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Journal articles on the topic 'Still-life in painting'
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1
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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Pichkur, M. "Digital still life painting: art production, composition, imitation and stylization." Art and education, no. 4 (2020): 42–49. http://dx.doi.org/10.32405/2308-8885-2020-4(98)-42-49.
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Kharlan, Olha, Iryna Shkola, Bohdana Saliuk, Maryna Bohdanova, and Yuliia Melnikova. "Transformation of the Genre of Still Life in Painting and Literature." Journal of History Culture and Art Research 9, no. 3 (2020): 246. http://dx.doi.org/10.7596/taksad.v9i3.2758.
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IIJIMA, Akihito. "Serial Disposition of Still Life Motifs in the Roman Wall-Painting." Bulletin of the Society for Near Eastern Studies in Japan 41, no. 2 (1998): 194–212. http://dx.doi.org/10.5356/jorient.41.2_194.
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Bolewski, Christin. "Still life in motion: The performance of time in video painting." Performance Research 11, no. 4 (2006): 63–66. http://dx.doi.org/10.1080/13528160701363457.
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Stork, David G. "Did Hans Memling Employ Optical Projections When Painting Flower Still-Life?" Leonardo 38, no. 2 (2005): 155–60. http://dx.doi.org/10.1162/0024094053722435.
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David Hockney has recently hypothesized that some early Renaissance painters employed optical devices such as concave mirrors to project images of a scene or part of a scene onto their supports, which they then traced or painted over. As one of many examples, he has claimed that Hans Memling (ca. 1440–1494) built an optical projector to create his Flower Still Life, specifically when rendering its carpet. The author's perspective analysis on the image of this carpet shows that, while there is a “break” in perspective consistent with refocusing or tipping of an optical projector, there are also other larger, more significant perspective deviations that are inconsistent with the use of a projector. After presenting a simple sensitivity analysis of these results and rebutting anticipated objections, the author concludes by rejecting the claim that optical projections were used in the creation of this still life.
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Kawabata, Hideaki, and Semir Zeki. "Neural Correlates of Beauty." Journal of Neurophysiology 91, no. 4 (2004): 1699–705. http://dx.doi.org/10.1152/jn.00696.2003.
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We have used the technique of functional MRI to address the question of whether there are brain areas that are specifically engaged when subjects view paintings that they consider to be beautiful, regardless of the category of painting (that is whether it is a portrait, a landscape, a still life, or an abstract composition). Prior to scanning, each subject viewed a large number of paintings and classified them into beautiful, neutral, or ugly. They then viewed the same paintings in the scanner. The results show that the perception of different categories of paintings are associated with distinct and specialized visual areas of the brain, that the orbito-frontal cortex is differentially engaged during the perception of beautiful and ugly stimuli, regardless of the category of painting, and that the perception of stimuli as beautiful or ugly mobilizes the motor cortex differentially.
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Kougemitrou, I., G. Economou, J. Giovanopoulos, I. Baziotis, G. Leontakianakos, and V. Stathopoulos. "A mineralogical study of pigments used in two Iakovidis paintings: Verification of artwork authenticity using Raman micro-spectroscopy method." Bulletin of the Geological Society of Greece 47, no. 1 (2013): 392. http://dx.doi.org/10.12681/bgsg.11014.
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For the purpose of the current study, we examined two paintings, an original and a fake one, entitled “Still life with grapes”, and claimed both to be created from the Greek Painter G. Iakovidis. The current Research Project has been carried out at the Centre Nikias, an innovative Research Centre specialised on certification, maintenance and restoration of art works. Raman spectroscopic analysis has been carried to verify the authenticity of the used pigments and also the originality of the two paintings. The Raman spectra acquired confirmed four different colours in both painting`s pigments: red, blue, white and yellow. For the first painting Cinnabar for the red pigment, Ultramarine for the blue pigment, White earths for the white pigment and Yellow ochre for the yellow pigment. In the second painting the colours used verified as synthetic pigments. We identified the presence of Cadmium red for the red colour, Cobalt blue for the blue pigment, Zinc white for the white and Cadmium yellow for the yellow one.
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Yin, Xiaoke. "A Comparative Study on the Spatial Consciousness of Traditional Paintings in the East and the West." Journal of Contemporary Educational Research 5, no. 7 (2021): 45–50. http://dx.doi.org/10.26689/jcer.v5i7.2354.
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This article compares and analyzes the development history, ideological culture, and philosophical concepts of traditional paintings, landscape paintings, and still life paintings in the East and the West. The essence of painting is a form of visual consciousness. There is a unique way of processing and expressing spatial consciousness in different images, regions, and humanistic spirits of Eastern and Western paintings. The difference in spatial awareness promotes mutual learning, guidance, and promotion between the Chinese and Western art which have different historical backgrounds, aesthetic concepts, and national customs. Therefore, different ways of paintings would also have differences in the spatial consciousness of the paintings.
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Barrett, Ross. "Harnett’s Habit: Still Life Painting and Smoking Culture in the Gilded Age." American Art 33, no. 2 (2019): 62–83. http://dx.doi.org/10.1086/705626.
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Lin, Yongchao. "Xie-yi Traditions in Modern Chinese Still Life in Oil Painting Technique." Университетский научный журнал, no. 61 (2021): 150–67. http://dx.doi.org/10.25807/22225064_2021_61_150.
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Ripollés, Carmen. "Fictions of Abundance in Early Modern Madrid: Hospitality, Consumption, and Artistic Identity in the Work of Juan van der Hamen y León." Renaissance Quarterly 69, no. 1 (2016): 155–99. http://dx.doi.org/10.1086/686329.
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AbstractThis article examines how still-life painting contributed to the creation of a distinct urban aristocratic culture in seventeenth-century Madrid. Focusing on a group of paintings by Juan van der Hamen, the article situates these images within the context of the picture gallery and the practice of aristocratic hospitality. By giving visual form to this new urban mode of magnificence, Van der Hamen’s still lifes created a fiction of abundance that glossed over Madrid’s economic realities. At the same time, Van der Hamen concealed signs of manual craftsmanship and commercial interest in order to advance and ennoble his own artistic identity.
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Wahida, Adam, Endang Sri Handayani, and Slamet Supriyadi. "The Philosophical Values of Kawung Batik Motif in Contemporary Batik Painting." Mudra Jurnal Seni Budaya 35, no. 1 (2020): 76–82. http://dx.doi.org/10.31091/mudra.v35i1.1001.
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As one of the classic Javanese batik, the Kawung batik motif contains philosophical values that teach life guidelines for humans, such as gratitude, religiosity, respect for nature, and togetherness. These philosophical values are still relevant to the current situation, so it is interesting to be used as a source of ideas for the creation of contemporary paintings. This article is the result of research that aims to describe the philosophical values of the Kawung batik motif as a source of ideas and the process of creating contemporary batik paintings. The method is descriptive qualitative with the type of art creation research. The stages include: 1) gathering information about the Kawung batik motif, 2) exploring ideas based on the philosophical meaning of the Kawung batik motif, 3) making a design sketch, 4) realizing the sketch into a painting, 5) describing the shape of the painting created. The results of this study are 1) a description of the philosophical meaning of Kawung batik motifs, 2) a description of the process of creating contemporary batik painting works, 3) a description of the forms of contemporary batik painting works that contain philosophical values of Kawung batik motifs. The results of this study indicate that the batik painting produced has a local character and represents the soul of the times. Thus, it is evident that the local wisdom values of traditional culture can be developed and harmonized with contemporary culture.
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Gracheva, Svetlana M. "The Genre of Still Life in Contemporary Painting of St. Petersburg Artists-Academicians." Actual Problems of Theory and History of Art 8 (2018): 456–66. http://dx.doi.org/10.18688/aa188-4-44.
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Pisarenko, Sergey A. "SOME ASPECTS OF INDIVIDUALIZATION OF TEACHING PAINTING WHEN WORKING ON A STILL LIFE." Известия Воронежского государственного педагогического университета, no. 4 (2020): 73–77. http://dx.doi.org/10.47438/2309-7078_2020_4_73.
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Kołtan, Jacek, and Anna Sobecka. "Martwa natura Philippa Sauerlanda i narodziny nowoczesnej podmiotowości." Porta Aurea, no. 19 (December 22, 2020): 96–113. http://dx.doi.org/10.26881/porta.2020.19.04.
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The Allegory of Transience by Philipp Sauerland (Gdańsk 1677 – Wrocław 1762), an artist specializing in still life and animal painting, was purchased in 2015 by the National Museum in Gdańsk. The painting allows us to deepen our knowledge of Sauerland’s artistic roots, as well as the interpretation of the painting in the socio-cultural context of the development of Europe in the early 18th century.
 In the paper a thesis is put forward about the Leiden sources of Sauerland’s work, which are connected with the painting tradition of the so-called fijnschilders, especially the work of Willem van Mieris. In the first decade of the 18th century, Sauerland painted The Young Woman in the Kitchen Interior, surrounded by perfectly rendered victuals, showing a similar gesture as in the famous painting by Van Mieris The Mouse Trap. In the signed painting from a private collection in New York, Sauerland chose historical themes. He presented a rare scene of David Giving Uriah a Letter to Joab. The painting refers to two famous works by Pieter Lastmann, but it is placed in an architectural set design analogous to Van Mieris’s paintings. An important element of the Allegory of Transience, in turn, is the relief visible by sliding down a carpet. This motif is also taken from the work of Van Mieries, but the iconography of the sculptural representation refers to Gerard de Lairesse’s print showing Chronos prevented by Prudence from destroying the statues. Sauerland is therefore close to the artists from Leiden in terms of the choice of themes, motifs, and the way they are painted. He also usually used a similar format of paintings. Like Van Mieris, the artist from Gdańsk signed his works with longer inscriptions. Although references to the Leydians are obvious in Sauerland’s early works, he does not make copies of their works, but focusing on the still life genre, he transforms them in his own style.
 The second thesis of our essay is related to the transformation of vanitas motifs, which in Sauerland’s work reveal their secularized character. The traditional symbolism of transience, which draws on religion, is replaced by the ideas of rationalism, accompanied by the idea of reason that opens a possibility of overcoming sensual and emotional limitations. The work becomes an expression of emancipatory processes that take place at the turn of the 17th and 18th centuries in European culture. Referring to the philosophical work of Baruch Spinoza (notion of knowledge), we interpret Sauerland’s work as an expression of the emerging modern ideal of freedom, which was based on a rationalistic paradigm. It is thanks to wisdom (sapientia) that the subject is able to transcend the reality of the sensual guise.
 In the last part of the text we point to the important role of practical wisdom (prudentia) and art (ars) in the process of liberalization that accompanied the social changes of the time. Using illusionism, Sauerland proposes an interpretative key to the viewer: the meaning of life is complemented by art: by making art, understanding art, or collecting artworks, the rational man can free himself from the fear of his own finiteness. The function of this still life is not to remind us of death, but to point out that contemplation of art is an intellectual and spiritual exercise that allows us to find the right attitude to life.
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Iacob, Anisia. "Lipsius’ De constantia, 17th Century Still Life Painting and the Use of Constancy Today." Studia Universitatis Babeș-Bolyai Philosophia 65, Special Issue (2020): 35–53. http://dx.doi.org/10.24193/subbphil.2020.spiss.03.
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"Lipsius’ De constantia, 17th Century Still Life Painting and the Use of Constancy Today. The present article revisits the main ideas from Justus Lipsius’ De constantia in the light of the present ongoing pandemic. Through his interest for the Stoics, Lipsius was able to contribute to a more general and European interest towards this topic, reviving the Stoic philosophy under the name of Neostoicism. The influence of his ideas can be seen in some art production, especially the one that is connected to the places where Lipsius lived and it is a testimony to their popularity and the various ways of transmitting them. Even if the Stoic ideal remains an ideal, the Neostoicism of Justus Lipsius is meaningful in as much as any philosophy that deals with crises because it can help us view the text from both its relevancy and our recent general experience. The isolation, the anxiety, the uneasiness and fear are emotions that have been more or less present in our lives during this pandemic and they require a solution. Constancy is the solution that Justus Lipsius proposes. Keywords: Justus Lipsius, Neostoicism, Still Life Painting, Pandemic, Moral Philosophy, Crisis Philosophy."
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Baimetov, Botir Boltabayevich, and Pardaboy Khudoiberganov. "Use The Theoretical Foundations Of Color Science In Teaching Students To Work With Educational Productions From Painting." American Journal of Social Science and Education Innovations 03, no. 03 (2021): 330–37. http://dx.doi.org/10.37547/tajssei/volume03issue03-50.
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The article provides students with information about color in painting lessons, a brief history of its development, the basics of color science in teaching students to work with drawings. As a practical exercise, a step-by-step example of painting a still life is given.
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Sijia, Liu. "The Scholar’s study in Painting and the History of Collection in Dutch XVII century." Scientific and analytical journal Burganov House. The space of culture 17, no. 1 (2021): 83–94. http://dx.doi.org/10.36340/2071-6818-2021-17-1-83-94.
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his article is devoted to analysis the theme of the “scholar’s study” in Netherland XVII century painting. The reason for the rise of this theme is closely related to the great development of science and navigation in the XVII century in Netherland. Under the economic development, the tradition of collecting prevails among scholars. People admire knowledge and work on scientific inquiry. The author analyzes Gerrit Dou’s self-portrait The Artist’s studio and the symbolic meanings of objects in the painting. The author states that his self-portrait portrays himself as a scholar, reflecting the social ethos of worshiping knowledge. The specificity of his work, the themes of the scholar’s study, the influence of science, religion, philosophy on the painting of Gerrit Dou, the symbolic meanings of objects surrounding the scientist are considered. Jan van der Hayden’s paintings Still Life with a Globe, Books, Sculpture and Other Objects reflect the wide-ranging style of the collection at that time, reflecting both the worship of religion and the abundance of Netherland foreign products under the background of the great geographical discovery in the XVII century. During this period, establishment of Netherland universities and advent of the maritime age encouraged a thriving cartography producing. A large number of globes and scientific tools appeared in the paintings. They not only have religious meaning, but also show the progress of the new era. Audience can get a glimpse of the characteristics of a typical Netherland scholar’s collection from his paintings. The purpose of this article is to analyze the scientific progress, social development of the Netherlands. This allows you to take a fresh look at the assessment of creativity on the theme of the scholar’s study. To fulfill that purpose, need to complete following tasks: to characterize the specifics of paintings in the themes of the scholar’s study, to reveal the symbolism in the paintings The Artist’s studio by Gerrit Dou, Still Life with a Globe, Books, Sculpture and Other Objects and A Corner of a Room with Curiosities by Jan van der Hayden, to show the close connection between the development of science in the 17th century and the topic of the scientist’s office. The author concludes that the theme of the “scholar’s study” in Netherland XVII century paintings reflect the collection characteristics and aesthetics in the XVII century.
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Thomas, KErstin. "The Still Life of Objects – Heidegger, Schapiro, and Derrida reconsidered." eitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 60. Heft 1 60, no. 1 (2015): 81–102. http://dx.doi.org/10.28937/1000106256.
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Kerstin Thomas revaluates the famous dispute between Martin Heidegger, Meyer Schapiro, and Jacques Derrida, concerning a painting of shoes by Vincent Van Gogh. The starting point for this dispute was the description and analysis of things and artworks developed in his essay, “The Origin of the Work of Art”. In discussing Heidegger’s account, the art historian Meyer Schapiro’s main point of critique concerned Heidegger’s claim that the artwork reveals the truth of equipment in depicting shoes of a peasant woman and thereby showing her world. Schapiro sees a striking paradox in Heidegger’s claim for truth, based on a specific object in a specific artwork while at the same time following a rather metaphysical idea of the artwork. Kerstin Thomas proposes an interpretation, which exceeds the common confrontation of philosophy versus art history by focussing on the respective notion of facticity at stake in the theoretical accounts of both thinkers. Schapiro accuses Heidegger of a lack of concreteness, which he sees as the basis for every truth claim on objects. Thomas understands Schapiro’s objections as motivated by this demand for a facticity, which not only includes the work of art, but also investigator in his concrete historical perspective. Truth claims under such conditions of facticity are always relative to historical knowledge, and open to critical intervention and therefore necessarily contingent. Following Thomas, Schapiro’s critique shows that despite his intention of giving the work of art back its autonomy, Heidegger could be accused of achieving quite the opposite: through the abstraction of the concrete, the factual, and the given to the type, he actually sets the self and the realm of knowledge of the creator as absolute and not the object of his knowledge. Instead, she argues for a revaluation of Schapiro’s position with recognition of the arbitrariness of the artwork, by introducing the notion of factuality as formulated by Quentin Meillassoux. Understood as exchange between artist and object in its concrete material quality as well as with the beholder, the truth of painting could only be shown as radically contingent. Thomas argues that the critical intervention of Derrida who discusses both positions anew is exactly motivated by a recognition of the contingent character of object, artwork and interpretation. His deconstructive analysis can be understood as recognition of the dynamic character of things and hence this could be shown with Meillassoux to be exactly its character of facticity – or factuality.
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Tokumitsu, Miya. "The Currencies of Naturalism in Dutch Pronk Still-Life Painting: Luxury, Craft, Envisioned Affluence." RACAR : Revue d'art canadienne 41, no. 2 (2016): 30–43. http://dx.doi.org/10.7202/1038070ar.
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En tant que mode de représentation, le naturalisme des natures mortes ostentatoires néerlandaises du XVIIe siècle suscite un désir consumériste. Pourtant, comme le mot l’indique, le naturalisme vise la représentation d’objets, de figures, et d’espaces d’une manière qui imite la réalité. Comment les pronkstilleven peuvent-elles prétendre à la vérité de la représentation naturaliste en même temps qu’elles incarnent le luxe, une forme de plaisir personnel déterminé par la valeur sociale ? Pour répondre à cette question, cet essai poursuit trois pistes de réflexion : le statut de la représentation naturaliste comme produit de luxe, les tensions entre l’artisanat et le travail dans ces tableaux, et enfin les distinctions entre l’abondance et l’affluence codifiée dans le naturalisme néerlandais.
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Brusati, Celeste. "Stilled Lives: Self-Portraiture and Self-Reflection in Seventeenth-Century Netherlandish Still-Life Painting." Simiolus: Netherlands Quarterly for the History of Art 20, no. 2/3 (1990): 168. http://dx.doi.org/10.2307/3780741.
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Petit, David A. "A Historical Overview of Dutch and French Still Life Painting: A Guide for the Classroom." Art Education 41, no. 5 (1988): 14. http://dx.doi.org/10.2307/3193074.
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Sobecka, Anna. "Świat zwierząt Daniela Schultza." Porta Aurea, no. 17 (November 27, 2018): 33–61. http://dx.doi.org/10.26881/porta.2018.17.02.
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Daniel Schultz (1615–1683) was one of the most important painters of his time, highly regarded among the Polish nobility and patricians of his native city of Gdańsk. Schultz’s game and animal pieces resemble works of Flemish artists. His earliest animal picture Trophies in the Pantry is perhaps most Southern Netherlandish in character. Fred G. Meijer attributed to Schultz a painting on the subject of hunting, bearing the monogram “DS” and dated 1649. Schultz also executed a smaller painting, which is a depiction of a fox (or rather a dog) head shown in profile and a bunch of grapes, with some killed birds. Furthermore, two other animal paintings by Schultz are known from the National Museum in Gdańsk. In 2014, a pair of pendant paintings of dead birds appeared on the art market. Their similarity to the Medicean Trophies led the experts of the Artcurial auction house to ascribe them to Schultz. As one compares them with some other works by the Gdańsk artist, the resemblance is even more pronounced. Both paintings are now in a Polish private collection. In the Museum of Fine Arts in Gent there are two other paintings attributed to Frans Snyders and Jan Fyt which could have been painted by Daniel Schultz. The focus on perfectly studied animals, framing of the composition, and a summary treatment of the background are characteristic of him. The ‘Ds 16__’ monogram bears the painting from the Kuscovo Palace (Moscow), which depicts A Heron, a Bittern and a Rabbit. Schultz was the first artist in the territories associated with the Polish-Lithuanian Commonwealth to create independent animal and still life paintings. Possibly a pupil of Elias Vonck, the Amsterdam master active in Prussia, Schultz was also influenced by Antwerp masters such as Frans Snyders and Johannes Spruyt. Schultz’s interest for animal themes and still life may have been connected with characteristic features of the culture of Gdańsk, such as, for instance, a penchant for hunting, viewed both as a pastime and a subject for art. Gdańsk citizens enjoyed the right to hunt as of 1588, earlier than any other European bourgeoisie. Most signed works by Schultz are his depictions of animals. Tis could be an indirect suggestion about the identity of the recipients of Schultz’s depictions of the animal world. As stated above, the Gdańsk citizens had a predilection for hunting pieces; they also cared more than courtiers about the fact that such representations were authored by a Gdańsk artist.
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Andriaka, Sergey Nikolayevich. "The Mysrety of Flowers. The Mystery of Color. Painting in Multi-Layer Watercolor Technique." Secreta Artis, no. 4 (January 21, 2021): 28–39. http://dx.doi.org/10.51236/2618-7140-2020-3-4-28-39.
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The article is dedicated to composing and painting a floral still life in multi-layer watercolor. The author, drawing on his more than half a century experience in creative and pedagogical work, reveals major challenges faced by artists. The primary focus is directed towards a particularly demanding task of arranging a still life ensemble harmonious in terms of color, with flowers occupying a central place, while all other elements (stems and leaves, vase, background, etc.) play a role of a tactful and apt “accompaniment”. In this regard, the author examines successful tone and background choices for flower still lifes, taking into account the peculiarities of color perception depending on the color palette of the surrounding environment. Using his creative work as an example, the author unveils the key principles behind arranging and painting still lifes with bouquets of blue, white, yellow and red flowers, field herbs, as well as floral still lifes on deep dark backgrounds. The author explores the question of proper layer-bylayer transmission of chiaroscuro, light and shade. Likewise, the most common difficulties connected to watercolor painting, as well as the best ways to overcome them are delineated. The article is intended for teachers and students of art schools at all levels; it will also be of interest to professional artists as the author offers solutions to complex problems arising when one works with color in a particularly exigent multi-layer watercolor technique.
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Půtová, Barbora. "The Czech Painter Božena Jelínková-Jirásková. On the Life and Work on the Periphery of the Male World." Acta Musei Nationalis Pragae – Historia litterarum 61, no. 1-2 (2016): 51–58. http://dx.doi.org/10.1515/amnpsc-2017-0018.
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The article focuses on the life and work of Božena Jelínková-Jirásková (1880–1951), which are described and interpreted by means of a content analysis of her correspondence and artistic production. It presents the basic phases in the artist’s life and work in terms of the influence of her father, the writer Alois Jirásek, and subsequently her husband, the diplomat and writer Hanuš Jelínek. The study provides a chronological overview of the course of her education, life in Paris, exhibition activities, social contacts and artistic movements that affected her paintings. In this respect, a source of inspiration for the work of Jelínková-Jirásková can mainly be seen in the work of Paul Cézanne and Otakar Kubín, with the latter of whom she maintained long-term contacts. The central motif of their work was a landscape, comprising not only a major theme of her artistic production, but also a form of search for personal identity, internal security and a familiar home. A partial objective of the article is to cover the artistic development of Jelínková-Jirásková from Impressionism to realistic and figural work, her subsequent inclination to Neoclassical landscape painting and eventually a return to Realist painting, the Czech landscape and still lifes. The article presents Jelínková-Jirásková as one of the first Czech professional painters to have achieved recognition in both Czechoslovakia and France.
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Kim Ye-jin. "Yi Doyeong’s (1884-1933) Embrace of Still-Life Painting and Its Characteristics: Exploration of New Painting by Drawing from Nature and through Nationalism." KOREAN JOURNAL OF ART HISTORY 296, no. 296 (2017): 175–203. http://dx.doi.org/10.31065/ahak.296.296.201712.006.
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Usanova, A. L. "Праздник в натюрмортах наивных художников: выставочный опыт начала ХХI века". Iskusstvo Evrazii [The Art of Eurasia], № 1(20) (31 березня 2021): 24–31. http://dx.doi.org/10.46748/arteuras.2021.01.002.
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The article is devoted to the study of the works of naive Altai artists — paintings in the genre of still life, selected during the expedition trips of 2000–2002. The author reviewed the expedition materials, performed an analysis of the works included in the exposition of the 2002 exhibition “Naive Still Life”, revealed and presented the peculiarities of the pictorial language and semantic retranslation of the holiday theme in the still lifes of the Altai naïve artists. The article describes the technical details and methods of work of amateur painters, the reasons and circumstances of the authors' appeal to artistic creation, the specifics of the worldview of naive artists and its reflection in the context of the painting. Статья посвящена исследованию произведений алтайских наивных художников — картин в жанре натюрморта, отобранных в ходе экспедиционных поездок 2000–2002 годов. Автором сделан обзор экспедиционных материалов, выполнен анализ работ, вошедших в экспозицию выставки 2002 года «Наивный натюрморт», выявлены и представлены особенности изобразительного языка и смысловой ретрансляции темы праздника в натюрмортах алтайских наивов. Описаны технические приемы работы живописцев-любителей, причины и обстоятельства обращения авторов к художественному творчеству, специфика мироощущения наивного художника и его отражения в контексте картины.
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Hagood, John. "THE RHETORIC OF PERSPECTIVE: REALISM AND ILLUSIONISM IN SEVENTEENTH-CENTURY DUTCH STILL-LIFE PAINTING. Hanneke Grootenboer." Art Documentation: Journal of the Art Libraries Society of North America 25, no. 1 (2006): 64. http://dx.doi.org/10.1086/adx.25.1.27949410.
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Rodríguez Bravo, Jesús. "El Martirio de san Esteban de Quintana y los orígenes de la ciudad santa idealizada." Revista de Historia Canaria, no. 203 (2021): 161–87. http://dx.doi.org/10.25145/j.histcan.2021.203.06.
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In the last stage of his life, Cristóbal Hernández de Quintana painted the Martyrdom of St. Stephen. The painting was purchased in 1781 to be placed in the main sacristy of the new church of La Concepción de La Orotava, still unfinished. The message of the painting was clear: to teach priests by the example of the saint’s death. Quintana had used various sources to compose the scene, some of them coming from engravings by important European masters, with a city of Jerusalem that was rooted in a utopian and idealized vision of long trajectory.
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Fehrenbach, Frank. "Cut Flowers." Nuncius 32, no. 3 (2017): 583–614. http://dx.doi.org/10.1163/18253911-03203004.
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Designations of still life as natura morta, nature morte, naturaleza muerta are based on a gross misunderstanding. We are only beginning to fully understand how masterfully the genre played with the supposed boundaries between the living and dead. It is above all floral still life painting after 1600, in which the intermediate state between life and death is centrally thematized. Where do cut plants actually derive their mysterious liveliness? Throughout its history the study of botany focused on the reality and mystery of plant metabolism. As scientists fiercely debated the nutritional aspect of floral still life in the horizon of its precarious liveliness, Dutch painters experimented with making visible the mysterious interiority of vases. In this way, still life painters modelled the larger epistemic problem of plant nutrition, self-preservation, and life not in terms of a positive answer, or hypothesis, but as an enigmatic field, an open question.
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Ette, Ottmar. "Magic Screens. Biombos, Namban Art, the Art of Globalization and Education between China, Japan, India, Spanish America and Europe in the 17th and 18th Centuries." European Review 24, no. 2 (2016): 285–96. http://dx.doi.org/10.1017/s1062798715000630.
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Garcilaso de la Vega el Inca, for several centuries doubtlessly the most discussed and most eminent writer of Andean America in the 16th and 17th centuries, throughout his life set the utmost value on the fact that he descended matrilineally from Atahualpa Yupanqui and from the last Inca emperor, Huayna Cápac. Thus, both in his person and in his creative work he combined different cultural worlds in a polylogical way.1 Two painters boasted that very same Inca descent – they were the last two great masters of the Cuzco school of painting, which over several generations of artists had been an institution of excellent renown and prestige, and whose economic downfall and artistic marginalization was vividly described by the French traveller Paul Mancoy in 1837.2 While, during the 18th century, Cuzco school paintings were still much cherished and sought after, by the beginning of the following century the elite of Lima regarded them as behind the times and provincial, committed to an ‘indigenous’ painting style. The artists from up-country – such was the reproach – could not keep up with the modern forms of seeing and creating, as exemplified by European paragons. Yet, just how ‘provincial’, truly, was this art?
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Chauhan, Sadhana, and Monalisa Rajaura. "NATURE OF MISCELLANEOUS CARPET PAINTING IN INDIA." International Journal of Research -GRANTHAALAYAH 7, no. 11 (2019): 48–50. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.982.
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English : The history of painting in India is very old. It was only in the Stone Age that humans started drawing cave. The softest feelings of life and the lively thoughts of struggle life, etc. are still safe as human artifacts. From time immemorial, man has been expressing his feelings through line and shape, weight and traction.
 It is also necessary to know the definition of painting before considering the nature of painting in India. "Painting is the appearance of some form by marking the length, width, roundness and height with the help of color lines on a flat surface such as a mural, wood panel etc."
 Hindi : भारतवर्ष में चित्रकला का इतिहास बहुत पुराना है। पाषाणकाल में ही मानव ने गुफा चित्रण करना शुरू कर दिया था। जीवन की कोमलतम भावनाएँ तथा संघर्षमय जीवन की सजीव झाँकियों, आदि मानव की कलाकृतियों के रूप में आज भी सुरक्षित है। आदिकाल से आज तक मनुष्य रेखा तथा आकार, तक्षण तथा कर्षण के द्वारा अपनी भावनाओं को व्यक्त करता चला आ रहा है। 
 भारतवर्ष में विविधकालीन चित्रकला के स्वरूप पर विवेचन करने से पूर्व चित्रकला की परिभाषा जान लेना भी आवश्यक है। ''किसी समतल धरातल जैसे भित्ति, काष्ठ फलक आदि पर रंग-रेखाओं की सहायता से लम्बाई, चौड़ाई, गोलाई तथा ऊँचाई को अंकित कर किसी रूप का आभास कराना चित्रकला है।1
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Saviello, Julia. "Tobacco’s Appeal to the Senses and the Early Modern Smoker’s Still Life." Ikonotheka, no. 29 (September 16, 2020): 123–50. http://dx.doi.org/10.31338/2657-6015ik.29.4.
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Smell and taste – of the five senses these are the two most strongly stimulated by smoking tobacco. The article presents an in-depth analysis of the reflection of both these forms of sensory perception in textual and visual sources concerning the early consumption of the herb. In a first step, tobacco’s changing reception, first as medicine and then as stimulant, is traced through the years of its increasing distribution in Europe, starting in the middle of the 16th century. As this overview reveals, at that time the still little known substance gave rise to new forms of sense perception. Following recent studies on smell and gustation, which have stressed the need to take into account the interactions between these senses, the article probes the manifold stimulation of the senses by tobacco with reference to allegorical representations and genre scenes addressing the five senses. The smoking of tobacco was thematized in both of these art forms as a means of visualizing either smell or taste. Yet, these depictions show no indication of any deliberate engagement with the exchange of sense data between mouth and nose. The question posed at the end of this paper is whether this holds true also for early smoker’s still lifes. In the so-called toebakjes or rookertjes, a subgenre of stilllife painting that, like tobacco, was still a novelty at the beginning of the 17th century, various smoking paraphernalia – such as rolled or cut tobacco, pipes and tins – are arrayed with various kinds of foods and drinks. Finally, the article addresses a selection of such smoker’s still lifes, using the toebakje by Pieter Claesz., probably the first of its kind, as a starting point and the work by Georg Flegel as a comparative example. Through their selection of objects, both offer a complex image of how tobacco engages different senses.
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Kumar, Dilip. "Color in painting (Ajanta)." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3660.
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Depiction of murals in the caves of Anjanta has been made from the period of 200 BC to 620 AD, after such a long interval, the character beauty and salt of some of the pictures of the paintings have decreased, yet till date the aura of the paintings of Ajanta has not faded. . In the paintings of Ajanta, beautiful characters are seen here and there is vikhari. Although the brightness of these paintings has faded enough, the colors appear to be life-threatening. The shiny bottom, green and purple color still glows in its former aura. The colors of the body and the clothes are lavish and consistent, except for some early paintings of Ajanta, in the sixteenth and seventeenth caves, the painters of Ajanta have shown a tendency to draw figures in light letters on the dark background, but on the other hand dark shapes on the dark background. The tendency to make K is also seen which is similar to the Venetian-painting style of Europe. The painter was very conscious to attract the attention of the viewer to the picture, due to this he has used black color in the hair of human figures, which has increased the form and elegance and produced the desired effect.
 अंजन्ता की गुफाओं मे भिति चित्रण 200 ई0 पू0 से लेकर 620 ई0 तक के समय तक बनायी गयी है इतने लम्बे समय अन्तराल के बाद कुछ भिति चित्रों के वर्ण सौष्ठव तथा लवण्य कम हुये है फिर भी आज तक अजन्ता के चित्रों की आभा फीकी नही पडी है। अजन्ता के चित्रों में सुन्दर वर्ण छटा यत्र-तत्र विखरी दिखाई पडती है। यद्यपि इन चित्रों की चमक पर्याप्त धूमिल पड चुकी है तथापि रंग जानदार प्रतीत होते है। चमकदार नीचे, हरे तथा बैगनी रंग अपनी पूर्व आभा में आज भी जगमगाते है। शरीर तथा कपडों का रंग लावण्य युक्त और संगत हैं अजन्ता के कुछ आरम्भिक चित्रों को छोडकर सोलहवीं तथा सत्रहवी गुफा में अजन्ता के चित्रकारों ने गहरी पृष्ठ भूमि पर हल्के वर्ण विधान में आकृतिया बनाने की प्रवृति दिखाई है, परन्तु दूसरी ओर हल्की पृष्ठ भूमि पर गहरी आकृतियों के बनाने के प्रवृति भी दिखाई पडती है जो यूरोप की वेनिस-चित्रकला शैली के समान है। चित्रकार दर्शक के ध्यान को चित्र की ओर आकृष्ट करने के लिये बहुत जागरूक रहा, इस कारण उसने मानवाकृतियों के बालों में काले रंग का प्रयोग किया है, जिससे रूप और लावण्य की वृद्धि हुई है और इच्छित प्रभाव उत्पन्न हो गया है।
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Bychkov, V. V. "The Symbolic Essence of Art in Friedrich Schlegel’s Romantic Aesthetics." Art & Culture Studies, no. 1 (2021): 266–87. http://dx.doi.org/10.51678/2226-0072-2021-1-266-287.
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According to Friedrich Schlegel, one of the leading theorists of German Romanticism, the “highest” art is always symbolic, and it would be more precise to name the discipline that deals with it “symbolics”, rather than “aesthetics”. According to Schlegel, the highest arts comprise painting, sculpture, music, and poetry as the “arts of the beautiful and the ideally significant”. Using the examples of painting and literary arts, he demonstrates the symbolic character of art in general. Schlegel thinks that masterpieces of old Italian and German painters exemplify symbolic art. Schlegel is against separating painting into genres. He thinks that portrait, landscape, or still nature are merely sketches in preparation for a large, multi-figure, historical painting — as a rule, with Christian content — which leads the spectator to divine spheres. At the same time, painting must perform its symbolic function by means purely pictorial. The best examples of poetry (this is how Schlegel styles all belles lettres) also have been symbolic, especially during its “Romantic period”, from the Middle Ages and up to the 1600s. Schlegel refers to its symbolic meaning by the term “allegory”. The Bible — as an artistic, symbolic book — became the foundation of the “Romantic” literature of the Middle Ages, which took two routes: “Christian-allegorical”, which transfers Christian symbolism on to the entire world and life, and properly speaking Romantic, which presents every phenomenon of life as leading up to symbolic beauty. Using the example of drama, Schlegel divides works of art into three categories: superficial, spiritual-profound, and eschatological. According to the German philosopher, contemporary art has lost its symbolic content and mostly remains at the superficial level.
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Rajalakshmi. "BEAUTY OF COLORS IN PAINTING." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1–2. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3656.
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Blue sky, greenery, colorful flowers and beautiful animals and birds spread all around. Amazing work of God and beautiful color combination. It seems as if God as a painter has made a beautiful depiction on the canvas of this world through its colors and lines. If colors are not included in the illustration, then will this world still look so beautiful? maybe no. Everything that a human sees through his eyes is comprised of colors, so it would not be wrong to say that colors are of paramount importance in life and this color gives us to the top of taste or pleasure through its beauty and charm. Take away, because joy is the essence of the whole creation and also the ultimate culmination of heartfelt feelings.
 नीला आकाश, चारों तरफ फैली हरियाली रंग-बिरंगे फूल एवं सुंदर-सुंदर पशु-पक्षी। ईश्वर की अद्भुत कृति एवं सुंदर रंग संयोजन। ऐसा प्रतीत होता है कि मानो भगवान चित्रकार के रूप में इस संसार रूपी कैनवास पर अपने रंगों एवं रेखाओं के माध्यम से एक सुंदर चित्रण कर दिया हैं। अगर चित्रण में यदि रंगों का समावेश न हो तो क्या तब भी तब भी यह संसार इतना ही सुंदर दिखेगा? संभवतः नहीं। मनुष्य अपने नेत्रों के माध्यम से जो कुछ भी देखता उनमें रंगों का समावेश होता ही है, अतः यह कहना सर्वथा गलत नहीं होगा कि जीवन में रंगों का स्थान सर्वोपरि है और यही रंग हमें अपने सौन्दर्य व आकर्षण के माध्यम से रसास्वादन या आनंदानुभूति के शीर्ष तक ले जाते हैं, क्योंकि आनन्द भाव सम्पूर्ण सृष्टि का सार है और हृदयगत् भावनाओं की अन्तिम परिणति भी।
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Go, Yeon Jeong. "A Study on Still-life Painting of New Objectivity in Germany : Focusing on Cacti and Semaphore by Georg Scholz." Europe Culture Arts Association 11, no. 1 (2020): 113–28. http://dx.doi.org/10.26854/jeca.2020.11.1.113.
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Ciobanu, Estella Antoaneta. "Food for Thought: Of Tables, Art and Women in Virginia Woolf’s To the Lighthouse." American, British and Canadian Studies 29, no. 1 (2017): 147–68. http://dx.doi.org/10.1515/abcsj-2017-0023.
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Abstract This article examines art as it is depicted ekphrastically or merely suggested in two scenes from Virginia Woolf’s novel To the Lighthouse, to critique its androcentric assumptions by appeal to art criticism, feminist theories of the gaze, and critique of the en-gendering of discursive practices in the West. The first scene concerns Mrs Ramsay’s artinformed appreciation of her daughter’s dish of fruit for the dinner party. I interpret the fruit composition as akin to Dutch still life paintings; nevertheless, the scene’s aestheticisation of everyday life also betrays visual affinities with the female nude genre. Mrs Ramsay’s critical appraisal of ways of looking at the fruit - her own as an art connoisseur’s, and Augustus Carmichael’s as a voracious plunderer’s - receives a philosophical slant in the other scene I examine, Lily Briscoe’s nonfigurative painting of Mrs Ramsay. The portrait remediates artistically the reductive thrust of traditional philosophy as espoused by Mr Ramsay and, like the nature of reality in philosophical discourse, yields to a “scientific” explication to the uninformed viewer. Notwithstanding its feminist reversal of philosophy’s classic hierarchy (male knower over against female object), coterminous with Lily’s early playful grip on philosophy, the scene ultimately fails to offer a viable non-androcentric outlook on life.
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Лай, Юеге. "ЖАНР ХУАНЯО і БУКЕТИ БАРОКО: МЕТАМОРФОЗИ БУТТЯ". Art and Design, № 3 (5 грудня 2019): 89–96. http://dx.doi.org/10.30857/2617-0272.2019.3.9.
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The purpose of the study is to identify the figurative and symbolic parallels of the depiction of flowers in the art of China and Europe. Methodology. The study made use of the methods: historical-cultural, comparative, artistic-stylistic, iconological, iconographic. Results. It is shown that in the art of China and Europe, the image of flowers is interconnected with the embodiment of the ideal, beautiful. In our figurative and artistic analysis of the masterpieces of Chinese painting, it is shown that the masters of the “flowers and birds” genre, in the content and form of embodiment, follow the law of the universe formed in Taoism, according to which a cycle occurs in life, as in nature. In the genre of European floral still life of the 17th century, a philosophical, cognitive attitude of a person to the real world surrounding him is expressed. For the Dutch and Flemish still life, associated with the spiritual culture of Christianity, instructive meaning is important. Artists glorify the beauty of the world created by the Creator and, at the same time, adjusts the viewer to reflect on the transience of life. It can be seen that the formation of the European flower still life as an independent genre was influenced by the fine and decorative art of China, in particular, the “flowers and birds” (huanyao) genre. Common features with the style of gunbi (thorough paintbrush) are manifested in a careful study of colors, in a harmonious combination of realistic authenticity with the decorative and linear conventionality of the artistic image. The image of flowers in European painting and art in China is associated with the idea of harmony of the world, presented in the elements. The Baroque floral still life, like the huanyao genre, contain a deep symbolic meaning. The scientific novelty of the publication lies in the fact that for the first time it compares the huanyao genre with baroque bouquets, figurative and symbolic parallels of the image of flowers in the art of China and Europe are found. Practical significance validated the possibility of using the results of the study to develop textbooks and programs for the in-depth study of the art of China and Europe.
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Jain, Sushma. "PRE-HISTORIC ROCK PAINTING: DICKEN (DISTRICT NEEMUCH)." International Journal of Research -GRANTHAALAYAH 8, no. 3 (2020): 128–35. http://dx.doi.org/10.29121/granthaalayah.v8.i3.2020.137.
Full textAbstract:
Humans have been lovers of beauty and art from the beginning. Like human life, the history of the rise of art is very mysterious, vast and unknown. It is not easy to present the facts of past merged in innumerable layers of time, even today we have a complete lack of means and evidence.
 The places where rock paintings have been found in India are still located in dense forests far away from human reach. All these prehistoric arts are pre-human. With these inscriptions we not only gain knowledge of the nature, life, struggle and conditions of the primitive human, but we also get the proof of the aesthetic sense of creativity in his consciousness. These rock paintings did not come to light suddenly, after a decade of prehistoric paintings of Spain, France, rock paintings also became a topic of discussion in India. Credit for the discovery of these Shailashrayi paintings first goes to Carlile and Cuckburn. 3
 मानव प्रारम्भ से ही सौंदर्य एवं कला प्रेमी रहा है । मानव जीवन की भाँति कला के उदय का इतिहास अत्यंत रहस्यमय, विराट तथा अज्ञात है । काल की असंख्य परतों में विलीन अतीत के तथ्यों को मूर्त रूप में प्रस्तुत करना सहज नहीं है, आज भी हमारे पास साधनों एवं प्रमाणों का सर्वथा अभाव है।1
 भारत में शैलचित्र जिन स्थानों पर प्राप्त हुए हैं वे स्थान आज भी मानव की पहुंँच से दूर घने जंगलों में स्थित हैं।2ये समस्त प्रागैतिहासिक कलाएँ मानव के सभ्य होने से पूर्व की हैं । इन शिलाचित्रों से हम न केवल आदिम मानव के स्वभाव, जीवन, संघर्ष तथा उसकी परिस्थितियों का ज्ञान प्राप्त करते हैं वरन् उसकी चेतना में व्याप्त सृजनशीलता से युक्त सौंदर्य बोध का भी प्रमाण पाते हैं । ये शैलचित्र अचानक ही प्रकाश में नहीं आ गए स्पेन, फ्रांस के प्रागैतिहासिक चित्रों के एक दशक पश्चात् भारत में भी शैलचित्र चर्चा का विषय बन गए । इन शैलाश्रयी चित्रों की खोज का श्रेय सर्वप्रथम कार्लाइल तथा काकबर्न को जाता है ।3