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Journal articles on the topic 'Painting and literature'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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1

Joshi, Shobhana. "LITERATURE IN PAINTING / PAINTING IN LITERATURE." International Journal of Research -GRANTHAALAYAH 7, no. 11 (2019): 5–9. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.899.

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English : The world is pictorial, it is also a movie. "Who is this painter"! Do not know! But a small part of the universe is born in the middle of these pictures and movies, it is time-consuming. One watches these movies during the movement of breaths and stops. This which he sees, passes through the camera of his eyes and is printed in the mind and heart. He is restless. Let me share that print. A hieroglyph of this sharing from the rest. The script rang, the pictures were painted, the colors were unrefined. Manas became fertile, art enriched by imagination. Art grew to vibrancy from the sen

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2

Schiralli, Martin, Constance A. Pedoto, and Donna Richardson. "Painting Literature." Journal of Aesthetic Education 29, no. 1 (1995): 108. http://dx.doi.org/10.2307/3333525.

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3

Kachru, Sonam. "The Translation of Life: Thinking of Painting in Indian Buddhist Literature." Religions 11, no. 9 (2020): 467. http://dx.doi.org/10.3390/rel11090467.

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What are paintings? Is there a distinctive mode of experience paintings enable? What is the value of such experience? This essay explores such questions, confining attention for the most part to a few distinctive moments in Indian Buddhist texts. In particular, I focus on invocations of painting in figures of speech, particularly when paintings are invoked to make sense of events or experiences of particular importance. The aim is not to be exhaustive, but to suggest a meta-poetic orientation: On the basis of moments where authors think with figurations of painting, I want to suggest that in B

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4

Herz, Rachel S., and Gerald C. Cupchik. "The Effect of Hedonic Context on Evaluations and Experience of Paintings." Empirical Studies of the Arts 11, no. 2 (1993): 147–66. http://dx.doi.org/10.2190/36rg-0v9j-4y4g-7803.

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This study examined the proposition that the hedonic context within which paintings are viewed interacts with the hedonic quality of paintings to determine aesthetic evaluation. Hedonic context was manipulated using twelve positive and twelve negative odor cues in three different formats (odor alone, odor + name, name alone). The hedonic quality of paintings was manipulated using six positive, six negative and twelve neutral emotionally toned paintings. Twenty-four males and twenty-four females viewed each painting in the context of a different cue with half of the emotional cue-painting trial

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5

Liu, Jiemin. "Chinese Literature and Painting." Comparative Literature: East & West 5, no. 1 (2003): 150–60. http://dx.doi.org/10.1080/25723618.2003.12015636.

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6

Sabino, Isabel. "If I didn´t care, one more kiss [feat_ 2019’s “She (and the space of painting)”]." Revista Farol, no. 21 (December 12, 2019): 10–22. http://dx.doi.org/10.47456/rf.v1i21.30839.

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The 2019 text entitled “She (and the space of painting)”, produced in a parallel creative process for a painting exhibition, focuses on contemporary art theory, film, female characters, literature, poetry, music and, especially, on pictorial space from the feminine perspective. Now, it is reissued here, choosing one of the paintings made, already exposed, and a song underlying it as symptomatic of the perspective of confinement by the pandemic crisis.

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Lin, Fen, and Mike Yao. "The Impact of Accompanying Text on Visual Processing and Hedonic Evaluation of Art." Empirical Studies of the Arts 36, no. 2 (2017): 180–98. http://dx.doi.org/10.1177/0276237417719637.

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This study explores how accompanying text affects the way an individual views and interprets a painting. We randomly assigned participants to view 20 paintings from the classical era with factual information, contextualized background information, or no information displayed next to them. We then recorded their visual gaze using an eye-tracking device and asked them to evaluate the paintings. The results show that how people view a painting and how they evaluate a painting are two distinct cognitive processes. The contextual information serves to orient the viewing process. The accompanying te

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8

Locher, Paul, and Yvonne Nagy. "Vision Spontaneously Establishes the Percept of Pictorial Balance." Empirical Studies of the Arts 14, no. 1 (1996): 17–31. http://dx.doi.org/10.2190/x8u3-ctq6-a7j1-8jq8.

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The present experiment sought empirical evidence that pictorial balance can be detected spontaneously with the first glance at a painting. Stimuli consisted of color and black-and-white reproductions or adaptations of structurally balanced paintings and one or more reconstructed less balanced versions of each work of art. Art-trained and untrained subjects rated the compositions for balance on a 6-point Likert scale after presentation durations which permitted either a single fixation (100 ms) or multiple fixations (5 s). The results show that both naive and sophisticated participants discrimi

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9

Feller, C., E. R. Landa, A. Toland, and G. Wessolek. "Case studies of soil in art." SOIL 1, no. 2 (2015): 543–59. http://dx.doi.org/10.5194/soil-1-543-2015.

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Abstract. The material and symbolic appropriations of soil in artworks are numerous and diverse, spanning many centuries and artistic traditions, from prehistoric painting and ceramics to early Renaissance works in Western literature, poetry, paintings, and sculpture, to recent developments in film, architecture, and contemporary art. Case studies focused on painting, installation, and film are presented with the view of encouraging further exploration of art about, in, and with soil as a contribution to raising soil awareness.

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10

Limbert, Wendy M., and Donald J. Polzella. "Effects of Music on the Perception of Paintings." Empirical Studies of the Arts 16, no. 1 (1998): 33–39. http://dx.doi.org/10.2190/v8bl-gbjk-tlfp-r321.

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This study tested the influence of musical style on observers' perceptions of representational and abstract paintings. Participants were thirty-six male and thirty-six female undergraduates who viewed eight paintings under one of three listening conditions: matching, non-matching, or no music. Participants rated each painting on four semantic-differential scales. Mean ratings were compared using MANOVAs. An interaction of painting style and listening condition (Wilks' lambda = .780, p < .05) showed participants' aesthetic experience of viewing the paintings was intensified when the painting

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11

Song, Hyosup. "Three Korean literati paintings of an orchid in the deconstructive process." Semiotica 2016, no. 208 (2016): 223–36. http://dx.doi.org/10.1515/sem-2015-0116.

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AbstractLiterati paintings were drawn by Korean Confucian scholars from the end of the Koryeo period to the end of the Joseon period. As painting these works was considered a method for a scholar’s self-cultivation, literati paintings express plenty of in-depth metaphysical points of significance. Meanwhile, these paintings revealed changes that correspond with changes in cultural circumstances. The present study considers such transformation as a deconstructive process. This research analyzes three Korean orchid paintings to address the following three questions: (1) How are the literati’s th

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12

Martindale, Colin, Michael Ross, and Ivan Miller. "Measurement of Primary Process Content in Paintings." Empirical Studies of the Arts 3, no. 2 (1985): 171–77. http://dx.doi.org/10.2190/64at-5b46-9hy4-hlq4.

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In order to investigate whether rating scales could be used to measure primary process content in paintings, a study of responses to a series of nine nineteenth- and twentieth-century paintings was conducted. One group of subjects rated these paintings on several ratings scales. A second group of subjects wrote stories in response to each of the paintings. The stories were scored for primary process content employing procedures used in previous studies of stylistic evolution in poetry. There were high negative correlations between amount of primary process content in texts elicited by a painti

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13

Corso, Simona. "Painting Literature: Tullio Pericoliʼs Robinson Crusoe". Italian Studies 74, № 4 (2019): 352–66. http://dx.doi.org/10.1080/00751634.2019.1658920.

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14

Feller, C., E. R. Landa, A. Toland, and G. Wessolek. "From soil in art towards Soil Art." SOIL Discussions 2, no. 1 (2015): 85–132. http://dx.doi.org/10.5194/soild-2-85-2015.

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Abstract. The range of art forms and genres dealing with soil is wide and diverse, spanning many centuries and artistic traditions, from prehistoric painting and ceramics to early Renaissance works in Western literature, poetry, paintings, and sculpture, to recent developments in cinema, architecture and contemporary art. Case studies focused on painting, installation, and cinema are presented with the view of encouraging further exploration of art about, in, with, or featuring soil or soil conservation issues, created by artists, and occasionally scientists, educators or collaborative efforts

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15

Gribkov, Vitaly S., and Vladimir M. Petrov. "Color Elements in National Schools of Painting: A Statistical Investigation." Empirical Studies of the Arts 14, no. 2 (1996): 165–81. http://dx.doi.org/10.2190/2udk-vpbk-ywjv-7l6q.

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A deductive model to explain the functioning of art brings forward regularities concerning the color elements which are used in paintings. To provide optimal perception both of individual paintings and of systems of paintings it is necessary to organize them in such a way that: each given painting consists of four spectral color elements and one or two non-spectral ones (black and/or white); each national school of painting should be based on its “color-and-light standard” which is nothing but white color representing sunlight, and the properties of this “standard” should respond to the parame

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16

Gautam, Manju. "COORDINATION OF COLOR AND RAGA: IN THE CONTEXT OF KANGRA PAINTINGS." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1–2. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3587.

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The amazing coordination of music and painting in Kangra painting is a unique achievement in arts across the world, which is why Kangra painting is considered by art scholars to be synonymous with all hill painting. The color scheme of the paintings produced in the Kangra painting style is unique, it seems that all the beauty of the Kangra aesthetic artist filled the paintings through color and lines. The diversity of subjects is a quality of this genre. The artist here also gave the form of abstract and phonetic content of music along with literature and poetry, by color and lines, which is r

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17

Mengham, Rod. "thurnauer: vt and vi, to paint in the second person." Text Matters, no. 5 (November 17, 2015): 221–30. http://dx.doi.org/10.1515/texmat-2015-0016.

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Many of the figures in Thurnauer’s paintings who fix us with their gaze have been borrowed from the work of Manet, the artist who organized so many of his paintings around a face-to-face confrontation of viewer and work. The painting returns the viewer’s gaze with total impartiality, making us see our own motives and investments more than the illusion that the figure in the painting will accommodate them. Issues of language often surface literally in paintings by Thurnauer; written language appears sometimes as part of the material fabric in which human figures move or recline. The textu

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18

van Gastel, Joris. "Campania Felix?" Nuncius 32, no. 3 (2017): 615–39. http://dx.doi.org/10.1163/18253911-03203005.

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Neapolitan still life painting, even though Italy’s most prolific “school” of the genre, has attracted little theoretical analysis. Where scholars have considered the genre almost exclusively in terms of stylistic developments and questions of attribution, this paper, alternatively, draws inspiration from insights formulated largely outside the field of art history: Umberto Eco’s characterization of still life paintings as “visual lists” and Michele Rak’s characterization of seventeenth-century literature in the Neapolitan dialect as “literary still lifes.” Building on these insights, this pap

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19

Langbour, Nadège. "L’hypopeinture greuzienne et ses palimpsestes narratifs au XVIIIe siècle." Quêtes littéraires, no. 5 (December 30, 2015): 23–32. http://dx.doi.org/10.31743/ql.235.

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In the 18th century, the paintings of Greuze had much success. The literature took against these paintings. It transposed them in narrative texts. Diderot and Aubert, described paintings of Greuze by using the literary kind of the moral tale. Thus, they respected moral spirit of the painting of Greuze. But when paintings of Greuze were transposed in the novels, this moral spirit had been perverted : the novels respected stating of Greuze, but they used it to produce a different statement.

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20

Kling, Thomas, and Andrew Duncan. "History Painting." Chicago Review 48, no. 2/3 (2002): 164. http://dx.doi.org/10.2307/25304907.

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21

Emanuel, Lynn. "Bad Painting." Antioch Review 52, no. 3 (1994): 493. http://dx.doi.org/10.2307/4613007.

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22

Cohen-Aponte, Ananda, and Ella Maria Diaz. "Painting Prophecy." English Language Notes 57, no. 2 (2019): 22–42. http://dx.doi.org/10.1215/00138282-7716125.

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Abstract This article examines the work of the Chicana artist Sandy Rodriguez, who created the Codex Rodriguez-Mondragón, an ongoing project begun in 2017 that consists of botanical illustrations and large-scale maps of California and northern Mexico. Rodriguez’s Codex draws on pre-Hispanic, colonial, and Chicana/o/x antecedents, most notably the Florentine Codex (sixteenth century) and the Chicana/o/x codices of the early 1990s, produced in the context of the quincentenary of Columbus’s voyage. This article posits Rodriguez’s Codex as a polyphonic text that exceeds both the linguistic of the

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23

CHRISTODOULOU, A. C. "Melville's Painting." Leviathan: A Journal of Melville Studies 5, no. 1 (2003): 50–52. http://dx.doi.org/10.1111/j.1750-1849.2003.tb00065.x.

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24

Flint, Kate. "Painting memory." Textual Practice 17, no. 3 (2003): 527–42. http://dx.doi.org/10.1080/0950236032000140113.

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25

Zou, Weihan, and Sok-Yee Yeo. "Investigation on the Painting Materials and Profile Structures Used in Ancient Chinese Folk Architectural Paintings by Multiple Analytical Methods." Coatings 12, no. 3 (2022): 320. http://dx.doi.org/10.3390/coatings12030320.

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In order to understand the painting materials and profile structures used in the creation of Chinese ancient folk architectural paintings, the architectural paintings of the Bell and Drum Tower at Fushan Temple in Shaanxi Province of China was investigated. In this study, optical microscopy, Fourier transform infrared spectroscopy (FTIR), micro-Raman spectroscopy, scanning electron microscopy-energy-dispersive X-ray spectroscopy (SEM-EDS), and chemical experimental methods were used. The profile structures, and the elemental and chemical compositions of the pigments and binders in the ground l

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26

Aldouby (book author), Hava, and Albert Sbragia (review author). "Federico Fellini. Painting in Film, Painting on Film." Quaderni d'italianistica 36, no. 1 (2016): 267–69. http://dx.doi.org/10.33137/q.i..v36i1.26295.

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27

Deam, Lisa. "Flemish versus Netherlandish: A Discourse of Nationalism." Renaissance Quarterly 51, no. 1 (1998): 1–33. http://dx.doi.org/10.2307/2901661.

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AbstractThis essay shows how scholarship on fifteenth-century Flemish panel painting became intertwined with efforts at national identity-building in nineteenth and early twentieth-century Europe. Paintings such as Jan van Eyck's Ghent Altarpiece were not only dispersed across regional and national boundaries, but were intellectually appropriated for competing national programs. The paintings consequently became a site of conflict between the Latin and Germanic traditions. These conflicts are clearly visible through the shifting terminology of this art, variously claimed as “Flemish” and “Neth

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28

Antherjanam, Sindu. "A Comparative Study of Malayalam Literature and Paintings: Trajectories of Evolution." Artha - Journal of Social Sciences 17, no. 2 (2018): 39–58. http://dx.doi.org/10.12724/ajss.45.3.

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Art and literature are part as well as a reflection of life. Literature and arts help to observe and interpret the world. They can also change the world. Visual arts stand in the forefront of knowledge dissemination. However the significance accorded to literature has never been given to painting. The paper traces how literature has always preceded and given more priority against painting and other visual arts form in the region of Kerala. This also goes with the fact that in discussing the history of arts, rural arts and artists are never discussed sufficiently. This is despite the fact that

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29

Plavinskaya, Lidiya S. "CROSS-DISCIPLINARY COMMUNICATIONS: LITERATURE AND PAINTING (WITHIN TEACHING DISCIPLINE «LITERATURE»)." Scientific Review. Series 2. Human sciences, no. 1-2 (2019): 134–42. http://dx.doi.org/10.26653/2076-4685-2019-1-2-13.

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30

Meliyana, Erni, and Aida Rusmariana. "Efektifitas Finger Painting Terhadap Perkembangan Motorik Halus Pada Anak Prasekolah : Literature Review." Prosiding Seminar Nasional Kesehatan 1 (December 16, 2021): 1459–66. http://dx.doi.org/10.48144/prosiding.v1i.879.

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AbstractPreschool children are they who aged 3-6 years, and at that age they have enormous potential to optimize aspects of their development, including the development of fine motor skills. children need to be trained for fine motor skills from an early age because children's hand skills are a window of knowledge, one way to improve fine motor development in preschool children is by finger painting. The purpose of this study was to determine the effectiveness of finger painting activities to improve fine motor development in preschool children based on a literature review. The design of this

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Sudrajat, Dadang, Yasraf Amir Piliang, Tisna Sanjaya, and Andriyanto Rikrik Kusmara. "Colour dematerialization in spiritual literature and painting." Harmonia: Journal of Arts Research and Education 17, no. 2 (2017): 174. http://dx.doi.org/10.15294/harmonia.v17i2.10568.

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<p>Colour in variety of art expression can be interpreted differently. This study is aiming at analyzing the colour dematerialization of Javanese spiritual literature “Falsafah Jeroning Warna” by Suprapto Kadis and a painting by Ahmad Sadali entitled “Gunung Mas”. Research was done by employing qualitative research, while data was collected by observation, interview, discussion, and documentation study. The analysis of meanings in the two art works was done in descriptive way by using the theory and the knowledge of tasawwuf or sufism, the aesthetics, and arts. Results showed that both s

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32

Margolis, Joseph. "Toward a Phenomenology of Painting and Literature." Symposium 8, no. 3 (2004): 477–90. http://dx.doi.org/10.5840/symposium20048338.

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33

Jellinger, K. A. "Neurology of the Arts - Painting - Music - Literature." European Journal of Neurology 12, no. 3 (2005): 238. http://dx.doi.org/10.1111/j.1468-1331.2004.00983.x.

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34

Chuchvaha, Hanna. "Russian realisms. Literature and painting, 1840–1890." Canadian Slavonic Papers 60, no. 3-4 (2018): 614–16. http://dx.doi.org/10.1080/00085006.2018.1519948.

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35

Miller, B. L. "Neurology of the arts: painting, music, literature." Journal of Neurology, Neurosurgery & Psychiatry 76, no. 1 (2005): 148. http://dx.doi.org/10.1136/jnnp.2004.048835.

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36

Coles, Alasdair. "Neurology of the Arts: Painting, Music, Literature." Journal of Neurology 252, no. 1 (2005): 116. http://dx.doi.org/10.1007/s00415-005-0651-0.

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37

Riggs, G. "Neurology of the Arts: Painting, Music, Literature." Neurology 67, no. 9 (2006): 1727. http://dx.doi.org/10.1212/01.wnl.0000215008.37141.bf.

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38

Joshi, Manisha. "LITERATURE – “A PAINTING OF AN INWARD EYE”." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1–3. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3518.

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After fine arts, literature has been another oldest form of the most creative and powerful means of expression. A writer is the most gifted artist, he is not only a juggler of words, but also a painter who with the same dexterity, portrays life in its most realistic and varied forms. Hence, literature whether poetry, drama, prose or fiction can be considered as the finest of arts. Newman has rightly defined literature as, ‘thought expressed in language’ but certainly this thought needs to be subjective for, all other fine-arts like literature are personal in expression, even though they differ

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39

Sharma, Yam Prasad. "Contemporary Nepali Arts: Blurring the Boundaries among Art Genres." Curriculum Development Journal, no. 42 (December 4, 2020): 48–56. http://dx.doi.org/10.3126/cdj.v0i42.33212.

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Some contemporary Nepali artworks have blurred the boundaries among different art genres like sculpture, painting, music, drama, photography and literature. In a single artwork, we can view the elements of two or more art forms. Three dimensional real objects are put on the two dimensional surface like canvas. Three dimensions are the special characteristics of sculpture whereas there are only two dimensions in painting. Three dimensions in the painting are illusions created by the use of light and shade, and gradation of colors. Artists use photographs and paintings simultaneously in the same

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40

CROSLAND, MAURICE. "Popular science and the arts: challenges to cultural authority in France under the Second Empire." British Journal for the History of Science 34, no. 3 (2001): 301–22. http://dx.doi.org/10.1017/s0007087401004435.

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The National Institute of Science and the Arts, founded in 1795, consists of parallel academies, concerned with science, literature, the visual arts and so on. In the nineteenth century it represented a unique government-sponsored intellectual authority and a supreme court judgement, a power which came to be resented by innovators of all kinds. The Académie des sciences held a virtual monopoly in representing French science but soon this came to be challenged. In the period of the Second Empire (1852–70) we find a group of men carving out a new career for themselves as professional popularizer

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Buchloh, Benjamin H. D. "A Conversation with Jutta Koether." October 157 (July 2016): 15–33. http://dx.doi.org/10.1162/octo_a_00257.

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Benjamin Buchloh speaks with German artist, musician, and critic Jutta Koether about the many ways in which Koether blurs the lines between painting and performance in her practice, “reinstalling,” in her words, painting as a “platform, a potential, [and] a performance.” Koether discusses the formative role of New Wave and punk culture in her practice, particularly her time at Spex magazine; her studies in Cologne in the late 1970s and the anti-aesthetic impulse in painting from Picabia to Polke to Kippenberger; and her time in New York in the late 1980s and ′90s. Special attention is paid to

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42

Su, Tung-Ching, Tsung-Chiang Wu, Ming-Hung Wun, and Cheng-Wei Wang. "Style Recognition of Door God Paintings by Hypothesis Testing for Texture Features of Painting Patterns." Applied Sciences 12, no. 5 (2022): 2637. http://dx.doi.org/10.3390/app12052637.

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Many studies in the literature have presented multiple remote sensing techniques for defect inspection of paintings. At present, however, papers on defect inspection and restoration of oriental architectural arts—such as door god paintings—are still rare. If an aged and damaged door god painting needs a restoration, then following the style and treatment skill of the original artist as much as possible is important for the restoration. Unfortunately, it is usually difficult to access the original artists for some of the aged door god paintings. This paper considers the texture features of ausp

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43

Mathews, Timothy, Jacqueline Chénleux-Gendron, and Jacqueline Chenleux-Gendron. "Surrealism and Painting." Poetics Today 17, no. 2 (1996): 274. http://dx.doi.org/10.2307/1773362.

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44

Perry, John Oliver, and Bidhu Padhi. "Painting the House." World Literature Today 74, no. 4 (2000): 806. http://dx.doi.org/10.2307/40156120.

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Brakhage, Stan. "Painting Film (1996)." Chicago Review 47/48 (2001): 61. http://dx.doi.org/10.2307/25304806.

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Jenkins, D. "What is Painting?" Cambridge Quarterly 29, no. 1 (2000): 84–87. http://dx.doi.org/10.1093/camqtly/29.1.84.

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47

Maleuvre, Didier. "David Painting Death." diacritics 30, no. 3 (2000): 25–38. http://dx.doi.org/10.1353/dia.2000.0021.

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Disney, Dan. "Painting Red Orchids." World Literature Today 91, no. 1 (2017): 86–87. http://dx.doi.org/10.1353/wlt.2017.0246.

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49

Parovatkina, H. Y. "THE RIDER OF THE SKY (VASYL’ BARKA – A PAINTER)." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 2(54) (January 22, 2019): 326–28. http://dx.doi.org/10.31471/2304-7402-2019-2(54)-326-328.

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For the first time the article reveals a so far recondite facet of Vasyl’ Barka’s creative endowment – the art of painting. On examining his artistic paintings, exhibited in the National Museum of Literature of Ukraine a few years ago, the author of the article briefly acquaints with the exhibits of the display, draws parallels with the visual art works by Čiurlionis and Roerich.

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Luo, Yupan. "Ekphrasis in “The Disquieting Muses” : A Dialogue Between Poetry and Painting." Learning & Education 10, no. 5 (2022): 82. http://dx.doi.org/10.18282/l-e.v10i5.2679.

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The American Confessional poet Sylvia Plath(1932-1963) has created a series of poems based on well-known western  paintings at the early ages of her writing. “The Disquieting Muses” is one of these ekphrastic poems, which depicts the noncommunicative relationship between her and her natural mother. If we approach this poem from the perspective of inter-arts  poetics, that is to say, to analyze the poem side by side with its painting copy, we can discover different approaches of dialogue  between the poem and the painting. This paper is meant to explore unique charm and beauty

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