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Gotowe bibliografie tematyczne / Painting, Abstract

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Artykuły w czasopismach
Rozprawy doktorskie
Książki
Części książek
Streszczenia konferencji
Raporty organizacyjne

Gotowa bibliografia na temat „Painting, Abstract”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 1 sierpnia 2024

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Artykuły w czasopismach na temat "Painting, Abstract"

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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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Rozprawy doktorskie na temat "Painting, Abstract"

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Varallo, Patrick Americo. "Abstract symbolic relationships /." Online version of thesis, 1993. http://hdl.handle.net/1850/11758.

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Boutote, Mary L. "A question of borders /." Online version of thesis, 1992. http://hdl.handle.net/1850/11147.

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Budrytė, Kristina. "Lithuanian Abstract painting in Soviet period." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2009. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2008~D_20090312_110650-92526.

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The Aim of the research is to define and analyse works of Lithuanian abstract painting during the Soviet period by establishing and comparing the diversity of criticism and practices of abstract art in Lithuania over several decades (from the end of the 1950s to the 1980s). In this thesis abstract paining is treated as a radical artistic reaction in Lithuania in terms of its theoretical and historical characteristics, and the general artistic context during the Soviet period is analysed in terms of socio-political issues. This is a study of the most celebrated examples of Western European art

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Stubbs, Michael. "Digital embodiment in contemporary abstract painting." Thesis, Goldsmiths College (University of London), 2003. http://research.gold.ac.uk/175/.

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This thesis re-investigates Clement Greenberg’s discredited abstract expressionist claim that painting should seek its own purity through the acknowledgment of its material. I argue that Greenberg’s physical, bodily determination of painting (but not its purity) is re-located as a criticality in contemporary practice because of the changes brought about by the simulacrum and the digital. By utilizing the particularities of ‘painterly’ issues such as materiality, depth and opticality into the virtual, this claim responds to Arthur C. Danto’s ‘end of history’ theories where he argues that artist

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el, Mathus Miguel Mathus. "Tactility and opticality in contemporary abstract painting." Thesis, Goldsmiths College (University of London), 2011. http://research.gold.ac.uk/6544/.

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The thesis analyses the construction of surface in contemporary abstract painting and its broader implications, mainly in regard to Clement Greenberg's understanding of modernist painting. It considers how this issue was contended between art critics such as Greenberg and Michael Fried and artists that challenged the formalist account of painting's medium specificity through a wide range of procedures and techniques. I review Thierry de Duve's analysis of Robert Ryman's work in regard to Greenberg's understanding of modernist painting and discuss the ways in which the contest between painting

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Lee, Kang-Wook. "Abstract painting and the aesthetics of moderation." Thesis, University of East London, 2015. http://roar.uel.ac.uk/4468/.

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The journey of this research began with exploring the notion of invisible space which cannot be perceived by the human eye, and the process of image visualisation expressed through my abstract paintings, which is supported by my theoretical research. ‘Invisible Space’, the title of one of my recent paintings, evokes the notion of a very small space such as a cell or nerve tissues which form part of the human body and have the potential to simultaneously symbolise a cosmological space. In my practice, I adopt painting as a pertinent method to realise my subjects and motifs. I consider how my pa

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McDonald, Adrian. "Painting Geometry: an abstract language in concrete form." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/9913.

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My thesis is that geometry is an abstract and universal language that can reflect the inner being of the world in concrete form. I propose that the ideal forms of geometry, like those of harmony in music, have an aesthetic and metaphysical dimension that is capable of touching the most essential part of our being in the world. In this context, I suggest that painting geometry may be understood as an art practice that is closely aligned with the ideals of philosophical reflection, and how, as a consequence of this understanding, my approach to painting geometry is directed towards the realisati

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Daws, Joseph H. "Abstraction : on ambiguity and semiosis in abstract painting." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/67445/1/Joseph_Daws_Thesis.pdf.

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Drawing on the fields of philosophy, phenomenology, art history and theory as well as the candidate's own painting practice, this PhD explores the nature of ambiguity and semiosis in contemporary abstract painting. The thesis demonstrates how the aesthetic qualities of pause and rupture, transition and slippage work emergently to break established clichés, habits and intentions in the experiencing of abstract painting and artistic practice.

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Geer, Andrea. "The non-representational language /." Online version of thesis, 1990. http://hdl.handle.net/1850/11309.

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Ah, Kuoi Michelle. "Jekyll and Hyde approach to painting: the antagonistic strategy in contemporary abstract painting." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/12009.

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This paper examines my paintings in conjunction with three painters; Albert Oehlan, Charline von Heyl and Christopher Wool. These painters utilise a combination of visual languages and adopt an antagonistic or contradictory painting strategy indebted to Willem de Kooning, the Dutch American Abstract Expressionist. The discussion involves how these artists have manoeuvred their own positions in painting and how they have created their own painting lexicon against the paradigm of the cyclical viability of Contemporary painting. The emphasis is on each artist’s avoidance of binary opposites; whet

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Książki na temat "Painting, Abstract"

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Rivera, Gustavo Ramos. Recent Abstract Painting. New York, N.Y: Alternative Museum., 1988.

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Louis K Meisal Gallery New York., ed. Abstract Painting Redefined. New York: the gallery, 1985.

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Torres, Emmanuel. Philippine abstract painting. Manila, Philippines: Cultural Center of the Philippines, 1994.

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Gallery, Saatchi, ed. Abstract America. London: Jonathan Cape, 2008.

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Max, Henry, Holborn Mark 1949-, and Saatchi Gallery, eds. Abstract America. New York: Rizzoli, 2009.

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Friis-Hansen, Dana. Abstract painting, once removed. Houston, Tex: Contemporary Arts Museum, Houston, 1998.

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Daval, Jean-Luc. History of abstract painting. London: Art Data, 1989.

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Nasgaard, Roald. Abstract painting in Canada. Vancouver: Douglas & MacIntyre, 2007.

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(Organization), Uttarayan. Recent abstract paintings. Vadodara: Lanxess ABS Gallery, 2006.

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Plous, Phyllis. Abstract options. Santa Barbara: University Art Museum, 1988.

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Części książek na temat "Painting, Abstract"

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Moncada, Sean Nesselrode. "The Painting Devoured." In New Geographies of Abstract Art in Postwar Latin America, 41–65. New York : Routledge, 2019. | Series: Routledge Research in Art History: Routledge, 2018. http://dx.doi.org/10.4324/9781351062145-4.

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Lynch, Michael, and Samuel Y. Edgerton. "Abstract Painting and Astronomical Image Processing." In The Elusive Synthesis: Aesthetics and Science, 103–24. Dordrecht: Springer Netherlands, 1996. http://dx.doi.org/10.1007/978-94-009-1786-6_5.

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Zimmer, Robert. "Abstract Representation in Painting and Computing." In Lecture Notes in Computer Science, 351. Berlin, Heidelberg: Springer Berlin Heidelberg, 2005. http://dx.doi.org/10.1007/11527862_28.

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Gage, John. "Colour Systems and Perception in Early Abstract Painting." In Philosophy and the Visual Arts, 191–200. Dordrecht: Springer Netherlands, 1987. http://dx.doi.org/10.1007/978-94-009-3847-2_10.

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Li, Bo, Caiming Xiong, Tianfu Wu, Yu Zhou, Lun Zhang, and Rufeng Chu. "Neural Abstract Style Transfer for Chinese Traditional Painting." In Computer Vision – ACCV 2018, 212–27. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-20890-5_14.

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Alvarez, Mariola V. "Calligraphic Abstraction and Postwar Brazilian Informalist Painting." In New Geographies of Abstract Art in Postwar Latin America, 25–40. New York : Routledge, 2019. | Series: Routledge Research in Art History: Routledge, 2018. http://dx.doi.org/10.4324/9781351062145-3.

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Krause, Tara. "Probing the Eddies of Dancing Emergence: Complexity and Abstract Painting." In Lecture Notes in Computer Science, 428–35. Berlin, Heidelberg: Springer Berlin Heidelberg, 2005. http://dx.doi.org/10.1007/11428848_57.

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Kajiya, Kenji. "Painting as Information: The Reception of Abstract Expressionism in Japan." In American Art in Asia, 51–67. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003130284-5.

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Ogusu, Tatsuya, Jun Ohya, Jun Kurumisawa, and Shunichi Yonemura. "Inspiring Viewers of Abstract Painting by a Gaze Based Music Generation." In HCI International 2014 - Posters’ Extended Abstracts, 213–17. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-07857-1_38.

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Pollock, Jackson. "My Painting." In Reading Abstract Expressionism, 139–40. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300185720-011.

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Streszczenia konferencji na temat "Painting, Abstract"

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Wang, Sheng, and Weiguo Lin. "Abstract Oil-Painting Using Texture Synthesis." In 2009 International Conference on Management and Service Science (MASS). IEEE, 2009. http://dx.doi.org/10.1109/icmss.2009.5303992.

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Liu, Feng. "Aesthetic Features of Chu Teh-chun's Abstract Painting." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.39.

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Liu, Feng. "Modeling Characteristics of Chu Teh-chun’s Abstract Painting." In The 6th International Conference on Arts, Design and Contemporary Education (ICADCE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210106.003.

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Hibadullah, Cik Fazilah, Alan Wee-Chung Liew, and Jun Jo. "Colour-emotion association study on abstract art painting." In 2015 International Conference on Machine Learning and Cybernetics (ICMLC). IEEE, 2015. http://dx.doi.org/10.1109/icmlc.2015.7340605.

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Bai, Ruyi, Xiaoying Guo, and Chunhua Jia. "What is the Correct Hanging Orientation for Abstract Painting?" In the 3rd International Conference. New York, New York, USA: ACM Press, 2019. http://dx.doi.org/10.1145/3331453.3361299.

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Dai, Ying. "Discussions on Introduction of Abstract Painting in Apparel Design." In 2014 2nd International Conference on Education Technology and Information System (ICETIS 2014). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icetis-14.2014.54.

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Zhang, Haowei. "Seg-CycleGAN: An Improved CycleGAN For Abstract Painting Generation." In 2023 4th International Conference on Computer Vision, Image and Deep Learning (CVIDL). IEEE, 2023. http://dx.doi.org/10.1109/cvidl58838.2023.10167194.

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Archambault, Christophe. "Using 3D information to drive 2D painting process (animation abstract)." In the first international symposium. New York, New York, USA: ACM Press, 2000. http://dx.doi.org/10.1145/340916.340944.

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Liu, Feng. "The Formation Process of Chu Teh-chun's Abstract Painting Style." In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.21.

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Sucitra, I. Gede Arya, Retno Purwandari, and Kadek Primayudi. "Paradigm of Abstract Expressionism Painting of Balinese Artists in Yogyakarta." In 1st International Conference on Interdisciplinary Arts and Humanities. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0008557001770185.

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Raporty organizacyjne na temat "Painting, Abstract"

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Galenson, David. The Rise and (Partial) Fall of Abstract Painting in the Twentieth Century. Cambridge, MA: National Bureau of Economic Research, January 2008. http://dx.doi.org/10.3386/w13744.

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Poloboc, Alina. Fancy Pink Goat. Intellectual Archive, December 2023. http://dx.doi.org/10.32370/iaj.2998.

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"Fancy Pink Goat" is a contemporary art piece from the Fancy Collection, created in Spain in 2022. It is a vividly colorful painting dominated by pink and blue, which are the signature colors of the artist`s style. The painting features a fancy goat walking through the jungle with its elegant collar and abstract, long legs. Surrounding the Fancy Pink Goat are a variety of other unusual creatures inhabiting the jungle and keeping the goat company. The artist`s signature red high-heeled shoes are also present, adding a touch of sophistication and style to the painting. This artwork is an impress

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