Relevant bibliographies by topics / Painting Painting Art Art and society

Contents

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

Academic literature on the topic 'Painting Painting Art Art and society'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Painting Painting Art Art and society"

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B.K., Jyoti Prakash. "Nepali Painting: Traditional Motifs in Modern Art." Journal of Advanced Academic Research 3, no. 1 (2017): 173–76. http://dx.doi.org/10.3126/jaar.v3i1.16626.

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Art is mirror of society. Human Civilization developed through art. Philosopher Langinus said that the power of the art is to create sublime to viewers. There is lot of philosophy in art history but still no any conclusion or scientific answer about the art but art is more contemporary due to the globalization and individual expression. In the case of Nepali art, before the "Kirat" and "Lichhabi" period had also some paintings and sculpture. Because of the weak surface we didn't have any paintings but can know from the petrography of Lichhabi period. In the world the ancient time had been found to be developing from religious and cultural development. It is absolutely relevant to be saying that the Nepali paintings were also the cause of the religious development. The history of the Nepali painting had been developed on religious base from the history to contemporary situation. So the main objective of the research is to find the core relation between traditional and modern painting.
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Pedram, Behnam, Mahdi Hosseini, and Gholam Reza Rahmani. "The Importance of Painting in Qajar Dynasty Based on the Sociology Point of View." Journal of History Culture and Art Research 6, no. 3 (2017): 985. http://dx.doi.org/10.7596/taksad.v6i3.967.

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<p>The paintings of Qajar dynasty are the most thriving and important artworks in Qajar dynasty. Studying Qajar painting helps importantly to identify and study the art and culture of Qajar dynasty. Existence of lots of paintings, diversity of designs, color and subject, combining tradition and modernism were factors for selecting this dynasty to investigate. As the painting is the visual history of each era, sociology studying of painting in this dynasty will make one to understand common culture and thinking of people in that society. Amount of influence of western culture especially during Naser al-Din Shah Era has been at the same time with the creation of these paintings and combination of these paintings with our past legacy schools lead us to the thinking and willing of Qajar artists. As Qajar art and different kinds of painting art were the foundation of contemporary Iran’s painting by a research around this Dynasty, the reasons of excellence, lacks and origins of contemporary painting of Iran can be understood. Research methodology at the beginning was based on library studies while there were little reading resources in books, magazines, internet, documentation, presence in places and photography and then studying of what was seen heard and read.</p>
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Tarasova, Maria, та Sabina Maremkulova. "РЕПРЕЗЕНТАЦИЯ ПОНЯТИЯ «СОЦИУМ» В РУССКОЙ ЖИВОПИСИ БЫТОВОГО ЖАНРА XIX ВЕКА". Social Anthropology of Siberia 2, № 1 (2021): 15–28. http://dx.doi.org/10.31804/2687-0606-2021-2-1-15-28.

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The aim of the study is to reveal the ways of representing the concept of “society” in the works of the genre art in the Russian painting of the 1860-1870s. The research is carried out using the method of philosophical and art history analysis of works of fine art. The main object of the study is the painting “Rural procession on Easter” by Vasiliy G. Perov. The study describes the specific features of the genre art in the Russian painting of the 19th century. The research shows how works of the genre art realize their didactive and educating functions. A theoretical analysis of the concepts of “everyday life”, “being”, “society” made it possible to conclude how genre painting of the 19th century models both an ideal person who is in co-existence with the absolute spirit, and a person who is far from the ideal. In the research the authors reveal two worldview models that developed in Russian painting in the 1860-1870s: a model of a perfect human being and a model of a person who is mired in everyday life. The study proves that the latter human model is represented in index signs of characters that worship only material values. The study investigates the versatility of the pictorial model of the Russian society, represented not only as a community absorbed in the routine of the everyday life, but also as a group of people whose life is elevated upwards to the true existence. The research has resulted in the typology of characters of paintings of the genre art, where the type of the character depends on the model of the society represented by the work of art. In its conclusion the study discloses two models of representing the society in Russian painting of the genre art in the 19th century. According to the first model, the everyday principle acts as an absorber of being. The second model represents a society in which everyday life manifests true existence, in harmony with nature and filled with the divine essence.
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Carrier, David, and Meyer Schapiro. "Worldview in Painting-Art and Society." Art Bulletin 82, no. 2 (2000): 355. http://dx.doi.org/10.2307/3051382.

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Tkachuk, Ilona. "Painting perception models of art groups «Zhyvopysnyi zapovidnyk» and «Paryzka komuna»." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 19–37. http://dx.doi.org/10.37131/2524-0943-2019-39-02.

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Background. A painting perception is a complex multilevel process of reception and transformation of information, which forms a subjective image of objects, serves as a communicative form of interaction between individuals, societies and cultures. A painting is a complicated system, which reflects the cultural situation in a society of a certain epoch, the worldview, conveys the complex of human feelings and beliefs, arises as a means of cognition. Everyone deliberately or involuntarily becomes a painting recipient, more or less engaging himself into the process of communication. Therefore, the approach to a painting is valid according to individual matrices of ideological notions complexes, concepts, principles, mentality, education and preparedness of a creator and a perceiver as a kind of non-verbal communication with a transfer of certain information during this process. Published scientific works refer to the narrow specifics of certain disciplines in the study of perception process of the painting, therefore, they do not constitute a holistic system of knowledge concerning this phenomenon. Among them we note the fundamental researches, which, in particular, set out aesthetic theories: perceptual (M. Beardsley), cognitive (R. Arnheim, D. Berlyne), informational (A. Moles); achievements in neuroaesthetics (V. Ramachandran), psychology of painting perception (V. Molyako, J. Gibson, S. Kosslyn). However, known presented painting perception algorithms do not take into account the entire range of components, parameters and the context of current communication process with art creation. It was revealed that the establishment of variants of components' interaction within the system «artist—painting—recipient», as different ways of cognition and coexistence in the information space, remains at the stage of formation and needs a fundamental development. Objectives. The objectives of the research are to identify concrete models of subjective-objective interaction within the system «artist—painting—recipient» as a result of perception the paintings of the groups «Zhyvopysnyi zapovidnyk» and «Paryzka komuna» in the artistic environment. As a material for conducting a practical investigation there were chosen the paintings of above-mentioned groups, because their art, both — as horizontal and vertical, formed a peculiar matrix of Ukrainian visuality. The art code of their works gives the opportunity to see the regularities of historical development of National visual experience. The range of painting form in all its aspects, from transavantgarde — to abstract, makes it possible to consider and analyze the difference between its specific characteristics and accordingly, different models of recipients' perception. Methods. Studying the disclosure of interactive features of interplay between painting and the recipient is related with certain difficulties, mainly of a methodical nature. Exceptionally an interdisciplinary research approach makes the most complete disclosure of the specifics of this process possible, determines its place in culture. During the research the system approach was used as well as such methods: experiment, modeling, structural-functional, statistical and comparative. In order to test the hypothesis, to reproduce the model of information system developed by author in real conditions, arose the need of organization of empirical study. An experiment was chosen as a method that assumes the allocation of significant factors which affect the results of the formation of a particular interaction model within the system «artist—painting—recipient». The investigation with recipients' poll aims to study cause-effect relationships in painting perception process, which assumes the practical modeling of the phenomenon and conditions of its course. Results. It is substantiated that the artistic strategy of two groups — narrative «Paryzka komuna» and non-narrative «Zhyvopysnyi zapovidnyk», has created a unique matrix of Ukrainian visuality, and the art code of paintings enables the revealing of patterns of historical development of National visual experience. Review and analysis of the specific features complex of modernist and postmodernist paintings allowed to identify the origins of four different perception models formation by recipients. Within the framework of the study there were critically comprehended known published painting perception algorithms. As a result of investigation, the informational painting perception system was formed and at the same time there was carried out its correlation with fundamental researches of Western scientists. In particular, they relate to perceptual, cognitive and informational aesthetic theories; achievements in neuroaesthetics and psychology of painting perception. Present model is an attempt to take into account the whole complex of components, parameters and context of communication process with the painting, as well as interpretive art models of corresponding period. Conclusions. Summarizing the results of the experiment, we can conclude that recipients from the range of artistic community clearly manifested the change of perception model — from nonclassical to post-nonclassical. It depended on presented painting — whether narrative artwork or «painting-opened-structure-object» was shown. The first one personifies the painters' works of «Paryzka komuna», and the second — artists' painting practice of «Zhyvopysnyi zapovidnyk». Also there were stated the individual manifestations of primordial and classical interaction painting models with their complexes of inherent specific features. Obtained results can form the support material for the evaluation of artworks — both within and outside the art institutions. Also the main theoretical positions can be relevant for artists in process of their work with the construction of further strategy, as well as for recipients interacting with painting
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Gang, Liang, and Gao Weishang. "The Effectiveness of Pictorial Aesthetics Based on Multiview Parallel Neural Networks in Art-Oriented Teaching." Computational Intelligence and Neuroscience 2021 (August 23, 2021): 1–14. http://dx.doi.org/10.1155/2021/3735104.

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How to effectively improve the effectiveness of art teaching has always been one of the hot topics concerned by all sectors of society. Especially, in art teaching, situational interaction helps improve the atmosphere of art class. However, there are few attempts to quantitatively evaluate the aesthetics of ink painting. Ink painting expresses images through ink tone and stroke changes, which is significantly different from photos and paintings in visual characteristics, semantic characteristics, and aesthetic standards. For this reason, this study proposes an adaptive computational aesthetic evaluation framework for ink painting based on situational interaction using deep learning techniques. The framework extracts global and local images as multiple input according to the aesthetic criteria of ink painting and designs a model named MVPD-CNN to extract deep aesthetic features; finally, an adaptive deep aesthetic evaluation model is constructed. The experimental results demonstrate that our model has higher aesthetic evaluation performance compared with baseline, and the extracted deep aesthetic features are significantly better than the traditional manual design features, and its adaptive evaluation results reach a Pearson height of 0.823 compared with the manual aesthetic. In addition, art classroom simulation and interference experiments show that our model is highly resistant to interference and more sensitive to the three painting elements of composition, ink color, and texture in specific compositions.
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Dubey, Kumud. "PLANT SYMBOLISM IN PAINTING." International Journal of Research -GRANTHAALAYAH 7, no. 11 (2019): 92–94. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3707.

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The great flower artists have been those who have found beauty in truth, who have understood plants scientifically and who have yet seen and described them with eye and hand of the artist. Plants, flowers and other foliage symbolize emotions, ideas and actions. Each plant has its own meaning. Painting art and plant illustration is beneficial for modern society because nature inspiring art and art preserving nature.
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Kurniawan, Iwan Jaconiah. "Intercultural Interaction: Indonesia and Soviet Society in the Sphere of Art Paintings in the Second Half of the XXth Century." Contemporary problems of social work 6, no. 2 (2020): 65–71. http://dx.doi.org/10.17922/2412-5466-2020-6-2-65-71.

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the paper studies the problem of defining an intercultural interaction. The authors analyzed scientific works to identify and classify the Indonesian social realism art painting. In the second half of the XXth century, Indonesian artists had a close relationship with the Soviet Society in the sphere of fine art. The true influence can be found in the social-realism art movement between 1950–1965s in Indonesia during the first President Soekarno era. But the social-realism art movement was no longer because of the horizontal political conflict on September 30, 1965 as well-known as revolution. During the President Soeharto regime (1965–1999), all social realism fine art was destroyed. Socialist and communist ideology was banned in Indonesia. That’s why they represented socialism and communism style not growing freely until now. However, some paintings can be saved abroad by Russian scientists and art collectors. Since 2016, more than 30 Indonesian social-realism paintings were conserved, served, and shown into a historical exhibition in the State Museum of Moscow Oriental Art. These paintings became important in Indonesian social realism art history
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Zhao, Shuhong, and Sheng Gui. "The research on door guardian painting’s function and implication." Chinese Sociological Dialogue 2, no. 1-2 (2017): 52–66. http://dx.doi.org/10.1177/2397200917711464.

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Door guardian painting is one of the greatest treasures of Chinese art, bearing the weight of the simple feelings and the life awareness of Chinese people. As a specific cultural symbol, door guardian paintings symbolize a kind of popular folkloric culture which has experienced changes under the influence of a changing society. Through door guardian paintings, people’s attitudes and understandings can be observed in their unremitting dreams of a better life. This article begins with the door guardian painting’s tardy development, then discusses its functions and implications in Chinese society. Based on empirical research, this article explores the deep emotional experience expressed in daily life. The uniqueness of the article is that the authors take the function and implication of door guardian paintings as the entry point to explore the development of the rational cognition and mental change of the public in China, and by this to explore the change in people’s daily life so as to inherit and carry forward Chinese culture in the new era.
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Letin, Vyacheslav A., and Karina S. Visenya. "THEATER DISCOURSE IN A. P. LOSENKO’S PAINTING." World of Russian-speaking Countries 6, no. 4 (2020): 95–114. http://dx.doi.org/10.20323/2658-7866-2020-4-6-95-114.

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The article is devoted to the analysis of the representation of theatricality in painting by A. P. Losenko. On the example of his works, most closely related to stage art, the theatrical component of his creative method is revealed. The article analyzes two works by A. P. Losenko, directly related to the circle of the first Russian theaters: “Portrait of actor F. G. Volkov” and “Vladimir before Rogneda”, which are considered in the context of the theatrical discourse of European theater culture of the second half of the XVIII century as peculiar declarations of the artist about the personality of the artist and the mission of theater art in society. Almost all the historical paintings by A. P. Losenko are written in a tragic way with the characteristic color of the conflict, the characterization of the characters and the construction of mise-en-scenes. In particular, in “Vladimir...” the tragic conflict lies in the need for revenge on the hero to the insulter and a sense of love for her, which arose under the impression of her beauty. However, this situation is emphasized already in the spirit of the Enlightenment era with its cult of sensitivity. The conflict loses heroic-political acumen, and is transferred to the lyric-psychological register. The article concludes that the “theatricality” of Losenko's paintings is an important component of his creative method, that its principles are rooted in the historical and cultural context of the Enlightenment. In A. P. Losenko’s “theatrical” paintings, actual searches for both European and national art culture in the field of stage arts were reflected. And, in turn, his work influenced both the development of historical painting and the theatrical art of Russia of the late XVIII - early XIX centuries.
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Dissertations / Theses on the topic "Painting Painting Art Art and society"

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Tierney, Mark C. "No revelations /." Online version of thesis, 1991. http://hdl.handle.net/1850/11609.

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Smith, John Arthur. "An analytic sociology of art : art and society and the origins of modernist painting." Thesis, Goldsmiths College (University of London), 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286130.

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Leung, Mei-yin. "The Chinese Women's Calligraphy and Painting Society the first women's art society in modern China /." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/HKUTO/record/B38628697.

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Roberts, Ann Patricia. "Painting by mouth : art, modernity and disability : Bartram Hiles (1872-1927)." Thesis, University of the Arts London, 2012. http://ualresearchonline.arts.ac.uk/6062/.

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The subject of this thesis is the Bristol artist, Bartram Hiles (1872-1927) who lost both arms in a tram accident at the age of eight and subsequently taught himself to draw and paint by mouth. Using the themes of art, modernity and disability, this thesis recovers Hiles’ career as a mouth-painting artist, not as biography but as a focused study located in nineteenth and early twentieth-century culture. Using disability studies as a principle point of reference, it does not draw on traditional medical and social models associated with this discipline. Instead, it employs a culturally located framework as its point of departure that also gives historical context to Hiles’ disability within the late Victorian and Edwardian period in which he was active as a professional artist. Hiles is little known today and the study has been driven by primary archival research into his formal art education and professional career as a mouth-painting artist. Employing an inter-disciplinary approach, each chapter is structured as a specific historical, cultural and physical context in which to locate Hiles’ art practice and professional career. Such contexts include medicine and science, the periodical press, agency and support, art and design practice, celebrity culture and the Edwardian artists’ club. The thesis employs discourse and representation but also draws on material and visual cultures of both medicine and art for its analysis. The study frames Hiles’ art practice within the modernity of the late nineteenth century as a transforming space to locate him as a modern subject who sought to re-interpret the act of painting. The thesis argues for Hiles to be seen as a modern man who used the opportunities afforded by modernity for individuals to re-make and re-fashion themselves, and to pursue new pictorial forms and spaces to exhibit his art. Negotiating the complexities of strategy and self-presentation, it positions Hiles as a figure of an increasingly commodified celebrity culture rather than a disabled man who led a life of marginalization. From this analysis Hiles emerges as a man and an artist fully able to navigate the modern world, and whose disability and unconventional method of painting illuminates the ambivalences of the late nineteenth century and early twentieth century towards difference, otherness and perceptions of normality.
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Leung, Mei-yin, and 梁美賢. "The Chinese Women's Calligraphy and Painting Society: the first women's art society in modern China." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B38628697.

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Gordon, Alan H. "What happens to a dream deferred? /." Online version of thesis, 1993. http://hdl.handle.net/1850/11749.

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Earles, Bruce, University of Western Sydney, and School of Contemporary Arts. "Inquiry into the appeal of anonymity to the artist." THESIS_XXX_CAR_Earles_B.xml, 1998. http://handle.uws.edu.au:8081/1959.7/499.

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This paper, in conjunction with a series of paintings and drawings, attempts to outline the theme of anonymity. The work contains images portraying the feeling of remaining anonymous within a city. The inquiry not so much records the necessity of remaining anonymous for the purpose of urban experience but examines whether the subject matter of the artwork could be communicated to a group of spectators. During an exhibition of the artworks, 20 subjects were surveyed for their opinions. Questions relating to subject matter and aspects of anonymity were posed to the spectators in a questionnaire and structured interview format. In a large majority of cases, spectators of the artworks isolated the multiple-choice answer that most described the subject matter of the artworks. This study gave a strong indication to the artist that the group of spectators could comprehend the subject matter of the paintings exhibited<br>Master of Arts (Hons) Visual Arts
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Estrella, Rachel Joy Tancioco. "Lessons from the wall muralism and the art of empowerment /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1324368911&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Hawk, Zoe Alaina. "Dress code." Thesis, University of Iowa, 2011. https://ir.uiowa.edu/etd/980.

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Cliffe, Gregory Laurence, University of Western Sydney, of Arts Education and Social Sciences College, and School of Contemporary Arts. "Can an illusionary object such as a painting express the essence of change in values of the artist and their society?" THESIS_CAESS_CAR_Cliffe_G.xml, 2001. http://handle.uws.edu.au:8081/1959.7/457.

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The initial intention of this thesis was to amalgamate two distinct tendencies that evolved in the author's art work over the period of twenty-four years. The illusionary and corporeal qualities of his painting and sculpture had become amalgamated with social concerns, which emerged from his installation and performance work between 1975 and 1985. The moment the artist makes a gesture on a painting surface is a culmination of memory, the immaterial and the corporeal. That moment expresses his judgement about himself, and the world in illusionary form. By bringing together of the self and one's worldview, the corporeal and the immaterial, the past and present, the artist is provided with the authority to make judgements and to change themselves and their surrounding community, as well as gaining insights into changes in values in his community and family. The emphasis of the everyday in the artist's work has become an expression of universal social issues.<br>Master of Arts (Hons) Contemporary Arts
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Books on the topic "Painting Painting Art Art and society"

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Interpreting Mughal painting: Essays on art, society, and culture. Oxford University Press, 2009.

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Verma, Som Prakash. Interpreting Mughal painting: Essays on art, society, and culture. Oxford University Press, 2009.

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Contemporary painting in context. Museum Tusculanum Press, University of Copenhagen, 2010.

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The art of social critique: Painting mirrors of social life. Lexington Books, 2012.

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Painting out of the ordinary. Yale University Press, 2008.

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1958-, Jackson David, Hedström Per 1963-, and Nationalmuseum (Sweden), eds. The Peredvizhniki: Pioneers of Russian painting. Nationalmuseum, 2011.

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Mandel, Oscar. The cheerfulness of Dutch art: A rescue operation. Davaco, 1996.

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Solcanu, Ion I. Romanian art and society: 14th-18th century. Editura Enciclopedică, 2004.

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Worlds of art: Painters in Victorian society. Rutgers University Press, 1990.

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City of gold and mud: Painting Victorian London. Yale University Press, 2012.

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Book chapters on the topic "Painting Painting Art Art and society"

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Edwards, Jean, Helen Caldwell, and Rebecca Heaton. "Painting." In Art in the Primary School, 2nd ed. Routledge, 2021. http://dx.doi.org/10.4324/9780429296208-8.

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Tiradritti, Francesco. "Painting." In A Companion to Ancient Egyptian Art. John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118325070.ch13.

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Piechowski-Jozwiak, Bartlomiej, and Julien Bogousslavsky. "Painting in Neurology." In Brain and Art. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-23580-2_5.

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Ebrey, Patricia. "Court Painting." In A Companion to Chinese Art. John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781118885215.ch1.

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Lorenz, Katharina. "Wall Painting." In A Companion to Roman Art. John Wiley & Sons, Ltd, 2015. http://dx.doi.org/10.1002/9781118886205.ch13.

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Valette, Laura. "Painting Fog." In British Art and the Environment. Routledge, 2021. http://dx.doi.org/10.4324/9781003099215-4.

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Lax, Peter. "Painting and mathematics." In Art in the Life of Mathematicians. American Mathematical Society, 2015. http://dx.doi.org/10.1090/mbk/091/09.

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Barrett, Cyril. "Leisure in Western Painting." In Leisure in Art and Literature. Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-11353-8_6.

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Murck, Alfreda. "Words in Chinese Painting." In A Companion to Chinese Art. John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781118885215.ch22.

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Baker-Bates, Piers. "Spanish Painting." In Representing the Past in the Art of the Long Nineteenth Century. Routledge, 2021. http://dx.doi.org/10.4324/9781351004183-5.

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Conference papers on the topic "Painting Painting Art Art and society"

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Zhang, Yuanming. "Aesthetic Analysis on Line Art in Chinese Painting Art." In 2017 International Conference on Culture, Education and Financial Development of Modern Society (ICCESE 2017). Atlantis Press, 2017. http://dx.doi.org/10.2991/iccese-17.2017.133.

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Xu, Tao. "Analysis of the Current Development of Lacquer Painting Art." In 8th International Conference on Education, Management, Information and Management Society (EMIM 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/emim-18.2018.153.

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Li, Songlin. "Analysis of the Twin Relationship between lVisual Schema Languager and Painting Art." In 8th International Conference on Education, Management, Information and Management Society (EMIM 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/emim-18.2018.163.

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Chen, Bao, Sheng Bi, Hua Zou, and Shanshan Ye. "Research on Teaching Reform and Innovation of Chinese Painting Course in Ceramic Art Design." In 8th International Conference on Education, Management, Information and Management Society (EMIM 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/emim-18.2018.152.

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Huang, Yiyuan, and Alain Lioret. "Cerebral interaction and painting." In SIGGRAPH Asia 2013 Art Gallery. ACM Press, 2013. http://dx.doi.org/10.1145/2542256.2542260.

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Ishibashi, Ken. "Digital scratch art painting interface." In International Workshop on Advanced Image Technology, edited by Phooi Yee Lau, Kazuya Hayase, Qian Kemao, et al. SPIE, 2019. http://dx.doi.org/10.1117/12.2521491.

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Chiyu, Pan. "Painting Creation Using Computer Graphics Art." In 2016 International Conference on Robots & Intelligent System (ICRIS). IEEE, 2016. http://dx.doi.org/10.1109/icris.2016.56.

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Crowley, Elliot J., Omkar M. Parkhi, and Andrew Zisserman. "Face Painting: querying art with photos." In British Machine Vision Conference 2015. British Machine Vision Association, 2015. http://dx.doi.org/10.5244/c.29.65.

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Qiaoqiao, Wang. "Analysis on Watercolor Painting Art Language and Contemporary Watercolor Painting Development." In 2014 Conference on Informatisation in Education, Management and Business (IEMB-14). Atlantis Press, 2014. http://dx.doi.org/10.2991/iemb-14.2014.93.

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Li, Wenxiu. "Chinese Literati Painting." In International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14). Atlantis Press, 2014. http://dx.doi.org/10.2991/icelaic-14.2014.136.

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Reports on the topic "Painting Painting Art Art and society"

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Zhang, Ling, Brent Holland, and Eulanda Sanders. From Chinese Painting to Wearable Art: The Development of Wearable Art Design Process Model and Evaluation Methods for Wearable Art Designers. Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-1755.

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Miller, Jennifer. The Politics of Nazi Art: The Portrayal of Women in Nazi Painting. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.7033.

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Taylor Tynes, Taylor Tynes. Fresco Painting at the University of South Carolina: Medium of the Past, Art of Today. Experiment, 2016. http://dx.doi.org/10.18258/6800.

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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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Abstract:
The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.
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