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Journal articles on the topic 'Painting'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 July 2025

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1

Liu, Shengnan. "Intertextuality and Shielding of Poetic painting: A Case Study of Qiao Zhongchang’s “The Sequel to the Ode to the Red Cliff Scroll”." Studies in Linguistics and Literature 8, no. 3 (2024): p86. http://dx.doi.org/10.22158/sll.v8n3p86.

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As an art form combining poetry and painting, poetic painting usually presents the emotion and mood of the source poem in a positive and favorable way. However, due to the limitations of painting’s ideograms, poetic painting has limitations in presenting the connotations and extensions of poetry. Qiao Zhongchang’s The Sequel to the Ode to the Red Cliff Scroll of the Northern Song Dynasty is one of the typical models of ancient poetic paintings. From the perspective of the relationship between poetry and painting, the writer analyze the intertextual and shielding phenomena therein, with a view
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Jovanović, Vanja, Suzana Erić, Philippe Colomban, and Aleksandar Kremenović. "Identification of Lithol Red Synthetic Organic Pigment Reveals the Cause of Paint Layer Degradation on the Lazar Vozarević Painting “Untitled” with Copper Plates." Heritage 2, no. 3 (2019): 2612–24. http://dx.doi.org/10.3390/heritage2030160.

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Out of a total of 56 paintings in the collection of the Lazar Vozarević Gallery in Sremska Mitrovica, only one Lazar Vozarević painting from 1961, titled “Untitled”, has been subject to atypical degradation that has resulted in damage of completely atypical appearance. Such a problem had never before been noticed in Yugoslavian paintings of the 20th century. Discolored areas were found in various locations on the paint layer of the painting “Untitled” (especially on the lower and central parts of the painting), which disturbed the visual experience of the artistic work. To discover the cause o
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Ye, Zhihao, and Xinyun Jiao. "Contemporary Art on Realistic Subjects in the New Era of Lacquer Painting." Asian Journal of Social Science Studies 7, no. 7 (2022): 75. http://dx.doi.org/10.20849/ajsss.v7i7.1249.

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By using lacquer painting creation with realistic themes as an example, this essay will examine the primary issues with lacquer painting creation with realistic themes in the context of the modern period.It will summarize the key pathways and construction expansion choices for lacquer painting creation with realistic themes by analyzing the creative issues and traits of lacquer painting with realistic themes, and it will provide the future path perspective that may be supported.Modern lacquer paintings with realistic topics suffer from a loss of pictoriality, a weakening of pictoriality, and a
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Moon, Mi-jin. "A study of picture titles and images of “Three old men asked their age”." Society for Chinese Humanities in Korea 84 (August 31, 2023): 365–82. http://dx.doi.org/10.35955/jch.2023.08.84.365.

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A painting's title can be divided into three main categories. The first is the title that the artist decides what kind of painting he or she is going to paint, the second is the title that the artist writes on the painting after the painting is completed, and the third is the title that someone else adds to the painting. The first two types of titles usually go well with the content of the painting, but the titles given by others are sometimes wrong for reasons such as a lack of understanding of the content of the painting. Especially in the case of auspicious paintings with hidden meanings or
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5

Sarkar, Asmita, and Aileen Blaney. "Material Metaphor and Reflexivity in Contemporary Painting: A Practice-based Investigation." Journal of Aesthetic Education 57, no. 1 (2023): 98–119. http://dx.doi.org/10.5406/15437809.57.1.07.

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Abstract Contemporary painting is a complex practice, and artists regularly incorporate elements from different media such as photography, textile, and performance. Despite its status being diminished by different conceptual art movements, painting still has a critically important place in the artworld. This importance is largely due to painting's ability to stretch across media and make a direct appeal to the senses. In this article, an attempt is made to theorize the facility of painting to incorporate different media and its resulting reflexivity. Maurice Merleau-Ponty's theory of embodimen
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Wilson, Sarah Kate. "Painting’s liveness." Journal of Contemporary Painting 9, no. 2 (2023): 267–85. http://dx.doi.org/10.1386/jcp_00059_1.

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Sarah Kate Wilsons’s article ‘Painting’s liveness’ is written from her vantage point, as an artist/curator/researcher/collaborator/educator. Here she reveals how painting’s relationship with performance, particularly during the second part of the twentieth century, has led to painting’s liveness. This, she asserts, is apparent in paintings by Daniel Buren, Robert Rauschenberg, Yoko Ono, works by the Gutai Art Association and performances by Ei Arakawa. The inauguration of a performance programme at Bauhaus in Germany, Black Mountain College in America and the formation of the Gutai Art Associa
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7

Chen, Jiajun. "The Style and Characteristics of Flower-and-Bird Painting in The Western Fujian Province in Modern Times." Scientific and Social Research 3, no. 6 (2021): 157–63. http://dx.doi.org/10.36922/ssr.v3i6.1293.

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The 20th century was a period of change in the development of Chinese flower-and-bird painting. Traditional brush and ink painting blended with Western painting colors and concepts to present new forms of painting. Following the peak of Ming and Qing Dynasties’ development in Minxi (the western of Fujian) painting, a group of freehand flower-and-bird painters represented by the “four Masters of Shanghang” Li Shaoqi, Luo Xiaofan, Qiu Tian, and Song Shengyu, who inherited the Minxi painting style of the Ming and Qing Dynasties, learned the new painting language combines the styles of Paintings o
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8

Barron, Irving R., and Gaurav Sharma. "Toward CanvasChain: A Block Chain and Craquelure Hash Based System For Authenticating and Tracking Fine Art Paintings." Electronic Imaging 2020, no. 4 (2020): 399–1. http://dx.doi.org/10.2352/issn.2470-1173.2020.4.mwsf-399.

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Determining the authenticity of a painting is not an easy task. First, distinguishing fake paintings from originals is challenging, and often even art experts cannot reliably identify forgeries. Counterfeiters can also create spurious documentation to support the “authenticity” of fake paintings. In this work, we present work toward CanvasChain, a system for authenticating/tracking paintings that uses a blockchain in combination with a robust hash of the crack patterns (craquelure) on the surface of paintings. The robust hash is used as a painting’s fingerprint, which is used in a blockchain t
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9

Xu, Yixuan. "Color Expression and Mood Creation in Imagery Oil Painting." Journal of Contemporary Educational Research 8, no. 1 (2024): 7–12. http://dx.doi.org/10.26689/jcer.v8i1.5934.

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Oil painting is a traditional Western painting form. With the introduction of China and the influence of China’s traditional painting and aesthetics, the painting style became more distinctive, expanding a new development direction of oil painting, and thus imagery oil painting came into being. Color, as the most important element in imagery oil painting, mainly plays the role of mood creation and emotional expression. Many creators are good at injecting their thoughts and emotions into the paintings through color matching, so as to enhance the artistic expression of the paintings. This paper
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Biberman, Efrat. "Painting as Scotomization: The Rhetoric of a Concealed Image." Derrida Today 18, no. 2 (2025): 103–22. https://doi.org/10.3366/drt.2025.0371.

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In Back of a Painting: History Painting No. 12, Doom of 1998–2004, Israeli artist David Ginton paints a back side of a painting with an inscription that describes the painting's alleged recto. The text alludes to a verse from the book of Micah, which unfolds the story of an apprentice who banishes his master. In Ginton's rewriting, the story is displaced to current Israeli politics, yet the charged and disturbing visual content remains hidden, as though painted on the reversed side. Ginton's painting serves for examining a painterly characteristic, in which paintings engage with what cannot be
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11

Lin, Shuxin. "A Comparative Study of Yuanti Flower-and-bird Paintings and Western Classical Still-life Paintings: A Formal and Thematic Analysis of Li Song’s “Basket of Flowers” and Caravaggio’s “Basket of Fruit”." World Journal of Education and Humanities 6, no. 4 (2024): p95. http://dx.doi.org/10.22158/wjeh.v6n4p95.

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In the context of globalization, cultural exchange between the East and West is becoming increasingly frequent, and painting serves as a unique perspective for exploring cultural differences. In particular, flower-and-bird paintings and still-life paintings, as two major traditional painting genres, share similarities in selecting the subject and pursuing realism while maintaining their artistic characteristics, which both act as effective research models for cross-cultural comparative studies. This paper selects Li Song’s “Basket of Flowers”, a representative of Yuanti flower-and-bird paintin
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Hariwarman, Made Satya, I. Gusti Ngurah Sura Ardana, and Luh Suartini. "ANALISIS FORMAL KARYA LUKISAN IDA BAGUS KETUT SUTA." Jurnal Pendidikan Seni Rupa Undiksha 12, no. 3 (2022): 161–73. http://dx.doi.org/10.23887/jjpsp.v12i3.52685.

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This study aims to describe (1) Identify the characteristics of Ida Bagus Ketut Suta painting (2) Describe the theme of Ida Bagus Ketut Suta's painting (3) Describe the visual form of Ida Bagus Ketut Suta's painting using formal analysis methods. The subject and object of this research is the profile of Ida Bagus Ketut Suta with traditional paintings that have been made by Ida Bagus Ketut Suta. This research is a qualitative descriptive study, data collection in this study used the techniques of (1) observation, (2) interviews, (3) documentation, and (4) literature. The results of this study i
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13

Zeng, Xi. "Research on Cross-Contrast Neural Network Based Intelligent Painting: Taking Oil Painting Language Classification as an Example." Computational Intelligence and Neuroscience 2022 (June 6, 2022): 1–10. http://dx.doi.org/10.1155/2022/7827587.

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With the continuous fermentation of the thought of intelligence, artificial intelligence has extended its tentacles into the field of artistic creation and has begun to try intelligent creation. Painting creation based on artificial intelligence is called “intelligent painting.” For oil paintings, the computational language is a relatively complicated description. How to correctly identify the computational language of oil paintings is essential for establishing a large oil painting database. This paper constructs a meaningful learning similarity measure and multiclassification model based on
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14

Lin, Jun. "Research on the Performance of Impressionist Painting Color Visual Communication Based on Wireless Communication and Machine Vision." Security and Communication Networks 2021 (March 5, 2021): 1–6. http://dx.doi.org/10.1155/2021/5511252.

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In order to solve the problem of poor visual communication effect of impressionist painting colors and low accuracy of painting color enhancement by existing methods, this thesis proposes a research on the performance of impressionist painting color visual communication based on machine vision under the background of wireless network. This method can improve the vision, speed, and efficiency of communication, through the analysis of the characteristics of impressionist paintings, and determine the visual communication objects of impressionist painting colors. The process of visual communicatio
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15

Jin, Lian, and Kexin Wang. "A Study of Chu Teh-Chun’s Abstract Paintings from the Perspective of East-West Integration." Region - Educational Research and Reviews 6, no. 4 (2024): 122. http://dx.doi.org/10.32629/rerr.v6i4.2079.

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Chu Teh-chun is an outstanding abstract artist of the twentieth century and the first member of the Académie française of Chinese descent since the establishment of the academy. His abstract paintings are full of brilliant colors and beautiful melodies, and are filled with a poetic aura, and his works show a kind of oriental imagery that transcends the objective world, which is regarded as a "perfect fusion of the subtlety of oriental art with the richness of western painting". He has been described as "a perfect blend of the subtlety of oriental art and the richness of western painting". He t
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Aytaç, A. "Turkish textiles which have been described in paintings of artist Şevket Dağ." Universum Humanitarium, no. 1 (July 13, 2021): 73–89. http://dx.doi.org/10.25205/2499-9997-2021-1-73-89.

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The perception of painting that started with the Turks, the Gokturks and the Uighurs was expressed mostly in miniature after Islam. There was a false perception that Islam imposed a ban on painting. Therefore, not much painting art was seen in the Ottomans until recently. There are mostly miniature paintings in the Ottomans. The art of painting has developed in the last periods of the Ottoman Empire. One of the most important representatives of that period was Şevket Dağ. She is one of the first graduates of Şevket Dağ Sanayi-i Nefise School. There are no foreign influences in Şevket Dağ's pai
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17

Casey, Edward S. "Place in Painting." Research in Phenomenology 54, no. 1 (2024): 1–12. http://dx.doi.org/10.1163/15691640-12341535.

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Abstract This essay examines the role of place in painting. This role is multiple – at once attracting our look but also locatory of whatever is displayed in the painting itself and attracting our attention to it as a place distinct from the place where we are painting it or viewing it. Examined here is also the role of the lived body in the apprehension of place in painting: a corporeal animating force that animates a genuinely lived place as it is set forth or intimated in paintings of seen, remembered, or imagined places. Such placially specific paintings are at once a commentary and a cont
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18

Lee, Taemin, and Sanghyun Seo. "Painting-Emotion Matching Technology Learning System through Repetition." Sustainability 11, no. 16 (2019): 4507. http://dx.doi.org/10.3390/su11164507.

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People’s interest in paintings has increased as artists have easier access to an audience. However, at times, laypersons may not understand the significance of a painting. With the development of computer science, it has become possible to analyze paintings using machines, but some limitations remain. In this paper, we present a learning tool to help analyze the sensitivity of a given painting. To this end, the proposed system provides users with the ability to predict the emotions expressed by a painting through repeated learning of a matched painting. Using this learning tool, users can impr
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19

Yan, Zhiqi, Zidi Guo, and Miao Guo. "On the Combination of Oil Painting Techniques and Modern Illustration Art." Highlights in Art and Design 4, no. 1 (2023): 118–21. http://dx.doi.org/10.54097/hiaad.v4i1.12015.

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Oil painting represents the mainstream of modern Western painting art. The development history of Western painting art cannot be separated from the evolution of the style, subject matter and techniques of oil painting. Since its emergence, oil painting has experienced several style periods, including classicism, Romanticism, Impressionism, abstraction and so on. Among them, Impressionism, which was born in the middle of 19th century, played an important role in the history of western oil painting. It changed the style and way of oil painting popular in the past few centuries with new color the
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20

Ni Ketut Wiriani Merta, I Putu Sudana, and Yohanes Kristianto. "Benefits of Wayang Kamasan Klungkung Bali in Improving Dignified Cultural Character and Sustainability of International Tourism." Jurnal Multidisiplin Madani 3, no. 9 (2023): 1898–901. http://dx.doi.org/10.55927/mudima.v3i9.4861.

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So great is the importance of the meaning of Kamasan paintings as previous writers have explored the uniqueness and attractiveness of kamasan klungkung paintings. Wayang art is very full of meanings as in the study of writing: The Role of Painting as a Critical Media in the Industrial Revolution Era (Gusti Agung Widia Widyasari), namely painting is not a display item but as an intermediary for imformation and criticism, then the study unravels the meaning of Kamasan puppet painting in Puri Klungkung (Tzabit Azimer Ahmad) which peels Kamasan paintings telling books such as Adiparwa, Tantri, Sut
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21

Na Ri, Ge Le. "Characteristics of Mongol Figures in Persian Miniature Paintings." Highlights in Art and Design 4, no. 2 (2023): 62–64. http://dx.doi.org/10.54097/hiaad.v4i2.12855.

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Among art categories, Persian miniature paintings have a very high reputation. Persian miniature paintings are also called Iranian miniature paintings. Persian miniature paintings first appeared in illustrations in books. Miniature painting began to have a significant Mongolian style in the 13th century AD. At the same time, it was influenced by Mongolian art and finally reached its peak in the 15th and 16th centuries. Because the Mongols at that time wanted to write "Historical Collection" and other similar types of works, they added some illustrations. This movement effectively promoted the
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22

Fan, Wenwei. "Analysis of the Artistic Characteristics of Literati Paintings." International Journal of Education and Humanities 11, no. 1 (2023): 170–74. http://dx.doi.org/10.54097/ijeh.v11i1.13092.

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As a unique form of Chinese traditional painting, literati painting has its own distinctive features and far-reaching influence compared with other schools. Through the combination of literati painting with nature, personal feelings and social environment, it expresses the unique artistic style and unique aesthetic concept. At the same time, the literati paintings also reflect the extensive knowledge and noble sentiment of the Chinese literati and officialdom, and carry a wealth of historical and cultural connotations. It is believed that the active study and inheritance of literati paintings
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23

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

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This study examined the proposition that the hedonic context within which paintings are viewed interacts with the hedonic quality of paintings to determine aesthetic evaluation. Hedonic context was manipulated using twelve positive and twelve negative odor cues in three different formats (odor alone, odor + name, name alone). The hedonic quality of paintings was manipulated using six positive, six negative and twelve neutral emotionally toned paintings. Twenty-four males and twenty-four females viewed each painting in the context of a different cue with half of the emotional cue-painting trial
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24

Zhou, Zhensheng. "Image Thinking and Modeling of Chinese Painting." Scientific and Social Research 6, no. 3 (2024): 242–47. http://dx.doi.org/10.26689/ssr.v6i3.6435.

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As the essence of Chinese traditional culture, Chinese painting is distinguished from other paintings by its unique art form and expression technique. Among them, image thinking and image modeling are the soul of Chinese painting, which is an important way to express the artist’s unique feelings and thoughts, and also the source of the unique charm of Chinese paintings. Therefore, this paper mainly explores the image thinking and modeling of Chinese painting, and its importance, and analyzes the application of image thinking and modeling in Chinese painting.
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25

Daneyko, Olga, Natale Stucchi, and Daniele Zavagno. "The Poggendorff illusion in Ruben's Descent from the Cross in Antwerp: Does the illusion even matter?" i-Perception 13, no. 5 (2022): 204166952211258. http://dx.doi.org/10.1177/20416695221125879.

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Two experiments are described, the purpose of which was to investigate the presence of a misalignment illusion caused by Poggendorff-like conditions in two paintings by Peter Paul Rubens, both depicting the Descent from the Cross, one located in Antwerp (Belgium), the other in Lille (France). The first shows a geometrical misalignment made by Rubens in a minor detail, which is considered proof that the artist observed the Poggendorff illusion. The second painting, instead, shows a perfect geometrical alignment in a similar detail. In experiment 1, participants were asked to align a top segment
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26

Wei, Ping. "Emotional Cognitive Expression in Lacquer Colors Based on Prior Knowledge." Journal of Environmental and Public Health 2022 (August 30, 2022): 1–10. http://dx.doi.org/10.1155/2022/1151676.

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Since lacquer painting first appeared in the world of art, research into it has grown steadily. People have developed a keen interest in modern lacquer painting as a result of the extensive study of lacquer culture in both domestic and international academic circles. Many artists and art enthusiasts have contributed significantly to the study and research of lacquer painting and have made helpful attempts at modern lacquer painting. But it is challenging to describe the emotion that a lacquer painting’s color conveys. This paper presents a decision-making framework for emotional cognitive lear
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27

Rahim, Muhamad Ali, Wawan Suryana, and Abdusyukur Budiarvin Septiadi. "Eksplorasi Penggambaran pada Material Bergambar sebagai Lukis Alternatif." Ideas: Jurnal Pendidikan, Sosial, dan Budaya 10, no. 2 (2024): 385. http://dx.doi.org/10.32884/ideas.v10i2.1562.

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The discourse on shifting artistic idioms which allows for the opening up of diversity in the visual creation of paintings is the background for this applied research. The aim is to offer alternative materials for paintings that add novelty to the idea of creation. The method used is based on practice and experimentation through the use of used pictorial media as a field for painting. This research produces alternative works of painting with visual uniqueness due to the overlapping images as a differentiator. Apart from marking a paradigm shift in the discourse and idiom of painting, it also s
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Zhao, Yuanyuan. "Formation and Schema Analysis of Oil Painting Style Based on Texture and Color Texture Features under Few Shot." Computational Intelligence and Neuroscience 2022 (June 13, 2022): 1–10. http://dx.doi.org/10.1155/2022/4125833.

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Texture has strong expressiveness in picture art, and color texture features play an important role in composition. Together with texture, they can convey the artistic connotation of portrait, especially in oil painting. Therefore, in order to make the picture form oil painting style and oil painting schema, we need to study the texture and color texture in combination with the previous oil painting art images. But now, there are few samples of good oil paintings, so it is difficult to study the texture and color texture in oil paintings. Therefore, in order to form a unique artistic style of
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Feng, Jiarui. "The Spirit of Freehand Brushwork in Chinese Oil Painting." Pacific International Journal 6, no. 1 (2023): 56–60. http://dx.doi.org/10.55014/pij.v6i1.306.

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Freehand Brushwork is a unique artistic language in Chinese painting and calligraphy, celebrated for its ability to express emotion and spirit in the process of artistic creation. This paper aims to explore the spiritual connotation and artistic aesthetics of Freehand Brushwork oil paintings, and to examine the use of traditional Chinese Freehand Brushwork techniques in the expression of Western painting. By reconstructing the language of oil painting expression with traditional Chinese techniques, the paper seeks to investigate the Freehand Brushwork spirit of Chinese oil painting, which is d
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Li, Chunyang, Ziliang Guo, and Yuan Ou. "‘The Seasons’." Critical Survey 36, no. 3 (2024): 115–30. https://doi.org/10.3167/cs.2024.360311.

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Abstract The art of landscape painting involves a coherent chain of development and transformation between individual self-awareness and the construction of a scholar's emotions. These paintings directly explore personal consciousness and expressing personal emotions. The main themes depicted in seasonal landscape paintings are seclusion and travel. The relationship between scholars’ self-awareness, landscape painting portrayal and the emergence of literature is explored by analysing the emotional states and life interests inherent in the composition of these two themes of landscape 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 d
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Salama, Kholod K., Said M. El-Sheikh, and Mona F. Ali. "Using Ca(OH)2 as Alternative Support for an Egyptian Coptic Fresco Painting." Journal of Nano Research 60 (November 2019): 174–80. http://dx.doi.org/10.4028/www.scientific.net/jnanor.60.174.

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Many mural paintings stored in museums suffer from the heavy loaded added gypsum layers to the background. Currently anew way will be used for support the back ground of mural painting using the nanocalcium hydroxide which added to the background of it. This nanomaterial is smoothly penetrate inside the mural painting structure then it combines with CO2 producing CaCO3 the original binder in all mural paintings especially fresco paintings, The mechanical characteristics were tested to determine the change in properties of the interior structure of the treated Coptic fresco painting
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Zhang, Biyun. "Art on Chinese Xuan Paper." European Scientific e-Journal 1, no. 1 (2020): 67–91. https://doi.org/10.47451/art2020-09-001.

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The formal beauty of Chinese paintings mainly lies in the peculiar material, the special brush and ink effect, the unique painting pattern, the poetry, calligraphy, painting and seal cutting, the mounting style, the composition and the technique and style of the painter. The author reveals the features of ink effect, the unique painting pattern, the poetry, calligraphy, painting and seal cutting, the mounting style, the composition and the technique and style of the painter of beauty of Chinese paintings through making contact with Chinese Xuan paper and ink because Chinese ink painting, boast
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Kim, Yeonjoo. "Pursuing the Aesthetics of ‘non-vulgarization’: Focusing on Shanshuichunquanji by Han Zhuo." Institute of Humanities at Soonchunhyang University 42, no. 3 (2023): 163–94. http://dx.doi.org/10.35222/ihsu.2023.42.3.163.

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This study aims to examine the aesthetic value of ‘non-vulgarization(不 俗)’ contained in the creation and criticism of landscape paintings pursued by Han Zhuo’s Shanshuichunquanji(2011), Huizong(徽宗) Xuanhe(宣和) 3rd year of the Northern Song Dynasty. The concept of ‘elegant and vulgar(雅 俗)’ was put to use as an evaluation language. The value of ‘nonvulgarization’ emphasized the expression of intention in the creation of poems, calligraphy and painting by literary men, and pursued natural and plain beauty. In comparison, Han Zhuo pursues ‘non-vulgarization’ by emphasizing the old law in order to p
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Midavaine, Lucien. "Who Is the Countess De Pagès?" Rijksmuseum Bulletin 73, no. 1 (2025): 28–33. https://doi.org/10.52476/trb.22806.

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This article examines a painting in the Rijksmuseum by the French artist Joseph-Désiré Court (1797-1865). Acquired by the museum in 1885, the painting was long believed to be a portrait of the Countess of Pagès, née Clémence de Vernède de Corneillan, depicted as St Catherine. However, new research conducted as part of the Women of the Rijksmuseum project has corrected this identification and restored the original title ‘St Clare’. This article summarizes the findings regarding the history of the painting’s misidentification, and the biography of the Baroness de Pagès, a notable figure in ninet
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Xu, Yuwei. "Immensity in Trivialness, Integrity in Brokenness --To View The Bapo Painting from The Dimension of Time and Space." Communications in Humanities Research 3, no. 1 (2023): 56–63. http://dx.doi.org/10.54254/2753-7064/3/20220145.

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The Bapo Painting is a traditional form of art in China. Painters form the pictures by depicting the fragments of cultural relics. In recent years, with the increasing academic interest in "debris" and "ruins", Bapo Painting has also attracted more and more attention from Chinese and foreign scholars. However, as "intentionally-created" fragments, the richness in time and space embodied by Bapo Paintings has rarely been explored. Therefore, this paper will research the temporal and spatial value of the Bapo Painting. On the dimension of time, the Bapo Painting aggregates the past, present, and
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Butnariu, Ioan. "Restaurarea unei picturi pe carton." Anuarul Muzeului Etnograif al Transilvaniei 30 (December 20, 2016): 293–301. http://dx.doi.org/10.47802/amet.2016.30.16.

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The work that is subject to the restoration interventions presented in this article is a painting done in oil colors on cardboard. The subject of this painting is represented by a landscape with an isolated castle on a lake island, surrounded by mountains. The painting’s degradations cumulated multiple cracks and gap areas affecting the painting and the primer layers, together with areas of damage due to the painting’s exposure to excessive heat. The restoration operations (consolidation of the painting layers, the cleaning of the surface, filling the gaps in the primer and the chromatic integ
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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 su
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Abadi, Angga Cahya, Reichan Muhammad Maulana, and Rizky Septiana Abdul Razak. "Implementation of the Hybrid Mobile Application in The Street Artist Painting Auction Application “Strauction”." International Journal of Research and Applied Technology 3, no. 1 (2023): 179–88. http://dx.doi.org/10.34010/injuratech.v3i1.10124.

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The works of street artists' paintings tend to have minimal interest in Indonesia. This is caused by many factors, one of which is the limited scope of painting marketing. Therefore, the author seeks to provide a means of marketing in the form of an online painting auction application. The purpose of this research is to create an application as a means of connecting painting artists with painting enthusiasts. The research method used is descriptive analysis method with a quantitative approach. While in the development process, this application adopts the Hybrid Mobile Application method which
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Shi, Yulong, and D.Tsetsegdelger. "A Multidimensional Exploration of the Mechanism of Color Emotion Elicitation in Oil Painting under the Perspective of Psycho-Aesthetics." International Journal of Education and Social Development 1, no. 2 (2024): 20–23. https://doi.org/10.54097/edk4s254.

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This thesis focuses on the psychological aesthetics perspective, and deeply analyzes the emotion-inducing mechanism of oil painting colors. By elaborating the theory of emotional expression of color, exploring the specific mechanisms of emotional evocation of oil painting color in the basic attributes of color, symbolic connotations, landscape oil painting techniques, synergy with other elements of painting, as well as psychological interaction between the artist and the viewer, the thesis reveals how the color of oil paintings touches the emotions in the process of creation and enjoyment, and
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Chen, Guo. "Analysis of Color and Artistic Conception in Painting Art." Journal of Contemporary Educational Research 8, no. 8 (2024): 283–89. http://dx.doi.org/10.26689/jcer.v8i8.8108.

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The charm of painting, as a bright pearl in the treasure house of culture, lies in its visual language constructed through colors and lines, which conveys the artist’s unique perception of life and profound emotions. Color, as the most intuitive and expressive language in painting, is not only a simple reproduction of material colors but also a projection of the artist’s inner world. Artistic conception, as a core concept in traditional Chinese painting theory, refers to the emotional atmosphere and spiritual mood embedded in paintings. The purpose of this paper is to discuss the interaction b
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Wang, Feng, and Haozhang Sun. "The Texture and Color Matching of Oil Painting Materials Based on Multimedia Visual Communication." Advances in Materials Science and Engineering 2022 (July 18, 2022): 1–12. http://dx.doi.org/10.1155/2022/7792008.

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The obvious tendency of modern artists to change the concept of painting is to pay more and more attention to personal feelings and spiritual expression. In modern oil paintings, there are more and more oil paintings that convey emotions and the emotional expression methods of the colors of the works are becoming more and more abundant. This article aims to study the application of multimedia visual communication in the texture and color matching of oil painting creation materials and to put forward the viewpoint of applying more multimedia visual communication to oil painting creation. This a
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Cui, Jiaxuan. "The Annunciation in Art: Revealing the Irreplaceability of Art in the Age of Artificial Intelligence." Communications in Humanities Research 29, no. 1 (2024): 231–37. http://dx.doi.org/10.54254/2753-7064/29/20230754.

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Artificial Intelligence painting suddenly became popular at the beginning of the year, and many different artificial intelligence painting websites appeared on the Internet. Just like when photography emerged in the nineteenth century, it aroused the concern of the painting industry whether human painting would be replaced. This paper will mainly explain 7 paintings from painters like Fra Angelico and Jan Van Eyck with the same theme, the Annunciation, in different time periods, so as to analyze the uniqueness and irreplaceability of human painting. At the same time, this paper also points out
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Wang, Yunlong, Mohd Fuad Md Arif, Wenyi Cheng, and Shanshan Zhao. "Metamorphosis of Tradition: Dong Arts from Folk Dong Painting to Contemporary Expressions." Malaysian Journal of Social Sciences and Humanities (MJSSH) 9, no. 8 (2024): e002900. http://dx.doi.org/10.47405/mjssh.v9i8.2900.

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The Dong ethnic minority in southwest China possesses a distinctive cultural heritage. Dong's painting emerges as a unique and diverse form within Dong's artistic endeavors, capturing the essence of daily life among the Dong people. Regrettably, Dong paintings often endure neglect compared to the more recognized Dong architectural art. To revive appreciation for Dong culture, this study delves into traditional Dong folk paintings, aiming to discern various painting types and explore the impact of these traditional forms on contemporary Dong paintings. The similarities and differences between t
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Holmwood, Sigrid. "The peasant paints: Minor painting and peasant cosmopolitics." Journal of Contemporary Painting 8, no. 1 (2023): 73–96. http://dx.doi.org/10.1386/jcp_00040_1.

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This article discusses the idea of ‘peasant-painting’ as minor painting, playing with the contrast between ‘paintings-of-peasants’ and ‘paintings-by-peasants’. I argue that the appearance of the figure of the peasant as a genre of Western European painting is inextricably linked with the rise of capitalism and the construction of the modern individualized self, separate from nature. Through ‘naturalistic’ images of peasants in landscapes this in turn enabled the bourgeois gaze to naturalize unequal capitalistic relations. I shall then contrast these paintings-of-peasants, with paintings-by-pea
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He, Xing, and Eun-Jun Park. "Hair Art with Traditional Chinese Flower-and-Bird Painting as Motives." Korean Society of Beauty and Art 24, no. 1 (2023): 151–62. http://dx.doi.org/10.18693/jksba.2023.24.1.151.

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This study attempted to suggest a new direction for hair art and provide basic academic data by creating hairstyles based on flower-and-bird paintings. For this, a pilot study was performed on such traditional Chinese paintings, and books and Internet data were collected and analyzed. Then, among four seasons, spring and fall were chosen, and two hairstyles were created for each season, using diverse hairstyling techniques. For spring, ‘Peach Blossom & Turtledove Painting’ and ‘A Painting of Five-colored Parakeet on Blossoming Apricot Tree’ were created while ‘Bird-and-Fruit Painting’ and
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Bardik, Maryna. "Kyiv Metropolitans were in the Artistic Process of the Kyiv-Pechersk Lavra at the End of the 18th – the Early 20th Centuries." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 128–32. http://dx.doi.org/10.32461/2226-3209.2.2021.239989.

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The purpose of the article is to discover the mechanism of Kyiv Metropolitans influence processes in the monumental painting of the Kyiv-Pechersk Lavra. The research methodology is based on complex using historical and cultural analysis, art study analysis, hermeneutical and biographical methods. Scientific novelty. Based on archival materials the author determines the specific means of Kyiv Metropolitans influence the evolution and preservation of the Kyiv-Pechersk Lavra’s sacral painting in 1786–1917. This influence is investigated in the theoretical and practical aspects. The scheme of the
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Hua, Jianing. "Integration of Chinese and Western Art in Late Ming Dynasty: Imitation and Innovation with Wu Bin as an Example." Communications in Humanities Research 8, no. 1 (2023): 76–82. http://dx.doi.org/10.54254/2753-7064/8/20230972.

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The late Ming Dynasty witnessed an art exchange between two distinct civilizations, the East and the West, which served as a microcosm of globalized art history in China. In the context of numerous Western religious paintings introduced to China by Jesuit missionaries during the late Ming Dynasty, whether Chinese artists who painted in ink at the time borrowed Western painting techniques in their paintings has become a subject of discussion among contemporary scholars. To further explain the integration triggered by this artistic exchange, the research analyses the attitudes of Ming society to
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Schweidler, Walter. "Time and Trace: The Mirror of Time." Kronoscope 14, no. 2 (2014): 150–62. http://dx.doi.org/10.1163/15685241-12341302.

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Diego Velázquez’s Las Meninas is certainly one of the philosophically most interesting, most ambitious and most discussed paintings of all times. It contains a philosophical thesis or insight that can be interpreted in several ways but that also forces the interpreter to come to a precise decision concerning the concrete scenery that is reproduced in this painting. The content of this decision can be characterized quite concretely by the question of the painting’s mirror, which is constitutive for that scenery. The question is if this constitutive mirror is the one that we see in the painting,
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Sharma, Yam Prasad. "Nepali Paintings: A Departure From Religious Contents to Secular Subject Matters." Tribhuvan University Journal 36, no. 01 (2021): 85–95. http://dx.doi.org/10.3126/tuj.v36i01.43582.

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Traditional Nepali paintings are religious since they are based on Hindu and Buddhist myths. Manuscript illuminations and paubhas, the examples of religious paintings, have magical and mystical contents. Characters of myths have been portrayed and mythical stories have been narrated in visual form. There are a series of changes from traditional Nepali paintings to contemporary works. In painting, secular elements are introduced through didactic visual narratives from Hitopadesha manuscript. The moral lessons are taught through animal fables. Early paubhas are fully religious but later paubhas
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