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Journal articles on the topic 'Oil painting'
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1
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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Chen, Chen, Songhua He, Guangxue Chen, and Hui Cao. "Photogrammetry-Based 3D Printing Reproduction Method for Oil Paintings." International Journal of Pattern Recognition and Artificial Intelligence 32, no. 03 (November 22, 2017): 1854007. http://dx.doi.org/10.1142/s0218001418540071.
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This paper proposes a new oil painting reproduction method using 3D printing to compensate for the deficiencies of the existing methods. First, 3D reconstruction of oil paintings is completed by photogrammetry; the oil painting color and the 3D geometric information are recovered better by acquiring several sets of orthophotomaps, and modeling accuracy is ensured with a control mesh or by flattening. Next, the contours and hypsometric tints of the 3D model for oil paintings are generated using contour tracing algorithm, and the image segmentation of renderings is completed using RGB image segmentation algorithm, with the layered section extracted from each layer and the 3D geometric information converted into 2D plane information. Finally, the 3D models of oil paintings are presented through UV inkjet printing with images superimposed layer upon layer, and stereoscopic reproduction of oil paintings is completed based on the orthophotomaps printed from the 3D models.
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Wang, Fang, and Xu Zheng. "Performance analysis of investing in Chinese oil paintings based on a hedonic regression model of price index." China Finance Review International 7, no. 3 (August 21, 2017): 323–42. http://dx.doi.org/10.1108/cfri-03-2016-0009.
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Purpose The purpose of this paper is to construct a price index for Chinese oil paintings and analyze the financial performance of investing in Chinese oil paintings and its potential for portfolio diversification in Chinese financial markets. Design/methodology/approach A hedonic regression model is applied to construct a semiannual price index for Chinese oil paintings from 2000 to 2014. The CAPM model, downside β and standard portfolio optimization are used for analyzing portfolio diversification. Findings The hedonic regression shows that the majority of hedonic variables, such as dimension, artist’s reputation, living status, medium and auction houses, are statistically significant in estimation. Not only the return from oil painting investments is higher than other equities, but also the β coefficient of the CAPM model and downside β indicate that Chinese oil painting may be a good hedging instrument against stock market risk. Furthermore, the portfolio optimizations under standard assumptions suggest that oil paintings as an alternative investment provide diversification benefit. Originality/value This paper provides a new and comprehensive analysis of characteristics and risks of investing in the Chinese oil paintings.
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Evans, Mel. "Painting with Oil." Dissent 63, no. 2 (2016): 11–15. http://dx.doi.org/10.1353/dss.2016.0022.
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Butnariu, Ioan. "Restaurarea unei picturi pe carton." Anuarul Muzeului Etnograif al Transilvaniei 30 (December 20, 2016): 293–301. http://dx.doi.org/10.47802/amet.2016.30.16.
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The work that is subject to the restoration interventions presented in this article is a painting done in oil colors on cardboard. The subject of this painting is represented by a landscape with an isolated castle on a lake island, surrounded by mountains. The painting’s degradations cumulated multiple cracks and gap areas affecting the painting and the primer layers, together with areas of damage due to the painting’s exposure to excessive heat. The restoration operations (consolidation of the painting layers, the cleaning of the surface, filling the gaps in the primer and the chromatic integration of painting lacunae) have rendered the painting its original image.
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Yang, Guangyu. "imagery and abstraction trend of Chinese contemporary oil painting." Linguistics and Culture Review 5, S2 (July 31, 2021): 454–71. http://dx.doi.org/10.21744/lingcure.v5ns2.1383.
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The relevance of the study is determined by the fact that Chinese painting is at least five thousand years old. Throughout history, Chinese artists have used light pink, gold and black colors in their work. The paper shows that sumi-e (Chinese national ink wash painting) is different from the European one. The authors show that calligraphy is inextricably linked to painting, use the same lines, materials, and tools. In China, paintings are not only artistic but also a literary style. The novelty of the study is determined by the fact that the authors of the paper highlight the aspect of the execution of oil painting without preliminary sketches. The expressiveness inherent in Chinese art is achieved through four values of the artist. It is revealed that each artist attaches great importance to the choice of their professional tools and approaches it with an increased level of responsibility. The practical significance of the study is in the fact that the paper shows the possibility of developing the culture of traditional oil painting. It is shown that two opposites must be combined at the same time: dark and light, large and small, dry and wet, short and long, rare and frequent.
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Chen, Chen, Guang Xue Chen, Zhao Hui Yu, and Zhao Hui Wang. "Method of Reproducing Three-Dimensional Oil Paintings." Applied Mechanics and Materials 731 (January 2015): 260–64. http://dx.doi.org/10.4028/www.scientific.net/amm.731.260.
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A new method of reproducing oil paintings is presented in this paper. Implemented by 3D printing, this method can duplicate oil paintings with embossing effect as the same as the stereo brushstrokes in the original paintings. Firstly we use a laser scanner to detect the surface morphology and establish the 3D model of the painting. Next we analyze the UV ink thickness of the UV LED flatbed printer. After these experiments, a slicing strategy was proposed for 3D printing. Lastly, the 3D reproduction is printed by the UV LED flatbed printer.
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Yang, Guangyu. "temporal spirit, expressiveness and nationality of contemporary Chinese painting." Linguistics and Culture Review 5, S2 (July 31, 2021): 472–86. http://dx.doi.org/10.21744/lingcure.v5ns2.1384.
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The relevance of the study is determined by the fact that China, like Japan, took oil painting relatively recently. Japan became closely acquainted with Western technology in the 19th century, but at that time they still imposed a taboo on oil painting, the authorities in every way prevented its spread, protecting the traditions of national art. Only the 20th century allowed new trends to finally settle down. The work shows that the understanding of the European painting technology was widely represented in the imperial Celestial Empire. The article shows that the artists did not make a big problem to learn painting skills from the Europeans (originally the Portuguese). They learned the lessons, techniques and technology of European art, despite the fact that they had never had a similar school before. Separately, it is stipulated that cooperation after the formation of the USSR played a great influence on contemporary paintings. This explains the fact that many paintings by Chinese painters are very similar to Russian school of fine art. The authors determine that the Russian style, fully perceived by the PRC, was formed collectively from the Renaissance approach, with the inclusion of impressionism motifs.
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Hendriks, Laura, Irka Hajdas, Ester S. B. Ferreira, Nadim C. Scherrer, Stefan Zumbühl, Markus Küffner, Lukas Wacker, Hans-Arno Synal, and Detlef Günther. "Combined 14C Analysis of Canvas and Organic Binder for Dating a Painting." Radiocarbon 60, no. 1 (December 1, 2017): 207–18. http://dx.doi.org/10.1017/rdc.2017.107.
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AbstractThe use of accelerator mass spectrometry (AMS) for age determinations of paintings is growing due to decreasing sample size requirements. However, as only the support material is usually dated, the validity of the results may be questioned. This work describes a novel sampling and preparation technique for dating the natural organic binder using radiocarbon (14C) AMS. In the particular case of oil paintings, the natural oil used has a high probability of being representative of the time of creation, hereby circumventing the problem of the originality of the support material. A multi-technique approach was developed for a detailed characterization of all paint components to identify the binder type as well as pigments and additives present in the sample. The technique was showcased on a painting of the 20th century. The results by 14C AMS dating show that both the canvas and binding medium predate the signed date by 4–5 yr. This could be the time span for keeping painting material in the atelier. The method developed provides, especially given the low amounts of material needed for analysis, a superior precision and accuracy in dating and has potential to become a standard method for oil painting dating.
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Wu, Yani. "Application of Digital Painting Technology in the Creation of an Oil Painting Containing Graphene." Advances in Materials Science and Engineering 2022 (October 10, 2022): 1–9. http://dx.doi.org/10.1155/2022/7611500.
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Art and science and technology are two different ways people understand and reflect the objective world. The mutual penetration of science, technology, and art has promoted the development of art and the innovation of forms. Technology has become the carrier of social and cultural exchanges and spiritual world exchanges for artists, providing new ideas for modern art. In recent years, with the active development of various new media technologies, new media technologies represented by image technology and digital technology have gradually developed and are closely integrated with various fields. With the development and progress of image and digital technology, digital painting technology has had a great impact on the field of artistic creation. Of course, oil painting creation in the field of art has also encountered unprecedented challenges. This article introduces various functional methods in digital painting technology, and also introduces the preparation method of graphene graphite for printing. And through experiments, graphite with good performance was prepared, which showed that when ethylene glycol was used as a solvent and the mass fraction of graphene was 37.5%, the performance of the ink was relatively best. Finally, this paper designs a digital painting system and compares it with ordinary digital painting systems. It is concluded that the average satisfaction of painters in the designed system is 1.5 points higher than that of ordinary ones. These data show that the application of digital painting technology in the creation of graphene oil paintings has better applications than ordinary digital painting systems.
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Liu, Xiaodong. "An Improved Oil Painting Formation Using Advanced Image Processing." Mobile Information Systems 2022 (July 16, 2022): 1–11. http://dx.doi.org/10.1155/2022/4865060.
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The fast advancement of computer science and information technology has resulted in a significant revolution in the commercial painting sector. The professional painting industry has experienced a dramatic breakthrough with the rapid expansion of computer science and technology. With the rapid development and comprehensive popularization of computer technology, more and more people use computer image processing technology in oil painting created as a new way of creation. Some artists use a variety of ways to study the way of oil painting creation and use image processing technology to stimulate the creator’s imagination and improve the efficiency of drawing sketches in optimizing creative ideas, drawing, and processing original works. However, the value of art comes from creation. Oil painting creation based on computer image processing is a new type of artistic production that still requires the integration of different artists’ ideas and creative concepts. The image processing technology is a tool and a way for artists to make art while also realizing the convergence of science, technology, and art. This paper uses computer image processing technology to study oil painting creation. First, it briefly discusses computer image processing technology, focusing on picture preprocessing and image graying, and then uses this technique in formation of oil painting. Second, it establishes the oil painting mathematical, direction field, and color conversion models completing the oil painting image creation by using this model. Finally, the advantages of this technology are analyzed from the two aspects of oil painting creation, painting technique, and brush direction. The results show that 75% of artists are very satisfied with the digital painting technique, and 65% of artists are very satisfied with the painting brush direction, which shows that the application effect of computer image processing technology in oil painting creation is remarkable.
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Mazzinghi, Anna, Chiara Ruberto, Lorenzo Giuntini, Pier Andrea Mandò, Francesco Taccetti, and Lisa Castelli. "Mapping with Macro X-ray Fluorescence Scanning of Raffaello’s Portrait of Leo X." Heritage 5, no. 4 (December 6, 2022): 3993–4005. http://dx.doi.org/10.3390/heritage5040205.
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Raffaello is renowned as one of the Old Renaissance Masters and his paintings and painting technique are famous for the details and naturality of the characters. Raffaello is famous in particular for the then-new technique of oil painting, which he mastered and perfected. On the occasion of the 500th anniversary of the death of Raffaello (2020), there was a large exhibition at the Scuderie del Quirinale in Rome, where many paintings and drawings by the Old Master were on show. One of these paintings was the portrait of Leo X with two cardinals belonging to the collection of the Uffizi galleries in Florence. Before going to Rome, the painting underwent conservation treatments at the Opificio delle Pietre Dure, where a comprehensive diagnostic campaign was carried out with the aim of understanding the painting materials and technique of the Old Master. In this paper, the results of macro X-ray fluorescence (MA-XRF) analysis, carried out exploiting the instrument developed by INFN-CHNet, are shown. Among the results, “bismuth black” and the likely use of glass powders in lakes are discussed.
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Naydenov, Hristo. "Mezzotint: The Halftone Effect." Visual Studies 6, no. 2 (December 12, 2022): 185–88. http://dx.doi.org/10.54664/clvn5198.
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Compared to etching and its established visual traditions, some artists use mezzotint as a means of expression for original depiction. One of the reasons is probably that, since the time of its invention, this technique has been used especially for reproducing oil paintings in printed form. The use of tone rather than line as a characteristic means of expression and its remarkable ability to convey texture matched perfectly for its role. In addition, its velvety black and saturated shades of brown correspond to the strong contrast between light and shadow, which is characteristic of 17th-century oil painting, and to a technique that remains characteristic of European painting.
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Iranowska, Joanna. "What is a ‘Good’ Copy of Edvard Munch’s Painting? Painting Reproductions on Display." Culture Unbound 9, no. 1 (September 4, 2017): 38–61. http://dx.doi.org/10.3384/cu.2000.1525.179138.
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Paintings in museums might occasionally be replaced by a photoprint mimicking the original. This article is an investigation of what constitutes a good reproduction of an artwork (oil painting) that is meant to be displayed. The article discusses what the usefulness of reproductions depends on, applying the Valuation Studies approach, which means the primary concern is with the practice of valuing itself. In other words, the study focuses on how museum experts evaluate reproduc-tions of oil paintings. The article analyses three cases of displaying digitally prin-ted copies of Edvard Munch’s oil paintings between 2013 and 2015 in the Munch Museum and in the National Gallery in Oslo. The study is based on a series of semi-structured interviews with the experts, working at and for the museums, that were involved in producing and exhibiting of the photoprints: curators, con-servators, museum educators, and external manufacturers. The interviews were grouped into five clusters, which I have chosen to call registers of valuing following Frank Heuts and Annemarie Mol (2013). The described valuation practices have to do with delivering experiences to the public, obtaining mimetic resemblance, solving ethical aspects, exhibitions’ budget, and last but not least, with the time perspective.
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Gang, Yin. "Brief analysis of oil painting techniques - takes the "tree" as an example." International Journal of Computing and Information Technology 1, no. 1 (May 29, 2022): 5. http://dx.doi.org/10.56028/ijcit.1.1.5.
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In the painting process of oil painting, oil painting techniques are an important factor of oil painting expression, but it is not easy to use good techniques, from the 15th century. The development of the Netherland School of Painting represented by Fanke has developed a lot of techniques, which increases the difficulty for learners to learn systematically.So this article is called a "tree." For example, the drawing method, materials and tools.
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Liu, Xiang. "Preventing Color Fading in Artist’s Oil Paintings Based on Nano-PZT Ferroelectric Thin Film." Mobile Information Systems 2022 (September 22, 2022): 1–11. http://dx.doi.org/10.1155/2022/3649857.
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Due to the excellent electrical properties, stable temperature characteristics, and abundant material systems of ferroelectric thin film materials, in recent years, ferroelectric devices based on silicon technology have been used in microelectronic mechanical systems, new energy photovoltaics, especially nonvolatile memory and other fields. During the preservation of the artist’s oil painting works, the temperature change will directly cause the physical effects of thermal expansion and contraction of the oil painting and the chemical reaction speed of the material in nature. Therefore, it is of great significance to introduce the technology of nano-PZT ferroelectric thin film into oil paintings to prevent fading. This article aims to study the research on preventing fading of the artist’s oil paintings based on nano-PZT ferroelectric thin films and analyze the characteristics of ferroelectric materials, the application of ferroelectric films, the preparation methods of ferroelectric films, and the basis of the main environmental factors that affect the fading of oil paintings. In the above, we studied the fading process of different concentrations of oil paints under simulated sunlight aging and the effect of different concentrations and thicknesses of PZT ferroelectric thin films coated with nano-TiO2 coatings on the color stability of oil paints. The experimental results show that after five times of simulated solar aging for the four concentrations, the total color difference △E: 0.05% group is the largest, 0.4% group is the smallest, the higher the oil paint concentration, the smaller the color difference, the better the color stability, and the antisimulation of sunlight fading.
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Gao, Yenan. "Ways to Cultivate Students’ Innovative Thinking in the Teaching of Oil Painting in Colleges." Journal of Contemporary Educational Research 5, no. 10 (October 27, 2021): 47–52. http://dx.doi.org/10.26689/jcer.v5i10.2636.
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With the rapid development of information technology, oil painting, as an important part of art culture, plays an important role in foreign exchanges and the promotion of multicultural development. College education bears the responsibility of providing a steady stream of high-quality talents for the development of social culture and art in addition to bringing new vitality for the dissemination and development of art and cultural theories. Giving full play to the role of oil painting teaching in colleges to cultivate oil painting talents has become one of the top priorities. Therefore, colleges and universities should continue to promote the development and reform of oil painting teaching as well as better improve the overall quality and oil painting skills among college students. In the new era, innovative thinking is an indispensable core quality in students’ learning and life. In contemporary oil painting teaching in colleges and universities, it is very important to cultivate students’ innovative thinking ability. This article begins by discussing the development of oil painting in China and the characteristics of students’ innovative thinking, analyzes the importance of cultivating students’ innovative thinking, as well as explores effective ways to cultivate their innovative thinking in regard to oil painting.
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Yang, Dongge. "Narrative Expression of Light in Contemporary Oil Paintings." Scientific and Social Research 3, no. 4 (October 26, 2021): 63–69. http://dx.doi.org/10.36922/ssr.v3i4.1229.
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In modern and contemporary times, under the background that artists enjoy full freedom of choice, the use of light gets rid of the traditional role, takes light as the main form of expression to express the painter’s personal subjective emotion, and makes attempts in various painting styles, which makes the appearance of today’s paintings diverse. This paper studies the contemporary oil paintings of the development and innovation of light and the content expression of new forms, analyzes and summarizes the characteristics of the narrative expression of light with the word “narrative of light” combined with the works of contemporary art master Heimer Xiuyi, and discusses the significance of the narrative expression of light in Contemporary oil paintings.
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Zhang, Jing. "Oil Painting Art Appreciation Platform Based on Mobile Information System." Wireless Communications and Mobile Computing 2022 (February 25, 2022): 1–11. http://dx.doi.org/10.1155/2022/6019327.
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Art is the product of culture, and the collision of cross-cultural communication and Chinese and Western culture has promoted the development and innovation of art. Today, oil painting is well known as a kind of art. At first, oil painting did not exist as art. It came from the most primitive activities of mankind and gradually became one of the categories of art with the development of civilization. In the context of the rapid development of material civilization today, the huge benefits brought by science and technology have promoted people’s pursuit of practicability. Oil painting has been used more as an instrument and has largely lost its purity as an art. Sexuality and spirituality and traditional cultural communication methods limit the development and inheritance of oil painting art. Oil painting can decorate the interior space and increase the income of museum tickets; it has collections that can add value; it cultivates readers’ temperament; the author expresses his emotions. Based on that, this article is based on the research of mobile information system and oil painting art cultural appreciation platform. The gradient descent method is the earliest, simplest, and most commonly used optimization method. The convergence speed of the gradient descent method in the region close to the optimal solution is significantly slower, and the use of the gradient descent method to solve the problem requires many iterations. First of all, this article uses the method of literature data to study the theories of keywords such as oil painting art and cultural communication. Then, oil painting art and culture communication model is designed through the classification algorithm under mobile information network. Finally, it analyzes the status quo of art culture dissemination and the dissemination of oil painting art culture in my country. Taking figure painting and landscape painting as examples, their total added values accounted for 33.4% and 49.2%, respectively. This shows that the overall scale of my country’s oil painting industry has been expanding year by year, and its status in the national economy has also been steadily improved.
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Wertz, S. K. "Visual Art and Pragmatic Truth: Georgia O’Keeffe at the Helm." Journal of Aesthetic Education 55, no. 4 (December 1, 2021): 51–59. http://dx.doi.org/10.5406/jaesteduc.55.4.0051.
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Abstract This essay examines an oil painting by Georgia O’Keeffe, Ritz Tower (1928), applying the terms of William James’s pragmatic conception of truth and the ideas that play a part in it, for example, pluralism and spiritualism, along with assistance from Martin Heidegger’s notion of Wohnung (dwelling). This is not only a fruitful way to look at her painting but paintings in the same or similar genre. Aesthetic judgments made about Ritz Tower are true if they work (in the pragmatic sense) for those who make said judgments if they find them successful in fitting in with other ideas and beliefs in their aesthetic experience of the painting or other artworks.
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Dredge, Paula, Richard Wuhrer, and Matthew R. Phillips. "Monet's Painting under the Microscope." Microscopy and Microanalysis 9, no. 2 (March 14, 2003): 139–43. http://dx.doi.org/10.1017/s1431927603030198.
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An oil painting by Claude Monet, Port-Goulphar, Belle-Ile 1887 (collection of the Art Gallery of New South Wales), was examined to determine both the identity of the pigments used by the artist in this painting and his technique of mixing colors and laying paint on the canvas. The extremely complex construction of the painting was revealed by optical microscopy, scanning electron microscopy (SEM), energy dispersive X-ray analysis (EDS), and X-ray mapping (XRM) analysis of cross sections of paint flakes excised from damaged regions of Port-Goulphar, Belle-Ile. Nine different pigments were found on the painting. Many of the identified colors were modern pigments that became available only late in the 19th century as a result of scientific advances in pigment chemistry. Although similar colors were available in a natural mineral form, they lacked the vivid color of their manufactured counterparts. The use of these new synthetic metallic oxide colors by Monet accounts for the brilliance of his paintings. In addition, a separation between successive paint layers was observed in some areas of paint chip cross sections, indicating that oil-based paint was applied to paint that had dried, and consequently, Port-Goulphar, Belle-Ile was painted over a long period of time. This observation is contrary to the general perception of Monet's technique of painting freely and quickly.
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Tang, Jinyu. "An Optimized Digital Image Processing Algorithm for Digital Oil Painting." Mobile Information Systems 2022 (May 31, 2022): 1–10. http://dx.doi.org/10.1155/2022/4956839.
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Human civilization’s accomplishments have grown with the passage of time and the advancement of society. With the fast growth of computer networks and information technology, the conventional method of information transmission based on words cannot fulfill the demands of people in the current era. As a result, in this age of extensive information and image processing techniques, images as a means of information sharing are becoming increasingly popular. As we know, digital image processing knowledge has a far-reaching impact in the field of artistic creation, among which the creation of oil painting is facing severe challenges. Aiming at the problem that the effect of digital oil painting is not ideal, this paper aims to study digital oil painting by using digital image processing technology. This paper first uses the image edge recognition based on the improved Canny algorithm to detect the edge of the oil painting image, then uses the nonlinear image enhancement algorithm to enhance the effect of the oil painting image, then uses the improved genetic algorithm to segment the image, and finally enlarges the oil painting image to calibrate the color of the oil painting image. Experiments reveal that the proposed approach outperforms existing algorithms in terms of edge detection data integrity, high-quality coefficient index of image enhancement, picture segmentation running time, and the ability to successfully increase the visual effect of oil painting.
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Zhang, Shaohua, Dongsheng Cai, Weifeng Tao, Asako Fukumoto, and Jun Kurumisawa. "Science of Classical Oil Painting." Journal of the Visualization Society of Japan 27, Supplement1 (2007): 187–88. http://dx.doi.org/10.3154/jvs.27.supplement1_187.
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Jeon, Gwanggil. "A Digital Oil Painting Approach." International Journal of Multimedia and Ubiquitous Engineering 10, no. 3 (March 31, 2015): 353–64. http://dx.doi.org/10.14257/ijmue.2015.10.3.32.
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Bisseling, Tanya. "Art in Endoscopy: “Oil painting”." Endoscopy 52, no. 06 (May 27, 2020): 423. http://dx.doi.org/10.1055/a-1121-0209.
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Ruifeng, Mu. "Chinese contemporary realism oil painting." Art of the Orient 2, no. 1 (2013): 189–202. http://dx.doi.org/10.15804/aoto201310.
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Yuan, Jiangping, Chen Chen, Danyang Yao, and Guangxue Chen. "3D Printing of Oil Paintings Based on Material Jetting and Its Reduction of Staircase Effect." Polymers 12, no. 11 (October 29, 2020): 2536. http://dx.doi.org/10.3390/polym12112536.
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Material jetting is a high-precision and fast 3D printing technique for color 3D objects reproduction, but it also suffers from color accuracy and jagged issues. The UV inks jetting processes based on the polymer jetting principle have been studied from printing materials regarding the parameters in the default layer order, which is prone to staircase effects. In this work, utilizing the Mimaki UV inks jetting system with a variable layer thickness, a new framework to print a photogrammetry-based oil painting 3D model has been proposed with the tunable coloring layer sequence to improve the jagged challenge between adjacent layers. Based on contour tracking, a height-rendering image of the oil painting model is generated, which is further segmented and pasted to the corresponding slicing layers to control the overall printing sequence of coloring layers and white layers. The final results show that photogrammetric models of oil paintings can be printed vividly by UV-curable color polymers, and that the proposed reverse-sequence printing method can significantly improve the staircase effect based on visual assessment and color difference. Finally, the case of polymer-based oil painting 3D printing provides new insights for optimizing color 3D printing processes based on other substrates and print accuracy to improve the corresponding staircase effect.
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Sun, Xiaoming. "The Practical Application of Oil Painting in the Treatment of Mental Illness." Occupational Therapy International 2022 (June 17, 2022): 1–10. http://dx.doi.org/10.1155/2022/1727507.
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With the rapid development of economy, politics, science, and technology and the improvement of living material level, people pay more attention to personal physical and mental development. The incidence of mental illness is on the rise. Psychological education curriculum learning and psychological counselling are based on communication; there are still many limitations. The art media enables patients to reveal their subconscious and potential emotional needs, so that interveners have the opportunity to explore these issues and build a bridge of communication with patients. In this paper, oil painting therapy of nonverbal communication is proposed as a way of psychological therapy. The patients in the psychological department of a hospital are served by six stages of therapy, each stage of treatment has different arrangements, and continuous service and treatment are adopted. Based on the art analysis principle of oil painting creation, the therapeutic experience obtained from oil painting creation and the experience gained from oil painting were divided into groups to compare the therapeutic effect and explore the role of oil painting art therapy. The results showed that the scores of the treatment group were significantly lower than those of the control group at 4 weeks and 6 weeks after the art therapy of oil painting creation, showing a significant downward trend overall. Oil painting art therapy may alleviate anxiety, providing data support for the application of oil painting art therapy in patients with depressive episodes.
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Kim, J., J. Y. Jun, M. Hong, H. Shim, and J. Ahn. "CLASSIFICATION OF OIL PAINTING USING MACHINE LEARNING WITH VISUALIZED DEPTH INFORMATION." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W15 (August 23, 2019): 617–23. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w15-617-2019.
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<p><strong>Abstract.</strong> In the past few decades, a number of scholars studied painting classification based on image processing or computer vision technologies. Further, as the machine learning technology rapidly developed, painting classification using machine learning has been carried out. However, due to the lack of information about brushstrokes in the photograph, typical models cannot use more precise information of the painters painting style. We hypothesized that the visualized depth information of brushstroke is effective to improve the accuracy of the machine learning model for painting classification. This study proposes a new data utilization approach in machine learning with Reflectance Transformation Imaging (RTI) images, which maximizes the visualization of a three-dimensional shape of brushstrokes. Certain artist’s unique brushstrokes can be revealed in RTI images, which are difficult to obtain with regular photographs. If these new types of images are applied as data to train in with the machine learning model, classification would be conducted including not only the shape of the color but also the depth information. We used the Convolution Neural Network (CNN), a model optimized for image classification, using the VGG-16, ResNet-50, and DenseNet-121 architectures. We conducted a two-stage experiment using the works of two Korean artists. In the first experiment, we obtained a key part of the painting from RTI data and photographic data. In the second experiment on the second artists work, a larger quantity of data are acquired, and the whole part of the artwork was captured. The result showed that RTI-trained model brought higher accuracy than Non-RTI trained model. In this paper, we propose a method which uses machine learning and RTI technology to analyze and classify paintings more precisely to verify our hypothesis.</p>
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цао, тиншу. "The history of development of Chinese oil painting in the period from 1900 to 1949." Культура и искусство, no. 4 (April 2021): 94–103. http://dx.doi.org/10.7256/2454-0625.2021.4.35528.
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After the defeat in the Opium War of 1840, the Chinese Qing Government realized the advanced nature of Western technologies and culture and proceeded with comprehensive examination of the Western experience. The study of the Western painting by the Chinese artists became an important part of this process. The period from 1900 to 1949 was a pivotal stage in the history of development of the Chinese painting associated with the advent of the Chinese oil painting. This article analyzes the development trends in Chinese painting by means of comparison the corresponding historical documents that resemble the five cultural phenomena emerged in this period; as well as generalizes the stages of studying the Western painting in China during this historical period. The author also analyzes the contribution and impact of the Chinese students upon the development of Chinese oil painting, changes in the painting styles, as well as integration of the Chinese artistic experience in the Western oil painting. The peculiarities of the major associations of Chinese artists of this period are reviewed. The development trends of Chinese oil painting include five aspects. The study of Western painting in China was not an approval of the Western oil painting tradition, but rather a way to improve the outdated Chinese tradition as well as build up its international status. This is precisely why the Chinese government set an implicit goal to popularize the Western art of painting in China. The political reforms that took place in China of that time were an important factor, which contributed to cultural changes. The development of painting became one of the key factors in the development of Chinese culture and art.
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HASEGAWA, Riichi. "The Relation Between Oil Painting And Oil Colour." Journal of the Japan Society of Colour Material 75, no. 7 (2002): 346–53. http://dx.doi.org/10.4011/shikizai1937.75.346.
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Klisińska-Kopacz, Anna, Piotr Frączek, Michał Obarzanowski, and Janusz Czop. "Non-Invasive Study of Pigment Palette Used by Olga Boznańska Investigated with Analytical Imaging, XRF, and FTIR Spectroscopy." Heritage 6, no. 2 (January 31, 2023): 1429–43. http://dx.doi.org/10.3390/heritage6020078.
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The scientific examination and comparative investigation of pigments are fundamental for further understanding and analysis of historic and artistic works, and particularly useful for conservators. In fine art authentication, investigations are strongly focused on the identification of the painting materials used by the author. This study is focused on the use of non-invasive analytical techniques to increase the knowledge of the painting technique of Olga Boznańska. The aim of this study was to assess the technology, painting technique, and materials used by Olga Boznańska. The pallets, tubes with the paints, and several oil paintings were studied. For each painting, a series of images were recorded using various ranges of electromagnetic radiation, including near-infrared, visible light, ultraviolet, and X-rays. In order to characterize the pigments present in the paint layer, measurements of the elemental composition by X-ray fluorescence spectroscopy (XRF) were carried out. The ground layers and paints were measured with infrared spectroscopy (FTIR). This allowed us to identify the artist’s painting technique and determine how she executed her painting, how she applied the paints, and what pigments she used.
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Lee, Na Ra, Yeong Gyeong Yu, and Hwa Soo Lee. "Study on the Characteristics of Materials and Manufacturing Techniques for the Mural Paintings in Daeunjeon at Ssanggyesa Temple, Jindo." Journal of Conservation Science 37, no. 6 (December 31, 2021): 701–11. http://dx.doi.org/10.12654/jcs.2021.37.6.09.
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This study identifies the structure and material characteristics of the mural paintings in Daeungjeon at Ssanggyesa temple in Jindo by conducting scientific research and analysis including microscope examination, SEM-EDS, XRD, particle size analysis, and others. According to the analyses, the murals were considered to be of a typical soil mural style for Korean Buddhist murals, given that the walls were made of sand and soil and the murals had layers consisting of wall layers and a finishing layer. However, some finishing layer used calcite, while some ground layer used zinc white beneath the thick paint. In addition, there were similar features to those found on the surfaces of oil paintings such as cracks along with the paint layer, high gloss on surfaces, and thick brush strokes in many areas. It was found that the walls on which the murals were painted were made of soil but that the paint layer was created based on the oil painting technique using drying oil. It determined that the murals were painted in a unique painting style that is rarely found in other typical Buddhist murals in Korea.
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De Fouw, Josephina, and Ige Verslype. "Aeneas and Callisto." Rijksmuseum Bulletin 67, no. 3 (September 15, 2019): 196–215. http://dx.doi.org/10.52476/trb.9730.
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The Rijksmuseum has in its collection an oil sketch by Jacob de Wit (1695-1754) of a design for a ceiling painting. This ceiling painting – The Apotheosis of Aeneas – was commissioned by Pieter Pels (1668-1739) for his house at number 479 Herengracht, Amsterdam. The present article identifies the room for which the work was made. The ceiling painting proves to have been part of a larger painted ensemble by Jacob de Wit and the landscape painter Isaac de Moucheron (1667-1744). On the basis of De Wit’s sketches, records in the archives and research on site, a picture of the way this painted room looked in Pels’s day is built up. The later fortunes of the room are also explored. At the end of the nineteenth century the ceiling painting was replaced by another one, also by De Wit. As a result of this very curious switch, the present ceiling painting is no longer an original whole, but a composite hybrid. All the other interior paintings vanished from the room long ago. Three of them, a chimney-piece and two overdoors by De Wit, have been traced to Russia. Three previously unknown paintings have now been added to the artist’s oeuvre.
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Wang, Liming. "Discussion on the Teaching Strategy of Oil Painting in Colleges under the Background of Multiple Art Culture Development." Lifelong Education 9, no. 6 (September 28, 2020): 136. http://dx.doi.org/10.18282/le.v9i6.1323.
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The development of multiculturalism is the inheritance of human civilization and the result of the further deepening of globalization. The diversified development of fine art culture is one of the main situations of fine art development. The art creation theories, conceptual methods, and painting skills, etc., all exhibit diverse characteristics. Based on this background, college oil painting teaching also needs to grasp this multicultural situation, carry out curriculum teaching reform and innovation, and promote the diversified development of fine arts education. This article introduces the development trend of multiple arts culture and its impact on domestic oil painting, analyzes the current status of oil painting teaching in colleges and universities, and explores effective countermeasures for oil painting teaching in colleges and universities in the context of multiple art culture.
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Egenhöfer, Caterina. "Contemporary Chinese Oil Painting Between Iconography and Iconology: A Case Study from the People’s Republic of China’s 60th Anniversary Exhibition." Vienna Journal of East Asian Studies 5, no. 1 (December 1, 2014): 1–22. http://dx.doi.org/10.2478/vjeas-2014-0001.
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Abstract This paper seeks to analyse the iconographic and iconological significance of the 2009 exhibition Art Project concerning Important Historical Issues of the Country (Guójiā zhòngdà lìshǐ tícái měishù chuàngzuò gōngchéng). The exhibition was set up on the occasion of the 60th anniversary of the People’s Republic of China and was part of a series of cultural, artistic and literary activities at that time. Created and promoted by the Ministry of Finance, Culture and Propaganda, the exhibition set out the artists’ mission as the presentation of the great history and ‘great national spirit’ (wěidà mínzú jīngshén) of the people of China and ‘the cultivation and spreading of the national spirit’ (péiyǎng hé hóngyáng mínzú jīngshén). This was realised through the media of oil painting, sculpture and traditional Chinese painting, with oil paintings, as the traditional tool of representation, taking up the biggest part of the exhibition. Based on Erwin Panofsky’s arthistorical method of the three-stage model, the text explores and displays the iconographical and iconological meaning of one representative painting: The March of the Volunteers.
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Behrisch, Tanya J. "Painting Deep Time: Encountering Landforms’ Alterity and Phusis Through Phenomenology and Oil Painting." Phenomenology & Practice 16, no. 1 (November 18, 2021): 90–107. http://dx.doi.org/10.29173/pandpr29503.
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The practice of oil painting landforms, rocks and sea water in Jervis Inlet, British Columbia (BC) puts me in dialogue with land’s resistant alterity. By closely attuning to landforms, and by stepping back and blurring my focus at regular intervals while practicing oil painting of landforms, I experience phusis of land and of my painting. Through self-concealment and emergence, land alternates between revealing and enfolding its character, resisting my human comprehension but speaking to more-than-human elements in myself. The slow accretive process of oil painting lends itself to phenomenological research, taking days and weeks for paint to dry before new layers can be applied. This slowness produces phusis within me as an artist, as I am forced to withdraw from the painting while its layers dry and we reassume an unfamiliarity with one another as dual subjects. Through oil painting, landforms’ alterity shifts towards familiarity. Earth’s elements originate in deep time, pre-dating human experience. Cycling within me is a repository of minerals, water, and salinity originating in deep time. This draws attention to alterity within my own body. By practicing phenomenological research through painting landforms, I encounter the phenomenological paradox of deep time and come face-to-face with the originary elemental origin I share with landforms.
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Poli, Tommaso, Oscar Chiantore, Eliano Diana, and Anna Piccirillo. "Drying Oil and Natural Varnishes in Paintings: A Competition in the Metal Soap Formation." Coatings 11, no. 2 (January 31, 2021): 171. http://dx.doi.org/10.3390/coatings11020171.
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Metal soaps formation is a well-known issue in oil paintings. Along the lifetime of the painting, carboxylic acids coming from drying oil (free fatty acids, acids from hydrolysis of triglycerides and from oxidation processes) can react with cations of some pigments (in particular, smalt, lead white and zinc white) forming the related carboxylic salts. As observed by many authors, the formation of these carboxylates, with the tendency to migrate and to aggregate, not only modifies the behavior and the aspect of the paint film but also complicates the cleaning approach. In previous works we have demonstrated that a similar pigment reactivity is possible even in presence of natural resins (such as colophony, dammar, mastic, etc) historically used as final varnishes on paintings. In this case, in the reactions the terpenic acids, among the main components of the resins, are involved. In this work, the carboxylates formation kinetics has been studied starting from two representative acids (palmitic and abietic) of painting oils and natural varnishes. Successively, the reactivity of the palmitic acid with the potassium abietate and of the abietic acid with the potassium palmitate has been verified. This investigation aims at clarifying in which way terpenic acids can be involved in the metal soaps reactivity confirming that also surface varnishes may play a significant role in the carboxylates formation and reactivity. It is important to keep in mind that a finishing varnish can be removed and reapplied many times during the lifetime of a painting, thus renewing the provision of reactive terpenic acids at the interface of the painted layers.
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Zou, Weihan, and Sok-Yee Yeo. "Investigation on the Painting Materials and Profile Structures Used in Ancient Chinese Folk Architectural Paintings by Multiple Analytical Methods." Coatings 12, no. 3 (February 28, 2022): 320. http://dx.doi.org/10.3390/coatings12030320.
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In order to understand the painting materials and profile structures used in the creation of Chinese ancient folk architectural paintings, the architectural paintings of the Bell and Drum Tower at Fushan Temple in Shaanxi Province of China was investigated. In this study, optical microscopy, Fourier transform infrared spectroscopy (FTIR), micro-Raman spectroscopy, scanning electron microscopy-energy-dispersive X-ray spectroscopy (SEM-EDS), and chemical experimental methods were used. The profile structures, and the elemental and chemical compositions of the pigments and binders in the ground layer of the 12 samples were determined. Results showed that the painting profile structures in both towers comprised of pigment layer, underpainting layer and ground layer, where no starch was found in the chalk ground layer. The pigment layer mainly comprised of iron oxide red, chalk, lapis lazuli, carbon black, green earth, and a dark green pigment that is formed by a combination of carbon black and green earth. To-date, the use of green earth pigment in Chinese architectural paintings was not found in Chinese related academic literature; hence, this study marked the first identification of green earth being used in the architectural paintings. Tung oil, commonly used in Chinese architectural paintings as a binder for pigment, was also identified in the samples. Results from this study will serve as an important reference for better scientific investigation methods on ancient Chinese folk painting materials.
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Ковальова, М. М., and Цю Чжуанюй. "ІМПРЕСІОНІСТИЧНІ ТЕНДЕНЦІЇ В КИТАЙСЬКОМУ ОЛІЙНОМУ ЖИВОПИСУ ПЕРШОЇ ПОЛОВИНИ XX СТОЛІТТЯ." Art and Design, no. 3 (November 13, 2020): 55–65. http://dx.doi.org/10.30857/2617-0272.2020.3.4.
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The purpose of the article is to reveal the impressionistic trends in the fine arts of China, determining the originality of the Chinese oil painting development of the 20th century. Methodology. Historical and cultural, comparative, iconographic and iconological methods are used in the study. Results. The study examines the underinvestigated aspects of Chinese painting development in the first half of the 20th century. The retrospective analysis of the pictural art enables tracing the traditions and innovations in the formation of oil painting in China, which prevails at this historical stage of the national art school development. The desire of Chinese artists to preserve the philosophical foundation and theoretical principles of classical ink painting, and at the same time an interest in Impressionism, have become a peculiar feature of Chinese oil painting. The main trends, dominating at the beginning of the century, persist to this day, defining the development of Chinese oil painting in general. It is determined that the decorativeness and thematic repertoire of classical Chinese ink art has been transferred to oil painting, as evidenced by the booming exhibition activities. The study determined that in the first half of the 20th century, the impressionistic trend was spread in the country, which resulted from the study of Japanese and French masters by Chinese masters. The teaching methods and stylistic searches of Chinese artists of the period under study became the foundation of contemporary Chinese art. The latest trends in Chinese oil painting in the first half of the 20th century are: an artistic rethinking, reminiscences of a similar phenomenon in Western European painting of the late XIX – early XX century. The spread of impressionism contributed to the greatest development of still life and landscape genres, and also brought plein air practice to a new level. Many Chinese artists spread impressionistic ideas not only in artistic creation, but also in art history. The scientific novelty lies in the systematization and factual material analysis on this problem, determining the role of the impressionist trend in the Chinese oil painting development. Practical significance. The results of the study can be used in further studies of the history and theory of Oriental art of the 20th century.
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Insaurralde Caballero, Mirta, and María Castañeda-Delgado. "At the Core of the Workshop: Novel Aspects of the Use of Blue Smalt in Two Paintings by Cristóbal de Villalpando." Arts 10, no. 2 (April 14, 2021): 25. http://dx.doi.org/10.3390/arts10020025.
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During the seventeenth century, the use of smalt and indigo became increasingly common among painters’ workshops in New Spain. The unprecedented importance of these two blue pigments in oil painting may be explained by artistic and geopolitical circumstances. This article expands on the use of blue smalt—a byproduct of glass production and a material that lacks in-depth study in viceregal painting—by focusing on the technical analysis of El Triunfo de la Eucaristía and La Asunción painted by Cristóbal de Villalpando (ca. 1649–1714), which are part of the collection of the Museo Regional de Guadalajara (Mexico). The technological and material study of both paintings, situated within the trade and circulation of painting materials at the turn of the eighteenth century, shows how the painter deployed techniques rooted in his predecessors while incorporating particular technical adaptations. The authors examine cross-section samples of Villalpando’s paintings with optical microscopy, Scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDX), and Fourier-transformed infrared spectroscopy (FT-IR), and were able to identify different qualities of smalt as well to suggest a possible provenance. These analyses evidence novel aspects in the painting tradition of workshops in New Spain that ultimately reverberated in practices of the long eighteenth century.