Relevant bibliographies by topics / Peinture Art Painting Painting Painting

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

Academic literature on the topic 'Peinture Art Painting Painting Painting'

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

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Journal articles on the topic "Peinture Art Painting Painting Painting"

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Nikou, Christos. "Caïn et Abel : de la Bible à la peinture du XIXe siècle." Anales de Filología Francesa 28, no. 1 (2020): 491–510. http://dx.doi.org/10.6018/analesff.424401.

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This article proposes to examine, first of all, the literary myth of Cain, whose different mythemes meet much more in his representation in painting than in his literary rewritings. Apart from this, the article undertakes to study the pictorial choices of the representation of the biblical episode of Cain and Abel in four paintings from four different artistic movements of the 19th century, in order to see how each artistic movement and each painter appropriates and then transposes the episode of the enemy brothers into painting. Cet article se propose d’examiner, dans un premier temps, le mythe littéraire de Caïn dont les différents mythèmes se rencontrent beaucoup plus dans sa représentation en peinture que dans ses réécritures littéraires. Dans un second temps, l’article entreprend d’étudier les choix picturaux de la représentation de l’épisode biblique de Caïn et Abel dans quatre tableaux issus de quatre courants artistiques différents du xixe siècle, afin de voir comment chaque courant artistique et chaque peintre s’approprie et, par la suite, transpose en peinture l’épisode des frères ennemis.
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Gubińska, Maria. "Dialogue de la littérature et la peinture dans Femmes d’Alger dans leur appartement d’Assia Djebar." Quêtes littéraires, no. 6 (December 30, 2016): 100–107. http://dx.doi.org/10.31743/ql.217.

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The paper presents the phenomenon of hybridity present in Assia Djebar’s writings based on the example of the collection of short stories entitled Femmes d’Alger dans leur appartement (Women of Algiers in Their Apartment). The title of the collection makes reference to famous paintings by Delacroix and Picasso but in doing so the author also supplements the Europocentric discourse with her own voice, the voice of a Francophone Algerian writer who, holding a dialogue with the painters, breaks with exoticism and the orientalising European approach. The dialogue with painting is accomplished on two levels; the first, diegetic and second, essayistic; in ‘The Overture’, and especially in ‘The Afterword’, which is not only a commentary to the painting works by Delacroix and Picasso, but also a complementation of the literary plot. The permanent link of Djebar’s writings to the dramatic present and the remembrance of the women deprived of their voice and subjected to reification is voiced powerfully in the work, which cannot be easily evaluated as it is very diverse in its references to other fields of art.
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Wicky, Érika. "La peinture à vue de nez ou la juste distance du critique d’art, de Diderot à Zola." RACAR : Revue d'art canadienne 39, no. 1 (2014): 76–89. http://dx.doi.org/10.7202/1026204ar.

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Since the emergence of exhibition practices in the eighteenth and nineteenth centuries, there has been a progressive normalization of the material conditions for observing paintings, such as their placement and the spectator’s distance to them. Just like painters and Salon visitors, art critics needed to move closer to their object of inquiry in order to gain better knowledge of it, but paradoxically, they could not claim objectivity without stepping back. The ideal distance that would allow viewers to simultaneously grasp the whole and the details was a contentious topic of discussion for nineteenth-century artists, critics, and scientists. Among the different ways in which this question was formulated in art criticism, one in particular reveals the presuppositions of the time about proximity: the constant reference to the smell of the painting. Associated with proximity, smell metaphorizes the pleasure or trouble spectators feel when they get close to paintings, to their pictorial materiality, or even to the figures depicted. Because smell always functions as a sign of the substance from which it emanates, art critics’ reference to it allowed them to consider the problem of proximity within the social and aesthetic issues of their time.
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Natif, Mika. "Renaissance Painting and Expressions of Male Intimacy in a Seventeenth-Century Illustration from Mughal India." Renaissance and Reformation 38, no. 4 (2016): 41–64. http://dx.doi.org/10.33137/rr.v38i4.26373.

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This article explores the artistic relationship between Western European Renaissance art and Mughal painting ca. 1630s at the ateliers in North India. A central theme is the employment of European painterly modes in the Mughal visual tradition that expressed male-male intimacy, carnal desire, and emotional attachment. In particular, the article focuses on the work of the Mughal painter Govardhan, who illustrated the opening scene of Sa‘dī’s Gulistan (Rose Garden). Govardhan built upon sixteenth-century European compositional elements and the themes of Noli me tangere and the Doubting Thomas to form subtle yet unmistakable allusions to male-male sexuality.
 Cet article explore les relations artistiques entre l’art de la Renaissance européenne et la peinture moghole des années 1630 dans les ateliers du nord de l’Inde. On y traite de l’utilisation de motifs de la peinture européenne dans la tradition visuelle moghole exprimant l’intimité masculine, le désir charnel et l’attachement affectif. Cet article se penche en particulier sur l’œuvre du peintre mogol Govardhan qui a illustré la scène d’ouverture du Gulistan (Rose Garden) de Sa‘dī. Govardhan y a construit son illustration à l’aide l’élément de composition de l’Europe du XVIe siècle, ainsi que sur les thèmes Noli me tangere et du Thomas incrédule, afin de créer une évocation subtile mais univoque de la sexualité homosexuelle masculine.
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Perry, Rachel E. "Paint Boldly!: Dubuffet's DIY Manual." October 154 (October 2015): 87–110. http://dx.doi.org/10.1162/octo_a_00238.

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In 1948, Jean Dubuffet wrote a thirty-one-page pamphlet entitled Peinturez hardi (Paint boldly!) for his unrealized Almanach de l'art brut. Divided into twelve monthly installments, this “treatise on the techniques of painting” reads like a how-to manual, presenting concise, straightforward guidelines for what materials to use and how to use them. As a practical guide for the amateur, it inventories and evaluates products on the market (much like an issue of Consumer Reports) and then offers more economical, do-it-yourself recipes for the “common man.” Drawing largely from the techniques and materials of house painting, Dubuffet aligns himself with the worker as opposed to the professional artist and insists upon art as labor. As yet unpublished, Peinturez hardi underscores materiality as absolutely central to Dubuffet's understanding of what art brut is and how it differentiates itself from arts culturels.
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Majewski, Piotr. "Constructing the canon: exhibiting contemporary Polish art abroad in the Cold War era." Ikonotheka, no. 30 (May 28, 2021): 135–53. http://dx.doi.org/10.31338/2657-6015ik.30.7.

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The article focuses on the attempts of constructing and presenting the canon of Polish modern and contemporary art in the West after World War II. Initially, the leading role was played by Colourists – painters representing the tradition of Post-Impressionism. After 1956 the focus shifted towards artists who drew in their practice on tachisme and informel. However, the most enduring effects brought the consistent promotion of the interwar Polish Constructivism and its postwar followers. The article discusses the subsequent stages of this process, from the famous exhibition at the Paris Galerie Denise René in 1957, through exhibitions such as Peinture moderne polonaise. Sources et recherches (Modern Polish Painting. Sources and Experiments) from the late 1960s, up to the monumental Présences polonaises (Polish Presences) from 1983 (both in Paris), showing that these efforts contributed to securing a permanent position of Polish Constructivism within the global heritage of 20th-century art.
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Perry, Rachel E. "Dirty words: The politicisation of Dubuffet’s Hautes Pâtes." French Cultural Studies 29, no. 2 (2018): 155–76. http://dx.doi.org/10.1177/0957155818755610.

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In the spring of 1946, Jean Dubuffet presented the series Mirobolus, Macadam et Cie/Hautes Pâtes at the Gallery René Drouin. This exhibition has rightly been cast as a breakthrough event in the cultural landscape of the immediate post-war period; it was the first public unveiling of Dubuffet’s matter painting and the press erupted with cries of ‘cacaïsme’ and ‘peinture à la merde’, pronouncing him a ‘peintre en excréments’. The critical reception of this exhibition is part of the historical record. This article examines the popular (and even less sanitised) reception of Dubuffet’s contentious hautes pâtes, as recorded in several completely overlooked documents from the period, most notably the exhibition’s ‘livre d’or’ or Guest Book. Littered with swastikas and the francile, the insignia of Pétain’s collaborationist regime, the anonymous comments inscribed in the pages of the Guest Book charge Dubuffet with ‘décadence totale’, characterising his art as ‘judéo-décadent’. Despite the fact that the series avoids any reference to contemporary events, the materiality of his work raised anxious references to the polemic on decadence waged during the Occupation as well as to the post-war political purges of Nazi collaborators.
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Adams, William D. "A Sense of Place." Chiasmi International 21 (2019): 277–88. http://dx.doi.org/10.5840/chiasmi20192127.

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Merleau-Ponty spent the summer of 1960 in the small French village of Le Tholonet writing Eye and Mind. His choice of location was no accident. Le Tholonet was the physical and emotional epicenter of Paul Cezanne’s late painting, the ultimate proving ground of his relentless quest to reveal the truth of landscape in art.It makes perfect sense that Merleau-Ponty wrote Eye and Mind in Le Tholonet. The essay is a philosophical meditation on vision and painting. But it also is a meditation on place, in the deeply saturated sense that encompasses the landscape, its natural and human history, and the history of the painter who brought this part of Provence to universal visibility in his art. Le Tholonet is the terroir of Eye and Mind, the site and soil of this final, extraordinary expression of Merleau-Ponty’s thinking. Merleau-Ponty passa l’été 1960 dans le petit village français de Le Tholonet en écrivant L’OEil et l’Esprit. Le choix de ce lieu n’est pas accidentel. Le Tholonet était l’épicentre physique et émotionnel de la dernière peinture de Paul Cézanne, le terrain d’essai final de sa quête incessante pour arriver à révéler la vérité du paysage dans l’art. C’est tout à fait sensé que Merleau-Ponty ait écrit L’OEil et l’Esprit à Le Tholonet. L’essai est une méditation philosophique sur la vision et sur la peinture. Mais c’est aussi une méditation sur le lieu, sur le sens profondément saturé qui entoure le paysage, sur son histoire naturelle et humaine, et sur l’histoire du peintre qui porta, par son art, ce coin de la Provence à la visibilité universelle. On pourrait alors dire que Le Tholonet est le terroir de L’OEil et l’Esprit, le site et le sol de cette expression finale et extraordinaire de la réflexion de Merleau-Ponty. Merleau-Ponty trascorse l’estate del 1960 nel piccolo villaggio francese di Le Tholonet, dedicandosi alla scrittura de L’occhio e lo spirito. La scelta di questo luogo non fu casuale. Le Tholonet fu infatti l’epicentro fisico ed emotivo della pittura dell’ultimo Cézanne, il campo di prova finale del suo tentativo instancabile di rivelare la verità del paesaggio nell’arte. È del tutto coerente che Merleau-Ponty abbia scritto L’occhio e lo spirito a Le Tholonet. Il saggio costituisce una riflessione filosofica sulla visione e sulla pittura, ma rappresenta anche una meditazione sul senso di un luogo, secondo un’accezione densa che comprende il paesaggio, la sua storia naturale e umana, e la storia del pittore che attraverso la sua arte ha portato questa parte della Provenza a una visibilità universale. Le Tholonet è il terroir de L’occhio e lo spirito, il sito che ospita e il terreno che nutre quest’ultima straordinaria espressione del pensiero di Merleau-Ponty.
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HILAIRE-PÉREZ, LILIANE. "Diderot's views on artists' and inventors' rights: invention, imitation and reputation." British Journal for the History of Science 35, no. 2 (2002): 129–50. http://dx.doi.org/10.1017/s0007087402004648.

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This paper considers inventors' rights as revealing shifts in the elaboration of public trust in inventions. The two main issues, the method of invention and the credit invested, are analysed both in terms of Diderot's writings and in the economic, social and political context of invention during the eighteenth century. In a pamphlet written in 1755, Histoire et secret de la peinture en cire, Diderot criticized the Count of Caylus's attempt to keep the invention of wax painting secret and to enhance his fame thanks to this technical achievement. Diderot developed a conception of invention as an activity based upon methodical rediscoveries, imitations and translations. Although this could also concern artistic practice, imitation in art had a quite different meaning for Diderot. The main issue was the status of artists and inventors in society. Personal glory and private appropriation were denied to inventors, in contrast to artists. Secrecy, pride and exclusivity in invention were mean and ridiculous strategies. This was precisely what had been happening since the beginning of the eighteenth century, with the development of a market for inventions and exclusive titles, which also affected art. Diderot's narrative of invention as a daily, collective and historical process echoed the necessity of reassessing the value of invention by the criteria of public utility and shared evaluation.
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Velilla, Carlos. "Tal Vez no Sepa Vd. que yo también Pinto. Arnold Schönberg." Barcelona Investigación Arte Creación 6, no. 3 (2018): 235. http://dx.doi.org/10.17583/brac.2018.3364.

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This article is about the work of Arnold Schönberg1 (1874-1951) as a painter, a little-known facet, but a skill which has shown in excellent art expositions, both in life and posthumously. The last Arnold Schönberg. Peintre l’âme in the MahJ Museum (le musée d’art et d’histoire du Judaïsme) in París in 2016. In Barcelona in 1992: Arnold SchönbergPaintings and drawings. The collection of art work, an exhibition that came from Vienna, Cologne, Manchester, Berlin and Milan. Schönberg answers the first letter from Wassily Kandinsky (1866-1944), and tells him he was apainter, too, and wanted to speak to him about art. These works reveal the relationships that he established in his life: painting and music, idea and style, art and life, tonality and atonality, the established and the new. The doubts faced during some hard years due to the fall of an empire and theapparent peace. Pain in the vanguards at the beginning of the twentieth century. The importance of their meetings and the extensive correspondence with Kandinsky and other artists. The quest for total art. The relationship between Kandinsky’s book “The Spiritual in Art” (1912), which hedelivered to the printer at the same time as Schönberg published his “Treaty on harmony” (1911); despite their conceptual differences both have a common intention: to create from inside the individual’s interior. At the same time, atonal music and abstract art were born. Schönberg was spoken of as a musician, teacher, writer, inventor, scenographer, designer and painter.
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Dissertations / Theses on the topic "Peinture Art Painting Painting Painting"

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Gao, Jianping. "The expressive act in Chinese art : from calligraphy to painting /." Uppsala : Uppsala University, 1996. http://catalogue.bnf.fr/ark:/12148/cb376704405.

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Murck, Alfreda. "Poetry and painting in Song China : The subtle art of dissent /." Cambridge (Mass.) ; London : Harvard University Press, 2000. http://catalogue.bnf.fr/ark:/12148/cb37735148n.

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Coates, Ross Alexander. "The influence of magic on the iconography of European painting /." Ann Arbor (Mich.) : University microfilms international, 1987. http://catalogue.bnf.fr/ark:/12148/cb355355573.

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Shifman, Barry. "John Constable and the theory of landscape painting /." Cambridge : Cambridge University Press, 2004. http://catalogue.bnf.fr/ark:/12148/cb39281134f.

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Fortin-Desbiens, Patrick. "Pour un art universel : le défi de Babel /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 2003. http://theses.uqac.ca.

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Seddaoui, Fatima. "Peinture et écriture dans l'œuvre de Marguerite Duras : un peintre du langage ?" Thesis, Toulouse 2, 2011. http://www.theses.fr/2011TOU20042.

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Nous voudrions développer l'idée selon laquelle Marguerite Duras est un peintre du langage. En nous focalisant sur le rapport entre l'écriture et la peinture, nous nous efforcerons de repérer et d'analyser les tableaux évoqués ou inventés et les images façonnées dans les œuvres afin d'éclairer l'intertextualité complexe qui entre au sein des divers réseaux de représentation et partant de toute représentation. Sans prétendre à l'exhaustivité, nous pouvons essayer de donner un aperçu de cette présence de la peinture à l'arrière-plan de la réflexion durassienne. Comment la peinture fait-elle texte ? Et quel est l'enjeu ? Il s'agira aussi d'étudier le rôle et la signification de la peinture dans l'œuvre romanesque afin de comparer le statut de la peinture dans l'œuvre avec celui de la peinture. Une partie de cette étude traitera la peinture comme phénomène sociologique, intellectuelle et historique (les questions esthétiques). De plus, la recherche sera axée sur les liens entre le cinéma et la peinture, l'étude sera développée sur les points suivants : les émissions, et les critiques sur l'auteur afin de tracer un cadre d'ensemble des éléments en rapport avec le sujet. Nous aborderons notamment la présentation du débat théorique et méthodologique sur les rapports entre le cinéma et la peinture. L'œuvre tissera des liens étroits entre l'art visuel et le langage. Une partie analysera les rapports entre le cinéma et la peinture sur un corpus significatif de films à partir de ses débuts jusqu'à son dernier film datant de 1979. Notre étude sera une recherche et une analyse des occurrences de la peinture et leurs significations dans le discours filmique durassien. Le discours sur la peinture se confrontant à plusieurs problèmes<br>We would like to develop the idea according to which Marguerite Duras is a painter of the language. By focusing us on the relationship between the writing and painting, we will endeavour to locate and analyze the evoked or invented tables and the images worked in works. In order to clarify the complex intertextuality which enters within the various networks of representation and on the basis of any representation. Without claiming with exhaustiveness, one can try to give an outline of this presence of painting to the background of the reflexion durassienne. How painting made it text ? And which is the stake ? It will also be a question of studying the role and the significance of painting in the novel in order to compare the statute of painting in work with that of painting. Part of this study will treat painting like sociological, intellectual and historical phenomenon (the esthetics question). Moreover, research will be centered on the bonds between the cinema and painting the study will be developed on the following points : emissions, and criticisms on the author in order to trace an overall framework of the elements in connection with the subject. We will approach in particular the presentation of the theoretical and methodological debate on the relationship between the cinema and painting. Work will weave close links between visual art and the language. A part will analyze the relationship between the cinema and painting on a significant film corpus, starting from its beginning to its last film going back to 1979. Our study will be a research and an analysis of the occurrences of painting and their significances in the filmic speech durassien. The speech on painting being confronted with several problems
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Reiss, Athene. "The Sunday Christ : Sabbatarianism in English medieval wall painting /." Oxford : Archaeopress, 2000. http://catalogue.bnf.fr/ark:/12148/cb371977705.

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Ile, Michael Christian. "Ut pictura thesis. : Thème et variations pour figures peintes. Atelier, peinture, scène totale." Thesis, Saint-Etienne, 2011. http://www.theses.fr/2011STET2152.

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Comment mettre en représentation une thèse de doctorat ? L’objet de la thèse sera le doctorat-même. Sa mise en peinture, la picturalité d’un doctorat. Quel peut être le visage d’une thèse ? Au lieu d’attendre qu’un sujet de recherche vienne dans l’atelier de l’université, comme une idée qui procéderait de loin, je me suis dit que sous mes yeux, se trouvait, peut-être, la possibilité d’une scène totale. À partir d’objets qui entourent les séminaires de recherche, ainsi que les ateliers de mes pratiques picturales, à partir d’un imaginaire et d’une réalité très concrète, entamer une exploration vaste, ayant comme support la peinture. Ou comment figurer, comment mettre en représentation la scène doctorale par la figuration, tout en proposant une plasticité constante ? Plus généralement, quelles sont les conditions de naissance d’un monde de peinture ? C’est, en quelque sorte, la manière dont la forme peinte advient, au fur et à mesure de son avancée dans les toiles. Par trois approches différentes, il y aura successivement un regard sur la peinture comme sédimentation. Il y aura les articulations de la peinture dans notre espace de recherche, la venue au monde d’un atelier à travers un thème et ses variations. Et finalement, comme la mise en représentation d’une scène totale. L’atelier, printemps et apothéose d’un parcours pictural, sera ici exploré, décrit, tel un espace accompagné d’un rythme majeur dominant, rythme dont résultent toutes les formes tracées par le pinceau. Au bout de cette traversée, il n’y a pas seulement l’odyssée d’un atelier qui est mis en représentation, il y a la mise en peinture de la recherche-même. Ici, la thèse est comme la peinture, elle devient peinture. Ut pictura thesis. Le doctorat, ses visages, ses peintures, ses images<br>How to represent a thesis, a doctorate dissertation? The object of the thesis is the doctorate itself. The subject of the thesis is the doctorate itself, its representation in painted form. What could be the face of a doctorate thesis ? Instead of waiting for a research subject – an idea to come into shape, whilst researching in my studio at the university, I told myself that perhaps right in front of my eyes was laid the possibility of a “total scene”. From the objects which are surrounding the research seminars, as well as the studios of my pictorial practices, from an imaginary and a concrete reality, I began a vast exploration, having the painting medium as support. In other words, how to represent the doctoral scene through figurative depiction, whilst developing a constant material dimension ? Further more, what are the circumstances of the painting process coming into the world ? It is,somehow, the way that a painted form occurs and evolves and develops, how and when the mental projection becomes reality on canvas. There will be three different and successive approaches: there will first be a look on the painting as sedimentation. There will be the articulations of the painting in our research space, the birth of a studio through a theme and its variations. And finally, the painting as a representation of a “total scene”. The studio, spring and apotheosis of a pictorial course, will be here explored and described, like a space accompanied by a major dominant rhythm, a rhythm form which all the forms drawn by the paintbrush originate. At the end of this tour, one can find not only (or there is not only) the odyssey of a studio set into representation, but also of the research itself captured in a painted form. The thesis is like the painting, the thesis becomes the painting. Ut pictura thesis. The doctorate, its faces, its paintings, its images
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Josso, Eléonore. "Du dépaysement en peinture." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010651.

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Que le dépaysement soit devenu la méthode du processus créatif tel est le point de départ de cette réflexion qui prend appui sur un travail plastique personnel développé ces dix dernières années. Une recherche picturale qui devient le révélateur de cette expérience du prépictural, à partir de l'espace perçu et vécu. Exploration qui se renouvelle à même la toile, dans un dialogue dynamique entre paysage intérieur, le paysement et celui de la découverte, le dépaysement. L'espace pictural est construit, structuré et spatialisé à partir des seules couleurs du noir et blanc. Le dépaysement devient alors l'opération qui occasionne des transformations, des glissements, des débordements dans le lieu de la peinture. Celui-ci est en devenir, ni figé, ni statique, il est en mutation permanente car c'est bien à partir des impressions, des sensations et de la sensibilité de l'artiste que la relation au monde se modifie et engendre alors une nouvelle esthétique. Déplacée vers l'architecture, l'expansion du pictural propose au spectateur un nouveau dépaysement, dans le lieu d'exposition<br>The starring point of this reflection, based on a personal plastic work developed in the last ten years, is the fact that an experience that I defined "dépaysement", a kind of “displacement in painting", has become my creative process method. This pictorial research becomes the indicator of the pre-pictorial experience, starting from the space that we have seen and lived. This exploration renews itself on the canvas, by the means of a dynamic dialogue between the internal landscape and that of discovery, this displacement. In the picture the space is built, structured and shaped from black and white only. The "dépaysement" becomes the operation that causes transformations, slidings and overflowings of this space, which is not static, but keeps changing and is constantly brought into being by the Impressions, the sensations and the sensibility of the artist, because his relationship with the world changes and generates a new aesthetic, Finally the pictorial expansion, shifted towards the architecture, proposes to the spectator a new disorientation in the exposition place
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Grenier, Marlène. "Les artistes propagateurs de l'idéal allemand en art pictural et en sculpture au Canada au XIXe siècle." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq26215.pdf.

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Books on the topic "Peinture Art Painting Painting Painting"

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Painting people: Figure painting today. D.A.P./Distributed Art Pubs., 2006.

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Anne-Marie, Lecoq, and Musée des beaux-arts de Dijon., eds. La peinture dans la peinture. A. Biro, 1987.

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Québec en peinture =: Québec in painting. Roussan éditeur, 1989.

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Bawin, Julie, and Pierre Jean Foulon. Art actuel & peinture. Presses universitaires de Namur, 2009.

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Laval en peinture =: Laval in painting. Roussan éditeur, 1989.

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Roussan, Jacques de. La Beauce en peinture =: Beauce in painting. Roussan, 1992.

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Painting people: The state of the art. Thames & Hudson, 2006.

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What is painting?: Representation and modern art. Thames and Hudson, 1999.

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Mary, Black. American folk painting. Bramhall House, 1987.

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Pleynet, Marcelin. Arman: La liberté en peinture = freedom in painting. Galerie Piltzer, 1999.

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Book chapters on the topic "Peinture Art Painting Painting Painting"

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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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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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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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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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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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Maeda, Tamaki. "'National Painting' Unbound." In East Asian Art History in a Transnational Context. Routledge, 2019. http://dx.doi.org/10.4324/9781351061902-11.

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Moncada, Sean Nesselrode. "The Painting Devoured." In New Geographies of Abstract Art in Postwar Latin America. Routledge, 2018. http://dx.doi.org/10.4324/9781351062145-4.

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Conference papers on the topic "Peinture Art Painting Painting Painting"

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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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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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Yujun, ZhaoTian. "The Influence of Impressionist Painting on Xu Beihong’s Oil Painting." In 2020 International Conference on Language, Art and Cultural Exchange (ICLACE 2020). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200709.050.

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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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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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Yi, Lijun. "Discussion on the Painting Language of Acrylic Material in Modern Painting." In 2016 3rd International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2016). Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-16.2017.149.

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Li, Ran. "Application of Classical Oil Painting Techniques in Chinese Contemporary Lacquer Painting Creation." In 2015 2nd International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-15). Atlantis Press, 2016. http://dx.doi.org/10.2991/icelaic-15.2016.156.

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Liu, Xinlu, Yibo Liu, and Zhaohui Wei. "A Rational Survey of Art and Technology: From Traditional Painting to Intelligent Painting." In Proceedings of the 6th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/assehr.k.191217.224.

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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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Reports on the topic "Peinture Art Painting Painting Painting"

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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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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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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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