Relevant bibliographies by topics / Painter

Contents

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

Academic literature on the topic 'Painter'

Author: Grafiati
Published: 4 June 2021
Last updated: 16 June 2025

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Journal articles on the topic "Painter"

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Lee, Kyunghwa. "Discarding the Brush: Kang Sehwang and a Sociocultural History of the Chŏlp’il Practice in Eighteenth-Century Chosŏn." Korean Journal of Art History 316 (December 31, 2022): 39–71. http://dx.doi.org/10.31065/kjah.316.202212.002.

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Literally meaning “discarding the brush,” chŏlp’il refers to a painter’s sudden withdrawal from artistic activities. In the field of Korean art history, chŏlp’il has long been treated as a secondary topic of inquiry, occupying merely the margins of scholarly discourse. Eighteenth-century Chosŏn, however, witnessed a remarkable increase in the frequency of occasions that the scholar-painter “discarded the brush.” That suggests the decision of chŏlp’il was neither a personal choice nor an accidental event, but a reflection of certain sociocultural norms and values. This article discusses the historical significance of this “chŏlp’il” as a social practice through the case of Kang Sehwang. He was one of the most celebrated scholar-painters of eighteenth-century Chosŏn. Yet, the question of why he halted his painterly practice for two decades has not been adequately addressed. This article investigates the abrupt pause in Kang’s artistic career in light of Chosŏn’s social system and cultural norms through a reconstruction of the entire trajectory of his chŏlp’il and its comparison with instances of other scholar-painters of the late Chosŏn period. It was the Confucian conception of class ethics that propelled the scholar-painter to eschew artistic creation. The late Joseon Confucian teachings disparaged painting as a ch’ŏn’gi, or a “trade of the lower class,” and propagated the perception that involvement in painterly practice would bring disgrace on the literati. For scholar-painters, chŏlp’il was a last resort for honoring their families and preserving their elite identities in a society that deprecated the painterly exercise. Kang’s chŏlp’il attests that Chosŏn’s scholar-painters strove for artistic excellence while still being part of their social circle who were obliged by the eighteenth-century Confucian norms. Chŏlp’il was their strategy to maintain their dual identities as a Confucian scholar and a painter.
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Etush, Noemi. "Salomon Adler (1630–1709) in Archival Research of Years 1651–1666." Porta Aurea, no. 22 (December 29, 2023): 213–21. http://dx.doi.org/10.26881/porta.2023.22.11.

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The work of Salomon Adler, a portrait painter born in Gdańsk and working in Italy as Salomone di Danzica, is known only from the period of his stay in Lombardy 1677–1691. Licia Carubelli’s article Salomon Adler a Crema published in “Arte Lombarda” in 2007, contains new‑found documents confirming the assumptions of earlier scholars, that the painter was also present in the Republic of Venice. The following article is a summary of research conducted as a part of doctoral thesis in preparation, in the Venetian archives, in order to broaden the information provided by Carubelli, especially concerning the years of painter’s stay in Venice, pictures painted then, names of his patrons, and guild membership.
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Żakiewicz, Anna. "Witkacy: First of All, a Painter – Searching for an Individual Style." Tekstualia 1, no. 2 (2014): 225–40. http://dx.doi.org/10.5604/01.3001.0013.6125.

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Nowadays, Witkacy is known as a multi-talented artist: painter, photographer, art theoretician, playwright, but also the author of four novels and a philosopher. However, first of all, he was a painter. He painted and drew from early childhood, encouraged by his father Stanisław Witkiewicz, himself a painter, critic and theoretician of art.
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Verslype, Ige. "A Unique Painting Ensemble Explored." Rijksmuseum Bulletin 71, no. 4 (2023): 334–61. http://dx.doi.org/10.52476/trb.18496.

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The back room of 524 Herengracht in Amsterdam houses a painted ensemble of Arcadian landscapes, made in 1771 by the Amsterdam wall hanging painter Jurriaan Andriessen (1742-1819). Technical research has shown that a complex creative process underlies this ensemble, in which major changes were made at various times. It demonstrates the painter’s quest for a balanced composition. An essential element in the painted wall hangings of Andriessen, who is known to have arranged his compositions in such a way as to guide the viewer’s gaze and movement through the room. The research also showed various techniques Andriessen used in the production of his paintings. For instance, he used a special measuring system and squaring grids to transfer the compositions from small sketch to large format canvas (one square in the sketches corresponding to one square foot in the canvases). It also appears that the painter arranged his compositions in such a way that the canvases could be easily adjusted for size in the event that the opening in the panelling was a little larger or smaller than envisaged. It could also be shown that Andriessen painted some elements in the room itself. As was customary at the time, Andriessen allied the shadows in his wall hangings to the fall of the natural light in the room. Remarkably, the painter hereby adjusted the light-dark contrasts to the position of the paintings in the room. In the hangings next to the windows, for example, the contrasts are greatly increased, with which the painter anticipated the bright backlighting that affected one’s view of these paintings. This attests to its strong connection to the room. A connection that has been preserved thanks to the efforts that the Van den Santheuvel, Sobbe Foundation, and the Rijksmuseum took at the time to maintain the interior in situ.
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Schaus, Gerald P. "Two Fikellura Vase Painters." Annual of the British School at Athens 81 (November 1986): 251–95. http://dx.doi.org/10.1017/s0068245400020177.

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The two most important Fikellura vase painters are here studied and their works catalogued. The earlier of the two, the Altenburg Painter, was recognized first by R. M. Cook (BSA 34 (1933–4) 1–98), but the number of vases attributed to this painter has greatly increased and now includes some of the earliest Fikellura vases with figure decoration. His career covers most of the third quarter of the sixth century. The second painter, named the Painter of the Running Satyrs, is studied for the first time here. His production spans most of the fourth quarter of the century. Although not very numerous, his vases have novel themes and show a vigorous figure style. The study of these two painters' careers helps in dating some of Cook's various groups of Fikellura vases and clarifies their relationship with the work of these painters. The source of most Fikellura is now seen to be Miletus, but the question of the origin or antecedents of Fikellura pottery is still not entirely settled. Some explanation is, however, offered for the sudden appearance of this ware about the mid sixth century.
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Suciu, Silvia. "Afacerea artei. Piața de artă în Marea Britanie în secolele XVII -XVIII." Anuarul Muzeului Etnograif al Transilvaniei 35 (December 20, 2021): 105–45. http://dx.doi.org/10.47802/amet.2021.35.06.

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While the royal houses and the aristocracy of Italy, Low Countries, France and Spain had already an history in collecting pieces of art, Great Britain adopted this “fashion” only under Charles the 1st reign, in 17th century. Charles the 1st understood that his painted portraits, sculpted busts and a royal collection of art could bring a higher value to his royal status and this practice was representing the power, the authority and the virtues of a king. He was a prodigious collector and made numerous acquisitions of paintings and statues. He collected the artworks of more than 1750 artists; that formed the basis of Royal Collection, the greatest private collection nowadays. The reign of Charles the 1st was highly significant for the appearance of “Court Painters”, who also had the quality of diplomats at various European courts. Peter Paul Rubens and Antoon Van Dyck have been highly appreciated at the court of Charles the 1st. In his artworks Van Dyck captured the “flamboyant” spirit of the time; he gave brilliance to his characters and transformed significantly the image of the King, providing him a special refinement, as it can be seen in the portraits he painted to Charles the 1st. The next century was marked by painters such as William Hogarth, Joshua Reynolds and Thomas Gainsborough. Hogarth was considered „the most famous painter in London”, and he brought his important contribution to the establishment of a copyright law. His printed graphic series and satirical paintings have been inspired from the social and political reality of his time. Aristocracy’s and bourgeoisie’s emancipation in the 18th century led to the flourishing of the portraiture. Reynolds and Gainsborough were the most desired painters when it came about making portraits and their fame transcended their time. Keywords: collection, Great Britain, Royal Painter, portrait, art power
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Micallef, Martin. "The Use of Zeteo in the Fourth Gospel: A Debate with John Painter's The Quest for the Messiah." Roczniki Teologiczne 67, no. 3 (2020): 5–26. http://dx.doi.org/10.18290/rt.20673-1.

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Użycie zeteo w czwartej ewangelii: debata z The Quest for the Messiah Johna Paintera
 Artykuł jest formą debaty z monografią Johna Paintera The Quest for the Messiah: The History, Literature and Theology of the Johannine Community obszernie podejmującą temat zeteo (poszukiwania) w Ewangelii Jana. W publikacji tej Painter doszedł do wielu cennych rezultatów w próbach ustalenia znaczenia zeteo w Ewangelii Janowej, analizując przedstawione historie poszukiwań i odrzucenia. Artykuł przedstawia, w jakim stopniu Painter zrozumiał historyczne pochodzenie zeteo w stosunku do Sitz im Leben Wspólnoty Janowej. Opisuje także niektóre z możliwych kierunków rozwoju myśli Paintera i zwraca uwagę na niektóre nurty ostatnich badań nad Ewangelią św. Jana.
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Im, Mi-hyun. "Reconstruction of Keung-Jae Kim Deuk-shin’s Life." Institute of History and Culture Hankuk University of Foreign Studies 82 (May 31, 2022): 125–58. http://dx.doi.org/10.18347/hufshis.2022.82.125.

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Geungjae (兢齋) Kim Deuk-shin (金得臣, 1754~1822) was a painter from the Yeong, Jeong, and Sun Dynasties. Born to the Kaesong Kim clan, a noble painter family of the late Joseon Dynasty, he entered the Dohwaseo in his teens and, for more than 44 years, played critical roles of a major painter, living the typical life of a painter during the late Joseon Dynasty. In addition to his well-known genre painting, he was one of the best painters of his time, presenting outstanding skills in almost all genres, including landscapes, figures, furry animals and flowers and birds. Nevertheless, many viewed him with limited perspectives, such as “a painter whose major inspiration was Kim Hong-do” and “a painter only known for genre painting.” Focusing on these aspects, this paper intends to reconstruct Kim Deuk-shin’s life and his influence on Korean painting history.
 Born to the Gaesong Kim clan and Shinpyung Han clan, both noble painter families of the late Joseon Dynasty, Kim Deuk-shin received rigorous education from an early age and became an official Dohwaseo painter in his teenage years. After the establishment of Jabidaeryungw hawon (the best painters of their time, temporarily recruited for royal court assignments in the late Joseon period) by Gyujanggak, he was recruited as one of the first Jabidaeryungwhawon and devoted himself to Gyujanggak activities for the next 37 years. He was known to be diligent in all his tasks, small or large, in addition to major painting duties including Gamdong (監董, a temporary official post to supervise and manage special projects such as civil engineering works or publication of books), royal portrait painter for Jeong Dynasty, and production of Hwaseongwonhaengdobyeong. With his talent and attitude, he was a trusted painter, being appointed several times as an official (burok, 付祿) during both Jung and Sun Dynasties.
 In addition to his official duties, Kim Deuk-shin was also active in his private works. He grew himself as a painter by interacting with important artists of the Joseon Dynasty, such as Kim Eung-hwan who came from a similar background, as well as Kim Hong-do and Lee In-moon. He received private orders through these personal relations, resulting in general paintings of various genres, as evidenced by his works such as Gosangugok-sihwabyeong and Hanjgangjooyouaheokdo cheob.
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Wansink, Christina J. A. "De decoratieve schilderkunst van Mattheus Terwesten, een Haagse meester uit de achttiende eeuw." Oud Holland - Quarterly for Dutch Art History 104, no. 3-4 (1990): 270–92. http://dx.doi.org/10.1163/187501790x00138.

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AbstractThe painter Mattheus Terwesten, much esteemed in his own day, and highly praised by Van Gool, was born in 1670 in The Hague. He was taught by his older brother Augustinus, Willem Doudyns and Daniel Mytens. In 1695 he travelled by way of Berlin, where Augustinus was court painter, to Rome, where he became a member of the Bentyvueghels, who nicknamed him 'Arend' (eagle). Back in Berlin in 1698, he was commissioned by the Elector to design two ceilings for the palace in Charlottenburg. From 1699 on, apart from a brief sojourn in Berlin as court painter in 1710, he lived in The Hague. Many of his patrons were prominent members of the regent class. Terwesten continued to paint until a ripe old age; throughout his life he was an active member of the Pictura Confrerie and the Hague Academy. He died in 1757. The Rijksprcntenkabinet possesses a biography written by his son Pieter, based on the painter's own notes. The carliest known work is a Liberation of Andromeda in the Herzog Anton Ulrich-Museum in Brunswick, dated 1697 Berlin', a combination of location and year that cannot be correct. The ceilings painted by Augustinus and Mattheus for Charlottenburg have been lost; since 1977 however, the palace again contains four large paintings by Mattheus with scenes from the story of Aeneas and Dido, one of them signed and dated 1702. Preparatory studies, as part of a series of twelve drawings, are in the Rijksprentenkabinct in Amsterdam. The paintings probably belong to the series of twelve pieces devoted to Aeneas which Mattheus, according to Pieter's manuscript, painted in 1702 for the house of Van der Straaten in the Hoogstraat, The Hague. Terwesten's most ambitious ceiling is the cupola of Fagel, a combination of painting and painted stucco, done in collaboration with the flower painter Gaspar Peeter Verbrugghen. Restoration of the old town hall of The Hague in 1974 revealed a ceiling painted by Terwesten in 1737. ln the Drents Provinciaal Museum in Assen is a Terwestcn ceiling, regarded as an anonymous work, which has been established as coming from 22, Hooglandse Kerkgracht in Leiden. Terwesten rarely received church commissions; an exception is an altarpiece, the Transfiguration, for the Old Catholic church in the Juffrouw Idastraat, The Hague. His later works, like Solomon's first judgment in the town hall of Monster, are characterized by a certain rigidity. This also applies to an Allegory on peace, catalogued as an anonymous painting, in the Mauritshuis in The Hague, which may be attributed to Terwesten. Mattheus Terwesten not only carried out commissions but painted for the open market as well. In view of the relatively large number of religious works listed in the catalogue of his estate, which was auctioned in 1757, there seems to have been a market for biblical scenes. His paintings of children or putti at play were very popular. Many of them have been erroneously attributed over the years: an Allegory on spring in the museum at Tarbes and an Allegory on spring in the Bayerische Staatsgemäldesammlungen in Munich arc attributed to Augustinus Terwesten. Mattheus Terwesten collaborated with various flower painters, in keeping with a Flemish tradition to which he had been introduced by Gaspar Peeter Verbrugghen, who came from Antwerp. After Verbrugghen left The Haguc (in 1732), Terwesten worked with Pieter Hardimé and Coenraet Roepel, who later taught his son Pieter. Terwesten's decorative and later somewhat mechanical style catered to the taste of the wealthy citizens of his day. It is in this light that his works mcrit attention.
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Gaya, Ramón. "From Painter to Painter." World Literature Today 89, no. 6 (2015): 53. http://dx.doi.org/10.1353/wlt.2015.0080.

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Dissertations / Theses on the topic "Painter"

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Chae, Elle. "Painter, Painter." Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/35199.

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In Painter, Painter, Elle Chae explores the home as an unstable, unpredictable environment that is highly sensitive to the traces emanating from the domestic space, including its inhabitants. This body of work examines how the occupant’s interactions can blur the notion of home as a shelter. Using the creative deconstruction as a mode of generating new meanings, Chae’s conceptual juxtaposition and wide range of techniques and surface create reverie scenes that are open to and encourage freedom of interpretations.
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Herbert, Lynley Anne. "Duccio di Buoninsegna icon of painters, or painter of 'icons'? /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 4.69 Mb., 57 p, 2006. http://wwwlib.umi.com/dissertations/fullcit/1435856.

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Cooke, Peter David. "Gustave Moreau, #painter-poet'." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307413.

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Verplanck, Anne Ayer. "Benjamin Trott: Miniature Painter." W&M ScholarWorks, 1990. https://scholarworks.wm.edu/etd/1539625566.

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Jacobi, Carol. "Painter, painting, paint : a reappraisal of the work of William Holman." Thesis, Birkbeck (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286207.

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Art historians tend to focus on the literary aspects of Hunt's paintings and little is said about their disconcerting appearance. This thesis explores Hunt's attitude to art-making and his artistic practice in order to investigate the relationship between the form of his work and its content. To this end, Hunt's written output is reevaluated. A distinction is made between public texts and private journals and letters. The latter display accelerating concerns about the artistic persona. A sense of religious doubt, weakness and mortality is answered by an alternative self-image which aspires to prophetic authority. During later years, this fantasy centres on hopes of resurrection. These anxieties pivot around the perfection and authenticity of the artist's production. The realism of Hunt's painting style authenticates his religious subject matter and the beliefs and self-image behind it. Public texts emphasise an objective, mimetic technique and attempt to elide the processes by which subjective meanings are inscribed into the image. However, in practice, Hunt completes his paintings in two distinct stages. The combination, on the same canvas, of an elaborate, linear design and precise, mimetic colour effects represents the artist's attempt to synthesise the imagined and the real. This process results in a paradoxical subversion of both imaginative and optical authority which retraces the doubts manifested in Hunt's writings. The dislocation between real and imagined appearance is confronted at the point of laying the colour on the canvas. Hunt conducts extensive research into technique in order to gain control over this act, but this also heightens an awareness of the contradictory identity of the image as paint. He addresses this by aligning the materials themselves with the moral order which is being depicted. Their inevitable imperfections therefore connote disorder and the art object, as well as the image, becomes an expression of the artist's unstable identity and beliefs.
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Radko, A. "Ukrainian artist-painter Yevgenia Gapchinska." Thesis, Sumy State University, 2015. http://essuir.sumdu.edu.ua/handle/123456789/40445.

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Nisbet, Archibald. "George Clint (1770-1854) : theatrical painter." Thesis, Birkbeck (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271351.

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The thesis treats the theatrical scenes and single figure portraits of actors and actresses en role by George Clint. The development of theatrical scene painting in England during the eighteenth century is traced from its antecedents in The Netherlands and France through to the arrival of Clint. There is a brief review of Clint's career to 1816 when he exhibited his first theatrical scene at the Royal Academy. To define the area in which Clint worked, a chapter explores the theatre of the time. His theatrical scenes are discussed for each of the three phases of his work which I have identified. The first phase terminated in 1821 when he was elected ARA. His second phase ran through the 1820s when he continued his earlier manner of painting scenes from staged productions, with portraiture. In the last phase during the 1830s his style and subject material changed. He was essentially a painter of the comic, initially of largely contemporary comedy and farce, but after 1830 of the more substantial comedies of Shakespeare. At the same time his style changed to a more distanced treatment of the theatre without reference to specific productions or casts. The treatment of his theatrical scenes is followed by a consideration of his single figure theatrical portraits of actors and actresses. An important goal for Clint was full membership of the Royal Academy; that he never achieved it led to his resignation in 1836. The position of the Academy at the time, and in particular Clint's situation, is considered. Clint is seen as a peculiarly representative figure in the debates on both the fine arts and the theatre, working as he does at the junction of the two arts and affected by the problems of both.Prints from Clint's theatrical scenes and individual theatrical portraits, both as independent works and as book illustrations are also discussed. Finally, his influence and the reason why the genre of theatrical scene painting came to an end in him are considered 3
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Nichols, Thomas. "Tintoretto : the painter and his public." Thesis, University of East Anglia, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.306263.

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Spivey, N. J. "The Micali Painter and his followers." Thesis, University of Cambridge, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.372910.

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Jones, Rachel. "Evolution: The Progress of a Painter." ScholarWorks@UNO, 2008. http://scholarworks.uno.edu/td/655.

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This analysis explores the progression of my work over the past three years of study. My initial pursuits involved ideas that revolved around contemporary feminism, however, with time I expanded upon those ideas by exploring other subjects. I realized the connection in all of my work lies in the use of manipulated found imagery, and the desire to release this imagery from the confines of traditional pictorial space. With this discovery, I became free to utilize any manner of subjects, as the subject matter relied heavily on the finding and re-interpreting of these disparate images into the language of paint. Moreover, specific modes of thought, such as Feminism, were allowed to become single threads in a diverse, complex tapestry.
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Books on the topic "Painter"

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Corporation, National Learning, ed. Painter. National Learning Corp., 1991.

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López-Rey, José. Velázquez: Painter of painters : the complete works. Taschen, 1997.

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Vollon, Antoine. Antoine Vollon (1833-1900): "A painter's painter". Wildenstein, 2004.

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Davenport, Will. The painter. Bantam Books, 2003.

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French, Vivian. Painter bear. Ted Smart, 1999.

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Lasky, Kathryn. First painter. DK Ink, 2000.

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Canada. Human Resources Development Canada. and Canada. Human Resources Partnerships Directorate. Standards, Planning and Analysis., eds. Automotive painter. Human Resources Development Canada, 1995.

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Canada. Human Resources Partnerships Directorate. Automotive painter. Minister of Supply and Services Canada, 1996.

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James, Long. The painter. HarperCollins, 2003.

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Lenkiewicz, Rebecca. The painter. Faber and Faber, 2011.

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Book chapters on the topic "Painter"

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Murry, Natalie. "Customizing Painter." In Digital Forensic Art Techniques. CRC Press, 2018. http://dx.doi.org/10.4324/9781351047166-13.

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Gooch, Jan W. "Journeyman Painter." In Encyclopedic Dictionary of Polymers. Springer New York, 2011. http://dx.doi.org/10.1007/978-1-4419-6247-8_6609.

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Maagerø, Eva, Ruth Mulvad, and Elise Seip Tønnessen. "Clare Painter." In Women in Social Semiotics and SFL. Routledge, 2021. http://dx.doi.org/10.4324/9780429352270-6.

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Robins, Barbara K. "Word Painter." In Painting Words. Routledge, 2020. http://dx.doi.org/10.4324/9780429242601-12.

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Deguy, Sébastien. "Substance Painter." In Allegorithmic. CRC Press, 2025. https://doi.org/10.1201/9781003534624-29.

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Frank, J. Howard, J. Howard Frank, Michael C. Thomas, et al. "Painter, Reginald Henry." In Encyclopedia of Entomology. Springer Netherlands, 2008. http://dx.doi.org/10.1007/978-1-4020-6359-6_2726.

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Moden, Rebecca. "Writer Meets Painter." In Iris Murdoch and Harry Weinberger. Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-17945-7_1.

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Painter, Roy. "Private Roy Painter." In A Forgotten British War. Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-10051-2_12.

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Giitersloh, Paris von. "SCHOENBERG THE PAINTER." In Schoenberg and His World, edited by Walter Frisch. Princeton University Press, 2012. http://dx.doi.org/10.1515/9781400831937.243.

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Mannack, Thomas. "The Earlier Mannerists." In The Late Mannerist in Athenia Vase-Painting. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780199240890.003.0003.

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Abstract Beazley had already recognized Myson as the teacher of the Pig Painter in 1925. In H,)33 he thought that the Pig Painter’s vases were late works of Myson,3 bm finally chose the description ‘continues the style of Myson’.; Berge described tl1e Leningrad Painter as a student of Iv1yson,5 Beazley called him a companion and brother of the Pig Painter,” and labelled the Agrigento Painter initially a companion of the Pig and Leningrad Painters.’ Later he wrote: ‘[The Agrigento Painter] takes off from the Pig Painter.
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Conference papers on the topic "Painter"

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Fleitman, Gina. "Standardized Coating Systems for Commercial Applications." In SSPC 2011. SSPC, 2011. https://doi.org/10.5006/s2011-00020.

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Abstract This paper discusses the use of Master Painter Institute (MPI) paint standards and systems to select and procure paints for the protection and beautification of commercial buildings. Background on MPI and an explanation of how to use its paint standards is provided, along with instructions for using MPI manuals to choose coating systems for building environments.
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Misra, Vihaan, Peter Schaldenbrand, and Jean Oh. "Robot Synesthesia: A Sound and Emotion Guided Robot Painter." In 2024 IEEE/RSJ International Conference on Intelligent Robots and Systems (IROS). IEEE, 2024. https://doi.org/10.1109/iros58592.2024.10802780.

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Jung, Philippe, Jean-Louis Heudier, and Francis Rocard. "Lucien Rudaux, Science Popularizer and the First Space Painter (1874-1947)." In 58th IAA History of Astronautics Symposium, Held at the 75th International Astronautical Congress (IAC 2024). International Astronautical Federation (IAF), 2024. https://doi.org/10.52202/078381-0004.

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Ohanyan, Marianna, Hayk Manukyan, Zhangyang Wang, Shant Navasardyan, and Humphrey Shi. "Zero-Painter: Training-Free Layout Control for Text-to-Image Synthesis." In 2024 IEEE/CVF Conference on Computer Vision and Pattern Recognition (CVPR). IEEE, 2024. http://dx.doi.org/10.1109/cvpr52733.2024.00837.

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Tomassoni, Rosella, Valentina Coccarelli, and Coccarelli Spilabotte. "CREATIVITY AND MADNESS IN THE ARTISTIC PRODUCTION OF VINCENT VAN GOGH: BRIEF PSYCHOLOGICAL REFLECTIONS." In 11th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2024. SGEM WORLD SCIENCE, 2024. https://doi.org/10.35603/sws.iscah.2024/s07.17.

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The aim of this study is to show how painting, in Vincent Van Gogh (1853-1890), is an active expression of the Dutch painter�s madness, inner anxieties and social unease through the vigour of the sign and the brutal incandescence of colour. The pictorial material is a direct manifestation of the inner datum and becomes a means of exorcising the �evil of living� that consumed the artist. Within this work, we will consider how in the works of Van Gogh, forerunner of the expressionist language, creativity and madness coexist simultaneously. In his aesthetic operations, in fact, those unconscious processes emerge that are expressed through creative action. This study aims to demonstrate how, however, the state of madness manifested by the painter can lead, through logical processes, to the birth and production of creative objects. At the same time, however, the madness, linked to psychopathology, will result in a self-aggressive energy, negatively influencing his psyche, leading him into a depressive condition and subsequently to death. The present work, therefore, consists of a careful psychological analysis of the Dutch painter�s creative and at the same time destructive thinking, which led him to create works that would gradually reflect his state of mind and accompany him towards his end through increasingly textured and swirling brushstrokes.
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Wu, Kaiyi, Jiaoyang Ding, Jingsen Li, Yuke Yang, Chen Zhang, and Jiaxin Cao. "LLM-Empowered Image Generation in the Neko Painter App: A Preliminary Application for Producing Teaching Materials." In 2024 4th International Conference on Educational Technology (ICET). IEEE, 2024. https://doi.org/10.1109/icet62460.2024.10868922.

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Menke, Joseph. "Overspraying Paint on Rubber." In CORROSION 1998. NACE International, 1998. https://doi.org/10.5006/c1998-98598.

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Abstract Overspray of alkyd enamel and lacquer paints on rubber has been shown to accelerate the cracking by ozone on susceptible materials. Similar effects of overspray using epoxy paint on rubber were evaluated by exposing painted specimens to an accelerated ozone test.
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Ikenberry, Robert, and Don Schnell. "Psymplified Psychrometerics." In SSPC 2014 Greencoat. SSPC, 2014. https://doi.org/10.5006/s2014-00023.

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Abstract Although moisture in the air and on the surface has always been a concern, psychrometrics has been a confusing and misunderstood area of the industrial coating business. Psychrometrics (the study of water in the air) is used every day in the HVAC and humidity control industries and the mechanical engineer or refrigeration professional may have a clear understanding of the concepts used in this realm. The industrial painter is involved with a small part of this science but very few really understand the concepts that affect their job every day. The objective of the paper is to leave the reader with a clear understanding of what conditions to watch for on the job and what causes conditions to deteriorate as well as how to correctly predict and measure these parameters.
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Lavoie, Dennis M., Brenda J. Little, Richard I. Ray, Kevin R. Hart, and Patricia A. Wagner. "Microfungal Degradation of Polyurethane Paint and Corrosion of Aluminum Alloy in Military Helicopters." In CORROSION 1997. NACE International, 1997. https://doi.org/10.5006/c1997-97218.

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Abstract Military helicopters operating in humid environments often develop growths of microfungi on interior surfaces. Fungal contamination requires labor for cleaning maintenance, and also has the potential to influence corrosion of airframes directly via fungal metabolism or indirectly via unauthorized cleaning procedures. Nine genera of microfungi were isolated from the interiors of military helicopters. One of the isolates is known to discolor paint, and another reportedly causes corrosion in aluminum alloy. In a study to determine the short-term effect of fungal growth on paints used on military helicopters, coupons painted with polyester polyurethane and lacquer-based coating were exposed to fungal isolates. Both coated and uncoated surfaces were examined for physical changes due to presence and activities of fungi. Polyester polyurethane paint exhibited better short term resistance to initiation of overgrowth and surface damage by fungi than lacquer-based paint.
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Fernando, Luis G. "Application Study on the Performance of Polyurethane Paint as a Green Coat Using Biobased Coconut Polyol Resin for Protective, Marine and Industrial Coatings." In SSPC 2011. SSPC, 2011. https://doi.org/10.5006/s2011-00019.

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Abstract This paper describes the performance properties of coconut-based polyol resin used in polyurethane coating systems compared with commercially available polyurethane paints which use petroleum-based acrylic or polyester polyol resins, in terms of physical and corrosion properties under accelerated laboratory weather conditions. The studies also show the chemical resistance and protection properties from the discoloration effects of ultraviolet (UV) light on the painted metal test panel substrate specifically cold rolled steel. The developed polyurethane coatings were applied as a prime coat as well as a top coat. The painted panel was tested according to American Standards Tests Methods (ASTM) and Japan Standard Test Equipment – SUGA Dew Panel Light Control Weather Meter, Model DPWI-5R (ASTM G53 Type B) for QUV and weatherability. Test results will be described in the presentation. This study primarily discusses the applicability of the Polyurethane Paint for protective (auto-refinish), marine and industrial coatings. The coconut-polyol-based polyurethane coating described is offered as a “Green Coat” product, as it makes use of a renewable resource, coconut oil, in lieu of petroleum derivatives. The introduction of this study, the performance of Polyurethane Paint using a coconut oil-based bioresin, is envisioned to provide an awareness of new environment-friendly and potentially cost-effective anti-corrosion paint alternatives for the coatings industry. This study hopes to generate interest and make an important first step in developing new and better alternative sources in eco-friendly resins manufacturing.
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Reports on the topic "Painter"

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Salveson, M. W. Painter Street Overcrossing: Linear-elastic finite element dynamic analysis. Office of Scientific and Technical Information (OSTI), 1991. http://dx.doi.org/10.2172/5123335.

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Galenson, David. Was Jackson Pollock the Greatest Modern American Painter? A Quantitative Investigation. National Bureau of Economic Research, 2002. http://dx.doi.org/10.3386/w8830.

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Heuze, F. E., and R. P. Swift. Seismic refraction studies at the Painter Street bridge site, Rio Dell, California. Office of Scientific and Technical Information (OSTI), 1991. http://dx.doi.org/10.2172/6168308.

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Poloboc, Alina. Josh Tampico. Intellectual Archive, 2023. http://dx.doi.org/10.32370/iaj.2988.

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Josh Tampico is a painting from the Fancy Collection 2022, portraying a charismatic and creatively charged character with a keen sense of music. This vibrant portrayal depicts the brilliant music composer from Madrid, known for his distinctive blue hair. Having collaborated with numerous internationally renowned singers, Josh Tampico is a noteworthy figure in the music industry. The creation of this artwork is the result of a collaborative artistic project. The strategic use of the color blue by the painter Alina Poloboc in this piece symbolizes strength, trust, and creativity. Notably, the painting of Josh Tampico currently serves as both the logo and the official cover of one of his music albums. This particular painting stands out as one of the artist`s most successful works, of which she takes great pride.
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Brinster, Gregory L., Mona Hodaei, Aser M. Eissa, et al. Leveraging LiDAR Intensity to Evaluate Roadway Pavement Marking Retroreflectivity. Purdue University, 2025. https://doi.org/10.5703/1288284317806.

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Clearly visible lane markings are important for all road users, particularly autonomous vehicles. In general, nighttime retroreflectivity is one of the most challenging marking visibility characteristics for agencies to monitor and maintain, particularly in cold weather climates when agency snowplows remove retroreflective material during winter operations. Traditional surface-applied paint and glass beads typically only last one season in climates with routine snowplow activity. Recently, transportation agencies in cold weather climates have begun deploying improved recessed, durable pavement markings that can last several years and have very high retroreflective properties. These recessed durable markings are typically either epoxy, thermoplastic or preformed tape and are typically installed during new construction or significant pavement resurfacing projects. As a result, several dozen installations may occur in a state in any calendar year. This presents a challenge for states that need to program annual re-painting of traditional waterborne paint lines, but not paint over the much more costly durable markings. This study reports on the utilization of mobile mapping LiDAR systems to classify and evaluate pavement markings along a 73-mile section of westbound I-74 in Indiana. LiDAR intensity data can classify pavement markings into 3 groupings: high-performing durable tape, non-tape, and needing maintenance. Color images collected during the LiDAR intensity data collection were used to validate the LiDAR classification. These techniques can be employed by agencies to develop accurate pavement marking inventories that ensure only painted lines (or segments with missing tape) are repainted during annual maintenance.
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Peters, Eddie. Painter's Wilderness. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.6417.

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Ames A. Grisanti, Charlene R. Crocker, and Robert R. Jensen. LASER CLEANING OF CONTAMINATED PAINTED SURFACES. Office of Scientific and Technical Information (OSTI), 1999. http://dx.doi.org/10.2172/761740.

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Mitler, Henri E. Painted stairwell fires in high-rise buildings. National Institute of Standards and Technology, 1999. http://dx.doi.org/10.6028/nist.ir.6293.

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Soukup, R. J., and N. J. Ianno. Conductive paints. Office of Scientific and Technical Information (OSTI), 1992. http://dx.doi.org/10.2172/6905263.

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Haley Daniels, Haley Daniels. Illuminating Painted Bunting breeding season diets using eDNA. Experiment, 2023. http://dx.doi.org/10.18258/54159.

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