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Relevant bibliographies by topics / Singaporean Painting

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Academic literature on the topic 'Singaporean Painting'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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Journal articles on the topic "Singaporean Painting"

1

Lizun, Damian, and Jarosław Rogóż. "Overview of Materials and Techniques of Paintings by Liu Kang Made between 1927 and 1999 from the National Gallery Singapore and Liu Family Collections." Heritage 6, no. 3 (March 21, 2023): 3271–91. http://dx.doi.org/10.3390/heritage6030173.

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This article summarises the extensive research conducted in recent years on the paintings by Liu Kang (1911–2004), a renowned modern Singaporean artist. The investigation considered 97 paintings made between 1927 and 1999 from the National Gallery Singapore and Liu family collections. While detailed results of the analytical studies were presented in a series of publications, the scope of this article comprises an overview of the artist’s preferential painting supports and pigments and an outline of the evolution of his working methods. The collected information considerably increases the knowledge about Liu Kang’s painting practice and may assist conservators in the diagnosing, treatment, dating and authentication of artworks of uncertain origin. The results demonstrate the importance of comprehensive multi-analytical studies, which combined with documentary sources and art history research, provide a full understanding of the artist’s painting practice.

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Lizun, Damian. "From Paris and Shanghai to Singapore: A Multidisciplinary Study in Evaluating the Provenance and Dating of Two of Liu Kang’s Paintings." Journal of Conservation Science 37, no. 4 (August 31, 2021): 322–39. http://dx.doi.org/10.12654/jcs.2021.37.4.02.

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This paper focuses on the dating and provenance of two paintings, Climbing the hill and View from St. John’s Fort by the prominent Singaporean artist Liu Kang (1911–2004). Climbing the hill, from the National Gallery Singapore collection, was believed to have been created in 1937, based on the date painted by the artist. However, a non-invasive examination unveiled evidence of an underlying paint scheme and a mysterious date, 1948 or 1949. These findings prompted a comprehensive technical study of the artwork in conjunction with comparative analyses of View from St. John’s Fort (1948), from the Liu family collection. The latter artwork is considered to be depicting the same subject matter. The investigation was carried out with UVF, NIR, IRFC, XRR, digital microscopy, PLM and SEM-EDS to elucidate the materials and technique of both artworks and find characteristic patterns that could indicate a relationship between both paintings and assist in correctly dating Climbing the hill. The technical analyses were supplemented with the historical information derived from the Liu family archives. The results showed that Climbing the hill was created in 1948 or 1949 on top of an earlier composition painted in Shanghai between 1933 and 1937. As for the companion View from St. John’s Fort from 1948, the artist reused an earlier painting created in France in 1931. The analytical methods suggested that Liu Kang used almost identical pigment mixtures for creating new artworks. However, their painting technique demonstrates some differences. Overall, this study contributes to the understanding of Liu Kang’s painting materials and his working practice.

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Lizun, Damian, Teresa Kurkiewicz, and Bogusław Szczupak. "Exploring Liu Kang’s Paris Practice (1929–1932): Insight into Painting Materials and Technique." Heritage 4, no. 2 (May 19, 2021): 828–63. http://dx.doi.org/10.3390/heritage4020046.

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This paper presents the results of an extensive study of 14 paintings by the pioneering Singapore artist Liu Kang (1911–2004). The paintings are from the National Gallery Singapore and Liu family collections. The aim of the study is to elucidate the painting technique and materials from the artist’s early oeuvre, Paris, spanning the period from 1929 to 1932. The artworks were studied with a wide array of non- and micro-invasive analytical techniques, supplemented with the historical information derived from the Liu family archives and contemporary colourmen catalogues. The results showed that the artist was able to create compositions with a limited colour palette and had a preferential use of commercially available ultramarine, viridian, chrome yellow, iron oxides, organic reds, lead white, and bone black bound in oil that was highlighted. This study identified other minor pigments that appeared as hue modifications or were used sporadically, such as cobalt blue, Prussian blue, emerald green, cadmium yellow, cobalt yellow, and zinc white. With regard to the painting technique, the artist explored different styles and demonstrated a continuous development of his brushwork and was undoubtedly influenced by Modernists’ artworks. This comprehensive technical study of Liu Kang’s paintings from the Paris phase may assist art historians and conservators in the evaluation of the artist’s early career and aid conservation diagnostics and treatment of his artworks. Furthermore, the identified painting materials can be compared with those used by other artists active in Paris during the same period.

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Lizun, Damian, Teresa Kurkiewicz, Bogusław Szczupak, and Jarosław Rogóż. "Painting Materials and Technique for the Expression of Chinese Inheritance in Liu Kang’s Huangshan and Guilin Landscapes (1977–1996)." Materials 15, no. 21 (October 25, 2022): 7481. http://dx.doi.org/10.3390/ma15217481.

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Liu Kang (1911–2004) was a Chinese artist who settled in Singapore in 1945 and eventually became a leading modern artist in Singapore. He received academic training in Shanghai (1926–1928) and Paris (1929–1932). Liu Kang’s frequent visits to China from the 1970s to the 1990s contributed to a special artistic subject—the Huangshan and Guilin mountains. This subject matter triggered an uncommon painting approach for his oeuvre. In this context, this study elucidates the artist’s choice of materials and methods for the execution of 11 paintings, dating between 1977 and 1996, depicting Huangshan and Guilin landscapes. The paintings belong to the collection of the National Gallery Singapore. They were investigated with a combination of non- and micro-invasive techniques, supplemented by a wealth of documentary sources and art history research. The obtained results highlight the predominant use of hardboards resembling Masonite® Presdwood® without the application of an intermediate ground layer. Commercially prepared cotton and linen painting supports were used less frequently, and their structure and ground composition were variable. This study revealed the use of a conventional colour base for the execution of the paintings—a consistent colour scheme favouring ultramarine, yellow and red iron-containing earths, viridian and titanium white. Less commonly used pigments include Prussian blue, cobalt blue, phthalocyanine blue, phthalocyanine green, naphthol red AS-D, umber, Cr-containing yellow(s), cadmium yellow or its variant(s), Hansa yellow G, lithopone and/or barium white and zinc white and bone black. The documentary sources indirectly pointed to the use of Royal Talens, Rowney and Winsor & Newton, brands of oil paints. Moreover, technical and archival findings indicated the artist’s tendency to recycle rejected compositions, thereby strongly suggesting that the paintings were executed in the studio. Although this study focuses on the Singapore artist and his series of paintings relating to China, it contributes to existing international studies of modern artists’ materials.

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Lizun, Damian, Teresa Kurkiewicz, Mateusz Mądry, Bogusław Szczupak, and Jarosław Rogóż. "Evolution of Liu Kang’s Palette and Painting Practice for the Execution of Female Nude Paintings: The Analytical Investigation of a Genre." Heritage 5, no. 2 (April 20, 2022): 896–935. http://dx.doi.org/10.3390/heritage5020050.

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The comprehensive technical investigation of female nude paintings by the Singapore pioneer artist Liu Kang (1911–2004) provided the evidence for a discussion of the evolution of his palette of colours and his working process for expression in this genre, particularly the execution of female bodies. As the artist’s free expression in classical nude paintings was limited by the censorship imposed by the Singapore government, the investigated artworks span two periods, 1927–1954 (early career) and 1992–1999 (the “golden years”, during which censorship policies were relaxed). Hence, eight paintings from the Liu family and National Gallery Singapore were selected for non- and micro-invasive analyses of the paint layers. The obtained results were supplemented with archival sources to elucidate certain aspects of Liu Kang’s working practice. The investigation revealed the importance of drawing and sketching studies in the development of artistic ideas. The analytical techniques, such as polarised light microscopy (PLM), field emission scanning electron microscope with energy dispersive spectroscopy (FE-SEM-EDS) and attenuated total reflectance–Fourier transform infrared spectroscopy (ATR-FTIR), enabled us to observe a transition from the yellow iron-based tonal ranges of skin colours to complex pigment mixtures composed of additions of cobalt blue, ultramarine, Prussian blue, Cr-containing yellow(s) and green(s), cadmium yellow, orange and/or red and organic reds, revealing the artist’s more liberal use of colours and his experimentation with their contrasting and complementary juxtaposes. In terms of painting technique, the artist’s comparatively laborious paint application using small brushes quickly gave way to a more effortless manipulation of the paint using bigger brushes and the incorporation of palette knives. Moreover, visible light (VIS), near-infrared (NIR) and X-ray radiography (XRR) imaging techniques led to the discovery of a hidden composition in one investigated artwork, which bears resemblance to the nude painting known only from an archival photograph. Additionally, for the first time, the archival search provided photographic evidence that Liu Kang used oil paint tubes from Royal Talens and Rowney in the 1990s. Overall, this in-depth investigation contributes to the understanding of Liu Kang’s approach to the female nude painting and may assist conservators and art historians in studies of twentieth-century commercial paints.

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Chiu, Ling-Ting. "A New Page of Literati Painting from Singapore and Malaysia: A Study of Chen Wen Hsi and Chung Chen Sun." Translocal Chinese: East Asian Perspectives 15, no. 1 (July 1, 2021): 93–130. http://dx.doi.org/10.1163/24522015-15010006.

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Abstract In the early twentieth century, Chinese literati painting was embroiled in arguments on the relationship between ancient and modern or east and west. Therefore, the artistic practices of Wu Changshuo, Chen Shizeng, Qi Baishi, Xu Beihong and so on, were in response to this development. However, with the occurrence of World War ii and changes in the post-war situation, literati painting underwent further, new changes in different regions. This article intends to discuss the overseas Chinese painters Chen Wen Hsi and Chung Chen Sun as examples in exploring the new development of literati painting in Singapore and Malaysia in the second half of the twentieth century. Chen Wen Hsi was born in Jieyang County, Guangdong Province in 1906. He studied at Shanghai Fine Arts College and Xinhua Art College. He went to Singapore and held an exhibition in 1948. In 1950, he taught at The Chinese High School, and the following year also began teaching Chinese ink painting at Nanyang Fine Arts College. Chung Chen Sun, a native of Mei County, Guangdong Province, was born in 1935 in Malacca, Malaysia. In 1953, he entered the Department of Art Education of Nanyang Academy of Fine Arts, which was founded by Lim Hak Tai. Chung was inspired by predecessors such as Cheong Soo-pien, Chen Wen Hsi and Chen Chong-swee who had pursued the Nanyang style. In 1967, Chung founded the Malaysian Academy of Art. Their styles of painting not only incorporate the Eastern aesthetics and Western theory but also include diverse elements. Their paintings wrote a new page in the history of literati painting during the Cold War era.

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Lizun, Damian, Teresa Kurkiewicz, Bogusław Szczupak, and Jarosław Rogóż. "A Multi-Analytical Investigation of Liu Kang’s Colour Palette and Painting Technique from the Shanghai Period (1933–1937)." Applied Sciences 13, no. 4 (February 13, 2023): 2414. http://dx.doi.org/10.3390/app13042414.

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This study presents the analytical characterisation of Liu Kang’s paint mixtures and the painting technique used during the important Shanghai artistic phase (1933−1937). Liu Kang (1911–2004) was a Chinese artist who received an academic art education in Shanghai (1926–1928) and Paris (1929–1932). He settled permanently in Singapore in 1945 and became a leading contributor to the national art scene. This study showcases 12 paintings on canvas from the collections of the National Gallery Singapore and the Liu family. An integrated approach combined non- and micro-invasive analytical methods supplemented with archival sources and enabled characterising the investigated paint mixtures and revealing details of the artist’s painting technique. The study has proved the artist’s ability to produce a variety of hues by utilising a conventional palette of colours. The predilection for ultramarine, viridian, yellow and red iron-rich earth pigments, umber, yellow chromate pigments, as well as lead white, zinc white or Zn-base compounds like lithopone and barium white was recorded. The study emphasises a minor use of Prussian blue, emerald green, cadmium yellow or its variant and bone black. Although it remains unknown what brands of paints Liu Kang used, the available archival sources give insights into the painting materials available in Shanghai that the artist could have had at his disposal during the period under review. The archival information is based on the Chinese and overseas colourmen advertisements printed in Chinese journals and the respective contemporary colourmen catalogues. The artist’s painting technique departs from the experimental approach of his Paris phase. In Shanghai, he focused on synthesising the painting principles of the School of Paris with traditional Chinese calligraphy. The outcomes of this research may support future technical studies of works by other artists contemporary to Liu Kang and who were active in pre-war Shanghai.

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Woon Lam, Ng. "Study of Calligraphic Brushwork in Singapore Watercolor Art." Asia-Pacific Journal of Humanities and Social Sciences 2, no. 3 (September 30, 2022): 088–100. http://dx.doi.org/10.53789/j.1653-0465.2022.0203.011.p.

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This paper investigates the development of Singapore watercolor art. Although watercolor is a western painting medium, Singapore watercolor art adopted its concepts from both the traditional British watercolor and Chinese ink painting. While it inherited its painting techniques from the British watercolor, the concept of calligraphic brushwork was adopted in two diverse directions, one from the British watercolor and the other from the Chinese calligraphy and ink painting due to the diverse backgrounds of artists. The application of various forms of calligraphic brushwork and their developments have shown connections to their origins. However, deviations were observed as compared to contemporary western watercolor brushwork. The study has also uncovered how the abstraction of Chinese character design concept and ink painting compositions were adopted by contemporary regional artists. The outcomes have created potential applications in animation and digital painting, especially in the area of visual simplification.

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Woon Lam, Ng. "Study of Calligraphic Brushwork in Singapore Watercolor Art." Asia-Pacific Journal of Humanities and Social Sciences 2, no. 3 (September 30, 2022): 088–100. http://dx.doi.org/10.53789/j.1653-0465.2022.0203.011.

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This paper investigates the development of Singapore watercolor art. Although watercolor is a western painting medium, Singapore watercolor art adopted its concepts from both the traditional British watercolor and Chinese ink painting. While it inherited its painting techniques from the British watercolor, the concept of calligraphic brushwork was adopted in two diverse directions, one from the British watercolor and the other from the Chinese calligraphy and ink painting due to the diverse backgrounds of artists. The application of various forms of calligraphic brushwork and their developments have shown connections to their origins. However, deviations were observed as compared to contemporary western watercolor brushwork. The study has also uncovered how the abstraction of Chinese character design concept and ink painting compositions were adopted by contemporary regional artists. The outcomes have created potential applications in animation and digital painting, especially in the area of visual simplification.

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10

Lizun, Damian. "New Insight into Liu Kang’s Village Scene (1931): A Non-Invasive Investigation by Technical Imaging." Heritage 6, no. 7 (June 23, 2023): 4919–33. http://dx.doi.org/10.3390/heritage6070262.

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This study examines the intriguing peculiarities of the surface paint layer found in the painting Village scene (1931) by renowned Singapore artist Liu Kang (1911–2004). The incorporation of non-invasive visible light (VIS) and near-infrared (NIR) photography techniques, combined with high-power digital microscopy, revealed unusual features on the surface paint layer. Flattened impastos, clusters of incrusted foreign paint unrelated to the existing paint scheme, and fragments of paper with printed traditional Chinese characters were identified on the painting’s surface. The results of the analyses cross-referenced with the archival photographs enabled the consideration of the specified features of the paint layer as unintentional damage caused by the artist due to inadequate storage and transportation conditions—paradoxically, in his attempt to protect the painting. As these damaged areas pose potential display and conservation problems, three conservation strategies were proposed based on ethical guidelines formulated by various governing bodies for the conservation profession. This study demonstrates that there is no universal conservation solution that can satisfy conflicting aesthetic and ethical opinions. The damage to the paint layer affects the visual properties of the artwork but also provides evidence of its complex history. In light of the above, there may be valid arguments both for returning the painting to its original state and for preserving its current condition. Therefore, good practice would require balanced judgments from conservators and curators, considering Village scene in the broader context of Liu Kang’s early painting practice and the existing archival information about the artist.

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Dissertations / Theses on the topic "Singaporean Painting"

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Ang, Daphne Ming Li. "Constructing Singapore art history : portraiture and the development of painting and photography in colonial Singapore (1819-1959)." Thesis, SOAS, University of London, 2017. http://eprints.soas.ac.uk/26662/.

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Books on the topic "Singaporean Painting"

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Richard, Lim, ed. Singapore artists speak. Singapore: C.H. Yeo, 1990.

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(Singapore), National Arts Council, and Singapore National Heritage Board, eds. Window on Singapore art =: [Shih ch'eng i ts'ui]. Singapore: National Arts Council, 1994.

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sculptor, Tan Lush, ed. Of happiness and biophilia. Singapore]: Arts To U Services & Consultancy LLP, 2018.

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Institute, Singapore Tyler Print, ed. Moving forest. Singapore: Singapore Tyler Print Institute, 2013.

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Gallery, G. Art. Applause II: Tan Choh Tee, Tay Bak Koi, Leo Hee Tong, Ling Yang Chang. Singapore: G Art Gallery, 2017.

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Hou, Sou Ping. Zhong Sibin: The story of Cheong Soo Pieng. Singapore: [publisher not identified], 2015.

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Lin, Ziping. Xin xiang: Lin Ziping shui mo li cheng = Inroads, the ink journey of Lim Tze Peng . Singapore: Singapore Art Museum, 2009.

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Chen, Zongrui. Chen Zongrui bai nian dan chen ji nian zhan: Yong heng, zheng shan mei = Chen Chong Swee, a legacy in truth, goodness and beauty. Singapore: Nanyang Academy of Fine Arts, 2011.

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Ma, Peiyi. Wong Keen. Singapore]: ArtCommune Gallery, 2013.

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Borlongan, Elmer. Elmer Borlongan draws the line. Quezon City, Philippines: Ateneo Art Gallery, 2018.

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Book chapters on the topic "Singaporean Painting"

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Goh Sze Ying. "Painting Singapore:." In Lim Cheng Hoe, 40–47. National Gallery Singapore, 2018. http://dx.doi.org/10.2307/j.ctv2z0vv9g.8.

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"Painting Singapore:." In Lim Cheng Hoe, 10–11. National Gallery Singapore, 2018. http://dx.doi.org/10.2307/j.ctv2z0vv9g.5.

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"Western Painting in Singapore in the Last 45 Years." In Liu Kang, 242–49. National Gallery Singapore, 2011. http://dx.doi.org/10.2307/j.ctvk3gncv.47.

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Sambrani, Chaitanya. "Affandi (1907–1990)." In Routledge Encyclopedia of Modernism. London: Routledge, 2018. http://dx.doi.org/10.4324/9781135000356-rem2089-1.

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Affandi was an Indonesian modernist artist best known for his expressive paintings depicting scenes of everyday life and his own emotional states, as well as for his portraits of family members. He is known as the first Indonesian modernist to gain international recognition. Affandi was largely self-taught, and while his work reflects strong affiliations with post-impressionist and expressionist tendencies in European art, there is no evidence to show that he studied these systematically. Affandi is best known for his technique of applying paint on to canvas directly from the tube and for working with his fingers instead of brushes, resulting in thick impasto and energetic gestural work that was well-suited to realising his goals of conveying emotionally charged images. During the period of revolutionary resistance against the Dutch (1945–9) Affandi was active in painting posters encouraging armed rebellion. He was a founding member of several Indonesian artists’ organisations including Gabungan Pelukis Indonesia [Union of Indonesian Painters], Jakarta, 1948. Throughout a career that spanned the late Colonial and Postcolonial periods in Indonesian history, Affandi was officially recognised and celebrated on several occasions by state and academic agencies in Indonesia, India, the USA, Singapore and Japan. His final home and studio in Yogyakarta, Indonesia, is now the Museum Affandi, and features a display of his works as well as several eccentric architectural, design and landscape aspects.

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Conference papers on the topic "Singaporean Painting"

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RUF, BORIS, and MARCIN DETYNIECKI. "IDENTIFYING PAINTINGS IN MUSEUM GALLERIES USING CAMERA MOBILE PHONES." In The Singaporean-French Ipal Symposium 2009. WORLD SCIENTIFIC, 2009. http://dx.doi.org/10.1142/9789814277563_0013.

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