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Relevant bibliographies by topics / Painting, American

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Academic literature on the topic 'Painting, American'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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Journal articles on the topic "Painting, American"

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Keeling, Geraldine. "Liszt at the Piano: Two American Pianos and Two American Artists." Studia Musicologica 55, no. 1-2 (2014): 145–56. http://dx.doi.org/10.1556/6.2014.55.1-2.10.

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The image of Liszt at the piano has been a favorite with artists. This article examines two paintings: an 1868 painting of Liszt at a Chickering piano by G. P. A. Healy and a 1919 painting of Liszt at a Steinway piano by John C. Johansen. Due to recent publications, the Chickering painting and its story are fairly well-known. In contrast, the Steinway painting is almost unknown. Healy’s portrait (1868) was done in his studio in Rome as Liszt sat playing for him. While Healy had seen Liszt’s Chickering piano, the instrument in his studio was not that piano and, despite the name “Chickering” on the fallboard, the painting does not faithfully convey the details of Liszt’s Chickering. Johansen’s portrait (1919) was done by an artist who had never met Liszt and almost certainly had never seen his Steinway piano. Because of the Chicago connection, this article proposes that Johansen took his inspiration from Healy.

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Tatham, David, Franklin Kelly, Gerald L. Carr, et al. "American Landscape Painting." Art Journal 50, no. 1 (1991): 102. http://dx.doi.org/10.2307/777098.

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Matallana, Andrea. "BUILDING ART DIPLOMACY: THE CASE OF CONTEMPORARY AMERICAN ART EXHIBITION IN LATIN AMERICA, 1941." ShodhKosh: Journal of Visual and Performing Arts 3, no. 2 (2022): 272–86. http://dx.doi.org/10.29121/shodhkosh.v3.i2.2022.172.

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This article analyzes the construction of the visual narrative expressed in the exhibition Contemporary North American Painting in 1941. During the II World War, the U.S. government recovered the initiative to build a strong tight with Latin American countries by relaunching the Good Neighbor Policy. Cultural diplomacy was an important branch of this policy. With the purpose of winning friends in the continent, the government created the Office of Inter-American Affairs, led by Nelson Rockefeller, and he sent artists, intellectuals, and exhibitions to make North America known in the other Americas. The Contemporary North American Painting projected an image of the United States as a modern and industrialized society to South Americans. This narrative was one of the devices developed by the U.S. government as part of the soft diplomacy carried out in the 1940s.In this article, we delve into the construction of the visual narrative about the U.S as part of the Good Neighbor exhibition complex, and we will analyze how the exhibition process was thought of as part of representational and ideological machinery.The article was based on reading, analysis, and cataloging of primary sources. The sources were letters, catalogs, photos, and notes from the main characters of the Office of Inter-American Affairs. Likewise, the exhibited works of art were operationalized.

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Gonnen, Noam. "Grounding the Landscape: Epistemic Aspects of Materiality in Late-Nineteenth-Century American Open-Air Painting." Arts 12, no. 1 (2023): 36. http://dx.doi.org/10.3390/arts12010036.

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This article examines how notions of “material” and “materiality” were infused, both technically and discursively, into American landscape painting in the late nineteenth century. Focusing particularly on the praxis of open-air painting as consolidating a new mode in landscape painting as well as a new artistic identity, this article argues that painting outdoors was perceived by artists in terms of agency, uniting painter, painting, and landscape; but unlike earlier romantic or Transcendentalist approaches, this idea was not conceived of as a solely spiritual union but, rather, as a mode that is embedded in the mundane, in the existence of objects, of embodied engagement and material means. The overt affinity between the basic idea of the praxis—painting outdoors in ‘real’ nature—and material aspects of art-making, is discussed as the underpinning of a new emerging episteme of American landscape painting, while considering the environment wherein this phenomenon was cultivated within a specific moment in American culture. Paintings and texts, generated by American painters and critics between the late 1870s and the 1890s, are read in this article through the lens of recent theoretical phenomenological approaches to landscape, illuminating the unique role that materiality played in these representations. Moreover, tying the findings to the changing conceptions of both landscape and art in the Gilded Age, the article concludes that landscape painters of the ‘new generation’ sought to evade commodifying tendencies of image-making by deliberately engaging with materiality, devising a mode of landscape representation that would not succumb to the flattening steamroller of capitalist consumer culture.

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Yurieva, Tatiyana V. "FEATURES OF THE AMERICAN PERIOD OF ICON PAINTER P.M. SOFRONOV’S WORK." Verhnevolzhski Philological Bulletin 23, no. 4 (2020): 214–20. http://dx.doi.org/10.20323/2499-9679-2020-4-23-214-220.

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The article for the first time gives an analysis of the work of the world famous, but little studied in Russia, Old Believer icon painter and restorer icons Pimen Maksimovich Sofronov in the third, American period. The author systematizes scattered information about his artistic activities in the United States, makes a chronology of the creation of his works during this period, and makes an analysis of them. The description of the temples where P.M. Sofronov worked, and the painting of their interiors, is given for the first time in scientific literature. Analyzing the biographical data and the work of the icon painter in the third, American period, which turned out to be the longest, the author of the article concludes that at this time the quality of the master's work is changing. Since, in Europe, P.M. Sofronov gained the experience of wall painting of churches, now, in North America, he was able to fully realize this side of his talent by making the transition from easel icon painting to monumental painting. Now the researcher's attention has been given to extensive temple complexes, often consisting of both stenographs and iconostases, which have their own specific program. The author interprets the canon in accordance with the architectural space that is provided to him for painting. Each time it is a new theological and artistic task. Having completed such major works as paintings of the interiors of Trinity Cathedral in Brooklyn, the Church of the Three Saints in Ansonia, the Church of Peter and Paul in Syracuse, the Vladimir Church in Trenton, St. Trinity in Weinland, the artist made a significant contribution to the church art of Russian emigration.

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Webster, Susan V. "Of Signatures and Status: Andrés Sánchez Gallque and Contemporary Painters in Early Colonial Quito." Americas 70, no. 04 (2014): 603–44. http://dx.doi.org/10.1017/s0003161500003588.

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The 1599 portrait Don Francisco de Arobe and His Sons, Pedro and Domingo by Andean artist Andres Sanchez Gallque (Figure 1) is one of the most frequently cited and reproduced paintings in the modern literature on colonial South America. The painting has been extensively praised, parsed, and interpreted by twentieth- and twenty-first-century authors, and heralded as the first signed South American portrait. “Remarkable” is the adjective most frequently employed to describe this work: modern authors express surprise and delight not only with the persuasive illusionistic power of the painting, the mesmerizing appearance of its subjects, and the artist's impressive mastery of the genre, but with the fact that the artist chose to sign and date his work, including a specific reference to his Andean identity.

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Webster, Susan V. "Of Signatures and Status: Andrés Sánchez Gallque and Contemporary Painters in Early Colonial Quito." Americas 70, no. 4 (2014): 603–44. http://dx.doi.org/10.1353/tam.2014.0074.

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The 1599 portrait Don Francisco de Arobe and His Sons, Pedro and Domingo by Andean artist Andres Sanchez Gallque (Figure 1) is one of the most frequently cited and reproduced paintings in the modern literature on colonial South America. The painting has been extensively praised, parsed, and interpreted by twentieth- and twenty-first-century authors, and heralded as the first signed South American portrait. “Remarkable” is the adjective most frequently employed to describe this work: modern authors express surprise and delight not only with the persuasive illusionistic power of the painting, the mesmerizing appearance of its subjects, and the artist's impressive mastery of the genre, but with the fact that the artist chose to sign and date his work, including a specific reference to his Andean identity.

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Tatham, David, Albert Boime, Elizabeth Johns, and John Wilmerding. "19th-Century American Painting." Art Journal 51, no. 4 (1992): 95. http://dx.doi.org/10.2307/777290.

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Tassadduq, Sobia, Sadia Sulaiman, and S. Adnan A. Shah Bukhari. "Chronology of societal and Afro-American art evolution in pre (1619-1865) and post (1865-1965) civil war in the US." Liberal Arts and Social Sciences International Journal (LASSIJ) 6, no. 2 (2022): 1–31. http://dx.doi.org/10.47264/idea.lassij/6.2.1.

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This study explores the relationship between the societal integration of African Americans and its influences on the group's art of painting in the pre-and-post-Civil War periods, i.e., from 1619-1865 and 1865-1965, in the United States of America. It seeks to explore a relationship between greater social integration and influences on the artwork of African Americans over time - themes and elements of art, i.e., lines and colours. It draws upon John Dewey’s theory of art as experience and Erwin Panofsky's Thematic analysis (Iconography). The study findings suggest the oppression and exclusion of African Americans in general (in the pre-Civil War period) and its influences on the constrained creativity of the group’s artwork (of painting). However, on the contrary, the findings indicate greater experimentation, uniqueness, and depiction of African identity in post-Civil War period artwork of painting. This coincides with the gradual but ominous social acceptance, educational attainments, and economic success of Afro-Americans in American society during this period. The findings and analysis validate a relationship between the societal transformation of marginalized groups (from exclusion to integration) and influences on groups’ artistic expressions.

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Koo, Lina Shinhwa. "Export Paintings as Art and Agency." Athanor 39 (November 22, 2022): 95–110. http://dx.doi.org/10.33009/fsu_athanor131145.

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Export paintings that depict local images of one’s country with the purpose of being sold to foreign customers emerged in China and Korea in the late eighteenth and late nineteenth centuries, respectively, when the countries opened their ports to Europe and America. Given this historical context, the conventional understanding of export paintings of the two countries has been twofold at large: 1) commodities that reflect Euro-American customers’ tastes for exotic imageries and 2) ethnographic resources that exhibit unique characteristics of each country’s culture. While these interpretations have a valid ground, they often undermine the artistic qualities of the painting genre, separating it from the existing painting traditions. To broaden this perspective, my paper aims to suggest plural ways of discerning export paintings through cross-cultural comparisons. In doing so, this study highlights the integral roles of export painters in responding to changing social, political, and economic circumstances, posing a critical question for investigation: whether export paintings are images of self-objectification with the instillation of Orientalist ideologies or creative outcomes with an artistic agency. While these two stances are not mutually exclusive nor contradictory to each other, this core question allows one to challenge the linear understanding of the history of “non-western” art.

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Dissertations / Theses on the topic "Painting, American"

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Easterbrook, Carolyn Louise. "American space, American place : Edward Hopper, painting and his personal vision of modern America." Thesis, University of Kent, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.410921.

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Marley, Anna O'Day. "Rooms with a view landscape representation in the early national and late colonial domestic interior /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, p, 2009. http://proquest.umi.com/pqdweb?did=1836637881&sid=7&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Pfohl, Katie A. "American Painting and the Systems of World Ornament." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11537.

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This dissertation examines the work of nineteenth-century American painters Frederic Edwin Church, William Michael Harnett and Albert Pinkham Ryder, and focuses on the relationship between their work in painting and their work in the decorative arts. Through their decorative work, all three artists explored "systems of world ornament" that introduced them to an international range of ornamental form by compiling, cataloguing, and comparing ornament from nearly all cultures and eras. Combining all of world culture single folios, these "systems of world ornament" promised to help American artists and designers study and sort a wide range of cultural influences into temporal and geographic order and thus make sense of the increasingly internationalized nature of American material culture. As this dissertation argues, the study of these "systems of world ornament" became for American artists and designers a powerful--if problematic--tool for distilling the increasingly international nature of American art and culture into a material form--and a formal painterly language--that opened it up to comment and critique. Ornament has to a large extent been understood as a mode of retreat rather than engagement with the clean lines and streamlined aesthetic of the twentieth-century, a crust that had to be cleared from painting's surface so that it might embrace the revolutionary potential of the technological and artistic innovations of the twentieth-century, but this dissertation argues the opposite--that ornament crucially informed American painters' attempts to update painting in response to the artistic challenges of increasingly internationalized twentieth-century life.<br>History of Art and Architecture

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Mills, Christina Murdoch. "The enigma of the everyday." Diss., [Missoula, Mont.] : The University of Montana, 2009. http://etd.lib.umt.edu/theses/available/etd-06172009-095638.

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Ehmann, Christina. "American Splendor." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4102.

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Artist Statement My photographs and paintings are reflective of a simpler and slower paced, rural life. This focus is in high contrast to what contemporary urban life often requires. I depict scenes of tranquil landscapes, farm animals, old barns, fields of grasses, and growing crops. I alter my digital photographic images with computer software. I use various filters that transform color, clarity, and value to give the photographs of nature an intentionally peaceful mood. These photographs are a basis for my paintings where I soften nature’s contours and emphasize tranquility. My desire is that viewers will look at my work and take a moment to stop, think, and breathe. Like myself, I want them to slow down and take in the simplicity and beauty of country life.

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L'Clerc, Lee. "Painting and visual imagery in literature, three contemporary Latin American novels." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0015/NQ41201.pdf.

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Guardiano, Nicholas. "Transcendentalist Aesthetics in Emerson, Peirce, and Nineteenth-Century American Landscape Painting." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/dissertations/914.

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My thesis is that there is an aesthetic dimension of nature that is metaphysically significant, qualitatively pluralistic, and artistically creative, and that this accounts for the sensuous complexity of experience, as well as the possibility of discovering new qualitative features about the world and expressing them in novel forms, as exemplified in art. I call the philosophy that endorses the reality of this dimension Transcendentalist Aesthetics. The term "Transcendentalist" recalls the philosophy of New England Transcendentalism with its core in Ralph Waldo Emerson, and which influenced the philosophical writings of Charles S. Peirce and the art of the nineteenth-century American landscape painters of the Hudson River School and Luminism. The primary overall goal is to present and argue for a Transcendentalist Aesthetics by making use of the philosophy of Emerson and Peirce, together with the writings and landscapes of the painters. More specifically, Emerson's claims about nature and art and the painters' representations of nature provide various poetic observations of nature that provide an empirical starting point concerning the rich aesthetic complexity of the world. This complexity finds a theoretical ground in Peirce's metaphysical cosmology, which presents a rationally coherent account of the greater structures and processes of the universe while possessing important aesthetic consequences for lived experience and art. The landscape paintings also have a role in that they are expressive of the Transcendentalist philosophy itself, serve as case studies for theoretical interpretation, and are concrete evidence that new qualitative features about the world may be discovered and realized in novel artistic ways.

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Pena, Nicholas. "Land of the American condition." Diss., Columbia, Mo. : University of Missouri-Columbia, 2005. http://hdl.handle.net/10355/5834.

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Thesis (M.F.A.)--University of Missouri-Columbia, 2005.<br>The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (January 24, 2007) Vita. Includes bibliographical references.

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Bryant, Benjamin R. "The artist as shaman." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1327289.

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Albert Einstein is one indisputable luminary who in my opinion exemplifies the balance, brilliance, and altruism I look for in my heroes. Subsequent to his dream of riding a beam of light to the edge of the universe, with the tools of calculus and physics, he radically changed our understanding of the universe. But the dream came first, and everybody dreams.I believe everyone has something incredible to offer. In my creative project paintings I attempt to demonstrate with the tools of paint and canvas my peculiar dream of the cosmos from macrocosm to microcosm.I ride the beam of light using paint and canvas, in my creative project paintings I celebrate my fascination with that intuitive element we all share. I also celebrate those who have gone before with the wisdom to seek an understanding and discernment of the genius we all share, have access to, and indeed must thoughtfully and carefully awaken for our species to evolve past its current halting material, ideological, and technological adolescence.<br>Department of Art

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Hall, Denis Michael. "Purchasing power: the New York market for modern American painting 1913-40." Thesis, Northumbria University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.589736.

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This study sets out to examine the development of the art market in New York for modem American art between the years 1913 and 1940. In doing so, it aims to make a significant contribution to this relatively neglected subject. Whilst much has been written about artistic production in New York much less has been written about its distribution and consumption, though these form co-dependent elements of an art market. Without a community of art producers neither distributive mechanisms nor an appreciative audience of purchasers can be established; at the same time, continuing art production is reliant on effective ongoing support systems. My overall interest stems from a wish to trace the conditions that enabled New York to take over from Paris as the world's art centre by the middle of the twentieth century. I also wanted to understand the motivations of New York collectors in purchasing modem European and American art and how these changed over time; in other words, how it came to be that taste shifted from the overall preference for European art at the beginning of the period to an enthusiasm for modem American art by the end. In turn I wanted to know how the New York dealer infrastructure to enable this came to be in place by 1940 - the vital component to ensure both the cultural and commercial success of Abstract Expressionism during the forties and fifties. In all of this, a central and sustained interest revolves around the experience of the artist in the art market, in this case the New York art market.

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Books on the topic "Painting, American"

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Anvelt, Ilmar. American painting. Tartu University Press, 1998.

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Bostwick, Davis Elliot, Hirshler Erica E, Troyen Carol, and Museum of Fine Arts, Boston, eds. American painting. MFA Publications, Museum of Fine Arts, 2003.

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Mary, Black. American folk painting. Bramhall House, 1987.

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Wilmerding, John. American marine painting. 2nd ed. Abrams, 1987.

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Fisher, Leonard Everett. Masterpieces of American painting. Exeter Books, 1985.

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McCoubrey, John W. American tradition in painting. University of Pennsylvania Press, 2000.

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1935-, Burnham Patricia Mullan, and Giese Lucretia H, eds. Redefining American history painting. Cambridge University Press, 1995.

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Novak, Barbara. Nineteenth-century American painting. Edited by Ellis Elizabeth Garrity, De Pury Simon, and Sammlung Thyssen-Bornemisza. Vendome Press, 1986.

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Novak, Barbara. Nineteenth-century American painting. Artabras, 1991.

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Hall, Audrey. American paintings. Schwarz, 1990.

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Book chapters on the topic "Painting, American"

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Rees, Nathan. "Painting the Promised Land." In Mormon Visual Culture and the American West. Routledge, 2021. http://dx.doi.org/10.4324/9780429295355-4.

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Ryall, Tom. "Film Noir, American Painting and Photography." In A Companion to Film Noir. Blackwell Publishing Ltd, 2013. http://dx.doi.org/10.1002/9781118523728.ch10.

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Kajiya, Kenji. "Painting as Information: The Reception of Abstract Expressionism in Japan." In American Art in Asia. Routledge, 2022. http://dx.doi.org/10.4324/9781003130284-5.

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Deutsch, David. "At Rest in Love and in Love With Rest." In Everyday Joys in Twenty-First Century Queer American Painting. Routledge, 2023. http://dx.doi.org/10.4324/9781003399919-2.

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Deutsch, David. "Gio Black Peter's Sublime Subway Maps." In Everyday Joys in Twenty-First Century Queer American Painting. Routledge, 2023. http://dx.doi.org/10.4324/9781003399919-1.

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Deutsch, David. "Conclusion." In Everyday Joys in Twenty-First Century Queer American Painting. Routledge, 2023. http://dx.doi.org/10.4324/9781003399919-5.

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Deutsch, David. "Salman Toor's Enrapturing Contacts." In Everyday Joys in Twenty-First Century Queer American Painting. Routledge, 2023. http://dx.doi.org/10.4324/9781003399919-3.

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Deutsch, David. "Ecstatic Queer Nature." In Everyday Joys in Twenty-First Century Queer American Painting. Routledge, 2023. http://dx.doi.org/10.4324/9781003399919-4.

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Wang, ShiPu. "Painting American." In Becoming American? The Art and Identity Crisis of Yasuo Kuniyoshi. University of Hawai'i Press, 2011. http://dx.doi.org/10.21313/hawaii/9780824834180.003.0001.

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Gair, Christopher. "Painting." In The American Counterculture. Edinburgh University Press, 2007. http://dx.doi.org/10.3366/edinburgh/9780748619887.003.0005.

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Conference papers on the topic "Painting, American"

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Пантелеев, А. Ю., and Р. А. Бахтияров. "TEXT LIKE ART-ELEMENT IN CONTEMPORARY ART WORK’S: E. RUSCHA AND E. BULATOV (COMPARATIVE ASPECT)." In Месмахеровские чтения — 2024 : материалы междунар. науч.-практ. конф., 21– 22 марта 2024 г. : сб. науч. ст. / ФГБОУ ВО «Санкт-Петербургская государственная художественно-промышленная академия имени А. Л. Штиглица». Crossref, 2024. http://dx.doi.org/10.54874/9785605162926.2024.10.57.

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На примере творчества Эрика Булатова и Эда Рушея рассматривается проблема восприятия текста как элемента образного решения в живописных произведениях американского и советского искусства второй половины XX в. Цель статьи — определить, насколько текст и слово способны стать равноправной частью живописного произведения. Актуальность статьи обусловлена новым взглядом на текст как элемент образного решения в живописных произведениях разных художников, но в рамках одного метода. The problem of perception of text as an element of figurative solutions in the pictorial works of American and Soviet art of the second half of the ХХ century is considered on the example of the works of Erik Bulatov and Ed Ruscha.The article studies the ability of text and words to become an equal part of a painting. The relevance of the article is due to a new look at the text as an element of figurative solutions in the paintings of diff erent artists, but within the framework of one method.

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Sadeghipour, E., E. R. Westervelt, and S. Bhattacharya. "Painting green: Design and analysis of an environmentally and energetically conscious paint booth HVAC control system." In 2008 American Control Conference (ACC '08). IEEE, 2008. http://dx.doi.org/10.1109/acc.2008.4587005.

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"Regulatory effects of genes controlling behavior and painting shaping control american mink (Neovison Vison) as a model." In Bioinformatics of Genome Regulation and Structure/Systems Biology (BGRS/SB-2022) :. Institute of Cytology and Genetics, the Siberian Branch of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.18699/sbb-2022-408.

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Appoloni, C. R., M. S. Blonski, P. S. Parreira, and L. A. C. Souza. "Pigments Elementary Chemical Composition Study of a Gainsborough Attributed Painting Employing a Portable X-Rays Fluorescence System." In VI LATIN AMERICAN SYMPOSIUM ON NUCLEAR PHYSICS AND APPLICATIONS. AIP, 2007. http://dx.doi.org/10.1063/1.2710629.

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Virgolino Soares, Joao Carlos, Gabriel Fischer Abati, Gustavo Henrique Duarte Lima, and Marco Antonio Meggiolaro. "Autonomous Navigation System for a Wall-painting Robot based on Map Corners." In 2020 Latin American Robotics Symposium (LARS), 2020 Brazilian Symposium on Robotics (SBR) and 2020 Workshop on Robotics in Education (WRE). IEEE, 2020. http://dx.doi.org/10.1109/lars/sbr/wre51543.2020.9306998.

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Virgolino Soares, Joao Carlos, Gabriel Fischer Abati, Gustavo Henrique Duarte Lima, and Marco Antonio Meggiolaro. "Autonomous Navigation System for a Wall-painting Robot based on Map Corners." In 2020 Latin American Robotics Symposium (LARS), 2020 Brazilian Symposium on Robotics (SBR) and 2020 Workshop on Robotics in Education (WRE). IEEE, 2020. http://dx.doi.org/10.1109/lars/sbr/wre51543.2020.9306998.

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Rodier, F., J. Malo, H. Ghezzo, and D. Gautrin. "Incidence of Work-Related Respiratory Symptoms during Apprenticeship and Host Factors: Do They Differ in Trainees in Construction-Work and Car-Painting?." In American Thoracic Society 2009 International Conference, May 15-20, 2009 • San Diego, California. American Thoracic Society, 2009. http://dx.doi.org/10.1164/ajrccm-conference.2009.179.1_meetingabstracts.a1647.

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Asgharifar, Mehdi, Joshua Abramovitch, Fanrong Kong, Blair Carlson, and Radovan Kovacevic. "Wettability Enhancement of Aluminum Alloys via Plasma Arc Discharge." In ASME 2012 International Manufacturing Science and Engineering Conference collocated with the 40th North American Manufacturing Research Conference and in participation with the International Conference on Tribology Materials and Processing. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/msec2012-7331.

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The aim of this study is to determine the wettability-enhancing effects of an atmospheric-pressure, direct current (DC) plasma arc discharge on aluminum alloys. Wettability is a critical factor in engineering applications such as biomedical implants, painting, and adhesive bonding. For example, in the realm of adhesive bonding, greater wettability improves a metal substrate’s attraction to an adhesive material, which results in higher bond quality. In this study, the contact angle is determined and compared as a measure of the wettability using two different techniques, the sessile drop and ballistic deposition methods, with water as a test liquid. Additionally, this paper analyzes the impact of different arc discharge parameters, including arc current and plasma torch velocity, on the wettability.

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TUĞLUK, Mehmet Emin. "A COMPETITION TO FIND AN EQUAL TO THE TWELVE FOREIGN WORDS ORGANIZED BY THE ŞEHBÂL MAGAZINE (1909-1914)." In 3. International Congress of Language and Literature. Rimar Academy, 2021. http://dx.doi.org/10.47832/lan.con3-4.

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One of the important magazines of the Second Constitutional period was the magazine Şehbâl, which was published between 14 March 1909 and 14 July 1914. Political events and comments in Şehbâl magazine; culture, literature, music; painting, sculpture, architecture; health,sport; inventions and inventions, discoveries, accounting, humor, fashion, make-up, embroidery, housework; articles on many subjects such as information about new publications and selections from English, French, German and American magazines have been published. Another important feature of Şehbâl magazine is that it organizes competitions on various subjects. One of these competitions organized by the Magazine is The Competition to Find an Equal to The Twelve Foreign Words In this competition, it was requested to find the equivalents of the words bibliographie, boycottage, caprice, caricature, clup, conference, concert, decor, monologue, paradoxe, surprise, taximetre. Various words were suggested to this competition by 517 people. However, none of the suggested words are used in standard Turkey Turkish instead of the desired word. However, this competition is important in terms of showing the influence of foreign languages on Turkish and the awareness and resistance shown against this influence. Key words: Şehbâl Magazine, Competition, Second Constitutional, Foreign Languages, Turkish Equivalent.

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Schuknecht, Karl, and Rogerio Scafutto Scotton. "Automated Surface Preparation of Embraer’s Commercial Jet Fuselage for Painting Process." In AeroTech Americas. SAE International, 2019. http://dx.doi.org/10.4271/2019-01-1339.

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Reports on the topic "Painting, American"

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Moreno Mejía, Luis Alberto, and Iván Duque Márquez. Contemporary Uruguayan Artists: An Uruguayan Presence in the About Change Exhibition. Inter-American Development Bank, 2012. http://dx.doi.org/10.18235/0006209.

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Contemporary Uruguayan Artists is part of About Change: Art from Latin America and the Caribbean, a project of the World Bank Art Program in cooperation with the Cultural Center of the Inter-American Development Bank and AMA | Art Museum of the Americas at the Organization of American States. The initiative comprises a series of exhibitions of art from Latin America and the Caribbean being offered in various venues in Washington during 2011-12. The exhibition is presented In honor of Uruguay and the City of Montevideo, site of the 53rd Annual Meeting of the Board of Governors of the IDB. The works selected for the exhibition offer a panorama of contemporary Uruguayan creativity. These pieces revisit history, explore memory, examine changes that have transformed culture and the environment, and rethink traditions. It includes painting, print, sculpture, mixed media, and photography, by 13 artists: Santiago Aldabalde, Ana Campanella, Muriel Cardoso, Gerardo Carella, Federico Meneses, Ernesto Rizzo, Jacqueline Lacasa, Gabriel Lema, Daniel Machado, Cecilia Mattos, Diego Velazco, Santiago Velazco, and Diego Villalba.

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Galenson, David. Masterpieces and Markets: Why the Most Famous Modern Paintings Are Not by American Artists. National Bureau of Economic Research, 2001. http://dx.doi.org/10.3386/w8549.

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Painting, Drawing and Sculpture from Latin America. Inter-American Development Bank, 1995. http://dx.doi.org/10.18235/0006426.

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Nikkei-Latin American Artists of the 20th Century. Inter-American Development Bank, 2005. http://dx.doi.org/10.18235/0008269.

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Presents the exhibition pays tribute to Japan and to more than a century of relations between Japan and Latin America. This paper presents selected art works "painting, drawing, engraving and installation" by 10 artists of Japanese descent from Argentina (Kasuya Sakai), Brazil (Tikashi Fukushima, Manabu Mabe, Tomie Ohtake, Yutaka Toyota and Kazuo Wakabayashi), Mexico (Luis Nishizawa) and Peru (Arturo Kubotta, Carlos Runcie Tanaka and Venancio Shinki).

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Selections from the IDB Art Collection: In Celebration of Hispanic Heritage Month 2006. Inter-American Development Bank, 2006. http://dx.doi.org/10.18235/0006430.

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Celebrating the United States Hispanic Heritage Month, the exhibition presented a selection of 40 works from the Inter-American Development Bank (IDB) Art Collection that have been acquired over the last few years, including painting, drawing, sculpture, graphics, and folk art pieces from most countries of the Americas.

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The Arts of Guyana: A Multicultural Caribbean Adventure. Inter-American Development Bank, 2006. http://dx.doi.org/10.18235/0005951.

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More than fifty objects made by the Amerindian population as well as painting and sculpture representing contemporary artists drawn from several private and public collections, pay tribute to Guyanese artists and culture. This exhibition joined in the 2006 celebrations of Guyana's 40th year of independence and the commemoration of Caribbean American Heritage Month, which was declared for June by the U.S. Congress.

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Selected Paintings from the Art Museum of the Americas. Inter-American Development Bank, 1994. http://dx.doi.org/10.18235/0006429.

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Twenty paintings by major Latin American artists, presented on occasion of the IDB's publication of the book Art of Latin America l900-1980, written by the late Argentine-Colombian art historian and critic Marta Traba.

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Highlights from the Collection of the Art Museum of the Americas of the Organization of American States (OAS): Outstanding works by artists from the Spanish, English, French, and Dutch Speaking Caribb. Inter-American Development Bank, 2007. http://dx.doi.org/10.18235/0008217.

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This paper presents a selection of 39 important works (paintings, sculptures, drawings, engravings and photographs) by recognized Caribbean artists from Barbados, Jamaica, The Bahamas, Trinidad and Tobago, Haiti, Dominican Republic, Puerto Rico, and Suriname, and early Cuban masters such as Amelia Peláez, Juan José Sicre and Mario Carreño, in the collection of the OAS Art Museum of the Americas, on loan to the IDB Cultural Center for this exhibition.

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Selections from the Inter-American Development Bank Art Collection: 2007. Inter-American Development Bank, 2007. http://dx.doi.org/10.18235/0006431.

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In commemoration of the fifteenth anniversary of the IDB Cultural Center, the IDB proudly accepted the invitation of Anne Plummer, Director of the Arkansas Art Center (AAC), to share a selection of 65 artworks owned by the IDB, a fraction of the nearly 1,700 collected over more than 48 years, to be exhibited in Little Rock between July 6th and August 19th. This outstanding group of paintings, drawings, mixed media works, and prints, selected from the IDB's vast and impressive collection by AAC curator Joseph W. Lampo, represents the best in Latin American art of the recent past. It surely encouraged Arkansas already growing interest in the art of these countries.

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Crossing Panama: A History of the Isthmus as Seen through Its Art. Inter-American Development Bank, 1995. http://dx.doi.org/10.18235/0006403.

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Sixty-two paintings, sculptures, majolica and graphics from the pre-Columbian era through World War II; from Panama's Reina Torres de Arauz Museum of Anthropology, the Museum of Panamanian History, the Museum of Religious Art, the Art Museum of the Americas, as well as several private collections.

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