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Relevant bibliographies by topics / Watercolor painters

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Academic literature on the topic 'Watercolor painters'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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Journal articles on the topic "Watercolor painters"

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Wu, H. "Works of Russian Watercolor Painters in the Early 21st Century." Университетский научный журнал, no. 56 (2020): 34–47. http://dx.doi.org/10.25807/pbh.22225064.2020.56.34.47.

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Demchenko, Alexander I. "The Great Saratov Triad of the Early 20th Century." ICONI, no. 3 (2019): 52–64. http://dx.doi.org/10.33779/2658-4824.2019.3.052-064.

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Saratov is justifiably called one of the most significant centers of the artistic culture of the Russian Near-Volga Region. When analyzing the condition of that domain of the plastic arts represented by painting and graphics, it is necessary to state that during the course of the entire 19th century (not to mention the previous century) the figures of the artists were merely episodic: Jean Baptiste Savin, a Frenchman in his origin (famous for his portraits and watercolors), watercolor painter Maria Zhukova, Andrei Godin (who was the first teacher of Mikhail Vrubel) and Feodor Vassiliev (the first instructor of Victor Borisov-Musatov), portraitists and church painters Lev Igorev and Nikolai Rossov. For the most part, the artists who worked beyond the confines of Saratov were its natives, who were veritably well-known artists – Vassily Zhuravlev and Alexei Kharlamov. The high flourishing of painting in Saratov at the end of the 19th and the beginning of the 20th century was prepared by the activities of Hector Baracchi, originally from Italy, and graduate from the St. Petersburg Academy of the Arts Vassily Konovalov. They exerted a decisive influence on the local artistic school, the main representatives of which were Victor Borisov-Musatov, Pavel Kuznetsov, Piotr Utkin, Alexander Savinov, Kuzma Petrov-Vodkin (a native of Khvalynsk), as well as sculptor Alexander Matveyev. However, there were three names which have become the most “celebrated” for Saratov, which led the brilliant assemblage of remarkable artists pertaining to the visual arts and were in the vanguard of the so-called era of “cultural boom,” as the high artistic accomplishments of the late 19th and early 20th century are sometimes referred to. They are Victor Borisov-Musatov, Pavel Kuznetsov and Kuzma Petrov-Vodkin. The present essay is devoted to them.

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Munive Maco, Manuel. "El grabado contemporáneo en Arequipa." Illapa Mana Tukukuq, no. 15 (February 7, 2019): 34–43. http://dx.doi.org/10.31381/illapa.v0i15.1840.

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ResumenLa ciudad de Arequipa, una de las más importantes del Perú, se ha caracterizado por ser tierra de acuarelistas, tal como lo deja ver la interminable nómina de virtuosos pintores que sustentan esta tradición plástica desde hace más de un siglo. Sin embargo, desde hace poco tiempo, y casi a la sombra de la acuarela, ha ido desarrollándose el trabajo de un grupo de artistas de distintas generaciones, que eligieron el grabado como medio de expresión. El presente trabajo propone una primera mirada de conjunto a este acervo gráfico. Palabras clave: Arequipa, arte, tradición plástica, arte contemporáneo, grabado. AbstractThe city of Arequipa, one of the most important cities in Peru, has been characterized as a land of watercolorists, as shown by the endless list of virtuous painters that sustains this visual arts tradition for more than a century. However, for a short time, and almost in the shadow of watercolor, the work of a group of artists from different generations has been developing engraving as a means of expression. This work proposes a first overview of this graphic collection. Keywords: Arequipa, art, plastic tradition, contemporary art, engraving.

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Yueyue, Xie. "Image of St. Petersburg by Chinese Watercolor Painters in Russia (Professor Dou Fengzhi of the Academy of Fine Arts of Qingdao University)." Университетский научный журнал, no. 55 (2020): 98–110. http://dx.doi.org/10.25807/pbh.22225064.2020.55.98.110.

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Melekhova, Xenia A. "Contribution of Artists Teaching at the Russian Federation S.A. Gerasimov Institute of Cinematography into Formation and Development of the Fine Arts in Mongolia in 20th century." Journal of Flm Arts and Film Studies 10, no. 1 (March 15, 2018): 64–74. http://dx.doi.org/10.17816/vgik10164-74.

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The relevance of studying the contribution of artists and educators of Russian art for formation and development of the creative method of masters in Central Asian countries is due to the importance of this topic for solving the theoretical and practical problems of contemporary art history. Since the second half of the 20th century, the influence of Russian art school on art of the countries of the socialist community has increased. Russian universities have become base centers of higher art education. As a result, the main number of masters of art in Mongolia are graduates to Soviet and Russian art institutions. With appearance in 1935 of the studio "Mongolkino" in Ulan Bator, there was appear need for connoisseurs. Mongolian creators got the opportunity to obtain good education in the Soviet Union in VGIK. When learning students mastered programs aimed at comprehensive creative education. Priceless contribution to formation of the creative method of young masters was made by the artist-educators B.V. Dubrovsky-Eshke, F.S. Bogorodsky, Yu.I. Pimenov and others. Particular attention in pedagogical activity they drawn to the development and improvement of the creativity of the student. We were taught to think and feel images, constantly develop creative individuality, professionalism and at the same time preserve national roots. In the 50s, Mongolian painters Ochryn Myagmar and Purev Tsogzol were educated at VGIK. They passed the school of Soviet art and based on it stood at the origins of the Mongolian cinema. Artists work in various genres and techniques, in the mainstream of European artistic methods. Perfectly knowing how to draw, they write with oil and watercolor. For both artists, work on the nature is fundamental. With a perfect mastery of this creative approach, they remain deeply national masters. VGIK pedagogical school gave the basic footing for the development of cinema in Mongolia and further stimulated the creative potential of new generations of filmmakers. So the Mongolian visual and film art enriched with innovative artistic principles.

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Chernova, I., Arslan Biktagirov, and I. Leonova. "The Problem of Light and Aerial Environment Imaging in an Etude." Scientific Research and Development. Socio-Humanitarian Research and Technology 8, no. 4 (January 22, 2020): 60–63. http://dx.doi.org/10.12737/2587-912x-2020-60-63.

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The article reflects the problems arising in the process of teaching painters and designers to create etudes. By the empiric way the authors of the article have come to the conclusion that it is possible to group the problems which students face when reflecting light-and-air environment in etudes. On the basis of vast teaching practice the authors distinguish such most significant problems as: • difficulty in realizing the limitation of tone range of painting and graphics in comparison with natural surroundings; • mistakes made in defining the ratio of maximum light and maximum dark elements of the natural surroundings; • difficulty in reflecting the space depth. The authors’ vast teaching experience has allowed to formulate a complex approach to eliminating the above mentioned problems combining teaching and technical aspects and providing the following skills: • the complex perception of the nature object; • the ability to establish the ratio of the big main color spots; • the understanding of the nature objects’ tone and color change mechanism; • the ability to define the dependence between the visual tone and color and the distance to the object. To realize the mentioned complex approach the authors suggest implementing a system of different exercises and trainings. In the article they describe two alternative variants of trainings. The first one molds the perception of light-and-air environment by the method of “dyeing”, with the following fixing the molded skills in creating a series of elementary academic settings. The second training is based on the stipulation that watercolor grisaille does not demand any preliminary preparation for perception the influence of light-and-air environment. Thus, according to the training methods, a student automatically gets tone ranging of the whole work area. In the authors’ opinion, in addition to the mentioned exercises, students should be offered less difficult tasks in order to fix the skills and form the dynamic stereotype of defining the light-and-air environment’s influence in etudes.

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José Mateos, Arthur Dixon, and Daniel Simon. "A Watercolor for the Painter Pedro Serna." World Literature Today 89, no. 6 (2015): 57. http://dx.doi.org/10.7588/worllitetoda.89.6.0057.

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Shahmirzadi, Azadeh Asadi, Vahid Babaei, and Hans-Peter Seidel. "A Multispectral Dataset of Oil and Watercolor Paints." Electronic Imaging 2020, no. 5 (January 26, 2020): 107–1. http://dx.doi.org/10.2352/issn.2470-1173.2020.5.maap-106.

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We publish two carefully prepared and spectrally measured datasets of paint swatches. The main advantage of these datasets is that a diverse set of paint mixtures are manually prepared the way an artist may create them. The ratio of paints in each mixture is also published. The first set has 286 swatches made from 8 tubes of Old Holland oil paints in different combinations. The second set has 397 swatches made from 9 tubes of Schmincke watercolor paints. We provide exact details about the preparation of our swatches. We analyze the colorimetric and spectral properties of the two datasets in order to show the spread of the colorimetric gamut and the intrinsic, spectral dimensionality of the datasets. The dataset will be available on http://cam.mpi-inf.mpg.de/ and http://www.azadehasadi.com/.

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Cohen, Valerie P. "Mono Craters and June Lake." Boom 3, no. 3 (2013): 78–81. http://dx.doi.org/10.1525/boom.2013.3.3.78.

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Lampert, R. J., and T. A. Konecny. "Aboriginal spears of Port Jackson type discovered—a bicentennial sequel." Antiquity 63, no. 238 (March 1989): 137–41. http://dx.doi.org/10.1017/s0003598x00075657.

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Notice was taken in ANTIQUITY last year of the Australian bicentennial, and in particular of the remarkable ‘art of the First Fleet’, the ethnographic record provided by the watercolour artists of the contact years around Botany Bay. This note, held over into the bicentennial-plus-one year, finds further insight by tying closer together the painter's record, the ethnographic collections, and the archaeological record.

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Dissertations / Theses on the topic "Watercolor painters"

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Kowalczyk, Stephanie W. "Beyond the Painted Diary: Love, Loss, and Modernity in the Landscapes of John Singer Sargent." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1470007149.

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Jhong, Yu Shan, and 鍾玉珊. "The Inheritance of Tacit knowledge of Hand-painted Watercolor Curriculum." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/96591145530997802725.

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碩士
世新大學
資訊傳播學研究所(含碩專班)
104
People who like to paint could realize the dreams through painting. They want to transmit the feel to who had watched their aquarelle. They have to study hard themselves without art school. And they have to practice a lot. The best way is to study with professional teacher. Anyway, we have to learn how to draw correctly and happily. For drawing correctly, it’s important that to find a teacher who full of experience. This research is for knowing how tacit knowledge transfer in Hand-Painted watercolor curriculum. To provide a way to them that want to learn more about watercolor. Eliminate the fear of watercolor and then to learn. Researcher learned with other student to analyze how tacit knowledge transmits between teacher and student in hand-painted watercolor curriculum b through participatory observation, and semistructured interviews. As a result, tacit knowledge transmits from teacher to student for drawing directly. According to this curriculum, student could realize abstractive word gradually, and express by their paintings.

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Hung, Chi-Yuan, and 洪啟元. "The effects of mixing colored and black-and-white paints in watercolor." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/93046131163393734611.

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碩士
長榮大學
視覺藝術學系碩士班
93
Watercolor is a simple yet efficient, creative tool. It is characterized by alacrity and forcefulness. However, in order to reach an ideal state of expression in watercolor, one must possess both a sound grasp of the aesthetics and a thorough understanding of certain fundamental techniques. Among these techniques, the manipulation of color and a control of water proportion shall be especially critical to a picture of “water” and “color.” Therefore, the author conducts a research as the basis of the dissertation, focusing on “the effects of mixing colored and black-and-white paints” in watercolor paintings. The scope of the research will, firstly, focus on the effect on painting surface after mixing colored and black-and-white paints. Simultaneously the author observes the emotional transformation induced from this effect and circumstances. The second focus will be the subjects of the painting, which presents the composition of urban architecture. It is expected that through the presentation, we may examine the specific effects on the temporal realm of space, after the mixing of colored and black-and-white paints. The method applied in the research is the authentic trials conducted by the author on the effects of mixing colored and black-and-white paints, carried out mainly in the author’s studio. Through the background application of black-and-white paints, the topical application of similarly-toned colors, and the application of color scheme theory in chromatology, the author hopes to discover hues of low chroma and medium value, which are not commonly in use. The following is a summary of the structure of the dissertation: Chapter 1. Introduction This section includes four segments: purpose and motivation behind the research; research techniques and steps; research scope and limitations; and definition of terms. Chapter 2. Evaluation of past research This section examines the uniqueness of each color type, using past research as a reference point. Chapter 3. Examination of the effect of mixing colored and non-colored paints This section compares and contrasts the views of the author with views stemming from theories in aesthetics and masterpieces by renowned artists. Chapter 4. Creation and depiction This section delineates the author’s creative philosophies and techniques and examines specific pieces of work as practical applications of these philosophies and techniques. Chapter 5. Conclusion This chapter summarizes the findings and discoveries of the research and offers suggestions for further research in the future. Based on the research on the above-mentioned topics, the author has drawn three conclusions: 1. During the creation process, the flexible application of this mixing technique will only alter the value instead of the hue, and therefore it enriches the variety of colors and enlivens the painting. 2. Taking full advantage of the technique should harmonize the conflicting colors, and the painting should create harmony and steadiness. 3. By mixing colored and black-and-white paints, the coloring technique of “brightness in darkness, and darkness in brightness” can be emphasized. As a result, the topic is highlighted and the spatial effect is generated, avoiding the toneless of colors, the insipid painting effects, and a closed space.

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Books on the topic "Watercolor painters"

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Monkhouse, W. Cosmo. The earlier English water-colour painters [microform]. 2nd ed. London: Seeley and Co., 1985.

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Australian watercolour painters, 1780 to the present day. Roseville, NSW, Australia: Craftsman House, 1989.

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Tisdall, John. Joshua Cristall, 1768-1847: In search of Arcadia. Hereford [England]: Lapridge Publications, 1996.

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Passion for landscapes: The watercolour art of Ong Kim Seng. Singapore: Artcommune Gallery Pte Ltd, 2013.

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Sisler, Rebecca. Aquarelle!: A history of the Canadian Society of Painters in Water Colour 1925-1985. [Toronto]: Canadian Society of Painters in Water Colour, 1986.

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Sisler, Rebecca. Aquarelle!: A history of the Canadian Society of Painters in Water Colour 1925-1985. [Toronto]: Canadian Society of Painters in Water Colour, 1986.

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Stopani, Z. Iz sveta i t︠s︡veta: Kniga o khudozhnikakh. Moskva: Golden Bi, 2009.

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Shui diao ge tou: 2008 Zhongguo shui cai ming jia Guangxi Dong zhai yan jiu xing chuang zuo xing = Chinese top watercolourists' academic activities in Dong minority villages. Hangzhou Shi: Zhongguo mei shu xue yuan chu ban she, 2009.

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Royal Scottish Society of Painters in Water Colour. One hundred and twentieth annual exhibition [of] The Royal Scottish Society of Painters in Watercolour: 22nd January-17th February 2000...Royal Scottish Academy Galleries, The Mound, Edinburgh. Glasgow: Royal Scottish Society of Painters in Watercolour, 2000.

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Watercolour, Royal Scottish Society of Painters in. One hundred and twenty fifth annual exhibition [of] The Royal Scottish Society of Painters in Watercolour: 22nd January-17th February 20050...Royal Scottish Academy Galleries, The Mound, Edinburgh. Glasgow: Royal Scottish Society of Painters in Watercolour, 2005.

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Book chapters on the topic "Watercolor painters"

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"Chapter 10. High-Water Mark: Figure Painters in the 1880s." In American Watercolor in the Age of Homer and Sargent. Philadelphia Museum of Art, 2017. http://dx.doi.org/10.37862/aaeportal.00253.011.

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Addison, Martin. "Watercolor, oil and pastel." In Painter X for Photographers, 179–98. Elsevier, 2007. http://dx.doi.org/10.1016/b978-0-240-52033-9.50013-3.

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Addison, Martin. "Watercolor, Oil and Pastel." In Painter IX for Photographers, 154–71. Elsevier, 2005. http://dx.doi.org/10.1016/b978-0-240-51982-1.50014-8.

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"Watercolor, oil and pastel." In Painter IX for Photographers, 173–90. Routledge, 2012. http://dx.doi.org/10.4324/9780080479873-15.

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"Watercolor, oil and pastel." In Painter X for Photographers, 195–214. Routledge, 2012. http://dx.doi.org/10.4324/9780080550039-14.

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Sutton, Jeremy. "Photo Techniques I: Pastel, Watercolor, and Oil." In Painter IX Creativity, 95–183. Elsevier, 2005. http://dx.doi.org/10.1016/b978-0-240-80669-3.50010-4.

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"Photo Techniques I: Pastel, Watercolor, and Oil." In Painter IX Creativity, 134–222. Routledge, 2013. http://dx.doi.org/10.4324/9780080456539-13.

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Rosenbaum, Susan. "The Case of the Falling S: Elizabeth Bishop, Visual Poetry and the International Avant-Garde." In Reading Elizabeth Bishop, 177–93. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474421331.003.0013.

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This chapter reads Elizabeth Bishop’s poem ‘Arrival at Santos’, with its famously odd breakage of the letter S from the word falls (‘Glen Fall / s, New York’), as an experiment in visual poetry shaped by the work of the international avant-garde. The breaking of a word between consonants is unusual for Bishop, but it was not at all unusual for her avant-garde precursors and peers. Scholars have explored Bishop’s relation to the visual arts as a painter of watercolors, as a lifelong student of modernist painting, sculpture, and architecture, and as a writer who derived poetic strategies from the visual arts and wrote many ekphrastic poems. However, we have paid less attention to the importance of the visual design and spatial layout of Bishop’s poems in the context of avant-garde experiments with visual poetry.

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McMurray, Janice. "How to Paint a Rainbow for People Who Have Never Painted with Watercolors." In Creative Arts with Older People, 11–14. Routledge, 2018. http://dx.doi.org/10.4324/9781315864112-3.

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Leibman, Laura Arnold. "The Material of Race." In Once We Were Slaves, 74–92. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197530474.003.0006.

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While the Lopez family struggled in Philadelphia, Sarah Brandon went east to London to attend a high-end Sephardic school. London presented Sarah with a new world of opportunities and connections. As in Philadelphia, many members of London’s Sephardic community had connections with Barbados, hence there was no hiding her past as a slave. Yet through friendship, trade ties, and money, Sarah Brandon made that past moot. Her most precious heirloom was part of the new self she constructed: an ivory miniature of herself painted in watercolor, beautiful and wide-eyed in a white empire-waist dress, her hair lifted in a Grecian knot. The portrait was an intimate gift to the man she would marry—Joshua Moses, a handsome and well-connected Jew from Philadelphia and New York. Ivories were a love token, but Sarah and Joshua’s marriage would also unite two major merchant families and change Sarah’s future, again.

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Conference papers on the topic "Watercolor painters"

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Hendricks, Genevieve. "Le Corbusier’s Postwar Painterly Mythologies." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.828.

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Abstract: Le Corbusier’s graphic output was prolific, consisting of hundreds of paintings, thousands of drawings and watercolors, and scores of collages, lithographs, and murals throughout his career. By the late 1940s his double-nature as artist-architect emerged as a key component to his work, as he highlighted the correlations and correspondences that informed his creative endeavors. His post-war works, specifically his series of Taureaux paintings, reveal the development of such themes as well as the transformation of earlier works as he turned to a mythologically-inspired vocabulary of totemic figures and animals, developing a private cosmology of sun and moon, male and female, the machine and Mediterraneità. Keywords: Le Corbusier, Visual Arts, Painting, Taureaux. DOI: http://dx.doi.org/10.4995/LC2015.2015.828

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