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Relevant bibliographies by topics / Still-life painting. Realism in art

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Academic literature on the topic 'Still-life painting. Realism in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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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 paintin

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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 develo

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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&rsquo;s paintings &ndash; 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. &nbsp;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 elu

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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 revoluti

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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 a

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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 No

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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.

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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 t

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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

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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 it

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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 mot

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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

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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 funda

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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 s

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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 &quotmeditations,&quot 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

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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 portr

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Books on the topic "Still-life painting. Realism in art"

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Painting Still Life in Gouache. Crowood Press, 2015.

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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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Bringing textures to life. North Light Books, 1993.

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Sheppard, Joseph. Bringing textures to life. Watson-Guptill Publications, 1987.

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Realistic painting workshop: Creative methods for painting from life. Quarry Books, 2010.

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Eyfferth, Joerg. Joerg Eyfferth: Transparenz und Reflexion. CoCon-Verlag, 2007.

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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.

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Book 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.

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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 c

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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 review

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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

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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 lif

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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

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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 c

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