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Relevant bibliographies by topics / Painting Photography

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Journal articles
Dissertations / Theses
Books
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Academic literature on the topic 'Painting Photography'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Painting Photography"

1

Ogden, Kate Nearpass. "Musing on Medium: Photography, Painting, and the Plein Air Sketch." Prospects 18 (October 1993): 237–81. http://dx.doi.org/10.1017/s0361233300004920.

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The relationship of photography and painting has greatly intrigued art historians in recent years, as has the uneasy status of photography as “art” and/or “documentation.” An in-depth study of 19th-century landscape images suggests two new premises on the subject: first, that opinions differed on photography's status as an art in the 19th Century, just as they differ today; and, second, that the landscape photograph is more closely related to the plein air oil sketch than to the finished studio easel painting. For ease of comparison, the visual material used here will consist primarily of land

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Sawant, Shukla. "The Trace Beneath: The Photographic Residue in the Early Twentieth-century Paintings of the “Bombay School”." BioScope: South Asian Screen Studies 8, no. 1 (2017): 1–29. http://dx.doi.org/10.1177/0974927617700768.

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This essay examines the interface between the indexical and the gestural, through the practice of early twentieth-century painters active in the Bombay Presidency and adjoining princely states such as Kolhapur and Aundh. It draws upon archival materials such as biographies, memoirs, and photographs documenting artists at work in the studio, as well as remains of posed photographs that were produced as aide-mémoire for paintings. It throws light on the fraught place of photography as aesthetic practice in the art academy, its association with colonial protocols of scientific accuracy, capture a

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Nugent, Gabriella. "From Camera to Canvas." Nka Journal of Contemporary African Art 2020, no. 47 (2020): 82–93. http://dx.doi.org/10.1215/10757163-8719668.

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This article explores the entanglement of Congolese popular painting with photography through the case of Patrice Lumumba, the first democratically elected prime minister of the Democratic Republic of Congo, who was assassinated in 1961. Lumumba’s final public appearance was immortalized in a series of photographs and newsreel footage that was disseminated around the world. The author contends that the events thereafter are frequently envisioned by Congolese popular painting, as it takes over from the operations of the camera in an era largely defined by the photographic. The article suggests

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París Romia, Gemma. "Arte como Simulacro de una Realidad Lejana en la Obra de Gerhard Richter." Barcelona Investigación Arte Creación 8, no. 2 (2020): 101. http://dx.doi.org/10.17583/brac.2020.3580.

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This paper investigates the links that the artist Gerhard Richter establishes between photography and painting throughout his artistic career, initiated on 60ths. Since then, Richter's goal has been to build images, whether pictorial or photographic, whether blurry or sharp, geometric, abstract or figurative. The world that Richter paints is made up of banal situations, by anonymous people, by familiar landscapes, and that makes us feel comfortable as spectators, because it seems that Richter is creating a file of known places, moments with which we can connect from our subjectivity. Most part

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Bozhko, E. M., and M. V. Spornik. "VALUE OF ARTIFICAL EDUCATOIN FOR ARCHITECTURAL LANDSCAPE AT THE MODERN STAGE." Regional problems of architecture and urban planning, no. 14 (December 29, 2020): 160–66. http://dx.doi.org/10.31650/2707-403x-2020-14-160-166.

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Analyzing relevant and informative sources for acquaintance with modern fine art, catalogs of various art exhibitions, article questions and problems associated with the creation of architectural and landscape compositions are considered from a practical point of view. A significant role in art belongs to the architectural landscape, as a genre variety. Promising types of cities - Veduta (A. Canaletto, V. Bellotto) have become separate types of architectural landscape. The genre of painting is the Veduta, which developed in the eighteenth century in Venice. This is an image of views of the cit

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Forgács, Éva. "“This Is the Century of Light”: László Moholy-Nagy’s Painting and Photography Debate in i 10, 1927." Leonardo 50, no. 3 (2017): 274–79. http://dx.doi.org/10.1162/leon_a_01425.

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The emergence in the 1920s of the idea that photography could be a full-fledged form of artistic expression—rather than mere mechanical imaging—led artists and art experts alike to wrestle with the question: What exactly constitutes art? Photography now challenged painting, both figurative and abstract, and as photography’s many previously unsuspected potentials were revealed and explored, artists and experts felt an urgency to articulate photography’s relationship to the concept of art. Invested in photography and ever the advocate of a new innovative medium and genre, László Moholy-Nagy want

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Currie, Gregory. "Photography, Painting and Perception." Journal of Aesthetics and Art Criticism 49, no. 1 (1991): 23. http://dx.doi.org/10.2307/431646.

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CURRIE, GREGORY. "Photography, Painting and Perception." Journal of Aesthetics and Art Criticism 49, no. 1 (1991): 23–30. http://dx.doi.org/10.1111/1540_6245.jaac49.1.0023.

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Susanto, Andreas Arie. "Fotografi adalah Seni: Sanggahan terhadap Analisis Roger Scruton mengenai Keabsahan Nilai Seni dari Sebuah Foto." Journal of Urban Society's Arts 4, no. 1 (2017): 49–60. http://dx.doi.org/10.24821/jousa.v4i1.1484.

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Tulisan ini bertujuan untuk menyanggah argumentasi Roger Scruton mengenai keabsahan nilai seni dari sebuah foto. Scruton berpendapat bahwa fotografi bukanlah karya seni. Fotografi hanyalah sebuah tindakan mekanis dalam menghasilkan suatu gambar, bukan representasi melainkan hanyalah peristiwa kausal, bukan gambaran imajinasi, tetapi hanya kopian. Fotografi mengandaikan adanya kemudahan dalam penciptaan seni. Pernyataan Scruton semakin dikuatkan dengan fenomena perkembangan teknologi yang sudah melupakan sisi estetis dan hanya berpasrah sepenuhnya pada tindakan mesin. Penekanan berlebihan terha

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

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

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Dissertations / Theses on the topic "Painting Photography"

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Smith, Timothy J. "At the Intersection of Painting and Photography." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343806810.

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Ito, Atsuhide. "Separate landscape : non-place, aesthetics and landscape on the Tōkaidō Route, Japan." Thesis, University of Brighton, 2007. https://research.brighton.ac.uk/en/studentTheses/022fc32a-3aa4-451e-8fb8-7941389e7e6e.

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Separate landscape is a research that combines a theory and practice through the examination of 'non-place'. Non-places such as airports, waiting lounges, car parks, shopping malls have been defined as places which lack a sense of history, social relations, and identity.

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Sakoda, Maho. "George Eliot and Pre-Raphaelitism : literature, painting, sculpture and photography." Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/64074/.

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This thesis explores the multi‐layered inter-relationships between the works of George Eliot and those of the Pre‐Raphaelites. Taking up the very different mediums of painting, sculpture, and photography as they emerge in Pre‐Raphaelitism, it assesses their relation to Eliot's novels as reinforcing a web of Victorian visual art and literature. The discussion begins by examining proximities between the paintings of Dante Gabriel Rossetti and Eliot's Adam Bede and Daniel Deronda. I explore, in particular, their shared interest in dichotomies of female representation in the nineteenth century, an

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Thoma, Andrea. "Thought dwellings : time and space in painting, photography and video." Thesis, University of Leeds, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.658561.

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The practical and theoretical research of this PhD examines the complexities of time-space relations in painting, photography and video. The aim of this study has been to develop a body of work that generates an increased awareness of how the juxtaposition of diverse fine art media can contribute to a differentiated appreciation of the time-space relation. Further objectives were to explore how the dichotomy of absence (of figuration) and presence (of figurative elements) can inform reflections on place relating to Martin Heidegger's 'Dasein' as being-in-the-world and Gilles Deleuze and Felix

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Yarnold, Andrew. "Aura, craft and labour : the critical dialogue between photography and painting." Thesis, University of Wolverhampton, 2009. http://hdl.handle.net/2436/84516.

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From the closing decades of the twentieth century, the philosophy of Walter Benjamin has been readily employed by academics seeking to legitimate lens-based art as critical practice and challenge the ideals of high modernism. Yet this situation has engendered a compulsion to read Benjamin as a harbinger of post-modernism, a tendency responsible for severe miss-interpretations of his work. This is most evident in accounts of arguably his most famous thesis: the philosophy of the aura. For scholars aiming to renounce autonomy, originality and genius in artistic labour, Benjamin’s reading of the

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Hajela, Christie. "Painting Photography: Robert Bechtle and the Critical Legacy of 1960s Photorealism." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19335.

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In the early 1970s, New York gallerist Louis K. Meisel devised a formal set of criteria to identify a group of artists he referred to as Photorealists. Despite the serious limitations of Meisel’s initial formulation, his criteria for assessing what constitutes Photorealism continue to dominate the critical discourse surrounding this artistic approach. This thesis revisits the critical legacy of 1960s Photorealism through a case study of artist Robert Bechtle and, in contrast to Meisel, identifies Bechtle’s work as deeply informed by other contemporary artists engaged with photographic imager

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Boasso, Lauren. "Viewing Victorian Prisoners: Representations in the Illustrated Press, Painting, and Photography." VCU Scholars Compass, 2016. https://scholarscompass.vcu.edu/etd/4087.

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Victorian prisoners were increasingly out of sight due to the ending of public displays of punishment. Although punishment was hidden in the prison, prison life was a frequent subject for representation. In this dissertation, I examine the ways Victorian illustrated newspapers, paintings, and photographs mediated an encounter with prisoners during a time when the prison was closed to outsiders. Reports and images became a significant means by which many people learned about, and defined themselves in relation to, prisoners. Previous scholarship has focused on stereotypes of prisoners that defi

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Hawker, Rosemary. "Blur : Gerhard Richter and the photographic in painting /." [St. Lucia, Qld.], 2006. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe20106.pdf.

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Burke, Linda. "Transience." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/2988.

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Lightness and darkness pervades much of my work which is visible in images of abandoned, secluded spaces. Light symbolizes hope and joy. It can also reference the spiritual connotation of new life as well as the end of life. The physical movement of light, its ephemeral quality, and its reflectivity is the deciding factor in my choice for using a camera without a lens and using traditional painting techniques. In my photographic mixed media work, I am drawn to the unique qualities of the pinhole camera, the exposure of light on the surface of film yields imagery that blurs the line between

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Mott, Thomas. "Images, imagination and impact: war in painting and photography from Vietnam to Afghanistan." Monterey, California: Naval Postgraduate School, 2013. http://hdl.handle.net/10945/34709.

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Approved for public release; distribution is unlimited<br>War is a recurring motif in the visual arts. The link in politics and the arts between culture and conflict is especially important in age of global communications and political participation, in which both the symbols of conflict and the efforts via mass persuasion to counteract the political effects of such symbols have assumed considerable power. In Germany and the United States, the relationship of society to war forms a perennial theme as both societies probe at the tension between conflict and culture. The experience of these two

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Books on the topic "Painting Photography"

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Painting, photography, film. MIT Press, 1987.

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Moholy-Nagy, László. Painting, photography, film. Lund Humphries, 1986.

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Moholy-Nagy, László. Painting, photography, film. MIT Press, 1987.

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Painting and photography, 1839-1914. Flammarion, 2012.

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Joerg, Miedza, and Rossbach G. (Gerhard), eds. Painting With Light: Light Art Performance Photography. Rocky Nook, 2011.

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d'Orsay, Musée. Dreams & reality: Masterpieces of painting, drawing & photography. National Museum of Singapore, 2011.

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Painting with light. University of California Press, 1995.

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David Deutsch: Paintings and photographs. Twin Palms publishers, 2004.

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Palais des beaux-arts (Brussels, Belgium), ed. Magritte and photography. Ludion, 2005.

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Roegiers, Patrick. Magritte and photography. Ludion, 2005.

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Book chapters on the topic "Painting Photography"

1

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

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Levinson, Jerrold. "Paintings, photographs, titles." In Figuring Out Figurative Art. Routledge, 2021. http://dx.doi.org/10.4324/9781315744179-13.

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Rogers, Garry. "Drawings, Paintings, and Photographs." In Desert Weeds. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-45854-6_6.

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Zhang, Xiaoyan, Martin Constable, Kap Luk Chan, Jinze Yu, and Wang Junyan. "Composition Improvement for Portrait Photographs." In Computational Approaches in the Transfer of Aesthetic Values from Paintings to Photographs. Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-3561-6_8.

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Zhang, Xiaoyan, Martin Constable, Kap Luk Chan, Jinze Yu, and Wang Junyan. "The Colour Attributes of Paintings." In Computational Approaches in the Transfer of Aesthetic Values from Paintings to Photographs. Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-3561-6_2.

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Zhang, Xiaoyan, Martin Constable, Kap Luk Chan, Jinze Yu, and Wang Junyan. "The Geometric Attributes of Paintings." In Computational Approaches in the Transfer of Aesthetic Values from Paintings to Photographs. Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-3561-6_4.

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Zhang, Xiaoyan, Martin Constable, Kap Luk Chan, Jinze Yu, and Wang Junyan. "Atmospheric Perspective Effect Transfer for Landscape Photographs." In Computational Approaches in the Transfer of Aesthetic Values from Paintings to Photographs. Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-3561-6_6.

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Benovsky, Jiri. "Limits and Their Vagueness: The Case of Paintings and Photographs." In SpringerBriefs in Philosophy. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-54795-0_4.

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Zhang, Xiaoyan, Martin Constable, Kap Luk Chan, Jinze Yu, and Wang Junyan. "Regional Contrast Manipulation for Portrait Photograph Enhancement." In Computational Approaches in the Transfer of Aesthetic Values from Paintings to Photographs. Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-3561-6_7.

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Keimig, Lance. "Light Painting." In Night Photography. Elsevier, 2010. http://dx.doi.org/10.1016/b978-0-240-81258-8.00009-0.

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Conference papers on the topic "Painting Photography"

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Huang, Yaozhun, Sze-Chun Tsang, Hei-Ting Tamar Wong, and Miu-Ling Lam. "Computational light painting and kinetic photography." In Expressive '18: Joint Symposium on Computational Aesthetics and Sketch Based Interfaces and Modeling and Non-Photorealistic Animation and Rendering. ACM, 2018. http://dx.doi.org/10.1145/3229147.3229167.

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Eilers, Christian, Jonas Eschmann, Robin Menzenbach, Boris Belousov, Fabio Muratore, and Jan Peters. "Underactuated Waypoint Trajectory Optimization for Light Painting Photography." In 2020 IEEE International Conference on Robotics and Automation (ICRA). IEEE, 2020. http://dx.doi.org/10.1109/icra40945.2020.9196516.

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McCann, John J. "Peceptual rendering of HDR in painting and photography." In Electronic Imaging 2008, edited by Bernice E. Rogowitz and Thrasyvoulos N. Pappas. SPIE, 2008. http://dx.doi.org/10.1117/12.767201.

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Nave, Carla, Nuno Correia, and Teresa Romão. "Exploring Emotions through Painting, Photography and Expressive Writing." In ACE2016: International Conference on Advances in Computer Entertainment Technology. ACM, 2016. http://dx.doi.org/10.1145/3001773.3001790.

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Wang, Tianyi, Xun Qian, Fengming He, and Karthik Ramani. "LightPaintAR: Assist Light Painting Photography with Augmented Reality." In CHI '21: CHI Conference on Human Factors in Computing Systems. ACM, 2021. http://dx.doi.org/10.1145/3411763.3451672.

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McCann, John J. "Rendition techniques for HDR scenes in painting, photography, and electronic imaging." In 2016 IEEE International Conference on Image Processing (ICIP). IEEE, 2016. http://dx.doi.org/10.1109/icip.2016.7532482.

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Hu, Minghua. "The Use of Classical Oil Painting Language in Gemmy Woud-Binnendijk's Children's Photography." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.85.

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Shamsutdinova, Nellie. "ART FOR THE KNOWLEDGE SAKE: WORKS OF PAINTING, SCULPTURE AND PHOTOGRAPHY AS TOOLS FOR LANGUAGE LEARNING." In International Technology, Education and Development Conference. IATED, 2016. http://dx.doi.org/10.21125/inted.2016.1914.

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Aristizábal, José Antonio. "HUMBERTO RIVAS, DESDE LO ROMÁNTICO Y LO SINIESTRO. HUMBERTO RIVAS FROM THE ROMANTIC AND THE SINISTER." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6880.

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Palabras clave:Fotografía, estética, Humberto Rivas, Rafael Argullol, Eugenio Trías.Keywords: Photography, esthetic, Humberto Rivas, Rafael Argullol, Eugenio Trías.Resumen:El siguiente artículo busca dar una lectura a la obra del fotógrafo Humberto Rivas, Premio Nacional de Fotografía y unos de los mayores exponentes de la fotografía española de finales del siglo XX. Se parte de la convicción de que hace falta ubicar a Humberto Rivas en una tradición de pensamiento estético, ya que las distintas lecturas que existen sobre su trabajo, aunque importantes, no han dejado de ser lecturas impresioni

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Shomin, Michael, and Jonathan Fiene. "Teaching Manipulator Kinematics by Painting With Light." In ASME 2011 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2011. http://dx.doi.org/10.1115/detc2011-47670.

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In this paper, we examine the creation and benefits of a new teaching platform to introduce and reinforce the key concepts of robotic manipulators in an introductory-level robotics course. This system combines a vintage PUMA 260 six-degree-of-freedom robotic arm with modern control circuitry and a Matlab API. The API operates as a servo controller for the robot, thereby allowing students to apply their knowledge of inverse kinematics to a real manipulator arm. To further motivate the exploration of manipulators, we have developed an open-ended project where students engage in the art of three-

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