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Artykuły w czasopismach na temat „Pictorial works”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 31 lipca 2024

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1

Dviniatina, J. R. "Pictorial Pretexts in A. Tarkovsky’s Works." Art & Culture Studies, no. 1 (March 2024): 102–37. http://dx.doi.org/10.51678/2226-0072-2024-1-102-137.

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The broad topic “Tarkovsky and painting” contains commonalities, such as the director’s citing of the paintings by Pieter Bruegel or Leonardo da Vinci, but there are also less explored aspects. The latter include A. Tarkovsky’s method of working with images based on the work principles of the old masters of painting; implicit references and allusions not just to individual paintings, often not yet described, but to the entire worlds of certain authors or movements; and a total commitment to quotation together with a skilful and deliberate disguise of the technique, also described by the direct

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Bragina, Liubov. "Shukshin’s Theme in the Pictorial Works of Siberian Artists." Izvestiya of Altai State University 2, no. 2 (November 2013): 202–5. http://dx.doi.org/10.14258/izvasu(2013)2.2-43.

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Cerquera Hurtado, Miguel Ángel. "Libros y escritura en la pintura de Murillo." ACCADERE. Revista de Historia del Arte 6 (2023): 37–63. http://dx.doi.org/10.25145/j.histarte.2023.06.02.

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"This article addresses the world of books in the pictorial works of Bartolomé Esteban Murillo. Firstly, it focuses on studying the formal representation of books depicted in the paintings of the Sevillian artist, analyzing their binding, closures, format, cuts, inscriptions, and other relevant aspects. Secondly, it examines all the elements present in these paintings from which we can obtain information related to the reading and writing practices characteristic of the 17th century. The aim is to demonstrate how pictorial works offer us insights into various aspects of books and written cultu

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Khomenko, Iryna. "Body as a medium in the works of Maria Kylikovska." CONTEMPORARY ART, no. 18 (November 29, 2022): 201–10. http://dx.doi.org/10.31500/2309-8813.18.2022.269730.

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The article considers the topic of the body in art, its methods of use and the problem of its theoretical elaboration. The aim of the article is to study the body as a medium in the works of Maria Kulikovska. The choice of Maria Kulikowska’s work is not accidental, because she used the body both as a medium and as a pictorial object in one work, where we can observe exactly how these methods are combined. Also, Maria Kulikovska uses different visual categories of body, gender and context, sometimes combining them. The article marked the beginning of a certain systematization: the body is divid

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Karpenko, Olga. "Reminiscences of Impressionism in the works of Ukrainian avant-garde artists." Almanac "Culture and Contemporaneity", no. 1 (August 31, 2021): 194–99. http://dx.doi.org/10.32461/2226-0285.1.2021.238620.

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The purpose of the study is to reveal the identification of common features in the work of Ukrainian avant-garde artists, which have the character of impressionism. Methodology of the study employs historical-logical, comparative methods, formal analysis and method of interpretation. Scientific novelty of the research consists in the role of impressionism in the formation of the creative manner of such artists of the Ukrainian avant-garde as O. Bogomazov, D. Burliuk, K. Malevich, O. Exter was first explored in the article. Conclusions. Experiments in the spirit of impressionism and post-impres

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Semerenko, Lubov I., and Oleksandr O. Pliushchai. "Pictorial as readable: ekphrasis in a literary work and reader’s p." Alfred Nobel University Journal of Philology 1, no. 23 (June 2022): 50–59. http://dx.doi.org/10.32342/2523-4463-2022-1-23-4.

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The interaction of arts which poets, writers, artists, scholars and philosophers have always paid considerable attention, has gained popularity recently and it has been given serious consideration in art history, literary and cultural studies, and aesthetics. Some researchers explain a growing interest in the phenomenon of increasing significance of visuality in modern culture. The aim of the article is to clarify the status quo in the study of ekphrasis in literary and cultural studies. To achieve the aim pursued, the following research methods have been used: cultural-aesthetic, comparative

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Trukhan, E. D. "THE NAIVE ARTIST IVAN SELIVANOV IN THE POETRY AND PROSE OF LYUBOV NIKONOVA." Culture and Text, no. 51 (2022): 116–31. http://dx.doi.org/10.37386/2305-4077-2022-4-116-131.

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The article examines the dialogue of words and painting in the works of Kuzbass authors – writer L.A. Nikonova and naive artist I. Selivanov. Theoretical issues of perception of painting, problems of intersection of pictorial and verbal creativity, etc. are revealed in connection with the analysis of metatext, with an emphasis on L.A. Nikonova’s understanding of the image of I.E. Selivanov as an artist close to her in spirit.

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Pazuchanics, Skye Lee, and Douglas J. Gillan. "Displaying Depth in Computer Systems: Lessons from Two-Dimensional Works of Art." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 49, no. 17 (September 2005): 1583–87. http://dx.doi.org/10.1177/154193120504901718.

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Virtual depth displays depend on static, monocular cues. Models of integrating monocular cues may be continuous (additive) or discontinuous. Previous research using simple displays and a small number of cues supported continuous cue integration. The present research is designed to expand the understanding of how the visual system integrates information from multiple pictorial cues by investigating combinations of one to ten pictorial cues in visually-rich, two-dimensional displays (paintings and photographs). Participants estimated depth in target paintings and photographs relative to a standa

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BRANIŞTE, Ludmila. "Text et langaje visuel: un proces de mise en abîme." Arta 31, no. 1 (September 2022): 115–19. http://dx.doi.org/10.52603/arta.2022.31-1.16.

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The problem of the pictorial past in literature and of literary influences in painting has created a whole tradition. The literary experience of the image and the pictorial exercise in literature demonstrated the affinities between them, based on a specific view of the world. From contemporary philosophy, culture and literature, painting chooses its elements, symbols and ideational background, which is the substrate of the pictorial work. Translating them into the language of images, the painter reaches a more personal interpretation of literary works. The article presents a reflection on the

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Koenderink, Jan. "Parts and Wholes in Pictorial Art." Art & Perception 3, no. 3 (2015): 303–17. http://dx.doi.org/10.1163/22134913-00002035.

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The part–whole relation is fundamental to the Gestalt description of visual awareness; therefore one expects it to play an equally important role in the visual arts. The formal science of parthood relations is mereology. Thus, it is natural to attempt to construct a mereological account of the structure of works of the visual arts. However, I argue in this paper that such a program is headed for failure. There are various reasons for this, perhaps the more interesting being that one deals with parallel pictorial worlds.

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Sabra, Nour Elhoda. "Critique of the Arabic Translation Strategies of Verbo-Pictorial Gendered Metaphor: Doris Lessing's The Cleft." International Journal of Linguistics and Translation Studies 4, no. 1 (January 31, 2023): 32–46. http://dx.doi.org/10.36892/ijlts.v4i1.290.

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This article is mainly concerned with the strategies employed in translating verbo-pictorial gendered metaphor when used as a literary work cover. It focuses on the translation strategies employed by Arab translators in translating the cover of Doris Lessing's novel The Cleft. It raises the questions of to what extent translating a verbo-pictorial gendered metaphor employed as a literary work cover may clarify and elucidate nontraditional new images in different cultures. The article also emphasizes how a verbo-pictorial gendered metaphor plays a role in structuring gender relation new images.

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Dyachenkova, Olga V. "LINE AS THE ORNAMENTAL MATRIX OF DUTCH ART NOUVEA: JAN TOOROP AND JAN THORN-PRIKKER." Articult, no. 2 (June 28, 2023): 23–36. http://dx.doi.org/10.28995/2227-6165-2023-2-23-36.

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This article examines the line as a means of artistic expression in the Dutch variant of Art Nouvea. Inspired by natural motifs, techniques of the English, French and Belgian schools, as well as Egyptian and Indonesian aesthetics, the line marked a break with traditional forms and an exit to abstract art. The aim of this article is to analyze the pictorial and graphic works of Jan Toorop and Jan Thorn-Prikker. Particular attention will be paid to how a pictorial motif develops into ornamentation. The theoretical works of Humbert de Superville and Johannes Vloten on the problem of the relations

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Vodopianova, Anna I., Liudmila A. Leonova, and Anna E. Novak. "The art market: Features of investing in works of pictorial art." St Petersburg University Journal of Economic Studies 34, no. 1 (2018): 95–112. http://dx.doi.org/10.21638/11701/spbu05.2018.105.

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Madrid Garcia, Jose Antonio. "Use of telemetry X-ray techniques in large-size pictorial works." Ge-conservacion 5 (November 19, 2013): 101–9. http://dx.doi.org/10.37558/gec.v5i0.170.

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In recent years, with the rise of digital technologies and the concurrent demise of related analog instrumentation, researchers in the field of cultural heritage have faced significant new challenges implementing digital solutions. Specifically, this shift has prompted the use of new protocols for the application of radiology in the study of art works.. However, due to this change, there has been a return to using older film formats, which is one of the problems that has already been solved using an industrial-type analogical system that allowed large-format X-ray support, and that was able to

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Gavrilin, K. N., G. K. Koshelev, and Fei Lu. "Portrait genre in Mao Yan's works. The experience of pictorial hauntology." Декоративное искусство и предметно-пространственная среда. Вестник МГХПА, no. 4-3 (2022): 34–41. http://dx.doi.org/10.37485/1997-4663_2022_4_3_34_41.

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Eeckhout, Riet. "Attuned Rigour: Between Pictorial and Material Conditions." Architectural Design 94, no. 2 (March 2024): 58–67. http://dx.doi.org/10.1002/ad.3035.

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AbstractLebbeus Woods's extraordinary proficiency and mastery in different media was matched by his steady and fast pace of exploration. Riet Eeckhout, a drawings researcher and drawer herself, who teaches at KU Leuven, ponders this dexterity. Her focus is on the rigour of Woods's early works produced in Mylar and pastels, and on the carefully delimited spatial vocabulary – agency obtained through the capacity of the drawing to function outside explicit representation.

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Koenderink, Jan, Andrea van Doorn, Baingio Pinna, and Robert Pepperell. "On Right and Wrong Drawings." Art and Perception 4, no. 1-2 (December 8, 2016): 1–38. http://dx.doi.org/10.1163/22134913-00002043.

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Are pictorial renderings that deviate from linear perspective necessarily ‘wrong’? Are those in perfect linear perspective necessarily ‘right’? Are wrong depictions in some sense ‘impossible’? Linear perspective is the art of the peep show, making sense only from one fixed position, whereas typical art works are constructed and used more like panel presentations, that leave the vantage point free. In the latter case the viewpoint is free; moreover, a change of viewpoint has only a minor effect on pictorial experience. This phenomenologically important difference can be made explicit and formal

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Wade, Nicholas J. "On Stereoscopic Art." i-Perception 12, no. 3 (May 2021): 204166952110071. http://dx.doi.org/10.1177/20416695211007146.

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Pictorial art is typically viewed with two eyes, but it is not binocular in the sense that it requires two eyes to appreciate the art. Two-dimensional representational art works allude to depth that they do not contain, and a variety of stratagems is enlisted to convey the impression that surfaces on the picture plane are at different distances from the viewer. With the invention of the stereoscope by Wheatstone in the 1830s, it was possible to produce two pictures with defined horizontal disparities between them to create a novel impression of depth. Stereoscopy and photography were made publ

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Feng, Hanping, and Safrizal Shahir. "An Analysis of Spatial Construction in Pictorial Art from the Perspective of Formalism." Harmonia: Journal of Arts Research and Education 24, no. 1 (July 5, 2024): 149–57. http://dx.doi.org/10.15294/harmonia.v24i1.42152.

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“Space,” as a fundamental conceptual term, has been frequently and widely applied within various disciplines, such as sociology, architecture, philosophy, math, art, and so forth. In pictorial art, the term “space” is often used as a lens to understand specific concepts or artworks. This study aims to explain and describe pictorial spatial construction in paintings by applying various approaches. However, in the field of formalist analysis over the past century, except for a few formalist critics who have engaged with pictorial space, few have attempted to use creative methodologies to systema

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Yan, Bin. "Themes of Chinese painting and their evolution in the process of development of pictorial art." Философия и культура, no. 7 (July 2023): 86–96. http://dx.doi.org/10.7256/2454-0757.2023.7.43669.

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In the process of interpreting works of pictorial art, it is easier to understand not the "style", but the "theme", that is, not how to write, but what to write. In the history of modern art, which attaches more importance to "style", the problem of "theme" is not fundamental and is among the primitive issues worthy of the attention of amateurs who do not understand art. However, sometimes it is in simplicity that the essence lies. The simplest questions that interest almost everyone are the link between works of art and society. When analyzing the "topic", the subject under study is not confi

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Firstov, Valeriy, Victor Firstov, Alexander Voloshinov, and Paul Locher. "The Colorimetric Barycenter of Paintings." Empirical Studies of the Arts 25, no. 2 (July 2007): 209–17. http://dx.doi.org/10.2190/10t0-2378-0583-73q4.

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The locations of the colorimetric barycenter or “center of gravity” of the pictorial fields of paintings were compared graphically with the geometric centers of the art works. The art stimuli consisted of reproductions of 1332 paintings of different compositional genres created by renowned Russian artists. It was observed that artists' manipulation of a color palette and their spatial control of color within a composition resulted in the location of the colorimetric barycenter of a painting corresponding closely to its geometric center for both representational and abstract paintings. This fin

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Mouhoubi, Kamel, Vincent Detalle, Jean-Marc Vallet, and Jean-Luc Bodnar. "Improvement of the Non-Destructive Testing of Heritage Mural Paintings Using Stimulated Infrared Thermography and Frequency Image Processing." Journal of Imaging 5, no. 9 (August 29, 2019): 72. http://dx.doi.org/10.3390/jimaging5090072.

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Within the framework of conservation and assistance for the restoration of cultural property, a method of analysis assistance has been developed to help in the restoration of cultural heritage. Several collaborations have already demonstrated the possibility of defects detection (delamination, salts) in murals paintings using stimulated infrared thermography. One of the difficulties encountered with infrared thermography applied to the analysis of works of art is the remanence of the pictorial layer. This difficulty can sometimes induce detection artifacts and false positives. A method of ther

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Silantieva, Valentina. "TRANSFER AND TRANSFORMER IN THE INTERDISCIPLINARY ARTISTIC SPACE (LITERATURE AND PICTORIAL ART)." Herald of Culturology, no. 2 (2022): 127–48. http://dx.doi.org/10.31249/hoc/2022.02.07.

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The article considers the opportunities of cultural transfer as a method of studying interspecies ties involving art and literature. It also reflects the organic nature of the transfer usage in the field of comparative studies. Mention should also be made that the present paper introduces some refinements of a theoretical nature and demonstrates the application of the method to the analysis of particular works. The polemical nature of the article is associated with the concept of «transformer», which, according to the author, is more consistent with the analysis of postmodern works and works o

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Simanowski, Roberto. "Literature and digital media: notes on theory and aesthetics." Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 8, no. 1 (October 28, 2020): 11–21. http://dx.doi.org/10.14195/2182-8830_8-1_1.

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In this keynote lecture, Roberto Simanowski combines close reading of single works with a media-ontological reading of digital art and digital literature. The folowing works are analysed in detail: Romy Achituv and Camille Utterback’s Text Rain (1999); Bit.Fall (2006) by Julius Popp; Still Standing by Jason Lewis (2005); and Caleb Larsen's The Complete Works of W.S. (2007). The analyses suggest that, while remaining essentially a textual medium, the computer increasingly visualizes communication, thus restoring the pictorial nature of early forms of writing.

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Cavazzana, Alessandro, and Marianna Bolognesi. "Uncanny resemblance." Cognitive Linguistic Studies 7, no. 1 (August 19, 2020): 31–57. http://dx.doi.org/10.1075/cogls.00048.cav.

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Abstract What is the relation between the three following elements: words, pictures, and conceptual representations? And how do these three elements work, in defining and explaining metaphors? These are the questions that we tackle in our interdisciplinary contribution, which moves across cognitive linguistics, cognitive sciences, philosophy and semiotics. Within the cognitive linguistic tradition, scholars have assumed that there are equivalent and comparable structures characterizing the way in which metaphor works in language and in pictures. In this paper we analyze contextual visual metap

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Voloshko, Anna V. "Peter the Great’s Naval Campaigns Series (1860–1877) of Alexey Bogolyubov: The Evolution of Artistic Language." Izvestia of the Ural federal university. Series 2. Humanities and Arts 23, no. 3 (2021): 304–21. http://dx.doi.org/10.15826/izv2.2021.23.3.061.

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This article focuses on the history of a series of paintings by Alexey Bogolyubov which was devoted to Peter the Great’s naval campaigns and created between 1860 and 1877 at the commission of Alexander II. Bogolyubov’s series of naval battle scenes has not been studied individually before. Dispersed across various public and private collections, the paintings have lost their role as a pictorial ensemble. Besides, the fate of three of the eight paintings remains unknown, and they can only be judged by indirect sources: archival and literary sources, copies, studies, and preparatory graphic work

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Young, Stephen L. "The Role of Pictorials in Environmental Safety Signs." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 41, no. 2 (October 1997): 797–800. http://dx.doi.org/10.1177/107118139704100215.

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The present study examined the role of pictorials in environmental safety signs. Thirty subjects created thirty signs on the computer with the aid of a technician. Subjects had different sign components available to them (e.g., signal words, verbal statements and pictorials). There were three different pictorial conditions in this study: none, generic (e.g., triangle with exclamation point), and specific (i.e., the pictorial's content was related to the hazard being described). Examination of the constructed signs suggests that the primary purpose of pictorials is to convey information and not

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Batyreva, Svetlana G. "Выставка изобразительного искусства, посвященная 500-летию эпоса «Джангар»: первые профессиональные художники Калмыкии". Монголоведение (Монгол судлал) 12, № 2 (25 серпня 2020): 302–14. http://dx.doi.org/10.22162/2500-1523-2020-2-302-314.

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The article examines the emergence of Kalmykia’s professional arts activities in the 1930s. Goals. It seeks to review formation stages of the ethnic school, determine its essentials and local features as part of Soviet artistic culture. In this regard, a fundamental research problem is that the vast majority of local pre-war visual arts works had been lost during the Great Patriotic War and Kalmyk deportation (1943–1956). Materials and Methods. Considered are works of Kalmykia’s first professional artists ― such as I. Nuskhaev, L. Ochirov,R. Bogoslavsky, etc. ― inspired by epic heritage and re

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Belozerova, Vera. "The Unity of the “Four Perfections” (si jue) in the Works of Wu Changshi (1844–1927)." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 3 (2022): 184. http://dx.doi.org/10.31857/s086919080020440-1.

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The article is devoted to the creativity of Wu Changshi (1844–1927), who played a key role in preserving the continuity of Chinese fine art at the crucial initial stage of the global modernization of China&apos;s traditional culture. The subject of the study is the aesthetics of the unity of the “four perfections” (si jue), which means poetry, calligraphy, painting and seals. The synthesis of the four arts seems to be a unique achievement of Chinese culture, which influenced the countries of the hieroglyphic area. Wu Changshi&apos;s creativity is considered the culmination of the embod

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Dimitriev, Viktor Mikhalovich. "A PICTURE BY DOSTOEVSKY AND A PANORAMA BY TOLSTOY: ON THE HISTORY OF A PARALLEL IN THE WORKS BY VYACH. IVANOV AND ANDRÉ GIDE." Russkaya literatura 3 (2021): 36–49. http://dx.doi.org/10.31860/0131-6095-2021-3-36-49.

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The article deals with the pictorial analogy used in V. Ivanov and André Gide’s works on Dosto-evsky. According to the analogy, the artistic technique of Tolstoy can be associated with the diffused light, while the one of Dostoevsky — with the art of chiaroscuro. We are trying to understand if Gide could have been familiar with the work by Ivanov; what historical, literary and art history works could have served as a common source for this analogy, and how the analogy functions in the works by the two authors.

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Polyakov, E. N., and O. P. Polyakova. "Life in Switzerland of Charles-Édouard Jeanneret known as Le Corbusier." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture 23, no. 3 (June 28, 2021): 9–20. http://dx.doi.org/10.31675/1607-1859-2021-23-3-9-20.

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The article is devoted to the early design and social activities of the extraordinary French architect Charles-Édouard Jeanneret known as Le Corbusier (1887–1965), who is considered to be one of the founders of European Functionalism. His first design and pictorial works are considered together with his trips to Western Europe and the Middle East. This experience helped the architect to create his first conceptual versions and models of the modern architecture, which will be described in our further works.

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Pratama, I. Gede Yudha. "KAJIAN BAHASA RUPA BUDAYA MESATUA BALI DALAM CERITA BERGAMBAR." Jurnal Bahasa Rupa 5, no. 1 (October 28, 2021): 112–21. http://dx.doi.org/10.31598/bahasarupa.v5i1.775.

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Reviving oral traditions in Mesatua Balinese Culture seems far less than the written and image tradition. Mesatua Bali was once known as a culture that is conveyed by verbal storytelling, now it seems that it will be more efficient and interesting if it is copied in the appearance of a pictorial story (cergam), and it will be more interesting if it is presented in digital media. Interestingly, pictorial stories (cergam) greatly influence children's interest in following Balinese Mesatua culture. The Nusantara Katur Community adapts the Mesatua Balinese culture into a pictorial story made with

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Dimarco, Christa R. "Van Gogh’s Parisian Gardens on the Butte Montmartre." Nineteenth Century Studies 34 (November 1, 2022): 1–41. http://dx.doi.org/10.5325/ninecentstud.34.0001.

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Abstract Vincent van Gogh generated around 150 paintings, plus drawings and works on paper, while he lived in Paris from 1886 through 1888. Scholars tend to focus on the paintings he made after he left the capital for the Provençal town of Arles. Iconic Arlesian images such as Night Café and Sunflowers have overshadowed the Paris-period paintings and, in turn, the sociocultural underpinnings of his oeuvre. This essay focuses on one of the largest bodies of imagery Van Gogh completed in Paris: a series depicting small gardens for the working class that sprawled down a hill behind a popular tour

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FURUBE, Hiroshi. "Pictorial 2 : Restoration Works of Angkor Complex in Cambodia Designated as World Heritage." Journal of Geography (Chigaku Zasshi) 113, no. 4 (2004): Plate6. http://dx.doi.org/10.5026/jgeography.113.4_plate6.

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Okpoko, Chinwe, and Mpho Chaka. "Exploratory view of the synergy between photojournalism and fine-art photography." IKENGA International Journal of Institute of African Studies 23, no. 2 (June 30, 2022): 1–23. http://dx.doi.org/10.53836/ijia/2022/23/2/003.

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Photojournalism uses images to tell stories and report events, while fine-art photography aims to express creative ideas and messages also through images. Although both fields express socio-political and religious ideas and reflect the past through pictures, they differ in approach. Photojournalism portrays events as they are using pictorial representations, without imputing the opinion of the journalist; fine art projects such events also pictorially, but from the vision of the artist. Thus both photojournalism and fine-art photography use photographs as a medium of expression. However, while

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Hrechyshkina, Iryna. "ACQUAINTANCE OF PRESCHOOL CHILDREN WITH WORKS OF PAINTING." Scientific Journal of Polonia University 56, no. 1 (June 1, 2023): 58–62. http://dx.doi.org/10.23856/5609.

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The article is devoted to the problem of familiarization of preschool children with works of art. It has been established that works of fine art directly influence the formation of the system of values and meanings in preschool children. Modern and previous studies of the aesthetic development of preschoolers are analyzed. The article compares and reveals the concept of aesthetic education and the peculiarities of education. It was found that the problem of aesthetic education in pedagogy has always been given a lot of attention. In terms of pedagogical leadership, pictorial activity becomes i

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Чаус, Д. В. "ДУХОВНІСТЬ У ТВОРАХ КИТАЙСЬКИХ ХУДОЖНИКІВ". Spiritual-intellectual upbringing and teaching of youth in the 21st century, № 4 (2022): 608–11. http://dx.doi.org/10.34142//2708-4809.siuty.2022.152.

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The article analyzes the influence of the works of Chinese artists on the development of spirituality and ethics of the audience. The author focuses attention on the potential possibilities of the following pictorial genres: historical, mythological, landscape. The use of synthetic genres — poster and comic for the development of morality and spirituality of young people is considered.

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Kirichenko, Alexander. "Virgil's Augustan Temples: Image and Intertext in theAeneid." Journal of Roman Studies 103 (May 20, 2013): 65–87. http://dx.doi.org/10.1017/s0075435813000075.

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AbstractThis article discusses the most memorable works of art described in Virgil'sAeneid(the paintings at the temple in Carthage, the doors of the temple in Cumae, the shield of Aeneas, and the baldric of Pallas) as visual models for the poem's organization of its own intertextual memory. The multi-dimensionality of memory enacted in the viewing of these pictorial programmes emerges as a metaphorical visualization of the semantic density created by the overlapping intertexts within the narrative itself and, what is more, urges the reader to perceive works of Augustan monumental art as embodi

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Rigante, Elena C. L., Cosima D. Calvano, Luigia Sabbatini, and Tommaso R. I. Cataldi. "Historical proteinaceous-based pictorial binders’ analysis: a novel proteomic minimally invasive approach." Journal of Physics: Conference Series 2204, no. 1 (April 1, 2022): 012084. http://dx.doi.org/10.1088/1742-6596/2204/1/012084.

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Abstract Operating micro-invasive sampling when dealing with the chemical investigation of precious historical works of art is, without doubts, mandatory. Recently, scientific research in the field of Cultural Heritage has been often devoted to the development of innovative strategies for quasi non-invasive sampling on works of art to extract, for example, proteins and/or lipids composing the pictorial binders gaining extensive awareness about the materials employed by the artist. In this work, we propose a novel minimally invasive method for the sampling and characterization of protein-based

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Tahara, Hiroki. "Pictorial research of pancreas with artificial intelligence and simulacra in the works of Fellini." Artificial Intelligence in Medical Imaging 2, no. 6 (December 28, 2021): 115–17. http://dx.doi.org/10.35711/aimi.v2.i6.115.

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Beskrovnaya, Tat’yana V., and Marina V. Shakurova. "Transformation of the family image as a subject of upbringing in Soviet oral and pictorial culture (1917-1991)." Vestnik of Kostroma State University. Series: Pedagogy. Psychology. Sociokinetics 29, no. 2 (September 29, 2023): 18–25. http://dx.doi.org/10.34216/2073-1426-2023-29-2-18-25.

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The article actualizes development concepts of the family image as a subject of upbringing in Soviet oral and pictorial culture. The purpose of this article is to trace the transformation of Soviet family image in specific historical conditions and to present the correlation between the domination of the maternal or paternal image and the educational effect of family in general - via analysis of works of Soviet art in 1917-1991. Research design: The author uses to trace transformation of the family image as a subject of upbringing in Soviet oral and pictorial culture such methods as literature

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Sharopova, Nigina R. "Geometry of the unspeakable: experience of one construction." Philosophy Journal 16, no. 4 (2023): 158–79. http://dx.doi.org/10.21146/2072-0726-2023-16-4-158-179.

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Picture geometry is often regarded as an area of technical knowledge that accompanies or provides useful information for basic research on visual culture and almost never as a methodological one. Despite the historical and conceptual connections between mathematics and the visual, even a basic geometric competence is by no means a common of image and visual culture researchers. At the same time, the overwhelming majority of this kind of work belong to the field of technical knowledge, the history of mathematics, or positivism based theories; in other words, they do not address the most impor

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Gavrilov, D., R. Gr Maev, and D. P. Almond. "A review of imaging methods in analysis of works of art: Thermographic imaging method in art analysis." Canadian Journal of Physics 92, no. 4 (April 2014): 341–64. http://dx.doi.org/10.1139/cjp-2013-0128.

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This article discusses a number of modern techniques used for the analysis of works of art. The most widely used approaches as well as lesser known ones are outlined in terms of their applications and the kind of information on the condition of artworks that can be extracted. Special attention is paid to the method of thermographic analysis of works of pictorial art. The principles of the technique, various computational approaches, and safety concerns are discussed. A set of examples is provided for the demonstration of the capabilities of thermographic assessment, including a range of real c

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Gorbunova, Anastasiya A., and Rimma A. Timofeeva. "COSTUMED IMAGES À LA TURQUE IN RUSSIAN PAINTING OF THE 18TH CENTURY." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies 1, no. 1 (2022): 116–42. http://dx.doi.org/10.28995/2073-6401-2022-1-116-142.

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The article considers a number of picturesque costumed images à la turque, which means in the oriental taste, created in Russia in the 18th century. The studied works are divided into the costumed and typical images of the inhabitants of the Muslim world and a costumed portrait à la turque. It is believed that the means of creating an “oriental” image in those works was a costumizing – dressing a model in an exotic outfit perceived as a national costume of the peoples from the Muslim Orient. The work studies the history of creating costumed images à la turque in Russian art of the 18th century

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Rodrigues de Carvalho, Acácio, and Selma Eduarda Pereira. "Pixel 2 Installation." International Journal of Creative Interfaces and Computer Graphics 8, no. 2 (July 2017): 23–30. http://dx.doi.org/10.4018/ijcicg.2017070103.

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This chapter describes how the Pixel 2 is an installation based on the matrix forms and the small quadrangular shapes that compose them. These forms are the source of the digital image (bitmap) that bring us simultaneously to the pictorial works of Impressionism to Neo-plasticism. The compositions of the panels arise from the pictorial game dynamics with pixels as if they were a binary system. The graphical representation of pixels in Pixel2, the optical and illusion inherent game, are a fundamental part of this rematerialized media-art installation. The materialization of common digital eleme

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Agratina, Elena E. "Jean-Honoré Fragonard: The New in the Notions of “Sketchiness” and “Completeness”." Observatory of Culture 18, no. 2 (May 31, 2021): 174–85. http://dx.doi.org/10.25281/2072-3156-2021-18-2-174-185.

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The second half of the 18th century was a time of active changes in the perception of art, rethinking many concepts and phenomena. One of them was the pictorial sketch, which transformed from a preparatory stadium work into an independent, complete piece of art. Many art theorists and critics, as well as painters themselves had contributed to this rethinking. Many young artists, bored of historical painting and indifferent to all the academic principles, were searching for new media of expressiveness, using the sketch-like pictorial manner to give their works a new dynamism and an impression o

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TIELIEZHKINA, Olesia, and Olena KIRYANOVA. "ARTISTIC AND EXPRESSIVE MEANS IN THE LANGUAGE AND POETIC PALETTE OF THE AHATANHEL KRYMSKY: TYPOLOGY AND FUNCTIONS." Culture of the Word, no. 95 (2021): 174–83. http://dx.doi.org/10.37919/0201-419x-2021.95.14.

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In the offered article it is noted that one of the most important problems of the Ukrainian linguistic stylistics – revealing of features of realization of language units in works of art, in particular and in poetic. A. Krymskyi’s poetry is full of stylistic figures that express the artist’s opinion embodied in verse. These stylistic devices provided a background sound image that brightened the depicted pictures of nature or images from the life of society, portrait descriptions or inner experiences of the lyrical hero. Stylistic and syntactic expanses of A. Krymskyi’s poetry are distinguished

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Aleksandrova, Marina. "Water as a Conceptual and Figurative Material in Contemporary Visual Arts." Visual Studies 6, no. 1 (June 29, 2022): 62–67. http://dx.doi.org/10.54664/tccm8068.

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Water is an essential natural element, a diverse form with a social character, semantically upgraded in historical and cultural aspects. Its aggregate states are part of its semiotic and abstract construction, reflecting on the artwork of authors in the field of contemporary visual arts. The research is aimed at considering and discussing various works, the realization of which is related to different states of water as a pictorial and conceptually related material.

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Newman, Barbara. "Commentary on the Johannine Prologue." Theology Today 60, no. 1 (April 2003): 16–33. http://dx.doi.org/10.1177/004057360306000103.

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This article is a translation of Hildegard's commentary on the Johannine prologue, taken from her Book of Divine Works, with an introduction emphasizing the themes of the divine image and the holiness of the human body as an analogue of both the cosmos and the creative power of God. The note introducing the translation comments on Hildegard's prophetic, pictorial style and explains why her highly gendered thought cannot be rendered in contemporary gender-neutral language.

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Schmitz-Emans, Monika. "Das imaginäre Museum als literarischer Bilderkatalog.: Dieter Wellershoff und Michel Butor in den Spuren von André Malraux." Zeitschrift für Germanistik 32, no. 1 (January 1, 2022): 155–72. http://dx.doi.org/10.3726/92171_155.

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Dieter Wellershoff und Michel Butor knüpfen mit rezenten Buchpublikationen an André Malraux’ Konzept des imaginären Museums an. Ihre Bücher sind illustrierte Kataloge von Werken der abendländischen Malereigeschichte, zugleich aber Vermittlungsformen der Poetiken beider Autoren. Indem der Bilderkatalog zum poetologischen Manifest wird, tritt die Prägung von Katalogen durch logoi programmatisch in den Vordergrund; der Bilderkatalog demonstriert sowohl die enge Durchdringung der Bilderwelten mit Wörtern als auch die Effizienz katalogartiger Werke als Medien verbaler Sinnvermittlung, Argumentation

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