Relevant bibliographies by topics / Still-life painting. Painting, Dutch

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

Academic literature on the topic 'Still-life painting. Painting, Dutch'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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Journal articles on the topic "Still-life painting. Painting, Dutch"

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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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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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Grimsted, Patricia Kennedy. "A Goudstikker van Goyen in Gdańsk: A Case Study of Nazi-Looted Art in Poland." International Journal of Cultural Property 27, no. 1 (2020): 53–96. http://dx.doi.org/10.1017/s0940739120000016.

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Abstract:This article traces the provenance and migration of a painting by Jan van Goyen (1595–1656), River Landscape with a Swineherd, from the Jacques Goudstikker Collection and now in Gdańsk Muzeum Narodowe. After the “red-flag sale” of the Goudstikker Collection in July 1940 to German banker Alois Miedl, and then to Hermann Göring, this painting—after its sale on Berlin’s Lange Auction in December 1940 to Hitler’s agent Almas-Dietrich—was returned to Miedl-Goudstikker in Amsterdam. Miedl then sold it (with two other Dutch paintings) to the Nazi Gauleiter of Danzig, Albert Forster, among many wartime Dutch acquisitions for the Municipal Museum (Stadtmuseum). Evacuated to Thuringia and captured by a Soviet trophy brigade, it thus avoided postwar Dutch claims. Returned to Poland from the Hermitage in 1956, it was exhibited in the Netherlands and the United States (despite its Goudstikker label). Tracing its wartime and postwar odyssey highlights the transparent provenance research needed for Nazi-era acquisitions, especially in former National Socialist (NS) Germanized museums in countries such as Poland, where viable claims procedures for Holocaust victims and heirs are still lacking. This example of many “missing” Dutch paintings sold to NS-era German museums in cities that became part of postwar Poland, raises several important issues deserving attention in provenance research for still-displaced Nazi-looted art.
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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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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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Iswahyudi. "Towards Remediation of Indonesian New Fine Arts." Britain International of Linguistics Arts and Education (BIoLAE) Journal 2, no. 3 (2020): 797–809. http://dx.doi.org/10.33258/biolae.v2i3.332.

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Modern Indonesian painting mainly developed from the situation of the Dutch East Indies and Mooi-Indie art that was dominant at that time. The independence of the Republic of Indonesia became a very important milestone in the development of modern Indonesian painting. This is inseparable from the occurrence of a high dynamics and change through various political regimes in power starting from the leadership of Sukarno, Suharto and subsequent presidents. Each of these political regimes also played an important role in the development of modern art that occurred so as to bring out its own characteristics. Until the early 1990s, talking about art was something that seemed synonymous with painting. Although works of art with a combination of mediums have been included in exhibitions since the 1970s, but works in the form of paintings are still very dominant, even in some writings on art the imaginary boundary between painting and other art is discussed explicitly, but the term "Painting" is usually interchangeable with the term "fine art". The development of art that has become increasingly hybrid has helped to shape the climate and new audience, affirming real ideas that are at odds with painting that has already been established. Being different from established art knowledge, hybrid art agents become newcomers who find a place in the struggle in the realm of Indonesian art. Western characters which are an important consideration for painters become subject to change in the fourth phase. This change is caused by a variety of things, including the emphasis on the use of traditional forms, symbolic and decorative, because as a reaction to the political situation. Since 1942-1965, Indonesians have produced more figurative art. The pioneers in this field are artists who when abroad are like in the United States, Europe, and Japan already acquainted with traditional non-Western art in the arena of modern and international circuits.
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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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Wulandari, Anak Agung Ayu. "Membaca Simbol pada Lukisan Pertempuran Antara Sultan Agung dan Jan Pieterszoon Coen (1974) Karya S. Sudjojono." Humaniora 6, no. 2 (2015): 249. http://dx.doi.org/10.21512/humaniora.v6i2.3337.

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Sudjojono has produced hundreds of artworks, one of them is the painting of “The Battle between Sultan Agung and Jan Pieterszoon Coen”. Sizing 3 x 10 m, not only this painting is significant in size, it also shows Sudjojono’s in-depth study from aesthetic and historical side. The painting consists of 3 panels depicting Sultan Agung’s meeting with his royals, the battle scene between Mataram and Dutch troops, and the last panel depicting the meeting between JP Coen and Kyai Rangga. Some of the message conveyed by the painter is that the painting was 70% made of historical facts and did not come from the painter imagination only, better to be in peace than war and revenge and the last message is that western and eastern people are actually equal, and as eastern people should not need to have low self-esteem. Besides those messages there are still many symbols and signs that have in-depth meaning which will be studied and examined thoroughly such as figures involved in the battle, location of battle, clothing, etc.
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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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Grasman, Edward. "De ontdekking van de Hollandse primitieven." Oud Holland - Quarterly for Dutch Art History 112, no. 2-3 (1998): 169–86. http://dx.doi.org/10.1163/187501798x00347.

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AbstractHistorian Pieter Geyl's opposition to a division in fifteenth-century painting in the Low Countries has been the subject of frequent discussion. This article presents the first examination of the motives of the two principal upholders of the theory repudiated by Geyl: Adriaan Pit and Willem Vogelsang. In 1894 Pit drew a sharper distinction than predecessors such as Bode and Moll between Dutch and Flemish fifteenth-century painting. Pit's position was based on his conception - which in turn was substantially influenced by Louis Courajod - of logic in art history. Pit's stance, which implied a division in the Netherlands prior to the Revolt, sparked off a debate that continues to this day and has been conducted by both historians and art historians. For most of his life Vogelsang presented himself as the foremost defender of the opinion that the division of the Netherlands was reflected in fifteenth-century painting. His loyalty to Pit was closely linked with his conviction that, in art history, the eye was superior to the document. In this case the difference between Dutch and Flemish painting was plain to see, and brooked no historical argument. For Vogelsang, the first professor in the field of art history in the Netherlands, the legitimacy of art history as an independent discipline was ultimately at stake in this debate.
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Dissertations / Theses on the topic "Still-life painting. Painting, Dutch"

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Labuschagne, Emily. "Masters, master, masturbate (a master's debate) - relooking at the home, body and self through seventeenth century Dutch still life painting." Master's thesis, Faculty of Humanities, 2020. http://hdl.handle.net/11427/32716.

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The still life genre has been, and arguably still is, regarded as the lowest form of painting in Western fine art history. The absence of the human figure in still life painting means that the artist does not require knowledge of either human anatomy or history for the production of the work. Given seventeenth century female painters' exclusion from the academies where anatomy was taught, it was thus a genre regarded as appropriate for female painters in Europe prior to the nineteenth century. Such dictates of propriety were indicative of gender constructs that relegated women to the private sphere of society and the domestic environment. As an accompaniment to my Masters in Fine Art exhibition titled Masters, Master, Masturbate (A master's debate), this text explores what still life painting may reveal about the relationship between the home, the body and the self in the present day. Produced from my position as a contemporary, white, female painter of Dutch descent raised within an Afrikaner culture in the context of South Africa, I suggest that a critical reconsideration of this apparently constrictive genre offers potentially liberating perspectives of gender constructs and the female painter.
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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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Gao, Tongxin. "Still Life Portrait : Contemporary jewelry in the form of still life painting." Thesis, Konstfack, Ädellab, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7217.

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

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

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

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

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

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

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

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My creative process is a ritual I use to examine my personal narrative. Digital photography is a way for me to mine an object or environment with an obsessive emphasis, and extract an image that signifies something relatable. By employing tropes derived from my personal narrative, and filtering them through image manipulation software; I am able to dramatize aspects of perspective and scale. With an automatic mark guided by printed images and projections of digital panoramic images, the surface and resulting picture comes into focus. This is a way for me to move past my experiences. Achieving this level of intimacy with the mundane objects or environments makes it possible for me to develop a personal iconography.
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Books on the topic "Still-life painting. Painting, Dutch"

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Paul, Taylor. Dutch flower painting, 1600-1720. Yale University Press, 1995.

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1963-, Taylor Paul, and Dulwich Picture Gallery, eds. Dutch flower painting, 1600-1750: An exhibition. Dulwich Picture Gallery, 1996.

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Grimm, Claus. Still life: The Flemish, Dutch and German masters. Belser Verlag, 1991.

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Caterpillage: Reflections on seventeenth century Dutch still life painting. Fordham University Press, 2011.

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Georg, Klusmann. Vincent van Gogh: Still life with peonies. Pinsker-Verlag, 1996.

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Th, Kloek W., Brusati Celeste, Rijksmuseum (Netherlands), and Cleveland Museum of Art, eds. Still-life paintings from the Netherlands, 1550-1720. Waanders Publishers, 1999.

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A modest message as intimated by the painters of the "Monochrome Banketje". H. B. Wilson, 1998.

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1940-, Jordan William B., Stedelijk Museum "Het Prinsenhof.", Fogg Art Museum, and Kimbell Art Museum, eds. A prosperous past: The sumptuous still life in the Netherlands, 1600-1700. SDU Publishers, 1988.

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Segal, Sam. A prosperous past: The sumptuous still life in the Netherlands, 1600-1700. SDU, 1989.

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Liesbeth, Helmus, Centraal Museum (Utrecht Netherlands), and Herzog Anton-Ulrich-Museum Braunschweig, eds. Jan Davidsz de Heem und sein Kreis. Herzog Anton Ulrich-Museum, 1991.

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Book chapters on the topic "Still-life painting. Painting, Dutch"

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

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

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

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

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Moland, Lydia L. "Subjectivity in Retreat." In Hegel's Aesthetics. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190847326.003.0009.

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Modern subjectivity is difficult to capture in art’s sensuous media. Painting is the first of Hegel’s individual arts to attempt this challenge. Christian painting especially, Hegel claims, is able to depict spirit’s disappearance into a human’s sense of interiority. It does so by cancelling sculpture’s third dimension and by evoking particularly subjective emotions such as love and bliss. Hegel sides with those who define painting’s essence as based in color rather than drawing. He praises masters of color such as Titian and Correggio as well as Dutch genre painting and still lifes for achieving maximum effect. This chapter also considers ways Hegel’s theory of painting can be extended to contemporary, non-representational painting.
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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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Kahr, Madlyn Millner. "Scenes of Social Life." In Dutch Painting in the Seventeenth Century. Routledge, 2018. http://dx.doi.org/10.4324/9780429500893-8.

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Anderson, Judith H., and Joan Pong Linton. "Caterpillage Death and Truthiness in Seventeenth-century Dutch Still Life Painting." In Go Figure. Fordham University Press, 2011. http://dx.doi.org/10.5422/fordham/9780823233496.003.0006.

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"6. Still Walking: Spiritual Pilgrimage, Early Dutch Painting and the Dynamics of Faith." In Push Me, Pull You. BRILL, 2011. http://dx.doi.org/10.1163/9789004215139_007.

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Moland, Lydia L. "The Dissolution and Future of the Particular Arts." In Hegel's Aesthetics. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190847326.003.0006.

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As the romantic age progresses, humans’ increasing sense of themselves as the source of normativity is reflected in art. Finally, anything of human concern can become art: a fact reflected in Dutch genre painting, still lifes, and the development of humor. As a new aesthetic form during Hegel’s lifetime, humor denoted gentle amusement at human eccentricities and foibles, as expressed by characters in Laurence Sterne’s The Life and Opinions of Tristram Shandy, Gentleman. Hegel is sharply critical of “subjective humorists,” such as Jean Paul Richter, who think anything to do with their subjectivity can be art, but he defines an “objective humor,” achieved by Goethe, Petrarch, and Shakespeare, that allows subjectivity to emerge from deeper engagement with the world. At the end of romantic art, the particular art forms reach their conceptual end: no further development of their concept is possible.
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Conference papers on the topic "Still-life painting. Painting, Dutch"

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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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Abstract:
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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2

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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5

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

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In this study, we showcase a mobileaugmented reality application where a user places various 3D models in atabletop scene. The scene is captured and then rendered as Claude Monet’s impressionistic art style. One possibleuse case for this application is to demonstrate the behavior of the impressionistic art style of Claude Monet, byapplying this to tabletop scenes, which can be useful especially for art students. This allows the user to create theirown "still life" composition and study how the scene is painted. Our proposed framework is composed of threesteps. The system first identifies the context of the tabletop scene, through GIST descriptors, which are used asfeatures to identify the color palette to be used for painting. Our application supports three different color palettes,representing different eras of Monet’s work. The second step performs color mixing of two different colors in thechosen palette. The last step involves applying a three-stage brush stroke algorithm where the image is renderedwith a customized brush stroke pattern applied in each stage. While deep learning techniques are already capableof performing style transfer from paintings to real-world images, such as the success of CycleGAN, results showthat our proposed framework achieves comparable performance to deep learning style transfer methods on tabletopscenes.
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