Relevant bibliographies by topics / Mythological subject matter in painting and literature

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Academic literature on the topic 'Mythological subject matter in painting and literature'

Author: Grafiati
Published: 24 April 2022
Last updated: 30 July 2025

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Journal articles on the topic "Mythological subject matter in painting and literature"

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Narivska, Valentyna. "“Aeneid” by Anatolii Bazylevych: Picturesque Mythologization of Poem by Ivan Kotliarevskyi." Академічний журнал "Слово і Час", no. 3 (March 30, 2019): 92–103. http://dx.doi.org/10.33608/0236-1477.2019.03.92-103.

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The article analyzes 120 drawings by A. Bazylevych, the outstanding Ukrainian artist of the 20th century, created for the editions of “Aeneid” by I. Kotliarevskyi in 1969 and 1970. The subject matter is a look at the drawings in the status of a picturesque author’s myth. The skill of ‘visual intelligence’ of the artist is demonstrated in the picturesque original reading of the poem by Kotliarevskyi as a phenomenon of the Baroque with expressive literary methods of ‘image turning’ that contributed to this process and acquired the significance of historical and literary classics. The assumption
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Maxwell, Susan. "The Pursuit of Art and Pleasure in the Secret Grotto of Wilhelm V of Bavaria." Renaissance Quarterly 61, no. 2 (2008): 414–62. http://dx.doi.org/10.1353/ren.0.0004.

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AbstractThe Grottenhof is a small garden surrounded by painted loggias in the Munich Residence, a palace that served as the seat of the Wittelsbach Dukes of Bavaria beginning in the sixteenth century. Completed between 1582 and 1589, the garden contains an elaborate grottoed fountain, sculpture, and paintings based on Ovid’s Metamorphoses. The pictorial program of the painted loggias combines images of mythological ardor with illusionistic interlopers from everyday court life who make punning references to the pursuit of love. The sources for the garden can be found in Italian and French proto
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Georgieva, Tsvetana. "Pan in the Bulgarian literature of Fin de siècle." Bulgarski Ezik i Literatura-Bulgarian Language and Literature 64, no. 1 (2022): 17–28. http://dx.doi.org/10.53656/bel2022-2-tg.

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In the age of the Fin de siècle, the mythological Pan was the subject of numerous interpretations in painting, literature, and the performing arts. The article examines for the first time how the image of Pan fits into the modern Bulgarian literature of the early 20th century - in the works of Emanuil Popdimitrov, Trifon Kunev, Hristo Yassenov and Lyudmil Stoyanov. As an expression of the ideas of the epoch (in the Jugendstil and Secession currents), both in Europe and in Bulgaria, Pan and pantheism apologize for nature, the vegetative principle, youth and childhood, love fire, music and intox
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Barringer, Judith M. "The Mythological Paintings in the Macellum at Pompeii." Classical Antiquity 13, no. 2 (1994): 149–66. http://dx.doi.org/10.2307/25011012.

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This article attempts to establish and examine the context of the two remaining mythological paintings in the Macellum, the central market of Pompeii. Panels of Io and Argos and of Penelope and Odysseus grace the interior walls, and while the identification of the Penelope figure has been the subject of debate, she clearly derives from Greek prototypes of Penelope, both material and theatrical. Indeed, scholars suggest that the Io panel and perhaps the Penelope painting as well are copies of Greek panel paintings created by a fourth-century B.C. artist, but it is argued here that their pairing
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Kettlewell, Neil. "An Examination of Preferences for Subject Matter in Painting." Empirical Studies of the Arts 6, no. 1 (1988): 59–65. http://dx.doi.org/10.2190/dfk1-tbc2-jlex-5tec.

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Two samples were used, college students and art museum attendees. Both groups were asked to rank order nine different areas of subject matter in painting in terms of personal preference. No visual examples of the suggested subject matter were provided, although brief descriptions were given when it was deemed necessary. Based on rankings, all samples and the male and female sub-samples of the student sample showed highly significant within and between groups differences. The findings are argued to be contrary to those expected by those holding a position of “relativism” with respect to art. Th
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., Muhammad Rafiki, I. Gusti Made Budiarta, S. Pd ,. M. Pd ., and Dra Luh Suartini, M. Pd . "KARAKTERISTIK KARYA FINGER PAINTING ANAK-ANAK DI TAMAN KANAK-KANAK AISYIYAH BUSTANUL ATHFAL SINGARAJA." Jurnal Pendidikan Seni Rupa Undiksha 9, no. 1 (2019): 13. http://dx.doi.org/10.23887/jjpsp.v9i1.18775.

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Penelitian ini bertujuan untuk mendeskripsikan (1) alat dan bahan yang digunakan dalam kegiatan finger painting di TK Aisyiyah Bustanul Athfal Singaraja, (2) proses kegiatan finger painting di TK Aisyiyah Bustanul Athfal Singaraja, (3) subject matter hasil gambar anak yang dihasilkan dalam kegiatan finger painting di TK Aisyiyah Bustanul Athfal Singaraja. Sasaran penelitian ini adalah anak-anak kelompok B TK Aisyiyah Bustanul Athfal Singaraja yang terdiri atas 5 kelas kelompok B. Penelitian ini adalah penelitian deskriptif kualitatif. Pengumpulan data dalam penelitian ini dilakukan dengan tekn
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Zhou, Boyuan. "The Historical Value of Landscape Paintings in the Song Dynasty." Communications in Humanities Research 58, no. 1 (2025): 137–41. https://doi.org/10.54254/2753-7064/2025.22404.

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The landscape paintings of the two Song Dynasties are important historical materials to study the society, culture and ideology of the Song Dynasty, and have high historical value. This paper aims to analyze the characteristics of landscape painting techniques, subject matter selection and artistic conception creation in the two Song dynasties, combined with the political, economic and cultural backgrounds of the two Song dynasties, and deeply explore the historical value of its refraction. This paper incorporates the method of literature research, image analysis and comparative analysis. Land
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Singh, S. K. "Surrealist Movement." Greener Journal of Arts and Humanities 1, no. 1 (2011): 21–22. https://doi.org/10.5281/zenodo.3483625.

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This paper analyses the definition, its sources, merits and demerits. The French poet and critic Andre Breton founded Surrealism, a literary and artistic movement. It was a movement in painting, sculpture and literature. In this way, surrealism is a modern psychological concept that regards the subconscious  the state of dream. Being much chaotic in subject matter it failed. Moreover, it did not match the common English taste. The rank and file could not comprehend it.
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Liao, Yang. "Astral Cult in the Encompassing Mind: Rethinking the ‘Stellar Magic Circle’ from Khara-Khoto." Acta Orientalia Academiae Scientiarum Hungaricae 76, no. 1 (2023): 47–91. http://dx.doi.org/10.1556/062.2022.00124.

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A rare painting with unique subject matter among extant Tangut cultural heritage, the so-called astral maṇḍala (more accurately, Grahamātṛkā-maṇḍala) from Khara-khoto deserves focused academic attention. Now in the collection of Hermitage, this painting broadens the horizons of research from multiple perspectives, including the history of astrology, Tangut culture, Esoteric Buddhism, and ritual studies. Introduced into Tangut Buddhism likely via Tibet, the Grahamātṛka-maṇḍala contributed to the construction of both a new iconographical system and a new pantheon of astral deities. The painting
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Abramkin, Ivan A. "TYPOLOGICAL CHARACTERISTICS OF CEREMONIAL AND CHAMBER IMAGE IN THE RUSSIAN PORTRAIT PAINTING OF 18TH CENTURY." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 4 (2020): 112–27. http://dx.doi.org/10.28995/2073-6401-2020-4-112-127.

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The article is devoted to the thorough research of distinctive features of ceremonial and chamber types of portrait in Russian art of 18th century. The matter drew attention of scientists earlier but the identification of specific characteristics, inherent to each type of portrait painting, is not available in academic literature on the subject at the moment. The need for defining a set of features appears relevant for studies into the portrait painting at the turn of 18th – 19th centuries, which is characterized by combination of particularities peculiar to different variants of image in one
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Books on the topic "Mythological subject matter in painting and literature"

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Egan, Ronald. The Relationship of Calligraphy and Painting to Literature. Edited by Wiebke Denecke, Wai-Yee Li, and Xiaofei Tian. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199356591.013.6.

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Calligraphy and painting have a long and rich history of association with literary composition, especially poetry. These three “arts of the brush” share not just materials and tools of production but also a critical vocabulary and certain aesthetic ideals. The pronounced attention in the early history of each art to the world of nature as a source of verbal imagery, subject matter, and even graphic design bound these arts together in the formative stage of theoretical writings about each. As the practice of these arts matured in medieval times, it became common for them to appear together in a
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Book chapters on the topic "Mythological subject matter in painting and literature"

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"A Woman Artist Painting Women." In The Art of Anna Dorothea Therbusch (1721–1782). Amsterdam University Press, 2024. https://doi.org/10.5117/9789463721486_ch01.

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Anna Dorothea Therbusch was acutely aware of her peculiarity as a woman artist who worked on mythological subjects and portrayed the nude female form. The artist transgressed traditional boundaries by focusing on a conventionally masculine genre in art. This chapter examines how Therbusch dared to be one of few women artists to paint highly sexually charged subject matter and how, in so doing, she positioned herself into the canon of art history’s “Great Masters.”
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Connors, Catherine. "Imperial space and time: The literature of leisure." In Literature in the Roman World. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780192893017.003.0008.

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Abstract Alongside the more formal modes of literary production-epic, tragedy, his tory, philosophy, and oratory-Roman imperial audiences also enjoyed less formal literary modes. Examples produced during the post-Augustan period include satire, epigram, mixed collections, the versified fables in the style of Aesop composed by the freedman Phaedrus, and Petronius’ satirical and inventive novel, the Satyricon. These works are generally presented as ones to enjoy in leisure time, otium, and their informal qualities can include smallness of scale, a low or everyday subject-matter and style (as opp
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Francese, Christopher. "Parthenius, Erotika Pathemata." In The Oxford Handbook of Greek and Roman Mythography. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190648312.013.22.

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Abstract Erotika Pathemata (“Disastrous Love Stories”) is a prose collection dating to the 40s or 30s bce. The author, Parthenius of Nicaea, was a Greek poet from Asia Minor, taken captive in Roman wars but freed because of his learning. He collaborated with Roman authors, including Vergil, and dedicated this work to the poet Cornelius Gallus. The stories, rewritten from various local Greek chroniclers and Peripatetic philosophers, run the gamut from mythological to semi-historical to historical time. There are little-known variations on familiar types and amusing sidelights on well-known myth
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"“A rose had flowered”." In Eco-Modernism, edited by Karina Jakubowicz. Liverpool University Press, 2023. http://dx.doi.org/10.3828/liverpool/9781949979855.003.0010.

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Furthering scholarship that locates Post-Impressionism within the writing of Virginia Woolf, this essay reorients a preoccupation with form in Post-Impressionist art and literature in a turn to the natural subject matter of each. It reveals how adaptation by Post-Impressionists of the historically romanticized horticultural subject deems nature as evocative across personal and social moments and especially those of modernity. Outlining Woolf’s familiarity with the aesthetics of Clive Bell and Roger Fry, the chapter uncovers Woolf’s personal and theoretical affiliation with Post-Impressionism a
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Takesh, Suheyla. "A Communist Mourning Icon." In Russian-Arab Worlds. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197605769.003.0026.

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Abstract This chapter analyzes several works by Mahmoud Sabri (1927–2012), an Iraqi painter who studied at the Surikov Art Institute in Moscow from 1960 to 1963. A member of the Iraqi Communist Party, Sabri worked for a decade on the series Janāzat al-Shahīd (Funeral of the Martyr) memorializing fellow Iraqi communist Nu‘man Muhammad Saleh, who died during a prison hunger strike in 1951. Sabri’s Martyr paintings draw on a long Iraqi tradition of depicting mourning and martyrdom in art and literature, but also, starting in the 1960s, reflect his formal interest in Russian Orthodox Christian ico
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Garfield, Rachel, Jenny Chamarette, and Darragh O’Donoghue. "Stephen Dwoskin, an Intermedial Artist." In The Moving Form of Film. Oxford University Press, 2023. http://dx.doi.org/10.1093/oso/9780197621707.003.0015.

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Abstract The work of Stephen Dwoskin (born 1939 in Brooklyn, died 2012 in London) is varied in form, subject matter, and genre. He is best known for his early underground films, his seminal book Film Is . . ., and his role in setting up the London Film-Makers’ Co-op. Dwoskin was a working-class man, part of the Eastern European Jewish diaspora, and a survivor of childhood polio who used calipers, crutches and a wheelchair to support his mobility. He navigated experiences of multiple exclusion across his lifetime, and nevertheless had a prolific output of films, graphic design, painting and wri
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"Culture, Recreation, Leisure, and Sport." In A Bibliography of British History 1914-1989, edited by Keith Robbins. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198224969.003.0012.

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Abstract The material assembled in this section covers a wide range of subjects but their individual identification is not too difficult. Contributions to the meaning of ‘culture’ in general in British society, and the languages used in Britain, are identified in the initial sub-section. Individual arts are then grouped. It is recognized that while it is reasonable to include early sub-sections which deal with architecture, art (painting), design and fashion, and sculpture, individuals executed work in more than one of these categories. Likewise scholars have not infrequently grouped them toge
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