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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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Mather, George. "Aesthetic Judgement of Orientation in Modern Art." i-Perception 3, no. 1 (January 2012): 18–24. http://dx.doi.org/10.1068/i0447aap.
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When creating an artwork, the artist makes a decision regarding the orientation at which the work is to be hung based on their aesthetic judgement and the message conveyed by the piece. Is the impact or aesthetic appeal of a work diminished when it is hung at an incorrect orientation? To investigate this question, Experiment 1 asked whether naïve observers can appreciate the correct orientation (as defined by the artist) of 40 modern artworks, some of which are entirely abstract. Eighteen participants were shown 40 paintings in a series of trials. Each trial presented all four cardinal orientations on a computer screen, and the participant was asked to select the orientation that was most attractive or meaningful. Results showed that the correct orientation was selected in 48% of trials on average, significantly above the 25% chance level, but well below perfect performance. A second experiment investigated the extent to which the 40 paintings contained recognisable content, which may have mediated orientation judgements. Recognition rates varied from 0% for seven of the paintings to 100% for five paintings. Orientation judgements in Experiment 1 correlated significantly with “meaningful” content judgements in Experiment 2: 42% of the variance in orientation judgements in Experiment 1 was shared with recognition of meaningful content in Experiment 2. For the seven paintings in which no meaningful content at all was detected, 41% of the variance in orientation judgements was shared with variance in a physical measure of image content, Fourier amplitude spectrum slope. For some paintings, orientation judgements were quite consistent, despite a lack of meaningful content. The origin of these orientation judgements remains to be identified.
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Andreoli, Martina. "Mosaics of Frescoes: Digital Photogrammetry, Raster Representation, Pigment Analysis and Metrology of a Flavian Wall Painting on the Caelian Hill (Rome)." Cambridge Archaeological Journal 24, no. 2 (June 2014): 233–48. http://dx.doi.org/10.1017/s0959774314000420.
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Chronological and stylistic studies of Roman wall paintings and mosaics were based for a long time only on optical direct analysis and current analogue or digital photographic reproduction. The aims of fresco research today remain the same as in the past — i.e. pigment types and sources, painting subjects and styles, application methods, and the relationship between paintings and the function of their locations. Modern technologies, however, have now been developed which can finally improve our knowledge about ancient decorative taste and workshops. New methodologies such as highly accurate colour reproduction of paintings and mosaics, digital reconstruction of fragmentary decorations, or chemical analyses of pigments or plasters are increasingly being used to fill important research gaps. Some of these techniques are illustrated in this article as solutions to obstacles in the archaeological documentation of an unpublished first-century ad painting (Late Flavian period) on the Caelian Hill in Rome. With relation to Fourth Style decorations, the problematic question as to whether there was an intentional ratio between the component parts of the fresco is also discussed, linking for the first time the Vitruvian architectural concept of Commodulatio (meaning ‘with symmetry/proportion’) to wall paintings.
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Parrott, A. C. "Aesthetic Responses to Traditional and Modern Paintings by Art Experts and Nonexperts." Perceptual and Motor Skills 79, no. 1 (August 1994): 297–98. http://dx.doi.org/10.2466/pms.1994.79.1.297.
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16 art experts and 18 nonexperts assessed six paintings of different styles. It was predicted that nonexperts would like traditional paintings, whereas art experts would prefer modern styles, but this was not found. Instead, both groups produced their highest ratings for one of the modern abstracts (Klee), while the nonexperts rated the two modern representational paintings (German Expressionist) more highly than the experts.
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Fowler, Cynthia. "Herman Trunk’s Cubist Crucifix: A Case Study." Religion and the Arts 15, no. 5 (2011): 628–47. http://dx.doi.org/10.1163/156852911x596264.
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Abstract American modern artist Herman Trunk (1894–1963) serves as a noteworthy case study in a consideration of the relationship between religion and American modern art in the first half of the twentieth century. One of his few overtly religious works, Crucifix (c. 1930), stands out for its intriguing convergence of a most important Catholic subject with Cubist art. This essay examines Trunk’s Cubist Crucifix in relation to other Crucifix and Crucifixion paintings created around the same time period. Trunk’s Crucifix is unique among abstract paintings of religious subjects in the artist’s distinctive use of Cubism to create a quiet meditation on the crucified Christ. In some respects affirming the long tradition of Crucifix and Crucifixion paintings, Crucifix also counters those traditions to provide an alternative perspective on the Crucifix as a subject. Through his Crucifix painting, Trunk successfully brings together two traditions that historically have been viewed as diametrically opposed—Catholicism and Cubist abstraction—to produce a devotional image of the Crucifix as a form of veneration.
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Subedi, Abhi. "My Understanding of Manuj Babu and his Art." SIRJANĀ – A Journal on Arts and Art Education 5, no. 1 (December 1, 2018): 6–15. http://dx.doi.org/10.3126/sirjana.v5i1.39737.
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Manuj Babu Mishra (1936-2018) was a modern artist who is mainly known for his paintings and his drawings. Nepali art critic Narayan Bahadur Singh as early as 1976 mentioned about his multiple skills in art. But Mishra was also one of those painters who ushered in an era of modern consciousness shared equally by painters and poets. His contemporaries some of whom are still painting though on a smaller scale, made experiments with their arts in modernist style. An era of distorting forms, breaking the fine figurality and using flatness by shunning the illusion of three dimensional shapes rather than representative forms was seen in Nepali modernist paintings too. Manuj Babu Mishra adopted a method of using figurality in paintings that used semi surrealistic and abstract paintings. Mishra was trained in Dhaka of the then East Pakistan in the late sixties of the last century. Despite his political statements occasionally, he was basically an artist. He was a peaceful man behind the hurricanes of hard times he created. He was also a portraitist who believed that the portrait of a person is also the portrait of the world outside him or her. He had said that to me when he was drawing my portrait.
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Subedi, Abhi. "Widening Sphere of Modern Art and Literature in Nepal: A study of the interface between them." SIRJANĀ – A Journal on Arts and Art Education 7, no. 1 (September 21, 2021): 6–27. http://dx.doi.org/10.3126/sirjana.v7i1.39340.
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I see modernism in painting in this region as an evolutionary process that should trigger discussions about its constituent features. This argument harps on the two questions. Is modernism only an emulation of the Western style and methods in paintings and literature, or is it also the evolution of native cultural consciousness that is reflected in the experiments made by painters in art and by writers in creative literary works? To answer these questions, this article includes discussions about evolutions of modernism in paintings and culture in meta-artistic and literary discourses. Examples are drawn from very selective discussions about literature and works of art for reason of space. The basic argument of this article is that modernism in Nepali paintings should be seen in its evolutionary process. Modernism in art is not a condition that we see in palpable form today. It has grown over a long period of creative engagements and efforts both by painters and literary writers. Nepali art students' exposure to art education in Kolkata and literary writers' engagements with print-capitalism in Banaras over a century ago have played significant roles in introducing modernism in both paintings and literature. But I have said clearly that the use of the Western techniques and education has played great role in this process. We can see that in the interface between art and literature, which should be seen in the widening sphere of such sharing in terms of both techniques, and native orientations.
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Venderbosch, Marianne E., Andrea J. van Doorn, Jan J. Koenderink, and Susan F. te Pas. "Edge-Based Shading as a Depth Cue in Paintings." Art & Perception 3, no. 2 (2015): 173–89. http://dx.doi.org/10.1163/22134913-00002033.
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We explored how an artist who uses a particular monochrome modern painting style generates the impression of relief in paintings. Three portraits, painted after model, were created especially for the experiment. Photographs of the paintings were presented on a computer screen. To investigate the perceived relief of observers we used a gauge figure task. We expected an effect of background contrast on perceived total depth range of the relief, because this is well known in the case of photography. We found that the contrast with the color of the canvas, white, gray or black, influences the perceived articulation of the relief but does not influence the perceived total depth range of the relief. The major difference between photographs and these paintings is that contrasts in the paintings are built up through edge-based shading, whereas photographs mostly contain tonal-area shading. The classical shape from shading cue does not apply to the impressions of depth evoked by the paintings. Perhaps surprisingly edge-based shading can be as effective as classical ways of creating pictorial relief.
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Fagg, John. "Near Vermeer: Edmund C. Tarbell's and John Sloan's Dutch Pictures." Modernist Cultures 11, no. 1 (March 2016): 86–117. http://dx.doi.org/10.3366/mod.2016.0127.
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This article considers drawings and paintings made by the American artists Edmund Tarbell and John Sloan in relation to the art of the seventeenth-century Dutch Republic. Claims about, interpretations of, and enthusiasm for ‘Dutch Pictures’ were prominent features of the transatlantic artworld in the years around 1900. Art critics, including George Moore, Charles Caffin, James Gibbons Huneker and Frank Jewett Mather, discussed the relationship between historical Dutch painting and contemporary art, while American collectors and museums purchased and displayed large numbers of paintings by Rembrandt, Hals, Vermeer and their contemporaries. The article connects specific seventeenth-century Dutch ideas and objects to such paintings as Tarbell's New England Interior (1906) and Sloan's Scrubwomen, Astor Library (1910–11) and thinks more broadly about modern art's relationship to nationalism and to the past.
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Shere, Pramila. "COORDINATION AND COMBINATION OF COLORS IN PAINTING (WITH REFERENCE TO PREHISTORIC PERIOD AND MODERN PERIOD)." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–3. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3576.
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The art of prehistoric India is easily introduced to the art of prehistoric India by studying the motifs of textiles, stone paintings, clay characters, creeping insects, animals, birds, humans etc. available from different regions of India. Like today, Adi Man was also a beauty doctor. Due to this aesthetic love, he tended to give tangible form to his abstract feelings. We find evidence of this in the art materials available from the excavations of Mohenjodaro and Hadappa. It is known from a verse in the ancient mantra samhita of the Rig Veda that at that time there was a practice of painting on leather. In some of the mantras of the Rig Veda, there is mention of inscriptions of goddesses on the boards of the Yajnashalas.The art of culture flourished and preserved by Emperor Ashoka is seen even today. Buddhism has a special reputation in the production of paintings. The calligraphy of the lines in the paintings of the tiger and Ajanta and the various conventions of the use of colors express the development of the painting of this era. The actual form of Gupta art is seen in the paintings of Ajanta, Ellora and tiger caves. Graffiti has an important place in the history of Indian painting. The frescoes are seen in the caves of Bhimbetka, Jogimara, Tiger, Ajanta Badami, Sittanvasal, Ellora, Elephanta. South India has also been a pioneer in the rise of painting. In the history of Indian painting, Rajput style has its own distinctness and its own independent existence. After the establishment of the Mughal period in India, a new direction in the field of painting came to light. Himachal Pradesh has been the land of construction of hill pictures - Jammu, Tehri, Garhwal, Kallu, Chamba, Basauli, Kangra etc.
भारत के विभिन्न क्षेत्रों से उपलब्ध वस्त्रों, पाशाणचित्रों, मृत्तिका पात्रों, लाल-पीले रंगों में चित्रित रेंगते हुए कीड़ों, पशुओं, पक्षियों मनुष्यों आदि की आकृति का अध्ययन करके प्रागैतिहासिक भारत के कलाप्रेम का सहज ही मंें परिचय मिल जाता है। आज की भाँति आदि मानव भी सौन्दर्योपासक था। इसी सौन्दर्यप्रेम के कारण वह अपने अमूर्त भावों को मूर्त रुप देने की ओर प्रवृत्त हुआ। इसके प्रमाण हमें मोहनजोदड़ो तथा हडप्पा की खुदाईयों से उपलब्ध कला सामग्री में देखने को मिलते है। ऋगवेद की प्राचीनतम मंत्र संहिता की एक ऋचा से ज्ञात होता है कि उस समय चमड़े पर चित्र अंकित करने का प्रचलन था। ऋगवेद के कुछ मंत्रों में यज्ञषालाओं की चैखटों पर द्वार देवियों के चित्र अंकित किये जाने का उल्लेख मिलता है।सम्राट अषोक द्वारा पल्लवित एवं संरक्षित कला की थाती आज भी देखने को मिलती है। पटचित्रों के निर्माण में बौध्दकला की विशेष ख्याति रही है। बाघ और अजंता के चित्रों में रेखाओं का सुलेखन और रंगों के प्रयोग की विभिन्न परिपाटियाँ इस युग के चित्रांकन का विकास व्यक्त करती है। अजंता, एलोरा और बाघ की गुफाओं की चित्रकारी में गुप्तकालीन कला का वास्तविक रुप देखने को मिलता है। भारतीय चित्रकला के इतिहास में भित्तीचित्रों का महत्वपूर्ण स्थान है। भित्तिचित्र भीमबेटका, जोगीमारा, बाघ, अजन्ता बादामी, सित्तनवासल, ऐलोरा, ऐलीफेंटा की गुफाओं में देखने को मिलते है। चित्रकला के उत्थान में दक्षिण भारत भी अग्रणी रहा है। भारतीय चित्रकला के इतिहास में राजपूत षैली की अपनी विशिष्टता और अपना स्वतंत्र अस्तित्व है। भारत में मुगल काल की स्थापना के बाद चित्रकला के क्षेत्र में एक नयी दिषा प्रकाष में आयी। पहाड़ी चित्र षैलियों की निर्माण भूमि हिमाचल रहा है-जम्मू, टिहरी, गढवाल, कल्लू, चम्बा, बसौली, कांगड़ा आदि इसके क्षेत्र रहे है।
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Wei, Hua. "Aesthetic Consciousness of Literati Painting and its Application in Urban Planning." Open House International 44, no. 3 (September 1, 2019): 92–95. http://dx.doi.org/10.1108/ohi-03-2019-b0024.
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In order to find a way to combine traditional culture with modern living needs, taking “Chinese painting” as the breakthrough point, through the study of the development process and artistic characteristics of Chinese painting, four aspects of classical philosophy, natural landscape image, brush and ink composition artistic conception, and abstract aesthetic conception contained in Chinese painting are summed up. The results of the study provide enlightenment for contemporary residential landscape design, and summarize the methods of creating Chinese paintings in residential landscape design. Thus, a residential landscape model with the characteristics of “Chinese painting” is found out.
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Krampen, Martin. "Jakobson's Model of Linguistic Functions and Modern Painting." Empirical Studies of the Arts 14, no. 1 (January 1996): 49–63. http://dx.doi.org/10.2190/c68f-kb07-wn5y-gd12.
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Four of the six functions of linguistic communication postulated by Roman Jakobson were applied to twenty color reproductions of modern paintings. The functions were: Emotive self-expression of the addresser, the poetic (more general aesthetic) function (concerning the material aspects of the message), the conative function (concerning the persuasion of the addressee) and the referential function (applied to the context). Thirty artistically trained and thirty “lay persons” rated the paintings on 5-point scales, expressing degrees of agreement with two statements descriptive of each function. Factor analysis resulted in four factors representing the functions under study. Analyses of variance with the factor scores of the twenty paintings allowed their ranking on the functions for visual comparison. Further analyses of variance showed significant differences for the aesthetic (artistically trained high) and referential function (lay persons high). There were also significant differences between male and female subjects on the referential dimension.
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Wijaya, Hanny. "Wassily Kandinsky: Seni Modern dan Teori." Humaniora 4, no. 1 (April 30, 2013): 348. http://dx.doi.org/10.21512/humaniora.v4i1.3445.
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Modern art development, especially in abstract art had been started since Expressionism period in Germany. Wassily Kandinsky was one of the pioneers of pure abstract art, he created his masterpieces not only as an artist, but also as an art theorist. Although at first he did not have the education background in art field, since Kandinskywas an academic faculty in art and economic, however he gained his success because of his high interest and spirit in art field.Besides, Kandinsky had created many art theories and perspectives of colors, compositions, forms, and had succeeded to apply it in his paintings. His style was inspired by Claude Monet’s painting ‘Haystack’ and the opera performance ‘Lohengrin’ by Richard Wagner. Kandinsky began to study new theories of art by learning art elements and principles more profound, he learned about colors deeply and tried to develop Goethe’s color theory, he also tried to elaborate the meaning of forms and applied the compositions in his artworks as well.
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Rudd, Anthony J. "Understanding Paintings." Religion and the Arts 22, no. 5 (November 26, 2018): 598–621. http://dx.doi.org/10.1163/15685292-02205002.
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Abstract Hans-Georg Gadamer has claimed, first, that in religious painting the image does not merely copy its prototype but is in “ontological communion” with it; and second, that in this respect the religious painting is exemplary for painting in general. I examine these claims with specific reference to Eastern Orthodox icons, drawing on both classical and modern Orthodox theological accounts of the icon to support and amplify Gadamer’s claim about “ontological communion.” I then consider accounts by Jean-Luc Marion and by the theologian Paul Evdokimov of how the icon can be exemplary for painting in general. I argue that Marion’s discussion leads to some unacceptable conclusions, and that Evdokimov provides a more convincing account. This commits him to a strong and controversial thesis that all art (consciously or otherwise, and whatever its explicit subject-matter) is in a sense religious.
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Pierguidi, Stefano. "La ‘terza stanza de quadri’ in Palazzo Farnese nel 1644." Journal of the History of Collections 32, no. 2 (April 9, 2019): 265–73. http://dx.doi.org/10.1093/jhc/fhz016.
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Abstract L’articolo punta a stabilire il criterio museografico nell’allestimento della ‘terza stanza de quadri’ in Palazzo Farnese nel 1644, a partire dalla sorprendente presenza in quell’ambiente di molti disegni incorniciati accanto a dipinti su tavola a fondo oro di primo Quattrocento e a poche, importanti tele. Nella stanza era sinteticamente narrata la storia della pittura a Roma dal Quattro al Cinquecento, attraverso soli capolavori, di maestri quasi unicamente appartenenti alla scuola romana. This article aims to establish the museographic criteria involved in the display of pictures in the ‘third room of paintings’ in the Palazzo Farnese in 1644, beginning with the surprising presence there of many framed drawings next to paintings on panel with gold background of the early fifteenth century and with few modern paintings of great importance. Here the story of painting in Rome in the Quattrocento and Cinquecento was synthetically narrated through masterpieces belonging almost exclusively to the Roman School.
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Obushnyy, Mykola. "THE SACRAL NATURE OF STRAW MOSAIC BY OLEKSANDR SAJENKO (Review of the creative works of Ukrainian artist O.F. Sajenko)." Almanac of Ukrainian Studies, no. 28 (2021): 137–39. http://dx.doi.org/10.17721/2520-2626/2021.28.22.
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The publication aims to draw the attention of Ukrainian scholars and researchers of Ukrainian cultural heritage to study the work of a unique domestic artist of monumental and decorative art, whose name is included in the list of prominent figures of world heritage of the twentieth century - Alexander Saenko. O. Saenko's artistic heritage includes more than 500 works of painting, graphics and monumental and decorative art: decorative panels, carpets, tapestries, etc. But O. Saenko possessed the technique of straw inlay most perfectly. He subtly felt the diversity of sacred energies that give "joy to people." It was in the colors of straw that O. Saenko saw such energy. O. Saenko's paintings are not only artistically perfect, but also the vast majority of them are filled with nationalpatriotic content. Among them, one of the most famous is the decorative painting "Kozak Mamai" (1928, 1936). The analysis of O. Saenko's paintings shows that they are deeply folk, and therefore perceived as modern in their content and style.
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Webster, Susan V. "Of Signatures and Status: Andrés Sánchez Gallque and Contemporary Painters in Early Colonial Quito." Americas 70, no. 04 (April 2014): 603–44. http://dx.doi.org/10.1017/s0003161500003588.
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The 1599 portrait Don Francisco de Arobe and His Sons, Pedro and Domingo by Andean artist Andres Sanchez Gallque (Figure 1) is one of the most frequently cited and reproduced paintings in the modern literature on colonial South America. The painting has been extensively praised, parsed, and interpreted by twentieth- and twenty-first-century authors, and heralded as the first signed South American portrait. “Remarkable” is the adjective most frequently employed to describe this work: modern authors express surprise and delight not only with the persuasive illusionistic power of the painting, the mesmerizing appearance of its subjects, and the artist's impressive mastery of the genre, but with the fact that the artist chose to sign and date his work, including a specific reference to his Andean identity.
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Webster, Susan V. "Of Signatures and Status: Andrés Sánchez Gallque and Contemporary Painters in Early Colonial Quito." Americas 70, no. 4 (April 2014): 603–44. http://dx.doi.org/10.1353/tam.2014.0074.
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The 1599 portrait Don Francisco de Arobe and His Sons, Pedro and Domingo by Andean artist Andres Sanchez Gallque (Figure 1) is one of the most frequently cited and reproduced paintings in the modern literature on colonial South America. The painting has been extensively praised, parsed, and interpreted by twentieth- and twenty-first-century authors, and heralded as the first signed South American portrait. “Remarkable” is the adjective most frequently employed to describe this work: modern authors express surprise and delight not only with the persuasive illusionistic power of the painting, the mesmerizing appearance of its subjects, and the artist's impressive mastery of the genre, but with the fact that the artist chose to sign and date his work, including a specific reference to his Andean identity.
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Koller, J., and A. Burmester. "BLANCHING OF UNVARNISHED MODERN PAINTINGS: A CASE STUDY ON A PAINTING BY SERGE POLIAKOFF." Studies in Conservation 35, sup1 (September 1990): 138–43. http://dx.doi.org/10.1179/sic.1990.35.s1.029.
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Choi, Yeob. "Modern Buddhist Paintings at Mihwangsa Temple in Haenam." Dongak Art History 25 (June 30, 2019): 53–75. http://dx.doi.org/10.17300/dah.2019.25.3.
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Nunn, Pamela Gerrish, Jane Hylton, Deborah Hart, and Joanne Drayton. "Modern Australian Women: Paintings and Prints 1925-1945." Woman's Art Journal 24, no. 2 (2003): 44. http://dx.doi.org/10.2307/1358789.
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Ebert, Bettina, and Michael R. Schilling. "The analysis of complex modern Vietnamese lacquer paintings." Studies in Conservation 59, sup1 (September 2014): S36—S39. http://dx.doi.org/10.1179/204705814x13975704317598.
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Dekova, Galina. "Figurative art in Bulgaria from the 1920s and 1930s: The School of Kyustendil, Kiril Tsonev and Boris Elisayeff." Labyrinth 21, no. 1 (October 4, 2019): 188. http://dx.doi.org/10.25180/lj.v21i1.176.
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The aim of this paper is to present those realistic tendencies in Bulgarian painting from the 1920s and 1930s, that echoe contemporary West European ones, like the New Objectivity in Germany. Among others, it will be shown how Bulgarian artist’s paintings are inspired by the folklore primitive from the past and reflect the assiduity of cultural administration to renew the idea of a modern artistic school of art with a defined national character.
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Cupchik, Gerald C., and Robert J. Gebotys. "Interest and Pleasure as Dimensions of Aesthetic Response." Empirical Studies of the Arts 8, no. 1 (January 1990): 1–14. http://dx.doi.org/10.2190/l789-tppy-bd2q-t7tw.
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A study was conducted comparing cognitive and affective responses to a set of twelve paintings. Forty subjects, including an equal number of naive and trained males and females, rated the paintings individually on a series of scales including: simple-complex, warm-cold, unemotional-emotional, not at all meaningful-meaningful, and familiar-unfamiliar. They also made comparative judgments of relative “interest” and “pleasure” between all possible pairs (66) of the paintings. “Interest” judgments were made under an objective and analytical task set, while “pleasing” judgments were made from a subjective and personal set. A multidimensional scaling analysis revealed two dimensions underlying the “pleasing” and “interest” judgments. These were identified by regressing the individual scale ratings against the dimensions. The “interest” dimensions, complexity/meaningfulness and familiarity, are comparable to motivational dimensions predicted by Berlyne: curiosity and variation. The “pleasing” dimensions, emotional arousal and aesthetic effectance, have been anticipated in the literature. Thematic content and date of the painting (modern versus pre-1850) could also be related to the dimensions. Individual differences in sensitivity to the “pleasing” dimensions were found primarily for naive and trained females.
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Castro Simarro, Cristina. "An investigation into adhesives to consolidate distemper paintings on canvas." Ge-conservacion 18, no. 1 (December 10, 2020): 123–35. http://dx.doi.org/10.37558/gec.v18i1.766.
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This article investigates traditional and modern adhesives used to consolidate distemper paintings on canvas, with special reference to sixteenth century Hispano-tüchlein paintings, also called sargas. Such artworks are not only difficult to handle due to their large size, but they are also inherently fragile and/or are highly hygroscopic. This sensitivity is caused in part by the nature of the painting technique as well as the lack of varnish, which might account for why conservation methods related to these works have not been addressed in the past. This investigation was conducted on historical reconstructions samples to assess and develop treatment strategies for distemper paintings, in particular issues linked to powdery/friable matte paint layers. The impact of several adhesives on the painted surface of historical reconstructions was evaluated before and after the samples were subjected to humidity cycling tests using a range of analytical techniques. Such information can be used to aid conservators who face consolidation issues related to underbound paintings or artworks with similar surfaces. The results reveal that there is no one perfect adhesive for matte paint nor one that can be removed completely, once applied. Aquazol® 200 and Funori performed the best, but still introduced changes in colour and gloss, even if minimal.
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RUTSINSKAYA, Irina. "TRADITIONS OF THE CEREMONIAL MILITARY PORTRAIT IN SOVIET PAINTING OF THE 1940-1950." Herald of Culturology, no. 3 (2021): 83–93. http://dx.doi.org/10.31249/hoc/2021.03.06.
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Based on Soviet painting of the 1940-1950 s the article explores the features of the genre, that became especially popular in the last years of the Great Patriotic War and the first post-war years. It represents military leaders and statesmen standing against the battle scenes or directly on the battlefield. Traditions, semantics, compositional techniques of this genre developed in Modern era. Analysis of the socialist realism paintings allows seeing the process of «appropriation» of the imperial tradition.
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Linrothe, Rob. "Hidden in Plain Sight." Archives of Asian Art 70, no. 2 (October 1, 2020): 225–44. http://dx.doi.org/10.1215/00666637-8620384.
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Abstract This is a review article of Janet Gyatso's 2015 award-winning book, Being Human in a Buddhist World: An Intellectual History of Medicine in Early Modern Tibet. The art-historical aspects of the book—mainly confined to the first chapter, “Reading Paintings, Painting the Medical, Medicalizing the State” and based on a perceptive art-historical reading of a set of medical paintings and its copies—had yet to be reviewed by an academically-trained art historian. This review underscores the fine art-historical insights deserving the attention of art historians working in parallel contexts of the often tense relationship between religious and empirical epistemologies. At the same time, the evaluation of certain readings of the visual record lead to suggested revisions in the support they provide to Gyatso's primary argument. In addition, other precedents of depictions “from life” in Tibetan art history are offered to help contextualize claims of originality or uniqueness. Finally, an analysis is presented of less formal, freehand painting versus more formalized, iconometric execution, calibrated with vernacular subject matter versus iconographically predetermined themes. Both of the painting modes and subject types are combined in the painting set analyzed by Gyatso supporting her assessment of the innovation of the artists selected by the patron, Desi Sangyé Gyatso (1653–1705).
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Zhang, Kang, Stuart Harrell, and Xin Ji. "Computational Aesthetics: On the Complexity of Computer-Generated Paintings." Leonardo 45, no. 3 (June 2012): 243–48. http://dx.doi.org/10.1162/leon_a_00366.
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This article discusses how visual arts and computer technology could complement and assist each other in new and emerging interdisciplinary areas known as computational aesthetics and aesthetic computing. The authors present examples of computational aesthetics that demonstrate that modern computer technology can generate aesthetic forms of visual art. Several levels of complexity in computerized abstract paintings are discussed and explored. The authors recently experimented with encoding computational rules to automatically generate a particular style of abstract painting in an attempt to explore one of the levels. The preliminary results of this research are presented. A more systematic and grammar-based approach is discussed as a potential future direction of work.
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Choi, Yeob. "The Characteristics of Buddhist Painting during Japan’s Modern Period and Their Influence on Korean Paintings." Journal of Japanology 46 (May 31, 2018): 249–76. http://dx.doi.org/10.21442/djs.2018.46.12.
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SHAW, DOUGAL. "THOMAS WENTWORTH AND MONARCHICAL RITUAL IN EARLY MODERN IRELAND." Historical Journal 49, no. 2 (June 2006): 331–55. http://dx.doi.org/10.1017/s0018246x06005231.
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Historians have long argued about the political career in Ireland of Thomas Wentworth, earl of Strafford. Analysing the extent of his viceregal power in the 1630s and his relationship to political factions, this writing has focused on ‘high politics’, as captured in state papers, pamphlets, and private letters. This article focuses on less conventional sources like paintings and accounts of court ceremonies to try and clarify a vital question. In a fragmented colonial territory that the Stuarts were determined to turn into a kingdom, to what extent did Wentworth cast himself as a king? The article examines the sophisticated way that Wentworth elaborated on ritual forms already connected with the viceroyalty to associate his political persona with that of the monarch, with particular reference to his extraordinary inauguration in 1633. Wentworth's interest in painting is well known because of his celebrated patronage of Van Dyck. Less well known is the way that he extended the conventions of portrait painting into the third dimension through court ritual, particularly the practice of allusion to recognizable models, with all the implications for prestige that this entailed. Through ‘political aesthetics’ Wentworth made the allusion to kingship, to the point that enemies detected monarchical pretensions.
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Trevisan, Sara. "The Impact of the Netherlandish Landscape Tradition on Poetry and Painting in Early Modern England*." Renaissance Quarterly 66, no. 3 (2013): 866–903. http://dx.doi.org/10.1086/673585.
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AbstractThe relationship between poetry and painting has been one of the most debated issues in the history of criticism. The present article explores this problematic relationship in the context of sixteenth- and seventeenth-century England, taking into account theories of rhetoric, visual perception, and art. It analyzes a rare case in which a specific school of painting directly inspired poetry: in particular, the ways in which the Netherlandish landscape tradition influenced natural descriptions in the poem Poly-Olbion (1612, 1622) by Michael Drayton (1563–1631). Drayton — under the influence of the artistic principles of landscape depiction as explained in Henry Peacham’s art manuals, as well as of direct observation of Dutch and Flemish landscape prints and paintings — successfully managed to render pictorial landscapes into poetry. Through practical examples, this essay will thoroughly demonstrate that rhetoric is capable of emulating pictorial styles in a way that presupposes specialized art-historical knowledge, and that pictorialism can be the complex product as much of poetry and rhetoric as of painting and art-theoretical vocabulary.
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Tao, Cai. "Guan Liang, Tan Huamu, and Ding Yanyong: Their Modern Art Practice and the Phenomenon of the “Tōyō Review”." China and Asia 2, no. 1 (June 24, 2020): 3–56. http://dx.doi.org/10.1163/2589465x-00201002.
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During the late Taishō period, three Guangdong-born Chinese artists, Guan Liang 關良 (1900–1986), Tan Huamu 譚華牧 (1896–1976), and Ding Yanyong 丁衍庸 (1902–1978), were studying in Tokyo, Japan. After their return to China, they engaged daily in a kind of cross-media practice in oil and ink paintings that serves to remind us of the need to rethink the cultural experiment that China’s modern art movements have undertaken since the 1920s, and which has thus far been overlooked. In the face of the sudden rise of attention towards literati paintings in the Japanese art world, and in the midst of the Western modern art currents that were centered in Paris, these Japan-trained artists, with their comparative cultural perspectives, began to re-examine their own cultural tradition and form a cross-media creative model with an intrinsic cultural reflectiveness and innovative outlook. Moreover, the phenomenon of the “Tōyō review” 東洋回顧 that emerged from the intense interactions between the cultures of East and West not only brought about the concept of “Chinese painting,” but also led to the rise of the notion of the “superiority of Chinese art.”
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Poisel, Timothy J. "Plate LIII from Til-Barsip: The left-handed Assyrian king." Iraq 68 (2006): 121–27. http://dx.doi.org/10.1017/s0021088900001200.
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AbstractIdentification of different iconographic features has allowed modern scholars to argue cases for several possible candidates responsible for the commissioning and representation within Plate LIII. Due to minor characteristically different chariots and artistic techniques, scholars have made widely divergent claims about the origins of the wall paintings that were found at Til-Barsip. In this paper I contend that one vital iconographic factor has been overlooked by modern scholarship and that it is the key to proving that a specific Assyrian king was responsible for Plate LIII. It is concluded that the Assyrian king depicted in the Til-Barsip wall painting was left-handed and by a process of elimination can be none other than Esarhaddon.
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Radonjic, Ana, and Slobodan Markovic. "Judgement of paintings belonging to different tendencies in the 20th century painting." Psihologija 37, no. 4 (2004): 549–69. http://dx.doi.org/10.2298/psi0404549r.
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In this study Trifunovic? hypothesis that there are three objective lines in the development of modern art was psychologically evaluated. According to Trifunovic, in the first line (C?zanne - cubism - neoplasticism - suprematism) the geometrization of form prevails, in the second (Van Gogh - expressionism - abstract expressionism) the use of color is dominant, whereas the main features of the third line (Gauguin - fauvism) are symbolic use of color and reduction of perspective. Fifteen reproductions of paintings that represent the three developmental lines were used as stimuli. The subjects were asked to judge the stimuli on nine bipolar 7-step scales. These scales constitute the three factors of instrument SDF 9: Evaluation, Arousal and Regularity (3 scales x 3 factors = 9 scales). Four clusters of paintings were obtained: Abstract-expressionistic (moderate Evaluation, high Arousal and low Regularity), Figural-expressionistic (very low Evaluation, low Arousal and high Regularity), Constructivistic (moderate Evaluation, low Arousal and high Regularity) and Realistic (high Evaluation, high Arousal and high Regularity). The results partially confirm Trifunovic? hypothesis indicating that, besides the formal features, the content (abstract vs. figural) is also significant factor of subjective clustering of paintings.
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이현애. "Serial Image in Modern Paintings: from Monet to Richter." Journal of History of Modern Art ll, no. 25 (June 2009): 95–122. http://dx.doi.org/10.17057/kahoma.2009..25.004.
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Bahji, Zineb Bahji. "Ahmed Cherkaoui : Entre Modernité et Enracinement, Museum Mohammed VI for Modern and Contemporary Arts (MMVI), Rabat, Morocco, 27.03.2018 - 27.08.2018." Museum and Society 17, no. 1 (March 10, 2019): 137–40. http://dx.doi.org/10.29311/mas.v17i1.2977.
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The exhibition Ahmed Cherkaoui: Entre Modernité et Enracinement, Museum Mohammed VI for Modern and Contemporary Arts (MMVI),Rabat,Morocco, 27.03.2018 - 27.08.2018 was held in a succession of art exhibitions that Museum Mohammed VI has programmed since its creation in 2014 to preserve, promote and celebrate the national arts of Morocco. The exhibition introduced and represented the artworks of one of the iconic founders of Moroccan modern painting in post-colonial Morocco, a leading figure who experimented with material and content to create a harmonious and mystic synthesis of the traditional and the modern. Through a varied set of abstract paintings and drawings, the exhibition illustrated and interpreted Cherkaoui's works, and it narrated the life of this artist to show how his hybrid cultural experience influenced his creation. Cherkaoui's fascination with the popular signs and decorative symbols of his civilization and his passion for abstraction in modern art inspired a unique plastic vocabulary and style that marked the birth, development and history of modern art inMorocco.
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Astawa, Gede Wira, I. Gusti Lanang Agung Raditya Putra, and I. Gede Putu Krisna Juliharta. "APLIKASI ANDROID LUKISAN WAYANG KAMASAN MENGGUNAKAN QR CODE SEBAGAI MEDIA PROMOSI INTERAKTIF ( STUDI KASUS: STARTUP WAY’K)." Jurnal Sistem Komputer Musirawas (JUSIKOM) 3, no. 2 (December 5, 2018): 103. http://dx.doi.org/10.32767/jusikom.v3i2.376.
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AbstrakLukisan Wayang Kamasan merupakan salah satu kerajinan yang merupakan warisan budaya Bali. Salah satu startup yaitu Way’K menginovasikan Lukisan Wayang Kamasan menjadi produk modern seperti lukisan jam dinding, lukisan lampu LED, dan souvenir berupa plakat. Namun hal tersebut belum cukup untuk meningkatkan daya jual dari seni lukis wayang kamasan karena berdasarkan hasil wawancara terhadap owner startup Way’K wisatawan kurang tertarik membeli karena wisatawan tidak mengetahui dari makna dan cerita yang terdapat dalam lukisan tersebut, selain itu promosi dan penjualan masih dilakukan secara konvensional mengingat perkembangan zaman memasuki era digital. Maka dari itu penulis membuat suatu aplikasi seni lukis Wayang Kamasan berbasis Android yang dapat menampilkan cerita lukisan melalui kode QR yang dipindai pada lukisan serta terdapat fitur informasi dan pembelian produk secara online melalui aplikasi. Pada pembuatan aplikasi menggunakan metode pendekatan software waterfall dan menggunakan pemodelan Use Case serta Class Diagram dalam perancangan aplikasi. Aplikasi dibangun menggunakan framework React Native dan framework Laravel dan diuji menggunakan metode blackbox testing dan aplikasi telah berhasil dirancang bangun dan berhasil di uji coba dengan hasil sesuai dengan yang diharapkan. Untuk mengetahui tingkat kemudahan penggunaan sistem dilakukan dengan metode Usability testing dan didapatkan hasil sangat baik. Kata Kunci : Lukisan Wayang Kamasan, Aplikasi Android, Kode QR AbstractKamasan puppet painting is one of the handicrafts that is a Balinese cultural heritage. One of the startups, Way'K, innovates the Kamasan puppet painting into modern products such as wall clock paintings, LED light paintings, and souvenirs in the form of placards. However, this is not enough to increase the selling power of Kamasan puppet painting because based on the results of interviews with startup owners of Way'K tourists are less interested in buying because tourists do not know the meaning and stories contained in the painting, besides promotion and sales are still done conventional considering the development of the era entering the digital era. Therefore, the author makes an Android-based Kamasan puppet painting application that can display painting stories through scanned QR codes on paintings and there are information features and product purchases online through the application. In making the application using the waterfall software approach method and using Use Case modeling and Class Diagram in application design. The application was built using the React Native framework and Laravel framework and tested using the blackbox testing method and the application was successfully designed to wake up and successfully tested with the results as expected. To determine the level of ease of use of the system carried out by the Usability testing method and obtained very good results. Keywords : Kamasan Puppet Painting, Android Application, QR Code
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Adhiambo Oguda, Benta G., George Vikiru, and Christine Wasanga. "The Influence of Presentation Format on Responses of Male Sex Offenders to Digital Paintings that illustrate the Consequences Sexual Crimes." Journal of Sociological Research 12, no. 2 (March 25, 2021): 26. http://dx.doi.org/10.5296/jsr.v12i2.18454.
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Although art viewing experiences occur in varied contexts, responses of audience may be profoundly affected by the presentation format. In this paper, focus is drawn upon participation in a digital paintings exhibition and visual representation in assessing the responses of male sex offenders to digital paintings that illustrate the consequences of sexual crimes. The relationship between arts and technology is an emerging area of interest in modern research. In addition to the traditional gallery displays, digital technologies have provided new ways of audience participation in arts, enabling more involvement in the way art is consumed. The authors sought to determine the effect of viewing screen projected images in Rapid Serial Visual Presentation and in a gallery display. The study applied brief repeated exposures as described in Mere Exposure research. The study utilized temporary exhibition displays and projection by Rapid Serial Visual Presentation (RSVP) where the respondents were passive participants, simply viewing the artwork. The participants were drawn from male sexual offenders aged 18-45 years at Nairobi West Prison, a male offenders’ facility in Nairobi City County. Stratified random sampling was used to select 61 male offenders convicted for defilement and rape. Respondents were randomly assigned to two experimental conditions involving viewing in projection by RSVP and gallery display. A five-point Likert scale was used to measure the participants’ responses to digital paintings illustrating consequences of sexual crimes. A Multivariate Analysis was used to assess ratings of the digital paintings against the various components of art. Findings show that painting style, colour schemes, themes and exposure frequency significantly influenced the participants’ responses to the digital paintings. The study recommends use of comparative analysis to determine how exposure to digital paintings impacts differently on other types of audiences.
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MASQUELET, A. C. "The Anatomy Lesson of Dr Tulp." Journal of Hand Surgery 30, no. 4 (August 2005): 379–81. http://dx.doi.org/10.1016/j.jhsb.2004.11.005.
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The anatomy lesson of Dr Tulp is one of the most famous paintings by Rembrandt. A detailed examination of the scene leads us to believe that Dr Tulp was demonstrating the function of the flexor digitorum superficialis. Therefore, the painting is a true lesson in physiology which is in keeping with the spirit of the 17th century, which was the century in which the modern theory of movement in physics evolved. The anatomy lesson of Dr Tulp also symbolizes the break with the descriptive anatomy of Vesalius which occurred during this century.
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Cheek, Caitlin. "Still rendering: An exploration of 3D technologies for painting and other conventional mediums." Journal of Arts Writing by Students 6, no. 1 (June 1, 2020): 53–72. http://dx.doi.org/10.1386/jaws_00015_1.
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Artists working in the field of animation, games and films are expected to have in-depth knowledge of three-dimensional (3D) software as well as traditional art principles. However, when it comes to creating conventional paintings, many artists have yet to use 3D computer imaging. 3D software expands beyond what is possible in other computer programmes such as Photoshop, InDesign or Illustrator by giving the creator access to unlimited potential in three dimensions. My work embraces these modern technologies, crossing the boundaries between new and old media, to inform the paintings I create with oil on canvas. I utilize 3D software to push the surreal yet realistic quality of a setting. In this article, I explore my work in the context of historical precedents and contemporary examples that combine conventional media and 3D computer imaging. Keeping up and creatively employing these technologies within conventional modes of painting presents an opportunity to push the boundaries of my art.
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Saviţkaia-Baraghin, Iarîna. "5. Bessarabian in the Modern Engraving Constitution and Interference with its European Art." Review of Artistic Education 12, no. 2 (March 1, 2016): 199–203. http://dx.doi.org/10.1515/rae-2016-0024.
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Abstract Runing the new century (XX) attests in Bessarabian art, the experience of several decades of professional artistic activity (the first Evening School of Drawing appears in Chisinau in 1887 and is due scholar Academy of Arts in St. Petersburg, Terinte Zubcu). Such short experience has not met any of the neighboring countries' national schools. In Bessarabia from the beginning of the twentieth century is established the main areas of professional art – painting- with remarkable portraits, landscapes, genre paintings; sculpture with respective genres; stampa as a kind of graphics. Marked by the period and by the influences of art schools, where Bessarabians have studied, it is clear that in painting and sculpture and graphics in the first round, have dominated peredvizhnik influences their color and monochrome theme. Guidelines of Bessarabian plastic artists in the development phase of modern art, is the decisive moment of establishment of the Bessarabian engraving as a kind of professional art, marked by tendencies that have appeared in European art and Russian at the limit of nineteenth and twentieth centuries, such as Expressionism in the works of Sneer Cogan, George Ceglocof and Art 1900 in the works of Theodor Kiriacoff, Elisabeth Ivanovsky or Moissey Kogan.