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Journal articles on the topic 'Still-life painting. Realism in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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1

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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2

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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9

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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GILMAN, BRIDGET. "San Francisco views: Robert Bechtle and the reformulation of urban vision." Urban History 43, no. 4 (2016): 640. http://dx.doi.org/10.1017/s0963926815000863.

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ABSTRACTWhen Photorealism arrived on the art scene in the 1960s, it received considerable media attention for its striking illusionism and unparalleled commitment to fusing painting and photography. But many judged the style to be merely retrograde realism disguised by the use of contemporary source photographs or, more harshly, as an unthinking reproduction of capitalist culture – i.e. a kind of toothless Pop art slickly rendered for the masses. Though the style now constitutes a familiar part of the contemporary art world, few have sought to understand or mitigate several decades of critical

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Green, Edward. "Interview with Composer Marcus Paus Conducted for ICONI by Edward Green." ICONI, no. 3 (2020): 56–67. http://dx.doi.org/10.33779/2658-4824.2020.3.056-067.

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We learn in this interview with the leading Norwegian composer of his generation, Marcus Paus (b. 1979), how critical he is of the “academic tradition” which, in his view, has hurt a good deal of contemporary music over the last several decades: a certain snobbish adherence to non-tonal, non-melodic “abstract modernism.” Paus, on the contrary, asserts the living freshness of traditional values. His own music is grounded in tradition, is steeped in the value of careful craftsmanship, and yet, at the same time, is passionate, surprising, original, deeply lyrical, and fervently humanist in its so

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Som-Serdyukova, Olena. "Karlo Zvirynskyi and his «Underground Academy»: Reflections of Cultural Memory." ART-platFORM 2, no. 2 (2020): 117. http://dx.doi.org/10.51209/platform.2.2.2020.117-137.

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Karlo Zvirynskyi (1923-1997) was an outstanding personality and great artist. His influence on the Lviv cultural environment in the 1960s–1990s was indisputable. Zvirynskyi was a quiet man rooted in his own research fields, but the awareness of his actions formed a strong environment in the aesthetics of the European art and ethical norms of Christianity. The artist's undiverted view on European culture was related to the understanding of processes that cannot be guided ideologically, as well as the realization that culture exists in continuity, and reflects aesthetical and ethical forms of hu

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Tomicka, Joanna A. "Nadzwyczajna zwyczajność. Rembrandt rytownik. Nowatorstwo wobec tradycji." Artifex Novus, no. 3 (October 1, 2019): 114–29. http://dx.doi.org/10.21697/an.7068.

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SUMMARY The scientific interests of Rev. Professor Janusz Pasierb revolved mostly around questions related to Polish art, often in the perspective of European interconnections, inspirations, as well as differences. The present study has been inspired by an observation by Rev. Professor Pasierb made in reference to a sphere of human activity unrelated to art. Describing in one of his papers the figure of Bishop Konstantyn Dominik (1870–1942), Professor Pasierb employed the phrase extraordinary ordinariness17. In the present text, this term will be used to discuss an artist whose oeuvre de

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Nieuwstraten, J. "Het werkelijke onderwerp van Aert de Gelders 'Heilige Familie' te Berlijn." Oud Holland - Quarterly for Dutch Art History 112, no. 2-3 (1998): 157–68. http://dx.doi.org/10.1163/187501798x00338.

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AbstractWhen Aert de Gelder's painting (fig. i) was purchased for the Kaiser Friedrich Museum, Bode wrote a note on it in the Amtliche Berichte aus den königlichen Kunstsammlungen 31 (1910) which, despite the brevity of the text, established the interpretation of the representation until now. Bode adopted the title by which the work is generally known, 'The Holy Family', without any reservations, but regarded the unconventional conception of the religious subject as genre-like and profane. He saw this incongruity as the consequence of De Gelder's extreme 'naturalism', which in his opinion was

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Hiiop, Hilkka, Andres Uueni, Anneli Randla, and Alar Läänelaid. "Still Life with Grapes and Nest." Baltic Journal of Art History 20 (December 27, 2020): 197–211. http://dx.doi.org/10.12697/bjah.2020.20.08.

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A complex conservation process revealed the layer of the painting inits original subtlety and delicate retouchings recreated the integralsurface of the painting. As a result, we can confirm that it is a paintingof high artistic quality dating most probably from the middle ofthe 17th century, painted on an oak panel of German origin. Weremain doubtful about the Internet auction suggested authorship,as the painting does not reach the artistic quality of Jan DavidszDé Heem, a top rank artist from the Netherlands. It is possible tocontinue with the art-historical analysis (and other investigations

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Pichkur, M. "Digital still life painting: art production, composition, imitation and stylization." Art and education, no. 4 (2020): 42–49. http://dx.doi.org/10.32405/2308-8885-2020-4(98)-42-49.

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Asa, Ferdian Ondira, and Sahrul N. "KEHIDUPAN SURAU DI MINANGKABAU SEBAGAI INSPIRASI DALAM KARYA SENI LUKIS." Gorga : Jurnal Seni Rupa 7, no. 2 (2018): 148. http://dx.doi.org/10.24114/gr.v7i2.11003.

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AbstrakSurau di Minangkabau sebagai tempat ibadah lebih dikenal sebagai mesjid, langgar dan musalla. Kehidupan surau sebagai tempat pendidikan anak anak pada saat dahulu mendidik anak laki-laki di surau sebagai tempat bermalam, bermain, menggaji. Model pendidikan ini sudah merubah fungsi sebagai pendidikan modern. Fenomena surau masa lalu sebagai konsep dalam bekarya seni lukis, kehidupan surau di Minangkabau sebagai inspirasi dalam karya seni lukis merupakan bagian dari restrospeksi terhadap realita saat ini. Metode penciptaan karya seni lukis melalui riset etik dan riset emik. Riset etik mel

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Hagood, John. "THE RHETORIC OF PERSPECTIVE: REALISM AND ILLUSIONISM IN SEVENTEENTH-CENTURY DUTCH STILL-LIFE PAINTING. Hanneke Grootenboer." Art Documentation: Journal of the Art Libraries Society of North America 25, no. 1 (2006): 64. http://dx.doi.org/10.1086/adx.25.1.27949410.

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Mykhailova, O. V. "Background. The diverse experience of artistic culture, refl ected in the established system of genres, appears in a new light from the standpoint of modernity as experts." Aspects of Historical Musicology 15, no. 15 (2019): 119–37. http://dx.doi.org/10.34064/khnum2-15.06.

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from different fi elds of art refer to the same topic. Stable repetition of phenomena, the names of which were originally perceived in the poetic and metaphorical way, indicates the formation of a certain genre branch, little developed in scientifi c research. Genre neoformations of this kind include walks, behind the semantic layer of which a certain set of stylistic means shines through. It is not by chance that attempts are made to comprehend this phenomenon in aesthetic and artistic aspects. Objectives. The purpose of the article is to highlight the phenomena of artistic culture with the m

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van Gastel, Joris. "Campania Felix?" Nuncius 32, no. 3 (2017): 615–39. http://dx.doi.org/10.1163/18253911-03203005.

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Neapolitan still life painting, even though Italy’s most prolific “school” of the genre, has attracted little theoretical analysis. Where scholars have considered the genre almost exclusively in terms of stylistic developments and questions of attribution, this paper, alternatively, draws inspiration from insights formulated largely outside the field of art history: Umberto Eco’s characterization of still life paintings as “visual lists” and Michele Rak’s characterization of seventeenth-century literature in the Neapolitan dialect as “literary still lifes.” Building on these insights, this pap

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Thomas, KErstin. "The Still Life of Objects – Heidegger, Schapiro, and Derrida reconsidered." eitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 60. Heft 1 60, no. 1 (2015): 81–102. http://dx.doi.org/10.28937/1000106256.

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Kerstin Thomas revaluates the famous dispute between Martin Heidegger, Meyer Schapiro, and Jacques Derrida, concerning a painting of shoes by Vincent Van Gogh. The starting point for this dispute was the description and analysis of things and artworks developed in his essay, “The Origin of the Work of Art”. In discussing Heidegger’s account, the art historian Meyer Schapiro’s main point of critique concerned Heidegger’s claim that the artwork reveals the truth of equipment in depicting shoes of a peasant woman and thereby showing her world. Schapiro sees a striking paradox in Heidegger’s claim

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MOHR, BARBARA A. R. "THE PRUSSIAN GEOSCIENTIST, ENGINEER AND PAINTER AUGUST VON HEYDEN (1827–1897): AN ARTISTIC CHRONICLER OF THE WORLD OF MINING DURING THE MID-NINETEENTH CENTURY." Earth Sciences History 37, no. 2 (2018): 403–15. http://dx.doi.org/10.17704/1944-6178-37.2.403.

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August von Heyden's (1827–1897) life was exceptional in several ways. His first career as a geologist and mining engineer gave him inspirations for his second career as a painter. Partly he found the themes for his oeuvre in his immediate surrounding, namely in- and outside of mines, which made him a chronicler of mining activities for his times. The work of this Prussian painter was highly appreciated during the last third of the nineteenth century, also known as the Wilhelminian era. Today his book illustrations, paintings and frescos are usually seen as those of an artist of late romanticis

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Zaric, Aleksandar. "ISTORIJSKI KONTEKSTI BIOMOĆI U SLIKARSTVU FRENSISA BEJKONA I U TEORIJI POSTSTRUKTURALISTA." Lipar, no. 71 (2020): 11–27. http://dx.doi.org/10.46793/lipar71.011z.

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The art of Francis Bacon is positioned as a London school of figurative painiting of the second half of the twentieth century, and as such it is the most direct reflection of the post-war traumas of the Nazi regime that befall Europe and the world. It was exactly at the time, at the intersection of social, economic, scientific and technological and cultural practices, that a Western neoliberal order was formed. It is a sample or archeological/historical layer also studied by post-structuralists Michel Foucault, Gilles Deleuze, Felix Guattari. This text is an attempt of explication of certain l

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Gutgesell, Natalie. "THE BALTIC PORTRAIT AND STILL LIFE PAINTER ALEXANDRA VON BERCKHOLTZ (1821–1899)." Baltic Journal of Art History 18 (December 30, 2019): 249–94. http://dx.doi.org/10.12697/bjah.2019.18.08.

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The Baltic artist Alexandra von Berckholtz was among the mostimportant portrait painters of her time. However, her works haddisappeared from art-historical memory because, after her death, theywere sold and spread all over the world. An international researchproject started in 2014 was able to rediscover her works and her lifestory.Von Berckholtz was given her first art lessons in 1841 by the courtpainter Louis Wagner in Karlsruhe, Germany. From 1847 until 1854she studied in Paris at the studio of the history painter Joseph-NicolasRobert-Fleury, who had considerable influence on her pictorials

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Rapoport, Alek. "Tradition and Innovation in the Fine Arts." Canadian-American Slavic Studies 45, no. 2 (2011): 183–206. http://dx.doi.org/10.1163/221023910x535593.

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AbstractSince childhood, AR was attracted by art. His first teacher, E. Sagaidachny, was a former member of the nonconformist groups “Youth Union” and “The Donkey Tail”. Later, in Leningrad, AR enrolled in the V. Serov School of Art. In spite of official Socialist Realism, some teachers (Shablovsky, Gromov, Sudakov) introduced their students to Russian avant-garde. AR educated himself, copying the paintings of Old Masters in the Hermitage Museum. During 1959-1963 AR studied Russian Suprematism and Constructivism in the Leningrad's Institute for eater, Music and Cinema under the supervision of

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Bychkov, V. V. "The Symbolic Essence of Art in Friedrich Schlegel’s Romantic Aesthetics." Art & Culture Studies, no. 1 (2021): 266–87. http://dx.doi.org/10.51678/2226-0072-2021-1-266-287.

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According to Friedrich Schlegel, one of the leading theorists of German Romanticism, the “highest” art is always symbolic, and it would be more precise to name the discipline that deals with it “symbolics”, rather than “aesthetics”. According to Schlegel, the highest arts comprise painting, sculpture, music, and poetry as the “arts of the beautiful and the ideally significant”. Using the examples of painting and literary arts, he demonstrates the symbolic character of art in general. Schlegel thinks that masterpieces of old Italian and German painters exemplify symbolic art. Schlegel is agains

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Boylan, Alexis L. "Neither Tramp Nor Hobo: Images of Unemployment in the Art of the Ashcan School." Prospects 30 (October 2005): 433–50. http://dx.doi.org/10.1017/s0361233300002118.

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This short notice, entitled “When a ‘Hobo’ Works,” which appeared in the New York Times, July 13, 1912, might seem overwrought to contemporary readers in its definitive nature. The need to delineate work and nonwork, however, was quite serious business for Americans in the first decades of the 20th century. During this period, as evidenced in newspaper and journal articles, legislation, and popular culture, there was growing apprehension about the perceived differences and slippage among the ideas of the tramp, the hobo, the vagrant, the unemployed worker, and the worker. Most of this conversa

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Miall, R. C., and John Tchalenko. "A Painter's Eye Movements: A Study of Eye and Hand Movement during Portrait Drawing." Leonardo 34, no. 1 (2001): 35–40. http://dx.doi.org/10.1162/002409401300052488.

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The mental processes that al-low an artist to transform visual images-e.g. those of his model-into a picture on the canvas are not easily studied. The authors re-port work measuring the eye and hand movements of a single artist, chosen for his detailed and realis-tic portraits produced from life. His eye fixations when painting or drawing were of twice the duration of those when he was not painting and also quite different from those of novice artists. His eye-hand co-ordination pattern also showed dif-ferences from that of novices, be-ing more temporally consistent. This preliminary work sugg

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Mikuž, Jure. "The Metamorphosis of Polyphemus's Gaze in Marij Pregelj's Painting (1913-1967)." Ars & Humanitas 9, no. 1 (2015): 86–103. http://dx.doi.org/10.4312/ah.9.1.86-103.

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In 1949-1951 Marij Pregelj, one of the most interesting Slovenian modernist painters, illustrated his version of Homer's Iliad and Odsssey. His illustrations were presented in the time of socialist realist aesthetics announce a reintegration of Slovenian art into the global (Western) context. Among the illustrations is the figure of Cyclops devouring Odysseus' comrades. The image of the one-eyed giant Polyphemus is one which concerned Pregelj all his life: the painter, whose vocation is most dependent on the gaze, can show one eye in profile. And the profiles of others' faces and of his own fa

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Mikuž, Jure. "The Metamorphosis of Polyphemus's Gaze in Marij Pregelj's Painting (1913-1967)." Ars & Humanitas 9, no. 1 (2015): 86–103. http://dx.doi.org/10.4312/ars.9.1.86-103.

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In 1949-1951 Marij Pregelj, one of the most interesting Slovenian modernist painters, illustrated his version of Homer's Iliad and Odsssey. His illustrations were presented in the time of socialist realist aesthetics announce a reintegration of Slovenian art into the global (Western) context. Among the illustrations is the figure of Cyclops devouring Odysseus' comrades. The image of the one-eyed giant Polyphemus is one which concerned Pregelj all his life: the painter, whose vocation is most dependent on the gaze, can show one eye in profile. And the profiles of others' faces and of his own fa

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Iacob, Anisia. "Lipsius’ De constantia, 17th Century Still Life Painting and the Use of Constancy Today." Studia Universitatis Babeș-Bolyai Philosophia 65, Special Issue (2020): 35–53. http://dx.doi.org/10.24193/subbphil.2020.spiss.03.

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"Lipsius’ De constantia, 17th Century Still Life Painting and the Use of Constancy Today. The present article revisits the main ideas from Justus Lipsius’ De constantia in the light of the present ongoing pandemic. Through his interest for the Stoics, Lipsius was able to contribute to a more general and European interest towards this topic, reviving the Stoic philosophy under the name of Neostoicism. The influence of his ideas can be seen in some art production, especially the one that is connected to the places where Lipsius lived and it is a testimony to their popularity and the various ways

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Лай, Юеге. "ЖАНР ХУАНЯО і БУКЕТИ БАРОКО: МЕТАМОРФОЗИ БУТТЯ". Art and Design, № 3 (5 грудня 2019): 89–96. http://dx.doi.org/10.30857/2617-0272.2019.3.9.

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The purpose of the study is to identify the figurative and symbolic parallels of the depiction of flowers in the art of China and Europe. Methodology. The study made use of the methods: historical-cultural, comparative, artistic-stylistic, iconological, iconographic. Results. It is shown that in the art of China and Europe, the image of flowers is interconnected with the embodiment of the ideal, beautiful. In our figurative and artistic analysis of the masterpieces of Chinese painting, it is shown that the masters of the “flowers and birds” genre, in the content and form of embodiment, follow

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Tamara, Riwanda. "REFLEKSI SIMBOLIS KAPAL TERHADAP PERADABAN MASYARAKAT DESA BENGKAWAN DALAM SENI LUKIS." DESKOVI : Art and Design Journal 3, no. 2 (2020): 73. http://dx.doi.org/10.51804/deskovi.v3i2.802.

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Bertempat tinggal jauh dari pusat kota dan tidak adanya akses jalan raya membuat peranan kapal sangatlah penting bagi penulis dan masyarakat dusun Bumbung dipedalaman pulau Kalimantan. Ketergantungan terhadap kapal sangatlah dirasakan penulis dalam menjalani aktivitas sehari-hari. Dari ketergantung tersebut menimbulkan kedekatan yang intim diantara keduanya, sehingga dalam pengkajiannya, kapal yang memiliki karakter dan filosofi kehidupan menjadi dasar penulis untuk mewujudkan sebuah karya. Kapal menjadi subject matter dalam penciptaan karya lukis. Kapal bukanlah sebagai inti sebenarnya, melai

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Kołtan, Jacek, and Anna Sobecka. "Martwa natura Philippa Sauerlanda i narodziny nowoczesnej podmiotowości." Porta Aurea, no. 19 (December 22, 2020): 96–113. http://dx.doi.org/10.26881/porta.2020.19.04.

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The Allegory of Transience by Philipp Sauerland (Gdańsk 1677 – Wrocław 1762), an artist specializing in still life and animal painting, was purchased in 2015 by the National Museum in Gdańsk. The painting allows us to deepen our knowledge of Sauerland’s artistic roots, as well as the interpretation of the painting in the socio-cultural context of the development of Europe in the early 18th century. In the paper a thesis is put forward about the Leiden sources of Sauerland’s work, which are connected with the painting tradition of the so-called fijnschilders, especially the work of Willem

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Ковальова, М. М., та Цю Чжуанюй. "ІМПРЕСІОНІСТИЧНІ ТЕНДЕНЦІЇ В КИТАЙСЬКОМУ ОЛІЙНОМУ ЖИВОПИСУ ПЕРШОЇ ПОЛОВИНИ XX СТОЛІТТЯ". Art and Design, № 3 (13 листопада 2020): 55–65. http://dx.doi.org/10.30857/2617-0272.2020.3.4.

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The purpose of the article is to reveal the impressionistic trends in the fine arts of China, determining the originality of the Chinese oil painting development of the 20th century. Methodology. Historical and cultural, comparative, iconographic and iconological methods are used in the study. Results. The study examines the underinvestigated aspects of Chinese painting development in the first half of the 20th century. The retrospective analysis of the pictural art enables tracing the traditions and innovations in the formation of oil painting in China, which prevails at this historical stage

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Andriaka, Sergey Nikolayevich. "The Mysrety of Flowers. The Mystery of Color. Painting in Multi-Layer Watercolor Technique." Secreta Artis, no. 4 (January 21, 2021): 28–39. http://dx.doi.org/10.51236/2618-7140-2020-3-4-28-39.

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The article is dedicated to composing and painting a floral still life in multi-layer watercolor. The author, drawing on his more than half a century experience in creative and pedagogical work, reveals major challenges faced by artists. The primary focus is directed towards a particularly demanding task of arranging a still life ensemble harmonious in terms of color, with flowers occupying a central place, while all other elements (stems and leaves, vase, background, etc.) play a role of a tactful and apt “accompaniment”. In this regard, the author examines successful tone and background choi

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Cutler-Bittner, Jody B. "Charles White." Nka Journal of Contemporary African Art 2019, no. 45 (2019): 140–49. http://dx.doi.org/10.1215/10757163-7917192.

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The recent exhibition Charles White: A Retrospective (Museum of Modern Art, New York, October 7, 2018–January 13, 2019) offered a chance to consider the technical and iconographic breadth of an oeuvre that has been exhibited mainly in sporadic doses for the past few decades and has expanded in scope through recent attention from a subsequent generation of African American artists, including several students as well as art scholars. White (1918–79) was vocally committed from the mid-1960s through his final decade to African American art subjects in tandem with social issues, climactic in poigna

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Nienhuis, James. "Domestication of Vegetables as Illustrated in Renaissance Art." HortScience 41, no. 4 (2006): 967A—967. http://dx.doi.org/10.21273/hortsci.41.4.967a.

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An enigma in the process of domestication of many of our common vegetables is what they looked like and the speed of the process at which they were transformed from the wild progenitors to the modern cultivars. Many vegetables were either domesticated in antiquity or introduced into Europe, often by trade with Africa, the Middle East, or the Americas. Based on genetic information, we often know or can deduce center of origin and the progenitor species of our common vegetables, but we do not have a record of their early history once introduced into Europe. One window to the process of domestica

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Ette, Ottmar. "Magic Screens. Biombos, Namban Art, the Art of Globalization and Education between China, Japan, India, Spanish America and Europe in the 17th and 18th Centuries." European Review 24, no. 2 (2016): 285–96. http://dx.doi.org/10.1017/s1062798715000630.

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Garcilaso de la Vega el Inca, for several centuries doubtlessly the most discussed and most eminent writer of Andean America in the 16th and 17th centuries, throughout his life set the utmost value on the fact that he descended matrilineally from Atahualpa Yupanqui and from the last Inca emperor, Huayna Cápac. Thus, both in his person and in his creative work he combined different cultural worlds in a polylogical way.1 Two painters boasted that very same Inca descent – they were the last two great masters of the Cuzco school of painting, which over several generations of artists had been an in

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Bromwell, Thomas. "True to Life: British Realist Painting in the 1920s and 1930s, Scottish National Gallery of Modern Art, July 1–October 29, 2017." Visual Culture in Britain 19, no. 1 (2018): 132–34. http://dx.doi.org/10.1080/14714787.2018.1450330.

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Kavun, V. M. "The semantics of religious images in the art of the renaissance." Humanitarian studios: pedagogics, psychology, philosophy 3, no. 152 (2020): 106–13. http://dx.doi.org/10.31548/hspedagog2020.03.106.

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Purpose of research is to consider the culture and art of the Renaissance and explore the semantics of religious images of the outlined period. Methodology. The tasks posed in this work led to the use of the following research methods, namely: analysis and synthesis, generalization and systematization of theoretical material, comparison and generalization of the result obtained in the process of studying theoretical material and specialized publications covering this issue. The solution of the tasks was achieved by applying the comparative historical, descriptive, logical and systemic methods.

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Jain, Sushma. "PRE-HISTORIC ROCK PAINTING: DICKEN (DISTRICT NEEMUCH)." International Journal of Research -GRANTHAALAYAH 8, no. 3 (2020): 128–35. http://dx.doi.org/10.29121/granthaalayah.v8.i3.2020.137.

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Humans have been lovers of beauty and art from the beginning. Like human life, the history of the rise of art is very mysterious, vast and unknown. It is not easy to present the facts of past merged in innumerable layers of time, even today we have a complete lack of means and evidence. The places where rock paintings have been found in India are still located in dense forests far away from human reach. All these prehistoric arts are pre-human. With these inscriptions we not only gain knowledge of the nature, life, struggle and conditions of the primitive human, but we also get the proof

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Kougemitrou, I., G. Economou, J. Giovanopoulos, I. Baziotis, G. Leontakianakos, and V. Stathopoulos. "A mineralogical study of pigments used in two Iakovidis paintings: Verification of artwork authenticity using Raman micro-spectroscopy method." Bulletin of the Geological Society of Greece 47, no. 1 (2013): 392. http://dx.doi.org/10.12681/bgsg.11014.

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For the purpose of the current study, we examined two paintings, an original and a fake one, entitled “Still life with grapes”, and claimed both to be created from the Greek Painter G. Iakovidis. The current Research Project has been carried out at the Centre Nikias, an innovative Research Centre specialised on certification, maintenance and restoration of art works. Raman spectroscopic analysis has been carried to verify the authenticity of the used pigments and also the originality of the two paintings. The Raman spectra acquired confirmed four different colours in both painting`s pigments:

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PS, Anju, and Andrea Figaredo. "Mastering of Fancy Meeting Reality: A Critical Exploration of Magical Realism with Reference to “The Curious Case of Benjamin Button” Directed by David Fincher." SMART MOVES JOURNAL IJELLH 8, no. 3 (2020): 9. http://dx.doi.org/10.24113/ijellh.v8i3.10492.

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Apart from other art forms, cinema has an unquestionable potential to install new concepts and believes among the society. It has spread around the world, crossed the barriers of languages and communities and has traversed into the depths of social arena. The tool which caused an impact in the ethos, throughout the history is nothing but the new notions portrayed by the filmmakers. Cinema has overpowered the restrictions of the cultural borders and showed its power towards internationalism, which caught the mind of the viewers worldwide. The plot of a cinema often reminds us of things we perha

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Padyan, Yu Yu. "PERFORMANCE AS A CONTEMPORARY ART PHENOMENON." Arts education and science 1, no. 1 (2021): 148–56. http://dx.doi.org/10.36871/hon.202101017.

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The end of the XIXth — beginning of the XXth centuries is a special period in the history of world art culture, characterized by the emergence of such trends as modernism, post-impressionism, avant-gardism, abstractionism, cubism, surrealism and many others. The motto of XXth-century art was "Art into Life". Often new trends became a response to the demand of the mass consumer. One of them was the art of performance. Appearing as a rejection of traditional practices of painting, sculpture and theater, performance organically incorporated wellknown and new approaches and technologies that cause

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Narasimhan, Manisha, and Lucy Ramon. "132 Brushstrokes after stroke – art and neuroplasticity." Journal of Neurology, Neurosurgery & Psychiatry 90, e7 (2019): A43.1—A43. http://dx.doi.org/10.1136/jnnp-2019-anzan.117.

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IntroductionDespite current developments in acute stroke therapies, 65% of stroke patients have varying degrees of disability. Whilst focus on acute stroke reperfusion strategies is vital, stroke survivors still need support and appropriate opportunities for rehabilitation.Methods and resultsThis is an inspiring story of an 86-year old patient with locked in syndrome who rediscovered her artistic talent after a disabling stroke. She presented with right hemiparesis, bilateral ptosis, ophthalmoplegia and aphasia. Her MRI showed multiple infarcts affecting the midbrain, thalamic, cerebellar and

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Dhiman, Shalini. "WHAT ARE THE BASIC ELEMENTS AND PRINCIPLES OF ART." ShodhKosh: Journal of Visual and Performing Arts 2, no. 1SE (2021): 17–18. http://dx.doi.org/10.29121/shodhkosh.v2.i1se.2021.17.

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Art is natural expression of human. It is through art that a human looks at his personality. Art is such a valuable asset that everyone would have had, but not everyone is aware of it. Art enables the human mind to show direction to the senses, instill the tendencies and twist the mind. Art received by nature as a gift to human consciousnes ,divine gift. The entire creation of any artist is based on his autobiographical approach. Impressed by the material objector natural beauty, the artist through his imagination transforms the feelings produced in the mind into a work. These creations are co

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Kumar Yadav, Santosh. "MUGHAL CARPET PAINTING (WITH REFERENCE TO LINE, COLOR AND ORNAMENTATION)." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1–3. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3617.

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It is revealed from the above verses that the beautiful picture is formed by the collective union of the four, Rekha Rang Vrattana and ornamentation. These four elements play their important role in generating life in any picture. Without these elements, we cannot call any art complete. No matter how much changes have been made in art since the beginning of human civilization, these elements in art still have the same importance today as before. The only difference is that now the pattern of its use has changed. We have already described the importance of their use through one verse. And as fa

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Schnackenburg, Bernhard. "Knabe im Atelier und Bücherstilleben, zwei frühe Gemälde von Jan Lievens und ihr Leidener Kontext: Rembrandt, Jan Davidz. de Heem, Pieter Codde." Oud Holland - Quarterly for Dutch Art History 117, no. 1-2 (2004): 33–47. http://dx.doi.org/10.1163/187501704x00269.

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AbstractA painting entitled Le jeune Dessinateur (the young draughtsman), identified in 1932 by Hans Schneider as an early work by Jan Lievens and hung in the Louvre together with Rembrandt, should still, according to prevailing scholarly opinion, be attributed to the much younger Wallerent Vaillant on the basis of a reproduction engraving with his address. It was made after Vaillant and Michael Sweerts had come across the more than 30-year old Lievens painting in about 1660 which inspired them to make variants of their own in the style of their times - variants which Vaillant also published a

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