Relevant bibliographies by topics / Modern Paintings

Contents

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

Academic literature on the topic 'Modern Paintings'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

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Journal articles on the topic "Modern Paintings"

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B.K., Jyoti Prakash. "Nepali Painting: Traditional Motifs in Modern Art." Journal of Advanced Academic Research 3, no. 1 (February 11, 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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Foster, Lily. "Making Modern Paintings." Art History 39, no. 5 (October 18, 2016): 1023–27. http://dx.doi.org/10.1111/1467-8365.12279.

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Chen, Hanyi, and Hua Li. "Painting Creation in the Context of Contemporary Art: A Brief Discussion on the Painting Art of Marlene Dumas." Region - Educational Research and Reviews 3, no. 1 (February 4, 2021): 20. http://dx.doi.org/10.32629/rerr.v3i1.243.

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Easel painting shined in modern art, however, its influence faded in contemporary art. Marlene Dumas, a contemporary artist in the field of easel painting, displays a form differentiated from modern art in her paintings. Her creations break the inherent traditional image mode; her thoughts on artistic concepts are based on the study of artistic language. She holds a strong concern for the issues of social life, and demonstrates true feelings and emotions in the paintings.
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Yang, Hongyi, and Han Yang. "Evolution of Entropy in Art Painting Based on the Wavelet Transform." Entropy 23, no. 7 (July 11, 2021): 883. http://dx.doi.org/10.3390/e23070883.

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Quantitative studies of art and aesthetics are representative of interdisciplinary research. In this work, we conducted a large-scale quantitative study of 36,000 paintings covering both Eastern and Western paintings. The information entropy and wavelet entropy of the images were calculated based on their complexity and energy. Wavelet energy entropy is a feature that can characterize rich information in images, and this is the first study to introduce this feature into aesthetic analysis of art paintings. This study shows that the process of entropy change coincides with the development process of art painting. Further, the experimental results demonstrate an important change in the evolution of art painting, and since the rise of modern art in the twentieth century, the entropy values in painting have started to become diverse. In comparison with Western paintings, Eastern paintings have distinct low entropy characteristics in which the wavelet entropy feature of the images has better results in the machine learning classification task of Eastern and Western paintings (i.e., the F1 score can reach 97%). Our study can be the basis for future quantitative analysis and comparative research in the context of Western and Eastern art aesthetics.
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Brock, Fiona, Nicholas Eastaugh, Thierry Ford, and Joyce H. Townsend. "Bomb-pulse Radiocarbon Dating of Modern Paintings on Canvas." Radiocarbon 61, no. 1 (July 11, 2018): 39–49. http://dx.doi.org/10.1017/rdc.2018.55.

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ABSTRACTRadiocarbon (14C) dating has previously been applied to modern paintings on canvas from the 20th century to identify potential modern forgeries, and dates indicate a time lag of several years between the harvesting of plant fibers for making canvas, and completion of a painting. This study investigated both the length of this time lag and the potential of 14C dating to inform about an individual artist’s mode of working (for example long-term storage or reuse of canvases, or extended reworking on a single canvas) and/or to establish a chronology for a corpus of work. Two pre-bomb and 16 post-bomb artworks by 17 mid-20th-century Scandinavian artists were 14C dated. The majority of post-bomb samples indicated a time lag of 2–5 years between the harvesting of the plants and completion of a painting, but some samples recorded lags of up to 10 years, and others produced much earlier results, potentially indicating the use of much older canvases or challenges removing contamination prior to dating. The importance of thorough pre-screening of canvas samples for both synthetic fibers and contaminants prior to dating, and selection of the most suitable calibration curve, are highlighted.
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Scott, Sascha T. "Ana-Ethnographic Representation: Early Modern Pueblo Painters, Scientific Colonialism, and Tactics of Refusal." Arts 9, no. 1 (January 11, 2020): 6. http://dx.doi.org/10.3390/arts9010006.

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In 1918, San Ildefonso Pueblo artist Crescencio Martinez completed two commissions for the anthropologist Edgar L. Hewett: A set of paintings and a series of tiles. The paintings, called the Crescencio Set, mark a formative moment in the development of a new genre of art, modern Pueblo painting. Before Crescencio and his San Ildefonso peers began creating images of ceremonial and daily life for sale to outsiders, they were hired as day laborers at archaeological excavations. While Pueblo laborers benefited financially from working with anthropologists, they nevertheless understood anthropology as a threat to their communities, as scientists disrupted sacred sites and the dead, collected sensitive material, and pushed informants for esoteric information. In countering this new colonial threat, Pueblo communities deployed long-developed tactics of resistance. Among the most powerful of these tactics is what Audra Simpson calls “refusal”. Many Pueblo laborers refused to share esoteric knowledge with anthropologists, a tactic adopted by those laborers who became artists. Early Pueblo paintings can, thus, be understood as “ana-ethnographic”, a representational mode through which the artists worked both through and against ethnographic norms in order to simultaneously benefit from, manipulate, and resist scientific colonialism. Crescencio’s paintings and tiles are paradigmatically ana-ethnographic. In creating these objects, Crescencio benefited from the ethnographic desire to know and record Pueblo life, and yet he only represented aspects of his culture appropriate for outsider consumption, refusing to share protected knowledge.
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Zuliati, Zuliati. "Kelompok Pita Maha: Gerak Menuju Seni Lukis Modern Bali." Journal of Urban Society's Arts 3, no. 1 (April 29, 2016): 44–53. http://dx.doi.org/10.24821/jousa.v3i1.1479.

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Penelitian ini bertujuan untuk melihat dan memahami perubahan yang terjadi dalam seni lukis Bali sejak adanya Kelompok Pita Maha. Konsep mengenai seni lukis modern di Indonesia mempunyai perbedaan sejarah, baik dalam bentuk maupun isi, dengan wacana seni lukis modern di Barat yang monolinier-universalis-rasionalis. Wacana seni lukis modern yang menggejala di Indonesia (termasuk Bali) hadir melalui intervensi asing (penjajahan). Wacana seni lukis modern secara bersamaan telah meminggirkan seni-seni lain yang tidak memenuhi kriteria-kriteria “modern”. Seni di luar kriteria modern kemudian disebut sebagai seni tradisi yang mempersempit dan mengecilkan keberadaannya. Sejarah perkembangan seni lukis di Bali menarik untuk dikaji karena terdapat pola yang khas karena warisan-warisan seni pada masa lalu masih terus hadir dalam seni lumkis masa kini. Tulisan ini tidak akan mempertentangkan antara seni lukis tradisi dengan seni lukis modern. Tulisan ini membahas pengaruh Kelompok Pita Maha terhadap modernisasi dalam seni lukis Bali. Data dikaji secara secara deskriptif-analitis dengan pendekatan sosio-historis mengenai perubahan-perubahan yang terjadi dalam seni lukis Bali dari tatanan seni lukis prakolonial menjadi tatanan seni lukis Bali masa kini. Pita Maha Group: The Motion Towards the Balinese Modern Paintings. The concept of modern painting in Indonesia has different histories, both in the form and content, with the discourse of modern painting in the West which is monolinier-universal-rationale. The discourse of modern painting implicated in Indonesia (including Bali) presents through colonization. Modern art at the same time has marginalized other arts that do not fullfill modern criteria. Art, outside the criteria of modern art is called as an traditional art that narrowed and lowered its existence. It is interesting to make a research about the development of painting history in Bali because there is a unique pattern showing the artistic legacy of the past which still presents in nowadays art. This paper will not focus on polarizing between traditional and modern painting. It is interesting to discuss it more descriptive-analytically with the social-historis approach on how the changes happened in Balinese painting of pre-colonial art to modern Balinese paintings of which the other one is the presence of the Pita Maha.
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Mok, Henry M. K., Vivian W. K. Ko, Salina S. M. Woo, and Katherina Y. S. Kwok. "Modern Chinese Paintings: An Investment Alternative?" Southern Economic Journal 59, no. 4 (April 1993): 808. http://dx.doi.org/10.2307/1059742.

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Collins, Bradford R. "Modern Romance: Lichtenstein's Comic Book Paintings." American Art 17, no. 2 (July 2003): 61–85. http://dx.doi.org/10.1086/444691.

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M. Bayer, Thomas, and John Page. "The ingenious marketing of modern paintings." Journal of Historical Research in Marketing 6, no. 2 (May 13, 2014): 211–33. http://dx.doi.org/10.1108/jhrm-04-2013-0023.

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Purpose – This paper aims to analyze the evolution of the marketing of paintings and related visual products from its nascent stages in England around 1700 to the development of the modern art market by 1900, with a brief discussion connecting to the present. Design/methodology/approach – Sources consist of a mixture of primary and secondary sources as well as a series of econometric and statistical analyses of specifically constructed and unique data sets that list nearly more than 50,000 different sales of paintings during this period. One set records sales of paintings at various English auction houses during the eighteenth and nineteenth centuries; the second set consists of all purchases and sales of paintings recorded in the stock books of the late nineteenth-century London art dealer, Arthur Tooth, during the years of 1870/1871. The authors interpret the data under a commoditization model first introduced by Igor Kopytoff in 1986 that posits that markets and their participants evolve toward maximizing the efficiency of their exchange process within the prevailing exchange technology. Findings – We found that artists were largely responsible for a series of innovations in the art market that replaced the prevailing direct relationship between artists and patron with a modern market for which painters produced works on speculation to be sold by enterprising middlemen to an anonymous public. In this process, artists displayed a remarkable creativity and a seemingly instinctive understanding of the principles of competitive marketing that should dispel the erroneous but persistent notion that artistic genius and business savvy are incompatible. Research limitations/implications – A similar marketing analysis could be done of the development of the art markets of other leading countries, such as France, Italy and Holland, as well as the current developments of the art market. Practical implications – The same process of the development of the art market in England is now occurring in Latin America and China. Also, the commoditization process continues in the present, now using the Internet and worldwide art dealers. Originality/value – This is the first article to trace the historical development of the marketing of art in all of its components: artists, dealers, artist organizations, museums, curators, art critics, the media and art historians.
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Dissertations / Theses on the topic "Modern Paintings"

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Domingues, Joana Andreia Lameiras. "Spectroscopy studies on conservation issues in modern and contemporary paintings." Master's thesis, Faculdade de Ciências e Tecnologia, 2010. http://hdl.handle.net/10362/4480.

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Dissertation presented to the Faculty of Sciences and Technology of New University of Lisbon in fulfilment of the requirements for the Master’s degree in Conservation and Restoration Specialization in easel painting
Modern and contemporary paintings are one of today’s grand challenges in conservation of cultural heritage. Particularly, these paintings have often been retouched using materials rather similar to originals, thus, compromising the reversibility of the overpainting. In this work, FTIR and Raman spectroscopies, assisted by optical microscopy, were used to evaluate the effectiveness and harmfulness of chemical and laser cleaning methods for the removal of overpaints. Representative mock-ups prepared with commercial paint formulations were used. The laser cleaning experiment was part of an interdisciplinary study which aims the evaluation of method’s limitations by using the most aggressive cleaning parameters. The combined use of FTIR and Raman spectroscopies could identify constituent materials of modern paints, controlling their behaviour under cleaning, while optical microscopy allowed the evaluation on surface morphology. In addition, equivalent portable equipments from MOLAB were covered as a preparation for in situ analysis. Several problems in the selective removal of overpaints were found with chemical cleaning. The laser cleaning showed better efficiency in removing them, although, some alterations occurred upon laser irradiation, for instance, binder degradation with carbon formation and titanium white alteration. The proposed spectroscopic protocol was considered useful for controlling different cleaning methods in modern and contemporary paintings.
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Doughty, Elizabeth Lynn 1984. "Modern Individualism: Paintings by Oscar Howe before the Annual National Indian Painting Competition at the Philbrook Museum of Art, 1958." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10822.

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ix, 68 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
In 1958 Yanktonai Sioux painter Oscar Howe's (1915-1983) submission to the Annual National Indian Painting Competition at the Philbrook Museum of Art was rejected for deviating too far from the established conventions of "traditional Indian painting." Howe's innovative use of style and his subsequent declarations against the premises of his rejection established the artist as a major figure in the development of Native American painting in the twentieth century. The existing literature on Howe is predominantly biographical and lacks contextual or stylistic analysis. In particular, an under-analyzed relationship is prevalent between his mature style and his early works. This thesis aims to address the social, cultural, educational, political, and stylistic influences that prepared the artist to evolve the formal aspects of his painting. This discussion will expand the discourse on Howe by revealing trends of continuity in the artist's transition from his earlier style to an experimental style and showing that neither is without the influence of the other.
Committee in Charge: Leland M. Roth, Chair; Joyce Cheng; Brian Klopotek
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楊玉玲 and Yuk-ling Cecilia Yeung. "Xu Beihong [1895-1953] and Western influence: a study of his large-scale history paintings." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31213856.

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David, Elise J. "Making Visible Feminine Modernities: The Traditionalist Paintings and Modern Methods of Wu Shujuan." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338316520.

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Yeung, Yuk-ling Cecilia. "Xu Beihong [1895-1953] and Western influence : a study of his large-scale history paintings /." Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19668375.

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Steinway, Elizabeth V. "Verbal Cues, Visual Clues: Expressions of Women and Medicine in Early Modern Paintings and Drama." Miami University Honors Theses / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1303855731.

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Cosgrove, Mary. "Paul Henry and Irish modernism." Thesis, University of Ulster, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.243622.

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Archer, Carol. "Frames, flows, feminist aesthetics paintings by Judy Watson, Cai Jin and Marlene Dumas /." Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B3690787X.

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Rhodes, James W. Jr. "An Analysis of Visual and Verbal Appropriates in Mark Tansey's Philosophers Paintings." VCU Scholars Compass, 1997. http://scholarscompass.vcu.edu/etd_retro/37.

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Critics have considered the work of Mark Tansey either simplistic or accessible only to viewers with extensive art historical backgrounds. His paintings hang in the best museums of the world, from the Metropolitan Museum of Art to the Museum Moderner Kunst, Vienna. However, an inherent conflict arises. For critics, Tansey must be either accessible or inaccessible, and not both. Yet, Tansey's paintings operate precisely on this edge between the extraordinarily simple and the overwhelmingly complex. To understand the complexities of this dilemma it would be helpful to analyze Tansey's paintings that deal with philosophers and literary critics, which are the most complicated works in his oeuvre. The philosophers included within these paintings are: Roland Barthes, Jean Baudrillard, Harold Bloom, Paul DeMan, Jacques Derrida, Michel Foucault, Geoffrey Hartman, and Jean-Francois Lyotard. All are postmodernists working in opposition to the reductionist rhetoric of mid-twentieth century modernism. This thesis will consider his images of philosophers that include Mont Sainte-Victorie (1987), The Bathers (1987), Derrida Queries DeMan (1990), and Constructing the Grand Canyon (1990) as the confluence and conflict of ideas that deal with words and images.
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Shulman, Katharine. "Paintings in Transit: A New Means For Protection of Collections, Balancing Traditional and Modern Conservation Philosophies and Methods." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/697.

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This thesis examines the motives behind museum loan and exchange policies and how loans can act as a new avenue for protecting and preserving paintings. When borrowed artworks are transported from one museum to another, there are many variables that come into play and careful planning is necessary for the safety of the object. Specific case studies of several well-known and respected museums that engage in and encourage loans will explore the complex nature of lending policies, their effect on the condition of artworks and their significance and impact on the museum world. This thesis culminates in an analysis of the loan fitness and possibility for transport of Joachim Beich’s Untitled, a painting in the Scripps College collection.
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Books on the topic "Modern Paintings"

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Richard Green (Gallery : London, England). Modern British paintings. London: Richard Green, 1985.

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Modern Balinese traditional paintings. Singapore: Borobudur Auction, 2010.

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Ltd, Jonathan Clark. Modern paintings, Autumn 1995. London: Jonathan Clark & Co., 1995.

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Brown, Cecily. Cecily Brown: Paintings. Oxford, England: Modern Art Oxford, 2005.

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Gordon, Dillian. British paintings. London: National Gallery Publications, 1986.

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Collection, Phillips. Master paintings. Washington, D.C: Counterpoint in association with the Collection, 1998.

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Webb, Peter. Barry Burman: Paintings. Uppingham: Goldmark, 1992.

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Frenn, Chawky. Ecce homo: Paintings. [United States]: Chawky Frenn, 2000.

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Brown, Christopher. Flemish paintings. London: National Gallery Publications, National Gallery, 1987.

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Rooij, Beatrijs Brenninkmeyer-De. Roots of seventeenth-century flower painting: Miniatures, plant books, paintings. Leiden: Primavera Pers, 1996.

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Book chapters on the topic "Modern Paintings"

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Kovalevsky, Vladimir. "Straightening Photos of Paintings." In Modern Algorithms for Image Processing, 187–203. Berkeley, CA: Apress, 2018. http://dx.doi.org/10.1007/978-1-4842-4237-7_10.

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Krämer, Thomas. "Aspects of Lovis Corinth’s Painting Technique in His Late Work: Working Process and Colour Structure Captured in Paint and on Film." In Conservation of Modern Oil Paintings, 219–27. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19254-9_16.

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Burnstock, Aviva, Klaas Jan van den Berg, Judith Lee, and Bronwyn Ormsby. "Challenges in Research: Connecting Scientific Analysis with Conservation Practice." In Conservation of Modern Oil Paintings, 1–10. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19254-9_1.

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Rogge, Corina E., and Bradford A. Epley. "A New Vocabulary of Color: Bocour Oil Paints and Barnett Newman." In Conservation of Modern Oil Paintings, 139–52. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19254-9_10.

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Squires, James, and Pamela Skiles. "Analysis of Modern Paints and Conservation at the Clyfford Still Museum." In Conservation of Modern Oil Paintings, 153–63. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19254-9_11.

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Kadikova, Irina, Svetlana Pisareva, Irina Grigorieva, and Maria Lukashova. "Pigments of Soviet Artists in the 1950s – Late 1970s." In Conservation of Modern Oil Paintings, 165–89. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19254-9_12.

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Pavic, Mirta, and Martina Munivrana. "A View Through the Meander: A Conservation Study of Knifer’s Oil Paintings from the 1960s." In Conservation of Modern Oil Paintings, 191–98. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19254-9_13.

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Yurovetskaya, Anastasia V., Maria S. Churakova, and Irina Kadikova. "Preservation of Russian Abstract Art of the Second Part of the Twentieth Century." In Conservation of Modern Oil Paintings, 199–207. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19254-9_14.

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Ferrer, Jin Strand, Irina Crina Anca Sandu, Terje Syversen, Ana Margarida Cardoso, António Candeias, and Camelia N. Borca. "Investigating Colour Changes in Red and Blue Paints – A Preliminary Study of Art Materials and Techniques in Edvard Munch’s Old Man in Warnemünde (1907)." In Conservation of Modern Oil Paintings, 209–18. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19254-9_15.

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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, 229–43. Cham: 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 Paintings"

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Fukunaga, Kaori, Yoshimi Ueno, and Yasunobu Ito. "Nondestructive observation of multilayered modern paintings by electromagnetic waves." In Optics for Arts, Architecture, and Archaeology VII, edited by Piotr Targowski, Roger Groves, and Haida Liang. SPIE, 2019. http://dx.doi.org/10.1117/12.2530142.

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Sorescu, Ana-Alexandra, Rodica-Mariana Ion, Alexandrina Nuţă, and Ioana-Raluca Şuică-Bunghez. "Theoretical aspects regarding modern cleaning techniques used for old paintings." In The 5th Electronic International Interdisciplinary Conference. Publishing Society, 2016. http://dx.doi.org/10.18638/eiic.2016.5.1.539.

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Zhang, Renjie. "Study on Photography, Images and Paintings of the Moment." In 4th International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200316.031.

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Shen, Lin. "The Influence of Ancient Rus Religious Art Elements on Russian Modern Paintings." In International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icelaic-14.2014.153.

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Selimis, Alexandros, Panagiota Vounisiou, George J. Tserevelakis, Kristalia Melessanaki, Paraskevi Pouli, George Filippidis, Costas Beltsios, Savas Georgiou, and Costas Fotakis. "In-depth assessment of modifications induced during the laser cleaning of modern paintings." In SPIE Europe Optical Metrology, edited by Luca Pezzati and Renzo Salimbeni. SPIE, 2009. http://dx.doi.org/10.1117/12.827658.

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Hao, Guoxin. "The Aesthetic Choice and Style Tendency of Light Crimson Colored Porcelain Landscape Paintings." In 2017 International Conference on Culture, Education and Financial Development of Modern Society (ICCESE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/iccese-17.2017.108.

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Jiang, Lan. "Introspecting to the Modernity of Zen and the Characters of Literati Paintings in Yuan Dynasty." In Proceedings of the 3rd International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iccese-19.2019.14.

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Wang, Lei, and Yuan Shao. "Research on the Composition Art of Tang Dynasty Tomb Mural Paintings in Shaanxi with Xi'an Area as the Center." In 2017 International Conference on Culture, Education and Financial Development of Modern Society (ICCESE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/iccese-17.2017.127.

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Zhang, Shaoduan. "Discussion on the Decorative Interest and Charm of Figure Paintings in the Wei, Jin, Southern and Northern Dynasties of China." In 4th International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200316.041.

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Song, Lei. "Similarities and Differences in the Expression of Sino-Russian Ice and Snow Oil Paintings’ Artistic Conception of the Heilongjiang River Valley*." In 4th International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200316.037.

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Reports on the topic "Modern Paintings"

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Galenson, David. The Careers of Modern Artists: Evidence from Auctions of Contemporary Paintings. Cambridge, MA: National Bureau of Economic Research, December 1997. http://dx.doi.org/10.3386/w6331.

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Galenson, David. Masterpieces and Markets: Why the Most Famous Modern Paintings Are Not by American Artists. Cambridge, MA: National Bureau of Economic Research, October 2001. http://dx.doi.org/10.3386/w8549.

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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. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-1755.

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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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