Academic literature on the topic 'Still-life painting. Realism in art'
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Journal articles on the topic "Still-life painting. Realism in art"
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Xiaotao, Li, and Yan Qing. "The influence of the Itinerants' creative ideas on Chinese realistic painting." World of Russian-speaking countries 2, no. 8 (2021): 87–104. http://dx.doi.org/10.20323/2658-7866-2021-2-8-87-104.
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The article analyzes the influence of the Itinerants' creative ideas on Chinese realistic painting, the development of which is inseparable from the study of the Itinerants. The article examines how the painting technique and ideology of the Association of Itinerant Art Exhibitions founded in the late 19th century are relevant to many 20th-century Chinese artists. The authors identify the ideological principles of the Itinerant movement that have influenced different generations of Chinese artists (rejection of the “art for art's sake” principle, emphasis on national characteristics of painting, responsibility for reflecting the life of people in the country, advocating the spirit of critical realism as the only true way to reflect life in art) and prove that without Russian Itinerants there would be no Chinese realism in painting and modern Chinese realistic painting. The article identifies and characterizes three stages of adopting the Itinerant creative ideas in China: the period of the Republic of China (acquaintance of the Chinese public with the Itinerants' paintings and understanding the Itinerant ideology at the time of the “Movement for New Culture”), the beginning of the PRC foundation (the period of comprehensive study of realist painting, training of talented Chinese artists in art educational institutions of the USSR as part of the cultural exchange and mastering the principles of Soviet realist art) and the first decade after the Cultural Revolution (a critical “painting of scars” reflecting the experiences and fates of people during the Cultural Revolution). The authors conclude that the study of the Itinerants' creative ideas from the point of view of cultural studies in the context of the Chinese realist art school development is important for understanding the Russian- Chinese cultural dialogue.
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Gultyaeva, Galina S. "Realistic Painting of the 20th Century China in the Context of Cultural Visualization." Observatory of Culture 18, no. 1 (2021): 32–43. http://dx.doi.org/10.25281/2072-3156-2021-18-1-32-43.
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This article examines the phenomenon of Chinese realism, as well as the prerequisites and factors that influenced the processes of reception in modern Chinese art. At the beginning of the 20th century, under the influence of Western academic realism and the artistic system of social realism, a new direction and artistic method was formed — realism, which became mainstream in the art of China of the mid-20th century. According to its aesthetic and ideological motifs, Chinese realism is an object of social realism reception, which was determined by cultural and historical factors, and the development of political, economic and cultural ties with the USSR. Studying the realistic painting, which reflects the atmosphere of the era, the worldview, and the dialogue of cultures, is relevant for both Chinese and Russian contemporary art studies. The article examines the role of realism in the development of Chinese art culture of the 20th century, including its socio-political components, as well as the dynamics of artistic and expressive means and the iconographic system in the context of the historical and cultural situation. In the 1980s and 1990s, as a result of the liberalization of economic and political life, the artistic consciousness formed new concepts of realistic painting — neorealism and cynical realism, associated with a critical rethinking of the historical heritage. The neorealism and cynical realism, which would significantly enrich realistic painting with new forms and content, adopted Western postmodern concepts of pop art, and debunked, in a grotesque and satirical form, the political stereotypes of the past. The analysis of realistic painting of the 1990s demonstrates how the transformation of past painting canons reflects the desire of society to free itself from the pressure of totalitarian ideology and to rethink the value orientations of the previous era.The novelty of this study lies in the fact that it applies a systematic and holistic approach to the analysis of realism in Chinese painting, reveals the diversity of its forms and directions, and gives ground for the specifics of its evolution in the context of the artistic culture of the 20th century China. There are almost no comprehensive studies of this issue in modern art history, so this work is an attempt to create a scientific approach to the study of this artistic phenomenon and the formation of ideas about how the artistic consciousness of an entire epoch was changing.
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Wang, Jitai. "Works of the artist Yue Minjun in the dialogue of traditions of Western European and Chinese painting." Человек и культура, no. 3 (March 2020): 1–16. http://dx.doi.org/10.25136/2409-8744.2020.3.32579.
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This article provides a comprehensive analysis of the visualized ego-image of the artist with grinning face as the key character of Yue Minjun’s paintings – one of the prominent representatives of cynical realism trend in Chinese contemporary painting. The image is interpreted through the prism of Chinese socialism, Eastern and Western art traditions.  The author describes in detail the works from different series, determines typical features of individual manners, and compares works for revealing the common to cynical realism set of artistic means. The article elucidates the concept of interaction of the techniques of Western and Chinese paining using the particular examples, including Yue Minjun’s thoughts on the psychology of art overall, their analysis, and conclusions formulated for more profound understanding of his artworks. Yue Minjun opts for the diverse expressive means and game approaches depending on the goal: symbols of mass culture, recognizable classical themes of Western European painting, computer technologies, cartographic representations, as well as subjective mental images – for creating certain visual symbols carrying on a dialogue with the audience. The concept of his works consists in the ironic attitude to life underlying the cynical realism. It is evident that the modern Chinese paining entered the era of bie-modern.
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Kiaer, Christina. "Lyrical Socialist Realism." October 147 (January 2014): 56–77. http://dx.doi.org/10.1162/octo_a_00166.
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The thirty-three-year-old artist Aleksandr Deineka was given a large piece of wall space at the exhibition 15 Years of Artists of the RSFSR at the Russian Museum in Leningrad in 1932. At the center of the wall hung his most acclaimed painting, The Defense of Petrograd of 1928, a civil-war-themed canvas showing marching Bolshevik citizens, defending against the incursions of the White armies on their city, arrayed in flattened, geometric patterns across an undifferentiated white ground. The massive 15 Years exhibition attempted to sum up the achievements of Russian Soviet art since the revolution as well as point toward the future, and Deineka, in spite of his past association with “leftist” (read: avant-garde) artistic groups such as OST (the Society of Easel Painters) and October, was among those younger artists who were anointed by exhibition organizers as leading the way forward toward Socialist Realist art—a concept that was being formulated through both the planning of and critical response to this very display of so many divergent Soviet artists. Known for his magazine illustrations and posters, Deineka had also established himself at a young age as a major practitioner of monumental painting in a severe graphic style that addressed socialist themes, such as revolutionary history (e.g., Petrograd), and, as his other works displayed at the Leningrad exhibition demonstrate, proletarian sport (Women's Cross-Country Race and Skiers, both 1931) the ills of capitalism (Unemployed in Berlin, 1932), and the construction of the new Soviet everyday life (Who Will Beat Whom?, 1932).
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Streng, Toos. "Het 'realisme' van de oud-Nederlandse schilderschool. Opkomst en ontwikkeling van de term 'realisme' in Nederland tussen 1850 en 1875." Oud Holland - Quarterly for Dutch Art History 108, no. 4 (1994): 236–50. http://dx.doi.org/10.1163/187501794x00288.
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AbstractThe term 'realism' first cropped up in the jargon of art criticism around the mid-nineteenth century, but the course of its integration did not run smoothly. In Holland, Tobias van Westrheene Wz. is credited with having introduced the term for Netherlandish seventeenth-century painting in Jan Steen, Étude sur l'art en Hollande (1856). By 'realism' he meant a manner of painting which one might call 'the realistic method', and which consisted of two components: the naturalistic aspect, meaning that the artist painted what he saw, rejecting any form of tradition, and the individualistic aspect, meaning that he sought to express the individual, characteristic traits of a subject or situation instead of general, timeless ideals. This neutrally descriptive use of the term 'realism' did not catch on immediately. According to traditionally minded critics such as Joh. Zimmerman and J. A. Bakker, Dutch art was 'realistic' in that it depicted only the outward appearance of objects - that which could be perceived with the senses - and not their ideal quality, which could not be seen but only imagined. Other critics, too, including such pundits as C. Vosmaer, P. J. Veth and C. Busken Huet, decided that the term 'realism' expressed this negative judgment; however, because they had a higher opinion of seventeenth-century Dutch art than Bakker and Zimmerman, they did not think that 'realism' was suitable as a general epithet for it. Between 1850 and 1875, references to the 'realism' of seventeenth-century Dutch art usually meant that artists who worked in this manner regarded their own observation as important and rejected tradition. Seeking to compare the specific nature of old Dutch realism with other schools that turned away from tradition, such as the Caravaggi of the seventeenth century or the modern realists, critics preferred to speak of 'true realism'. What distinguished the old Dutch painter was that he did more than merely observe: he observed lovingly. By virtue of this 'true realism' he was held up as a model to nineteenth-century painters. Used in this manner, the term 'realism' gradually lost its negative connotations and became more widely acceptable. By and large, then, there were three reasons for speaking of 'realism' in seventeenth-century Dutch painting. For Zimmerman and Bakker it was the absence of the idealistic aspect, for Van Westrheene and others it was the importance of the artist's perception and his rejection of all traditions, religious constraints or conventions, and lastly it was the loving gaze, which enabled the Dutch painter to reveal the ideal even in daily life. In the first case a new term ('realism') was linked with an older notion rooted in a dualistic aesthetic which was in turn composed of elements going back to the sixteenth century (or even further: to Plato). In the second case the new term 'realism' was equated with 'naturalism' in the way that art critics had used the term since the seventeenth century for painters working in the Caravaggian tradition. And in the last case 'realism' was linked with a new notion of art and the nature of the ideal.
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Gjesdal, Kristin. "Imagining Hedda Gabler: Munch and Ibsen on Art and Modern Life." Text Matters, no. 7 (October 16, 2017): 71–86. http://dx.doi.org/10.1515/texmat-2017-0004.
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Among Edvard Munch’s many portraits of Henrik Ibsen, the famous Norwegian dramatist and Munch’s senior by a generation, one stands out. Large in scope and with a characteristic pallet of roughly hewed gray blue, green and yellow, the sketch is given the title Geniuses. Munch’s sketch shows Ibsen, who had died a few years earlier, in the company of Socrates and Nietzsche. The picture was a working sketch for a painting commissioned by the University. While Munch, in the end, chose a different motif for his commission, it is nonetheless significant that he found it appropriate to portrait the Norwegian dramatist in the company of key European philosophers, indeed the whole span of the European philosophical tradition from its early beginnings to its most controversial spokesman in the late 1800s. In my article, I seek to take seriously Munch’s bold and original positioning of Ibsen in the company of philosophers. Focusing on Hedda Gabler—a play about love lost and lives unlived—I explore the aesthetic-philosophical ramifications of Ibsen’s peculiar position between realism and modernism. This position, I suggest, is also reflected in Munch’s sketches for the set design for Hermann Bahr’s 1906 production of the play.
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Dobrolyubov, Petr. "Painting as a prayer of the spirit." Scientific and analytical journal Burganov House. The space of culture 16, no. 4 (2020): 113–32. http://dx.doi.org/10.36340/2071-6818-2020-16-4-113-132.
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The article is devoted to the work of the Russian painter Dobrolyubov Vladimir Petrovich, who in 2020 marks the centenary of his birth. Special attention is paid to the presentation of his ideals, which inspired the artist to create wonderful paintings depicting the world around him, landscapes and landscapes, urban environment, monuments of ancient Russian architecture, decoration and interiors of the oldest churches from Moscow to Yaroslavl, Pereslavl Zalessky, Staraya Ladoga. From the Russian North to the Crimean mountains and Tsemeskiy Bay. Vladimir Petrovich Dobrolyubov (05.07.1920-24.02.1975) - a student of I.I. Mashkov, N.P. Krymov, G.G. Ryazhskiy, K.F. Yuon, V.V. Krainev, P.I. Kotov, V.I. Finogeev, K.G. Dorokchov. Dobrolyubov V.P., was the veteran of the Great Patriotic war (1941-1945), - the 75th anniversary of the Victory which we celebrate this 2020 year. The author analyzes the paintings of V.P. Dobrolyubov - a natural colorist, nugget, artist, philosopher and citizen of his country. His thoughts on the art of painting based on the beauty and traditions of the Russian school of iconography were the Foundation, the spiritual platform, for all of his painting, created in a short period of life. The author's paintings Dobrolyubov V.P. is of well-deserved interest for art studies and make a worthy, significant contribution to it not only by their high appreciation of color, color spot, and lyrical appearance, but also as works of the history of Russian painting and in particular, the Moscow school of painting, 30-60-ies of XX century, of which he was a representative. Also noteworthy is his understanding of art, his creative pictorial, original, author's handwriting, and also an amazing vision of color and color spot, his own, individual. As well as the interpretation of personal perception, the attitude and understanding of the fundamental foundations of realism in the domestic and world fine arts, expressed and approved in their own, no one repeats, coloristic pictorial language. Dobrolyubov V.P. considered icons, the Russian icon, as a work of art, which following the tradition of Byzantine masters of iconography, undoubtedly constitutes the core of the soul of the artistic creative process, and especially the work of iconographers such as Andrei Rublev, Theophanes the Greek, Vladimir-Suzdal, Moscow, Yaroslavl school of icon-painting as an objective reality of the world of spiritual images in their own work. Artistic creativity, in his opinion, as a representative of the Moscow school of painting, is not an abstract search and self-expression of the artist's beliefs and ideas, but the result of a deep, divine transformation of the soul, its path to truth and to the foundations of realistic art, through the perception of artistic images. Russian iconography of the XIV-XVII centuries, brought to Russia from Byzantium, Dobrolyubov V. P. considered the Russian school of iconography the main, unsurpassed, imperishable Foundation and a masterpiece of Russian fine art. Everywhere in his memories, in his understanding of the basics of art, the artist renounces the concept of copying the image and the icon for him is like a conditional historical symbol, indicating the spiritual image of past centuries. An artistic image is born in the soul of the painter and of course exists outside of iconography, but then it can appear in the minds of other people who contemplate the master's canvases, in which the image of the universal universe and the beauty of the universe is encoded, if you want, encrypted in the very deep images of Russian iconography. Therefore, the icon itself, its image and composition, as a work of art created once in the depths of past centuries, is personified in the mind of the author, as grace and inspiration sent from heaven. Dobrolyubov V.P. confirms the aesthetic and spiritual platform created for any person. Therefore, Russian icons created as spiritually and artistically perfect, self-sufficient works of Russian culture are inextricably linked to the General process for Russian art history, its ability to testify to its highest level in the hierarchy of world art. For the artist Dobrolyubov, Russian iconography is an inseparable part of his spiritual platform, and his works of painting – and, temple art, in conjunction with ancient Russian architecture, with the interiors of churches and their decoration, as well as the sacrament of divine services, baptisms, weddings and funerals, and are the most essential foundation, being, as the very artistic image of all his art work and now, in 2020. Today, 45 years after his death in 1975, his artistic paintings are just as beautiful and heartfelt.
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Milosavljević, Angelina. "On Proto-Modernist Traits in Early Modern Art Theory." AM Journal of Art and Media Studies, no. 16 (September 5, 2018): 19. http://dx.doi.org/10.25038/am.v0i16.251.
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Early modern art and art theory are still considered by historians and theorists of art mainly in terms of aesthetic principles in the service of the representation of political and ideological concepts. However, the body of early modern art and especially theory abounds with notions, which anticipate the modernist tendencies of self-criticism. In this paper, we would like to suggest that self-criticism also characterized pre-Modernist art, complemented by advanced art criticism, especially during the Mannerist era. We would like to point out that the notion of self-criticism equally applies to both early modern art and art theory in which the specific concentration on problems of construction and composition of painting based its foundations on abstract mathematical rules, serving to justify and dignify the medium itself. Furthermore, this tendency divorced the art of painting, specifically, from the illusion of reality, thus entrenching it more firmly in its own area competence, to use Clement Greenberg’s phrase. We would also like to demonstrate that late 16th-century art theory pushed well beyond its time, especially the theory written by artists. Their programmatic reliance on pre-existing pictorial models allowed these artists-theorists to abandon the question of realism and naturalism for pure speculation, which could not have been achieved in contemporary practice. We would like to suggest that ideas of abstraction and speculation, so characteristic of Modernist art, featured well before Modernism in the writings of Mannerist artists and theorists Giorgio Vasari, Giovanni Paolo Lomazzo, and Federico Zuccari. Article received: March 26, 2018; Article accepted: April 10, 2018; Published online: September 15, 2018; Original scholarly paperHow to cite this article: Milosavljević, Angelina. "On Proto-Modernist Traits in Early Modern Art Theory." AM Journal of Art and Media Studies 16 (2018): 19−28. doi: 10.25038/am.v0i16.251
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Salsabila, Ananda Farah, and Karkono. "Unsur Elemen tak Tereduksi (Irreducible Element) Realisme Magis Dalam Novel Bumi Karya Tere Liye." JoLLA: Journal of Language, Literature, and Arts 1, no. 1 (2021): 49–61. http://dx.doi.org/10.17977/um064v1i12021p49-61.
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Abstract: Magical realism is a theory by Wendy B. Faris that tells about a narrative that combines the elements of fantasy and reality. The term magical realism was created in 1925 throughout the world of painting and was introduced by Franz Roh, a German art critic. The novel Bumi by Tere Liye that was published in 2014 has the concept of magical realism in it. The writing in this novel contains an imaginary adventure where the main characters are trying to find their true self until they reach the parallel universe. This qualitative research uses a library research method. The data collected were verbal and linguistic data that contains an irreducible element in the data source that is the novel Bumi by Tere Liye. Irreducible element contained in the narrative includes the magical abilities of the main characters, such as Raib who can turn invisible, Seli who can radiate blue lightning, and Ali who can transform into a giant bear. There are also magical objects in this novel, such as the moving alley, The Book of Life, The Sun gloves, and others. The existence of a parallel universe is also a factor that strengthens the irreducible element in this novel.
 Keywords: magical realism, irreducible element, Bumi novel
 Abstrak: Realisme magis adalah sebuah teori yang dirumuskan oleh Wendy B. Faris mengenai narasi yang memadukan unsur fantasi dan realita. Istilah realisme magis lahir pada 1925 melalui dunia lukis dan diperkenalkan oleh Franz Roh, seorang kritikus seni Jerman. Novel Bumi karya Tere Liye yang terbit pada tahun 2014 mengangkat konsep realisme magis. Penulisan dalam novel ini mengandung petualangan imajinasi dimana para tokoh-tokoh utamanya dikisahkan bahwa mereka sedang berada dalam petualangan mencari jati diri mereka dan pencarian itu mereka lakukan hingga ke dunia paralel. Penelitian kualitatif ini menggunakan pendekatan kepustakaan. Data yang dikumpulkan berupa data verbal dan kebahasaan yang mengandung unsur Irreducible Element dalam sumber data berupa novel Bumi karya Tere Liye. Unsur Irreducible Element yang terdapat dalam narasi meliputi kemampuan magis tokoh-tokoh utama, seperti Raib yang dapat berubah menjadi tak kasat mata, Seli yang dapat memancarkan petir biru, dan Ali yang dapat berubah menjadi beruang raksasa. Dalam novel ini juga terdapat objek-objek magis seperti lorong berpindah, Buku Kehidupan, sarung tangan Klan Matahari, dan lain sebagainya. Keberadaan Dunia Paralel juga merupakan faktor yang memperkuat unsur Irreducible Element dalam novel ini.
 Kata kunci: realisme magis, irreducible element, novel Bumi
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Brayko, Oleksandr. "Coloristic Expressive Tools in Prose by Volodymyr Drozd." Слово і Час, no. 8 (August 11, 2019): 78–97. http://dx.doi.org/10.33608/0236-1477.2019.08.78-97.
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The paper deals with coloristic means in the works by the well-known Ukrainian writer-Sixtier. It focuses on the functions of colors and color effects in the text, their analogues in painting, and the role of the colors in showing semantic and mood accents or expressing some implicated meanings. The researcher traces accordance of the literary means with expressive resources of painting art as they are recorded in the theory of art.
 Throughout all the periods of the writer’s creative work the prose by V. Drozd shows the author’s attention to the plastic wealth of the outside world and its coloristic potential. The search for the graphic forms of a psychological analysis, as well as the mood dominant, the background of event, the expressive color markers of semantic accents or meaningful image components of exposition, and, after all, the very painting-like modeling of the landscape or interior, stimulated new graphic experiments that renewed and deepened aesthetic impact of a literary work on a reader, due to the culture of visual perception and constructive imagination.
 The first attempts of verbal design and color rendering in V. Drozd’s works still testify to his literary apprenticeship showing excessively decorative nature, unambiguity of semantic associations, bright hues and chromatic saturation that looks rather as adopted from pictures and not taken from nature. Such artistic approach to the theme generates enormous, and at the same time ideologically typical, pathos associated with aesthetics of socialistic realism and therefore with the teaching function of art.
 The development of coloristic culture in the works of the prose writer is rooted in his attention to the rich range of hues, their emotional and expressive potential, and also in the author’s desire to show a psychological action in a more plastic and suggestive way. In order to reproduce the coloristic variety of sensory experience and underline important semantic implications the writer skillfully works on the parameters of achromatic light environment which becomes symbolized or transformed in a fantastic and hyperbolic way due to the expressive function of light markers.
 The light and color contrasts or combinations of hues may underline some essential semantic aspects of the verbal picture components within the reproduction of a landscape. The analysis of figurative and modeling means proves the artistic functionality of the verbal analogues of painting in V. Drozd’s prose, and its consistency with the aesthetic dominants of the Sixtiers.
Dissertations / Theses on the topic "Still-life painting. Realism in art"
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Maines, Lauren Ann. "The nature of realism /." Online version of thesis, 1988. http://hdl.handle.net/1850/11541.
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Andersson, Louise. "Ylva Oglands socialrealism : Att göra det osynliga synligt." Thesis, Södertörn University College, The School of Culture and Communication, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-445.
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<p>The purpose of this paper is to analyse how work by Swedish artist Ylva Ogland (born in 1974) function as an eye-opener for the social marginalisation of people identified with homosexuality, prostitution and drug addiction. Although highly present in reality, these phenomena were historically, and are still today, hidden from view in public discourse. I have focused on the installations Rapture and Silence and Things Seen, and the still-life painting called Xenia. I argue that these artworks carefully represent the above-mentioned marginalised groups, by way of references to comparable motives in the history of art, from neoclassicism in France, to realism and romanticism.</p>
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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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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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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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Robins, Amanda School of Arts UNSW. "Slow art : meditative process in painting and drawing." Awarded by:University of New South Wales. School of Arts, 2006. http://handle.unsw.edu.au/1959.4/31214.
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This exegesis is an exploration of meditative process in painting and drawing and accompanies an exhibition of paintings and large drawings called What Lies Beneath. The text contains several passages, called "meditations," which accompany the themes approached in the chapters and give insight into the thoughts and practices of the artist. The methodology involves the examination of the evidence of the work produced by selected artists, looking at the words of artists in notebooks, diaries and interviews and surveying a small number of local contemporary artists. The text opens up the possibilities of drapery and garments and of still life as paths to meditative practice in painting and drawing. The qualities that characterize meditative process/practice, derived from my observations, are categorized. Some of the strengths of these processes are revealed through the examination of the work of artists, both contemporary and historical. The work of Vermeer, Sanchez Cotan, Francisco Zurbaran and contemporary artists Anne Judell, Simon Cooper, Jude Rae, Alison Watt and Eva Hesse highlight different aspects of the meditative process in painting and drawing. The art works in the exhibition are documented and bring out the meditative processes that have contributed to their creation, including the use and meaning of the subject (drapery and the garment as a form of still life).
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McGeachy, Heather Losey. "My life as Sistina Smiles." Pullman, Wash. : Washington State University, 2009. http://www.dissertations.wsu.edu/Thesis/Spring2009/H_Mcgeachy_041509.pdf.
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Boch, Elizabeth. "A Pawn’s Toil: Advocating for a Return to the Toybox." Ohio University Honors Tutorial College / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors153599598226024.
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Filippa, Kenne. "Breakfast-Piece by Nicolaes Gillis : A comparative study of material perspectives." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-182721.
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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.
Books on the topic "Still-life painting. Realism in art"
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Grootenboer, Hanneke. The rhetoric of perspective: Realism and illusionism in seventeenth-century Dutch still-life painting. University of Chicago Press, 2005.
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Realistic painting workshop: Creative methods for painting from life. Quarry Books, 2010.
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1949-, Bolger Doreen, Curry David Park, and Metropolitan Museum of Art (New York, N.Y.), eds. American impressionism and realism: The painting of modern life, 1885-1915. Metropolitan Museum of Art, 1994.
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Pinelli, Orietta Rossi. Arte di frontiera: Pittura e identità nazionale nell'Ottocento nord-americano. Nuova Italia scientifica, 1996.
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Museum, Jacksonville Art, ed. Andrew Wyeth: Southeastern collections : Jacksonville Art Museum, January 19, 1992-April 19, 1992. The Museum, 1992.
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Wyeth, Andrew. Andrew Wyeth: From public and private collections. Canton Art Institute, 1985.
Find full textBook chapters on the topic "Still-life painting. Realism in art"
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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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De Boever, Arne. "Michel Houellebecq, Finance Novelist." In Finance Fictions. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823279166.003.0006.
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From his very first novel Whatever, Houellebecq has taken on the representation of the contemporary economy and asked in particular whether it still allows for a novelistic realism. Those concerns are continued in Houellebecq’s much more recent The Map and the Territory, which once again develops the question of realism in parallel to an investigation into economic value. Exploring this question across visual art (photography and painting) and literature (the novel), and with an emphatic interest in work, industrial objects, and those who produce those objects, The Map and the Territory ultimately reveals itself to be a detective novel that follows the deductive logic of the genre while simultaneously challenging that logic—a challenge that, in the novel, is explicitly formulated in economic terms as well, in other words as a challenge about the predictability of the markets. Thus, The Map and the Territory opens up onto the question of narrative in Meillassoux’s philosophy as discussed in Chapter Four.
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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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Curtis, Cathy. "Jane Street." In Alive Still. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190908812.003.0003.
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In 1944, Nell joined the Jane Street Gallery. Together with painters Leland Bell and Al Kresch, she transformed the pioneering artist-run cooperative into a home for a small group of abstract painters who took their cues from Mondrian. In 1945, her painting Blue Pieces was included in The Women, an exhibition of abstract and surrealist work by thirty women at the Art of This Century gallery. Her first solo Jane Street show elicited a rave review in ARTnews. In 1947, Clement Greenberg lauded Nell’s work in a review in The Nation. The following year, an exhibition of paintings by Bonnard at the Museum of Modern Art began to sway her toward a more personal approach. During this period, she was intimate with many men and women, but the special woman in her life was a dancer, Midi Garth, who would prove a loyal friend throughout her life.
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Tuinen, Sjoerd van. "Serpentine Life: The Nature of Movement in Gothic, Mannerism and Baroque." In Speculative Art Histories. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474421041.003.0010.
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In many ways, movement is a test case for visual art as much as for philosophy: for both, we have to answer the question of whether they create real movement or merely a representation of it. Does the event really take place or is it only an illusion? This is a problem that pertains especially to Mannerism and the baroque, which rely heavily on the vocabulary of force and movement that has invested the field of art since the Renaissance. Although these styles are still dominated by classical figuration, they also introduce all sorts of distortions, deformations, and exaggerations in it. Mannerism and the baroque are attempts, within representation, to present the unrepresentable and to render visible the invisible. As a consequence, stable form is no longer the foundation of the image, but rather the limit of visual evidency. Inseparable from its relation to the formless, extension itself becomes a delimitation of intensity, a participation in the infinite. Yet the question remains: Have these attempts merely produced sensational and metaphorical works of art that are meant to move us by generating an illusion of movement in what is undeniably a stable structure or a framed picture, or are they somehow literally moving in themselves? The second position is held by Gilles Deleuze. In Francis Bacon: The Logic of Sensation, he develops a deep connection between Bacon and Michelangelo, since Mannerist painting discovered the ‘figural’: the point at which abstract movements or forces are rendered visible within classical figuration such that the organic figurability of sensation is enriched with an inhuman becoming. In his The Fold: Leibniz and the Baroque, Deleuze then goes on to show how the baroque introduces movement in classical art by means of infinite folding, such that forms would emerge from and dissolve into folds: ‘[t]he object is manneristic, not essentializing: it becomes an event’. The first position, by contrast, is taken up by Lars Spuybroek in The Sympathy of Things: Ruskin and the Ecology of Design (2011), who contrasts Mannerism and the baroque with the Gothic, arguing that while the former work away from static form to deformation, only the latter directly imitates the vicissitude and variety of living nature and produces movement in its continuous working towards form. For no matter how much we deform the painted figure and render it dynamic, it remains imprisoned within a frame hanging motionless on a wall. And no matter how much we cover a classical structure with lifelike ornament, it remains a lifeless construction. Worse still, each time we produce an image or effect of movement in this way, our experience actually becomes more detached from real movement than attached to it. ‘The Baroque,’ Spuybroek therefore concludes, ‘is merely distorted classicism’. The proposition I put to the test is that, to a certain, to be determined extent, we should differentiate between Mannerism and the baroque in a way analogous to Spuybroek’s distinction between the Gothic and the baroque. For while the Mannerist fine arts certainly do not arrive at the free aggregation of lines of Gothic ornament, as they are based on the (dis)proportional variation of the single human body rather than on configural variation, they also lack, or do not yet succumb to, the continuity and smoothness of the baroque. Whereas the baroque brings all movement back to a spectacular sensuality and physicality, we still find a much more abstract, or inorganic, experience in Mannerism. It is that of the life of the serpentine line, or what William Hogarth would later call the ‘line of grace’.
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Fairclough, Pauline. "From Enlightened to Sublime: Musical Life under Stalin, 1930–1948." In Russian Music since 1917. British Academy, 2017. http://dx.doi.org/10.5871/bacad/9780197266151.003.0007.
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The years 1937–53 are generally thought of as stagnant ones for Soviet concert repertoire. This view, however, is predicated on a number of assumptions: first, that the drop in Western modernism in the schedules and its replacement by Soviet works had a stultifying effect on concert life; second, that the era of Socialist Realism was damagingly insular; and third, that cultural exchange ceased and Soviet composers lost touch with what was being composed in the West. This chapter challenges all those assumptions by analysing concert schedules of this period, presenting evidence of semi-formal/informal cultural exchange and considering the notion that Socialist Realism was not an isolated trend but part of a large-scale shift in European and American art whose importance has been side-lined in a still dominant cultural narrative of technical progress and complexity.
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Maurer, Bill. "Signatures." In Paid, edited by Bill Maurer and Lana Swartz. The MIT Press, 2017. http://dx.doi.org/10.7551/mitpress/9780262035750.003.0010.
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Digital signature pads, which require the use of an electronic stylus to draw one’s signature on a screen to authorize a transaction, are an occasion for play and politics. They raise questions, too, about the legal status of the signature and its possible futures under digitization. The chapter looks at signature pad art as well as hacks that force the generation of a paper receipt to avoid signature capture. It places such practices in the history of trompe l’oeil money painting in the 19th century US, which commented on money, representation, fiction, counterfeits, and reality, and the mortgage crisis, in which signatures played a big role in authorizing bad loans. Bringing in the work of graphic designer Troy Kreiner, who made a collaborative work involving imaginary signatures on tablet screens, the chapter argues that paper still shapes the imagination and the legal status of the signature as both the sign of sovereign identity and as an ephemeral afterthought, or a joke.
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Ohajuru, Michael. "Before and After the Eighteenth Century: The John Blanke Project." In Britain's Black Past. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621600.003.0002.
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This chapter, authored by Michael Ohajuru, describes the origins and mission of the John Blanke Project of which he is the creator. John Blanke was a black trumpeter for the Tudor Court, pictured twice in the Great Tournament Roll of Westminster, and the first person of African descent in Britain for whom there is an identifiable image and documentation. Because so little is known of Blanke’s life, the Project commissions artists to portray Blanke in a variety of artistic mediums including poetry, rap, music, visual arts and the stage, letting history inform their imaginations. The Project also invites historians to contribute written pieces to add dimension to an understanding of what Blanke’s life might have been like in this time and place. The chapter attributes the genesis of the project to presentations Ohajuru gave with Dr Miranda Kauffman entitled Image and Reality: Black Africans in Renaissance England (IRBARE) in which he discussed images of the black magus or black king in art and the inclusion of Blanke in commissioned paintings by Stephen B. Whately on the life and times of Henry VII.
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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.
Conference papers on the topic "Still-life painting. Realism in art"
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Del Gallego, Neil Patrick, Cedric Lance Viaje, Michael Ryan Gerra-Clarin, et al. "A Mobile Augmented Reality Application For Simulating Claude Monet’s Impressionistic Art Style." In WSCG'2021 - 29. International Conference in Central Europe on Computer Graphics, Visualization and Computer Vision'2021. Západočeská univerzita, 2021. http://dx.doi.org/10.24132/csrn.2021.3002.9.
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In this study, we showcase a mobileaugmented reality application where a user places various 3D models in atabletop scene. The scene is captured and then rendered as Claude Monet’s impressionistic art style. One possibleuse case for this application is to demonstrate the behavior of the impressionistic art style of Claude Monet, byapplying this to tabletop scenes, which can be useful especially for art students. This allows the user to create theirown "still life" composition and study how the scene is painted. Our proposed framework is composed of threesteps. The system first identifies the context of the tabletop scene, through GIST descriptors, which are used asfeatures to identify the color palette to be used for painting. Our application supports three different color palettes,representing different eras of Monet’s work. The second step performs color mixing of two different colors in thechosen palette. The last step involves applying a three-stage brush stroke algorithm where the image is renderedwith a customized brush stroke pattern applied in each stage. While deep learning techniques are already capableof performing style transfer from paintings to real-world images, such as the success of CycleGAN, results showthat our proposed framework achieves comparable performance to deep learning style transfer methods on tabletopscenes.
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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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Blanco, Silvia, Berta Carrión, and José Luis Lerma. "REVIEW OF AUGMENTED REALITY AND VIRTUAL REALITY TECHNIQUES IN ROCK ART." In ARQUEOLÓGICA 2.0 - 8th International Congress on Archaeology, Computer Graphics, Cultural Heritage and Innovation. Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/arqueologica8.2016.3561.
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The usage of augmented reality (AR) and virtual reality (VR) technologies began to grow when smartphones appeared. Until then, the number of portable devices capable of incorporating these technologies was reduced. Video games are the main field where these technologies are applied, but in other fields such as in archaeology, these technologies can offer many advantages. Ruins reconstruction, ancient life simulation, highly detailed 3D models visualisation of valuable objects from the past or even user free movement in missing places are just some examples found in literature.This paper reviews the latest visualisation technologies and their applicability to the rock art field. The main purpose is to disseminate rock art paintings through AR and VR applications. After the image-based three-dimensional (3D) modelling is obtained, an interactive visit to a shelter for displaying rock art paintings is presented. This is one of examples developed in this paper that pretends to apply the revised AR and VR techniques. In addition, an example of AR is developed that can be easily adapted to further applications displaying rock art paintings.
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Nadri, Chihab, Chairunisa Anaya, Shan Yuan, and Myounghoon Jeon. "Preliminary Guidelines on the Sonification of Visual Artworks: Linking Music, Sonification & Visual Arts." In ICAD 2019: The 25th International Conference on Auditory Display. Department of Computer and Information Sciences, Northumbria University, 2019. http://dx.doi.org/10.21785/icad2019.074.
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Sonification and data processing algorithms have advanced over the years to reach practical applications in our everyday life. Similarly, image processing techniques have improved over time. While a number of image sonification methods have already been developed, few have delved into potential synergies through the combined use of multiple data and image processing techniques. Additionally, little has been done on the use of image sonification for artworks, as most research has been focused on the transcription of visual data for people with visual impairments. Our goal is to sonify paintings reflecting their art style and genre to improve the experience of both sighted and visually impaired individuals. To this end, we have designed initial sonifications for paintings of abstractionism and realism, and conducted interviews with visual and auditory experts to improve our mappings. We believe the recommendations and design directions we have received will help develop a multidimensional sonification algorithm that can better transcribe visual art into appropriate music.
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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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Sabella, Maria Paola. "Le Corbusier et Christian Zervos dans Cahiers d’art." In LC2015 - Le Corbusier, 50 years later. Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.1018.
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Abstract: The search has as purpose to notice the importance of Christian Zervos (Argostoli 1889 – Paris 1970), a greek art historian and founder of the magazine and publishing house Cahiers d’art, that lived in Paris from 1907 to the end of his life) with Le Corbusier, inserted in the contest of Cahiers d’art. The exceptional versatility of Zervos’s mind had allowed him to realize, through Cahiers d’art, a intellectual environment that exceeded the ordinary publishing house of that period, beacuse it was enchanted and nourished by all sector of knowledge. Zeros, inside the Cahiers d’art, made Le Corbusier protagonist of the section of Architecture, that submits to Sigfried Giedion. In fact since the first number of Cahiers d’art the work of Le Corbusier was broadly taken in examination. The articles related to the work of the Architect have gone since 1926 to 1954; the themes that touch these texts can be separate in four major topics: design, private house, great public buildings, painting. La recherche a le but de relever l’importance de Christian Zervos (Argostoli 1889-Parigi 1970), historien de l’art et fondateur des Éditions Cahiers d’art, qui vécut à Paris depuis 1907 à sa mort, et Le Corbusier, insérée dans le contexte de Cahiers d’art. L’exceptionnel éclectisme de Zervos a permis de réaliser dans Cahiers d’art un excellent milieu intellectuell qu’il va au-delà des Éditions, car uni et nourri par chaque domaine de la connaissance. Dans les Cahiers d’art, Zervos rend Le Corbusier le protagoniste de la section d’architecture, soignée par Siegfried Giedion. Keywords: Cahiers d’art; Christian Zervos; projects. DOI: http://dx.doi.org/10.4995/LC2015.2015.1018
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Menon, Shankar, Bo Wirendal, Jan Bjerler, and Lucien Teunckens. "Validation of Dose Calculation Codes for Clearance." In ASME 2003 9th International Conference on Radioactive Waste Management and Environmental Remediation. ASMEDC, 2003. http://dx.doi.org/10.1115/icem2003-4667.
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All proposals for clearance from regulatory control of very low level radioactive material are based on predicted scenarios for subsequent utilisation of the released materials. The calculation models used in these scenarios tend to utilise conservative data regarding exposure times and dose uptake as well as other assumptions as a safeguard against uncertainties. Another aspects is common to all these calculation models and codes: none of them has ever been validated by comparison with the actual real life practice of recycling. An international project has recently been concluded where two calculation codes used for this purpose (the RESRAD-RECYCLE and CERISE codes) were used to calculate the dose uptake by workers, during the segmentation and melting of a contaminated fuel rack at Studsvik RadWaste, Sweden. These calculated doses were compared with electronic dosimeter measurements on workers participating in the various operations. The measurements showed that segmenting was the work operation that gave the highest dose, almost 65% of the total dose incurred, while melting itself accounted for only about 13%. The project was a co-operation between the Swedish Radiation Protection Institute, Studsvik (Sweden), the US Department of Energy, Argonne National Laboratory (USA), the Institute de Radioprotection et Securite´ Nucle´aire (France) and Belgoprocess (Belgium). The comparison of the calculation results indicated that, even with a carefully controlled reflection of reality with respect to geometry and exposure time and with a “best judgment” choice of densities for each operation, the calculation programmes have tended to overestimate the dose uptake by a factor 4 to 7, i.e. about an order of magnitude. An obvious explanation is the fact that the workers are not static, they move about constantly, changing the geometry, thus not taking the assumed doses. There are also some other practical aspects difficult to reflect exactly in the calculations. It should be noted that the Swedish Radiation Protection Institute were not completely of the same opinion as the project team, pointing out that the codes also underestimated doses for certain operations. We feel, however, that this is irrelevant, as only the maximum estimated doses for any operation in the process are used for the determination of clearance levels. It seems reasonable to state that the use of ‘enveloping’ scenarios, which necessarily cover a wide range of scenarios range of scenarios in connection with the calculation of clearance levels, would tend to accentuate this tendency of overestimation of dose uptake in most individual cases of recycling by melting. Taking into account the sensitivity of the modelling and the practical aspects listed above, the estimated doses can be, say, one or even more orders of magnitude higher than those actually taken. A side aspect of the execution of the Validation Project — specifically the background measurements — was the revelation of radioactivity in unexpected places: the paint used for the painting of moulds at A˚kers (3–5 Bq/g), the slag binding product (twice background radiation), the stamp mass, insulation and new asphalt at the Studsvik furnace (all at three to four times background). This serves to illustrate the undetected omnipresence of radioactivity in the human habitat at dose rate levels considerably higher (up to 400% over background) than the levels (ca 1% over background) at which the currently proposed clearance criteria are based on. Finally, it is important to note that the degree of overestimation (a factor of 4 −7), as recorded in the validation project, is generally regarded as ‘acceptable’ by dose modellers. The results will most probably not lead to any revision or refinement of these codes. For the nuclear decommissioner and the other producers of large volumes of only slightly radioactively contaminated material, the clearance levels resulting from such a degree of conservatism can lead to huge amounts of material unnecessarily being condemned to burial as radioactive waste. Considering that most such producers transfer their costs to the public, it is society at large that will foot the bill for this exercise in conservatism.