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Articles de revues sur le sujet « Painting, Abstract »

Auteur : Grafiati

Publié le 4 juin 2021

Mis à jour le 1 août 2024

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1

Goodfellow, Paul. "Elliptical Forms: Abstract Algorithmic Objects." Arts 12, no. 4 (August 10, 2023): 172. http://dx.doi.org/10.3390/arts12040172.

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Contemporary systems painting directly engages with the material of contemporary culture, not necessarily the technological substrates of computation, social media, the Internet, and artificial intelligence, but the concept of the algorithm and the circulation and patterning of information at the limit of human apprehension. Systems painting emerged as part of the wider category of systems art in the 1960s—a heterogenous collection of artists who were focused on the exploration of social, ecological, and technological systems, and the processes that underpin them. These systemic fields increas

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Novák, Josef. "Abstract Painting." International Philosophical Quarterly 60, no. 3 (2020): 287–306. http://dx.doi.org/10.5840/ipq2020715152.

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Since the beginning of the twentieth century, abstract art has formed a central stream of modern art. To attain purely aesthetic goals, many avant-garde artists turned painting in particular into a pursuit of breaking off the relations with natural forms. Instead of copying them, they have merely relied on their inner visions. When externalizing these visions directly on the canvas or sheets of paper, the practitioners of abstract art have inadvertently used the phenomenological method and its epoché. In this essay I argue that the philosophies of Kupka and Husserl are largely compatible. This

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Sarkar, Asmita, and Aileen Blaney. "Material Metaphor and Reflexivity in Contemporary Painting: A Practice-based Investigation." Journal of Aesthetic Education 57, no. 1 (April 1, 2023): 98–119. http://dx.doi.org/10.5406/15437809.57.1.07.

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Abstract Contemporary painting is a complex practice, and artists regularly incorporate elements from different media such as photography, textile, and performance. Despite its status being diminished by different conceptual art movements, painting still has a critically important place in the artworld. This importance is largely due to painting's ability to stretch across media and make a direct appeal to the senses. In this article, an attempt is made to theorize the facility of painting to incorporate different media and its resulting reflexivity. Maurice Merleau-Ponty's theory of embodimen

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Casey, Edward S. "Place in Painting." Research in Phenomenology 54, no. 1 (March 27, 2024): 1–12. http://dx.doi.org/10.1163/15691640-12341535.

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Abstract This essay examines the role of place in painting. This role is multiple – at once attracting our look but also locatory of whatever is displayed in the painting itself and attracting our attention to it as a place distinct from the place where we are painting it or viewing it. Examined here is also the role of the lived body in the apprehension of place in painting: a corporeal animating force that animates a genuinely lived place as it is set forth or intimated in paintings of seen, remembered, or imagined places. Such placially specific paintings are at once a commentary and a cont

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Bivens, Becky. "An Unlikely Match: Modernism and Feminism in Lynda Benglis’s Contraband." Arts 13, no. 3 (June 8, 2024): 106. http://dx.doi.org/10.3390/arts13030106.

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In 1969, Lynda Benglis withdrew her large latex floor painting, Contraband, from the exhibition Anti-Illusion: Procedures/Materials. Looking beyond the logistical problems that caused Benglis to pull the work, I suggest that it challenged the conceptual and formal parameters of the exhibition from its inception. Taking hints from feminism, modernist painting, camp aesthetics, psychedelic imagery, pop, and minimalism, Benglis’s latex pours unify an array of movements, styles, and political positions that have often been treated as antithetical. Although the refusal of traditional binaries was t

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Liu, Xu, and Taig Youn Cho. "Neuroaesthetic Study on Mondrian's Painting Style." Korea Institute of Design Research Society 7, no. 3 (September 30, 2022): 149–61. http://dx.doi.org/10.46248/kidrs.2022.3.149.

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Peter Mondrian (1872-1944) is a representative of abstract expressionism, whose paintings and thoughts still play an important role in art. Through the study of Mondrian's life and painting style changes, it can be seen that his visual language has changed from the realistic representation of visual objects to the use of pure colors and absolute lines, which can be distinguished by the level of visual nerve activity. According to the performance characteristics of Mondrian's painting, this study first divides the artistic change process into three stages: learning period, exploration period an

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Albertazzi, Liliana, Luisa Canal, Rocco Micciolo, and Massimo Vescovi. "Calligraphy and Klee’s Abstract Painting: A Study on Categorical Ambiguity." Art & Perception 3, no. 3 (2015): 239–63. http://dx.doi.org/10.1163/22134913-00002036.

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This study analyses the categorical ambiguity between visual appearances that belong in different categories, such as Oriental Calligraphy and certain Abstract Paintings selected from the works of Klee. In particular, the aim of our research was to identify whether there exist abstract features at the basis of purely visual configurations that determine the way in which they are categorized. Specifically, the intention was to determine whether, and to what extent, two artistic forms that display documented shared graphic and conceptual characteristics differ, or do not differ, visually, and wh

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Johnson-Laird, P. N., and Keith Oatley. "Emotions, Simulation, and Abstract Art." Art & Perception 9, no. 3 (October 25, 2021): 260–92. http://dx.doi.org/10.1163/22134913-bja10029.

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Abstract Some people feel emotions when they look at abstract art. This article presents a ‘simulation’ theory that predicts which emotions they will experience, including those based on their aesthetic reactions. It also explains the mental processes underlying these emotions. This new theory embodies two precursors: an account of how mental models represent perceptions, descriptions, and self-reflections, and an account of the communicative nature of emotions, which distinguishes between basic emotions that can be experienced without knowledge of their objects or causes, and complex emotions

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Actis-Grosso, Rossana, Carlotta Lega, Alessandro Zani, Olga Daneyko, Zaira Cattaneo, and Daniele Zavagno. "Can music be figurative? Exploring the possibility of crossmodal similarities between music and visual arts." Psihologija 50, no. 3 (2017): 285–306. http://dx.doi.org/10.2298/psi1703285a.

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According to both experimental research and common sense, classical music is a better fit for figurative art than jazz. We hypothesize that similar fits may reflect underlying crossmodal structural similarities between music and painting genres. We present two preliminary studies aimed at addressing our hypothesis. Experiment 1 tested the goodness of the fit between two music genres (classical and jazz) and two painting genres (figurative and abstract). Participants were presented with twenty sets of six paintings (three figurative, three abstract) viewed in combination with three sound condit

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Franzini, Elio. "Painting and Difference (abstract)." Chiasmi International 1 (1999): 198. http://dx.doi.org/10.5840/chiasmi1999145.

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Key, Joan. "Future Use: Abstract Painting." Third Text 23, no. 5 (September 2009): 557–63. http://dx.doi.org/10.1080/09528820903184666.

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Tian, Weifei. "Emotional information transmission of color in image oil painting." Journal of Intelligent Systems 31, no. 1 (January 1, 2022): 428–39. http://dx.doi.org/10.1515/jisys-2022-0026.

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Abstract To enhance the emotional communication of image oil painting art and better analyze the image oil painting art, this article puts forward the research on color emotional information communication in image oil painting art. First, starting from the artistic characteristics of color and its embodiment in various oil painting art forms, this article expounds the relationship and the significance between color language and emotional expression. Then, it summarizes the development of color in image oil painting from a macro perspective and analyzes the emotional expression of color in oil

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Wei, Hua. "Aesthetic Consciousness of Literati Painting and its Application in Urban Planning." Open House International 44, no. 3 (September 1, 2019): 92–95. http://dx.doi.org/10.1108/ohi-03-2019-b0024.

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In order to find a way to combine traditional culture with modern living needs, taking “Chinese painting” as the breakthrough point, through the study of the development process and artistic characteristics of Chinese painting, four aspects of classical philosophy, natural landscape image, brush and ink composition artistic conception, and abstract aesthetic conception contained in Chinese painting are summed up. The results of the study provide enlightenment for contemporary residential landscape design, and summarize the methods of creating Chinese paintings in residential landscape design.

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Ning, Xiaomeng. "Landscape Painting in the Tang Dynasty: On “Changes” and the Historical Constitution of the Concept." Culture and Dialogue 10, no. 2 (November 29, 2022): 158–79. http://dx.doi.org/10.1163/24683949-12340123.

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Abstract Focusing on the “bian” (changes) of Chinese landscape painting in the Tang Dynasty, this essay seeks to expound a breakthrough in the study of painting in the dynasty. Such a study was once difficult to carry out in the form of pictorial and stylistic analyses due to the lack of physical works. By showing that the prevailing landscape paintings of two representative painters Wu Daozi and Li Sixun were at the time most likely to be dominated by the sutra paintings and pictures of the immortal land, the essay attempts to demonstrate that the meaning of “changes” in landscape painting li

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Maclagan, David. "Archetypal psychology and non-figurative painting." International Journal of Jungian Studies 7, no. 1 (January 2, 2015): 33–40. http://dx.doi.org/10.1080/19409052.2014.921227.

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Given that the idiom of archetypal psychology is emphatically figurative, how do we deal with non-figurative painting from this perspective? This paper focuses on the kind of abstract painting in which spontaneous, gestural marks create a ground where specific forms cannot be clearly distinguished (Jackson Pollock's ‘drip’ paintings being a well-known example). Such ‘chaotic’ paintings call into question the whole notion of what we mean by ‘image’. I relate these to Anton Ehrenzweig's concept of ‘inarticulate form’, as well as to some of James Hillman's ideas about aesthetic apprehension, and

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Sa’adah, Haniatus. "Melukis sebagai Terapi Diri Mental Illness." TEXTURE : Art and Culture Journal 5, no. 1 (July 31, 2022): 25–39. http://dx.doi.org/10.33153/texture.v5i1.4329.

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Art therapy is one type of the therapy which done through a creative process on the creation of a work of art as an effort to relieve the inner conflicts or repressed emotions in someone who suffers from health problem such as mental illness. The aim of this study project under the title “Painting as Self- Therapy for Mental Illness” is to create an abstract paintings based on inner experience as self-therapy for mental illness. In addition, the act of counseling routinely with a psychiatrist and drug therapy is being undertaken by the author. In this study project, the author creates a painti

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Haniatussa’adah, Haniatussa’adah. "MELUKIS SEBAGAI TERAPI DIRI MENTAL ILLNESS." TEXTURE : Art and Culture Journal 5, no. 2 (December 27, 2022): 149–63. http://dx.doi.org/10.33153/texture.v5i2.4631.

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Art therapy is one type of the therapy which done through a creative process on the creation of a work of art as an effort to relieve the inner conflicts or repressed emotions in someone who suffers from health problem such as mental illness. The aim of this study project under the title “Painting as Self-Therapy for Mental Illness” is to create an abstract paintings based on inner experience as self-therapy for mental illness. In addition, the act of counseling routinely with a psychiatrist and drug therapy is being undertaken by the author. In this study project, the author creates a paintin

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BR.PURBA, RIPASE NOSTANTA. "Contemporary Painting: Anjani Mystery Room." Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni 23, no. 1 (June 1, 2021): 1. http://dx.doi.org/10.26887/ekspresi.v22i2.996.

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Abstract painting is a genre of art whose forms of delivery are not direct. Anjani is one of the young artists who work with abstract paintings by displaying her wild imagination. Through a mix of media mix and sweep, spill, melt scratch techniques together and connect together into an unexpected configuration of results. The artist himself has dyslexia, which is not trivial for someone, especially artists because dyslexia is a 'language disorder' which causes individual deferences. However, lack is not an obstacle to Anjani, Anjani makes her shortcomings into an artistic 'personal charm' and

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Limbert, Wendy M., and Donald J. Polzella. "Effects of Music on the Perception of Paintings." Empirical Studies of the Arts 16, no. 1 (January 1998): 33–39. http://dx.doi.org/10.2190/v8bl-gbjk-tlfp-r321.

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This study tested the influence of musical style on observers' perceptions of representational and abstract paintings. Participants were thirty-six male and thirty-six female undergraduates who viewed eight paintings under one of three listening conditions: matching, non-matching, or no music. Participants rated each painting on four semantic-differential scales. Mean ratings were compared using MANOVAs. An interaction of painting style and listening condition (Wilks' lambda = .780, p < .05) showed participants' aesthetic experience of viewing the paintings was intensified when the painting

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Uz, Ayfer. "Resimde Duygu ve Gerilimin Çekiciliği Francis Bacon (1909-1992)." Journal of Social Research and Behavioral Sciences 7, no. 13 (November 29, 2021): 703–18. http://dx.doi.org/10.52096/jsrbs.6.1.7.13.36.

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Abstract Francis Bacon was born in Dublin in 1909 to an English family. The artist rejected the literary field and perceived his painting directly as an act of expressionism. The period he lived in and the effect he had on it was reflected in his paintings as horrifying images emerged in them. The figures in his paintings were distorted, trapped in a strong motion, caught in a vortex or storm. The audience subjected to the emotional tension of the figures were subjected to intense emotions. The aim of this study, which was conducted by qualitative research method, is on Francis Bacon who, even

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Vasiliu, O., D. Vasile, F. Androne, M. Patrascu, and E. Morariu. "Between creativity and death: Abstract expressionists and alcohol use disorders." European Psychiatry 41, S1 (April 2017): S519—S520. http://dx.doi.org/10.1016/j.eurpsy.2017.01.687.

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American Expressionists were a group of American artists who valued free expression of unconscious elements, combining emotional intense expressions with anti-figurative abstract style. Their main place of creative debates was Cedar Tavern in New York City, considered by art critics an important incubator of the Abstract Expressionism. Jackson Pollock, one of the most prominent figures of this movement, suspected of having bipolar disorder, abused alcohol during long periods of his life, for which he even underwent psychotherapy. Unfortunately, he died in a car accident while driving under inf

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Wang, Cheng-hua. "One Painting, Two Emperors, and Their Cultural Agendas." Archives of Asian Art 70, no. 1 (April 1, 2020): 85–117. http://dx.doi.org/10.1215/00666637-8124988.

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Abstract This research focuses on one of the most famous paintings made at the court of the Qing dynasty (1644–1911)—Qingming shanghe (Up the River during Qingming). Commissioned by the Yongzheng emperor (r. 1723–1735) and completed in the second year of the Qianlong emperor's reign (1736–1795), the painting is a rare example of Qing court art that reveals how Qianlong furthered his father's artistic vision while formulating his own in the first fifteen years of his long tenure as ruler. This vision involved how to reinterpret and reinvent the Chinese painting tradition through time-honored th

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Maskarinec, Malika. "Allegory and Analogy in Menzel’s The Iron Rolling Mill." Zeitschrift für Kunstgeschichte 84, no. 1 (March 1, 2021): 58–77. http://dx.doi.org/10.1515/zkg-2021-1003.

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Abstract Adolph Menzel’s Das Eisenwalzwerk, or Moderne Cyklopen (The Iron Rolling Mill, or Modern Cyclopes) from 1875 depicts an analogy central to nineteenth- century thought, namely, that between the human motor and the combustion engine. The painting visualizes the differing rhythms of these two “machines” and the entropy produced as a result of that difference. The painting’s reflection on labor also elaborates an allegory of the activity of painting. Such an allegorical reading, motivated by particular attention to the objects placed in the painting’s foreground, entails a reevaluation of

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Murillo Ligorred, Víctor. "La pintura como huella: fotografía y pintura en la obra de Gerhard Richter." Laocoonte. Revista de Estética y Teoría de las Artes, no. 5 (December 13, 2018): 264. http://dx.doi.org/10.7203/laocoonte.0.5.12430.

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El presente texto aborda la cuestión del concepto de índex en la obra pictórica de Gerhard Richter. Esta cualidad de lo fotográfico revierte en la pintura abstracta de los años ochenta en tanto que huella. Para ello, primero se analiza el índex desde la mecanicidad, la tecnicidad y el antiestilo, con el que Richter trabaja sus obras. Para después, analizar cómo el índex, desde su categoría de huella, muestra el rastro de los aparatos por los que fue creado el cuadro. Richter traslada al mundo de la pintura la técnica fotográfica, entrando en un debate de lo fotográfico por la vía de la suplant

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Conger, William. "Abstract painting and integrationist linguistics." Language Sciences 33, no. 4 (July 2011): 654–61. http://dx.doi.org/10.1016/j.langsci.2011.04.011.

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Mat Isa, Mohd Jamil, and Zaim DuruIaman. "An Overview of Selected Yusof Ghani Abstract Expressionist Painting." Environment-Behaviour Proceedings Journal 8, SI16 (November 25, 2023): 91–98. http://dx.doi.org/10.21834/e-bpj.v8isi16.5235.

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This review analyzes Yusof Ghani’s painting, which is recognized with the abstract expressionist character. The selected painting was chosen from the private's collection, then captured into a digital mode which will assist in the analysis of the content and context of the painting. This artwork appears to be very successful in its presentation. This study clearly shows the appropriate features of abstract expressionist style applied by the artist in his painting. The selected painting, through the analysis, depicts the exploration of movement that was attached to the technique, which is assoc

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Wertz, S. K. "Visual Art and Pragmatic Truth: Georgia O’Keeffe at the Helm." Journal of Aesthetic Education 55, no. 4 (December 1, 2021): 51–59. http://dx.doi.org/10.5406/jaesteduc.55.4.0051.

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Abstract This essay examines an oil painting by Georgia O’Keeffe, Ritz Tower (1928), applying the terms of William James’s pragmatic conception of truth and the ideas that play a part in it, for example, pluralism and spiritualism, along with assistance from Martin Heidegger’s notion of Wohnung (dwelling). This is not only a fruitful way to look at her painting but paintings in the same or similar genre. Aesthetic judgments made about Ritz Tower are true if they work (in the pragmatic sense) for those who make said judgments if they find them successful in fitting in with other ideas and belie

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Hulea, Lavinia. "Pre-Raphaelites Painting Shakespeare’s Women." Gender Studies 11, no. 1 (December 1, 2012): 126–34. http://dx.doi.org/10.2478/v10320-012-0033-6.

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Abstract Iconic signs such as paintings, engravings or book illustrations come into existence as a result of visual attempts at redefining the literary text to which they refer. Although they belong to a different medium, they are always conditioned and influenced by the original literary work. English painting displays a series of famous images which explicitly have their roots in literary texts. While the works of Shakespeare, Keats and Tennyson seem to determine a special connection with painting, Shakespeare’s plays are the source of one of the most inspiring subjects of the Pre-Raphaelite

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Feller, C., E. R. Landa, A. Toland, and G. Wessolek. "Case studies of soil in art." SOIL 1, no. 2 (August 13, 2015): 543–59. http://dx.doi.org/10.5194/soil-1-543-2015.

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Abstract. The material and symbolic appropriations of soil in artworks are numerous and diverse, spanning many centuries and artistic traditions, from prehistoric painting and ceramics to early Renaissance works in Western literature, poetry, paintings, and sculpture, to recent developments in film, architecture, and contemporary art. Case studies focused on painting, installation, and film are presented with the view of encouraging further exploration of art about, in, and with soil as a contribution to raising soil awareness.

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Virgoe, April. "Nexus, veil: Robert Ryman and the equivocal spaces of abstraction." Journal of Contemporary Painting 7, no. 1 (October 1, 2021): 39–59. http://dx.doi.org/10.1386/jcp_00031_1.

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It is now understood that the two great defining points in the history of western painting ‐ the emergence of illusory space in the Quattrocento and its disavowal in the mid-twentieth century ‐ represent significant shifts in a perpetual tide in which pictorial space is re-invented. Outside of modernist teleology, the ‘abstract’ in painting is a malleable term, denoting a tendency, or a move away from, rather than a polemic against depiction. How productively, then, can notions of pictorial space be mapped between ‘abstraction’ and ‘figuration’? In this article, I focus on the work of the Amer

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Alya, Shopia Himatul. "Lukisan Pemandangan: Teknik Spon Dalam Karya Seni Lukis Jelekong." Aksara: Jurnal Ilmu Pendidikan Nonformal 7, no. 1 (January 2, 2021): 103. http://dx.doi.org/10.37905/aksara.7.1.103-110.2021.

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<p>Nature is a theme that is always present in the development of art in the world, both Western and Asian arts, such as China and Indonesia. The visualization can be a literal or abstract representation. Nature can be an additional element to a painting to convey depth, or perspective. However, the depiction of nature in a painting can also be the main focus of a work of art. In Indonesia itself, there is an Art Village, precisely Jelekong Art Village, where hundreds of people work as painters and some have made nature the main focus of their work. The uniqueness of the Jelekong painter

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Kawabata, Hideaki, and Semir Zeki. "Neural Correlates of Beauty." Journal of Neurophysiology 91, no. 4 (April 2004): 1699–705. http://dx.doi.org/10.1152/jn.00696.2003.

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We have used the technique of functional MRI to address the question of whether there are brain areas that are specifically engaged when subjects view paintings that they consider to be beautiful, regardless of the category of painting (that is whether it is a portrait, a landscape, a still life, or an abstract composition). Prior to scanning, each subject viewed a large number of paintings and classified them into beautiful, neutral, or ugly. They then viewed the same paintings in the scanner. The results show that the perception of different categories of paintings are associated with distin

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Geyskens, Tomas. "Painting as Hysteria: Deleuze on Bacon." Deleuze Studies 2, no. 2 (December 2008): 140–54. http://dx.doi.org/10.3366/e1750224108000251.

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Deleuze's work on Francis Bacon is an aesthetic clinic of hysteria and an implicit critique of the psychoanalytic conception of hysteria. Bacon's paintings reveal what is at stake in hysteria: not the symbolic expression of unconscious representations, but the pure presence of the body, the experience of the body under the organism. Inspired by the work of the phenomenologist Henri Maldiney, Deleuze argues that Bacon's paintings become non-figurative without being abstract. In this way, painting shows the hysterical struggle of the body to escape from itself in the rhythm of its movement.

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Augustin, Birgitta. "Qian Xuan Pounding the Balustrade." Archives of Asian Art 74, no. 1 (April 1, 2024): 1–36. http://dx.doi.org/10.1215/00666637-11169063.

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Abstract In the late thirteenth century, the poet-painter Qian Xuan 錢選 (style [zi (字)] Shunju 舜举, sobriquets [hao 號] Zhaxi weng 霅溪翁, Yutan 玉潭; ca. 1235–ca. 1307) created a horizontal, multi-colored landscape painting known today as Wang Xizhi Watching Geese and owned by the Metropolitan Museum of Art in New York; a copy of the painting exists in the collection of the National Palace Museum in Taipei. The work depicts a waterside pavilion in which a figure stands with his right hand seemingly resting on the balustrade. This article offers a new interpretation of the painting's scene, and it wil

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Gautam, Manju. "COORDINATION OF COLOR AND RAGA: IN THE CONTEXT OF KANGRA PAINTINGS." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–2. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3587.

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The amazing coordination of music and painting in Kangra painting is a unique achievement in arts across the world, which is why Kangra painting is considered by art scholars to be synonymous with all hill painting. The color scheme of the paintings produced in the Kangra painting style is unique, it seems that all the beauty of the Kangra aesthetic artist filled the paintings through color and lines. The diversity of subjects is a quality of this genre. The artist here also gave the form of abstract and phonetic content of music along with literature and poetry, by color and lines, which is r

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Feller, C., E. R. Landa, A. Toland, and G. Wessolek. "From soil in art towards Soil Art." SOIL Discussions 2, no. 1 (February 9, 2015): 85–132. http://dx.doi.org/10.5194/soild-2-85-2015.

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Abstract. The range of art forms and genres dealing with soil is wide and diverse, spanning many centuries and artistic traditions, from prehistoric painting and ceramics to early Renaissance works in Western literature, poetry, paintings, and sculpture, to recent developments in cinema, architecture and contemporary art. Case studies focused on painting, installation, and cinema are presented with the view of encouraging further exploration of art about, in, with, or featuring soil or soil conservation issues, created by artists, and occasionally scientists, educators or collaborative efforts

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Ying, Fang Tian, Yan Shi, and Li Ning Yao. "DrawLight: Learning Colors by Creating Physically Interactive and Immersive Lighting." Applied Mechanics and Materials 121-126 (October 2011): 1443–45. http://dx.doi.org/10.4028/www.scientific.net/amm.121-126.1443.

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In this paper, we present DrawLight, a physically interactive and immersive lighting system aimed at young children, ages two to six, to help them learn colors and immerse themselves into their imaginary colorful environment by creating correspondent ambient lighting through their former paintings and colorful objects combination. As the same time as children are drawing colorful pictures, playing with colorful objects, or hanging painting somewhere inside the space, specially designed ambient lights will change to the correspond color mode. DrawLight invites children to explore the transforma

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Linrothe, Rob. "Hidden in Plain Sight." Archives of Asian Art 70, no. 2 (October 1, 2020): 225–44. http://dx.doi.org/10.1215/00666637-8620384.

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Abstract This is a review article of Janet Gyatso's 2015 award-winning book, Being Human in a Buddhist World: An Intellectual History of Medicine in Early Modern Tibet. The art-historical aspects of the book—mainly confined to the first chapter, “Reading Paintings, Painting the Medical, Medicalizing the State” and based on a perceptive art-historical reading of a set of medical paintings and its copies—had yet to be reviewed by an academically-trained art historian. This review underscores the fine art-historical insights deserving the attention of art historians working in parallel contexts o

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Ovadia, M., and A. Brook. "ADAPTION OF INDUSTRIAL NDT PROTOCOLS BASED ON ACTIVE INFRARED THERMOGRAPHY TO THE ART CONSERVATION WORLD: THE CASE OF THE WALL PAINTING AT HERODIUM." ISPRS Annals of the Photogrammetry, Remote Sensing and Spatial Information Sciences X-M-1-2023 (June 23, 2023): 223–28. http://dx.doi.org/10.5194/isprs-annals-x-m-1-2023-223-2023.

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Abstract. Salt weathering is one of the most detrimental agents in the deterioration of historic wall paintings. Unfortunately, it is most noticeable once it reaches the surface, and the damage has already been done. Its elusive nature and its integration into the historic structures make it difficult to accurately detect soluble salts at the sub surfaces of wall painting non-destructively. Detailed detection in a delicate artifact such as wall paintings requires custom methodology. The study's case study is the wall painting in Herodium. The wall paintings were severely damaged by salt weathe

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Haidu, Rachel. "Shapes, Wholes, History: For Benjamin." October, no. 185 (2023): 99–117. http://dx.doi.org/10.1162/octo_a_00495.

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Abstract How can we understand the phrase “Painting After the Subject of History,” which forms the subtitle of Benjamin Buchloh's opus on Gerhard Richter? This essay proposes that that post-subject might be addressed by shapes, rather than figures, closely examining paintings from Philip Guston's celebrated “return to figuration” in the 1970s, when, it is argued, figuration's referentiality is exceeded by the force of Guston's painted shapes. Indeed that force registers as the public dimension of the artist's paintings, addressing an American hellscape, or its unconscious register, populated b

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Bai, Ruyi, and Xiaoying Guo. "Automatic orientation detection of abstract painting." Knowledge-Based Systems 227 (September 2021): 107240. http://dx.doi.org/10.1016/j.knosys.2021.107240.

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Bhardwaj, Kumkum, and Monika Yadav. ""COLOR COMBINATION IN ABSTRACT PAINTING STYLE"." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–2. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3627.

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Varna means color is the life of any artwork which depends on vision and light, there is some color in every object, so any object is identified by colors.Color is the property of light. Color does not exist independently, but the effect that the brain has on the axon is color. Two objects of the same form are identified by different colors. Color is the property of the object that we experience by the eyes. We can see an object only in the presence of light, so light gives us a sense of colors. वर्ण अर्थात रंग किसी भी कलाकृति का प्राण है जो दृष्टि एवं प्रकाश पर निर्भर करता है प्रत्येक व

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Cazeaux, C. "SYNAESTHESIA AND EPISTEMOLOGY IN ABSTRACT PAINTING." British Journal of Aesthetics 39, no. 3 (March 1, 1999): 241–51. http://dx.doi.org/10.1093/bjaesthetics/39.3.241.

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Kaneda, Shirley. "The feminine in abstract painting reconsidered." Women & Performance: a journal of feminist theory 27, no. 3 (September 2, 2017): 339–45. http://dx.doi.org/10.1080/0740770x.2017.1364938.

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Zhang, Kang. "From Abstract Painting to Information Visualization." IEEE Computer Graphics and Applications 27, no. 3 (May 2007): 12–16. http://dx.doi.org/10.1109/mcg.2007.58.

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Yan, Ming, Yuanyuan Pu, Pengzheng Zhao, Dan Xu, Hao Wu, Qiuxia Yang, and Ruxin Wang. "Abstract Painting Synthesis via Decremental optimization." Computer Graphics Forum 41, no. 7 (October 2022): 419–30. http://dx.doi.org/10.1111/cgf.14688.

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Abed, Murtadha Atewa. "THE INFLUENCE OF THEOSOPHY ON MODERN PAINTING." American Journal Of Social Sciences And Humanity Research 4, no. 4 (April 1, 2024): 42–48. http://dx.doi.org/10.37547/ajsshr/volume04issue04-07.

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An interesting subject that delves into the junction of spirituality, philosophy, and creative expression is the effect of Theosophy on contemporary painting. In the late 19th century, Helena Petrovna Blavatsky established the spiritual movement known as Theosophy. Theosophy is a belief system that seeks to discover the truth about the oneness of all faiths and delve further into the secrets of life, positing the existence of concealed realities beyond the material world. During the late 19th and early 20th centuries, Theosophy wielded a transformative influence on the field of contemporary ar

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de Bolla, Peter. "Pierre Bonnard: Bringing Painting to Life." boundary 2 49, no. 2 (May 1, 2022): 243–70. http://dx.doi.org/10.1215/01903659-9644583.

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Abstract The French artist Pierre Bonnard created more than two thousand paintings, many of them now dispersed around museums across the world. He painted in a slightly eccentric manner—on unstretched canvas—and often worked on these paintings over decades. They typically depict closed spaces, interiors, that open out to vistas beyond the room. He also produced a number of self-portraits and a very large number of paintings depicting his muse, Marthe, often going about her toilette. Almost of all these paintings have very strange effects—for the most part overlooked by viewers from his own tim

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Danalov, Ilker. "Esoteric Painting by Hilma af Klint." Visual Studies 6, no. 3 (December 13, 2022): 285–97. http://dx.doi.org/10.54664/aimf4981.

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A number of modernist art movements of the late 19th and early 20th centuries gradually reduced the mimetic approach, leading to the logical emergence of pure abstraction. There were several contenders for the ‘first abstractionist’, and the Russian artist Wassily Kandinsky (1866–1944) is most often identified as such by art historians. His watercolour (Untitled; Study for Composition VII), which dates back to 1911, is considered the first abstract work. In 1912, Kandinsky published a kind of personal manifesto called “Concerning the Spiritual in Art”, in which he theorized abstract art. Other

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Hihab, Ramdani Quraiss. "Sebuah Perancangan Sistem Informasi Pemasaran dan Penjualan Lukisan pada Polesan Art Galeri." Ultima InfoSys : Jurnal Ilmu Sistem Informasi 10, no. 1 (August 30, 2019): 36–42. http://dx.doi.org/10.31937/si.v10i1.1115.

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Abstract— This research was conducted to design a web-based painting sales information system design in an art gallery. The research method used in this study uses descriptive methods, namely by explaining the phenomena that occur from data collected through observation and interviews. And using a structured approach method and for system development using the waterfall method. The results of this study are website-based painting sales application designs in art galleries. Currently the painting marketing process is still limited to certain areas, which makes it difficult to increase the sales

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