Relevant bibliographies by topics / Modern Painter

Contents

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

Academic literature on the topic 'Modern Painter'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Modern Painter"

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Tsourgianni, Despoina. "Issues of Gender Representation in Modern Greek Art." Aspasia 13, no. 1 (2019): 31–64. http://dx.doi.org/10.3167/asp.2019.130105.

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There is a recent trend, mainly in the field of historiography but also in art history, toward the exploration of female autobiographical discourse, whether it concerns written (autobiographies, correspondence), painted (self-portraits), or photographic data. On the basis of the highly fruitful gender perspective, this article seeks to present and interpret the numerous photographs of the well-known Greek painter Thaleia Flora-Caravia. These photographic recordings, taken almost exclusively from the painter’s unpublished personal archive, are inextricably linked to the artist’s self-portraits. This kind of cross-examination allows the reader to become familiar with the mosaic of roles and identities that constitutes the subjectivity of female artists in Greece in the late nineteenth and early twentieth centuries.
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Boller, François. "Modern Neuropsychology in France Alajouanine's Painter." Cortex 42, no. 7 (2006): 971–72. http://dx.doi.org/10.1016/s0010-9452(08)70202-8.

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Geba, Maria, Lacramioara Stratulat, Nicoleta Vornicu, Daniela Salajan, and Mihaela M. Manea. "Research on the Chromatic Palette of a Modern Romanian Painter." Revista de Chimie 68, no. 3 (2017): 447–52. http://dx.doi.org/10.37358/rc.17.3.5476.

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The paper focuses on two works of art, Chrysanthemums and Roses, painted by Stefan Luchian, a representative painter for the modern Romanian art from the beginning of the 20th century. The two paintings were analyzed by several non-invasive techniques (optical microscopy, grazing light and UV examination, IR reflectography, XRF and Raman spectrometry) in order to get information concerning the chromatic and to assess the state of conservation. The study is focused in particular on yellow, red and white pigments, which are different in the two pictorial compositions: in Chrysanthemums the predominant pigments are Madder lake, cadmium yellow and zinc white mixed with lead white, while in Roses cinnabar, strontium yellow and lead white were found, according to the XRF and Raman analysis.
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Teukolsky, Rachel. "Modernist Ruskin, Victorian Baudelaire: Revisioning Nineteenth-Century Aesthetics." PMLA/Publications of the Modern Language Association of America 122, no. 3 (2007): 711–27. http://dx.doi.org/10.1632/pmla.2007.122.3.711.

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John Ruskin's Modern Painters V (1860) and Charles Baudelaire's “The Painter of Modern Life” (1863) are contemporaneous texts that both champion modern painters. Yet the two have rarely been considered together; while Ruskin's work is usually taken to represent a moralistic Victorianism, Baudelaire's essay is a foundational text of aesthetic modernism. This article compares the two texts in order to arrive at a more accurate, descriptive sense of nineteenth-century aesthetics, especially at the mid-century moment when “the modern” emerges as an aesthetic value in both England and France. Ruskin and Baudelaire are shown to propose surprisingly similar aesthetic theories, in part because they negotiate the same traumas of modernity, such as the derailment of religion and the commodification of the material world. Positioned on the ruins of Romanticism, each text intimates an idea of the modern that is not quite modernism but is, in fact, eminently Victorian.
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Sharpe, James. "John the Painter: the first modern Terrorist." Journal of Forensic Psychiatry & Psychology 18, no. 2 (2007): 278–81. http://dx.doi.org/10.1080/14789940701345980.

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BONAVENTURA, PAUL. "George Stubbs: The Modern Painter of Life." Art Book 15, no. 4 (2008): 3–4. http://dx.doi.org/10.1111/j.1467-8357.2008.00985.x.

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JIAN CHOE. "Walter Sickert: A Painter of Modern Urban Life." Journal of English Cultural Studies 12, no. 2 (2019): 5–23. http://dx.doi.org/10.15732/jecs.12.2.201908.5.

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Diba, Layla S. "Muhammad Ghaffari: The Persian Painter of Modern Life." Iranian Studies 45, no. 5 (2012): 645–59. http://dx.doi.org/10.1080/00210862.2012.702551.

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Фомичев, И., I. Fomichev, Г. Флейшер, and G. Fleicher. "TREATMENT OF PATIENTS WITH PROREZYVANIYA’S VIOLATION OF THE BOTTOM THIRD PAINTERS." Actual problems in dentistry 10, no. 4 (2014): 40–44. http://dx.doi.org/10.18481/2077-7566-2014-0-4-40-44.

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<p>One of topical issues modern stomatologists consists in possibility of preservation or need of removal of the third painter. In surgical stomatology and maxillofacial surgery so far actual there are etiology questions, патогенеза and treatments of the complicated prorezyvaniye of the third painters of jaws. It is known that the prorezyvaniye of the third painters of jaws comes to an end the period of formation of a constant bite. The third painters or wisdom teeth (wisdom teeth) are cut through the latest aged from 17 till 25 years. According to K. Godfrey (1999) they come to light at 92% of adult population. Retention of the third painters in 53% of cases is accompanied by development of complications, characteristic for each type of situation. </p>
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Gautama, Kurniawati. "Membedah Karya Erica Hestuwahyuni Melalui Studi Bahasa Rupa." JURNAL RUPA 2, no. 2 (2018): 104. http://dx.doi.org/10.25124/rupa.v2i2.1006.

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Bahasa Rupa (picture-writing) is an invention of Prof.Dr. Primadi Tabrani to analize the specific character of Eastern tradition which is different from Western. It is a visual communication study in modern and traditional picture-writing system. The modern (western) bahasa rupa uses ‘close up’ format which recognized universally, whereas the traditional (eastern) system such as the relief of Borobudur Temple, Wayang Beber (scroll-painted picture presentations), Balinesse Painting, have specific drawing technique. This essay, will analize an Indonesian and international recognized female painter, Erica Hestuwahyuni, whose artworks show childlike character. As introduction this essay will elaborate the differences between painting and drawing, also Bahasa Rupa theory and character of children drawings.
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Dissertations / Theses on the topic "Modern Painter"

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Pascu-Tulbure, Cristina. "Ruskin and Burne-Jones : the making of a modern painter." Thesis, University of Liverpool, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.576953.

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This thesis discusses the influence of the personal and intellectual friendship between John Ruskin and Edward Burne-Jones on the artist's work, and argues that the friendship was instrumental in Burne-Jones's transition from Victorian to modern aesthetics. Chapter 1 deals with the wide range of critical responses elicited by Burne-Jones's work; it also highlights the difficulty of appreciating Burne-Jones fully without an awareness of his relations with Ruskin. In Chapter 2 I discuss Ruskin's early critical theories and his position in the aesthetic debate of the mid-nineteenth century. This is particularly relevant to Burne-Jones's development because he started his artistic career in total agreement with Ruskin. Chapter 3 addresses those experiences in Burne-Jones's life prior to meeting Ruskin, which led the artist to embrace the work of the critic. At the end of the chapter I touch on Burne-Jones's friendship with Rossetti, whose mid-1850s influence suggested to Burne-Jones a path pointing in a different direction from Ruskin. With his mature work Burne-Jones revisited and explored Rossetti's early ideas on 'design', and developed an artistic creed which both acknowledges Ruskin's teaching and departs from it. Ruskin took an interest in Burne-Jones's career as soon as they met. They became friends, and Ruskin commissioned work from him, gave him practical advice and made demands on his style. But the strongest influence Ruskin exercised was by his writing, as Burne-Jones read Ruskin all his life. Chapter 4 explores the emergence of those of Rusk in's critical ideas which had the greatest impact on Burne-Jones's art. The last chapter deals with Burne-Jones's response to Ruskin's critical theories and personal experiences. This response crystallised at its clearest in the four series of The Briar Rose, on which Burne-Jones worked between 1864 and 1895. The pictures, I conclude, present themselves as a continued emotional and intellectual dialogue with Ruskin and formulate an aesthetic pointing towards the twentieth century.
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Dahlgren, Kajsa. "Modern Bild : undervisning i bild på en ny plattform." Thesis, Umeå University, Department of Creative Studies, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-18551.

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Idén till denna studie kom till mig för ett antal år sedan då jag fick se ett digital skapat verk och därmed bestämde jag mig för att digitalt bildskapande skulle bli ämnet för mitt examensarbete i min utbildning på lärarutbildningen. Därmed valde jag att göra en undersökning om digitalt bildskapande och hur detta skulle kunna användas som undervisningsverktyg i skolans bildämne.

Mina tankegångar inför detta arbete var om digitalt bildskapande är möjligt att använda i bildundervisning och ifall detta kan utveckla bildämnets undervisning. Men även undersöka om digital bildskapande är av vikt att lära eleverna och om det kan ses som en tillgång för eleverna och lärarna.

I min undersökning använde jag litteratur för att försöka förklara och skapa en bild av ämnet digital bildbehandling. Jag gjorde även en undersökning till mitt arbete med ett digitalt bildbehandlingsprogram för att visa hur digitala metoder och tekniker skulle kunna användas i undervisningen i bildämnet.

Resultatet av mina undersökningar med bildbehandlingsprogrammet visade på att digitalt bildskapande är möjligt att använda som undervisningsverktyg och kan även medföra fördelar för bildämnets verksamhet.

 

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Brown, Ruth Katharine. "The rise of the leisure painter : artistic creativity within the experience of ordinary life in postwar Britain, c. 1945-2000." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:4f9bec84-094e-4ec9-b36a-3b66e9330076.

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Since John Ruskin and William Morris's protestations against mass production in the nineteenth century, critics of mass consumption thought that it not only reduced the necessity, but also the desire, to make things for personal use and enjoyment. The history of leisure painting in art societies and adult education, and of the amateur artist’s consumption of art materials and self-help literature, shows that, on the contrary, affluence both inspired and facilitated a quest for self-actualisation amongst the rank and file. Creative activities such as drawing and painting served this quest at little financial cost to the individual. Following the Second World War, a significant increase in the take-up of leisure painting was encouraged by the state as part of the broader postwar settlement. The pursuit of personal wellbeing through creative activity was regarded as a public good, of benefit not only to individuals but also to the communities of which they were a part. In the last quarter of the twentieth century, state support for recreational pursuits such as leisure painting was pared back: in the shift from collectivist social democracy towards individualist market liberalism, personal enjoyment was recast as a private affair for which the consumer must pay. Painting continued to grow in popularity, supported by expanding consumer markets in self-help literature and affordable art materials. Yet while consumerism sustained the popularity of amateur art-making, the ways in which amateur artists participated in the arts changed. Personal creativity emerges here as an inherently social activity: the private experience of creativity is mediated and structured by society. Consumerism was not bad for personal creativity per se, but the replacement of a communitarian approach with a consumerist model restricted the breadth and reach of creative aspiration nurtured as part of the postwar settlement. By the end of the century, most amateurs were painting alone.
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welton, jessica w. "Fred Kabotie, Elizabeth Willis DeHuff, and the Genesis of the Santa Fe Style." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3637.

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Those scholars who have overlooked the relevance of Fred Kabotie and the Santa Fe Style he developed have missed an important historical segment of early Native American painting. This dissertation underscores the convergence of diverse intellectual, artistic and cultural backgrounds, especially those of Kabotie and Elizabeth Willis DeHuff, his first art teacher, which led to the formation of the Santa Fe Style in 1918. This style was formative for Dorothy Dunn’s later Studio School at the Santa Fe Indian Boarding School. This first generation of the Santa Fe Style of watercolor painting was empowered by highly educated men and women, who helped to ensure the national recognition Kabotie’s work received. Among Kabotie’s early supporters were Elizabeth Willis and John DeHuff, Mabel Dodge Luhan, Edgar Lee Hewett, Kenneth Chapman, Robert Henri, Maynard Dixon, Marsden Hartley, John Sloan, John Louw Nelson and George Gustav Heye. By uncovering the multiple discourses connecting these individuals with Kabotie and his work, this study develops a basis for analyzing the many perspectives this new style synthesized and advanced. This dissertation positions Kabotie and the Santa Fe Style within these and several larger cultural arenas, including Hopi culture, modern art and Santa Fe intellectuals, thus providing a multistoried dimensionality overlooked in earlier scholarship. Through evaluating these individuals who informed and empowered the creation of the Santa Fe Style, while carefully considering Kabotie’s response to them in his work, this dissertation initiates a clearer understanding of early twentieth-century cultural and artistic interactions, both locally and nationally. The Santa Fe Style provided a new direction for American Indian art prior to World War II; it initiated a fresh dialogue between the Hopi people and the Anglo government, and it afforded a complex and ongoing conversation for not just Fred Kabotie and his art, but also, through him, the Hopi people. Moreover, it had a profound effect on the development of Southwest Native American painting over the next fifty years.
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Teasdale, Jonathan. "Proterozoic tectonic models with application to the Mount Painter inlier /." Title page and abstract only, 1993. http://web4.library.adelaide.edu.au/theses/09SB/09sbt253.pdf.

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Trigg, David. "Art books for the people : the Penguin Modern Painters, 1944-1959." Thesis, University of Bristol, 2017. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.738526.

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Ryu-Paganini, Naeyoung. "L'oeuvre de Yun Duseo (1668-1715), peintre-lettré coréen à l'époque "prémoderne"." Thesis, Strasbourg, 2017. http://www.theses.fr/2017STRAG032/document.

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L’œuvre de YUN Duseo (1668-1715), peintre lettré ayant vécu lors de la dernière monarchie coréenne, reflète la forte sinisation de la société de l’époque. Cette œuvre est un fruit de la civilisation du « monde chinois », et interroge les principes esthétiques et le statut de la peinture dérivés de la doctrine néo-confucéenne, doctrine elle-même ici associée à des doctrines souvent considérées comme opposées, le taoïsme et le bouddhisme. YUN Duseo invente une peinture « pré-moderne » qui met en valeur de manière nouvelle des figures humaines, les portraits en particulier, et donne une nouvelle forme à des sujets courants de la peinture chinoise, les natures mortes ou les scènes de la vie quotidienne. La peinture de YUN Duseo, influencée aussi bien par un mouvement de retour aux sources de la culture chinoise que par le contact avec la culture européenne, est étudiée principalement à travers le prisme du rapport entre peinture et écriture
The work of YUN Duseo (1668-1715), a scholar-painter who lived during the last Korean monarchy, reflects the strong sinicization of contemporary Korean society. Indeed, such work is a product of the civilization of the ‘Chinese world’: it questions the aesthetic principles and the status of painting stemming from the Neo-Confucian doctrine, a doctrine itself associated with two often opposed doctrines, Taoism and Buddhism. YUN Duseo invented a ‘pre-modern’ painting that emphasized human figures, and particularly portraits, in a novel way and gave new form to common subjects in Chinese painting, whether still lives or scenes of everyday life.YUN Duseo’s painting, influenced by a return to the sources of Chinese culture as well as by the contact with European culture, is examined here through the prism of the relation between painting and writing
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Moore, Grace. "Paine, Blake and Hegemony." W&M ScholarWorks, 1996. https://scholarworks.wm.edu/etd/1539626059.

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Benson, Natalie Jane Allen. "The (un)cut painter's book: redefining a literary-arts genre." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/6056.

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The purpose of this dissertation is to present a clear characterization and history of the painter’s book in France, and distinguish the genre from other book arts; to examine the works as inseparable objects through bibliographic, auratic, and site-specific theory; and to explore specific instances that illuminate the socio-cultural context and historic era of the work, and the necessary interdependence of image-text. Painter’s book projects are novels, poems, plays, and short compilations, with original prints by an artist whose principal medium is other than graphic, published by a gallery owner or small publishing house in an artisanal format, and in a small edition under 501 examples. A painter’s book is meant to be experienced through space and time, where the act of reading-viewing while turning pages synthesizes the concurrent arts. Many images from painter’s book projects are reconstituted as independent graphic works for sale, and I argue that the books must remain intact. In the first chapter, I argue, through theories of bibliographic code, Benjamin’s concept of aura, and site-specific artwork, that the purpose, understanding, and experience of the painter’s book is corrupted and lost when the artwork is removed from its original location. In Chapter Two, I explore two genres of the book, the illustrated and artist’s books, explain why the painter’s book cannot be considered an illustrated or artist’s book, and provide evidence that delineates the genres through specific examples, research, analysis, and hermeneutical consideration. I explore what constitutes the painter’s book in Chapter Three, and suggest the name of the genre be accepted and adopted as painter’s book in English. I also indicate precedents and the history of the painter’s book, and give succinct characteristics for the genre. Through specific examples in the nineteenth and twentieth centuries I demonstrate how the painter’s book reflects modern historical processes, and how this literary-arts genre helped shape cultural discourses in the final two chapters. This project will bring awareness to a genre whose very name has been misconstrued and mislabeled, whose works tell a tale of collaboration and harmonious expression in literary and visual form, whose individual instances inform the reader-viewer of important cultural, societal, and historical moments, and whose perpetuation is in danger.
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Cazarotto, Simone. "Testes de raiz unitária em modelo painel." Florianópolis, SC, 2006. http://repositorio.ufsc.br/xmlui/handle/123456789/89206.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro Sócio-Econômico. Programa de Pós-Graduação em Economia.
Made available in DSpace on 2012-10-22T18:03:29Z (GMT). No. of bitstreams: 1 227256.pdf: 602297 bytes, checksum: fe323a52adad674acae0e4a2534436d2 (MD5)
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Books on the topic "Modern Painter"

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Manet: Painter of modern life. Thames & Hudson, 1995.

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Burne-Jones: Ruskin's modern painter. Peter Lang, 2015.

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Hoog, Michel. Cézanne: The first modern painter. Thames and Hudson, 1994.

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1844-1926, Cassatt Mary, ed. Mary Cassatt: Painter of modern women. Thames & Hudson, 1998.

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Lara, Pucci, Guttuso Renato 1911-1987, and Estorick Collection, eds. Renato Guttuso: Painter of modern life. Silvana editoriale, 2014.

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Heron, Patrick. Painter as critic: Patrick Heron, selected writings. Tate Gallery Pub., 1998.

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Heron, Patrick. Painter as critic: Patrick Heron, selected writings. Tate Gallery Pub., 2001.

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The orientalists, painter-travellers. ACR Edition, 1994.

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R.K. Narayan: A painter of modern India. P. Lang, 1995.

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John, Golding, Picasso Pablo 1881-1973, and Tate Gallery, eds. Picasso: Sculptor/painter. Tate Gallery, 1994.

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Book chapters on the topic "Modern Painter"

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Tambling, Jeremy. "Baudelaire: The Painter of Modern Life." In The Palgrave Encyclopedia of Urban Literary Studies. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-62592-8_83-1.

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Partner, Jane. "The ‘Advice to a Painter’ Poems and the Politics of Visual Representation." In Poetry and Vision in Early Modern England. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71017-4_5.

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Lombardo, Patrizia. "The Image versus the Visible: From Baudelaire’s The Painter of Modern Life to David Lynch’s Lost Highway." In Cities, Words and Images. Palgrave Macmillan UK, 2003. http://dx.doi.org/10.1057/9780230286696_8.

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Förster, Till. "Painted Visions Under Rebel Domination." In A Companion to Modern African Art. John Wiley & Sons, 2013. http://dx.doi.org/10.1002/9781118515105.ch27.

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Marshall, Eugene, and Susanne Sreedhar. "Thomas Paine." In A New Modern Philosophy. Routledge, 2019. http://dx.doi.org/10.4324/9781351052269-27.

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Vogl, Mary. "Algerian Painters as Pioneers of Modernism." In A Companion to Modern African Art. John Wiley & Sons, 2013. http://dx.doi.org/10.1002/9781118515105.ch10.

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Green, Frederik H. "Painted in oil, composed in ink." In Translating Chinese Art and Modern Literature. Routledge, 2019. http://dx.doi.org/10.4324/9781351001243-2.

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Carter, Anne, Gillian Osmond, Paula Dredge, and Bruce Leary. "Zinc Oxide in Oil-Based House Paint: Insights from a Paint Chemist’s Notebook Dated 1949." In Conservation of Modern Oil Paintings. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19254-9_5.

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de Keijzer, Matthijs. "The Delight of Modern Organic Pigment Creations." In Issues in Contemporary Oil Paint. Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-10100-2_4.

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Graczyk, Agata, Pauline Hélou-de La Grandière, Alan Phenix, and Sigrid Mirabaud. "Oil Paint Straight from the Tube: Paint-Specific Deterioration in Works by Alexis Mérodack-Jeaneau, 1910–1913." In Conservation of Modern Oil Paintings. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19254-9_17.

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Conference papers on the topic "Modern Painter"

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Burby, M., G. G. Nasr, and T. Cox. "Painting and Coating of Acoustic Materials." In ASME 2006 Pressure Vessels and Piping/ICPVT-11 Conference. ASMEDC, 2006. http://dx.doi.org/10.1115/pvp2006-icpvt-11-93861.

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Acoustic materials are used to treat indoor and outdoor spaces to make speech intelligible, and places less noisy and more pleasant to be in. Whilst most treatments are old and well established, in recent years there has been a growth in innovative products, which overcome difficulties with the old technologies, especially when making the treatments more visually acceptable to architects. Modern construction depends a great deal on acoustic materials to act as sound containment or sound control, either in residential or commercial applications. Sound-absorbing materials are highly porous to increase their sound absorption qualities. The amount of absorption depends on the thickness of the porous material, the size and number of pores, and the frequency of the noise. When painting acoustic materials, the painter should be very careful that the paint does not close up the acoustic surfaces; perforations or fissures. It is through these openings in the surface that sound waves enter the body of the acoustic material and are absorbed. It is the control of the paint droplet size upon the surface that affects the acoustic properties and the aesthetic appearance of the coated surface. An investigation into the coating performance with regard to acoustic absorption and aesthetic appearance was performed in a true-scale automotive spray booth using five different types of paint: three aerosol paints, domestic emulsion and acoustic paint. The sprays produced by the aerosols, emulsion and acoustic paints, applied using an air assist spray-gun, were characterised using a Mastersizer-X laser instrument. The flow rate of the paint through the spray gun was varied during the experiments between 50 ml/min and 500 ml/min. The work has highlighted the operating parameters for the air-assist spray gun in order to produce the smallest drop sizes. The measuring of the acoustic coefficient of the coated materials has shown that the aerosol and air-assist gun produced too large a droplet to produce a good acoustic coating. The use of the acoustic paint did create a good absorption coefficient but the work has highlighted the requirement for the atomizing process to be optimised for this highly viscous acoustic paint.
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"Application Analysis of Hand-painted Performance Techniques in Environmental Art Design." In 2018 4th International Conference on Social Sciences, Modern Management and Economics. Clausius Scientific Press, 2018. http://dx.doi.org/10.23977/ssmme.2018.62234.

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Andulkar, Mayur V., and Shital S. Chiddarwar. "Automated CAD Based Trajectory for Spray Painting Robot: Variable Velocity Approach." In ASME 2015 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2015. http://dx.doi.org/10.1115/detc2015-46587.

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This paper proposes a new automated offline trajectory generation approach for free form surfaces targeted towards spray painting application. The spray gun trajectory is generated from the computer aided design (CAD) model of the surface to be painted for a structured environment. A variable velocity approach is proposed to overcome the effect of surface curvature on the desired paint thickness. The proposed approach is divided into three problems: paint pass generation, optimal gun velocity and overlap distance computation. These problems are solved independently of each other using standard optimization techniques. The paint passes consisting of points and corresponding normals are generated using a ‘section’ based approach. An optimal variable spray gun velocity depending on the surface curvature is calculated based on the paint thickness function using genetic algorithm and curve fitting technique. The overlap distance is calculated depending on paint thickness of every paint pass. The approach was implemented on test surfaces and the simulation and experimental results reveal that minimal paint thickness deviation is obtained for simple as well as highly curved surfaces.
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Kozakov, Oleg N. "Determination of hiding power of paints by the Monte-Carlo method." In OPTIKA '98: Fifth Congress on Modern Optics, edited by Gyorgy Akos, Gabor Lupkovics, and Andras Podmaniczky. SPIE, 1998. http://dx.doi.org/10.1117/12.324599.

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Wang, Lifu. "Analysis of "Dance Patterns" on Painted Pottery of Majiayao Culture." In Proceedings of the 3rd International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/iccese-19.2019.88.

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Rao, Preetham, and Sreekanth Teeparthi. "A Semi–Computational Method to Predict Body Temperatures in an Automotive Paint Bake Oven." In ASME 2011 International Mechanical Engineering Congress and Exposition. ASMEDC, 2011. http://dx.doi.org/10.1115/imece2011-63388.

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The skeleton of a vehicle, known as a Body in White (BiW), with hundreds of sheet metal components is painted in an automotive assembly paint shop. Multiple ovens are used to bake and cure the layers of paint put on the BiW in a paint shop. These ovens are hundreds of feet long and impart heat to a BiW using radiation and convection modes. Prediction of temperature–time history at different locations of a BiW as it passes through a paint bake oven is important to understand the quality of the cured paint. This paper describes a method to predict the same using Computational Fluid Dynamics (CFD) and numerical heat transfer methods, combined with a single generic measurement from the oven. The flow field and the convection parameters around the BiW are obtained from a few quasi-steady CFD simulations of the BiW in the oven. A detailed temperature map on a BiW is then obtained by coupling the CFD results to a transient heat transfer analysis with a moving model of the BiW inside the oven in a thermal nodal network solver. Comparison of the results from the simulation of an actual vehicle and proposed improvements are discussed. The coupled simulation approach is shown to result in a reasonable level of accuracy within acceptable timelines for such a multi-scale physical problem with a highly complicated geometry.
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Balkan, Tuna, and M. A. Sahir Arikan. "Surface and Process Modeling and Off-Line Programming for Robotic Spray Painting of Curved Surfaces." In ASME 1999 Design Engineering Technical Conferences. American Society of Mechanical Engineers, 1999. http://dx.doi.org/10.1115/detc99/dac-8662.

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Abstract An algorithm and a computer program is developed for off-line programming of industrial robots for spray painting of curved surfaces. The study is initiated to find a more productive and repeatable, and thus higher quality method for painting of car body components in car body repair shops, where only the deformed region or part is straightened or replaced, and then painted. Body components of a specific car are modeled, and painting strategies, parameters and paths are determined. CAD models of relatively simple surfaces are formed by using the surface generation tools of the software. For parts with more complex surfaces, point data related to the part is collected by using a laser scanner, and this data is used to form the CAD model of the part surface. For paint (coating) thickness distribution analysis, the surface is divided into small elements, and their centroid coordinates and unit normals are determined. These properties are then used together with the spray distance, painting velocity and the paint flow rate flux for paint thickness analysis. Paint flow rate flux through the spray gun is determined by using experimental paint thickness distributions obtained by using different spray gun settings and painting parameters. Besides the technical specifications of the spray gun, air and paint nozzles, and paint needle; basic settings like paint tank pressure and gun needle-valve position affect paint cone angle and paint flowrate, which finally characterize the spray painting process. After deciding on an acceptable paint thickness distribution, the robot program is generated in the robot’s programming language. While moving along the path, the Cartesian position, velocity and orientation of the gun are necessary. Since there is no Cartesian input function available in the controller of the industrial robot used in this study, an inverse kinematic solution algorithm is developed to obtain the generated data in the joint space of the manipulator.
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Ye, Qiaoyan, Oliver Tiedje, Shreyas Rohit Srinivas, Thomas Noest, and Uhrrich Uhrner. "Investigations on nano- and submicron-particle generation by spray painting processes." In ILASS2017 - 28th European Conference on Liquid Atomization and Spray Systems. Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/ilass2017.2017.4666.

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This paper presents experimental and numerical studies to determine the particle size distributions (PSD) and concentrations in paint overspray. Two kinds of paint materials, solvent borne and water borne paints, both with and without manufactured nanomaterials (pigments), and an industrial spray gun were used. Different aerosol measuring techniques, namely the Spraytec Fraunhofer type particle sizer for micro-sized droplets in the spray jet and the Scanning Mobility Particle Sizer (SMPS) for nano particles in paint overspray were applied. It was found, that solvent borne clear coats create significantly higher number concentration of nano-sized droplets than the water borneprimers. Only small differences in PSD between paints with and without manufactured nanomaterials were found. Numerical simulations of droplet trajectories within the spray booth, for both micro and nano sized droplets, were carried out. Based on the experimental and numerical results, a representative particle size distribution (smaller than 1 μm) for the given spray gun was obtained. Effects of turbulence models on the particle deposition on targets, especially for submicron particles, have been analysed in detailed.DOI: http://dx.doi.org/10.4995/ILASS2017.2017.4666
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Figaschewsky, Felix, Arnold Kühhorn, Bernd Beirow, Jens Nipkau, Thomas Giersch, and Bronwyn Power. "Design and Analysis of an Intentional Mistuning Experiment Reducing Flutter Susceptibility and Minimizing Forced Response of a Jet Engine Fan." In ASME Turbo Expo 2017: Turbomachinery Technical Conference and Exposition. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/gt2017-64621.

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Recent demands for a reduction of specific fuel consumption of jet engines have been opposed by increasing propulsive efficiency with higher bypass ratios and increased engine sizes. At the same time the challenge for the engine development is to design safe and efficient fan blades of high aspect ratios. Since the fan is the very first rotor stage, it experiences significant distortions in the incoming flow depending on the operating conditions. Flow distortions do not only lead to a performance and stall margin loss but also to remarkable low engine order (LEO) excitation responsible for forced vibrations of fundamental modes. Additionally, fans of jet engines typically suffer from stall flutter, which can be additionally amplified by reflections of acoustic pressure waves at the intake. Stall flutter appears before approaching the stall line on the fan’s characteristic and limits its stable operating range. Despite the fact that this “flutter bite” usually affects only a very narrow speed range, it reduces the overall margin of safe operation significantly. With increasing aspect ratios of ultra-high bypass ratio jet engines the flutter susceptibility will probably increase further and emphasizes the importance of considering aeromechanical analyses early in the design phase of future fans. This paper aims at proving that intentional mistuning is able to remove the flutter bite of modern jet engine fans without raising issues due to heavily increased forced vibrations induced by LEO excitation. Whereas intentional mistuning is an established technology in mitigating flutter, it is also known to amplify the forced response. However, recent investigations considering aeroelastic coupling revealed that under specific circumstances mistuning can also reduce the forced response due to engine order excitation. In order to allow a direct comparison and to limit costs as well as effort at the same time, the intentional mistuning is introduced in a non-destructive way by applying heavy paint to the blades. Its impact on the blade’s natural frequencies is estimated via finite element models with an additional paint layer. In parallel, this procedure is experimentally verified with painted fan blades in the laboratory. A validated SNM (subset of nominal system modes) representation of the fan is used as a computational model to characterize its mistuned vibration behavior. Its validation is done by comparing mistuned mode shape envelopes and frequencies of an experimental modal analysis at rest with those obtained by the updated computational model. In order to find a mistuning pattern minimizing the forced response of mode 1 and 2 at the same time and satisfying stability and imbalance constraints, a multi-objective optimization has been carried out. Finally, the beneficial properties of the optimized mistuning pattern are verified in a rig test of the painted rotor.
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Tseng, Jao Hsun, and Po Hsien Lin. "A Comparison of the Use of Painted Faces in the Peking Opera with the Use of Masks in Western Theater." In 2013 International Conference on the Modern Development of Humanities and Social Science. Atlantis Press, 2013. http://dx.doi.org/10.2991/mdhss-13.2013.80.

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Reports on the topic "Modern Painter"

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Galenson, David. Was Jackson Pollock the Greatest Modern American Painter? A Quantitative Investigation. National Bureau of Economic Research, 2002. http://dx.doi.org/10.3386/w8830.

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2

Galenson, David, and Bruce Weinberg. Age and the Quality of Work: The Case of Modern American Painters. National Bureau of Economic Research, 1999. http://dx.doi.org/10.3386/w7122.

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Galenson, David. The Lives of the Painters of Modern Life: The Careers of Artists in France from Impressionism to Cubism. National Bureau of Economic Research, 1999. http://dx.doi.org/10.3386/w6888.

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Pommersheim, James M. A mathematical model of cathodic delamination and blistering processes in paint films on steel. National Bureau of Standards, 1992. http://dx.doi.org/10.6028/nist.tn.1293.

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