Relevant bibliographies by topics / Still-life painting. Landscape painting

Contents

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

Academic literature on the topic 'Still-life painting. Landscape painting'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Still-life painting. Landscape painting"

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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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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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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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Sanad, Reham, and Zainab Salim Aqil Alhadi Baomar. "A study of landscape painting development – Past, present and future perspectives." New Trends and Issues Proceedings on Humanities and Social Sciences 8, no. 1 (2021): 01–11. http://dx.doi.org/10.18844/prosoc.v7i4.5774.

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This study is focused on landscape paintings’ characteristics throughout history. It starts with primitive cave paintings passed through the ancient civilisations, then followed by the main art movements and styles and ends with the contemporary style landscape paintings. Future prospects and expectations for landscape representations were also considered. It was found that landscape representation has been the focus for most artists because of its link to their normal lives. In the primitive caves, illustrations of plants and animals were found covering caves’ walls. Landscape backgrounds were used in the ancient Egyptian civilisation and lost its significance in the Greece style to reappear with the Roman artists with special concern and perspective. The Renaissance era witnessed more progress in landscape paintings’ subjects and perspective. Baroque paintings initiated the focus on independent landscape paintings to be crystalised in the Romantic paintings and later on in the impressionists’ art works using distinctive painting techniques. The modernists approved landscape topic in their paintings to apply their unique techniques, whereas the contemporary landscape paintings have adopted abstract and free methods in employing various materials and colours. It is obvious that the landscape subject has been employed throughout all stages of art history because it is the key segment of their environment and life not only because of its aesthetic values. Realistic landscape representation in visual art and design is expected to progress in abundance in the near and far future as many people due to the pandemic circumstances have been deprived from naturally experiencing landscapes causing mental and health difficulties. Keywords: Prehistoric period, ancient civilisations, Renaissance, Baroque, romantic.
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Elsaed, Hala Ibrahim Mohamed. "Vision of Vincent van Gogh and Maurice Utrillo in Landscape Paintings and their Impact in Establishing the Identity of the Place." Academic Research Community publication 1, no. 1 (2017): 12. http://dx.doi.org/10.21625/archive.v1i1.133.

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There are varieties of visions, visual solutions and plastic relations for various painting topics, but the landscape painting is still the closest subject to the identity of the place.When the artist translates the realistic features of the place describing it with his special style and touches, this represents a record for characteristics of a certain period related to this place. It might also depict the landscape by his sense, telling us with his painting brush the story of its heritage. The artist links it with the reality experienced -here the memory adds the highest value to the view and translates features of nature of this place in terms of form- or feelings and influence through the ages.When Van Gogh was influenced by a city, like Arles in France, he produced the most beautiful of his paintings, which appeared to show his style and colors. Actually, we see this city through a creative artist with radiant colors, each panting as a celebration or a poem singing the beauty of this place.And when Maurice Utrillo was influenced by a city -like Paris in France especially Montmartre district with its steep winding streets, picturesque windmills, snowfall, and clouds of gray affected- he created his most important paintings of landscape. The paintings reflected the nature of this place by his simple style which seems like a zap from the internal inventory of the artist about this place.
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Lawder, Rebecca. ""Erotic Nature"." Athanor 37 (December 3, 2019): 67–78. http://dx.doi.org/10.33009/fsu_athanor116675.

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To decode John Dunkley’s dark and sexual landscape is also to reveal a decolonial message in his broader works. Dunkley humanizes nature through both masculinizing phallic and feminizing yonic symbolism as an emancipatory tactic, thereby reflecting a culturally nuanced relationship between people and landscape. Dunkley subverts the expected in Caribbean painting, especially for foreign consumers. By bringing nature to life, his paintings offer subversive anti-colonial themes, too, waiting for decipherment. This paper will examine Dunkley’s use of erotic imagery, arguing that the painter’s sexual landscapes, through layered poetics and symbolism, ultimately served to challenge every day oppressions in colonial Jamaica.
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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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Malcolm, Annie. "The past at the edge of the future: Landscape painting and contemporary places." Journal of Contemporary Chinese Art 7, no. 2-3 (2020): 221–40. http://dx.doi.org/10.1386/jcca_00027_1.

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In this article, I offer an ethnographic account of Wutong Shan, and engage landscape painting as an interpretative device. Wutong Shan represents a unique phenomenon of urban transformation in that its residents cultivate a life harkening back to a rural past in an attempt to build a utopia unfettered by the deafening noise of modernity, which can easily be found down the road in Shenzhen, China’s newest city. Similar to what landscape painters throughout history have created through image, Wutong residents create a world of retreat, escape and natural beauty in a space at the edge of the urban. Both a landscape painting and this ethnographic place are built through a set of creative acts, a sense of self-cultivation, and a desire for escape. In Wutong Shan, the other side of the creative process is a livable environment rather than an art object. One of the ways I read landscape painting to understand Wutong Shan is by thinking with contemporary Chinese art works that, through illusion, revisit the landscape in light of industrial urbanization. I bring together three strains of thinking: (1) my contemporary ethnographic research on Wutong Art Village, (2) understandings of Chinese landscape paintings and their associated conceptions of nature and utopia and (3) contemporary art that renegotiates the landscape form, analysed through the emergent field of eco-art history.
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Śnieżyńska-Stolot, Ewa. "Maksymilian Cercha malarz Tatr. Z cyklu „Zapomniani mieszkańcy Krakowa”." Rocznik Biblioteki Naukowej PAU i PAN 65 (2020): 131–39. http://dx.doi.org/10.4467/25440500rbn.20.009.14168.

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Maksymilian Cercha a Painter of the Tatras. From the “Forgotten Citizens of Kraków” Series Maksymilian Cercha (1818–1907), whose life was linked to Kraków, was born in an assimilated Italian family and is known as a drawer, cataloguer of gravestones in the churches of Kraków and a co-author of a publication titled the Monuments of Kraków. In this paper however, his Tatra-themed paintings are discussed, which are yet to be included in the Art History. Cercha was Jan Nepomucen Głowacki’s student, who established Tatra mountains themed landscape painting in Kraków. In the summertime, he used to take his students to the Tatra mountains where he would rent an inn in Stare Kościelisko for an atelier. Cercha painted his Tatra landscapes in the period from 1849 to 1860. These are: –– Morskie Oko, oil on cardboard (31 x 23 cm), 1849; –– View from Mała Łąka, oil on canvas (38 x 31 cm), 1853; –– Mill in Chochołów, oil on cardboard (22 x 28 cm), 1853; –– Sucha Woda Valley as seen from Brzeziny, oil on cardboard (32 x 26 cm), 1857; –– View of the Giewont mountain, oil on cardboard (23 x 30 cm), c. 1860; –– “Carpathians”, watercolour (22 x 14), 1860. Except View from Mała Łąka, held by the Tatra Museum in Zakopane, all pictures belong to the family. Moreover, there are three pencil on paper drawings depicting Zakopane and Hamry from the period of 1855–1857 held by the National Museum in Kraków. Cercha, modelling on Głowacki, used to oil paint on cardboard by firstly sketching on location and then finishing the picture back in Kraków. He used to replicate the themes drew out by Głowacki, such as the view of Morskie Oko lake. He continued the Cracovian tradition of Tatra landscape painting, whic, thanks to Głowacki, Franz Steinfeld the Younger’s student, derives from the Austrian landscape painting of Biedermeier period.
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Mitchell, W. J. T. "Reframing Landscape." ARTMargins 10, no. 1 (2021): 14–19. http://dx.doi.org/10.1162/artm_a_00281.

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Abstract “Reframing Landscape” explores three distinct landscapes that have been decisively impacted by conquest and colonization, reframed by three artistic interventions: painting, photography, and sculpture. August Earle shows us the de-forested landscape of 19th century New Zealand, still guarded by a Maori totem; Miki Kratsman photographs a wall mural in occupied Palestine that erases the presence of indigeneous people; and Antony Gormley anticipates the clearing of Manhattan by a pandemic in whirlwind of metal. Real spaces and places are converted into landscapes of attention into what has been lost and what is to come.
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Dissertations / Theses on the topic "Still-life painting. Landscape painting"

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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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Henry, Sabina I. "Light of Life." VCU Scholars Compass, 2006. http://hdl.handle.net/10156/1644.

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Worthing, Katherine Genevieve. "The landscape of clearance : changing rural life in nineteenth-century Scottish painting." Thesis, University of Glasgow, 2006. http://theses.gla.ac.uk/5498/.

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This thesis explores the incidence and import of imagery surrounding the Highland Clearances in nineteenth-century Scottish painting. It recognises that the Clearances comprised a wide range of responses to the changing economic, agricultural, and social currents that shaped Highland landscape and life throughout the late-eighteenth and well into the nineteenth-century and consequently includes paintings that extend Clearance imagery beyond the most commonly reproduced works of the era. In the Introduction to the thesis, I present the subject of the Clearances and establish the common coincidence of landscape imagery, in both painting and travel writing, that extols the Highland landscape while simultaneously recognising the vast social, economic, and environmental changes effected by the resettlements, evictions, and emigrations of the Clearance era. Chapter II offers a concise outline of the major events of the Clearance era, from about1750 through the later decades of the nineteenth century, and complements the historical details with an investigation of the existing literature on both Clearance subjects and Scottish art history. Chapter III presents an initial foray into the theme of rural distress through the early-nineteenth-century paintings of Sir David Wilkie.  His works, like The Rent Day and Distraining for Rent, emerging against a backdrop of increasing countryside dispossession and, through their wide distribution as prints and within the theatre, served as emotive images depicting the plight of the rural poor, in both England and Scotland. In Chapter IV, I investigate the subject of rural labour in the paintings of the Clearance-era, arguing that a wider interpretation of the Clearance must include depictions of the changing types of employment that swept the Highlands throughout the nineteenth century. The theme of Highland emigration constitutes the main topic of Chapter V. Chapter VI explores landscape paintings and further reinforces the centrality of the Highland landscape in expressing the course and after-effects of the Clearances. The thesis closes with the conclusion that, due to the close linkage between the Clearances and the Highland landscape and to the simultaneous growth in the popularity of the area as a subject for artists, tourists, and writers, the visual imagery of the Clearance extends beyond the art of emigration and therefore also includes paintings of rural labour and landscape.  This marks an approach to nineteenth-century Scottish painting that validates the works’ significance amidst the wider scope of Victorian art and that establishes their import as depictions of the course of Clearance history within the Highland landscape.
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Burt, Carol Anne. "Rural images : studies of color and light." Virtual Press, 1992. http://liblink.bsu.edu/uhtbin/catkey/864939.

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The purpose of this Creative Project was to examine several aspects of color and to apply the results to a series of watercolor and oil paintings of rural subject matter. The process involved several steps: literature research, a series of photographs, and pigment color analysis. To begin with, landscape painters from the seventeenth century to the present were researched for their use of color in portraying the illusion of light and form on a two dimensional surface. A series of photographs was taken over a one year period. These were used to record changes of color on objects due to seasonal and atmospheric differences. Finally, watercolor pigments were analyzed for the range of mixing possibilities they could create. The findings from these three steps were applied in a series of eleven paintings which portrayed the illusion of light and solid form through the use of color.<br>Department of Art
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Ruddock, Joanna Mavis. "Dutch artists in England : examining the cultural interchange between England and the Netherlands in 'low' art in the seventeenth century." Thesis, University of Plymouth, 2017. http://hdl.handle.net/10026.1/8632.

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The seventeenth century was an incredibly fascinating time for art in England developmentally, especially because most of the artists that were receiving the commissions from English patrons and creating the art weren’t English, they were Dutch. Over this one hundred year period scores of Dutch artists migrated over from the Dutch Republic and showed England this Golden Age of painting that had established Dutch artists back in the Netherlands as pioneers in their line of work. In studies of Anglo-Dutch art, portraiture is a genre that has been widely researched; Peter Lely (a Dutch-born portraitist) is one of many widely acclaimed artists of this genre; comparative to many of the artworks and artists chosen for this research. Generally Anglo-Dutch relations, politically, economically, religiously and of course culturally there was, during the seventeenth century, so much going on between these two nations. Did this intense ever-changing relationship have an impact on that the other ‘low’ genres of art that was produced throughout this century? This research involves understanding and thinking about the impact of the cultural exchange that took place between England and the Netherlands in the seventeenth century on ‘low’ art – marine, landscape and still life painting. This research entails thinking about the origins of these genres as well as looking at individual paintings on a detailed basis and understanding how this cultural interchange manifests and translates itself through visual motifs – objects (large and small), stylistic characteristics and theme of the painting. Various themes and interpretations - in particular iconography and iconology, descriptive versus narrative art and national identity - have been explored and considered in order to gain a comprehensive understanding of the literature that already exists for this art in an effort to consider something new but to also interpret the paintings in a different way – this research has considered these paintings through the visual elements and has explained the cultural significance they provide.
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Martiníková, Zuzana. "Nepříliš známý malíř." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2014. http://www.nusl.cz/ntk/nusl-232411.

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Master's thesis called Not too well-known painter reacts on art of regional painter Jaromír Martiník. It is an exhibition of the work of this painter. Thanks to the intervention of author of this exhibition brings up his work into unusual context of artist from Beskydy, who is influenced by oriental philosophy.
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Hageman, Carolyn A. "The Unlikely Road to Success: The Life and Career of Watercolorist William Leighton Leitch." Ohio University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1386083716.

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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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Books on the topic "Still-life painting. Landscape painting"

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Leo, Ellen. Your guide to landscape & still-life painting. Express, 1995.

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Parramón, José María. Painting landscapes and still lifes in watercolor: Basic techniques & exercises. Watson-Guptill Publications, 1999.

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Owens, Gwendolyn. Nature transcribed: The landscapes and still lifes of David Johnson (1827-1908) : an exhibition. Herbert F. Johnson Museum of Art, 1988.

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Daly, Thomas Aquinas. The art of Thomas Aquinas Daly: The painting season. T.A. Daly Studio, 1998.

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Burn, Ian. National life & landscape: Australian painting, 1900-1940. Bay Books, 1990.

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Sulle orme di Caravaggio: I frutti della terra : natura e simboli. Bandecchi & Vivaldi, 2011.

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Melissa, Walt, Knight Michael 1953-, Tsuruta Kazuhiro, and Asian Art Museum--Chong-Moon Lee Center for Asian Art and Culture., eds. Fang Zhaoling: A life in painting. Asian Art Museum--Chong-Moon Lee Center for Asian Art and Culture, 2005.

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1949-, Smith Larry, ed. Paint good & fast. Sterling Pub. Co., 1985.

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Paradise lost: Paintings of English country life and landscape, 1850-1914. Crescent Books, 1993.

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Paradise lost: Paintings of English country life and landscape, 1850-1914. Trafalgar Square Pub., 1989.

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Book chapters on the topic "Still-life painting. Landscape 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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Adams, Laurie Schneider. "Seventeenth-Century Dutch Painting II: Landscape, Still Life, and Vermeer." In Key Monuments of the Baroque. Routledge, 2019. http://dx.doi.org/10.4324/9780429039508-8.

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Hiddleston, J. A. "From Landscape to the Painting of Modern Life." In Baudelaire and the Art of Memory. Oxford University Press, 1999. http://dx.doi.org/10.1093/acprof:oso/9780198159322.003.0005.

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Curtis, Cathy. "Paris, Poets, and Poverty." In Alive Still. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190908812.003.0004.

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Freelance income and frugality allowed Nell to embark on her first trip abroad in 1950. In Paris, she felt as though she had stepped into an Impressionist landscape. Bowled over by Chartres Cathedral and the museums, she also visited two of her art idols, Jean Hélion and Fernand Léger. She became involved with a German woman with whom she traveled to Florence and Rome. Back in New York, while living with Midi Garth, she enjoyed hanging out with several of the poets later known as the New York School: Frank O’Hara, John Ashbery, and Kenneth Koch. Bebop records played at her boisterous parties, which often included marathon games of poker. In her painting, she had embarked on a period of experimentation with figurative imagery. Midi and Brook evokes a pastoral scene in Vermont, where the women vacationed. Meanwhile, her freelance work included serving as designer of the Village Voice.
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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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Townshend, Dale. "From ‘Castles in the Air’ to the Topographical Gothic." In Gothic Antiquity. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198845669.003.0003.

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This chapter charts the genesis, development, and eventual modification of Ann Radcliffe’s architectural imagination over the most active years of her career. Having provided a reading of the politics of Radcliffe’s fictional castles, and situating her representations within the tradition of eighteenth-century landscape painting, the argument explores the transition from imaginary Gothic architectural forms—those proverbial ‘castles in the sky’—to the ‘real-life’ Gothic castles described in contemporary antiquarian topographies. Broadening the focus out beyond the particular case of Radcliffe, the chapter explores a more general sense of cultural transition in the period, one that resulted in a marked turning away from fake ruins, follies, and fictional ‘castles in the air’ and a movement into the more ‘authentic’, grounded, and antiquarian impulses of the ‘topographical Gothic’.
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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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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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Conference papers on the topic "Still-life painting. Landscape painting"

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Shirshova, Lyubov. "Creative Life of Ye. I. Zverkov: Evolution of Landscape Painting in Russia in the Second Half of the 20th Century." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.19.

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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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Abstract:
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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