Relevant bibliographies by topics / Painting; Painter

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

Academic literature on the topic 'Painting; Painter'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Painting; Painter"

1

Župan, Ivica. "Majstor mirenja, spajanja i kombiniranja suprotnosti." Ars Adriatica, no. 2 (January 1, 2012): 257. http://dx.doi.org/10.15291/ars.454.

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Igor Rončević has been painting for a very long time with the consciousness that his painterly signature can be constructed from a series of disparate fragments, and so his collage paintings are composed of elements or stylistic details thanks to which his canvas has become a place where ambivalent worlds meet - an ntersection of their paths. Rončević is therefore, a painter of ludic individualism, but, at the same time, painter with wide erudition and above all, a curious pirit, who, in a unique way - in different clusters of itations - applies and joins together experiences from he entire history of art. In his works we have for some ime observed the meetings of some of at first sight rreconcilable contrasts - the experiences of Pop art, European and American abstraction, experiences of gestural and lyrical provenance, different traces and tyles of figuration... All this heterogeneous material has been relativized in his interpretation, often even in blasphemous combinations; in a conspicuously easy and organic way, these combinations merge into a unique whole consisting of forms and meanings which are difficult to decipher. Analysis of Rončević’s paintings reveals the absence of a specific rational system that accumulates the building blocks of a painting - a mental landscape - but not the absence of a peculiar talent for creating compositional balance in a painting.The basic building block in the cycle Dulčić’s fragments is the line - stripes, that is linear, ribbon-like shapes, curved lines which meander on the surface of the canvas, and in the painted area, lines freely applied with a finger in fresh paint. The basic ludic element is colour, and the cartography of the canvas is a road with innumerable directions. The painter, treating the surface of the canvas as a field of total action, creates networks of interlacing multicoloured verticals, lively blue, blue-green and brown hues, coloured without an apparent system or principle, and also of varying width but, despite the seemingly limited starting points of his painting, he creates situations rich in interesting shifts and intriguing pictorial and colouristic happenings. The painter’s main preoccupation is the interaction of ‘neon’ colours (obviously a reference to the twentieth-century’s ‘neon’ enthusiasts), which has been achieved with a simple composition consisting of a knot of interwoven ribbons of intense colours which belong to a different chromatic register in each painting. Streams of complementary or contrasting colours, which spread out across the painted field like the tributaries of a river, subject to confluence, adopting features of the neighbouring colour, sharing the light and darkness of a ‘neon’. Although the impression implies the opposite, the application of colours, their touching and eventual interaction are strictly controlled by the skill of a great colourist. Dulčić’s fragments display Rončević’s fascinating power of unexpected associative perception. The painter now reaches for the excess of colour remaining on his palette from the work on previous paintings. He applies the colour to the canvas with a spatula in a relief impasto, and he revives the dried background with a lazure glaze of a chosen colour. On a saturated but still obviously ‘neon’ grid, the painter - evenly, like a collage detail - applies islands of open colour on the surface of the painting, which he finally paints with a brush, applying vertical white lines over the colour. These shapes of an associative and metaphorical nature are an integral part of the semantic scaffolding of composition but, without particular declarative frameworks and associative attributes, we can never precisely say what they actually represent although they are reminiscent of many things, such as seeds, bacteria, cellular microcosm, unstable primitive forms of life, the macrocosm of the universe, the structures of crystals, technical graphs, calligraphy, secret codes... The linear clarity of the drawing makes motifs concrete and palpable, possessing volume, in fact, possessing bulging physicality. In new paintings, the personal sign of the artist, which arrived in the painting from the activity of the conscious and the unconscious, has been replaced with small shapes, most similar to an oval, which look like separate pieces attached to the surface of the painting and which are reminiscent of specific painterly and artistic tendencies. Their monochrome surfaces are filled with verticals which are particles of the rational or, to put it better, from the constructivist stylistic repertoire, reminiscent, for example, of Daniel Buren’s verticals. Two divergent components - the abstract and the rational - stylistically and typologically separate, but chronologically parallel - pour into an evocative encounter which reveals a nostalgia towards two-dimensional painting. Experiences of posters and graphic design, gestural abstraction, abstract expressionism, lyrical abstraction and everything else that can be observed in this cycle of paintings are a homage to global modern painting, while the islands on the paintings pay tribute to the constructivist section of the twentieth-century avant-garde. The contents of Rončević’s paintings are also reminiscent of the rhythmicality of human figures in Dulčić’s representations of the events on Stradun, town squares, beaches, dances... In addition, to Rončević, as a Mediterranean man - in his formative years - Dulčić was an important painter and, if we persist in searching for formal similarities in their ‘handwritings’, we will find them in the hedonism of painterly matter and the sensuality of colour, luxuriant layers, the saturation of impasto painting, gestural vitality, but mostly in the Mediterranean sensibility, the Mediterranean sonority of colour, their solarity, the southern light and virtuosity of their metiérs. Like Dulčić, Rončević is also re-confirmed as a painter of impulses, of lush, luscious and extremely personalized matter, of layers of pigments, of vehement and moveable gestures, of fluid pictorialism…* * *Let us also say in conclusion that Rončević does not want to state, establish or interpret anything but to incessantly reveal possibilities, their fundamental interchangeability and arbitrariness, and following that, a general insecurity. With the skill of an experienced master painter, he also questions relationships with eclecticism and the aesthetics of kitsch; for example, he explores how far a painter can go into ornamentalization, decorativeness and coquetry without falling into the trap of kitsch but to maintain regularly the classy independence of a multilayered artifact and to question the very stamina of painting. He persistently reveals loyalty to the traditional medium of painting, the virtuosity of his métier and a strong individual stamp, strengthening his own position as a peculiar and outstandingly cultivated painter, but he also exhibits the inventiveness which makes him both different and recognizable in a series of similar painting adventures.
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Yu, Lan, and Yukari Nagai. "Painting Practical Support: A Study about the Usage of Painting Materials in Children’s Painting Works." Social Sciences 9, no. 4 (2020): 33. http://dx.doi.org/10.3390/socsci9040033.

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Painting materials are one of the mediums that help painters to show the effects of paintings. The use of different painting materials can help the painter to display different painting styles and artistic conception. Six hundred sixty-seven children aged 7 to 13 participated in the study. This study is mainly about the impact of the use of different painting materials on children’s painting creation. The questionnaire survey was conducted based on primary school fine arts education to study the influence of painting materials on children’s painting ability. The content of the questionnaire survey was to investigate children’s usage of different painting materials in painting works and the grasp of painting materials knowledge. This research also provided some painting materials training methods for primary school fine arts teachers to guide children to use different painting materials for painting creation based on the study results.
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Leroy, Fabrice. "Painting the Painter." European Comic Art 5, no. 2 (2012): 8–22. http://dx.doi.org/10.3167/eca.2012.050202.

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French cartoonist and filmmaker Joann Sfar has often used the comics medium to reflect on visual representation. His latest bande dessinée, Chagall en Russie ['Chagall in Russia'] (2010-2011), continues some of the meta-pictural elements previously found in his Pascin (2000-2002), which already featured Chagall in several episodes, as well as his acclaimed series, The Rabbi's Cat, where Sfar introduced the character of an anonymous Russian painter, whose biography and artistic stance seemingly referred to that of Marc Chagall. Although Chagall en Russie explicitly refers to the real-life Franco-Russian modernist painter, it is certainly not a standard biographical exercise. By offering a synthetic and often symbolic version of personal and historical events experienced by Chagall, Sfar takes certain liberties with the painter's life story as it was outlined by the artist (in My Life, his 1922 autobiography) and by many biographers and art historians. Sfar does not seek an authentic depiction of his subject's verifiable life journey, but rather views it through a metaphorical narrative, which is itself inspired by Chagall's artistic universe and raises questions about the figurative possibilities of comics.
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Unković, Nina. "Matej Sternen as a Restorer: Selected examples in Slovenia and Croatia." Ars & Humanitas 11, no. 1 (2017): 204–23. http://dx.doi.org/10.4312/ah.11.1.204-223.

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Matej Sternen (1870–1949) is better known as an impressionist painter rather than for his restoration work, even though in his impressive career he discovered and restored a considerable number of works, especially frescos in Slovenia and Dalmatia (Croatia). His strong interest in restoration can be seen in the numerous notes he wrote about painting technologies, restoration and conservation techniques. This enriched his entire opus, as it stimulated him to try numerous painting techniques and genres, such as frescoes. Sternen was a painter who constructed his paintings very carefully, and a master in the preparation of the painting’s surface, or “the ground,” and always considered the laws of colours and their relationships and proportions to the white painted surface.In his restoration practice, working together with his close colleagues the art historians France Stele (1886–1972) and Ljubo Karaman (1886–1971), Matej Sternen actualized the principle “conserve instead of restore” that was the rule in his day. This paper is based on fieldwork data and archive sources, kept in Ljubljana, Celje, Split and Zagreb, and focuses on two important monuments — the painted ceiling in the Old Manor House in Celje (Slovenia), and a wall painting in the church of St Michael in Ston (Croatia). These two cases, which are different from both technical and methodological approaches to monument protection, clearly show Sternen’s professional expertise and practical realization of “conserve instead of restore,” which speaks in favour of preserving the original work as opposed to aggressive restoration interventions.
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Unković, Nina. "Matej Sternen as a Restorer: Selected examples in Slovenia and Croatia." Ars & Humanitas 11, no. 1 (2017): 204–23. http://dx.doi.org/10.4312/ars.11.1.204-223.

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Matej Sternen (1870–1949) is better known as an impressionist painter rather than for his restoration work, even though in his impressive career he discovered and restored a considerable number of works, especially frescos in Slovenia and Dalmatia (Croatia). His strong interest in restoration can be seen in the numerous notes he wrote about painting technologies, restoration and conservation techniques. This enriched his entire opus, as it stimulated him to try numerous painting techniques and genres, such as frescoes. Sternen was a painter who constructed his paintings very carefully, and a master in the preparation of the painting’s surface, or “the ground,” and always considered the laws of colours and their relationships and proportions to the white painted surface.In his restoration practice, working together with his close colleagues the art historians France Stele (1886–1972) and Ljubo Karaman (1886–1971), Matej Sternen actualized the principle “conserve instead of restore” that was the rule in his day. This paper is based on fieldwork data and archive sources, kept in Ljubljana, Celje, Split and Zagreb, and focuses on two important monuments — the painted ceiling in the Old Manor House in Celje (Slovenia), and a wall painting in the church of St Michael in Ston (Croatia). These two cases, which are different from both technical and methodological approaches to monument protection, clearly show Sternen’s professional expertise and practical realization of “conserve instead of restore,” which speaks in favour of preserving the original work as opposed to aggressive restoration interventions.
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Insaurralde Caballero, Mirta, and María Castañeda-Delgado. "At the Core of the Workshop: Novel Aspects of the Use of Blue Smalt in Two Paintings by Cristóbal de Villalpando." Arts 10, no. 2 (2021): 25. http://dx.doi.org/10.3390/arts10020025.

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During the seventeenth century, the use of smalt and indigo became increasingly common among painters’ workshops in New Spain. The unprecedented importance of these two blue pigments in oil painting may be explained by artistic and geopolitical circumstances. This article expands on the use of blue smalt—a byproduct of glass production and a material that lacks in-depth study in viceregal painting—by focusing on the technical analysis of El Triunfo de la Eucaristía and La Asunción painted by Cristóbal de Villalpando (ca. 1649–1714), which are part of the collection of the Museo Regional de Guadalajara (Mexico). The technological and material study of both paintings, situated within the trade and circulation of painting materials at the turn of the eighteenth century, shows how the painter deployed techniques rooted in his predecessors while incorporating particular technical adaptations. The authors examine cross-section samples of Villalpando’s paintings with optical microscopy, Scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDX), and Fourier-transformed infrared spectroscopy (FT-IR), and were able to identify different qualities of smalt as well to suggest a possible provenance. These analyses evidence novel aspects in the painting tradition of workshops in New Spain that ultimately reverberated in practices of the long eighteenth century.
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Altes, Everhard Korthals. "Philip van Dijk, een achttiende-eeuwse Haagse schilderkunsthandelaar met een lokale en internationale clientèle*." Oud Holland - Quarterly for Dutch Art History 116, no. 1 (2003): 34–56. http://dx.doi.org/10.1163/187501703x00260.

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AbstractPhilip van Dijk was an important eighteenth-century painter-dealer. During this period lots of dealers in paintings started out as painters, a combination also found previously in the seventeenth century. Quite a few painters began dealing due to the falling demand for contemporary art in the eighteenth century, and some of them sought new outlets abroad where there were many well-off collectors interested in both contemporary Dutch painters and the masters of the seventeenth century. Van Dijk, too, built up a clientele both locally in The Hague and abroad. Bills and receipts from Johan Hendrik, Count of Wassenaer Obdam, show that Van Dijk was actively involved in putting together the count's collection for more than 20 years. He bought old master paintings at auction as well as privately, painted several works himself, and was also a restorer. He provided similar wide-ranging services to Wilhelm of Hesse-Kassel, and bought paintings on the Dutch market for him. As a result of his painting skills, Van Dijk must have had a good eye for quality, and he could tell the difference between an original and a copy. Wilhelm sent the young painter Freese to Van Dijk's studio in The Hague, not just as an apprentice but also to learn the finer points of art dealing. Van Dijk was most likely also involved in the purchasing of paintings by other German rulers, among them Augustus III of Saxony and Christian Ludwig of Mecklenburg-Schwerin.
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Vojvodic, Dragan. "The icon of the Theotokos from the Church of St. Nicholas (Rajko’s Church) and the question of painting workshops in medieval Prizren." Zograf, no. 40 (2016): 95–116. http://dx.doi.org/10.2298/zog1640095v.

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Based on stylistic and paleographical analysis, it can be safely concluded that the icon of the Theotokos from the Church of St. Nicholas (Rajko?s Church) in Prizren was not created in the 14th century as previously believed. It was painted in the last third of the 16th century by an icon painter close to the circle of Serbian painters formed in Pec. The suggestion of stylistic ties between this icon and the first fresco layer at the Church of the Holy Savior in Prizren and the wall paintings in the Church of St. Nicholas (the Tutic Church) is not acceptable. Furthermore, comparison of wall paintings in these and other contemporaneous churches in the area of Prizren, as well as the local icon paintings, does not substantiate the suggestion that an urban painting workshop operated in 14th-century Prizren.
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Miedema, Hessel. "Philips Angels Lof der schilder-konst." Oud Holland - Quarterly for Dutch Art History 103, no. 4 (1989): 181–222. http://dx.doi.org/10.1163/187501789x00167.

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AbstractPhilips Angel's Lof der schilder-const (In Praise of Painting, 1642) is one of the few pieces of writing we have as a source of notions on the theory of painting in the Netherlands. Yet it was not intended as an art-theoretical treatise: Angel read the text at a St. Luke's feast as part of the activities that were being undertaken to acquire guild rights for Leiden painters. In order to assess the value of the theoretical notions on which the paper is based, it is therefore necessary to analyse as far as possible the circumstances of its writing. First the Angel family is examined. Orginally from Antwerp, the Angels moved north in the 1590s, probably because of the Eighty Years' War, settling in Middelburg and Leiden. They were fairly prosperous middle-class citizens, mostly schoolteachers, painters and small shopkeepers. Both the Middelburg and Leiden branches produced painters called Philips Angel. The Middelburg Philips, almost certainly identical with a painter called Philips Angel who was active in Haarlem, is known to have produced quite a lot of paitings. Only one small etching by the Leiden Philips has survived; nothing is known of any paintings by him. The Leiden Philips, the author of Lof der schilder-const, had a turbulent career. He joined the painters who pressed for guild rights in Leiden, to which end he held his speech in 1641. As early as 1645, though, he gave up painting and travelled as an employee of the United East-Indian Compary to Indonesia. From there, promoted to the high rank of chief merchant, he was sent to Persia. He was dismissed on grounds of embezzlement, but managed to procure the post of court painter to the Shah. By 1656, however, he was back in Batavia (Jakarta), where he again obtained a number of highly regarded positions. Fired again for mismanagement and defalcation, his end was inglorious. The Lof der Schilder-const shows evident signs of a general tendency among Dutch painters of the mid-seventeenth century to claim a higher status for their profession. The text is duly meant less as a theoretical treatise than as a rhetorical amplificatio of the painter's profession. The author seems to have been reasonably well-read, although by no means scholarly; nor was he very conversant with the Italian art theory of his day. Scrutiny of the text reveals his superficial and undiscerning paraphrases of the few sources at his disposal (mainly Karel van Mander's Schilder-boeck and the Dutch translation of Franciscus Junius' De pictura veterum). Much of his eulogy is a summing-up of the distinguished characteristics a painter ought to have. The remarkable thing is that not one of those characteristics provides specific insight into the professional practise of the Leiden painters around 1641. As far as they are at all relevant to what was being painted in Leiden at that time - take the Leiden 'Precise School' of Gerard Dou's circle -, his remarks provide little more insight than a superficial consideration of the paintings would arouse in any layman.
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De Fouw, Josephina, and Ige Verslype. "Aeneas and Callisto." Rijksmuseum Bulletin 67, no. 3 (2019): 196–215. http://dx.doi.org/10.52476/trb.9730.

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The Rijksmuseum has in its collection an oil sketch by Jacob de Wit (1695-1754) of a design for a ceiling painting. This ceiling painting – The Apotheosis of Aeneas – was commissioned by Pieter Pels (1668-1739) for his house at number 479 Herengracht, Amsterdam. The present article identifies the room for which the work was made. The ceiling painting proves to have been part of a larger painted ensemble by Jacob de Wit and the landscape painter Isaac de Moucheron (1667-1744). On the basis of De Wit’s sketches, records in the archives and research on site, a picture of the way this painted room looked in Pels’s day is built up. The later fortunes of the room are also explored. At the end of the nineteenth century the ceiling painting was replaced by another one, also by De Wit. As a result of this very curious switch, the present ceiling painting is no longer an original whole, but a composite hybrid. All the other interior paintings vanished from the room long ago. Three of them, a chimney-piece and two overdoors by De Wit, have been traced to Russia. Three previously unknown paintings have now been added to the artist’s oeuvre.
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Dissertations / Theses on the topic "Painting; Painter"

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

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Art historians tend to focus on the literary aspects of Hunt's paintings and little is said about their disconcerting appearance. This thesis explores Hunt's attitude to art-making and his artistic practice in order to investigate the relationship between the form of his work and its content. To this end, Hunt's written output is reevaluated. A distinction is made between public texts and private journals and letters. The latter display accelerating concerns about the artistic persona. A sense of religious doubt, weakness and mortality is answered by an alternative self-image which aspires to prophetic authority. During later years, this fantasy centres on hopes of resurrection. These anxieties pivot around the perfection and authenticity of the artist's production. The realism of Hunt's painting style authenticates his religious subject matter and the beliefs and self-image behind it. Public texts emphasise an objective, mimetic technique and attempt to elide the processes by which subjective meanings are inscribed into the image. However, in practice, Hunt completes his paintings in two distinct stages. The combination, on the same canvas, of an elaborate, linear design and precise, mimetic colour effects represents the artist's attempt to synthesise the imagined and the real. This process results in a paradoxical subversion of both imaginative and optical authority which retraces the doubts manifested in Hunt's writings. The dislocation between real and imagined appearance is confronted at the point of laying the colour on the canvas. Hunt conducts extensive research into technique in order to gain control over this act, but this also heightens an awareness of the contradictory identity of the image as paint. He addresses this by aligning the materials themselves with the moral order which is being depicted. Their inevitable imperfections therefore connote disorder and the art object, as well as the image, becomes an expression of the artist's unstable identity and beliefs.
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Nisbet, Archibald. "George Clint (1770-1854) : theatrical painter." Thesis, Birkbeck (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271351.

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The thesis treats the theatrical scenes and single figure portraits of actors and actresses en role by George Clint. The development of theatrical scene painting in England during the eighteenth century is traced from its antecedents in The Netherlands and France through to the arrival of Clint. There is a brief review of Clint's career to 1816 when he exhibited his first theatrical scene at the Royal Academy. To define the area in which Clint worked, a chapter explores the theatre of the time. His theatrical scenes are discussed for each of the three phases of his work which I have identified. The first phase terminated in 1821 when he was elected ARA. His second phase ran through the 1820s when he continued his earlier manner of painting scenes from staged productions, with portraiture. In the last phase during the 1830s his style and subject material changed. He was essentially a painter of the comic, initially of largely contemporary comedy and farce, but after 1830 of the more substantial comedies of Shakespeare. At the same time his style changed to a more distanced treatment of the theatre without reference to specific productions or casts. The treatment of his theatrical scenes is followed by a consideration of his single figure theatrical portraits of actors and actresses. An important goal for Clint was full membership of the Royal Academy; that he never achieved it led to his resignation in 1836. The position of the Academy at the time, and in particular Clint's situation, is considered. Clint is seen as a peculiarly representative figure in the debates on both the fine arts and the theatre, working as he does at the junction of the two arts and affected by the problems of both.Prints from Clint's theatrical scenes and individual theatrical portraits, both as independent works and as book illustrations are also discussed. Finally, his influence and the reason why the genre of theatrical scene painting came to an end in him are considered 3
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Benson, Lisa Virginia. "Hermonax : an early classical vase-painter /." free to MU campus, to others for purchase, 1999. http://wwwlib.umi.com/cr/mo/fullcit?p9962504.

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

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This analysis explores the progression of my work over the past three years of study. My initial pursuits involved ideas that revolved around contemporary feminism, however, with time I expanded upon those ideas by exploring other subjects. I realized the connection in all of my work lies in the use of manipulated found imagery, and the desire to release this imagery from the confines of traditional pictorial space. With this discovery, I became free to utilize any manner of subjects, as the subject matter relied heavily on the finding and re-interpreting of these disparate images into the language of paint. Moreover, specific modes of thought, such as Feminism, were allowed to become single threads in a diverse, complex tapestry.
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Wallersteiner, Anthony. "A Cornish palimpsest : Peter Lanyon and the construction of a new landscape, 1938-1964." Thesis, University of Kent, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.342268.

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Insley, Alice Amelia. "Painter and place : Joseph Wright and Derby, 1797-1886." Thesis, University of Nottingham, 2017. http://eprints.nottingham.ac.uk/41356/.

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As the endurance of Wright’s soubriquet ‘of Derby’ shows, the association between Wright and Derby is distinctive in its ongoing cultural resonance. The legacy of this today is the Joseph Wright Collection at Derby Museum and Art Gallery – the largest collection of his work in the world. This thesis is, therefore, concerned not with arguing for the relationship between Wright and Derby but with attending to how it has been represented and claimed during the 19th-century. This will encompass both how the relationship influenced Wright’s posthumous reputation and how it was enlisted in Derby as the painter was incorporated into the town’s social and cultural fabric. The different claims made upon the artist’s life and locality will become apparent through this, demonstrating the changing relation between painter and place as it was adapted and appropriated according to different times, places, and discourses. This refurbishment of the painter throughout the 19th-century is significant as it provided cultural continuity at a time when the town was rapidly transforming. Exhibitions were an important medium through which the relationship was shaped and represented: within Derby there was a display of Wright’s work nearly every decade. These represent important moments in which Wright was enlisted as a source of cultural capital and in which his reputation was shaped and sustained. Following the natural chronology of the period, the thesis will first consider Wright’s immediate commemoration through the networks of people and circulation of objects involved in sales of his work and his literary representation. In 1839 the Derby Mechanics’ Institute exhibition was heralded as ‘Derby’s first exhibition’; Wright’s prominent display in this implicated him within the civic culture of the 1830s. As momentum around exhibitions and Wright built in the latter half of the century, the exhibitions in 1866, 1870, and 1877 will be considered in relation to one another, consolidating Wright’s presence within the town. Lastly, the thesis will close with the 1880s, when Wright’s association with Derby was celebrated and claimed through a large retrospective exhibition of his work, the beginning of a municipal art collection, the publication of his monograph, and a display at the Royal Academy in 1886.
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Gordon, Grier Robertson. "Scottish scenes and Scottish story : the later career of David Allan, historical painter." Thesis, University of Glasgow, 1990. http://theses.gla.ac.uk/2505/.

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David Allan's artistic career may be divided into two major periods. Having first attended the Foulis Academy, he spent at least a decade in Italy, finally returning to Scotland in 1779, his home for the next seventeen years. The pictures which he executed during this second period form the basis of the present study. Since the emphasis of this study is thematic rather than biographical, some distortion of chronology is inevitable, though it is not uncomfortably obvious. At the same time, some element of biography is indispensable. This is particuarly true of the first chapter, a necessary setting of the scene which highlights Allan's training in the arts, his collection of prints, copies, original drawings and plaster casts, and the most important works from his years abroad. That part of this biographical account which deals with his Scottish career is devoted largely to Allan's work as Master of the Trustees' Academy, since the pictures with which he was occupied at this time - portraits, Conversation pieces, literary illustrations, Historical paintings and Genre scenes - are taken in groups and discussed in greater depth in the chapters which follow. Before the first chapter concerned with Allan's work in any of these genres, however, there stands a chapter dealing with the wider context of narrative painting in Britain at the time and introducing a number of themes traced throughout later chapters, where they are more fully and particularly discussed.
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Garcia, Rebecca J. "Pigments and pianos painter and varnisher Lyman White /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 75 p, 2007. http://proquest.umi.com/pqdweb?did=1338863521&sid=5&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Baines, Lorena. "The artist's devices Illusionism and imagination in Gerrit Dou's 'Painter with a Pipe and Book' (Netherlands) /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 1.90 Mb, 52 p, 2005. http://wwwlib.umi.com/dissertations/fullcit/1428198.

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Hoyt, Sue Allen. "Masters, pupils and multiple images in Greek red-figure vase painting." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1150472109.

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Books on the topic "Painting; Painter"

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Jacobi, Carol. William Holman Hunt: Painter, painting, paint. Manchester University Press, 2006.

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How I paint: Secrets of a Sunday painter. Harry N. Abrams, 2000.

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James, Long. The painter. HarperCollins, 2003.

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Sengai: Master Zen painter. Kodansha, 2000.

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The decorative painter: Over 100 designs and ideas for painted projects. Little, Brown, 1996.

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Nadia, Mackenzie, ed. The decorative painter: Over 100 designs and ideas for painted projects. Conran Octopus, 1996.

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Bunn, T. Davis. The sign painter. Center Point Large Print, 2014.

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Spargo, Gillie. The complete decorative painter. Colour Library Direct, 1997.

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Mariani, Valerio. Michelangelo, the painter. Harrison House, 1987.

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Mariani, Valerio. Michelangelo, the painter. Harrison House, 1987.

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Book chapters on the topic "Painting; Painter"

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

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González-Moreno, Fernando. "Cervantes, Painter of Allegories of Folly, Love and Prudence." In Painting Words. Routledge, 2020. http://dx.doi.org/10.4324/9780429242601-3.

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Jackson, Wallace. "Digital Painting Software: Corel Painter and Inkscape." In Digital Painting Techniques. Apress, 2015. http://dx.doi.org/10.1007/978-1-4842-1736-8_1.

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Colton, Simon. "The Painting Fool: Stories from Building an Automated Painter." In Computers and Creativity. Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-31727-9_1.

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Adorni, Bruno. "Vignola, a Serious Training: Painting, Perspective, Architecture." In The Notion of the Painter-Architect in Italy and the Southern Low Countries. Brepols Publishers, 2014. http://dx.doi.org/10.1484/m.archmod-eb.4.00216.

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Musso, Stefano F. "Painting and Painted Architectures in Genoa: What Peter Paul Rubens Probably Saw." In The Notion of the Painter-Architect in Italy and the Southern Low Countries. Brepols Publishers, 2014. http://dx.doi.org/10.1484/m.archmod-eb.4.00221.

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Berendsen, A. M. "Paints and Paint Systems." In Marine Painting Manual. Springer Netherlands, 1989. http://dx.doi.org/10.1007/978-94-017-2186-8_4.

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"Painting in Painter." In Digital Collage and Painting: Using Photoshop and Painter to Create Fine Art. Routledge, 2006. http://dx.doi.org/10.4324/9780080458274-11.

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Balafrej, Lamia. "Painting about Painting." In The Making of the Artist in Late Timurid Painting. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474437431.003.0001.

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This book constitutes the first exploration of artistic self-reflection in Islamic art. In the absence of a tradition of self-portraiture, how could artists signal their presence within a painting? Centred on late Timurid manuscript painting (ca. 1470-1500), this book reveals that pictures could function as the painter’s delegate, charged with the task of centring and defining artistic work, even as they did not represent the artist’s likeness. Influenced by the culture of the majlis, an institutional gathering devoted to intricate literary performances and debates, late Timurid painters used a number of strategies to shift manuscript painting from an illustrative device to a self-reflective object, designed to highlight the artist’s imagination and manual dexterity. These strategies include visual abundance, linear precision, the incorporation of inscriptions addressing aspects of the painting and the artist’s signature. Focusing on one of the most iconic manuscripts of the Persianate tradition, the Cairo Bustan made in late Timurid Herat and bearing the signatures of the painter Bihzad, this book explores Persian manuscript painting as a medium for artistic performance and self-representation, a process by which artistic authority was shaped and discussed. In addition, each chapter explores a different theme: how painters challenged the conventions of royal representation (chapter 1); the role of writing in painting, its relation to ekphrasis and the context of the majlis (chapter 2); image, mimesis and potential world (chapter 3); the line and its calligraphic quality (chapter 4); signature (chapter 5); the mobility of manuscripts (epilogue).
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Bloom, Susan Ruddick. "Painting in Painter™." In Digital Collage and Painting. Elsevier, 2011. http://dx.doi.org/10.1016/b978-0-240-81175-8.00005-7.

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Conference papers on the topic "Painting; Painter"

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Burby, M., G. G. Nasr, and T. Cox. "Painting and Coating of Acoustic Materials." In ASME 2006 Pressure Vessels and Piping/ICPVT-11 Conference. ASMEDC, 2006. http://dx.doi.org/10.1115/pvp2006-icpvt-11-93861.

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Acoustic materials are used to treat indoor and outdoor spaces to make speech intelligible, and places less noisy and more pleasant to be in. Whilst most treatments are old and well established, in recent years there has been a growth in innovative products, which overcome difficulties with the old technologies, especially when making the treatments more visually acceptable to architects. Modern construction depends a great deal on acoustic materials to act as sound containment or sound control, either in residential or commercial applications. Sound-absorbing materials are highly porous to increase their sound absorption qualities. The amount of absorption depends on the thickness of the porous material, the size and number of pores, and the frequency of the noise. When painting acoustic materials, the painter should be very careful that the paint does not close up the acoustic surfaces; perforations or fissures. It is through these openings in the surface that sound waves enter the body of the acoustic material and are absorbed. It is the control of the paint droplet size upon the surface that affects the acoustic properties and the aesthetic appearance of the coated surface. An investigation into the coating performance with regard to acoustic absorption and aesthetic appearance was performed in a true-scale automotive spray booth using five different types of paint: three aerosol paints, domestic emulsion and acoustic paint. The sprays produced by the aerosols, emulsion and acoustic paints, applied using an air assist spray-gun, were characterised using a Mastersizer-X laser instrument. The flow rate of the paint through the spray gun was varied during the experiments between 50 ml/min and 500 ml/min. The work has highlighted the operating parameters for the air-assist spray gun in order to produce the smallest drop sizes. The measuring of the acoustic coefficient of the coated materials has shown that the aerosol and air-assist gun produced too large a droplet to produce a good acoustic coating. The use of the acoustic paint did create a good absorption coefficient but the work has highlighted the requirement for the atomizing process to be optimised for this highly viscous acoustic paint.
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Weng, Dongdong, Yue Liu, and Yongtian Wang. "Design of an AR-based virtual painting system: AR-painter." In Fifth International Symposium on Instrumentation and Control Technology, edited by Guangjun Zhang, Huijie Zhao, and Zhongyu Wang. SPIE, 2003. http://dx.doi.org/10.1117/12.522309.

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Sutton, Jeremy. "Air painting with Corel Painter Freestyle and the leap motion controller." In ACM SIGGRAPH 2013 Studio Talks. ACM Press, 2013. http://dx.doi.org/10.1145/2503673.2503694.

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Li, Yang, and Hai Ping Sun. "Monk-painter - Dan Dang's Different Kinds of Aesthetic Feelings to Landscape Painting." In 2017 International Conference on Innovations in Economic Management and Social Science (IEMSS 2017). Atlantis Press, 2017. http://dx.doi.org/10.2991/iemss-17.2017.105.

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Makarevičs, Valerijs, and Dzintra Ilisko. "Figuratively Semantic Analysis of Works of Art." In 14th International Scientific Conference "Rural Environment. Education. Personality. (REEP)". Latvia University of Life Sciences and Technologies. Faculty of Engineering. Institute of Education and Home Economics, 2021. http://dx.doi.org/10.22616/reep.2021.14.044.

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Topicality of the study is related to the in-depth study of the art of works of Van Gogh, Velázquez and Repin by relating art to the biography of these authors. The aim of the study is to explore the symbolism and the biography of the painters using the examples of analysis from the works of Van Gogh, Velasquez, and Repin and also to determine the conditions that contribute to the awareness of the process of perception and understanding of paintings. The methodology of this study is figuratively symbolic method used with the purpose to compare the plots of the art and to relate them to the life experience of their creators. Results obtained and the most important conclusions: This is important for the author of a painting to convey his/her thoughts and feelings to the viewer. Still, there remains a problem. The author uses the language of the image and symbol, which the viewer needs to reveal. Psychology of art offers two main options for solving this problem. The essence of the first option which is the ability of the painter to direct the viewer's sight. It is called the Dutch approach. The second approach to the analyses of art is called the Italian approach. In this case this is important to understand the symbolism and knowledge gained historically by relating one’s art works to the biography of the painter. The authors of this article focus on the second approach by illustrating it with examples of analysis from the works of Van Gogh, Velázquez, and Repin. The results of this study might be of interest for those who are interested in arts and psychology.
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Zhang, Xiaojie. "The Painting Technical Characteristics and Sources of Hungarian Painter MihALy MunkACsy in the 19th Century." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.65.

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Lahtinen, R. T., and P. J. T. Jokinen. "Painting of Arc Sprayed Zinc Coatings with Water-Based Paints." In ITSC 2000, edited by Christopher C. Berndt. ASM International, 2000. http://dx.doi.org/10.31399/asm.cp.itsc2000p1077.

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Abstract Hot dip galvanized zinc coatings on steel structures are known to have superior atmospheric corrosion resistance properties compared to painted structures. However, the zinc coating can not be applied by this method on large steel structures. The protection of large steel structures against atmospheric corrosion is traditionally done by painting. The environmental pressure to eliminate solvent based paints has forced the painting contractors to move towards water based paints or completely rethink the coating process. One solution to this problem is to use arc sprayed zinc as the "primer" and water based paints as a sealer and a top coat. The research and field tests conducted and supervised by VTT has produced promising results that are described in the paper. The possibility to apply water based paints directly over the arc sprayed zinc is discussed and results of field and laboratory tests are given. The economic aspects of both water based and traditional paint systems over the arc sprayed zinc are discussed in the paper.
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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 totemic figures and animals, developing a private cosmology of sun and moon, male and female, the machine and Mediterraneità. Keywords: Le Corbusier, Visual Arts, Painting, Taureaux. DOI: http://dx.doi.org/10.4995/LC2015.2015.828
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Wu, Han, Shuo Yan Liu, Wenkai Zheng, Yifu Yang, and Han Gao. "PaintKG: the painting knowledge graph using bilstm-crf." In 2020 International Conference on Information Science and Education (ICISE-IE). IEEE, 2020. http://dx.doi.org/10.1109/icise51755.2020.00094.

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Zhilin, Denis M., and Marina Tokareva. "CHEMISTRY OF PAINTINGS OR HOW TO INVOLVE 8-10 Y.O. CHILDREN FOR A TWO-HOUR SESSION WITHOUT BREAKS." In 1st International Baltic Symposium on Science and Technology Education. Scientia Socialis Ltd., 2015. http://dx.doi.org/10.33225/balticste/2015.108.

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The paper describes the experience of sessions on chemistry of paintings and chemistry of pencils for 8-10 y.o. pupils and their parents. The session consisted of lecture on the history of paints and pencils and laboratory sub-session where the participants made paints and pencils themselves. The participants could quit whenever they wanted, but really worked for more than two hours without break, that is extremely long for this age. We think that the reason is a diverse activity and a bright output. Key words: chemistry, elementary school, laboratory, painting.
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Reports on the topic "Painting; Painter"

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Galenson, David. Quantifying Artistic Success: Ranking French Painters - and Paintings - from Impressionism to Cubism. National Bureau of Economic Research, 1999. http://dx.doi.org/10.3386/w7407.

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McKnight, Mary E. Feasibility of using a multiple award schedule for specifying paints in government painting contracts. National Institute of Standards and Technology, 1991. http://dx.doi.org/10.6028/nist.ir.4706.

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Bruegel, Martin, and David Galenson. Measuring Masters and Masterpieces: French Rankings of French Painters and Paintings from Realism to Surrealism. National Bureau of Economic Research, 2001. http://dx.doi.org/10.3386/w8266.

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Painter dies after falling from a stepladder while painting an outdoor stairway. U.S. Department of Health and Human Services, Public Health Service, Centers for Disease Control and Prevention, National Institute for Occupational Safety and Health, 1998. http://dx.doi.org/10.26616/nioshsface97nj062.

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A painter falls 12 feet while painting a pump hose platform system - Massachusetts. U.S. Department of Health and Human Services, Public Health Service, Centers for Disease Control and Prevention, National Institute for Occupational Safety and Health, 2009. http://dx.doi.org/10.26616/nioshsface07ma025.

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In-depth survey report: control technology for autobody repair and painting shops at Valley Paint and Body Shop, Amelia, Ohio. U.S. Department of Health and Human Services, Public Health Service, Centers for Disease Control and Prevention, National Institute for Occupational Safety and Health, 1993. http://dx.doi.org/10.26616/nioshectb17914a.

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In-depth survey report: control technology for removing lead-based paint from steel structures: abrasive blasting inside two ventilated containment systems at Bridge Street and Shribner Street overpass, Seaway Painting Company, Inc., Grand Rapids, Michigan. U.S. Department of Health and Human Services, Public Health Service, Centers for Disease Control and Prevention, National Institute for Occupational Safety and Health, 1994. http://dx.doi.org/10.26616/nioshectb18314a.

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In-depth survey report: control technology for removing lead-based paint from steel structures: power tool cleaning at Muskingum County, Ohio, bridge MUS-555-0567 and MUS-60-3360, Olympic Painting Company, Inc., Youngstown, Ohio. U.S. Department of Health and Human Services, Public Health Service, Centers for Disease Control and Prevention, National Institute for Occupational Safety and Health, 1995. http://dx.doi.org/10.26616/nioshectb18316a.

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