Relevant bibliographies by topics / Still-life in painting

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

Academic literature on the topic 'Still-life in painting'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 February 2022

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Journal articles on the topic "Still-life in painting"

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Hiiop, Hilkka, Andres Uueni, Anneli Randla, and Alar Läänelaid. "Still Life with Grapes and Nest." Baltic Journal of Art History 20 (December 27, 2020): 197–211. http://dx.doi.org/10.12697/bjah.2020.20.08.

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A complex conservation process revealed the layer of the painting inits original subtlety and delicate retouchings recreated the integralsurface of the painting. As a result, we can confirm that it is a paintingof high artistic quality dating most probably from the middle ofthe 17th century, painted on an oak panel of German origin. Weremain doubtful about the Internet auction suggested authorship,as the painting does not reach the artistic quality of Jan DavidszDé Heem, a top rank artist from the Netherlands. It is possible tocontinue with the art-historical analysis (and other investigations)of the painting, to find further proof for the hypothetical dating andmaybe even reach an attribution but we must not forget to ask thequestions whether and to whom it would be necessary. What matters
 for the owner of the painting is the fact that an artwork which decorates
 the wall of his home has both aesthetic and historical value –
 even without knowing its exact date or the painter.
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Witko, Andrzej. "Still Life in 17th-Century Seville Painting." Roczniki Humanistyczne 66, no. 4 SELECTED PAPERS IN ENGLISH (2019): 175–206. http://dx.doi.org/10.18290/rh.2018.66.4-6e.

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The Polish version of the article was published in “Roczniki Humanistyczne,” vol. 60 (2012), issue 4.
 Although still nature did not enjoy a lot of prestige as a genre of paining in 17th-century Seville, it still accompanied many scenes that had a religious or secular character. With time, it even gained an autonomous status and some popularity, resulting rather from decorative reasons. It was to be ensured by presenting various objects made by man, but also appetizing articles of food and beautiful, colourful flowers. It was in this convention that, among others, works by Francisco de Zurbarán and his son Juan, Francisco Barranco or Pedro de Camprobín y Passano were painted. A feature typical of Seville painting was also the use of the language of symbols in still lifes, especially in a religious context, as Zurbarán’s paintings. Historical circumstances connected with the spreading famine and the plague gave the still life a new function. It was to satisfy the longing for the lost wealth of life, showing tasteful and beautiful still lifes, like those in the works by Pedro de Medina Valbuena, Cornelio Schut and Andrés Peréz. The toll of the Black Death also inspired artists. However, they painted works emphasizing the briefness and futility of human life, didactic and moralizing, which culminated in the paintings by Juan de Valdés Leal and his son Lucas.
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Woodley, Frances. "The (Playfully) Melancholic Still Life of Contemporary Painting." Jednak Książki. Gdańskie Czasopismo Humanistyczne, no. 9 (April 24, 2018): 173–88. http://dx.doi.org/10.26881/jk.2018.9.15.

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This paper considers the ways in which contemporary painting of still life accepts the address of its tradition. Tradition is considered here as cultural memory reiterated and transformed over time. The means by which contemporary artists work with, and against, tradition are explored through ideas of reverie, play and material process. Melancholy is a characteristic of the genre of still life, one that crosses time, and is thus given particular attention in relation to traditional and contemporary still life. Whilst Part I is an exploration of the themes and issues described above, Part II (case studies) is an attempt to exemplify them through the work of three contemporary British painters: Alan Salisbury, Emma Bennett and G.L. Brierley of whom it can be said that they paint playfully melancholic paintings of still life.
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Kulakova, O. Yu. "Seashells in Dutch Still-Life Painting of the 17th Century." Art & Culture Studies, no. 2 (June 2021): 104–21. http://dx.doi.org/10.51678/2226-0072-2021-2-104-121.

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Dutch still-life is a distinctive cultural phenomenon of the 17th century. Collecting of rarities, curiosities, plants, paintings, sculptures and many other rare things was characteristic for that period. Seashells which were brought from the exotic countries attracted the attention and love of collectors and artists. J. Hoefnagel was one of the first who took an interest to seashells in the emblems. In the early Dutch flower still-life shells were found occasionally but from the beginning of the first quarter of the 17th century artists started to add these graceful creations almost into all compositions with flower bouquets and fruits. New type of still-life with seashells appeared abundantly in painting of Balthasar van der Ast, Jan Davidsz de Heеm, Abraham Beyeren, Willem Kalf and others. While the naturalism in still-life painting brought to the maximum, there was a problem of veracity in depicting shells in the engravings, for example, in Rembrandt’s work. This problem was eventually solved only in the second half of the 17th century, so engravings and zoological illustrations began to show the curl of the shells in its correct direction, exactly clockwise. This research poses problems of the appearance of shells as collectibles and Dutch still-life’ motifs, visual traditions and shells’ classification in the paintings. The article is relevant with interdisciplinary method; some mollusks zoological names with indication of their origin place are given; the cultural and historical context is generalized; the stylistic analysis takes into account the emblematics’ traditions.
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van Gastel, Joris. "Campania Felix?" Nuncius 32, no. 3 (2017): 615–39. http://dx.doi.org/10.1163/18253911-03203005.

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Neapolitan still life painting, even though Italy’s most prolific “school” of the genre, has attracted little theoretical analysis. Where scholars have considered the genre almost exclusively in terms of stylistic developments and questions of attribution, this paper, alternatively, draws inspiration from insights formulated largely outside the field of art history: Umberto Eco’s characterization of still life paintings as “visual lists” and Michele Rak’s characterization of seventeenth-century literature in the Neapolitan dialect as “literary still lifes.” Building on these insights, this paper aims to explore the ways in which Neapolitan still life painting was anchored in local literary traditions and how, moreover, these literary traditions help us to understand the way in which these paintings resonate with the specific social and political situation that characterized Spanish Naples.
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Malkina, Victoria. "Landscape, Still Life, and Portrait as Titles of Poems." Slavic World in the Third Millennium 14, no. 1-2 (2019): 186–205. http://dx.doi.org/10.31168/2412-6446.2019.14.1-2.12.

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This paper is devoted to the problem of visual aspect in literature. We study one of the aspects of the visual in a lyrical poem: the representation of painting genres in the titles of the poems, as well as the interaction between the visual and the verbal in lyrical texts. The goal of the paper is to analyze the semantics of such a title and its influence on both the unfolding of the lyrical plot and the figurative system of the poem, also on the strategy of the perception of such text by a reader. To do this, we solve several problems. First of all, we define the concept of the visual in literature; the concepts of the visuality and the visualization are delimited. Secondly, we consider the main ways of representing of the visual in a lyrical text (taking into account the specifics of the lyric as a kind of literature): lyrical plot, image, compositional forms (a description, a dream, an ekphrasis), and allusions to the genres of painting. Thirdly, the importance of analyzing the title for a lyrical poem is justified. Finally, the most representative texts are analyzed from the specified point of view: we examine how the allusion to the painting is manifested in the title.The material of the paper is the number of poems by the Russian and the Polish poets of the nineteenth – twentieth centuries. Their titles coincide with the main genres of paintings, for example, “Landscape”, “Portrait” and “Still Life (nature morte)”. But at the same time, they are not considered to be ekphrasises. That means there is no any description of a real or imaginary picture there, but there is a recreation of the visual imaginative system by the verbal means; and the poems appeal to the reader's viewing experience. In particular, we analyze the poems of A. Maikov, I. Selvinsky, Y. Levitansky, B. Akhmadulina, L. Martynov, J. Przyboś, A. Pushkin, V. Khodasevich, D. Kedrin, Y. Hartwig, I. Brodsky, A. Svershchinskoy.
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Korot, Beryl. "Language as Still Life: From Video to Painting." Leonardo 21, no. 4 (1988): 367. http://dx.doi.org/10.2307/1578698.

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Cooper, John W., and Norman Bryson. "Looking at the Overlooked. Four Essays on Still Life Painting." Leonardo 24, no. 3 (1991): 367. http://dx.doi.org/10.2307/1575593.

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Bryson, Norman. "Looking at the Overlooked: Four Essays on Still Life Painting." Woman's Art Journal 15, no. 2 (1994): 62. http://dx.doi.org/10.2307/1358618.

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Carrier, David, and Norman Bryson. "Looking at the Overlooked. Four Essays on Still Life Painting." Art Bulletin 74, no. 2 (1992): 344. http://dx.doi.org/10.2307/3045880.

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Dissertations / Theses on the topic "Still-life in painting"

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Gao, Tongxin. "Still Life Portrait : Contemporary jewelry in the form of still life painting." Thesis, Konstfack, Ädellab, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7217.

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This paper presents an investigation in how a jewelry artist understands the life and death, permanence and impermanence of human, objects, and other creatures, by communicating still life in the form of jewelry. I will bring up a fact that death and impermanence have been forgotten by my peers, and use still life and contemporary jewelry to discuss it. The paper mainly talks about: my opinion upon life and death in modern society, why and how did I related them with still life paintings, how did I make my jewelry based on still life, and discusst a dilemma I met: how will jewelry be when they are on and not on people’s body.
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Winn, Laura L. "Grandma's pitcher : a series /." Online version of thesis, 1991. http://hdl.handle.net/1850/11611.

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Beiermann, Joyce A. "THE UN-STILL LIFE." VCU Scholars Compass, 2006. http://hdl.handle.net/10156/2046.

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Cardwell, Thomas. "Still life and death metal : painting the battle jacket." Thesis, University of the Arts London, 2017. http://ualresearchonline.arts.ac.uk/12036/.

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This thesis aims to conduct a study of battle jackets using painting as a recording and analytical tool. A battle jacket is a customised garment worn in heavy metal subcultures that features decorative patches, band insignia, studs and other embellishments. Battle jackets are significant in the expression of subcultural identity for those that wear them, and constitute a global phenomenon dating back at least to the 1970s. The art practice juxtaposes and re-contextualises cultural artefacts in order to explore the narratives and traditions that they are a part of. As such, the work is situated within the genre of contemporary still life and appropriative painting. The paintings presented with the written thesis document a series of jackets and creatively explore the jacket form and related imagery. The study uses a number of interrelated critical perspectives to explore the meaning and significance of the jackets. Intertextual approaches explore the relationship of the jackets to other cultural forms. David Muggleton’s ‘distinctive individuality’ and Sarah Thornton’s ‘subcultural capital’ are used to emphasise the importance of jacket making practices for expressions of personal and corporate subcultural identity. Italo Calvino’s use of postmodern semiotic structures gives a tool for placing battle jacket practice within a shifting network of meanings, whilst Richard Sennett’s‘material consciousness’ helps to understand the importance of DIY making practices used by fans. The project refers extensively to a series of interviews conducted with battle jacket makers between 2014 and 2016. Recent art historical studies of still life painting have used a materialist critique of historic works to demonstrate the uniqueness of painting as a method of analysis. The context for my practice involves historical references such as seventeenth century Dutch still life painting. The work of contemporary artists who are exploring the themes and imagery of extreme metal music is also reviewed.
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Clements, Cassie. "Outside inside /." Morgantown, W. Va. : [West Virginia University Libraries], 2010. http://hdl.handle.net/10450/11100.

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Thesis (M.F.A.)--West Virginia University, 2010.<br>Title from document title page. Document formatted into pages; contains iii, 42 p. : col. ill. Vita. Includes abstract. Includes bibliographical references (p. 23).
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Chéhab, Krystel. "Material conversions: naturalism, discernment, and seventeenth-century Spanish still-life painting." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/52895.

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The full abstract for this thesis is available in the body of the thesis, and will be available when the embargo expires.<br>Arts, Faculty of<br>Art History, Visual Art and Theory, Department of<br>Graduate
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McCune, Janet Marie Krupp. "Re-envisioning the ordinary : a study of vantage points in painting." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/864937.

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Viewed from odd angles, the ordinary looks new and the commonplace becomes unusual. The purpose of my creative project, Re-envisionina the Ordinary: A Study of Vantage Points in Painting, was to use unusual vantage points and multiple viewpoints as compositional devices to show familiar household scenes and objects in a new way. Analysis of artworks and writings by realist painters such as Edgar Degas, Paul Cezanne and Pierre Bonnard helped me learn how each of these artists used unusual or multiple viewpoints While researching these artists, I began to understand why space is one of the fundamental issues of art. I found that, as an artist, I cannot use vantage points and viewpoints without considering the larger issue of space.Artists throughout time have wrestled with the question: how does one represent three-dimensional space on a two-dimensional surface? By presenting different treatments of space, I showed how various artists have answered the question. Leonardo da Vinci solved the problem using linear perspective. Edgar Degas and Pierre Bonnard answered the question usingoriental space and unusual or multiple viewpoints. Paul Cezanne's solution was a new system of unified space.Contemporary artists provide other answers to the question of space. Rene Magritte used the illusionary devices of linear perspective to paint his surreal world. Philip Pearlstein returned to Degas' and Cezannes' concept of space to emphasize both the three-dimensionality of the figures and the twodimensionality of the picture plane. David Hockney found his solution in the multiple viewpoints of cubism.My creative project is my answer to the question. I integrated unusual vantage points, and multiple viewpoints to create ten paintings with unified space. I used some conventions of linear perspective to show depth. For example, sizes and details in my paintings diminish with distance. I then contradicted the three-dimensionality by using some conventions of oriental space that flatten the picture plane: oblique perspective, overlapping and positioning an object next to the front surface.<br>Department of Art
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Bivalacqua, Matthew J. "Picturing Things." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2586.

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My creative process is a ritual I use to examine my personal narrative. Digital photography is a way for me to mine an object or environment with an obsessive emphasis, and extract an image that signifies something relatable. By employing tropes derived from my personal narrative, and filtering them through image manipulation software; I am able to dramatize aspects of perspective and scale. With an automatic mark guided by printed images and projections of digital panoramic images, the surface and resulting picture comes into focus. This is a way for me to move past my experiences. Achieving this level of intimacy with the mundane objects or environments makes it possible for me to develop a personal iconography.
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Maines, Lauren Ann. "The nature of realism /." Online version of thesis, 1988. http://hdl.handle.net/1850/11541.

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Cherry, Peter. "Still life and genre painting in Spain during the first half of the seventeenth century." Thesis, Courtauld Institute of Art (University of London), 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309498.

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Books on the topic "Still-life in painting"

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Suffudy, Mary. Still life painting techniques. Watson-Guptill Publications, 1985.

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Zaferatos, Olga. Painting the still life. Watson-Guptill, 1985.

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Britain), National Gallery (Great, ed. Still life. National Gallery, 2010.

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Jonathan, Baker, ed. Still life. Hamlyn, 2001.

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Buchan, Jack. Still life. Hamlyn, 1993.

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Still life. National Gallery, 2001.

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Rüthi, Andreas. Still life paintings. Alfred David Editions, 1996.

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Lloyd, Elizabeth Jane. Watercolor still life. Dorling Kindersley, in association with the Royal Academy of Arts, 1994.

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Watercolour still life. Dorling Kindersley, 1994.

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Still life. Bounty Books, 1993.

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Book chapters on the topic "Still-life in painting"

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Kettering, Alison M. "The Rustic Still Life in Dutch Genre Painting." In Genre Imagery in Early Modern Northern Europe. Routledge, 2017. http://dx.doi.org/10.4324/9781315093666-8.

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Johnson, Linda. "Looking Askance: The Changing Shape of “Meat” in Dutch Still Life Painting." In Art, Ethics and the Human-Animal Relationship. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-78833-9_5.

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Kearns, James. "No Object too Humble? Still Life Painting in French Art Criticism during the Second Empire." In French Literature, Thought and Culture in the Nineteenth Century. Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-11824-3_9.

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Kahr, Madlyn Millner. "Still-Life." In Dutch Painting in the Seventeenth Century. Routledge, 2018. http://dx.doi.org/10.4324/9780429500893-9.

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Tobin, Claudia. "‘Nothing is really statically at rest’: Cézanne and Modern Still Life." In Modernism and Still Life. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474455138.003.0001.

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This introduction introduces the shifting terms and characteristics historically ascribed to the still life genre, in order to open up a more nuanced discussion of the significance of stillness and still life for modern cultural practices across different media, in literature, painting, sculpture and dance. The still life paintings of the French Post-Impressionist Paul Cézanne (1839–1906) are paradigmatic in this exploration of modern still life and the phenomenon of the ‘animate inanimate’. This introduction examines a range of textual responses to his still lifes by Virginia Woolf, Rainer Maria Rilke, Wassily Kandinsky and (in an extended exploration) D.H. Lawrence, in order to explore a constellation of motifs, concerns and desires that shape the still life in the ‘age of speed’.
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Rush, Fred. "Still Life and The end of Painting." In The Art of Hegel’s Aesthetics. Wilhelm Fink, 2018. http://dx.doi.org/10.30965/9783846762851_010.

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"3. Keeping Score: Painting Music." In Still-Life as Portrait in Early Modern Italy. Amsterdam University Press, 2019. http://dx.doi.org/10.1515/9789048541133-005.

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Tobin, Claudia. "‘Past the gap where we cannot see’: Still Life and the ‘Numinous’ in British Painting of the 1920s–1930s." In Modernism and Still Life. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474455138.003.0004.

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The relationship between still life, spiritual contemplation and the ‘numinous’ comes to the foreground in the work of British painters, Winifred Nicholson, Ben Nicholson, David Jones and Ivon Hitchens, in the context of the artists’ different commitments to the ‘spiritual’, from Christian Science to Catholic theology. This chapter proposes that still life - and in particular the ‘still life at a window motif’ - functions in their work as a mode through which to explore the relationship between the material and the immaterial, as well as to tease out fundamental aesthetic questions. It offers close readings of their still life and flower paintings of the 1920s and early 30s and of writings by contemporary collectors and by the artists, to make the case for the emergence of an ‘enchanted’ domesticity in their circle, which was intimately related to still life and its transformation of the everyday object world. It concludes with an excursion into Kettle’s Yard, Cambridge, the former home of Jim Ede, the collector and friend of the Nicholsons, to propose a reading of his domestic space as an extended still life.
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"F Still Life Keywords Identified in Titles of Works Exhibited at the National Academy of Design, 1826–1900." In Painting by Numbers. Princeton University Press, 2021. http://dx.doi.org/10.1515/9780691214948-012.

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Curtis, Cathy. "Alive Still." In Alive Still. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190908812.003.0012.

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Nell’s fiftieth solo exhibition opened at the Fischbach Gallery in 1991. Her late-life projects ranged from illustrating a book of poetry by the late Marge Piercy to calling the governor of Virginia in an effort to stay the execution of a convicted rapist and murderer. During the 1990s, Nell’s health problems included eye disease and breast cancer as well as postpolio syndrome. The increasing curvature in her back tired her and made sitting at an easel painful. But she carried on anyway, often painting flower still lifes. This chapter briefly discusses her style with reference to flower paintings by other twentieth-century artists, including Mondrian, Hartley, Bonnard, Monet, Ellsworth Kelly, and Georgia O’Keeffe. Her last Gloucester painting, Rock Shadows (1995), hints at closure while embodying a sense of the continuous rhythms of life. Nell died on November 14, 1996. The following January, artist and writer friends gathered at her memorial.
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Conference papers on the topic "Still-life in painting"

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Xiaoling, Wen. "On the Interest in the Still Life of Modern Lacquer Painting." In 2020 International Conference on Language, Art and Cultural Exchange (ICLACE 2020). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200709.027.

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Gavrilova, Liliia Viktorovna. "Some Aspects of Working on a Still Life Painting in Drawing Classes." In International Research-to-practice conference, chair Vladimir Aleksandrovich Vaniaev. Publishing house Sreda, 2021. http://dx.doi.org/10.31483/r-99391.

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Lagunova, Ekaterina Aleksandrovna. "Decorative Still Life in Painting as a Means of Forming the Creative Thinking of Children of Primary School Age in the Visual Arts Classes." In International Research-to-practice conference. Publishing house Sreda, 2020. http://dx.doi.org/10.31483/r-75895.

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Del Gallego, Neil Patrick, Cedric Lance Viaje, Michael Ryan Gerra-Clarin, et al. "A Mobile Augmented Reality Application For Simulating Claude Monet’s Impressionistic Art Style." In WSCG'2021 - 29. International Conference in Central Europe on Computer Graphics, Visualization and Computer Vision'2021. Západočeská univerzita, 2021. http://dx.doi.org/10.24132/csrn.2021.3002.9.

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In this study, we showcase a mobileaugmented reality application where a user places various 3D models in atabletop scene. The scene is captured and then rendered as Claude Monet’s impressionistic art style. One possibleuse case for this application is to demonstrate the behavior of the impressionistic art style of Claude Monet, byapplying this to tabletop scenes, which can be useful especially for art students. This allows the user to create theirown "still life" composition and study how the scene is painted. Our proposed framework is composed of threesteps. The system first identifies the context of the tabletop scene, through GIST descriptors, which are used asfeatures to identify the color palette to be used for painting. Our application supports three different color palettes,representing different eras of Monet’s work. The second step performs color mixing of two different colors in thechosen palette. The last step involves applying a three-stage brush stroke algorithm where the image is renderedwith a customized brush stroke pattern applied in each stage. While deep learning techniques are already capableof performing style transfer from paintings to real-world images, such as the success of CycleGAN, results showthat our proposed framework achieves comparable performance to deep learning style transfer methods on tabletopscenes.
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Makarevičs, Valerijs, and Dzintra Ilisko. "Figuratively Semantic Analysis of Works of Art." In 14th International Scientific Conference "Rural Environment. Education. Personality. (REEP)". Latvia University of Life Sciences and Technologies. Faculty of Engineering. Institute of Education and Home Economics, 2021. http://dx.doi.org/10.22616/reep.2021.14.044.

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Topicality of the study is related to the in-depth study of the art of works of Van Gogh, Velázquez and Repin by relating art to the biography of these authors. The aim of the study is to explore the symbolism and the biography of the painters using the examples of analysis from the works of Van Gogh, Velasquez, and Repin and also to determine the conditions that contribute to the awareness of the process of perception and understanding of paintings. The methodology of this study is figuratively symbolic method used with the purpose to compare the plots of the art and to relate them to the life experience of their creators. Results obtained and the most important conclusions: This is important for the author of a painting to convey his/her thoughts and feelings to the viewer. Still, there remains a problem. The author uses the language of the image and symbol, which the viewer needs to reveal. Psychology of art offers two main options for solving this problem. The essence of the first option which is the ability of the painter to direct the viewer's sight. It is called the Dutch approach. The second approach to the analyses of art is called the Italian approach. In this case this is important to understand the symbolism and knowledge gained historically by relating one’s art works to the biography of the painter. The authors of this article focus on the second approach by illustrating it with examples of analysis from the works of Van Gogh, Velázquez, and Repin. The results of this study might be of interest for those who are interested in arts and psychology.
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Subramanian, Meena, and Ergun Akleman. "A Painterly Rendering Approach to Create Still-Life Paintings with Dynamic Lighting." In SIGGRAPH '20: Special Interest Group on Computer Graphics and Interactive Techniques Conference. ACM, 2020. http://dx.doi.org/10.1145/3388770.3407403.

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