Relevant bibliographies by topics / Painting and nature

Contents

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

Academic literature on the topic 'Painting and nature'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 February 2022

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Journal articles on the topic "Painting and nature"

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Lawder, Rebecca. ""Erotic Nature"." Athanor 37 (December 3, 2019): 67–78. http://dx.doi.org/10.33009/fsu_athanor116675.

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To decode John Dunkley’s dark and sexual landscape is also to reveal a decolonial message in his broader works. Dunkley humanizes nature through both masculinizing phallic and feminizing yonic symbolism as an emancipatory tactic, thereby reflecting a culturally nuanced relationship between people and landscape. Dunkley subverts the expected in Caribbean painting, especially for foreign consumers. By bringing nature to life, his paintings offer subversive anti-colonial themes, too, waiting for decipherment. This paper will examine Dunkley’s use of erotic imagery, arguing that the painter’s sexu
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Alya, Shopia Himatul. "Lukisan Pemandangan: Teknik Spon Dalam Karya Seni Lukis Jelekong." Aksara: Jurnal Ilmu Pendidikan Nonformal 7, no. 1 (2021): 103. http://dx.doi.org/10.37905/aksara.7.1.103-110.2021.

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<p>Nature is a theme that is always present in the development of art in the world, both Western and Asian arts, such as China and Indonesia. The visualization can be a literal or abstract representation. Nature can be an additional element to a painting to convey depth, or perspective. However, the depiction of nature in a painting can also be the main focus of a work of art. In Indonesia itself, there is an Art Village, precisely Jelekong Art Village, where hundreds of people work as painters and some have made nature the main focus of their work. The uniqueness of the Jelekong painter
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Potter, Polyxeni. "Painting Nature on the Wing." Emerging Infectious Diseases 12, no. 1 (2006): 180–81. http://dx.doi.org/10.3201/eid1201.ac1201.

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Liu, Zao. "Fusion into One: Exploring the Complementarity of Shitao’s Waterfall on Mount Lu and Its Inscribed Poem." International Journal of Comparative Literature and Translation Studies 7, no. 2 (2019): 1. http://dx.doi.org/10.7575/aiac.ijclts.v.7n.2p.1.

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Shitao’s famous poem-painting Waterfall on Mount Lu has generated a great interest in the field of Chinese paintings. However, the purpose of the work remains a topic of discussion among scholars. From the standpoint of complementarity of poetry and painting, this paper discusses the work through a close examination of the painting and its inscribed poem. The interartistic features of the painting and the poem are interpreted in terms of their themes, structures, and imagery. The Chinese aesthetic concept of artistic mood (yijing) is employed to illustrate the connection among these elements.
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Maskarinec, Malika. "Allegory and Analogy in Menzel’s The Iron Rolling Mill." Zeitschrift für Kunstgeschichte 84, no. 1 (2021): 58–77. http://dx.doi.org/10.1515/zkg-2021-1003.

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Abstract Adolph Menzel’s Das Eisenwalzwerk, or Moderne Cyklopen (The Iron Rolling Mill, or Modern Cyclopes) from 1875 depicts an analogy central to nineteenth- century thought, namely, that between the human motor and the combustion engine. The painting visualizes the differing rhythms of these two “machines” and the entropy produced as a result of that difference. The painting’s reflection on labor also elaborates an allegory of the activity of painting. Such an allegorical reading, motivated by particular attention to the objects placed in the painting’s foreground, entails a reevaluation of
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Zavyalova, Anna. "“Spring Palace Paintings” in Chinese Traditional Painting." Ideas and Ideals 13, no. 1-2 (2021): 414–24. http://dx.doi.org/10.17212/2075-0862-2021-13.1.2-414-424.

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The article considers the erotic genre of traditional Chinese art, chun gong hua (‘spring palace paintings’), which was developed in painting. The study uses comparative - historical, cultural and historical methods, as well as methods of systematization, analysis and synthesis. The author traces the formation and evolution of the genre, reveals its specific features. The paper analyzes the system of artistic images of the works of chun gong hua, reveals that they are based on the ideas of Taoism, which are visualized through painting, which made it possible to reveal a second, meaningful plan
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Seviset, Somchai, and Chaturong Louhapensang. "The Identity and Design of Thai Tradition Paintings." Advanced Materials Research 1028 (September 2014): 327–32. http://dx.doi.org/10.4028/www.scientific.net/amr.1028.327.

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“Kranok” mostly are inspired by the application from natural shapes such as lotus shape, floral species, climber creeping plants or various animals especially animals in the fairy tales. “Kranok” which previously had the meaning of a Thai Painting but later this was used to call another tradition paining which was believed to be applied from the shape of a lotus. Considered as a Thai Tradition Painting Model which is an important base of the Thai Tradition Painting inclusive of the model and steps of drawing the painting and the application into a variety of paintings in the same structure but
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Obushnyy, Mykola. "THE SACRAL NATURE OF STRAW MOSAIC BY OLEKSANDR SAJENKO (Review of the creative works of Ukrainian artist O.F. Sajenko)." Almanac of Ukrainian Studies, no. 28 (2021): 137–39. http://dx.doi.org/10.17721/2520-2626/2021.28.22.

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The publication aims to draw the attention of Ukrainian scholars and researchers of Ukrainian cultural heritage to study the work of a unique domestic artist of monumental and decorative art, whose name is included in the list of prominent figures of world heritage of the twentieth century - Alexander Saenko. O. Saenko's artistic heritage includes more than 500 works of painting, graphics and monumental and decorative art: decorative panels, carpets, tapestries, etc. But O. Saenko possessed the technique of straw inlay most perfectly. He subtly felt the diversity of sacred energies that give "
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Fu, Yunfei, Hongchuan Yu, Chih-Kuo Yeh, Tong-Yee Lee, and Jian J. Zhang. "Fast Accurate and Automatic Brushstroke Extraction." ACM Transactions on Multimedia Computing, Communications, and Applications 17, no. 2 (2021): 1–24. http://dx.doi.org/10.1145/3429742.

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Brushstrokes are viewed as the artist’s “handwriting” in a painting. In many applications such as style learning and transfer, mimicking painting, and painting authentication, it is highly desired to quantitatively and accurately identify brushstroke characteristics from old masters’ pieces using computer programs. However, due to the nature of hundreds or thousands of intermingling brushstrokes in the painting, it still remains challenging. This article proposes an efficient algorithm for brush Stroke extraction based on a Deep neural network, i.e., DStroke. Compared to the state-of-the-art r
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Schenk, Franziska, and Andrew Parker. "Iridescent Color: From Nature to the Painter's Palette." Leonardo 44, no. 2 (2011): 108–15. http://dx.doi.org/10.1162/leon_a_00114.

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The shifting rainbow hues of iridescence have, until recently, remained exclusive to nature. Now, the latest advances in nanotechnology enable the introduction of novel, bio-inspired color-shifting flakes into painting—thereby affording artists potential access to the full spectacle of iridescence. Unfortunately, existing rules of easel painting do not apply to the new medium; but, as nature inspired the technology, an exploration of natural phenomena can best inform how to overcome this hurdle. Thus, by adopting a biomimetic approach, this paper outlines the optical principles underlying irid
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Dissertations / Theses on the topic "Painting and nature"

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Morgan, Rebecca. "Joy in Nature." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2521.

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Artist Statement I am fascinated with colors in nature and how it affects our moods. The colors of a sunset and moonlit sky; the feeling of a brewing storm; the laziness of a cold, gray day; the roar of an ocean; and the feel of sand on your feet are elements that I want to capture in my drawings and paintings. In addition to the natural environment, animals are an integral part of nature that I incorporate in my work. Pets are the unspoken blessings that bring joy and laughter to my life. Pets, especially dogs, are proven to relieve stress, to brighten emotions, to contribute to healing,
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Shepardson, Emily. "Domestic in Nature." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/2986.

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I am a painter and a printmaker. My imagery consists of houses, barns, birds, trees, hands, and gloves. On the surface these items represent home, nature, and female identity. On another level they symbolize an inner world of dreams, wishes, and losses. My paintings contain aspects of collage, they combine paint, paper, and low relief. I paint layers of transparent and opaque images and colors in order to achieve a dreamy and ethereal effect. In printmaking, I combine my imagery in layers by printing small plates and stencils next to and on top of one another until a dense, multifaceted im
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Hoen, Laurie. "A Brush With Nature." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2026.

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My work investigates both the objective and the subjective nature of my intimate relationship with nature. I explore my embrace of both art and science, the realistic and the abstract in my search for the immanence of goodness in creation. From a grain of pollen to a beautiful blossom to a decaying pod, the natural world celebrates life’s insistence on recreating itself. All around me, nature is quietly dancing to a peaceful song of restoration and balance that offers me hope of a continuance and beauty in spite of the neglect I sometimes offer in return. My recent work, in paintings, pri
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Jacobs, L. Lloyd. "Ad infinitum /." Online version of thesis, 1995. http://hdl.handle.net/1850/12255.

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Maines, Lauren Ann. "The nature of realism /." Online version of thesis, 1988. http://hdl.handle.net/1850/11541.

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Ratliff, Marguerite Z. "Love of Nature." VCU Scholars Compass, 2006. http://hdl.handle.net/10156/1670.

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Farber, Jeffrey W. "Natural interactions : a commentary on our relationship with nature." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1391229.

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The objective of this creative project is to develop a series of paintings in oil on canvas that focus on the issue of mankind's crumbling relationship with the natural world. The paintings will be produced through a process that begins with an intuitive abstract approach and will later develop layered representational imagery. My technique of painting involves initially choosing and mixing colors without regard to the finished painting, allowing the subconscious to determine the direction that the painting will take. Upon completion of the under painting, I begin creating stencils and layerin
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Pegram, Juliette. "Baudelaire and the Rival of Nature: the Conflict Between Art and Nature in French Landscape Painting." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/163974.

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Art History<br>M.A.<br>The rise of landscape painting as a dominant genre in nineteenth century France was closely tied to the ongoing debate between Art and Nature. This conflict permeates the writings of poet and art critic Charles Baudelaire. While Baudelaire scholarship has maintained the idea of the poet as a strict anti-naturalist and proponent of the artificial, this paper offers a revision of Baudelaire's relation to nature through a close reading across his critical and poetic texts. The Paris Salon reviews of 1845, 1846 and 1859, as well as Baudelaire's Journaux Intimes , Paradis
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Park, Sungsil. "East Asian and Western perception of nature in 20th century painting." Thesis, University of Brighton, 2009. https://research.brighton.ac.uk/en/studentTheses/e1cdcb78-5148-4de7-9d84-4c701af7ad29.

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The introduction aims to investigate both my painting and exhibition practice, and the historical and theoretical issues raised by them. It also examines different views on nature by comparing and contrasting 20th Century Western ideas with those of traditional Asian art and philosophies. There are two sections to this thesis; Section A contains an historical overview of Eastern and Western philosophy and art, Section B presents observations on my studio and exhibition practice. Section A is divided into two chapters. Chapter 1 examines concepts of nature in the East and West before the eariy
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Bachtel, April. "Innate Materiality." Kent State University Honors College / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1304282952.

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Books on the topic "Painting and nature"

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Painting nature. North Light Books, 2005.

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Drawing and painting from nature. Design Press, 1989.

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Pam, Dawson, ed. Inspirational silk painting from nature. Search Press in association with Max A. Harrell, 1990.

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Painting the colors of nature. Watson-Guptill Publications, 1994.

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Simmons, Karen. Painting the colors of nature. Watson-Guptill Publications, 1994.

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Jean, Long. Practical Chinese painting: Colour nature essence. Blandford, 1988.

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Practical Chinese painting: Colour, nature, essence. Blandford, 1989.

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Tyson, Keith. Keith Tyson nature paintings. Haunch of Venison, 2007.

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Masterfield, Maxine. Painting the Spirit of Nature: Capture Your Personal Responses to Nature Using Experimental Painting Techniques. Diane Publishing Company, 2001.

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Skira, Pierre. La nature morte. Skira, 1989.

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Book chapters on the topic "Painting and nature"

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Wood, Robert E. "On Painting." In Nature, Artforms, and the World Around Us. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-57090-7_6.

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Kövesi, Simon. "Looking, Painting, Listing, Noting: Clare, Women and Nature." In John Clare. Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-349-59183-1_4.

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Tobias, Michael Charles, and Jane Gray Morrison. "Cave Paintings of the Mind." In On the Nature of Ecological Paradox. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-64526-7_32.

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Anderson, Michael. "James Perry Wilson: Shifting Paradigms of Natural History Diorama Background Painting." In Natural History Dioramas. Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-9496-1_6.

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"3. Nature Painting." In Beckett's Art of Mismaking. Harvard University Press, 2016. http://dx.doi.org/10.4159/9780674495838-005.

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"Nature, Art, Experience, Idea:." In Poetry, Painting, Park. Modern Humanities Research Association, 2020. http://dx.doi.org/10.2307/j.ctv16km0xx.7.

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"Script and Nature, Script and Painting." In Limited Views. BRILL, 1998. http://dx.doi.org/10.1163/9781684170241_013.

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"List of Japanese Titles." In Painting Nature for the Nation. BRILL, 2013. http://dx.doi.org/10.1163/9789004249417_012.

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"Preliminary Material." In Painting Nature for the Nation. BRILL, 2013. http://dx.doi.org/10.1163/9789004249417_001.

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"Introduction." In Painting Nature for the Nation. BRILL, 2013. http://dx.doi.org/10.1163/9789004249417_002.

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Conference papers on the topic "Painting and nature"

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Pu Jiang. "Contemporary nature of lead wire language in modern lacquer painting." In 2009 IEEE 10th International Conference on Computer-Aided Industrial Design & Conceptual Design. IEEE, 2009. http://dx.doi.org/10.1109/caidcd.2009.5375235.

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Runyu, Jiang. "Reason and Nature-- The Landscape Painting Embodiment of Taoist Morality." In 2021 2nd International Conference on Mental Health and Humanities Education（ICMHHE 2021）. Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210617.074.

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Hendricks, Genevieve. "Le Corbusier’s Postwar Painterly Mythologies." In LC2015 - Le Corbusier, 50 years later. Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.828.

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Abstract: Le Corbusier’s graphic output was prolific, consisting of hundreds of paintings, thousands of drawings and watercolors, and scores of collages, lithographs, and murals throughout his career. By the late 1940s his double-nature as artist-architect emerged as a key component to his work, as he highlighted the correlations and correspondences that informed his creative endeavors. His post-war works, specifically his series of Taureaux paintings, reveal the development of such themes as well as the transformation of earlier works as he turned to a mythologically-inspired vocabulary of to
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Qin, Siying. "On the Importance of “the Tao Way Follows Nature” in Oil Painting Creation." In 2015 International Conference on Arts, Design and Contemporary Education. Atlantis Press, 2015. http://dx.doi.org/10.2991/icadce-15.2015.26.

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Subroto, Wisnu, and Hajriansyah. "Environmental Culture and Nature in South Kalimantan Painting: An Overview of Fine Arts." In 2nd International Conference on Social Sciences Education (ICSSE 2020). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210222.078.

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McPherson, Finlay N., Jonathan R. Corney, and Raymond C. W. Sung. "Path Planning for Automated Robot Painting." In ASME 2007 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2007. http://dx.doi.org/10.1115/detc2007-35301.

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This paper describes the analysis work underlying the path-planning algorithm for a robotic painting system. The system requires no bespoke production tooling and fills an automation gap in rapid prototyping and manufacturing technology that is currently occupied by hand painting. The system creates images by exposing individual pixels of a photographic coating with a robot-mounted laser. The painting process requires no physical contact so potentially images could be developed on any shape regardless of its complexity: As objects can only be “painted” when their surface can be “hit” (i.e. exp
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Kushida, Maria. "Образ писателя-художника как коммуникативный феномен". У Пражская Русистика 2020 – Prague Russian Studies 2020. Charles University, Faculty of Education, 2020. http://dx.doi.org/10.14712/9788076032088.16.

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The article analyzes the illustrative work of Russian writers of the first quarter of the 19th century. Special attention is paid to the definition of the term "writer-artist", as well as to techniques for creating the image of a writer-Illustrator in a work of fiction. In conclusion, we draw a conclusion about the relationship between literature and painting (on the example of interpreting the creativity of word masters who create illustrations for their works), as well as about the unique communicative nature of the image of the writer-artist.
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Dârlă (Ionescu), Ileana Constanţa. "Evaluation of Learning in the Period of Early Education." In ATEE 2020 - Winter Conference. Teacher Education for Promoting Well-Being in School. LUMEN Publishing, 2021. http://dx.doi.org/10.18662/lumproc/atee2020/12.

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At all levels of education, learning assessment is generally considered to be an essential part of teachers' work. For early childhood educators, ie those who work with children from birth to age six, there are special considerations that stem from the characteristics of those trained and the nature of early learning. This paper reviews research on the formative assessment of early learning and development. In this way, important theoretical constructs related to early learning are explored and research on key aspects of early childhood learning is synthesized. We discuss the methods that are
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Hui, luo. "Beauty Create the World." In IABSE Conference, Kuala Lumpur 2018: Engineering the Developing World. International Association for Bridge and Structural Engineering (IABSE), 2018. http://dx.doi.org/10.2749/kualalumpur.2018.0175.

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&lt;p&gt;The main section of the ZhiCheng Yangtze river bridge is 1742 m steel beam bridge. By now, with the influence of the overhead catenary system, the steel bridge maintenance must be operated in cooperation with the power supply maintenance department at power–off maintenance gap. Considered the power–off maintenance gap is adjust to mid-night in the new railway operation plans, it is difficult to do the painting maintenance for the bridge, this leads to the lack of painting maintenance of the steel bridge. The ZhiCheng Yangtze river bridge is under threat of lost service life. In order
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Delgado Berrocal, Sonia. "Le Corbusier y la construcción vertical del espacio estratificado." In LC2015 - Le Corbusier, 50 years later. Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.690.

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Resumen: La construcción del espacio mediante la superposición de planos verticales paralelos y franjas espaciales fue empleada por Le Corbusier tanto en sus obras pictóricas como arquitectónicas, tal y como manifestaron Colin Rowe y Robert Slutzky, en 1955-1956, al descomponer y analizar la “transparencia fenoménica” de la Villa Stein en Garches, 1926, y del cuadro Nature morte à la pile d’assiettes, 1920, de Le Corbusier. Un sistema de estratificación espacial vertical mediante superficies opacas, derivado del cubismo, que genera una profundidad bidimensional donde la plástica expresa la ple
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Reports on the topic "Painting and nature"

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Mikheeva, A. D., A. G. Nikolaev, G. A. Jurgenson, and A. A. Borzenko. ABOUT THE NATURE OF PAINTING BERILL DEPOSIT SHERLOVA MOUNTAIN. LLC "Geotur", 2019. http://dx.doi.org/10.18411/2019-10-297-159-160.

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Olson, Eugene. A series of landscape studies in oil painting and other media exploring and interpreting natural landscape elelments with emphasis on the relationship between plastic space and visual space. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.318.

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