Gotowe bibliografie tematyczne / Painting

Spis treści

  1. Artykuły w czasopismach
  2. Rozprawy doktorskie
  3. Książki
  4. Części książek
  5. Streszczenia konferencji
  6. Raporty organizacyjne

Gotowa bibliografia na temat „Painting”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 25 lipca 2025

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Artykuły w czasopismach na temat "Painting"

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Liu, Shengnan. "Intertextuality and Shielding of Poetic painting: A Case Study of Qiao Zhongchang’s “The Sequel to the Ode to the Red Cliff Scroll”." Studies in Linguistics and Literature 8, no. 3 (2024): p86. http://dx.doi.org/10.22158/sll.v8n3p86.

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As an art form combining poetry and painting, poetic painting usually presents the emotion and mood of the source poem in a positive and favorable way. However, due to the limitations of painting’s ideograms, poetic painting has limitations in presenting the connotations and extensions of poetry. Qiao Zhongchang’s The Sequel to the Ode to the Red Cliff Scroll of the Northern Song Dynasty is one of the typical models of ancient poetic paintings. From the perspective of the relationship between poetry and painting, the writer analyze the intertextual and shielding phenomena therein, with a view
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Jovanović, Vanja, Suzana Erić, Philippe Colomban, and Aleksandar Kremenović. "Identification of Lithol Red Synthetic Organic Pigment Reveals the Cause of Paint Layer Degradation on the Lazar Vozarević Painting “Untitled” with Copper Plates." Heritage 2, no. 3 (2019): 2612–24. http://dx.doi.org/10.3390/heritage2030160.

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Out of a total of 56 paintings in the collection of the Lazar Vozarević Gallery in Sremska Mitrovica, only one Lazar Vozarević painting from 1961, titled “Untitled”, has been subject to atypical degradation that has resulted in damage of completely atypical appearance. Such a problem had never before been noticed in Yugoslavian paintings of the 20th century. Discolored areas were found in various locations on the paint layer of the painting “Untitled” (especially on the lower and central parts of the painting), which disturbed the visual experience of the artistic work. To discover the cause o
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Ye, Zhihao, and Xinyun Jiao. "Contemporary Art on Realistic Subjects in the New Era of Lacquer Painting." Asian Journal of Social Science Studies 7, no. 7 (2022): 75. http://dx.doi.org/10.20849/ajsss.v7i7.1249.

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By using lacquer painting creation with realistic themes as an example, this essay will examine the primary issues with lacquer painting creation with realistic themes in the context of the modern period.It will summarize the key pathways and construction expansion choices for lacquer painting creation with realistic themes by analyzing the creative issues and traits of lacquer painting with realistic themes, and it will provide the future path perspective that may be supported.Modern lacquer paintings with realistic topics suffer from a loss of pictoriality, a weakening of pictoriality, and a
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Moon, Mi-jin. "A study of picture titles and images of “Three old men asked their age”." Society for Chinese Humanities in Korea 84 (August 31, 2023): 365–82. http://dx.doi.org/10.35955/jch.2023.08.84.365.

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A painting's title can be divided into three main categories. The first is the title that the artist decides what kind of painting he or she is going to paint, the second is the title that the artist writes on the painting after the painting is completed, and the third is the title that someone else adds to the painting. The first two types of titles usually go well with the content of the painting, but the titles given by others are sometimes wrong for reasons such as a lack of understanding of the content of the painting. Especially in the case of auspicious paintings with hidden meanings or
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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 (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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Wilson, Sarah Kate. "Painting’s liveness." Journal of Contemporary Painting 9, no. 2 (2023): 267–85. http://dx.doi.org/10.1386/jcp_00059_1.

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Sarah Kate Wilsons’s article ‘Painting’s liveness’ is written from her vantage point, as an artist/curator/researcher/collaborator/educator. Here she reveals how painting’s relationship with performance, particularly during the second part of the twentieth century, has led to painting’s liveness. This, she asserts, is apparent in paintings by Daniel Buren, Robert Rauschenberg, Yoko Ono, works by the Gutai Art Association and performances by Ei Arakawa. The inauguration of a performance programme at Bauhaus in Germany, Black Mountain College in America and the formation of the Gutai Art Associa
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Chen, Jiajun. "The Style and Characteristics of Flower-and-Bird Painting in The Western Fujian Province in Modern Times." Scientific and Social Research 3, no. 6 (2021): 157–63. http://dx.doi.org/10.36922/ssr.v3i6.1293.

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The 20th century was a period of change in the development of Chinese flower-and-bird painting. Traditional brush and ink painting blended with Western painting colors and concepts to present new forms of painting. Following the peak of Ming and Qing Dynasties’ development in Minxi (the western of Fujian) painting, a group of freehand flower-and-bird painters represented by the “four Masters of Shanghang” Li Shaoqi, Luo Xiaofan, Qiu Tian, and Song Shengyu, who inherited the Minxi painting style of the Ming and Qing Dynasties, learned the new painting language combines the styles of Paintings o
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Barron, Irving R., and Gaurav Sharma. "Toward CanvasChain: A Block Chain and Craquelure Hash Based System For Authenticating and Tracking Fine Art Paintings." Electronic Imaging 2020, no. 4 (2020): 399–1. http://dx.doi.org/10.2352/issn.2470-1173.2020.4.mwsf-399.

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Determining the authenticity of a painting is not an easy task. First, distinguishing fake paintings from originals is challenging, and often even art experts cannot reliably identify forgeries. Counterfeiters can also create spurious documentation to support the “authenticity” of fake paintings. In this work, we present work toward CanvasChain, a system for authenticating/tracking paintings that uses a blockchain in combination with a robust hash of the crack patterns (craquelure) on the surface of paintings. The robust hash is used as a painting’s fingerprint, which is used in a blockchain t
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Xu, Yixuan. "Color Expression and Mood Creation in Imagery Oil Painting." Journal of Contemporary Educational Research 8, no. 1 (2024): 7–12. http://dx.doi.org/10.26689/jcer.v8i1.5934.

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Oil painting is a traditional Western painting form. With the introduction of China and the influence of China’s traditional painting and aesthetics, the painting style became more distinctive, expanding a new development direction of oil painting, and thus imagery oil painting came into being. Color, as the most important element in imagery oil painting, mainly plays the role of mood creation and emotional expression. Many creators are good at injecting their thoughts and emotions into the paintings through color matching, so as to enhance the artistic expression of the paintings. This paper
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Biberman, Efrat. "Painting as Scotomization: The Rhetoric of a Concealed Image." Derrida Today 18, no. 2 (2025): 103–22. https://doi.org/10.3366/drt.2025.0371.

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In Back of a Painting: History Painting No. 12, Doom of 1998–2004, Israeli artist David Ginton paints a back side of a painting with an inscription that describes the painting's alleged recto. The text alludes to a verse from the book of Micah, which unfolds the story of an apprentice who banishes his master. In Ginton's rewriting, the story is displaced to current Israeli politics, yet the charged and disturbing visual content remains hidden, as though painted on the reversed side. Ginton's painting serves for examining a painterly characteristic, in which paintings engage with what cannot be
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Rozprawy doktorskie na temat "Painting"

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Gruner, Billy. "Painting the object : recent formal Australian painting." Phd thesis, Sydney College of the Arts, 2003. http://hdl.handle.net/2123/4992.

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Domin, Jacqueline. "Painting perceptions /." Online version of thesis, 1990. http://hdl.handle.net/1850/10902.

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Clucas, Graham. "Painting silence." Thesis, University of Plymouth, 2002. http://hdl.handle.net/10026.1/1102.

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This research examines the history and theory of silent painting to discover why particular paintings were called silent, what the term was meant to signify, and how the quality of silence was discernible in the paintings it described. The imderstanding thus gauied is in tum the subject of further analysis through (documented) reflective practice, which recognises a broader context of contemporary theoretical and practical viewpoints. The purpose is to investigate, through practice, the characteristics and potentialities of silence. From the emergence of'silent' painting in America during the
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Wilson, Gina Strecker. "Narrative Painting." PDXScholar, 1992. https://pdxscholar.library.pdx.edu/open_access_etds/4527.

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Wenholz, Mary Peta. "Painting about painting: the contemporary expansion of medium specificity." Thesis, The University of Sydney, 2007. https://hdl.handle.net/2123/28934.

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Studio: The work submitted for examination in December 2007 at SCA Galleries, consists of a painting constructed within the gallery space, and is the culmination of the research undertaken during the Masters of Visual Arts program. Untitled (Vinyl wall composition) I (2007) investigates how the act of making can function as a speculative activity interested in both the materiality of painting and the architectural context in which the work is placed. Research Paper: The objective of this research paper is to investigate the theoretical concerns raised by the studio work. It expl
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Dupuis, Matthew Morris. "Charles Lebrun, painting the King and the King of painting." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0016/MQ29489.pdf.

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Ng, Yuk-lan. "Mid-Muromachi flower and bird painting in Ashikaga painting circles /." View the Table of Contents & Abstract, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38030962.

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Dupuis, Matthew. "Charles Lebrun : painting the king and the king of painting." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26684.

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This thesis examines the transformation in the representation of painters during Charles LeBrun's tenure as Life-Chancellor to the Academie Royale de Peinture et de Sculpture, from an initial definition in terms of the monarchy at Versailles to one founded on the practice of the art of painting. To promote the status of painters and painting, Louis XIV was celebrated as the protector of the arts in a royal portrait by Henri Testelin and was depicted as the ideal subject of art in paintings by Nicolas Loir and others. A painter's stature was then derived from the skillful manner in which he pai
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Ng, Yuk-lan, and 吳玉蘭. "Mid-Muromachi flower and bird painting in Ashikaga painting circles." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B45015624.

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Olofsson, Max. "Painting in the twenty-tens;where to now? : (You can’t touch this!)." Thesis, Kungl. Konsthögskolan, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-212.

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The essay is a manifesto-like personal take on painting, and a redefinition of painting in the digital age. Careless usage of the term ”painting” has led to a diluted descriptive function and a waning categorizing capacity; almost anything can be called painting, which in turn puts actual painting in an awkward position – where it, apart from being itself, could be almost anything. The term “painthing” is introduced to distinguish painting from works that beside its two-dimensional visual information also makes a point of its specific materiality. It brings up cave paintings and links to video
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Książki na temat "Painting"

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Insoll, Chris. Paintings about painting - Chris Insoll. Falmouth Art Gallery, 2001.

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Takeda, Teppei. Paintings of painting: Teppei Takeda. United Vagabonds, 2019.

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Canoilas, Hugo. HCPP: Hugo Canoilas, paintings against painting. Centro Cultural Vila Flor, 2011.

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Lambie, Jim. Painting not painting. Tate St. Ives, 2003.

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Bower, Jane. Painting. Children's Press, 1998.

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Thomas, Isabel. Painting. Heinemann Library, 2011.

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Robins, Deri. Painting. Two-Can, 2006.

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America, Boy Scouts of, ed. Painting. 2nd ed. Boy Scouts of America, 2002.

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1909-, Wijesekera Nandadeva, Sri Lanka. Commissioner of Archaeology., and Sri Lanka Purāvidyā Depārtamēntuva, eds. Painting. Commissioner of Archaeology], 1990.

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Stocks, Sue. Painting. Thomson Learning, 1994.

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Części książek na temat "Painting"

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Watson, J. R. "Painting." In A Handbook to English Romanticism. Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-22288-9_57.

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Tiradritti, Francesco. "Painting." In A Companion to Ancient Egyptian Art. John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118325070.ch13.

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Watson, J. R. "Painting." In A Handbook to English Romanticism. Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-13375-8_57.

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Escoubas, Eliane. "Painting." In Handbook of Phenomenological Aesthetics. Springer Netherlands, 2009. http://dx.doi.org/10.1007/978-90-481-2471-8_49.

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Weik, Martin H. "painting." In Computer Science and Communications Dictionary. Springer US, 2000. http://dx.doi.org/10.1007/1-4020-0613-6_13529.

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McClung, Mary C. "Painting." In Mask Making Techniques. Routledge, 2023. http://dx.doi.org/10.4324/9781003343264-10.

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Moioli, Gianpiero. "Painting." In Introduction to Blender 3.0. Apress, 2022. http://dx.doi.org/10.1007/978-1-4842-7954-0_5.

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Edwards, Jean, Helen Caldwell, and Rebecca Heaton. "Painting." In Art in the Primary School, 2nd ed. Routledge, 2021. http://dx.doi.org/10.4324/9780429296208-8.

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"Painting after Painting: The Paintings of Susan Bee." In M/E/A/N/I/N/G. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822380061-039.

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Soussloff, Catherine M. "The Limits of Irony." In Foucault on Painting. University of Minnesota Press, 2017. http://dx.doi.org/10.5749/minnesota/9781517902414.003.0005.

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In his study of Manet, Foucault sought to understand and to explain: what about Manet’s paintings as paintings had so radically altered the history of art? Foucault explained with exactitude how painting about painting itself might be constituted by and revealed in the painting object and he invented a unique terminology to describe this process philosophically.
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Streszczenia konferencji na temat "Painting"

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Zhao, Tingxuan. "The Impact of AI Painting on Traditional Painting." In International Conference on E-commerce and Artificial Intelligence. SCITEPRESS - Science and Technology Publications, 2024. https://doi.org/10.5220/0013271200004568.

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Khan, Shameem A. "Paint System Performance Warranty." In SSPC 2015 Greencoat. SSPC, 2015. https://doi.org/10.5006/s2015-00031.

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Bridges are a vital part of the primary infrastructures of transportation. To protect the bridges, a bridge painting program in Maryland was initiated in 1980. At that time lead based paints were used for painting the bridges. Around 1986, due to environmental, workers safety and health issues, Maryland as well as other states ceased using lead based paints. As a result new paint technology was developed for bridge paintings needs.
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Dufort, Robert. "Exterior Painting Restoration." In Paint and Coatings Expo (PACE) 2007. SSPC, 2007. https://doi.org/10.5006/s2007-00028.

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Abstract The repair and restoration of deteriorated wood siding, trim, and ornamental plaster on the exteriors of older buildings is one of the cornerstones of what is called a “Painting Restoration”. From the symptoms of paint failure, one can determine the underlying causes, and then decide upon the proper cures.
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Nutcher, Paul. "Green Building 101 for the Painting & Coatings Industry." In SSPC 2008. SSPC, 2008. https://doi.org/10.5006/s2008-00044.

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Abstract The trend toward sustainable buildings will eventually become mainstream as local governments adopt many of the voluntary guidelines in the LEED® Green Building Rating System® into building and energy codes. This paper will cover the impact sustainable buildings will have on painting and coatings contractors in addition to building professionals such as architects, specifiers, and building owners and developers is important to all involved. Paintings and coatings will have a role in sustainable projects. Generally, this paper covers the basics of what is green building, LEED and then
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Ladron de Guevara, Manuel, Matt Fisher, and Aaron Hertzmann. "Segmentation-Based Parametric Painting." In 2024 IEEE International Conference on Multimedia and Expo Workshops (ICMEW). IEEE, 2024. http://dx.doi.org/10.1109/icmew63481.2024.10645421.

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Shakeri, Hanieh, and Carman Neustaedter. "Painting Portals: connecting homes through live paintings." In CHI '21: CHI Conference on Human Factors in Computing Systems. ACM, 2021. http://dx.doi.org/10.1145/3411763.3451730.

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Chen, Bowei, Yifan Wang, Brian Curless, Ira Kemelmacher-Shlizerman, and Steven M. Seitz. "Inverse Painting: Reconstructing The Painting Process." In SA '24: SIGGRAPH Asia 2024 Conference Papers. ACM, 2024. https://doi.org/10.1145/3680528.3687574.

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Oe, Y., A. Maeda, M. Takashima, Y. Mizokami, N. Yoshizawa, and H. Nagakoshi. "EVALUATION STRUCTURE ON PREFERENCE OF PAINTING’S APPEARANCE IN MUSEUM LIGHTING." In CIE 2023 Conference. International Commission on Illumination, CIE, 2023. http://dx.doi.org/10.25039/x50.2023.pp017.

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This study seeks to clarify an evaluation structure in relation to preference concerning the appearance of the painting with a view to creating new lighting standards in museums that consider the luminance ratio. We analysed the experimental results together with the results of previous studies and found that 'appropriateness of brightness for the painting' and 'appropriateness of brightness contrast between the painting and the background surfaces' tended to have a stronger correlation with preference than 'brightness of the painting surface' item; therefore, we examined an evaluation structu
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Zhao, Amy, Guha Balakrishnan, Kathleen M. Lewis, Fredo Durand, John V. Guttag, and Adrian V. Dalca. "Painting Many Pasts: Synthesizing Time Lapse Videos of Paintings." In 2020 IEEE/CVF Conference on Computer Vision and Pattern Recognition (CVPR). IEEE, 2020. http://dx.doi.org/10.1109/cvpr42600.2020.00846.

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Li, Jinning, and Yexiang Xue. "Scribble-to-Painting Transformation with Multi-Task Generative Adversarial Networks." In Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/820.

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We propose the Dual Scribble-to-Painting Network (DSP-Net), which is able to produce artistic paintings based on user-generated scribbles. In scribble-to-painting transformation, a neural net has to infer additional details of the image, given relatively sparse information contained in the outlines of the scribble. Therefore, it is more challenging than classical image style transfer, in which the information content is reduced from photos to paintings. Inspired by the human cognitive process, we propose a multi-task generative adversarial network, which consists of two jointly trained neural
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Raporty organizacyjne na temat "Painting"

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Wilson, Gina. Narrative Painting. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.6411.

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AVONDALE SHIPYARDS INC NEW ORLEANS LA. Painting on - Block: The Zone Painting Method Advantage. Defense Technical Information Center, 1986. http://dx.doi.org/10.21236/ada444036.

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Shirley, Margaret. Layered field painting. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.2745.

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Branham, Barbara. Some visual issues of painting : an exploration of the painting process. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.5740.

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Wolfe, Justin E. LSST Painting Risk Evaluation Memo. Office of Scientific and Technical Information (OSTI), 2016. http://dx.doi.org/10.2172/1342020.

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Higgins, Gary, and Steven Garlick. The Economics of Shipyard Painting, III. Defense Technical Information Center, 1990. http://dx.doi.org/10.21236/ada452167.

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Blaskiewicz, M. Momentum Painting in SNS Accumulator Ring. Office of Scientific and Technical Information (OSTI), 2003. http://dx.doi.org/10.2172/1157302.

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Shirley, Margaret. Landscape Painting in the Secondary Classroom. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.2575.

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Beebe-Wang, J. Oscillating Injection Painting and Related Technical Issues. Office of Scientific and Technical Information (OSTI), 2000. http://dx.doi.org/10.2172/1157258.

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Adams, Carol. Figurative Painting and It's Reverberation in Pairs. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.2570.

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Możesz być także zainteresowany rozszerzonymi bibliografiami na temat „Painting” dla poszczególnych typów źródeł:
Artykuły w czasopismach Rozprawy doktorskie Książki
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Do bibliografii