constructions of artists (e.g., paintings, music, literature, etc.) are expected to be also of high complexity since they are produced by numerous human (e.g., logic, instinct, emotions, etc.) and non-human (e.g., quality of paints, paper, tools, etc.) processes interacting with each other in a complex manner. The result of the interaction among various processes is not a white-noise behavior, but one where clusters of high or low values of quantified attributes appear in a non-predictive manner, thus highly increasing the uncertainty and the variability. In this work, we analyze stochastic patterns in terms of the dependence structure of art paintings of Da Vinci and Picasso with a stochastic 2D tool and investigate the similarities or differences among the artworks.
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Schaus, Gerald P. "The beginning of Greek polychrome painting." Journal of Hellenic Studies 108 (November 1988): 107–17. http://dx.doi.org/10.2307/632634.

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About the mid-seventh century, polychrome styles of vase painting appeared in five different Greek wares, and in a sixth ware a short time after. By polychrome here is meant the use of a light brown or reddish brown paint for male flesh in human figure scenes, to go with the normal colours found on seventh-century Greek vases, black, red and white. The use of this light brown or reddish brown paint may have begun a little earlier, e.g. for parts of animals, but it would be confusing to call this partial polychrome and to regard this as a preliminary step towards the distinctive use of brown for male human flesh. The six wares in which polychrome vases appear are Protocorinthian, Protoattic, Argive, Naxian, ‘Melian’ (likely from Paros), and a ware found at Megara Hyblaea. Except for ‘Melian’ polychrome which continues to the end of the seventh or early sixth century, each of these polychrome styles flourishes for a brief time and then disappears.
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Ren, Wei, and Na Cao. "Traditional Conservation and Storage Methods for Ancient Chinese Painting and Calligraphy on Silk Manuscripts." Arts 10, no. 2 (2021): 34. http://dx.doi.org/10.3390/arts10020034.

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This study investigated traditional conservation and storage methods for Chinese silk manuscripts containing painting and calligraphy from the Warring States period (475–221 BC), the Qin dynasty (221–207 BC), the Han dynasty (202–8 BC; AD 25–220), and from the end of the Han to the present. At present, there is gap in the literature regarding the application of such methods to these works. The study methods include a literature review (classical and contemporary sources), expert interviews, and observation of traditional masters. The findings provide an improved understanding of the development of traditional technologies used for painting and calligraphy conservation since 475 BC. In this way, this work contributes to the body of knowledge regarding traditional conservation and storage methods, including mounting practices, scroll unfolding, and box storage.
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Rigante, Elena C. L., Cosima D. Calvano, Rosaria A. Picca, Simona Armenise, Tommaso R. I. Cataldi, and Luigia Sabbatini. "Multi-Technique Characterization of Pictorial Organic Binders on XV Century Polychrome Sculptures by Combining Micro- and Non-Invasive Sampling Approaches." Applied Sciences 11, no. 17 (2021): 8017. http://dx.doi.org/10.3390/app11178017.

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A stony sculptural composition of the Nativity Scene is preserved in Altamura’s Cathedral (Apulia, Italy). This commonly called Apulian “presepe”, attributed to an unknown stonemason, is composed of polychrome carbonate white stone sculptures. While earlier stratigraphic tests have unveiled a complex superimposition of painting layers—meaning that several editions of the sculptures succeeded from the 16th to 20th century—a chemical investigation intended to identify the organic binding media used in painting layers was undertaken. Drawing on current literature, two strategies were exploited: a non-invasive in situ digestion analysis and an approach based on micro-removal of painting film followed by the Bligh and Dyer extraction protocol. Both peptide and lipid mixtures were analyzed by matrix-assisted laser desorption/ionization-mass spectrometry (MALDI-MS) and reversed-phase liquid chromatography coupled to mass spectrometry by electrospray ionization (RPLC-ESI-MS). Attenuated total reflectance Fourier-transform infrared spectroscopy (ATR-FTIR) examinations were also performed on micro-samples of painting films before lipids and proteins extraction. While human keratins were found to be common contaminants of the artwork’s surfaces, traces of animal collagen, siccative oils, and egg white proteins were evidenced in different sampling zones of the sculptures, thus suggesting the use of non-homogeneous painting techniques in the colored layers.
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Kaptein, Ad A., Brian M. Hughes, Michael Murray, and Joshua M. Smyth. "Start making sense: Art informing health psychology." Health Psychology Open 5, no. 1 (2018): 205510291876004. http://dx.doi.org/10.1177/2055102918760042.

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Growing evidence suggests that the arts may be useful in health care and in the training of health care professionals. Four art genres – novels, films, paintings and music – are examined for their potential contribution to enhancing patient health and/or making better health care providers. Based on a narrative literature review, we examine the effects of passive (e.g. reading, watching, viewing and listening) and active (e.g. writing, producing, painting and performing) exposure to the four art genres, by both patients and health care providers. Overall, an emerging body of empirical evidence indicates positive effects on psychological and physiological outcome measures in patients and some benefits to medical training. Expressive writing/emotional disclosure, psychoneuroimmunology, Theory of Mind and the Common Sense Model of Self-Regulation are considered as possible theoretical frameworks to help incorporate art genres as sources of inspiration for the further development of health psychology research and clinical applications.
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Zygmont, Bryan J. "Charles Willson Peale’s The Exhumation of the Mastodon and the Great Chain of Being: The Interaction of Religion, Science, and Art in Early-Federal America." Text Matters, no. 5 (November 17, 2015): 95–110. http://dx.doi.org/10.1515/texmat-2015-0008.

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Although primarily known as a portrait painter, Charles Willson Peale (1741-1827) also possessed a profound interest in natural history. Indeed, Peale eventually founded the first natural history museum in the United States, and, during the end of the eighteenth century, he began to overlap his two great interests: art and nature. The event Peale chronicled in his 1804 painting The Exhumation of the Mastodon caused an extreme stir within the intellectual and religious circles of its time, and brought about, at the very least, a serious questioning in the deeply held notion of the Great Chain of Being. Although now largely discredited, this religious conviction postulated two concepts that Peale’s Exhumation of the Mastodon seemingly contradicts. The first was the belief that no animals since creation had suffered the fate of extinction. The second was a lack of belief in geological time. Indeed, one Irish clergyman calculated the actual date of creation to 4004 BCE.
 In this paper, I explore Peale’s monumental painting, a work that is many things, a self-portrait and history painting among others. Indeed, in this painting, Peale was responding to science, religion, and their shifting positions within early-nineteenth-century America. When viewed together, Peale’s The Exhumation of the Mastodon is not merely a record of an event that occurred in New York during the early nineteenth century, and instead is a document of Peale and the interaction of science and religion in early-Federal America.
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Ryfa, Juras T. "Pursuing the Logical End: Witkiewicz and Rodčenko and the Death of Avant-Garde Painting." Russian Literature 51, no. 2 (2002): 199–214. http://dx.doi.org/10.1016/s0304-3479(02)80021-7.

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., Muhammad Rafiki, I. Gusti Made Budiarta, S. Pd ,. M. Pd ., and Dra Luh Suartini, M. Pd . "KARAKTERISTIK KARYA FINGER PAINTING ANAK-ANAK DI TAMAN KANAK-KANAK AISYIYAH BUSTANUL ATHFAL SINGARAJA." Jurnal Pendidikan Seni Rupa Undiksha 9, no. 1 (2019): 13. http://dx.doi.org/10.23887/jjpsp.v9i1.18775.

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Penelitian ini bertujuan untuk mendeskripsikan (1) alat dan bahan yang digunakan dalam kegiatan finger painting di TK Aisyiyah Bustanul Athfal Singaraja, (2) proses kegiatan finger painting di TK Aisyiyah Bustanul Athfal Singaraja, (3) subject matter hasil gambar anak yang dihasilkan dalam kegiatan finger painting di TK Aisyiyah Bustanul Athfal Singaraja. Sasaran penelitian ini adalah anak-anak kelompok B TK Aisyiyah Bustanul Athfal Singaraja yang terdiri atas 5 kelas kelompok B. Penelitian ini adalah penelitian deskriptif kualitatif. Pengumpulan data dalam penelitian ini dilakukan dengan teknik (1) observasi, (2) wawancara, (3) teknik kuesioner/angket, (4) dan kepustakaan. Data yang terkumpul kemudian dianalisis dengan cara (1) analisis domain, (2) analisis taksonomi, (3) dan analisis tema.
 Hasil penelitian menunjukkan bahwa (1) alat dan bahan yang digunakan dalam kegiatan finger painting ini adalah panci, gelas, sendok, centong, kompor gas, mangkok besar, mangkok kecil, cat/media warna finger painting, kertas gambar, tepung kanji, tepung terigu, pewarna makanan, air dan minyak goreng. 2) proses kegiatan finger painting di TK Aisyiyah Bustanul Athfal Singaraja dimulai dari mempersiapkan media dan perlengkapan pembelajaran, mengenalkan media dan mendemostrasikannya, mengarahkan dan membimbing, setelah selesai kegiatan anak bercerita dan guru mengapresiasi serta mengevaluasi hasil kerja anak-anak, akhir kegiatan guru melakukan penilaian dengan menggunakan portofolio. 3) Hasil karya finger painting kelompok B TK Aisyiyah Bustanul Athfal Singaraja memiliki subject matter dan visual yang beraneka ragam, penelitian ini dikelompokkan berdasarkan pada karakteristik karya yang dihasilkan oleh anak-anak, dan diperoleh hasil sebagian besar karya anak cenderung mengacu pada tipe haptic dan tipe naturalistik, serta bentuk visual yang sering muncul yaitu bentuk rumah, bunga dan orang.Kata Kunci : finger painting, karakteristik, subject matter This study aims to describe (1) tools and materials used in finger painting activities at TK Aisyiyah Bustanul Athfal Singaraja, (2) the process of finger painting activities at TK Aisyiyah Bustanul Athfal Singaraja, (3) subject matter of children's drawings produced in activities finger painting at TK Aisyiyah Bustanul Athfal Singaraja. The target of this study was children of group B TK Aisyiyah Bustanul Athfal Singaraja which consisted of 5 classes in group B. This study was a qualitative descriptive study. Data collection in this study was carried out by techniques (1) observation, (2) interviews, (3) questionnaire / questionnaire techniques, (4) and literature. The collected data is then analyzed by (1) domain analysis, (2) taxonomic analysis, (3) and theme analysis.
 The results showed that (1) the tools and materials used in finger painting activities were pans, cups, spoons, centongs, gas stoves, large bowls, small bowls, paints / color media finger painting, drawing paper, starch, flour food coloring, water and cooking oil. 2) the process of finger painting activities in TK Aisyiyah Bustanul Athfal Singaraja starts from preparing the media and learning equipment, introducing the media and demonstrating it, directing and guiding, after the completion of the activities the children talk and the teacher appreciates and evaluates the work of the children, the end of the teacher's assessment by using a portfolio. 3) The results of group B's finger painting work TK Aisyiyah Bustanul Athfal Singaraja have a variety of subject matter and visual, this research is grouped based on the characteristics of the work produced by children, and the results of most children's work tend to refer to haptic and type types naturalistic, and visual forms that often appear, namely the shape of the house, flowers and people.keyword : finger painting, characteristics, subject matter
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Dissertations / Theses on the topic "Literature and Painting. eng"

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Mello, Sânderson Reginaldo de. "A poética interartes na tessitura de "O Ouvido" de José Saramago /." Assis : [s.n.], 2010. http://hdl.handle.net/11449/103651.

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Orientador: Odil José de Oliveira Filho<br>Banca: Nelyse Aparecida Melro Salzedas<br>Banca: Clarice Zamonaro Cortez<br>Banca: Rubens Pereira dos Santos<br>Banca: Rosane Gazolla Alves Feitosa<br>Resumo: Considerando a perspectiva homológica que envolve as diferentes representações artísticas em Poética dos Cinco Sentidos - La Dame à La Licorne (1979), visamos tratar no presente estudo das correspondências interartísticas no processo de produção do texto O Ouvido, de José Saramago. A Livraria Bertrand (Lisboa) solicitou a contribuição de seis autores portugueses para que realizassem uma leitura de La Dame à la Licorne (séc. XV), série de seis tapeçarias francesas encontrada no século XIX no castelo de Boussac, e exposta no Musée National du Moyen Age - Thermes et Hôtel de Cluny (Paris) desde 1882. Os painéis, reproduzidos junto aos textos do volume, sugerem representar a alegoria dos sentidos humanos, e cada autor solicitado abordou, de forma particular, uma das peças. Assim, consecutivamente, Maria Velho da Costa escreveu sobre a visão em A Vista; José Saramago, a audição em O Ouvido; Augusto Abelaira o olfato em O Olfacto; Nuno Bragança o paladar em O Gosto; Ana Hatherly o tato em O Tacto; e, por sua vez, Isabel da Nóbrega, em A sexta, tratou sobre À Mon Seul Désir, título dado à tapeçaria que realiza o fechamento da série e ilustra a capa do livro. Diante desse contexto, passamos a investigar inicialmente a origem das questões interartísticas nas poéticas da Antiguidade Clássica, bem como o contiuum desses pressupostos teóricos nas reflexões e gêneros artísticos na Idade Média, na Idade Moderna e na Contemporaneidade. Em seguida, delineamos como a herança da tradição especulativa em torno da fraternidade entre as artes incide na arte decorativa da tapeçaria, e, posteriormente, refletimos sobre a tessitura poética dos painéis... (Resumo completo, clicar acesso eletrônico abaixo)<br>Abstract: Taking into consideration the homological perspective that involves the different artistic representations in Poética dos Cinco Sentidos / La Dame à La Licorne (1979), in this study we aim to deal with the interartistic correspondences in the text production process O Ouvido, by José Saramago. The Livraria Bertrand (Lisboa) requested the contribution of six Portuguese writers to perform a reading of La Dame à la Licorne (Sec. XV), a series of six French tapestries found in Boussac castle in the nineteenth century, and exposed in Musée National du Moyen Age - Thermes et Hôtel de Cluny (Paris) since 1882. The panels, reproduced along with the texts of the volume, suggest to represent the allegory of human senses, and each author invited approached, in his particularly way, one of the tapestries. Thus, consecutively, Maria Velho da Costa wrote about the sight in A Vista; José Saramago, the hearing in O Ouvido; Augusto Abelaira, the smell in O Olfacto; Nuno Bragança, the taste in O Gosto; Ana Hatherly, the touch in O Tacto; and Isabel da Nóbrega, in A sexta, wrote about À Mon Seul Désir, title given to the tapestry that ends the series and illustrates the cover of the book. In this context, we started by investigating the origin of interartistic matters in poetry of Classical Antiquity, as well as the continuum of these theoretical purposes in the reflection and artistic genres in Middle Age, Modern Age and Contemporaneity. Then, we outlined how the heritage of speculative tradition around fraternity among arts falls on tapestry decorative art. Later, we pondered over the poetical tessitura of La Dame à La Licorne's panels... (Complete abstract click electronic access below)<br>Doutor
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Mello, Sânderson Reginaldo de [UNESP]. "A poética interartes na tessitura de “O Ouvido” de José Saramago." Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/103651.

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Made available in DSpace on 2014-06-11T19:32:48Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-06-29Bitstream added on 2014-06-13T20:47:56Z : No. of bitstreams: 1 mello_sr_dr_assis.pdf: 5614714 bytes, checksum: 9524c2b2ccc34b0f6a267cfd2c114c09 (MD5)<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>Considerando a perspectiva homológica que envolve as diferentes representações artísticas em Poética dos Cinco Sentidos – La Dame à La Licorne (1979), visamos tratar no presente estudo das correspondências interartísticas no processo de produção do texto O Ouvido, de José Saramago. A Livraria Bertrand (Lisboa) solicitou a contribuição de seis autores portugueses para que realizassem uma leitura de La Dame à la Licorne (séc. XV), série de seis tapeçarias francesas encontrada no século XIX no castelo de Boussac, e exposta no Musée National du Moyen Age - Thermes et Hôtel de Cluny (Paris) desde 1882. Os painéis, reproduzidos junto aos textos do volume, sugerem representar a alegoria dos sentidos humanos, e cada autor solicitado abordou, de forma particular, uma das peças. Assim, consecutivamente, Maria Velho da Costa escreveu sobre a visão em A Vista; José Saramago, a audição em O Ouvido; Augusto Abelaira o olfato em O Olfacto; Nuno Bragança o paladar em O Gosto; Ana Hatherly o tato em O Tacto; e, por sua vez, Isabel da Nóbrega, em A sexta, tratou sobre À Mon Seul Désir, título dado à tapeçaria que realiza o fechamento da série e ilustra a capa do livro. Diante desse contexto, passamos a investigar inicialmente a origem das questões interartísticas nas poéticas da Antiguidade Clássica, bem como o contiuum desses pressupostos teóricos nas reflexões e gêneros artísticos na Idade Média, na Idade Moderna e na Contemporaneidade. Em seguida, delineamos como a herança da tradição especulativa em torno da fraternidade entre as artes incide na arte decorativa da tapeçaria, e, posteriormente, refletimos sobre a tessitura poética dos painéis...<br>Taking into consideration the homological perspective that involves the different artistic representations in Poética dos Cinco Sentidos / La Dame à La Licorne (1979), in this study we aim to deal with the interartistic correspondences in the text production process O Ouvido, by José Saramago. The Livraria Bertrand (Lisboa) requested the contribution of six Portuguese writers to perform a reading of La Dame à la Licorne (Sec. XV), a series of six French tapestries found in Boussac castle in the nineteenth century, and exposed in Musée National du Moyen Age - Thermes et Hôtel de Cluny (Paris) since 1882. The panels, reproduced along with the texts of the volume, suggest to represent the allegory of human senses, and each author invited approached, in his particularly way, one of the tapestries. Thus, consecutively, Maria Velho da Costa wrote about the sight in A Vista; José Saramago, the hearing in O Ouvido; Augusto Abelaira, the smell in O Olfacto; Nuno Bragança, the taste in O Gosto; Ana Hatherly, the touch in O Tacto; and Isabel da Nóbrega, in A sexta, wrote about À Mon Seul Désir, title given to the tapestry that ends the series and illustrates the cover of the book. In this context, we started by investigating the origin of interartistic matters in poetry of Classical Antiquity, as well as the continuum of these theoretical purposes in the reflection and artistic genres in Middle Age, Modern Age and Contemporaneity. Then, we outlined how the heritage of speculative tradition around fraternity among arts falls on tapestry decorative art. Later, we pondered over the poetical tessitura of La Dame à La Licorne’s panels... (Complete abstract click electronic access below)
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Willsdon, Clare Annabella Paton. "Aspects of mural painting in London, 1890-1930." Thesis, University of Cambridge, 1988. https://www.repository.cam.ac.uk/handle/1810/283657.

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Normand, Thomas Andrew. "Political trajectories in the painting of P. Wyndham Lewis." Thesis, Durham University, 1989. http://etheses.dur.ac.uk/6736/.

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This thesis presents an analysis of the political dimension to the paintings of Percy Wyndham Lewis (1882-1957). Through an exegesis of the discreet and latent "voices" in Lewis's paintings the ideological parameters of his thought world are disclosed. These imperatives are examined for their display of political predispositions, for values and attitudes, which reveal a loading towards specific socio-cultural standards. In so far as these standards can be identified with historically relevant political programmes they become manifestos for political actions. Or, at the very least, they can be seen to exist as critical and prescriptive social insights. Importantly, the focus of this examination and interpretation remains the visual image and its related texts. A key aspect of both the methodology and argument within this thesis, insists that the visual image is the bearer of meaning in both its subject matter and technique. Values are communicated not only in reference to the thing displayed, but, in the manner of the display. Hence, an analysis of the intellectual and formal strategies employed by Lewis in his painting becomes a central concern of the thesis. Finally, the thesis rounds on the actual nature of Lewis's politics as revealed in his approach to art. While it is accepted that the mediation from the political to the painted throws up many and substantial barriers, the thesis insists that a political reading of Lewis's creative work is not only appropriate but necessary. In offering just such a reading the author hopes to transcend the boundaries between the disciplines of Art History and Sociology.
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Van, Pletzen Ermina Dorothea. "The language of painting in nineteenth-century English fiction." Doctoral thesis, University of Cape Town, 1995. http://hdl.handle.net/11427/21770.

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Bibliography: pages 322-332.<br>This thesis examines the material and aesthetic sustenance which the novel as developing genre drew from the burgeoning popular interest in the visual arts, particularly the pictorial arts, which took place during the course of the nineteenth century in Britain. The first chapter develops the concept of the language of painting which for the purposes of the thesis refers to the linguistic transactions occurring between word and pictorial image when writers on art formulate their impressions in language. This type of discourse is described as governed by conceptual repetition and firmly established techniques of ekphrasis, as well as by indirect and peripheral modes of reference, not to the concrete stylistic features of the works of art under consideration, but to their effect on the viewer, the metaphors they call to mind, and the processes which can be inferred about their conception. The first chapter also gives a survey of the most important thematic strains and structural developments which had been imported into literature by the end of the eighteenth century. A chapter is then dedicated to each of five nineteenth-century novelists, Jane Austen, William Makepeace Thackeray, Charlotte Bronte, George Eliot, and Henry James, mapping out their individual grasp and knowledge of pictorial art in their particular circumstances, their experience of the art world, and the extent to which their experience of art is mediated by current painterly discourses. Each chapter next considers how pictorial material is appropriated in these novelists' fiction and whether the fiction draws structural support and meaning from pictorial concepts. The thesis furthermore investigates the inverse question of how the fiction itself becomes a context which not only reflects, but also shapes and alters inherited languages of painting. The second chapter approaches Austen's social satire against the background of the aesthetic traditions which she inherits from the eighteenth century. It is argued that her own novelistic aesthetic gains more from the discourses surrounding the practice of picturesque landscape appreciation (and related forms) than from Reynolds's doctrine of the general and ideal dominating the mid to late eighteenth century.
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Roberts, Claudette M. "Presence, absence, and the interface in twentieth-century literature and painting /." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487675687175432.

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Sakoda, Maho. "George Eliot and Pre-Raphaelitism : literature, painting, sculpture and photography." Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/64074/.

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This thesis explores the multi‐layered inter-relationships between the works of George Eliot and those of the Pre‐Raphaelites. Taking up the very different mediums of painting, sculpture, and photography as they emerge in Pre‐Raphaelitism, it assesses their relation to Eliot's novels as reinforcing a web of Victorian visual art and literature. The discussion begins by examining proximities between the paintings of Dante Gabriel Rossetti and Eliot's Adam Bede and Daniel Deronda. I explore, in particular, their shared interest in dichotomies of female representation in the nineteenth century, and ways in which the opposing traits of the sacred and sexual are interwoven. The second chapter reads Eliot in the context of writings by Walter Pater. Reassessing the prevalent perspective that Eliot was opposed to the ideas of Pater, I argue that, like him, Eliot passionately sought to elucidate the relationship between life and art through studies of the early Renaissance. In Pater's Studies in the History of the Renaissance and Eliot's Romola the authors are linked by their use of web imagery and their interest in the effects of music within the realms of literature and art. In the third chapter, exploring elements of the New Sculpture movement in the late nineteenth century together with the writings of Johann Joachim Winckelmann, I analyse ways in which sculptural representations are rendered in Eliot's, Middlemarch, and the paintings of Edward Burne‐Jones. The final chapter focuses on the nascent medium of nineteenth century, photography. By considering photographs by Julia Margaret Cameron in relation to The Mill on the Floss, I explore the way in which both Cameron's and Eliot's works embody a particular conception of childhood and the memory of childhood. My study concludes by re-visiting the phenomenon of the interweave of image and the text during the nineteenth century.
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L'Clerc, Lee. "Painting and visual imagery in literature, three contemporary Latin American novels." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0015/NQ41201.pdf.

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Piper, Jennifer Ann. "White, Carey and Nolan : national myth in Australian literature and painting." Thesis, Open University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.446272.

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Broggiato, Fernando Cidade 1972. "Pintura e objeto /." São Paulo : [s.n.], 2011. http://hdl.handle.net/11449/86968.

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Orientador: Sergio Mauro Romagnolo<br>Banca: José Leonardo do Nascimento<br>Banca: Paulo Pasta<br>Resumo: Esta dissertação trata de como a pintura, no decorrer do século XX, deixou de ser vista como um espaço virtual, ilusionista, para ser concebida em sua literalidade, como uma superfície plana. Esta pesquisa tem dois resultados distintos: a produção, entre 2009 e 2011, de uma série de pinturas e o desenvolvimento de um texto. O texto, por sua vez, é dividido em duas partes: na primeira, apresento e procuro analisar minha obra pictórica recente, e na segunda, desenvolvo, em três capítulos, reflexões sobre a relação entre o espaço da pintura, o espaço do teatro e o espaço dos objetos comuns, destacando a influência que os readymades de Marcel Duchamp e o minimalismo norte-americano exercem sobre a pintura contemporânea. Nesse contexto, analiso visões dos críticos Michael Fried, Clement Greenberg, Ferreira Gullar, Leo Steinberg e Alberto Tassinari<br>Abstract: This dissertation discusses how the art of painting, during the twentieth century, ceases to be seen as a virtual illusionist space, to be conceived in a literal way, as a flat surface. This research has two distinct outcomes: the production of a series of paintings (between 2009 and 2011) and also the development of a text. The text, in turn, is divided in two parts: in the first part I present and try to analyze my recent pictorial work; in the second part, which is divided in three chapters, I reflect upon the relationship between the space of painting, the theater space and the space of common objects, highlighting the influence of Marcel Duchamp's readymades and North-American minimal art on contemporary painting. In this context, I analyze the views of the critics Michael Fried, Clement Greenberg, Gullar, Leo Steinberg and Alberto Tassinari<br>Mestre
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Books on the topic "Literature and Painting. eng"

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First the egg. Roaring Brook Press, 2007.

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Eng & Chang: The original Siamese twins. Dillon Press, 1994.

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Joan, Crossley, Hardyment Christina, and Manchester City Art Gallery, eds. Innocence and experience: Images of children in British art from 1600 to the present. Manchester City Art Galleries, 1992.

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Holdsworth, Sara. Innocence and experience: Images of children in British art from 1600 to the present. Manchester City Art Gallery, 1992.

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Holdsworth, Sara. Innocence and experience: Images of children in British art from 1600 to the present : published in conjunction with the exhibition 19 September-15 November 1992. Manchester City Art Gallery, 1992.

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Painting. Jump!, Inc., 2015.

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Robins, Deri. Painting. Two-Can, 2006.

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Thomas, Isabel. Painting. Heinemann Library, 2011.

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Henry, Sally. Painting. PowerKids Press, 2009.

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Ruth, Thomson. Painting. Childrens Press, 1994.

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Book chapters on the topic "Literature and Painting. eng"

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Barrett, Cyril. "Leisure in Western Painting." In Leisure in Art and Literature. Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-11353-8_6.

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O’Toole, Michael. "Towards a Systemic-Functional Semiotics of Painting." In The Hermeneutic Spiral and Interpretation in Literature and the Visual Arts. Routledge, 2018. http://dx.doi.org/10.4324/9781315145525-14.

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Bibina, Iordanka. "THE IMAGE OF THE TURKS IN BULGARIAN LITERATURE AND PAINTING." In The Image of the Turk in Europe from the Declaration of the Republic in 1923 to the 1990s, edited by Nedret Kuran Burçoglu. Gorgias Press, 2010. http://dx.doi.org/10.31826/9781463230074-022.

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Heng, Jiuan. "Ritual and the Body in Literati Painting." In Life the Play of Life on the Stage of the World in Fine Arts, Stage-Play, and Literature. Springer Netherlands, 2001. http://dx.doi.org/10.1007/978-94-010-0826-6_22.

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Hudzik, Jan P. "The Reception in Polish Literature of Roman Ingarden’s Theory of Painting." In Man within His Life-World. Springer Netherlands, 1989. http://dx.doi.org/10.1007/978-94-009-2587-8_23.

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Rudnik, Raphael. "Thought By Rembrandt's Wife And Model During The Painting Of 'Flora'." In Contemporary Poetry: A Retrospective from the "Quarterly Review of Literature", edited by Theodore Russell Weiss. Princeton University Press, 2015. http://dx.doi.org/10.1515/9781400871728-053.

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Kearns, James. "No Object too Humble? Still Life Painting in French Art Criticism during the Second Empire." In French Literature, Thought and Culture in the Nineteenth Century. Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-11824-3_9.

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Grethlein, Jonas. "Representation Delimited and Historicized." In Metalepsis. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198846987.003.0002.

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This chapter enriches the volume’s overall diachronic approach with an additional transmedial perspective as it compares cases of metalepsis in archaic and classical vase-painting with violations of levels of representation in epic and lyric poetry. It focuses, first, on how characters in texts and figures in painting address the recipients, either with apostrophe (in texts) or en face gaze (in pictures). It then considers cases in which the represented world of a painting seems to acknowledge its own representation, for instance when figures apparently lean against the edges of the vessel on which they are painted. The chapter argues that medial differences have a significant impact on metalepsis: not all textual metalepses have pictorial parallels, nor can we find equivalents to all pictorial metalepses in literature. However, it concludes that ancient literature and vase-painting nevertheless share traits that reveal a distinct tendency of ancient metalepsis: in both media the boundaries between the representation, the represented object, and the recipient were less clear-cut than in our modern view. The chapter concludes by suggesting a possible reason for this in the rootedness of ancient representations in specific contexts: specifically, performative settings for literature, and pragmatic utility for painted pots.
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Masson, David. "“Pre-Raphaelitism in Art and Literature”." In Victorian Painting. Routledge, 2018. http://dx.doi.org/10.4324/9780429430206-22.

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Barnett, Christopher B. "Painting with Words:." In Kierkegaard, Literature, and the Arts. Northwestern University Press, 2018. http://dx.doi.org/10.2307/j.ctv3znxrg.15.

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Conference papers on the topic "Literature and Painting. eng"

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Cloutier, Aimee, and James Yang. "Control of Hand Prostheses: A Literature Review." In ASME 2013 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/detc2013-13349.

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In recent years, there has been a steep rise in the quality of prostheses for patients with upper limb amputations. One common control method, using electromyographic (EMG) signals generated by muscle contractions, has allowed for an increase in the degrees of freedom (DOFs) of hand designs and a larger number of available grip patterns with little added complexity for the wearer. However, it provides little sensory feedback and requires non-natural control which must be learned by the user. Another recent improvement in prosthetic hand design instead employs electroneurographic (ENG) signals, requiring an interface directly with the peripheral nervous system (PNS) or the central nervous system (CNS) to control a prosthetic hand. While ENG methods are more invasive than using surface EMG for control, an interface with the PNS has the potential to provide more natural control and creates an avenue for both efferent and afferent sensory feedback. Despite the recent progress in design and control strategies, however, prosthetic hands are still far more limited than the actual human hand. This review outlines the recent progress in the development of EMG and ENG controlled prosthetic hands, discussing advancements in the areas of sensory feedback and control. The potential benefits and limitations of both control strategies, in terms of signal classification, invasiveness, and sensory feedback, are examined. A brief overview of interfaces with the CNS is provided, and potential future developments for these control methods are discussed.
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Sun, Lili. "A Literature Review of Northeast Farmer Painting Art." In The 6th International Conference on Arts, Design and Contemporary Education (ICADCE 2020). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210106.030.

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"Artistic Expression of Traditional Chinese Painting." In 2018 International Conference on Arts, Linguistics, Literature and Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icallh.2018.52.

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"Research on Symbiosis of Painting and Graphic Design." In 2018 International Conference on Culture, Literature, Arts & Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icclah.18.009.

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"Application of painting principle in garden planning and design." In 2019 International Conference on Advances in Literature, Arts and Communication. The Academy of Engineering and Education (AEE), 2019. http://dx.doi.org/10.35532/jahs.v1.013.

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"Research on the Artistic Conception of landscape in Chinese Painting." In 2017 4th International Conference on Literature, Linguistics and Arts. Francis Academic Press, 2017. http://dx.doi.org/10.25236/iclla.2017.31.

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"The Application of Chinese Traditional Literati Painting in Animation Design." In 2018 International Conference on Arts, Linguistics, Literature and Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icallh.2018.26.

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"Research on Style Evolution and Development of Chinese Landscape Painting." In 2018 International Conference on Arts, Linguistics, Literature and Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icallh.2018.34.

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Ding, Mei. "Appreciation of Giuseppe Castiglione ‘s Baizi painting." In proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.522.

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Liang, Hongli. "Let Painting Become Painting--An Analysis of the Characteristics of 70 to 90 Specialty Creation in Art Academy Education." In proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.384.

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