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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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Faulcon, Laura J. "Cultural Identity." VCU Scholars Compass, 2006. http://hdl.handle.net/10156/1769.
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Lim, Kheng Saik. "Searching for the Sublime." BYU ScholarsArchive, 2016. https://scholarsarchive.byu.edu/etd/6108.
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The influential philosophers Edmund Burke and Emmanuel Kant understand the sublime as events and objects that cause an emotional reaction so magnificent that the intellect fails to comprehend it. It is thus deeply felt and experienced but remains undefined and non-understood. Searching for the Sublime is a suite of paintings that seek to respond to these definitions of the sublime. Together they address and evoke themes of mystery, fear, power, and the unknowable through the medium of painting.
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Corrado, Janae. "DECISIVE MOMENTS IN FICTION." Master's thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2795.
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I approach artmaking with a sense of intrigue, portraying the human condition as seen through my own eyes. The results that surface are female forms combined with subliminal subjective symbolism--a fusion of my personal experiences and influences created through a partially subconscious process. I use this artistic process to help me understand myself and I dare my viewers to seek their own answers within the implied narratives I choose to paint.M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
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Carlin, Gail Z. "Opening the Heart." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/1021.
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It is my discovery of the mandala that has had the most significant influence on me as an artist. The mandala, Sanskrit word for circle or center, is found in a majority of my pieces, either literally or symbolically. My interest in and subsequent use of the mandala began twenty years ago and continues to this day. The mandala is a primordial image found in the macrocosm of the universe, the microcosm of nature, and in the psyche of man. The circle has been used throughout the world in image and architecture as a sacred symbol since the beginning of time.
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Parry, Ariana J. "Flow: Abstracting Mundane Environments." Kent State University Honors College / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1481565925915224.
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Liu, Yao-Long, and 劉耀隆. "Forensic Examination of Chinese Signature Characteristics on Oil Painting – Mei Shu Li Oil Painting Example." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/bq4psh.
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Yao, Chia-Liang, and 姚佳良. "Researches on Bonnard''s Stroke in oil Painting." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/27324544268672937720.
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碩士中國文化大學
藝術研究所
92
Chapter 1 Introduction With overemphasis on the appearance, I felt my utilization of stroke and lines was weak, and my work was unable to express the form of vitality. Therefore, I chose to study Bonnard （1867─1947）to learn how to free my work from the existing boundaries. Chapter 2 Background of Bonnard The tranquil art environment experienced changes, especially in the thirty-year period after 19th century. The development of art schools came one after another, and gave birth to talented artists continuously. Bonnard was one of the elites during that period. Chapter 3 The background and uniqueness of Bonnard’s stroke in oil painting Bonnard absorbed, integrated, and digested the strength of many art masters, such as Corot、Monet、Renoir、Degas,and Lautrec, to develop his own characteristics. Chapter 4 Concept foundation of painting Aside from learning from Bonnard and Delacroix, I discussed my own thoughts on use of creativity, art creation inspired from the soul, inspiration in art creation, and functionality of arts. Chapter 5 Painting by Yao Chia Liang My paintings express the beauty of life in tranquility, and the sense of happiness from the care of family and friends. The themes were derived from feelings toward the life and nature. Chapter 6 Conclusion Bonnard observed this world with amazingly keen sense, and created art pieces with creativity. It was his way to retain his initial ideas. I followed the same manner in art creation, and solved a number of blind points previously occurred in the art creation process.
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Chen, Chien-Cheng, and 陳建成. "Discussion about oil painting artistic styles and skills." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/79467902554389266422.
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碩士中國文化大學
藝術研究所
91
Artistic style skill is important whether in western drawing or in Chinese traditional drawing. The thickness, facileness, and of the stroke are contributive to the texture and the molding. However, artistic style skill should not be considered as merely a skill. It must comprise more vitality. Artistic style skill is a reveal of enthusiasm as well as a melody of the life. I would like to discuss the profound theories in conjunction with the skill of the stroke and the usages of the implements and take my own pieces as an illustration. I hope that this research could increase my knowledge and expression in the professional field of oil painting. This thesis is component of 7 chapters: Chapter 1 【introduction】Stating the motive, purpose, method and scope of the research. Chapter 2 Discussing the definition of the style of drawing from the narrow sense through the broad sense and introduce the usages and characteristic of various kinds of pens. Chapter 3 Present the style of drawing. Studying the style of drawing of the general appearance of pictures by means of analyzing operation process. Chapter 4 Confer the expression of various skills of drawings systematically, then compare the telepathy raised from the various skills of drawings to the general appearance of the painters’ pictures Chapter 5 Confer the change of the style of drawing by means of the development of the western painting skill. Chapter 6 The piece of the writer. Operating the difference of various skills of drawing in practice to scale new heights in the research of the combination of skills and practices Chapter 7 Summary
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WEN, KUO LUNG, and 郭龍文. "“Image character and style” oil painting creation research." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/80518775467222024355.
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碩士國立臺灣師範大學
美術學系在職進修碩士班
100
This research content takes oil painting creation primarily, color research and scientific theory quotation as auxiliary. The drawing creation may display the theme is multitudinous. The portrait, the landscape painting, the flower-and-bird painting, the still life drawing even abstract, the surrealism and so on all is the direction and the topic which may create. There are many intermediary materials can be used like the water color, the famille rose, the acrylic fabric pigment, the oil painting and so on. The author takes “the oil painting ” technology with the durability for a long time reserve as the creation intermediary material, realizing the principle of the oil painting color and overlapping, the transparency color utilization , and do the thorough research, expected can display the color the best effect, the performance writing up original creation and the unique color style. In order to achieve the demand of drawing creation, It is extremely important to seek the creation target, the theme, the composition, the color . In this drawing creation research, a part of the creation is the sketch, the photographic creation which did in the period of the author travels personally in the European Italy Venice. The author has discovered many deep connotations, the emotion place characteristic cultures and the humanities landscape and the special color element; Another part of creation primarily combins the scenery、flowers、plants and the dance. The intention of the drawing creation has the thought connotation inside the imagination space works; With uses the color to the creation theme, by rich also multi-dimensional composition, after in addition studies the color scientific theory the idea and the impression, is in the works creation element and the inspiration springhead.
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Chang, Pi-Lan, and 張碧蘭. "Oil Painting Creation and Research on New Tamsui." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/24238305499004356603.
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碩士嶺東科技大學
視覺傳達設計研究所
101
Tamsui District is a sea-side district in New Taipei City in northern Taiwan. It is named after the Tamsui River; the name means "fresh water". It is a town with a special historical background dating back over 400 years. These legendary stories leave us a legacy of cultural treasures today, such as Hongmao Castle (Fort San Domingo) (紅毛城), Tamsui Old Street and waterfront (淡水老街), Tamsui Fisherman's Wharf (淡水漁人碼頭) and so on. Historical sites scattered among the old streets and ancient alleys, and mountains and fields all over Tamsui area. It is a great spot which inspires painters and writers to creat works. In this research, I choose some representive scene as themes and present them by different oil painting skills. In this research, the researcher would like to express her love and childhood memory regarding on Tamsui via her works; besides, the rescarch hope to remind the audience trying harder to pay more care and attention on historical treasure in Taiwan.. KEYWORDS: Tamsui, oil paint
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陳慧芸. "A study on the supports of oil painting." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/33096048844405983519.
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LAI, JIN-YI, and 賴晋毅. "The Oil Painting for Dalubaling with Anime Style." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/f9w6ws.
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碩士國立屏東大學
視覺藝術學系碩士班
107
What kind of image come to your mind when you hear words like “King of Hundred-Pacer Snake” and “Princess Balenge”? These characters and figures that appeared in the legends and myths of Taiwan’s Rukai tribe, which have never been written in words directly but have passed on for centuries by oral transmission between the young and the elder. Most of the actual traits of these characters have already shattered into pieces and lost in the old history. As a result, through painting, I want to recreate the story plots and figures of the Rukai myth Dlubaling, that is, Love of the Ghost Lake. With the applying of the unique style and visual characteristics of ACG culture that I have a fondness for and familiar with, I combined two different cultures into paintings and art, therefore, recreated a whole new image. I’ll begin from the classic passed down Rukai myth, Dlubaling, through references from various contexts I found and my own observations of several on-site field trips I conducted. Along the process of interviewing the senior members in the tribe, I’ve gained a whole new different understanding of the story Dlubaling. With Japan anime visual features as my creating ground, I recreated a new image and design of the roles and the storyline of the story Dlubaling. By means of my otaku thinking and self-experiences of Rukai culture, I visualized the subconscious feelings behind the role of King of Hundred-Pacer Snake and Princess Balenge. Through this series of Dlubaling art work, I’ve merged and compounded the story factors and my personal culture experiences. Moreover, in this thesis, I’ve analyzed the unique visual characteristics I applied in this series of art works. This research paper will provide creators that interested in Taiwan indigenous culture and story with materials they may applied in various creating styles and forms. Furthermore, the information and the varied suggestions I collected during the on-site field trips of tribe may also be a good example and aid for any successors to use and to apply in order to complete a more downright and utter art work or thesis.
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Chang, Chia-hui, and 張佳惠. "Painting Tamsui Writing Tamsui—The Oil Painting of Creation Description of Chia-Hui Chang." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/evk4up.
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碩士國立臺北教育大學
藝術與造形設計學系教學碩士班
104
The aim of this thesis is to express the local feelings of love and care by the oil painting creation named “Painting Tamsui Writing Tamsui”.The primary motive of this discourse came from the experience and memory of my growing process, along with the abundance and goodness of life after settling in Tamsui. A strong sense of affection and contribution to the native soil were then aroused, additionally with my anticipation of self-realization in the field of art. Thereby, the purpose of it is to deliver my sentiments toward Tamsui’s diverse culture, to record the unique faces of Tamsui, the hive of cultural activities, and to enrich creative representation based on the subject of Tamsui. In the aspect of grounded theory analysis, the literature reviews for Tamsui’s natural environment, history, ecological environment, culture and customs, in addition to seven inspiring Tamsui’s artists, are provided as a source of an inspiration and academic basis which internalizes and molds the concept and the style of my creation. In terms of the ideas of my creation, the touching moments of life, the care of native culture, and the power of visual learning are included; all of the feelings are expected to deliver to the audience and strike a chord in their hearts by building the ambiances and presenting exquisite technique in the artworks. Strong emotions for Tamsui’s natural scenery, history, culture and customs are the elements and subject of this creation; for each artwork, the concept, form, and technique are analyzed. Finally, the entire creating process is reviewed; also the creative performance and responses are rendered. An objective analysis of audiences’ feedback gathered in the gallery’s interactive area will be used to reflect on the purpose of this study, and moreover, to introspect myself and my future prospects.
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Tapia, Pablo. "Master painting manual: traditional painting material methodologies for the contemporary artist." Thesis, 2015. http://hdl.handle.net/1959.13/1308276.
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Masters Research - Masters of Philosophy (MPhil)Direct oil painting methodologies are simple in their application and optical effects compared to indirect layering systems, particularly the procedures developed during the Renaissance. Today, modern painting mediums alter oil paint’s flow and drying characteristics by using ingredients which are unnecessarily complex and mainly based on solvent usage; creating a health-hazardous environment. However, when a selection of some natural materials are combined, tested and amalgamated with ancient and modern painting processes direct painting methodologies are invested with a wider range of optical interplay. Thus by paying closer attention to the relationship between the artist’s tools and substances, modern and traditional painting systems are deepened and expanded. The outcome is that the relationship between the artist’s pictorial intentions and the means to achieve them are synchronised. Therefore, this research found, through an active professional painting practice, that there exists a highly symbiotic, richer, and more fluid relationship between ideas and materials, when using a direct oil painting methodology which fouses on its physical means of expression.
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Liu, Hua-Zhu, and 劉花珠. "The study on the multimedia creation combined with oil painting, ink painting and 3D plasticity." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/49369620872060507054.
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碩士遠東科技大學
創新設計與創業管理研究所
103
This research is titled “the study on the multimedia creation combined with oil painting, ink painting and 3D plasticity”. Firstly, relevant pieces of art work are collected for case study with 30 pieces gathered totally wherein 10 pieces are oil paintings; 10 pieces are ink paintings and 10 pieces are the art work of 3D plasticity. In terms of the selecting standard for ink paintings, the collection is made among the master pieces of Chinese art work with a period ranging from 1877 to 1964. In terms of the selecting standard for oil paintings, the collection is made among the master pieces of art work with a period ranging from the European Renaissance Era to 19th Century. In terms of the selecting standard for plasticity design of multimedia, most of them are the art pieces made of paper clay based on the selecting standard selected from award-winning pieces in national art competition events and journal-published pieces among members with a period of 1990 ~ 1999. Through the analytical appreciation on the creative inspiration among aforementioned pieces of art work by means of case study, it is attempted to combine 3 different creative media namely Chinese paintings, western paintings and 3D plasticity together into a single painting without any clash found. It is meant to create a painting of multimedia integrated with both eastern and western cultural elements wherein the creative ideas and skills to combine oil paintings, ink paintings and 3D plasticity are proposed. Relevant are invited for interview surveys. Through the interactive suggestions by interviewing scholars and experts, valuable inspiration and opinions are gained. It is expected in the future, more creative inspiration is sparked and more applications of multimedia creation are widened. Finally, the opinions and suggestions from interviewed scholars and experts are summarized with the results concluded for this research.
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Hsiao－Yen, Huang, and 黃小燕. "Travel‧Image－The Oil Painting Works of Huang Hsiao－Yen." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/d7344z.
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碩士大葉大學
設計暨藝術學院碩士在職專班
100
I choose the horizon in the travel, people, events, objects as a theme, the spirit of reading thousands of books, thousands in the spirit, heart contemplation of all things, child care, always focused on hearts image by the visual senses of deconstruction, Reorganization, performance in the semi-figurative and abstract painting in an attempt to find their own unique shapes and colors of the painting vocabulary. The exposition of the creation is divided into seven chapters, the first chapter describes the creation of motive, purpose because after years of baptism, to rethink the value of life, recognize that knowledge into creation through tourism, the hope for a life experience to bring moreinterpretation and moved. Literature to tourism psychological perspective discusses the travel and creative, and the fullness creative exploration and philosophical conception of the heart as connotation, also from the perspective of art history, analysis, and various art schools, color, picture composition, as the painting Theoretical Basis. The third and fourth chapters statements concept originated from the heart of the pursuit of spiritual awareness and the combination of travel and writing to convey the emotional self, inner qualities and the social, cultural love and care. Creation from the horizon turned into a trip special moral rendered, creative forms of expression lines, form and color elements, and through the use of painting techniques to express a personal creative perspective. Chapter VI discusses the works. By travel, exposure to different cultures and ideas, lessons, incorporate nutrients painting. The work is divided into the "eternal" and "no dispute", "confusion" three series of thriteen works. Chapter VII conclusion .This article summarizes, by travel and creative exploration of self-value of life, and to clarify the inner depths of the heart like, and look forward to in the discussion of this creation, grow, and find the way out and direction of development for the future of artistic creation.
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謝聖雅. "The Development of Chinese Oil Painting in Ching Dynasty." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/41512048928377426885.
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碩士國立屏東師範學院
視覺藝術教育研究所
90
The Development of Chinese Oil Painting in Ching Dynasty Oil painting is a tool for displaying painting; a media for the creation of the fine art. It is not used for the division of the painting style. This article analyzes the development of Chinese oil painting with the point of view of material. The aim of this research is to study the historical origins of the material of primary Chinese oil painting and to understand the background of the development; the effect and reaction in Guangzhou, Beijing and Shanghai after Western oil painting was introduced to China so as to realize the thread of thought on developing the Chinese oil painting in Ching Dynasty. This research uses methods such as historical study, style modeling study, art sociology study to understand the cause and effect of the particular period, the environments, and the works’ style of the development of Chinese oil painting so as to probe into the achievement and difficulties in the development of Chinese oil painting in Ching Dynasty. It then makes an evaluation with regard to the value of the whole Chinese painting. Before the Western oil painting was introduced to China, dry oils such as sesame oil, pellila oil, nut oil, tung oil had been used as the media for the oil painting, or added the litharge to stimulate the dryness of the oil. In addition people applied the skill of thick painting and coating to display the decorative style of the oil painting. Early in the Han Dynasty the Chinese oil painting existed in the folk workshops and the skill had been applied to the scope of art such as Lacquer, and architecture. However, with regard to that it is not possible to analyze independently. The study of the scale and the trend of thought of the Chinese oil painting with the fine art point of view had started early in the year of 1578 which was the year in the Ming Dynasty when Western missionaries began to introduce the Western oil painting to China. In the Ching Dynasty, it was the most important stage for the communication of the East and the West culture. During this period the special developing processes of the Chinese oil painting in Guangzhou, Beijing, and Shanghai are as follows: Guangzhou was the earliest place in China where the first Western oil paintings were introduced to. The development of the oil painting in the Ching Dynasty can be divided into four stages. In the beginning, the religious decorative oil painting was the main trend, but ended with the policy of religion prohibition. The most popular stage was at the same time as the boom of foreign trade. The decorative oil painting became an independent painting, and was similar to the portrait painting as in the folk; the scenery oil painting was to use the perspective, light and shade skill to show the special theme. The prosperous stage was in 1825, it was the year that George Chinnery started to reside at Macao. Gradually the portrait oil painting changed to paint the full body of people and added up with the background of scenery; the scenery paintings were low cost and imitating paintings. In 1850, the exportation of the oil painting reached its peak. It has declined since 1860, mainly because of the civil war, foreign countries invading, and the forced trading at five ports of China by the great world power which caused the political situation to deteriorate, . It was also affected by the factor of economy transfer and the impact of photography. Accordingly, the quality and quantity of the exportation of the oil painting could no longer be as good as that in the prosperous stage. In Beijing, because the Emperor Kanhsi, Yungcheng, and Chienlung were very fond of the Western fine art, it became a feature to support foreign painters in the palace. Emperors held an open and tolerable attitude in respect of Western oil paintings. They applied Western oil paintings to decorate the palace, record the royal life and to witness important historical events. It is therefore the Western oil painting that could be passed on from the stage of Emperor Kanghsi to that of Emperor Yuncheng and Chienlung. Because all of the learners were craftsmen, and served in the palace, they referred to the skill only and followed the fondness of the Emperors to paint. The foreign painters’ support was stopped after the period of the Emperor Chienlung, and the oil painting in Beijing was called to an end. The beginning of the oil painting in Shanghai was in 1950 due to “the forced trading at five ports”. Not only the oil painting inherited from Kuanchou but there were foreign missionaries to teach the oil painting directly. Later on the teaching of the oil painting at the workmanship studio of Tu-San-Wan, many Chinese painter had achieved in training a lot of Western style. Whilst studying the Chinese oil painting, it should not ignore that early in the Han Dynasty there had existed the history of using the material of oil painting. The Western oil painting was introduced to China in the Ming dynasty and it had a brilliant development history in the Ching dynasty. Although the Chinese oil painting developed for 300 years in China the progress was still sluggish. The reason is due to that the Chinese fine art was manipulated by high level officials who despised oil painters of low position. The process was to have the religion oil painting as the catalyzer and Western missionaries as the spreading media. The learning of the oil painting was passive, until the early years of the Republic of China, due to the painting circles were affected by the political trend of thought to “learn from the west”, people then started to study the Western oil painting actively and consciously.
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李雨樵. "A Study of the Manga Otaku Oil Painting Series." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/6he3p8.
Full textAbstract:
碩士國立臺灣師範大學
美術學系
103
Anime and manga as a sub-culture is gradually becoming more prevailing and it has had a great impact on many. The researcher of this study thus created the Manga Otaku oil painting series as a self-reflection, exploring into the impact anime and manga has on the researcher, and also, on the other hand, how the researcher interprets otaku under his brushes and strokes. This series are centered on 1) anime and manga and 2) otaku, which have been a very important part of the researcher’s life. There are six chapters in this study and each chapter is summarized as below. Chapter one is introduction. This chapter covers the motive and purpose of the creating and studying of the series and then the research method and scope of study. Chapter two is the theoretical background of the study, which probes into sub-culture and its impacts on teenagers. The definition and categories of otaku and the development of cosplay are also covered in this chapter. Chapter three is the artist’s statement, unearthing the messages underlying the series and exploring into the impacts anime and manga has on the artist and how he, being an otaku himself, defines this series of paintings. Chapter four is the content, form, techniques, and medium of the Manga Otaku series. This chapter probes into the content and elements in the series as a whole and how the artist employed the art medium of choice to embody his concepts into his paintings. Chapter five is artist’s commentaries, elaborating on the concepts behind each of the twelve oil paintings in the series. Chapter six is conclusions. This chapter concludes the study and includes the researcher’s review of the study and his artwork, in the hope of having more excellent performances and breakthroughs in his future art creation.
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Yu-Lin, Huang, and 黃于玲. "Research on Fakes in the Taiwan Oil Painting Market." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/79808468812783149876.
Full textAbstract:
碩士國立臺灣師範大學
美術學系在職進修碩士班
95
Fake art has been flooding in the Taiwan market. The headache of fake art has debated and impacted on the art market over several decades. Collectors have slightly lost confidence in oil painting; because of the fakes issues exist on the market. This research on fake art in the Taiwan oil painting market represents a new approach from the different points of viewing on the national culture policy, art industry and collectors perspectives, especial on culture economy, that there will be a significant meaning on this research. In 1980, the starting time of fake art in Taiwan, I had experienced to buy the forgery of art works, that I operated the private gallery. Being an operator of art gallery, this research paper will be written in objective points of view and provide more critical key points to the fake art issues. To emphasis on the marketing strategy, that is I run the business style of private gallery so that this research will analysis on the forgery of inducement and how the fake art coming to the market and being abnormal situation. Besides, the research will discuss on the marketing of oil paintings and the brand name concept in the art market. The purpose of this research will illustrate the fake art issues and discuss the relation of the cause and effect in Taiwan art market. In Chapter 2, the research presents the history and background of fake art, which describes in detail on the real cases and inducement of fake art, also the impact on the market such as the low confidence and irregular phenomenon. Meanwhile, this paper will make an inquiry into the production of forgery and the technologies and authentication on the fake art. The Chapter three reflects the issue laws and regulations to safeguard the credibility of oil painting art in Taiwan. There are no specific laws dealing with the arts market and arts collection. Chapter four presents the marketing of brand name on fake art and the relation of the cause and effect in art market. Chapter five makes a conclusion and provide the precise suggestions, that build up the interactive mechanism of government, law and art stakeholders, also the establishment on the center of art accreditation and art database. In the absence of credible information from private and public sectors, the fake art has been flooding in the Taiwan market. The position of government, art agency and academic institute on this fake art problems is major influent stakeholders. People should be punished for selling of fake art in a serious criminal law. In this research, one of the most difficulties on the law issues However, this research do not focus on the accreditation or law, so that the definition of forgery is “the unproven real artwork” and all of the relating information is quoted by more than 126 articles in newspaper reports, that will be initialized to the data base in the future research. Recently, the economics and culture become hot topics. "Without a sound economic base, art cannot exist, and without creativity the economy cannot flourish." say Bruno S. Frey . "Each society, each generation, fakes the thing it covets most" (Jones 1990, p. 13). Fake art is the product of flourishing market. The problem of fake art is the unhealthy market .For the health of market, all of the stakeholders ( Artist, Private Gallery, auction companies, collectors, Gallery Museum) must to maintain the whole benefit of oil painting market.
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Marques, Raquel de Rocha. "Analysis and treatment of a nineteenth century oil painting." Master's thesis, 2014. http://hdl.handle.net/10362/14198.
Full textAbstract:
This thesis focused on the study and treatment of a 19th century female portrait in oil from ECOMUSEU Municipal do Seixal, Portugal. The portrait, which depicts Isabel Maria Lourenço Affonso was in poor condition and a large strip of paint and canvas was missing (approximately 9cm by 66cm, almost 11% of the total surface area). The portrait is a companion piece to a male portrait (the relationship was established as part of this study), therefore a technical study of both paintings was considered essential to support the choices made during the treatment.
The project involved three main areas:
- The study of the history, condition, materials and techniques of both paintings. This allowed their comparison and understanding of their relationship;
- The treatment of Isabel Maria Lourenço Affonso. The choices made and problems encountered are described.
- The production of a replacement for the missing strip of paint and canvas. The practical solution developed to overcome such an unusual challenge is described along with the creative and flexible thinking required.
Because not all traditional infill materials cope well on a mechanical level with thin layers over a very large surface (many are too brittle), strict criteria had to be employed to choose the appropriate material. The primary goal was to find a fill which would remain flexible and be capable of accepting surface texture, such that there would be a good visual match with the painting. Analysis and testing was carried out to evaluate the physical properties of the fill material chosen, BEVA® Gesso-P.
The successful creation of the replacement strip has resulted in two publications and one presentation:
Publication pending in The Picture Restorer, Leslie Carlyle, Raquel Marques, Isabel Pombo Cardoso and Sara Babo, “Creating a Textured Replacement Strip for the Missing Lower Portion of an Oil Portrait: Problem Solving and Practical Solutions”.
Abstract accepted for presentation and publication, International Meeting on Retouching of Cultural Heritage (2RECH), Raquel Marques, Leslie Carlyle and Isabel Pombo Cardoso, “Textured Replacement Strip for a Missing Portion of a Portrait: Problem Solving and Practical Solutions”.
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Yu-Shiu, Yang, and 楊玉秀. "「Kavalan Folk Songs」An Oil Painting By Yang Yu-Shiu." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/g2k535.
Full textAbstract:
碩士華梵大學
工業設計學系碩士班
100
ABSTRACT In the painting Kavalan Folk Style, the painter Yang Yu-Shiu chose a natural landscape as the main subject, and inserted elements from our daily lives for additional visual experience. The oil paint colors helped construct impressionist images, while the painter’s brushing techniques brought the landscape to life. Keeping the balance of Ying and Yang as well as light and dark was important in her painting process. The emphasis on texture and patterns helped illustrate the creative ideas and the thoughts that went behind each brush stroke, and show the view of the world from deep inside her mind. The gradual change in the landscape and its transparency prove that she has mastered the language of creative art. There are five chapters in this research document. First, the introduction will provide approximated description of the purpose, scope, content of this research as well as the methods used to conduct the research. Second, there will be a chapter on the history of Kavalan region, its cultural characteristics, and its customs. Next, there will be an explanation of the geographical significance, environmental attributes, weather and important landscapes of the region. The fourth chapter will present a theory that explores the source of emotions induced by Yang’s creative ideas and collect artists works as the creation of the painting reference. The final chapter indicate the experience of creation and during the study period, in addition, I review of my creation have some imperfections, also wrote the future creative direction and put forward reflects and prospects. Keyword: Kavalan, natural landscape
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Lee, Hui-Jung, and 李惠容. "Hakka Cluster House - Oil Painting Creation of Rolanda H.J. Lee." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/5b8bb7.
Full textAbstract:
碩士玄奘大學
視覺傳達設計學系碩士班
103
Hsinchu was once the beautiful homeland of the Taokas, one of the tribes of Taiwanese Pingpu aborigines. In fact, Hsinchu's old name "Chuchien" is a Taokas word that means “seashore”. Hsinchu area long before the Han Chinese came, is inhabited by indigenous Pingpu Taokas, Saisiyat, Atayal. Hsinchu terrain has more mountains, hills and less plain. Hsinchu Plain is alluvial from Fengshan River and Toucian River. The range includes all Jubei City, Sinpu town, KuanHsi Town, Qionglin Town, Zhudong Town, Hengshan Town of Hsinchu County and northern half of Hsinchu City. The region's terrain is flat, water is sufficient, as the county's major agricultural production base, is also the location of settlements and commercial center. The Hakka population ratio of this area is up to about 85% now. My hometown is on this plain. Family is the source of life, and the space of life-sustaining, generation to generation, blood legend. After grew-up, the brothers got married one after another, having children, and then the number of people multiplied. By the impact the tradition of collective society, there are many collective products generated. Those products are original, spontaneous, local, regional, historical continuity and retention. And therefore, I had tried to demonstrate the rustic, simple, honest culture and my personal feelings in my oil painting since I was young. This paper combined & demonstrated the creation of life experience, media material, techniques, and personal style. I hope this can benefit all the people which are interested in the culture of my hometown. In this study, I started from the literature review to understand the relevant relationship of architecture style and social culture. The case studies collated the shape of painting works, painting color, painting style and painting forms. Therefore benefit the creators to use the creative concept to draw paintings and products.
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SUNG, Sz-Huei, and 宋思慧. "Exploration of Mind- Oil Painting Study of SUNG,Sz-Huei." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/5q8mv5.
Full textAbstract:
碩士國立臺灣師範大學
美術學系
103
A delicate balance among the body, mind and soul has been an ultimate pursuit of all mankind. People have struggled to calm down with outward interference, therefore, how to properly transform the ripple of our inner core into a peace would be certainly a great issue to us. The author constructed a “mind place” in paintings through a profound talk with herself. It makes the train of thinking roam on the sideline with different perspective toward difficulties, furthermore helps us pick up the connection between ourselves and the universe in conscious level, to open up our inner spirituality after a better comprehension of life. The objective of this study is to acquire the inner peace under various emotions and face the mood originally suppressed by ourselves, via the paintings showing how we react the life under different circumstances. It drives us to see ourselves in other point of view with more magnanimous attitude then to handle every presence. The more the inside balance ball becomes tranquil, the better we master ourselves. The paintings provide another outlet of dispersing her emotion that cannot be expressed by words, especially that the process of painting itself is a best time of settling herself and ruminating life experience. By means ofthe display of the pictures, the author expects that people are able to escape their bustling life and listen to their own inner voice, giving rise to trigger a further enlightenment.
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Yang, Jun-Lan, and 楊竣蘭. "Simulating the Oil Painting in an NPR 3D Animation System." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/98988735515705596331.
Full textAbstract:
碩士國立暨南國際大學
資訊工程學系
96
Non-Photorealistic Rendering (NPR) has been an important issue in the field of Computer Graphics. Instead of highlighting the realism of CG synthesized images, NPR focus on the representation of the stroke and paint style. One of the most important features of Non-Photorealistic Rendering is the exaggeration expression over the subjects of image. Therefore, NPR is suitable to synthesize images that simulate the paint style with the visual effect of strokes. The research issues of NPR can be roughly divided into two types, 2D image-based method and 3D model-based method. In this paper, we synthesize 3D model-based NPR images and animation with continuous volumetric strokes to simulate the visual effects of oil painting. According to our survey on oil paintings, we conclude that the heap of pigment and the volumetric property of each single stroke are two of the most important factors in the works of oil painting. According to the distance from the strokes to the edge of the object, we set up the priority of all strokes. Based on the order, through dynamically segmenting the canvas apart, we make the grouping with regional stroke in the object. And then pile strokes in the same group. The information of the thickness of strokes is stored in a Z-buffer-like data structure. The 3D canvas is then rendered based on this information. Main contribution of this research includes producing the volumetric strokes, and simulating the oil color correctly on the canvas. These goals are achieved by piling up the strokes on the same pixel, and superposing the pigments to simulate the final resulted color on the canvas.
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LIN, KUO-SHENG, and 林國勝. "Protection ． Confliction—The Discourse of Kuo–Sheng Lin’s oil painting." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/j88g3g.
Full textAbstract:
碩士國立臺中教育大學
美術學系碩士在職專班
106
The motivation of this research project is to explore the idea of parents’ expectations and education methodologies through personal experience and memories as a child, which has awakened my view and reflection upon family values against society standards. The aim of this thesis is to recognize ideologies on self-existence as well as projecting key point of view on the current parenthood relations with creative outcome. The study is mainly based on my work between 2012-2016, in the order of reviewing and analyzing related literature, as well as featuring the realization of oil painting, which will be divided into five chapters. The second chapter consists the theoretical foundation on iconography as the base of this thesis, with a purpose to gain prospects of personal translation on iconography, and the input of semiotic meanings. Hence, to solidify the main subject of this project. Also, in attempt to broaden the vision and depth of the work, four surrealist artists with similar style and methodology was referenced and specifically studied their individual rationales and narratives. The focus of third chapter is to highlight the key artistic concept of the project and the analysis of format. Firstly, it is to portray personal thoughts and visions; secondly, to interpret the symbolic meanings of the imagery, and lastly to introduce the format, medium and the practice of paintings. Fourth Chapter aims to analyze and interpret the artworks between 2012-2016, which covers the series of “Protection and Confliction”, “Beauty and Sorrow”, “Frozen Glory” and “Shan Shui”. The fifth chapter concludes this thesis, which summarizes of the writer’s self-reflection and personal gains among his long period creation. At last, upon reflection, the writer has gained a grand view on the ideology of protection through the process of creation and studying. Also, several vital techniques that differs from classical and surrealist painting visually were discovered while practicing this subject, it could be useful for any painters looking to take on surrealist style of painting.
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Jian, Zhi-Heng, and 簡誌恒. "Oil Painting Simulation: Processing of Canvas Texture and Background Color." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/6njzcf.
Full textAbstract:
碩士國立交通大學
多媒體工程研究所
106
In this thesis, we designed a system of non-realistic imaging technology. The real image is processed to simulate the image with oil painting style. In order to simulate the unreal feeling of actual picture, the system uses abstract technology to reduce the details of the real image. Use the Edge Tangent Flow algorithm to determine the stroke direction and simulate the stroke in wireling-like brushing of the artist's Vatican. In order to be closer to the actual style of oil painting, the system combines the actual canvas image with the real image. Finally, it output the image with oil painting style and canvas texture.
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Tung, Meng-T., and 童孟緹. "Effects of Temperature and Relative Humidity on Tung Oil-Painting -- Craft and Painting of Kuo''s Working Methods in Effects of Temperature and Relative Humidity on Tung Oil-Painting -- Craft and Painting of Kuo''s Working Methods in Lukang." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/32156032841677838340.
Full textAbstract:
碩士國立臺北藝術大學
傳統藝術研究所工藝美術組
94
The performance and the skill method of paintings presented diversified phenomenon, paintings'' culture is a kind of craft that uses brain to be created with the hands. it''s being used for the vision and mental expectation that satisfy the person; the truereflection comes and goes of living portrayal. Accompany with the life style change, bring the whole transformation of civilization. The industrialization and urbanization of fast development make the cultural conformation and ways of original mold disappear quickly. Except for article, traditional craft its technical skill is most important．Only recover the environment of the operation and the process of the manufacture can expressive the spirit of the traditional craft complete．Under the above and study the traditional working process, and working methods and working material is very important. This discourse will use field survey, interview the record, documentation-collection to the background of the Kuos'' working methods in Lukang proceed investigation analytical．Additionally according to original historical data rebuild the working methods that paintings at that time. Then aim at the difference that the working methods estimative experiment to discuss the work method influence. And discuss the different relative humidity and temperature influence to paint in the timber.
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Sheng-Ping, Wang, and 王聖平. "An Imagery Research on Form and Color-Oil Painting and Water-Color Painting Created by Wang Sheng-Ping." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/01350321069803733631.
Full textAbstract:
碩士大葉大學
造形藝術學系碩士在職專班
95
ABSTRACT Artistic beauty should have the touching level, should which the humanity pursues is: Richer, is finer, has the connotation art ﹔ Can shock the will of the people in particular the artistic work, should be the author Untold hardships , carefully plans, is not accidentally bumps into or picks.Based on above cognition idea, author in recent years on the one hand study China and the West art history, China and the West esthetics, creation related technique and some master levels drawing courses; On the one hand the person, the matter, the thing which to the week suffers takes the theme, penetrates in the nature the image, with compares the embodiment the drawing technique, inquires into the drawing the shape, the color, so as to seeks that to contain in the nature is purer, constantly, the simpler visual skill picture, as well as in the human nature through ancient times does not move the emotion, to the time entrusts with a work richer connotation, the tensity and the vitality. Portrait 11, still life drawing 8, landscape painting 7, other kind of pictures 7; The paper divides into: The first chapter introduction contains the research motive and the goal, the research content and the scope; The second chapter self- creation esthetics foundation contains the creation the scientific theory or principle foundation cognition, to the artistic cognition and the beautiful cognition, China and the West drawing creation art to me the influence; The third chapter creation account in own words contains the respect art principle the form, the creation ability self- cognition training, the artistic technique ability application and the share and the creation analysis; Fourth chapter work elaboration; Fifth unit elaboration and so on chapter conclusion and forecast. Key word: Still life drawing, landscape painting,portrait
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，Sung, Mei Chun, and 宋美君. "A Study on Nature and Humanistic Image in Painting-The Works of Oil Painting by Mei Chun，Sung." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/92287027342278545334.
Full textAbstract:
碩士大葉大學
造形藝術學系碩士在職專班
95
The theme of this research is study on natural and humanitarian images in paintings—statement of painting works by Sung Mei-Chun. The main discussion is on philosophical meanings and symbolism in paintings and concepts and skill presentation of the researcher. The article focuses on nature and humanitarianism with same emphasis on theories and creation. Literature study is the foundation of researcher’s theories in paintings in the hope to reach the goal of creation from the process of cross operation of theories and actual creation. This article is divided into five chapters. Chapter I is the introduction, expounding the motif, purposes, methods, scope, structure, procedures and glossary of this research. Chapter II explains the theoretic foundation of the creation with research analysis of the literature to serve as foundation of creation research in order to establish researcher’s concepts and presentation of ideas. Chapter III is the form and contents of creation, detailing the expression forms, contents and ideas of the researcher’s creation themes. Chapter IV analyzes the works and details the procedures of theories and practice. With the presentation of the actual creation, the unique painting language, creation content and spiritual meanings of the researcher are expounded. Chapter V is the conclusions, generalizing the research results and expectations for the future. According to the researcher, creations shall not merely be the presentation of real objects. On the contrary, they can present personal unique expression forms and vocabulary through creators’ spiritual meaning and philosophical ideas. This research focuses on analysis of the views of the painter in attempt to layout the higher level in the future art creation. Key Words: nature, humanity, images, symbol
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廖峻毅. "Gymnastic Tumbling : Oil Painting Study of Rhythm and The Cloud Image." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/zbjsth.
Full textAbstract:
碩士臺北市立教育大學
視覺藝術學系視覺藝術教學碩士學位班
101
Art creation is based on real life, but it would never be just a simple re-presentation of that real life. The researcher used “gymnastics” and the image of “cloud” as the basic elements. And “tumbling” was the central idea connecting all his works. He tried to apply both Eastern and Western ways of presenting the image of “cloud” to his creation of gymnastics human body. Aesthetic thoughts were implied in his works. This study aimed to interpret the movements of the gymnastics figures. Beside presenting the visual beauty of human body, it hoped to aspire the viewer’s thoughts and emotion by the atmosphere and framework of the works. Elements of production such as modeling, color, texture, line, etc. were used to present the power and rhythm beauty of gymnastics. Various kinds of arrangement of the “cloud” image in the background corresponded to the dynamic forms of “tumbling”, thus to create a dynamic and moving atmosphere in the picture. The beauty of “tumbling” in gymnastics was well performed in visual creation.
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董盈穎. "Oil painting Restoration Management Setting Mechanism System In Taiwan Art Museum." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/3c375s.
Full textAbstract:
博士國立臺灣師範大學
美術學系
100
Among the national Cultural Heritage Preservation Act currently in force in the Republic of China (Taiwan), there are hardly any items related to artwork restoration, though the National Museum Law has been discussed for many years. Lack of laws and guidelines as the restoration code of ethics similar to those in the advanced countries, and outsourcing restoration jobs make it problematic in monitoring artworks while in restoration. The restoration of oil paintings in Taiwan’s three main Art Museums, is mainly outsourcing. That is, most of the restoration jobs for oil painting artwork were outsourced to private studios and abroad. Thus makes it extremely difficult in supervising the restoration process. Unfortunately, there are no laws regulating current practice. At present none of Taiwan’s three major At Museums has a conservation department, so that oil painting restoration jobs, the administration work have to be taken by archive keeping personnel. Due to the difference between the expertise of archive keepers and conservator-restorer, there are gaps in management as well as quality control in restoration jobs. Some indiscernible damages many occur and precious data may lose during the process. Countries with a better system in restoration of artwork usually have established code of ethices and guidance for practice, though not as binding as laws, to be followed by conservator-restorer. As a guardian of oil painting restoration, and in a hope to establish Taiwan’s Standard of Procedure (SOP) for oil painting restoration, this article tries to take the code of ethics and guidelines which have been practiced worldwide, as Taiwan’s benchmark to outline the standards in three categories of “Who, What, and How” in the profession of conservator-restorer. In order to seek correct restoration procedure, this article suggests to use the Total Quality Management (TQM) Form, management charts, and checklist as the ways and means to set up restoration framework. Setting up the SOP of restoration profession may provide the guideline for the administrators supervising restoration process, and encourage conservator-restorer to become more professional in their work. With restoration process and details correctly recorded, the restoration report sent to the Museum curator becomes wholesome, and professional. In the long run, it will lift the quality and standard in Taiwan’s art restoration. It may also serve as reference for the future legislature of culture heritage law.
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HSU, Wei-Chu, and 許為筑. "The Corner of Losing―Oil Painting Study of HSU,Wei-Chu." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/pqz6se.
Full textAbstract:
碩士國立臺灣師範大學
美術學系
104
Abstract This research "The Corner of Losing" was chosen as the theme of studying the creations. The writer attempted to express social crowd state which were ignored in the daily life such as human being, things, or articles. The study starts from researching the true stories and scenes in the living environment. The realistic point of view pursued the episode of human life. Even the researching methods displayed frankly and awkwardly, they were toward the empathy of the social crowd to search the relationship between the people and the society. Mainly, the writer hoped to display the unique vision and metaphorical meaning through the brush - recording the image of the writer’s familiar life and social classes by paintings. Researching metaphorical meaning from modern city life, people may have specific sympathetic feelings with others. On the other hand, there were many serious viewpoints during the researching periods. In this process, the writer tried to interpretive the creative ideas and creative experience which were naturally taught by the writer’s elders since the childhood. Therefore, the style of the paintings became the media to pass people’s thinking and creed feeling about the mass environment. The creation theme was the first personal research adopted by the writer. The theme recalled back to the past memory which connected to the vision in the mind. That was the experience of the writer’s life; time passed away rapidly but the impression still remained unto this present. Therefore, being in this kind of outer city space and according to the past memory, the interior realization would be roused. For these paintings, the writer recreated a new image of the memory and interpretations of the daily life that may be the common scene, the streetscape or the special setting. The writer tried to seek another realistic condition of human’s life in the mass city, thus the demonstration of visual works are given a new appearance to form the personal artistic form. Key words: daily life , Allegory , The Corner of Losing
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Wang, Kao-Pin, and 王高賓. "A Study on the Creative Techniques and Production of Oil Painting." Thesis, 1994. http://ndltd.ncl.edu.tw/handle/39201301115864332382.
Full text
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Hsiao-Ling, Lin, and 林孝玲. "The durability of oil painting varnishes in local climate of Taiwan." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/70477611216769628168.
Full textAbstract:
碩士國立臺南藝術大學
古物維護研究所
95
The typical subtropical zone climate of Taiwan is hot and damp,this kind of conditions whether cause the aging of oil-painting varnishes more serious or not?and it is will speed up the degradation rates?The durability of varnishes in Taiwan could be studied. In this thesis ,the varnishes for test are Dammar resin、Regalrez® 1094、Paraloid® B-72、KRYLON kamar varnish 1312 and KREMER Alkyd-resin.After 1200 hours accelerated aging test,the FT-IR spectra of Paraloid® B-72 and kamar varnish 1312 seems not have changed,and the films of these two varnishes presented no yellowing and brittle.Moreover,they also have good reversibility.The FT-IR spectra of Dammar resin、Regalrez® 1094 and Alkyd-resin were found an increase of absrobance is observed in the C = O and C - O region,and the films of these three varnishes appeared yellowing after aged. Dammar also became brittle and crack at the same time. The CIE-L*a*b* test results of red、yellow and blue paint layers after applied varnishes all reduced the chroma values.The values of lightness showed different effect with different varnishes, for blue paint layer, these five varnishes all gave more lightness effect.The color different values which showed the maximum of change is Regalrez® 1094 and the Paraloid® B-72 showed the minimumof change. Furthermore,the Glossy test of films showed Alkyd-resin has highest glossy and the kamar varnish 1312 has lowest glossy before aged.After accelerated aging test ,the Gloss retention（％）of kamar varnish 1312 film surface showed good gloss retention and the Dammar film surface showed poor retention.The results of Adhesion test to presented Paraloid® B-72 and Alkyd-resin have poor adhesion with paint layer before accelerated ageing test, the Dammar resin and Regalrez® 1094 have good adhesion with paint layer before ageing test.But after 600 hours accelerated ageing test ,these five varnishes films all became more strong and have good adhesion with paint layer.Carry on with the After tack test,besides Regalrez® 1094,the another varnishes both became sticky because of the high humidity,especially kamar varnish 1312 and Dammar resin.For reversibility test,the Alkyd-resin has bad reversibility,Paraloid® B-72 and kamar varnish 1312 have good reversibility. Regalrez® 1094 can slightly dissolved by original solvent. Dammar insolubled in original solvent. In conclusion,the degradation of all the tests presented typical ageing phenom -enon.The blooming cause by high humidity not happen of the test.It’s seems no speed up the degradation rates and not even worse after the accelerated aging test which imitate the temperature、humidity and UV light inside the house in summer time of Taiwan. Key words：〝oil-painting varnishes、resins、degradation、durability、reversibility〞
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Chang, Jung-Tzu, and 張容慈. "The Development of the Concept of Oil Painting Restoration in Taiwan." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/djwtcx.
Full textAbstract:
碩士國立臺北藝術大學
博物館研究所碩士班
105
This paper examines the history and concept history of oil painting restoration in Taiwan. For Taiwan, oil painting and oil painting restoration are foreign mediums and techniques; oil painting creation began in the 1920s, while records show that oil painting restoration began in the 1960s. Taiwan may have begun oil repair between 1920 and 1960. The initial motive of this paper is to trace the background of oil repair and explore whether it was affected by the early oil painting learning environment. This paper also examines how oil repair transformed to restoration, as well as how people thought about the practices and benefits of oil painting restoration during the transformation process. This serves as the motive of exploring the concept of oil painting restoration in this paper. Thus, this paper first examines the background and environment of Taiwanese painters learning oil painting. Where did the demand for oil painting repair and restoration come from? When did it begin? And when restoration began to gain popularity, which people and what events influenced oil painting restoration, making it a necessary development? Which external thoughts and internal factors influenced the continued development of restoration? What phases of concept and characteristics were formed? Therefore, the full text is divided into six chapters. The first chapter explains the research direction of the history and concept history of oil painting restoration. The second and third chapters serve as background comparisons, tracing Western oil painting restoration and the transitional process of oil painting restoration concepts. The fourth chapter starts with the year 1930, tracing the repair and restoration of Taiwanese oil paintings, exploring the source of oil painting restoration concepts. The fifth chapter conducts research starting from 1991, probing into the development situation of oil painting restoration in Taiwan, as well as the development of oil painting restoration concepts. Finally, the sixth chapter concludes the results of the fourth and fifth chapters, raising the characteristics of historical research and the development of oil restoration in Taiwan. Currently, this paper states that the key development of oil painting restoration in Taiwan lay in the 1960s and 1990s. Repair existed before 1960. Oil painting restoration concepts began to form from 1961 to 1990. Restoration practices were gradually implemented starting from 1991, and the concept of conservation emerged after 2000. There is confusion regarding repair, restoration, and conservation in the environment of Taiwan. Through objective retrospection, this paper serves to clarify the relationship between this situation and the development of Taiwanese art, presenting historical facts while examining and understanding the environments and concepts of restoration during different time periods.
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Su, Pei Ling, and 蘇沛玲. "Gaze and explore Analysis of Su Pei Ling's Oil Painting Creation." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/z7ucw2.
Full textAbstract:
碩士中國文化大學
美術學系
107
Taking a general look at human history, females always struggle against social value and feelings of insecurity by themselves. With the changes of the times, the female consciousness today is rising, but the traditional concept of what duties females should be isn’t a cross for women, instead. Thus, according to my female artist’s experience, the struggles between women’s love and freedom of spirit stimulate me to study feminism and paint pictures. The collection of oil paintings is name of “Gaze and Explore in Women”. A woman of great charm in the collection conveys the dilemma and the encounter of my life journey. The works soothe the emotions and the pain of my heart, and then give me an orientation of future. Hope women can face and recover themselves in the difficult situation as regards the paintings. Everyone has the power to live for a dream. The first chapter explains the research motivation, purpose, methods, and glossary. The content explains the shackles of traditional concepts and the role of women today, and focuses on the issue of women's identity. From the collection, we finds out the women of great charm and clarify what your own life is. The second chapter is the creative context which analyzes the feminist and female artists that I want to study. The third chapter is to look backward to the experience of my life journey and to explore what the characters of my oil painting are, what ideas I want to express and achieve in the works. The fourth chapter is to understand yourself more in the style of the work The fifth chapter is the process analysis of the series of the oil painting. The sixth chapter is the summary of the study that reviews and summarizes the thoughts of all paintings to look forward to the future.
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WANG, HAN-YU, and 王涵毓. "The Research on the Creations of Oil Pastel Drawing- A Case Study of Melted Oil Pastel Painting." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/9r78d4.
Full textAbstract:
碩士東方設計大學
流行商品設計系
107
Crayons are popular, easy to carry and the materials which can be applied by anyone easily. Through the process of collecting the relative researches, I find that the oil pastel paintings on the sarcophaguses are the most ancient ones. The oil pastel paintings on the sarcophaguses are made by the nature wax of animals, plants and minerals with the natural pigment as a vehicle. The process of making the pigment is complicated and fastidious because it vanished soon. The contemporary artist, Chen, Kuo-chiang, uses electric irons to create the melted oil pastel paintings by the oil pastel pigment. On this account, this thesis focuses on the fusibility and the convenience of choosing the pigment. Furthermore, the crayons are easy to be broken into pieces. Therefore, the thesis is based on the research of applying heat guns and painting knifes to the creations of melted oil pastel and entitles it “Melted Oil Pastel Paintings”. With the advantages, such as being easy to dry and form the shapes, the artist can present the mottled and simple texture which is suitable for vintage creations. Therefore, the themes of my paintings are based on the historical sites in Tainan with the techniques refined by the rigorous presentation. Extending to the serial images which look back to half a hundred years ago, I’m impressed by the power of nature, life, time and space with the most respect to the preservation of historical sites. By the conversion of products, the arts can be integrated into life and make the effects of promotion. It makes the simple and popular crayons create the more mature space of arts. Differencing from the image of children’s painting, it reduces the waste of discarding the broken pieces of crayons. It provides the more usages of crayons and extends into our daily life to promote the aesthetics of life.
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Tung, Meng-ti, and 童孟緹. "Effects of Temperature and Relative Humidity on Tung Oil- Painting－Craft and Painting of Kuo’s Working Methods in Lukang." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/81421594236751816947.
Full textAbstract:
碩士國立臺北藝術大學
傳統藝術研究所
94
The performance and the skill method of paintings presented diversified phenomenon, paintings’ culture is a kind of craft that uses brain to be created with the hands. It’s being used for the vision and mental expectation that satisfy the person; the truereflection comes and goes of living portrayal. Accompany with the life style change, bring the whole transformation of civilization. The industrialization and urbanization of fast development make the cultural conformation and ways of original mold disappear quickly. Except for article, traditional craft its technical skill is most important. Only recover the environment of the operation and the process of the manufacture can expressive the spirit of the traditional craft complete. Under the above and study the traditional working process, and working methods and working material is very important. This discourse will use field survey, interview the record, documentation-collection to the background of the Kuos’ working methods in Lukang proceed investigation analytical. Additionally according to original historical data rebuild the working methods that paintings at that time. Then aim at the difference that the working methods estimative experiment to discuss the work method influence. And discuss the different relative humidity and temperature influence to paint in the timber.
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Yeh, Wei-lih, and 葉維俐. "A Study on the Change of Chinese Oil Painting in Art Market." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/axwb5w.
Full textAbstract:
碩士國立中山大學
中國與亞太區域研究所
97
The purposes of this thesis are probing into the change of Chinese Oil Painting in art market. By means of this study, we will able to understand the development processes of the art markets in China, on the other hand, to gather the data from the auction market of different age artists and analysis them. Furthermore, it’s the way to clarify how strong the art market in China is, or just the strategy to sensationalize the whole market to get high attention. But, it’s obvious to find out that the environment affects the artists’ creation a lot, but the works in the art market will go by chance. Therefore, to conclude that the Chinese art market is immature because the position of Chinese oil paintings is not fixed by Chinese government, Chinese artists and Chinese art market, but the art market in the world. Consequently, the Chinese art market needs to connect with the international art market.
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Chen, I.-Fan, and 陳一帆. "Tainan–The Creations of Oil Painting,an Encounter between Literature and Art." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/v7zqf7.
Full textAbstract:
碩士東方設計學院
文化創意設計研究所
101
Turning into the modern society, a city with long history should develop its special characteristic. Though all of the cities search for their identification and opportunities, Tainan stands on a vantage point. Nowadays, everything is led by business. However, with more cultural accomplishments, visitors gain more cultural knowledge and understand the beauty of Tainan. Tainan, the earliest developed city in Taiwan, in the history of more than 300 years, experienced both miserable and sweet past. Literature authors went through different periods and nurtured by the land. The passion toward this land was between the lines. In another way, artists expressed their love to the land. Surrounded by multiple elements, literature authors described the land and showed their concern to the land sincerely. The works of literature and art encountered each other in the humanity city through different space-time. Artists carried on their creations of oil painting with literary creations and presented the public another level of thinking in human and history background. Look forward offering the research as a reference to those who are interested in the theme for a further study.