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Journal articles on the topic 'Painter'
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1
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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Ramón Gaya, Arthur Dixon, and Daniel Simon. "From Painter to Painter." World Literature Today 89, no. 6 (2015): 53. http://dx.doi.org/10.7588/worllitetoda.89.6.0053.
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Song, Jian. "Landscape and Shadow: A Comparison of the View of Nature and Philosophy of Art in the Artworks of Fan Kuan and J. M. W. Turner." Lecture Notes in Education Psychology and Public Media 72, no. 1 (2025): 50–55. https://doi.org/10.54254/2753-7048/2025.nd19501.
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In Chinese and Western painting, respectively, there are apparent differences in the representation of the vision of nature and the philosophy of art, even though paintings carry nature as their theme in art history. The extent of these differences can be well understood by comparing works of different artists from diverse cultures. The case selected for analysis in this paper comprises the Chinese Northern Song period painter Fan Kuan and the British Romantic painter J. M. W. Turner. This paper compares and contrasts the two artists regarding their perceptions of nature and aesthetic systems. Various perspectives of nature can be explained by works like Fan Kuan's Travelers Among Mountains and Streams and William Turner's The Blizzard or Snowstorm. This paper uses a qualitative research approach to understand how the two painters depict their understanding of the topic through their creativity. Many of the works painted by Fan Kuan illustrate the Confucianistic notion of 'heaven-men unity', focusing on such aspects of nature as peacefulness and timelessness. On the other hand, Turner in his paintings responds to the relation of the age of romance to the force of light, the force of colours, Turner responds to this power of the age. The study findings reveal that though the two painters had a clear distinction based on their cultural origin, style, and thought on philosophical matters, both the painters had artistic interpretations of the natural world in their use of artistic forms.
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Altes, Everhard Korthals. "Philip van Dijk, een achttiende-eeuwse Haagse schilderkunsthandelaar met een lokale en internationale clientèle*." Oud Holland - Quarterly for Dutch Art History 116, no. 1 (2003): 34–56. http://dx.doi.org/10.1163/187501703x00260.
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AbstractPhilip van Dijk was an important eighteenth-century painter-dealer. During this period lots of dealers in paintings started out as painters, a combination also found previously in the seventeenth century. Quite a few painters began dealing due to the falling demand for contemporary art in the eighteenth century, and some of them sought new outlets abroad where there were many well-off collectors interested in both contemporary Dutch painters and the masters of the seventeenth century. Van Dijk, too, built up a clientele both locally in The Hague and abroad. Bills and receipts from Johan Hendrik, Count of Wassenaer Obdam, show that Van Dijk was actively involved in putting together the count's collection for more than 20 years. He bought old master paintings at auction as well as privately, painted several works himself, and was also a restorer. He provided similar wide-ranging services to Wilhelm of Hesse-Kassel, and bought paintings on the Dutch market for him. As a result of his painting skills, Van Dijk must have had a good eye for quality, and he could tell the difference between an original and a copy. Wilhelm sent the young painter Freese to Van Dijk's studio in The Hague, not just as an apprentice but also to learn the finer points of art dealing. Van Dijk was most likely also involved in the purchasing of paintings by other German rulers, among them Augustus III of Saxony and Christian Ludwig of Mecklenburg-Schwerin.
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Da Zheng. "Chinese Painting and Cultural Interpretation: Chiang Yee's Travel Writing During the Cold War Era." Prospects 26 (October 2001): 477–504. http://dx.doi.org/10.1017/s0361233300001010.
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On June 11, 1956, Chiang Yee was led into the Sanders Theater of Harvard University, where he began delivering his Phi Beta Kappa oration, entitled “The Chinese Painter”:The word “Chinese” in my title conveys a reference both to the birthplace of the painter and to the type of work to be expected from him; but while that is what I mean, I wish to point out that the word has not the same significance today as it would have had fifty to a hundred years ago. Then a “Chinese” painter was a painter absolutely and exclusively Chinese, differing fundamentally from the painters of all other nations and races. When I speak of a Chinese painter of today, I mean one who is basically Chinese but not exclusively so in his creation. He is not, and should not be, isolated from or independent of the rest of the world, for he has his part to play in the cultural evolution of the world. (242)
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Kurniawan, Rizki. "Ekspresi Kreativitas Fransisco Jose de Goya y Lucientes." JURNAL RUPA 2, no. 2 (2018): 116. http://dx.doi.org/10.25124/rupa.v2i2.1005.
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As a painter who inspired many of his successor painters, Goya's work not only was trapped by his establishment as a palace painter but also transformed from a portrait painter to a painter with a subversive theme in accordance with the social situation that occured at the time. Goya is always trying to challenge his creativity by trying to bring unusual and controversial themes that are sometimes againts the authority of the palace and the church. With the background of the Goya's creativity process that are so diverse, it is very interesting if we can observe how the creativity process came up with all things that influence it both from the influence of his personal life, environment and socio-political conditions at that time.
 Keywords: creativity, transformation, challenge, influences.
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Firea, Ciprian. "“De Piloso Fonte Sum”: On Dishonorable Backgrounds, Lawsuits, Guilds, and Artisans in Early Renaissance Cluj." Studia Universitatis Babeș-Bolyai Historia Artium 68 (December 30, 2023): 45–66. http://dx.doi.org/10.24193/subbhistart.2023.02.
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“De Piloso Fonte Sum”: On Dishonorable Backgrounds, Lawsuits, Guilds, and Artisans in Early Renaissance Cluj. This study, based on an exceptional source (a judicial record of 1549, published here for the first time) aims at the restitution of the biography and the distinctive character and personality of an early Renaissance painter from Transylvania, Gregorius Pictor, while making recurrent references to the artistic milieu of the sixteenth century Cluj – the town where he was mainly active. The study reveals, undoubtedly, one of the most comprehensive painters’ biographies of Transylvania in early modern times. Keywords: painter; painters’ guild; biography of artists; Renaissance; Cluj; Transylvania.
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Koreneva, Marina Iur’evna. "V. A. ZHUKOVSKY, THE TURGENEV BROTHERS AND THE GERMAN «ROMANTIC» K. D. FRIEDRICH: CONCERNING THE HISTORY OF A PORTRAIT." Russkaya literatura 4 (2022): 122–28. http://dx.doi.org/10.31860/0131-6095-2022-4-122-128.
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The article focuses on the historical and political context of the creation of the portrait of V. A. Zhukovsky, A. I. and S. I. Turgenevs, painted by K. D. Friedrich in 1826. An analysis of the painter’s political views and their symbolic representation in his art made it possible to reconstruct the contents of the conversations between him and his Russian guests. Being familiar with the materials of the criminal investigation of the December 1825 «conspiracy», the painter had portrayed his guests as German «patriots» and «demagogues», associated with the European liberal movement.
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Miedema, Hessel. "Philips Angels Lof der schilder-konst." Oud Holland - Quarterly for Dutch Art History 103, no. 4 (1989): 181–222. http://dx.doi.org/10.1163/187501789x00167.
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AbstractPhilips Angel's Lof der schilder-const (In Praise of Painting, 1642) is one of the few pieces of writing we have as a source of notions on the theory of painting in the Netherlands. Yet it was not intended as an art-theoretical treatise: Angel read the text at a St. Luke's feast as part of the activities that were being undertaken to acquire guild rights for Leiden painters. In order to assess the value of the theoretical notions on which the paper is based, it is therefore necessary to analyse as far as possible the circumstances of its writing. First the Angel family is examined. Orginally from Antwerp, the Angels moved north in the 1590s, probably because of the Eighty Years' War, settling in Middelburg and Leiden. They were fairly prosperous middle-class citizens, mostly schoolteachers, painters and small shopkeepers. Both the Middelburg and Leiden branches produced painters called Philips Angel. The Middelburg Philips, almost certainly identical with a painter called Philips Angel who was active in Haarlem, is known to have produced quite a lot of paitings. Only one small etching by the Leiden Philips has survived; nothing is known of any paintings by him. The Leiden Philips, the author of Lof der schilder-const, had a turbulent career. He joined the painters who pressed for guild rights in Leiden, to which end he held his speech in 1641. As early as 1645, though, he gave up painting and travelled as an employee of the United East-Indian Compary to Indonesia. From there, promoted to the high rank of chief merchant, he was sent to Persia. He was dismissed on grounds of embezzlement, but managed to procure the post of court painter to the Shah. By 1656, however, he was back in Batavia (Jakarta), where he again obtained a number of highly regarded positions. Fired again for mismanagement and defalcation, his end was inglorious. The Lof der Schilder-const shows evident signs of a general tendency among Dutch painters of the mid-seventeenth century to claim a higher status for their profession. The text is duly meant less as a theoretical treatise than as a rhetorical amplificatio of the painter's profession. The author seems to have been reasonably well-read, although by no means scholarly; nor was he very conversant with the Italian art theory of his day. Scrutiny of the text reveals his superficial and undiscerning paraphrases of the few sources at his disposal (mainly Karel van Mander's Schilder-boeck and the Dutch translation of Franciscus Junius' De pictura veterum). Much of his eulogy is a summing-up of the distinguished characteristics a painter ought to have. The remarkable thing is that not one of those characteristics provides specific insight into the professional practise of the Leiden painters around 1641. As far as they are at all relevant to what was being painted in Leiden at that time - take the Leiden 'Precise School' of Gerard Dou's circle -, his remarks provide little more insight than a superficial consideration of the paintings would arouse in any layman.
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Gai, Lai. "A Brief Discussion on the Object of Expression in Diego Velasquez’s Las Meninas." Education, Language and Sociology Research 3, no. 1 (2022): p71. http://dx.doi.org/10.22158/elsr.v3n1p71.
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Las Meninas is a painting by Spanish painter Diego Velasquez painted in 1656. The composition of the painting is very complex, consisting of nine people, a dog, mirror reflections of the king and queen, paintings on the wall, etc. While among them, which is the main object depicted by the painter, who is the hero of the painting, the discussion on this issue has been the research object of experts all the time. The author refers to the historical background, painting methods, color application and light treatment of the painter, and also refers to the analysis by Michel Foucault and Daniel Arasse, to get a brief discussion of the object expressed in this painting.
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Janssen, Paul Huys. "Historiestukken door de Utrechtse schilder Johan de Veer." Oud Holland - Quarterly for Dutch Art History 108, no. 2 (1994): 65–72. http://dx.doi.org/10.1163/187501794x00341.
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AbstractTwo seventeenth-century painters bore the name Johan de Veer, a circumstance responsible for a certain amount of confusion. Virtually nothing is known of the Amsterdam De Veer (born in 1647 or 1648, date of death unknown). We have more information about his namesake from Utrecht, who lived from about 1610 to 1662. In 1635 he was abroad, undoubtedly in Italy, the destination of many young artists. After his rcturn he married in 1640 and set up as a painter in Utrecht. His ocuvre, comprising a number of portraits and history pieces, is very small; perhaps he was not particularly successful, or worked as an amateur. He painted in the manner of the Caravaggisti and with great expression. The history pieces arc a lost Andromeda, a David Giving the Letter to Uriah (fig. i), in the possession of the Sint Eloyengasthuis in Utrecht since 1656, two versions of the Adoration of the Shepherds (figs. 3 and 4) and two versions of Cleopatra (figs. 5 and 7). It is noteworthy that De Veer modelled one of the Cleopatra figures on Susanna and the Elders by the Lombardian painter Giovanni Stefano Doneda (1612-1690) (fig. 6).
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Grūbe, Signe. "LATVIAN ARTISTIC FIELD FROM THE ARTISTS’ VIEWPOINT." Culture Crossroads 16 (November 2, 2022): 30–49. http://dx.doi.org/10.55877/cc.vol16.81.
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The autonomy of artistic field is expressed in the degree to which the artist obeys the laws of action and changes in the field of power and social space. The work of a painter can be directly influenced by other actors in the artistic field, therefore, the opinion of other painters is analysed and compared to their own position in the art space. The purpose of this article is to determine the viewpoint from which a painter sees the Latvian artistic field and himself/herself therein. The study is based on 28 author’s interviews with Latvian painters. The article considers whether painters regard the artistic field as separated from the social space and whether they feel themselves and their colleagues as equal players. The research indicates that the autonomy of the artistic field is not possible. Painters are equal players with other actors in the artistic field.
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Hu, Alice Joan. "Jan Philip van Thielen and his flower garland paintings." Культура и искусство, no. 3 (March 2021): 58–65. http://dx.doi.org/10.7256/2454-0625.2021.3.33322.
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The subject of this research is the artworks of the Flemish painter Jan Philipp van Thielen – a prominent author of the pieces depicting flower garlands in the XVII century, but so little-known nowadays. His name is unjustly forgotten in Russian historiography, although his paintings exhibited in the national museums; although in Western historiography, his popularity has grown in recent decades. Special attention is given to the painter’s works in different genres (religion, portraits, mythology), which are framed by a flower garland accentuating and symbolizing the central images. The scientific novelty of consists in ratification of art of the once renowned and now almost forgotten painter Jan Philipp van Thielen, as well as in the proof that he was one of the most popular flower painters in Flanders, and his patrons and customers were such high-rank aristocrats as Diego Felípez de Guzmán 1st Marquess of Leganés (1580-1655), and Archduke Leopold Wilhelm of Austria (1664-1662), both art lovers and philanthropists. The acquired results demonstrate that Jan Philip van Thielen painted flower garlands in different genres. In the art of Flanders of the XVII century with remarkable success the showed the beauty of garlands and their use for enhancing the religious or moralizing meaning of the central images. His works are widely exhibited not only in museums, but also in auctions, which once again proves his important role in the painting of the XVII century.
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Ferrari, Gloria. "Menelās." Journal of Hellenic Studies 107 (November 1987): 180–82. http://dx.doi.org/10.2307/630082.
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In 1949 Jeffery wrote of the Proto attic stand from Aegina once in Berlin, A 42: ‘… the dialect and letter-forms used by the painter of the stand indicate that he was himself an Aeginetan.’ Her suggestion was taken up by scholars who favored the idea of an immigrant painter in Athens, and eventually led to the hypothesis that a group of vases in the Black and White style— namely the ones by hands represented in the treasuretrove bought by the Berlin Antiquarium in 1936—were made in a workshop on the island. Since it is the one apparently sound piece of evidence that at least one painter of the Black and White style was Aeginetan, the stand and its painted inscription deserve another look.
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MORROW, LISA A., STUART R. STEINHAUER, RUTH CONDRAY, and MICHAEL HODGSON. "Neuropsychological performance of journeymen painters under acute solvent exposure and exposure-free conditions." Journal of the International Neuropsychological Society 3, no. 3 (1997): 269–75. http://dx.doi.org/10.1017/s1355617797002695.
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Journeymen painters were evaluated with a comprehensive battery of neuropsychological tests and compared to demographically similar nonexposed controls. For painters, a cumulative exposure to solvents was estimated from a structured interview that derived an index based on lifetime exposure and exposure in the past year. Painters were tested either shortly after having painted or after an exposure-free interval. Significant between-group differences were found on a cluster of tests measuring learning and memory. Within the painter group, scores on the learning and memory tests were significantly related to the interaction of condition and exposure. That is, those painters who were tested soon after painting and who also had a higher overall lifetime exposure, performed worst on tests of learning and memory. These results are consistent with the view that neuropsychological function — particularly learning and memory — may be compromised in active workers with a history of chronic solvent exposure. Furthermore, both the chronicity of solvent exposure, as well as the acuteness of the exposure, are significant factors in cognitive performance. (JINS, 1997, 3, 269–275.)
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Sokołowicz, Małgorzata. "« Ces orgies d’inspirations ». Le destin du peintre d’après le Journal de Félix Ziem." Cahiers ERTA, no. 35 (September 30, 2023): 61–80. http://dx.doi.org/10.4467/23538953ce.23.024.18474.
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“These orgies of inspiration”. The Destiny of the Painter According to the Journal of Félix Ziem The present paper focuses on the diary of the French painter Félix Ziem (1821-1911) and inquires the destiny of the painter emerging from his writings. Basing on the theories of diary writing (B. Didier, A. Girard, J. Lis), it shows how the artist represents his profession. The analyses convey that three elements are necessary for Félix Ziem to fulfill the destiny of the painter: hard work, dreamy contemplation of nature and travels. Those elements are described in detail in the three consecutive parts of the paper. The conclusions display a self-confident artist, influenced by Romantic aesthetics, who consciously constructs in his diary a testimony of his life as an example of painter’s destiny.
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Popica, Radu. "Portretul librarului Németh – o lucrare inedită din creația timpurie a lui Székely Bertalan." Studia Universitatis Babeș-Bolyai Historia Artium 65, no. 1 (2020): 33–38. http://dx.doi.org/10.24193/subbhistart.2020.02.
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"The Portrait of the Bookseller Németh – an Unknown Artwork from the Early Creation of Székely Bertalan. The study presents an unknown portrait from the early years of Székely Bertalan’s creation. The arguments on which the identification of the painter and the sitter’s portrait were based are presented. Also, the context in which the portrait was painted at Brașov in 1856 is presented and data are provided on the personality of the model, Wilhem Németh, bookseller. Keywords: painter, unknown portrait, Székely Bertalan, Brașov "
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Dzido, Tomasz, and Renata Zakrzewska. "A Note on On-Line Ramsey Numbers for Some Paths." Mathematics 9, no. 7 (2021): 735. http://dx.doi.org/10.3390/math9070735.
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We consider the important generalisation of Ramsey numbers, namely on-line Ramsey numbers. It is easiest to understand them by considering a game between two players, a Builder and Painter, on an infinite set of vertices. In each round, the Builder joins two non-adjacent vertices with an edge, and the Painter colors the edge red or blue. An on-line Ramsey number r˜(G,H) is the minimum number of rounds it takes the Builder to force the Painter to create a red copy of graph G or a blue copy of graph H, assuming that both the Builder and Painter play perfectly. The Painter’s goal is to resist to do so for as long as possible. In this paper, we consider the case where G is a path P4 and H is a path P10 or P11.
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Lee, Sylvia W. S. "“Co-branding” a Cainü and a Garden: How the Zhao Family Established Identities for Wen Shu (1595–1634) and Their Garden Residence Hanshan." Nan Nü 18, no. 1 (2016): 49–83. http://dx.doi.org/10.1163/15685268-00181p03.
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This paper examines two paintings by Wen Shu (1595–1634), each of which was inscribed by her husband who declared that Wen Shu painted what she saw in their garden residence Hanshan. With this claim, the family reinforced the image of “Wen Shu the artist” as a cloistered gentry woman and an amateur painter despite the fact that she painted for financial reasons. At the same time, this claim exalted the existing image of Hanshan. By establishing images for Wen Shu and Hanshan, the family worked together to reaffirm and enhance their social standing. This research contributes to the understanding of how a woman painter and her family utilized, participated in, and derived benefits from the prevalent garden culture of seventeenth-century China.
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Gallagher, Ellen. "Painter." Callaloo 19, no. 2 (1996): 331. http://dx.doi.org/10.1353/cal.1996.0047.
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Patmala, Ni Kadek Citra, Anak Ayu Nyoman Trisna Narta Dewi, and I. Made Muliarta. "THE DIFFERENCES MUSCULOSKELETAL DISORDER BETWEEN WOOD CARVERS AND PAINTERS IN UBUD." Majalah Ilmiah Fisioterapi Indonesia 6, no. 3 (2018): 29. http://dx.doi.org/10.24843/mifi.2018.v06.i03.p08.
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ABSTRACT
 
 Work activity can cause pain, pain, stiffness and other disorders of the muscular system which is one of the musculoskeletal complaints. Wood carvers and painters are workers who still dominant work with the manual system.The purpose of this study was to know the difference of musculoskeletal disorder between woodcarvers and painters and to justify the hypothesis of purpose that has been formulated.This research was observational research, categorical analytics unpaired with cross sectional approach. Sampling technique in this research was simple random sampling. The sample of this study amounted to 96 people divided into 2 groups, namely groups of wood carvers and painters. Data collection was done by filling the Nordic Body Map questionnaire. Statistical test using Chi-Square and Independent T-test. The results showed significant differences in musculoskeletal disorder on wood carver and painter, with woodcarvers mean value of 40,7 ± 5,3 and painters mean value of 43,2 ± 6,2, so p = 0,038 (p <0,05) , then there are differences in musculoskeletal disorder among woodcarvers and painters, where musculoskeletal disorders at greater painter than woodcarver. Analysis of the difference each extremity musculoskeletal disorders in the upper extremities get results with woodcarvers mean value of17.1 ± 0.38 and painters mean value of 17,3 ± 2,5, so p= 0,692 (p> 0,05), on the trunk with woodcarvers mean value of 8,3 ± 1,69 and painters mean value of 10,5 ± 2,50, so p = 0,000 (p <0,05) and in the lower extremities with woodcarvers mean value of 15,1 ± 2,69 and the average value of the painters 15.1 ± 3.33, so p = 0.973 (p> 0.05). The results of the analysis of each extremity musculoskeletal disorders in woodcarvers and painters, it can be concluded that there are significant differences in musculoskeletal disorder among woodcarvers and painters on the trunk and there are no significant differences in musculoskeletal disorder among woodcarvers and painters in the upper extremities and the lower extremities.
 
 Keywords: muskuloskeletal disorder, Nordic body map, wood carver, painter
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Zivkovic, Milos. "Unknown and less known icons from Praskvica monastery: Works by painter Radul, Dimitrije Daskal and Maksim Tujkovic." Zograf, no. 36 (2012): 199–222. http://dx.doi.org/10.2298/zog1236199z.
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This paper deals with the attribution of several icons from the treasury of the Praskvica monastery in Pastrovici. The earliest is the icon of Great Deesis, painted in 1680 by the painter Radul, for the iconostasis of the monastery Church of the Holy Trinity. The works by his apprentice, Dimitrije of Risan - the Great Deesis, the Deesis icon, and the icon of St. Demetrius with an unknown holy woman - we repainted in 1693 and in tended for the earlier monastery church dedicated to St. Nicholas. The same painter was the author of the icon of the Mother of God with Christ and the Royal Deesis, in Praskvica to day, which were painted for the iconostasis of the Church of St. Nicholas in Podostrog. The monastery of Praskvica also houses the icons painted by Maksim Tujkovic in 1714, the Hospitality of Abraham and the Crucifixion, preserved in fragments, which were initially positioned on the iconostasis in the Church of St. Nicholas.
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Angelucci, Giulio. "Hortus conclusus. La Sacra Famiglia lauretana di Lorenzo Lotto." Studia Universitatis Babeș-Bolyai Historia Artium 67, no. 1 (2022): 47–63. http://dx.doi.org/10.24193/subbhistart.2022.02.
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"Hortus conclusus. The Holy Family of Loreto by Lorenzo Lotto. The contribution is an excerpt from Dalla parte di Lorenzo Lotto. Il ciclo lauretano (On the Side of Lorenzo Lotto: The Loreto Cycle), an essay to be completed soon on the pictorial cycle which Lorenzo Lotto (Venice, 1480-Loreto, 1556) ordered in 1555 in the chapter chapel of the church of Santa Maria di Loreto. This is the painter’s last work for a public destination; due to the difficulties in providing a unitary and coherent interpretation, the cycle risks being expunged from Lotto’s catalogue despite the indication made both by Giorgio Vasari in the 1568 edition of the Vite (Lives) and by Carlo Ridolfi in 1648 in Le Meraviglie dell’arte: ovvero Le vite degl’illustri pittori veneti (The Wonders of Art: The Lives of the Illustrious Venetian Painters). Of the seven works making up the cycle, the Holy Family is one of the five painted before 1550, some of which had to be adapted to harmonize their format. The painter intervened on the Holy Family in order to adapt the content of the painting, originally intended for domestic devotion, and make it suitable for the new destination. Keywords: Lorenzo Lotto, Santa Maria di Loreto, Giorgio Vasari, the Holy Family "
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Carelli, Francesco. "Antonina Feodorovna Sofronova." Clinical Case Reports and Clinical Study 2, no. 3 (2021): 1–2. http://dx.doi.org/10.61148/2766-8614/jccrcs/020.
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Antonina Feodorevna Sofronova was born in Droskovo in 1892. In 1913, she began studying under Ilya Mashkov, where she remained until the Revolution. In 1914, the exhibition “ Knave of Diamonds “ included her works among those of French painters Georges Braque and André Derain, Russian painters Aristarkh Lentulov, Kazimir Malevich, Alexei Morgunov and Spanish painter Pablo Picasso.
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Hilje, Emil. "Matrikula bratovštine Gospe od Umiljenja i Sv. Ivana Krstitelja u Znanstvenoj knjižnici u Zadru." Ars Adriatica, no. 2 (January 1, 2012): 97. http://dx.doi.org/10.15291/ars.442.
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The Mariegola of Our Lady of Tenderness and St John the Baptist and St John the Baptist (Mariegola della B. V. d’Umiltà e di S. Giovanni Battista del Tempi in Venetia) was obtained at Venice in the mid-nineteenth century by Aleksandar Paravia. The Paravia Library was bequeathed to the Research Library at Zadar, where this work is kept today. It is a codex manuscript containing three painted miniatures and a large number of decorated initials. It is akin to similar mariegole of various Venetian confraternities from the second half of the fourteenth century. However, it happens that this codex has not received equal attention in the scholarly literature as those preserved at Venice itself or in well-known international collections, and, as a consequence, the artistic quality of the miniatures and their place in the framework of the heritage of Venetian Gothic illumination has been neglected. Most publications focusing on Venetian Gothic painting, even those addressing specific themes in Gothic illumination, mostly mention the Zadar codex only in passing, while others omit it completely. With regard to the dates recorded in the mariegola text, it is possible to accept the dating of the manuscript to the last quarter of the fourteenth century, a date which is in harmony with the miniatures’ pictorial features. They reflect, in essence, a characteristic milieu of Venetian painting after Paolo Veneziano, in particular the painting circle of Paolo’s most significant follower, Lorenzo Veneziano. In that context, one can observe points of contact with the oeuvre of the Venetian painter Meneghello di Giovanni de Canali, who spent most of his career at Zadar, and it can be suggested that the miniatures may be related to his activity at Venice before coming to Zadar.However, in the mariegola itself, the lists of confraternity members record the names of several painters (Antonio de Cristofalo, Antonio, Jachomo, Marcho de Lorenzo, Nicholo de Domenego, Piero) some of whom have remained completely unknown until now, while others might be tentatively linked to the previously known names. Nonetheless, the very fact that as many as six painters were among the members of the confraternity points to the possibility that the creator of the miniatures might be one of them. At the same time, the name of the painter Piero de S. Lion is particularly intriguing as he might be identified with Pietro di Nicolò, Lorenzo Veneziano’s brother, and the name of the painter Marco de Lorenzo is also interesting as he may have been a son of the well-known painter.
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Pfäffli, Heidi. "”När detta Lijf förgår / Ett Nytt jag igän får”. Daniel Hjulströms målningar i det Grotenfeltska gravkapellet i Jorois, Savolax, Finland." ICO Iconographisk Post. Nordisk tidskrift för bildtolkning – Nordic Review of Iconography, no. 3-4 (April 8, 2025): 7–41. https://doi.org/10.69945/20243-427719.
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“When this Life ends / A new one I will gain”. Daniel Hjulström’s paintings in the Grotenfelt family’s burial chapel in Jorois, Savonia, Finland Abstract: The article focuses on the Swedish artisan painter Daniel Hjulström (1703–1787) and his decorations in the Grotenfelt family’s burial chapel in Jorois, Northern Savonia (Finland). It was built in the 1770s (possibly in 1776) and its walls and ceiling were painted by Hjulström with a variety of plant motifs combined with quotations from the Bible. Five walls have representations of the four seasons – spring, summer, fall and two winter scenes. The visualisation of the shifts in nature parallels the phases of human life, from birth to adulthood and finally death, all underlined by appropriate Bible quotations. Hjulström also painted the inside of the coffin lid for Georg Johan Grotenfelt (1712–1764) with floral motifs and texts alluding to resurrection and eternal life. The author further explores the painter’s use of illustrations in pietistic, devotional books and their emblematic imagery in other of his works.The article also discusses the prerequisites and working conditions for artisan painters in Sweden-Finland during the latter part of the 18th century (until 1809 the same country). They were educated within a guild and assigned a variety of works, from the decoration of cupboards and chests for private homes to full-scale church interiors. Hjulström is a case in point. Born and educated in Sweden, he worked there in various churches, for instance the one in Dalby, Värmland, where he painted the gallery balustrade in 1737–1740. In 1747 he moved to Finland and painted altarpieces, ceilings, pulpits and gallery balustrades in various churches, as well as profane objects. From 1762 until 1786 he lived in Jorois, on an estate (Paajala/Örnevik) belonging to his patrons, the family Grotenfelt; the last year of his life he lived in Häyrilä, a nearby village.
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Tsourgianni, Despoina. "Issues of Gender Representation in Modern Greek Art." Aspasia 13, no. 1 (2019): 31–64. http://dx.doi.org/10.3167/asp.2019.130105.
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There is a recent trend, mainly in the field of historiography but also in art history, toward the exploration of female autobiographical discourse, whether it concerns written (autobiographies, correspondence), painted (self-portraits), or photographic data. On the basis of the highly fruitful gender perspective, this article seeks to present and interpret the numerous photographs of the well-known Greek painter Thaleia Flora-Caravia. These photographic recordings, taken almost exclusively from the painter’s unpublished personal archive, are inextricably linked to the artist’s self-portraits. This kind of cross-examination allows the reader to become familiar with the mosaic of roles and identities that constitutes the subjectivity of female artists in Greece in the late nineteenth and early twentieth centuries.
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Komić Marn, Renata. "The Dornava portrait gallery of the Attems family and other portraits by Joseph Digl: a contribution to the oeuvre and biography of the baroque painter." Kronika 71, no. 1 (2023): 73–100. http://dx.doi.org/10.56420/kronika.71.1.04.
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The contribution brings forth new findings about the Baroque painter Joseph Digl († 1765) and his portraits. The painter’s opus, which has so far comprised seven portraits of the Counts of Attems and four altar paintings, has now been expanded by another six portraits revealing that his clientele also included the Counts of Szapáry. Based on the analysis of his links to his patrons and the newly discovered archival sources, it is possible to more precisely follow the life path of Joseph Digl and to confirm his presence in Ljutomer and Bad Radkersburg. Moreover, his comprehensive opus and the splendid ties that he maintained with his clientele rank him among important Baroque portrait painters in Slovenia.
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Patterson, Annabel. "The Egalitarian Giant: Representations of Justice in History/Literature." Journal of British Studies 31, no. 2 (1992): 97–132. http://dx.doi.org/10.1086/386000.
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In Franz Kafka's The Trial, a horrifying fable of human alienation from human institutions, there is a central encounter between Kafka's persona K. and the painter Titorelli, whose task is to reproduce endlessly the icons of the judicial system—arbitrary, logically absurd, yet cruel and inescapable—of which K. has become the latest victim. Approaching a painting in progress, K. recognized its subject as a judge, but could not identify a large figure rising in the middle of the picture from the high back of the judicial seat:“It is Justice,” said the painter at last. “Now I can recognize it,” said K. “There's the bandage over the eyes, and here are the scales. But aren't there wings on the figure's heels, and isn't it flying?” “Yes,” said the painter, “my instructions were to paint it like that; actually it is Justice and the goddess of Victory in one.” “Not a very good combination, surely,” said K., smiling. “Justice must stand quite still, or else the scales will waver and a just verdict will become impossible.” “I had to follow my client's instructions,” said the painter. “Of course,” said K., who had not wished to give any offense by his remark. “You have painted the figure as it actually stands above the high seat.” “No,” said the painter, “I have neither seen the figure nor the high seat, that is all invention, but I am told what to paint and I paint it.”
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Tyas, Zahra Wenning, Prijana Prijana, and Fitri Perdana. "Knowledge Sharing Art Paint for Increase Competence and the Welfare of Painters in the Gurat Community Jelekong Arts and Culture Village." Jurnal Pendidikan Humaniora 13, no. 1 (2025): 1. https://doi.org/10.17977/um011v13i12025p1-9.
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Jelekong Arts and Culture Village in Bandung Regency is known for its cultural diversity. Art and culture, the only one is art painting hereditary from Odin Rohidin as the first figure to bring painting to the village. Gurat Community accommodates painters in Jelekong Art and Culture Village to exchange experiences and knowledge about painting. This study aims to explain the process and benefits of knowledge sharing of painting by painters in the Gurat Community. The method used in this study is qualitative with a case study approach and data collection techniques through direct observation, interviews, documentation, and literature studies. The process of knowledge sharing of painting in the Gurat Community begins with the emergence of a sense of mutual believe between painter, furthermore for painter start Study with somebody who have more experience about the art of painting, then the painters are given the opportunity to directly practice using canvas media while providing corrections and improvements to each other. Knowledge sharing of the art of painting in the Gurat Community is able to develop the competence and skills of painters, so that painters can create paintings with various objects and types according to market demand. Knowledge sharing of the art of painting in the Gurat Community Lines was capable of increasing the sales of painting painters, so welfare painters also increased.
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Todic, Branislav. "The iconostasis in Decani: the original painted programme and subsequent changes." Zograf, no. 36 (2012): 115–29. http://dx.doi.org/10.2298/zog1236115t.
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The history of the iconostasis in the central nave of the church in Decani can be divided into two periods. The icons of Christ, the Mother of God, John the Baptist and St. Nicholas on the original altar screen, painted around 1343, were related to the relics of King Stefan Decanski and with the wall painting in the church space in front of the altar. The removal of those icons at the end of the sixteenth century and their replacement with new ones explains the strengthening cult of St. Stefan Decanski. In 1577 an icon of St. Stephen was placed over the king?s portrait depicted in the fourteenth century fresco painting, and by 1593/1594, the new despotic icons of Christ and the Virgin were painted for the iconostasis, then an expanded Deesis that was placed above them, with a large cross fixed on the top. The central icons were painted by the painter Longin, and the cross is attributed to Andreja, a painter known for his frescoes from the seventh and eighth decade of the seventeenth century.
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Tsiouris, Ioannis. "The Icon of the Hospitality of Abraham by the Painter Angelos in Narbonne." Frankokratia 3, no. 2 (2022): 143–68. http://dx.doi.org/10.1163/25895931-12340020.
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Abstract A small icon depicting the Hospitality of Abraham, executed and signed by the renowned Cretan painter Angelos Akotantos, is now kept in the Palais-Musée des Archevêques in Narbonne. The panel’s iconographic scheme follows that of two well-known works of the second half of the fourteenth century, namely Codex Par. gr. 1242 and the icon in Vatopedi Monastery on Mount Athos. The painter Angelos appears to have been familiar with this scheme, which he supplemented with a few new elements, thereby creating a new iconographic variant that would become established and eventually be adopted by both his contemporaries and later icon-painters from Crete and beyond.
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Župan, Ivica. "Majstor mirenja, spajanja i kombiniranja suprotnosti." Ars Adriatica, no. 2 (January 1, 2012): 257. http://dx.doi.org/10.15291/ars.454.
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Igor Rončević has been painting for a very long time with the consciousness that his painterly signature can be constructed from a series of disparate fragments, and so his collage paintings are composed of elements or stylistic details thanks to which his canvas has become a place where ambivalent worlds meet - an ntersection of their paths. Rončević is therefore, a painter of ludic individualism, but, at the same time, painter with wide erudition and above all, a curious pirit, who, in a unique way - in different clusters of itations - applies and joins together experiences from he entire history of art. In his works we have for some ime observed the meetings of some of at first sight rreconcilable contrasts - the experiences of Pop art, European and American abstraction, experiences of gestural and lyrical provenance, different traces and tyles of figuration... All this heterogeneous material has been relativized in his interpretation, often even in blasphemous combinations; in a conspicuously easy and organic way, these combinations merge into a unique whole consisting of forms and meanings which are difficult to decipher. Analysis of Rončević’s paintings reveals the absence of a specific rational system that accumulates the building blocks of a painting - a mental landscape - but not the absence of a peculiar talent for creating compositional balance in a painting.The basic building block in the cycle Dulčić’s fragments is the line - stripes, that is linear, ribbon-like shapes, curved lines which meander on the surface of the canvas, and in the painted area, lines freely applied with a finger in fresh paint. The basic ludic element is colour, and the cartography of the canvas is a road with innumerable directions. The painter, treating the surface of the canvas as a field of total action, creates networks of interlacing multicoloured verticals, lively blue, blue-green and brown hues, coloured without an apparent system or principle, and also of varying width but, despite the seemingly limited starting points of his painting, he creates situations rich in interesting shifts and intriguing pictorial and colouristic happenings. The painter’s main preoccupation is the interaction of ‘neon’ colours (obviously a reference to the twentieth-century’s ‘neon’ enthusiasts), which has been achieved with a simple composition consisting of a knot of interwoven ribbons of intense colours which belong to a different chromatic register in each painting. Streams of complementary or contrasting colours, which spread out across the painted field like the tributaries of a river, subject to confluence, adopting features of the neighbouring colour, sharing the light and darkness of a ‘neon’. Although the impression implies the opposite, the application of colours, their touching and eventual interaction are strictly controlled by the skill of a great colourist. Dulčić’s fragments display Rončević’s fascinating power of unexpected associative perception. The painter now reaches for the excess of colour remaining on his palette from the work on previous paintings. He applies the colour to the canvas with a spatula in a relief impasto, and he revives the dried background with a lazure glaze of a chosen colour. On a saturated but still obviously ‘neon’ grid, the painter - evenly, like a collage detail - applies islands of open colour on the surface of the painting, which he finally paints with a brush, applying vertical white lines over the colour. These shapes of an associative and metaphorical nature are an integral part of the semantic scaffolding of composition but, without particular declarative frameworks and associative attributes, we can never precisely say what they actually represent although they are reminiscent of many things, such as seeds, bacteria, cellular microcosm, unstable primitive forms of life, the macrocosm of the universe, the structures of crystals, technical graphs, calligraphy, secret codes... The linear clarity of the drawing makes motifs concrete and palpable, possessing volume, in fact, possessing bulging physicality. In new paintings, the personal sign of the artist, which arrived in the painting from the activity of the conscious and the unconscious, has been replaced with small shapes, most similar to an oval, which look like separate pieces attached to the surface of the painting and which are reminiscent of specific painterly and artistic tendencies. Their monochrome surfaces are filled with verticals which are particles of the rational or, to put it better, from the constructivist stylistic repertoire, reminiscent, for example, of Daniel Buren’s verticals. Two divergent components - the abstract and the rational - stylistically and typologically separate, but chronologically parallel - pour into an evocative encounter which reveals a nostalgia towards two-dimensional painting. Experiences of posters and graphic design, gestural abstraction, abstract expressionism, lyrical abstraction and everything else that can be observed in this cycle of paintings are a homage to global modern painting, while the islands on the paintings pay tribute to the constructivist section of the twentieth-century avant-garde. The contents of Rončević’s paintings are also reminiscent of the rhythmicality of human figures in Dulčić’s representations of the events on Stradun, town squares, beaches, dances... In addition, to Rončević, as a Mediterranean man - in his formative years - Dulčić was an important painter and, if we persist in searching for formal similarities in their ‘handwritings’, we will find them in the hedonism of painterly matter and the sensuality of colour, luxuriant layers, the saturation of impasto painting, gestural vitality, but mostly in the Mediterranean sensibility, the Mediterranean sonority of colour, their solarity, the southern light and virtuosity of their metiérs. Like Dulčić, Rončević is also re-confirmed as a painter of impulses, of lush, luscious and extremely personalized matter, of layers of pigments, of vehement and moveable gestures, of fluid pictorialism…* * *Let us also say in conclusion that Rončević does not want to state, establish or interpret anything but to incessantly reveal possibilities, their fundamental interchangeability and arbitrariness, and following that, a general insecurity. With the skill of an experienced master painter, he also questions relationships with eclecticism and the aesthetics of kitsch; for example, he explores how far a painter can go into ornamentalization, decorativeness and coquetry without falling into the trap of kitsch but to maintain regularly the classy independence of a multilayered artifact and to question the very stamina of painting. He persistently reveals loyalty to the traditional medium of painting, the virtuosity of his métier and a strong individual stamp, strengthening his own position as a peculiar and outstandingly cultivated painter, but he also exhibits the inventiveness which makes him both different and recognizable in a series of similar painting adventures.
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Marx, Annegret. "Blau aus der Waschküche: Wege einer Farbe nach Äthiopien." Aethiopica 4 (June 30, 2013): 158–68. http://dx.doi.org/10.15460/aethiopica.4.1.494.
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In traditional Ethiopian paintings a shining blue is observed. An analysis of four objects from the Museum Haus Völker und Kulturen in St. Augustin shows that they were painted with laundry blue. This substance is of varying composition, and has contained synthetic ultramarine since 1830. Laundry blue was of daily use and carried by travellers and missionaries. It was widely used by painters because of its shining colour and good technical properties. In this article the most likely paths by which synthetic ultramarine could have reached Ethiopia are described. This can be shown to have taken place several decades before 1900, the date that has been hitherto assumed to mark the introduction of synthetic colours. The German Zander was probably the first painter in Ethiopia to decorate a church (Därasge Maryam) with synthetic ultramarine in 1852.
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Vojvodic, Dragan. "The icon of the Theotokos from the Church of St. Nicholas (Rajko’s Church) and the question of painting workshops in medieval Prizren." Zograf, no. 40 (2016): 95–116. http://dx.doi.org/10.2298/zog1640095v.
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Based on stylistic and paleographical analysis, it can be safely concluded that the icon of the Theotokos from the Church of St. Nicholas (Rajko?s Church) in Prizren was not created in the 14th century as previously believed. It was painted in the last third of the 16th century by an icon painter close to the circle of Serbian painters formed in Pec. The suggestion of stylistic ties between this icon and the first fresco layer at the Church of the Holy Savior in Prizren and the wall paintings in the Church of St. Nicholas (the Tutic Church) is not acceptable. Furthermore, comparison of wall paintings in these and other contemporaneous churches in the area of Prizren, as well as the local icon paintings, does not substantiate the suggestion that an urban painting workshop operated in 14th-century Prizren.
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Evenhuis, Neal L. "A new genus for Painter & Painter's Villa "celer" - group in the New World (Diptera: Bombyliidae)." Zootaxa 4748, no. 2 (2020): 296–314. https://doi.org/10.11646/zootaxa.4748.2.4.
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Bennett, Steffani. "Child of the Cranes." Archives of Asian Art 73, no. 1 (2023): 25–54. http://dx.doi.org/10.1215/00666637-10329558.
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Abstract The monk-painter Sesshū Tōyō (1420–ca. 1506) is among the most heralded of Japanese artists. This reputation is due in large part to his heroization in art-historical texts of the early modern period. Earlier scholarly emphasis on Sesshū's artistic individualism has obscured our understanding of the professional nature of his activity as a painter in service to a regional military clan. This article reexamines Sesshū's career through consideration of the pair of folding screens known as Birds and Flowers of the Four Seasons. As the only firmly attributed painting in this format in the painter's oeuvre, Birds and Flowers offers illuminating insight into the ways in which Sesshū performed the role of painter-in-attendance for the Ōuchi clan. Sesshū's travel to China as part of an official diplomatic delegation in the fifteenth century was the most defining experience of the painter's career. In style and subject matter, Birds and Flowers provides insight into Sesshū's encounter with imperial painting at the Ming academy during this time. This symbolic analysis also offers a fresh approach to deciphering the heretofore mysterious patronage context surrounding the screens.
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Sola, Mar Canet, and Varvara Guljajeva. "Dream Painter." Proceedings of the ACM on Computer Graphics and Interactive Techniques 5, no. 4 (2022): 1–11. http://dx.doi.org/10.1145/3533386.
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This paper describes an interactive robotic art installation Dream Painter by the artistic duo Varvara & Mar that deploys artificial intelligence (AI), a KUKA industrial robot and interaction technology in order to offer the audience an artistic interpretation of their past dreams, which are then turned into a collective painting. The installation is composed of four larger parts: audience interaction design, AI-driven multicoloured drawing software, communication with an arm robot, and a kinetic part that is the automatic paper progression following each completed dream drawing. All these interconnected parts are orchestrated into an interactive and autonomous system in the form of an art installation that occupies two floors of a cultural centre. In the article, we document the technical and conceptual frameworks of the project, and the experience gained through the creation and exhibition of the interactive robotic art installation. In addition, the paper explores the creative potential of speech-to-AI-drawing transformation, which is a translation of different semiotic spaces performed by a robot as a method for audience interaction in the art exhibition context.
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Barry, Louise. "The Painter." Pleiades: Literature in Context 41, no. 2 (2021): 232–44. http://dx.doi.org/10.1353/plc.2021.0010.
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Walker, Marilyn, and Ann Shaftel. "Buddha's Painter." Visual Anthropology 21, no. 2 (2008): 173–75. http://dx.doi.org/10.1080/08949460701857628.
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Yan, Dawei, Panlong Yang, Fei Shang, Weiwei Jiang, and Xiang-Yang Li. "Wi-Painter." Proceedings of the ACM on Interactive, Mobile, Wearable and Ubiquitous Technologies 7, no. 4 (2023): 1–25. http://dx.doi.org/10.1145/3633809.
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WiFi has gradually developed into one of the main candidate technologies for indoor environment sensing. In this paper, we are interested in using COTS WiFi devices to identify material details, including location, material type, and shape, of stationary objects in the surrounding environment, which may open up new opportunities for many applications. Specifically, we present Wi-Painter, a model-driven system that can accurately detects smooth-surfaced material types and their edges using COTS WiFi devices without modification. Different from previous arts for material identification, Wi-Painter subdivides the target into individual 2D pixels, and simultaneously forms a 2D image based on identifying the material type of each pixel. The key idea of Wi-Painter is to exploit the complex permittivity of the object surface which can be estimated by the different reflectivity of signals with different polarization directions. In particular, we construct the multi-incident angle model to characterize the material, using only the power ratios of the vertically and horizontally polarized signals measured at several different incident angles, which avoids the use of inaccurate WiFi signal phases. We implement and evaluate Wi-Painter in the real world, showing an average classification accuracy of 93.4% for different material types including metal, wood, rubber and plastic of different sizes and thicknesses, and across different environments. In addition, Wi-Painter can accurately detect the material type and edge of the word "LOVE" spliced with different materials, with an average size of 60cm × 80cm, and material edges with different orientations.