Relevant bibliographies by topics / Oil painting

Contents

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

Academic literature on the topic 'Oil painting'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 March 2023

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Journal articles on the topic "Oil painting"

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Zeng, Xi. "Research on Cross-Contrast Neural Network Based Intelligent Painting: Taking Oil Painting Language Classification as an Example." Computational Intelligence and Neuroscience 2022 (June 6, 2022): 1–10. http://dx.doi.org/10.1155/2022/7827587.

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With the continuous fermentation of the thought of intelligence, artificial intelligence has extended its tentacles into the field of artistic creation and has begun to try intelligent creation. Painting creation based on artificial intelligence is called “intelligent painting.” For oil paintings, the computational language is a relatively complicated description. How to correctly identify the computational language of oil paintings is essential for establishing a large oil painting database. This paper constructs a meaningful learning similarity measure and multiclassification model based on the CCNN model to realize the classification of oil painting language. A cropped CNN model is used to extract language features, and on this basis, oil painting works are cross-compared and multiclassified. This method realizes the classification of oil painting language and the corresponding painter and achieves superior accuracy. This paper constructs a data classification method based on small samples, measures similarity through cross-comparison, and provides a measuring approach for classifying the language of oil paintings. The CCNN model proposed combines the best classification results of oil painting language, which improves the accuracy of oil painting language classification. Moreover, it further enriches the methods of oil painting language classification and image recognition under computational intelligence.
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Zhao, Yuanyuan. "Formation and Schema Analysis of Oil Painting Style Based on Texture and Color Texture Features under Few Shot." Computational Intelligence and Neuroscience 2022 (June 13, 2022): 1–10. http://dx.doi.org/10.1155/2022/4125833.

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Texture has strong expressiveness in picture art, and color texture features play an important role in composition. Together with texture, they can convey the artistic connotation of portrait, especially in oil painting. Therefore, in order to make the picture form oil painting style and oil painting schema, we need to study the texture and color texture in combination with the previous oil painting art images. But now, there are few samples of good oil paintings, so it is difficult to study the texture and color texture in oil paintings. Therefore, in order to form a unique artistic style of modern oil painting and promote the development of modern oil painting art, this paper studies the texture and color texture characteristics in the environment of few oil painting works. This paper establishes a model through deep neural network to extract the image incentive and color texture of oil painting art works, which provides guidance for promoting the development of oil painting art. The experiments in this paper show that the depth neural network has high definition for the extraction of texture and color texture of small sample oil painting images, which can reach more than 85%. It has high guiding significance for the research and creation of oil painting art.
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Wang, Feng, and Haozhang Sun. "The Texture and Color Matching of Oil Painting Materials Based on Multimedia Visual Communication." Advances in Materials Science and Engineering 2022 (July 18, 2022): 1–12. http://dx.doi.org/10.1155/2022/7792008.

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The obvious tendency of modern artists to change the concept of painting is to pay more and more attention to personal feelings and spiritual expression. In modern oil paintings, there are more and more oil paintings that convey emotions and the emotional expression methods of the colors of the works are becoming more and more abundant. This article aims to study the application of multimedia visual communication in the texture and color matching of oil painting creation materials and to put forward the viewpoint of applying more multimedia visual communication to oil painting creation. This article first gives a detailed introduction to oil painting creation materials and their texture, oil painting color matching, and so on. In addition, experiments were conducted on the application of multimedia visual communication in the texture and color matching of oil painting creation materials. The experimental results show that the texture and color matching of oil painting creation materials based on multimedia visual communication are more popular with the public, and oil painters are also satisfied with this method. And, the expressiveness of oil painting texture has been improved by 10%. This shows that the texture and color matching scheme of the oil painting material in this study is effective.
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Tian, Weifei. "Emotional information transmission of color in image oil painting." Journal of Intelligent Systems 31, no. 1 (January 1, 2022): 428–39. http://dx.doi.org/10.1515/jisys-2022-0026.

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Abstract To enhance the emotional communication of image oil painting art and better analyze the image oil painting art, this article puts forward the research on color emotional information communication in image oil painting art. First, starting from the artistic characteristics of color and its embodiment in various oil painting art forms, this article expounds the relationship and the significance between color language and emotional expression. Then, it summarizes the development of color in image oil painting from a macro perspective and analyzes the emotional expression of color in oil painting. Finally, it discusses the color law of the oil painting art and analyzes the emotional expression of the oil painting art from two aspects: image and artistic conception. The research shows that the design method can better convey emotion and make it easier for people to understand the connotation of image oil paintings.
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Jin, Xiaoyun. "Analysis of Emotional Color Representation in Oil Painting Based on Deep Learning Model Evaluation." Wireless Communications and Mobile Computing 2022 (July 14, 2022): 1–11. http://dx.doi.org/10.1155/2022/6238930.

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When an artist creates an oil painting, it is rich in emotion. Color is the main way to express emotion in oil painting. As far as the art field is concerned, color is an objective phenomenon that people can really feel its unique richness and brilliance, and different people will have different emotions when facing the same picture. Color itself is not emotional, but people have different psychological feelings by looking at different colors. This is the power of color. In the same way, color is also a carrier for painters to convey emotions in oil paintings. The study of emotional color expression in oil painting is more helpful for people to understand the emotion conveyed by oil painting. Color has an important role and an irreplaceable position in oil painting creation. In the creation of oil painting, color expression is combined with emotional expression. The creator conveys his experience and feelings in the form of color. In this paper, we look at the relationship between color and emotion, the emotional expression of color, and the expression of emotion in painting. The creators of oil paintings convey their feelings and experiences in the form of color, which plays a unique and important role in portraying the image of their works, expressing emotions, and creating an atmosphere, and we analyze and reveal how to use paint to express emotions in oil painting.
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Guo, Wei. "Oil Painting Art Style Extraction Method Based on Image Data Recognition." Mathematical Problems in Engineering 2022 (May 18, 2022): 1–11. http://dx.doi.org/10.1155/2022/4196174.

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This paper introduces the background and significance of oil painting art style research and summarizes the concept and development of oil painting. Based on the research of image data recognition technology, a new method of oil painting art style extraction based on image data recognition is proposed. The visual features of oil painting images in hue, lightness, and purity are calculated in color space, which are divided into global color features and local color features. Color image boundaries are obtained by using structures of various scales, and then the boundaries are synthesized by multiscale merging algorithm to obtain the boundary results. Using a module fixing and dividing method, we can get the local area that can best show the characteristics of the writer’s painting style. The oil paintings are described by the key region algorithm, and then their artistic style features are obtained. Experiments show that this method is effective and reliable, and the recognition rate of this algorithm is higher than that of other algorithms. This study not only solves the problem that the selection of local areas is too subjective, but also provides new ideas for the study of oil paintings.
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Янь, Лі. "ДУХОВНО-ІНТЕЛЕКТУАЛЬНИЙ РОЗВИТОК МАЙБУТНІХ УЧИТЕЛІВ ОБРАЗОТВОРЧОГО МИСТЕЦТВА НА ЗАНЯТТЯХ З ОЛІЙНОГО ЖИВОПИСУ." Spiritual-intellectual upbringing and teaching of youth in the 21st century, no. 3 (2021): 162–64. http://dx.doi.org/10.34142//2708-4809.siuty.2021.37.

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The article reveals the connection between the teaching of oil painting and the spiritual and intellectual development of future teachers of fine arts. Classes in oil painting harmonize the inner world of a young person, cultivate his aesthetic taste, evaluative judgments. The best oil paintings by Chinese artists have gained recognition.
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Mou, Yanlin. "The Innovative Development of Russian Modern Oil Painting under the Background of Internet of Things and Artificial Intelligence." Security and Communication Networks 2022 (May 26, 2022): 1–7. http://dx.doi.org/10.1155/2022/6110129.

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Contemporary Russian oil paintings have realized the inheritance and development of classical paintings. Although it is deeply influenced by European and American oil painting creations, it is commendable that it did not fully follow the creative framework of Western works, but realized the image of absorbing the essence of it and then integrating it into Eastern literature and art, and finally formed the integration of Chinese and Western oil paintings in Russian oil painting with a unique creative style. With the continuous development of science and technology, mankind has put forward higher-level requirements for nature, society, science, and technology, and many new things are rising in these aspects. As an emerging industry, Internet of things technology is becoming an important part of modern information technology. It can not only change the way and content of information dissemination and processing but also improve people’s quality of life and meet the growing material and cultural needs of the people. This paper first introduces the basic structure, style characteristics, and development process of Russian modern oil painting, then expounds the application of Internet of things technology and artificial intelligence technology, and then uses the method of questionnaire to investigate the innovation and development of Russian modern oil painting. Finally, the survey shows that senior students know more about Internet of things technology, while applied majors know more than non-applied majors. The grade that knows the least is freshmen, which is related to the degree of exposure to professional knowledge. Students majoring in Russian modern oil painting can share their painting experience through the Internet of things, learn online painting resources through the Internet of things, and add extra income to their part-time painters through the Internet of things. However, due to the Limited breeding technology of students, a small number of students can be part-time online painters, and most students use the Internet of things for knowledge input. Senior students majoring in Russian modern oil painting know more about artificial intelligence, and junior and sophomore students have a general understanding of this field. Through research, the team proposed the innovative development of modern Russian oil painting under the background of Internet of Things and artificial intelligence for reference, and formed our own oil painting creation style by integrating a variety of techniques.
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Huang, Qicai. "Adaptive Extraction of Oil Painting Texture Features Based on Reaction Diffusion Equation." Advances in Mathematical Physics 2021 (November 3, 2021): 1–11. http://dx.doi.org/10.1155/2021/4464985.

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The oil painting retrieval technology based on the reaction diffusion equation has attracted widespread attention in the fields of oil painting processing and pattern recognition. The description and extraction of oil painting information and the classification method of oil paintings are two important processes in content-based oil painting retrieval. Inspired by the restoration and decomposition functional model of equal oil painting, we propose a reaction diffusion equation model. The new model contains two reaction diffusion equations with different principal parts. One principal part is total variation diffusion, which is used to remove noise. The other main part is thermal diffusion, which is used to modify the source term of the denoising reaction-diffusion equation to achieve the effect of protecting the texture of the oil painting. The interaction of the two reaction-diffusion equations finally achieves denoising while maintaining the boundaries and textures. Under the framework of the above reaction diffusion equation model, we introduce Laplace flow to replace the original total variation flow, so that the new denoising reaction diffusion equation combines the isotropic diffusion and total variation flow of the thermal reaction diffusion equation to achieve the effect of adaptive theoretical research. Using regularization methods and methods, we, respectively, get the well-posedness of the two model solutions, which provides the necessary preparation for numerical calculations. Based on the statistical theory and classification principles of support vector machines, combined with the characteristics of oil painting classification, the research and analysis are carried out from the three important aspects of kernel function, training algorithm, and multiclass classifier algorithm that affect the classification effect and speed. Numerical experiments show that the given filter model has a better processing effect on images with different types and different degrees of noise pollution. On this basis, an oil painting classification system based on texture features is designed, combined with an improved gray-level cooccurrence matrix algorithm and a multiclass support vector machine classification model, to extract, train, and classify oil paintings. Experiments with three types of oil paintings prove that the system can achieve a good oil painting classification effect. Different from the original model, the new model is based on the framework of reaction-diffusion equations. In addition, the new model has good effects in removing step effects, maintaining boundaries and denoising, especially in maintaining texture.
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Ke, S. "Figurative oil painting in China: from Mao to Nu." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 221–26. http://dx.doi.org/10.33838/naoma.27.2018.221-226.

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The range of problems of the influence of realistic art on the genre diversity in Chinese painting is revealed in the article. The processes caused by the cultural revolution and the following historical events in China are shown by the example of the formation of figurative painting during the twentieth century. A variant of the typology of Chinese figurative painting of the studied period is proposed based on the analysis of the most typical paintings.
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Dissertations / Theses on the topic "Oil painting"

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Arnold, J. David. "Naked portraits : figures in oil." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/864927.

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The purpose of this project is to create a group of paintings/portraits of two close friends, using the medium of oil bars on gessoed paper. This medium will be explained in the text of the paper. The paintings were an attempt to describe aspects of personality that I see in my friends, their own personal struggles and victories. I observed these changes first hand. I told the story of these changes, as they evolved, in the paintings.The six paintings explore the naturalistic style which is new for me. It will open other avenues of visual expression. It was necessary for me to spend time in research and study of other contemporary artists who have worked with the figure and portraits. The study of other artists is an artistic discipline that helped me clarify, in my own mind, the purpose and problem-solving that took place in the course of my study.
Department of Art
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Oakes, Hannah. "Preying For A Miracle." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/honors/512.

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For my BFA Capstone exhibition Preying For a Miracle I analyzed the Biblical book of Job found in the Old Testament in relation to my own life. My interest in the Book of Job stems from a human desire to understand suffering, especially suffering that is unprovoked. At the beginning of the book of Job, Job is described as “blameless and upright; he feared God and shunned evil”. (Job 1:1) As the first chapter of the book progresses, Satan comes to God and presents a wager. Satan insinuates that Job is only faithful to God because God has “put a hedge around him”. (Job 1:9) Satan proposes that he can make Job curse God’s name if he removes the abundant blessings he has received. God accepts this wager and declares that as long as Job’s life is spared Satan can do with him as he wants, which begins a series of brutal trials. I found myself asking how can such violence and human suffering be justified?
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Morris, Suzi. "The viral sublime and the bodily experience of oil painting." Thesis, University of East London, 2017. http://roar.uel.ac.uk/6337/.

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The Viral Sublime exposes a symbiosis between oil paint(ing), virology, and contemporary concepts of the sublime. It explores how the sublime is portrayed by the dual identity of viruses as both malevolent and beneficial in regenerative medicine and genomic science. My painting embodies my imaginative relationship with being in the world knowing that my body is shared with an unwanted virus that has the potential to destroy or possibly save me. To convey my sense of being in a viral world, my painting takes the form of viral landscapes in which oil paint is treated as having some characteristics inherent to viruses, in the ways in which oil paint behaves on a substrate. In fostering these viral dimensions of oil paint in my paintings, an homologous relationship between oil paint and viruses is demonstrated. Meeting with scientists and managing the medical intervention necessary, virology and genomics have become sources of inspiration in relation to the regenerative potential of the sublime. The Viral Sublime is not designed to provide answers, but to question whether it is through the gaze of technology, medicine or science that postmodern ideas of the sublime continue to thrive. Since Edmund Burke’s Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful, artists have conceived the sublime as a distinctive aesthetic category that is magnificent but overwhelming, awe-inspiring but terrifying, dangerous and life threatening (Burke, 1757). My lifelong experience of dealing with forces unseen to the naked eye has motivated the contextualisation of my practice within the art histories of invisible energies and virology. Drawing upon Burke and Immanuel Kant’s theories, and postmodern concepts of the sublime within contemporary art, the terrifying and overwhelming power of the contemporary sublime in the form of viruses is explored in my painting. As genomic medicine opens the doors to personalised medicine, one of many objectives is to expand the dialogue between science, medicine and art to initiate change in society’s perceptions of disease, particularly viruses. I propose the Viral Sublime as a new category and extension to knowledge within the canon of art history surrounding the concept of the sublime.
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Henry, Sabina I. "Light of Life." VCU Scholars Compass, 2006. http://hdl.handle.net/10156/1644.

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Wages, Emily C. "Macro Self-Portraiture and the Feminine Grotesque." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/798.

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According to the Mirriam-Webster online dictionary, “grotesque” is defined as “a style of decorative art characterized by fanciful or fantastic human and animal forms often interwoven with foliage or similar figures that may distort the natural into absurdity, ugliness, or caricature.” Originating from the Old Italian grottesca, cave painting, feminine of grottesco of a cave, from the time of its conception, the grotesque has been inexorably linked to art and the female. The work of other female artists that explore themes of the feminine grotesque are discussed, including Katheryn Wakeman, Jenny Saville, and Maria Lassnig. In my current work, I have been creating oil paintings of macro images of my own body to construct a fragmented and magnified, borderless, grotesque view of the body. The images focus on the mouth, due to its complicated nature as both internal and external, hidden and in plain sight, as well as due to connotations with speech, ingestion, and sexuality. The work walks a fine line between aesthetically pleasing while also commanding an uncomfortably visceral, fleshy quality. While the works are somewhat ambiguous and allow for various readings, they also allude to larger issues of sexism. The use of magnification and fragmentation references the insufficient representation of the female body both art historically —with the beautiful female nude painted by the male artist—as well as contemporarily in an overly-Photoshopped society. The visceral feeling of disgust should allow viewers to commune with their own bodies’ psychophysiological reactions and question the politics of how beauty standards are established as well as whether beauty is a valuable concept when judging the female form.
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Yang, Jeongmu. "Giovanni Bellini : experience and experiment in Venetian painting, c. 1460-1516." Thesis, University College London (University of London), 1998. http://discovery.ucl.ac.uk/1318058/.

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Giovanni Bellini (b. 1435/40-d. 1516) has long been considered a dominant figure in the Venetian painting of the Early-High Renaissance, his main reputation being a colourist. The distinctive optical and technical characteristics of his work have drawn substantial scholarly attention in the present century, but the studies in this subject have not been developed as a coherent theory with regard to changes in painting technique in the fiftenth-century Italy. The purpose of this dissertation, therefore, is to investigate Bellini's choice and application of painting materials, attempting to establish links between the technical qualities and the formal values of his work. In the process of establishing Bellini's position with regard to the use of paint media and support, this thesis also provides a substantial overview of the use of canvas and of oil pain in the later fifteenth century. The study is encouraged by recent discoveries about Bellini's technique that have emerged from conservation of his paintings. As well as addressing published conservation results, the thesis includes new observations on four canvases attributed to Bellini's father Jacopo, and two Madonnas from Bellini's workshop scientifically examined at UCL Painting Analysis. In order to investigate Bellini's colour and handling of paint within a broader socio-economic milieu, this study deals with the commercial documents such as tariffs, government records, and merchant account books, indicating that Venice was the centre of the international colour trade and that Venetians were widely engaged with this trade. The resulting advantages of Venetian painters who were active at this commercial heart, and the question of how deeply the pragmatic experience of colours that Venetian merchants obtained from the trade penetrated their aesthetic taste will be discussed. Using both scientific and documentary analyses in combination with visual analysis which integrates these findings, this study examines Bellini's translation of the skills of tempera to oil pain and the stylistic changes that occurred with the extensive use of oil medium. It looks at how Bellini developed canvas as a support for mural painting and the technique he employed on such an unconventional support. It will also study the methods in which he established the predominance of colour as an element of composition at the early sixteenth century. In conclusion, it will argue that Bellini's increasing choice of canvas and corresponding use of oil on it changed the general concept of picture-making and became a new format of painting that was to exert a crucial influence on Cinquecento Venetian painting.
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Morris, Ryan L. "Hand/Face/Object." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent155655052646378.

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Gunnarsson, Torsten. "Friluftsmåleri före friluftsmåleriet oljestudien i nordiskt landskapsmåleri 1800-1850 = Open-air oil sketching in Scandinavia 1800-1850 : with a survey of the development of the landscape oil sketch in Europe, c. 1630-1850 /." Uppsala : Stockholm : Uppsala universitet ; Almqvist & Wiksell International [distributor], 1989. http://catalog.hathitrust.org/api/volumes/oclc/23648005.html.

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Stollar, Sarah. "A chemical investigation of the 18 day creation of lead oil /." Norton, MA : Wheaton College, 2008. http://hdl.handle.net/10090/5528.

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Beiermann, Joyce A. "THE UN-STILL LIFE." VCU Scholars Compass, 2006. http://hdl.handle.net/10156/2046.

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Books on the topic "Oil painting"

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Oil painting. London: Studio Vista, 1992.

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Oil painting. London: Little, Brown, 1996.

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Ray Smith. Oil painting portraits. London: Dorling Kindersley in association with the Royal Academy of Arts, 1994.

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Boshoff, Aggy. Oil-painting workshop. New York: DK Publishing, 2006.

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Oil painting techniques. Ramsbury, Marlborough, Wiltshire: Crowood Press, 1992.

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Boshoff, Aggy. Oil Painting Workshop. London: Dorling Kindersley, 2006.

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Oil-painting workshop. London: Dorling Kindersley, 2006.

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Introduction to oil painting. London: Grange Books, 1993.

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Parramón, José María. Painting seascapes in oil. New York: Watson-Guptill Publications, 1990.

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Parramón, J. M. Painting landscapes in oil. New York: Watson-Guptill Publications, 1990.

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Book chapters on the topic "Oil painting"

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Geng, Yan. "Dual Mao: Dong Xiwen and National Oil Painting." In Mao’s Images, 137–71. Wiesbaden: Springer Fachmedien Wiesbaden, 2018. http://dx.doi.org/10.1007/978-3-658-20825-7_5.

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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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Soppa, Karolina, Anita Hoess, Matthias Läuchli, Silja Meyer, Thomas Geiger, Nadim C. Scherrer, Stefan Zumbühl, and Tobias Haupt. "Can Cellulose Beads Save The Circling of the Planets? Cellulose-Based Consolidating Filler to Stabilise Lifted Brittle Flakes on a Large Painting." In Conservation of Modern Oil Paintings, 597–606. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19254-9_45.

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Traub, Myriam C., Jacco van Ossenbruggen, Jiyin He, and Lynda Hardman. "Measuring the Effectiveness of Gamesourcing Expert Oil Painting Annotations." In Lecture Notes in Computer Science, 112–23. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-06028-6_10.

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Geng, Jing, and Congjun Cao. "Optimal Tone Reproduction of Different Oil Painting Style Images." In Lecture Notes in Electrical Engineering, 195–204. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-1864-5_27.

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Pavić, Mirta. "Non-traditionally Painted Oil Painting: How to Treat It Properly? Josip Vaništa’s Cakes (1955)." In Issues in Contemporary Oil Paint, 159–66. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-10100-2_10.

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Duffy, Michael, Ana Martins, and Jaap J. Boon. "Metal Soaps and Visual Changes in a Painting by René Magritte – The Menaced Assassin, 1927." In Issues in Contemporary Oil Paint, 197–203. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-10100-2_13.

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Geng, Jing, Congjun Cao, and Yonghong Qi. "High-Simulation Oil-Painting-Style Images Based on Stroke Characteristics." In Advances in Graphic Communication, Printing and Packaging, 309–17. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-3663-8_42.

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Zheng, Liang, Chunmei Li, and Zhangying Jin. "Research on the Hi-Fi Reproduction Method of Oil Painting." In Lecture Notes in Electrical Engineering, 180–85. Singapore: Springer Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-1673-1_28.

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Yang, Hongwei, Nan Xu, Yan Song, and Dongchao Wang. "Oil Painting Gray Image Matching System Based on Parallel Computing." In Advances in Intelligent Systems and Computing, 918–23. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70042-3_129.

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Conference papers on the topic "Oil painting"

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"The Influence of Soviet Oil Painting on Chinese Oil Painting." In 2018 4th International Conference on Education & Training, Management and Humanities Science. Clausius Scientific Press, 2018. http://dx.doi.org/10.23977/etmhs.2018.29103.

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Hwang, Ronghuei. "The Application of Freehand Painting Techniques in Oil Painting Teaching." In 2017 3rd International Conference on Economics, Social Science, Arts, Education and Management Engineering (ESSAEME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/essaeme-17.2017.195.

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Yujun, ZhaoTian. "The Influence of Impressionist Painting on Xu Beihong’s Oil Painting." In 2020 International Conference on Language, Art and Cultural Exchange (ICLACE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200709.050.

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Wang, Sheng, and Weiguo Lin. "Abstract Oil-Painting Using Texture Synthesis." In 2009 International Conference on Management and Service Science (MASS). IEEE, 2009. http://dx.doi.org/10.1109/icmss.2009.5303992.

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Loshkareva, K. S. "OIL PAINTING. THE MULTISESSION ETUDE EXPERIENCE." In VI Международная научно-практическая конференция "Искусствознание и педагогика. Диалектика взаимосвязи и взаимодействия". Общество с ограниченной ответственностью «Книжный дом», 2018. http://dx.doi.org/10.25807/pbh.978-5-94777-431-3.328.330.

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Wu, Yanni. "Discussion on Diversified Oil Painting Teaching." In 2017 7th International Conference on Education and Management (ICEM 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icem-17.2018.70.

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Maeda, A., Y. Oe, and N. Yoshizawa. "EVALUATION STRUCTURE ON PREFERENCE OF PAINTING’S APPEARANCE WITH LOW REFLECTANCE IN THE MUSEUM LIGHTING ENVIRONMENT." In CIE 2021 Conference. International Commission on Illumination, CIE, 2021. http://dx.doi.org/10.25039/x48.2021.po45.

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Abstract:
The purpose of this paper is to clarify the evaluation structure of the preference for the visibility of paintings, taking into account the characteristics of paintings with low reflectance. Although illuminance is used in the standards for museum lighting (CIE 157:2004), it is desirable to design lighting that also considers luminance from the viewpoint of perceived brightness. Therefore, we conducted the subjective experiment of oil paintings in which luminance ratio was set as an experimental variable and examined the evaluation structure of paintings with low reflectance. As a result, it was found that the evaluation of black details affects the preference for the visibility of paintings with low reflectance. However, the path diagram of the evaluation structure applied to each painting was different, indicating that it is difficult to represent the characteristics of a painting only by the mean reflectance.
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Li, Ran. "Application of Classical Oil Painting Techniques in Chinese Contemporary Lacquer Painting Creation." In 2015 2nd International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-15). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icelaic-15.2016.156.

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Qi, Feng. "Aesthetic Characteristics of Russian Oil Painting Language*." 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.200316.025.

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Niu, Sen. "THE NATIONAL CHARACTER OF CHINESE OIL PAINTING." In VI Международная научно-практическая конференция "Искусствознание и педагогика. Диалектика взаимосвязи и взаимодействия". Общество с ограниченной ответственностью «Книжный дом», 2018. http://dx.doi.org/10.25807/pbh.978-5-94777-431-3.67.72.

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Reports on the topic "Oil painting"

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Olson, Eugene. A series of landscape studies in oil painting and other media exploring and interpreting natural landscape elelments with emphasis on the relationship between plastic space and visual space. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.318.

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