Painting Research Articles

Generating prediction model of fan width by optimizing paint application process for Electrostatic Rotary Bell atomizer

Fan Width plays a critical role in the paint spray application process, so much so that it can be represented as the backbone of the process. In this process, a high voltage Rotary atomizer along with shaping air discharge paint particles to create a spray pattern which defines the basic fan width. Many painting industries practice a "trial and error" method to determine the fan width of their coating process which can be inconsistent and lead to poor quality results. A predictive model for this dynamic fan width pattern, based on the application inputs, can make a significant efficiency improvement in the spray application technique to deliver a uniform paint distribution across the painted object. This research presents a fan width prediction model for a specific rotary bell atomizer and a waterborne automotive OEM paint color. A full factorial Design of Experiement has been performed to analyze factors that influence the dynamic spray pattern. From this a linear regression model has been derived to calculate the fan width which varies within 2.5 cm to maintain manufacturing tolerance. The model has been verified statistically and experimentally, so that it can eliminate the trial-and-error method to save time and cost.

Different Understanding about the Other Shore: the Introspection Study on Chinese and Western Art under the Natural Disaster

No matter what the different cultural backgrounds are, they will always collide and generate divergence on the same point of intersection and then continue moving forward in the direction of collective cognition. At present, the global world is facing severe pestilence disasters; China Art Circle made many responses immediately at the beginning of the epidemic situation and tried to fight the epidemic situation, encourage the front-line medical staff and provide energy for them. However, when the epidemic situation in China trends to calm, the art theme about the epidemic situation also suddenly keeps silent. It looks like calm without great waves; however, through investigating Western art, it is found that the Western Art Circle has different orientations on the attitude to disasters; considering its inner core, it maps the further understanding of groups with different cultural backgrounds on the cognition of other shores of life- different life and death idea influence the social outlook, view of life and expectation of life fate of different groups. Meanwhile, they also promote the society to show different introspection paths while facing disasters. The study uses empirical analysis to identify and collect the image information from classical paintings of the East and the West. The results show that compared with Western art, Chinese art conveys a message that focuses more on maintaining the country's stability.

Sculpting Places with Play

This visual essay works at the confluence of art, place and play and presents a practice which asks: what can happen if we take a group of adults and classical paintings as inspiration and have them play together in specific places? It aims to demonstrate the visual souvenirs of adult play, the photographs takenby the participants. The objective is to interpret them in order to gain an understanding of how hierarchy-free encounters in the liminal space of play can foster empathy for places. Pausing to gaze at the visual data, it seems that with art-based play, we create lasting memories after which the place, the players and the source art can never be seen with indifference again. This can lead to emotions, actions and activism towards a more desirable future.

Kritiese ekologiese kuns en Hegel se raaiselagtige uitspraak dat kuns moet sterf

Georg Wilhelm Friedrich Hegel (1770-1831), een van die belangrikste figure in die ontwikkeling van Duitse idealisme, se filosofie staan as "absolute idealisme" bekend, aangesien hy die idee, of gees (verstand) as die eintlike werklikheid beskou - in teenstelling met 'n materialistiese denker soos Karl Marx, wat materie (stof) as primêre werklikheid aanwys. Hegel was die eerste Westerse denker wat die geskiedenis ernstig opgeneem het; volgens hom is alles, spesifiek menslike kulturele aktiwiteite, onderworpe aan historiese ontwikkeling, en beskryf hy hierdie ontwikkeling op verskeie vlakke, insluitende dié wat hy "absolute gees" noem. Op hierdie vlak word wêreldgeskiedenis aan die hand van 'n "dialektiese" ontwikkeling vanaf "subjektiewe" gees (individuele menslike passies en bedoelinge) via "objektiewe" gees (staatstrukture en wette) tot "absolute gees" voorgestel. In hierdie artikel word daar aandag gegee aan wat volgens Hegel op laasgenoemde vlak gebeur, spesifiek met betrekking tot sy raaiselagtige stelling, dat die kuns as "hoogste uitdrukking" van die gees "moet sterf", om plek te maak vir religie en filosofie as manifestasies daarvan op meer gevorderde vlakke. 'n Mens kan tereg wonder wat Hegel daarmee bedoel het in die lig van die voortdurende beoefening van kuns tot vandag toe. Die antwoord is geleë in die frase, "hoogste uitdrukking", wat daarop dui dat hy aan kuns in historiese ontwikkelingsterme dink - met ander woorde, kuns is die draer van die absolute gees tot op 'n bepaalde tydstip, waarna dit plek moet maak vir ander sodanige uitdrukkingsvorme, te wete godsdiens en filosofie. Bowendien is kuns self ook onderworpe aan interne ontwikkeling; vir Hegel is die vroegste kuns simbolies van aard, (met Egiptiese kuns as voorbeeld), gevolg deur klassieke kuns (onder die antieke Grieke) en laastens romantiese kuns (in sy eie tyd). Die verskille tussen hierdie drie kunsvorms word bepaal deur die verhouding tussen idee en materie; in simboliese kuns domineer materie oor die idee in kunswerke, sodat die betekenis daarvan slegs vaagweg gepeil kan word (dink maar aan die Sfinks, as die "simbool van die simboliese"), terwyl daar 'n volmaakte balans tussen idee en materie bestaan in klassieke Griekse kuns, sodat geeneen van die twee dominant is nie (soos in die geval van beeldhouwerke wat die god Apollo voorstel). In romantiese kuns (byvoorbeeld die romantiese skilderkuns van Gericault) vind 'n mens die teenoorgestelde van simboliese kuns, met die idee wat dermate oor die materie heers dat dit byna daarin slaag om in denkbeeldige vorm daarvan los te breek. Hierdie is volgens Hegel die "hoogste" ontwikkelingspunt wat kuns as draer van die gees kan bereik, voordat dit plek maak vir religie as "beelddenke" en uiteindelik filosofie, waar die gees as idee suiwer, sonder enige stoflike oorblyfsel, tot uitdrukking kom. Hier voltooi die absolute gees die ontwikkelingstrajek daarvan, wat by die objektiewe vergestalting daarvan begin en via subjektiewe beliggaming uiteindelik in absolute "selfkennis" kulmineer. Vir die doeleindes van hierdie artikel is dit egter tematies betekenisvol dat Hegel ook melding maak van die voortbestaan van kuns ná die punt waar dit afstand doen van die titel van "hoogste" manifestasie van die gees of idee, naamlik in die gewaad van "kritiese", polemiese kuns, wat vry geword het van spesifieke wêreldbeskouings. 'n Mens kan in die moderne kunsbewegings van die vroeë 20ste eeu - insluitende kubisme, abstrakte ekspressionisme, konseptualisme en futurisme - die beliggaming van hierdie verwagting by Hegel bespeur, waar hierdie soort kuns telkens die ontologiese aanspraak maak dat dit die ware werklikheid blootlê. As besonder treffende tydgenootlike uitdrukking van sodanige (radikale) kritiese kuns word Andy Goldsworthy se ekologiese kuns ten slotte onder die loep geplaas.

조선 후기 모란도에 나타난 상징성과 회화성에 관한 조형 분석 - 형태와 색채를 중심으로

The purpose of this study is to identify original form and colors for Korean aesthetics through conducting a formative analysis of peony paintings which were hugely popular and developed in the late Joseon period, and quantitatively measure colors in peony paintings which bear Korean image and turn them into data. The study covered peony paintings showing popular aesthetics from the 19th to the early 20th century, during which such paintings were produced and developed most actively. The form analysis as the study method was analyzed qualitatively. In limiting subjectivity, images in the literature were compared with the author’s appreciation of the artworks based on the picturesque formative theory depending on the peony style paintings in the late Joseon period. For color analysis, the author identified colors from common people’s views based on colors quantitatively measured from peony paintings, turned them into data, and suggested that it is necessary and possible to modernize peony paintings in today’s world. The results showed that there were the modification, abstraction, exaggeration, simplification, design, and popularization of form in peony paintings in the late Joseon period; symbolic colors from painted objects expressed common people’s aesthetics, highlighting the ideal(abstract) expression of colors. More notably, some artworks expressed soft and diverse colors, unlike other peony paintings in the late Joseon period. This study holds significance as it identified form in peony paintings-which used to be dominated by symbolism-from a picturesque perspective and quantitatively turned them into data colors in peony paintings, which have been studied mostly conceptually. Furthermore, this study is expected to expand and utilize other studies in related fields in the future.

Nicholas I in Rome (1845). The Artistic Aspect of the Visit in the Assessments of Nikolai Gogol

The article analyzes the part of the Nicholas’ I artistic program in Rome that was previously insufficiently studied (acquisitions in Italy of works of modern painting, orders for copies from Italian and other masterpieces of classical painting, etc.). Based on documents stored in domestic and foreign archives, the author characterizes the artistic preferences of the Russian emperor, his contribution to the formation of the museum fund of St. Petersburg and Russia; establishes the relationship between the visit of the emperor to Rome and the creation of the artistic and architectural appearance of St. Petersburg and its main temple – St. Isaac’s Cathedral, as well as the revival of the mosaic case in Russia.

Utilization of Colour for Visual Representation of Nature, Form, Space and Time

In nature, everything has a form, occupies a space, and is susceptible to change in a matter of time. Nature, form, space and time could well be classified as theoretical and the problem of intangibility of the said terms is addressed with the application of colour to visually represent them through paintings. Through application of colour, this article pulls the said incorporeities from their abstract realm for visual perception. Methodology of Observation was applied to observe some scenes at the same time, but a particular scene or spot was studied at four different periods of the day namely; morning, afternoon, evening and night. Participatory methodology was utilized to capture the scenes with a camera and, through the application of colour, painted the captured scenes on canvasses. Analyses of the painted scenes were finally made to result in conceptually representing nature, form and space with painted objects. Four of the scenes visually present the four periods or time of the day which are morning, afternoon, evening and night. The analyses have subsequently resulted in visually bringing about the concept of nature, form, space and time. In conclusion, if the intangibilities of nature, form, space and time could be concretized for visual conception, then any theory could be practically materialized. Keywords: colour, visual representation, nature, form, space, time DOI: 10.7176/ADS/94-01 Publication date: July 31 st 2021

Image spaces. Digital visual media in the context of baroque mural painting in architecture

In the art of the 20th century, space became the basic material. Today, digital media and VR and AR technologies are used to cross the visual and space barriers, but always at the expense of experiencing reality. The spatial turn in culture results from the post-avant-garde ideas of art that cuts itself off from ancient art. Using the example of the fresco by Andrea del Pozzo from the Sant’Ignazio church in Rome, we will show analogies between baroque illusionist painting and digital visual media. It turns out that contemporary art arrives at the space issues that have been practiced in architecture and art since antiquity. The space created by painting illusion as a total work of art exhibits many features of contemporary art and the phenomena of VR and AR such as intermediality, immersion, interactivity. Spatial turn arguments can be used to enhance the potential of classic painting language in architecture.

К проблеме атрибуции альбомов «Десять пейзажей» и «Странствие по реке [кисти] Шитао»

The article is devoted to the albums Ten Landscapes and Travelling Along the River [Painted by] Shitao, attributed to Shitao (1642–1707), a famous Chinese artist and theorist of painting in beginning of the Qing dynasty (1644–1911). The aim of the article is to estab- lish authenticity of the albums. The album Ten Landscapes is in the collection of the State Museum of Oriental Art (Moscow). In 2015 one leaf from it was displayed at the exhibition Classical Painting of China. After visual evaluation and the analysis of painting, calligraphy and seals the author came to conclusion that the album Ten Landscapes could not be the original work of Shitao. It is probably the copy of another album Travelling Along the River [Painted by] Shitao. The latter was very famous among the connoisseur’s circles at the beginning of the 20th century. Therefore, its authenticity is also the subject of scientific discussion. Some of Chinese experts and researchers regard the album Travelling Along the River [Painted by] Shitao as the best example of Shitao’s painting. Others question its authenticity. The author of the article gives arguments to confirm the latter point of view.

BRIEF ANALYSIS OF THE MATERIALS AND TECHNIQUES IN CLASSICAL OIL PAINTING

Classical oil painting has a high degree of beauty in forms and expressions. It is an integral part of the history of oil painting art, and it is also the peak of the history of human painting civilization. The order, tranquility and elegance brought by its works have always been pursued by many artists. Classical oil painting materials and techniques are the basis for understanding classical paintings. This article mainly focuses on the definition of classical oil paintings, on its the structure and materials of classical and a brief analysis of its main techniques.

Modernization of Anatomy and Graduate Medical Education from the Past to the Present

In the recent decade, there have been many technological innovations and improvements in the pedagogy of medical and graduate education. We have applied some of these developments to one of the most important and most fundamental elements in modern medical and graduate education, while combining traditional and innovative approaches. Gross anatomy is a core course for first year medical and some graduate students from time immemorial, since Nicholaes Tulp was first depicted by Rembrandt in the now classic painting “The Anatomy Lesson of Dr Tulp”. In the now famous Rembrandt, Dr Tulp is shown dissecting an unembalmed cadaver, while paid onlookers viewed the dissection of the cadaver with great interest. At USAT and EWCNM, the anatomy dissection begins with didactic lectures, much along the traditional lines, but with the exception that the discussion is orientated toward a clinical setting for each phase of the lectures. This is followed by lectures in Organ Systems Pathophysiology with the added incorporation of the Anatomage® virtual and 3-D technology. Medical Biophysics, Medians, Acupuncture points, and finally by Introduction to the dissection laboratory. As in the distant past all dissections utilize fresh, unembalmed cadavers, but in modern times all cadavers at the USAT-EWCNM laboratory are safety tested for hazards or pre-existing infectious diseases before the start of the dissection, which takes place in a modern state-of-the-art facility. Prior to the dissection, important sensitivity instruction is given, including acceptable respect, clinical attire [scrubs and surgical gowns], proper and expected personal demeanor during the dissection. During the dissections, which last for several days on each cadaver, key surgical and medical procedures that are likely to be needed during PGY-I and in acupuncture clinical practice are demonstrated on each cadaver, including insertion of chest tubes, spinal taps, Intubation, topical and cosmetic suturing, endoscopy, 3-D imaging, surgical technique, needling placement, and others. The culmination of the dissection ends with each student being able to demonstrate the above procedures to standard, and with a complete functional dissection of the cadaver. At the conclusion of the lab body parts are reconnected and prepared for disposal and the ashes returned to the family that donated the cadaver. As an outcome, USAT-EWCNM anatomy lab has become one of the most sought-after courses in the first-year curriculum, with many students requesting to retake it 2 or more times, and performance on post laboratory examination exercises indicative of long term functional retention of anatomic principles upon entry to clinical and post graduate years.

Reconstruction of ancient greek painting in the context of modern digital technologies

Explore the possibility of forming an algorithm that allows for the reconstruction of the lost compositions of easel painting by outstanding masters of the Ancient Wurld.The purpose. Form an algorithm of the scheme of actions based onon the basis of the received historical information allowing to make the reconstruction of the lost compositions of easel painting of outstanding masters of Ancient Greece.Methodology. In the study, the following research methods were used:1) analytical method, by which the current literature had been analyzed;2) theoretical and conceptual method, which made it possible to determine the conditions necessary for the implementation of IT-technology into cultural and artistic practice; The study used the methods of computer modeling and analysis, which made it possible to increase the accuracy of the results. The authors of the article consistently consider the algorithm of actions necessary to restore the lost works of the past. The work takes into account the technological features of the layer-by-layer painting of the Ancient World and analyzes the color scheme used by the masters of antiquity. For clarity, the authors have created a special scheme — a color square. The creation of this material was preceded by a deep study of ancient sources, in particular the works of Pliny the Elder. Results. The main elements necessary for the restoration of the lost pictorial work of art have been established. The main reconstruction algorithm is stated: drawing, composition and methodology for creating a work of antique art. Hellenistic Greek colouristic is systematized according to the “Color square” scheme. All this information can be used in deep machine learning technologies according to certain algorithms and can give very interesting results.The scientificance novelty. Consist in the creation of a scheme of actions aimed at restoring the image as close as possible to the lost original on the basis of the preserved literary and material artifacts. Practical significance. This algorithm can be useful when creating computer software designed to recreate lost works of the past. Such a system will be needed in such fields as archeology and art history. The technique is ideal for use in deep machine learning technologies. To carry out the reconstruction of a specific work, the main aspects are considered: origin, development, principles of classical painting, technology, influence on other types of fine art (philosophy, utilitarian application, subject matter). The research methodology is based on the use of historical, cultural, art history and biographical approaches.

On the use of hand-held X-ray fluorescence spectroscopy coupled to Monte Carlo simulations for the depth assessment of painted objects: The case study of a sixteenth-century illuminated printed book

This paper presents the application of an established XRF-MC (X-ray fluorescence-Monte Carlo) protocol to evaluate for the first time the thickness of pictorial layers in illuminated manuscripts. A previously investigated, sixteenth-century book printed in Paris (BPE, Inc. 438) was chosen as the case study: multiple analysis spots were scanned in selected areas (painted and unpainted) with p-XRF (hand-held XRF); later, the obtained spectra were compared against Monte Carlo simulations. Two pathways of MC simulations emerged: a three-layer model for the painted areas (stratigraphic sequence, from outer to inner: pictorial layer–underdrawing–parchment) and a two-layer model for the unpainted areas (underdrawing–parchment). Also, the calculated thickness of each simulated layer was compared against the thickness of micro-samples from Inc. 438. The results proved the protocol to provide quantitative compositional and stratigraphic data, yet with limitations. Results encourage the future research to elaborate a protocol.

Interseções entre Cinema e Pintura em Maria Antonieta de Sofia Coppola

The scene of Sofia Coppola’s movie, Marie Antoinette, is made in dialectic with pictorial works, which occur primarily in three forms: classical painting within diegetic space, as an element of scenography; painting as a scene, when the film picture incorporates the pictorial aesthetics of a canonical work; and the re-appropriation of a canonical painting according to the aesthetic molds of the fictional universe of the film in question, which was placed as scenic object.

Land of Chabot: A Highway Landscape as a Monument to a Painter

In the contemporary metropolitan landscape of Rotterdam, the open landscape spaces that once surrounded the city have been reduced to components in a hybrid field. When the polders were still expansive, with an omnipresent horizon, and big skies, they were depicted extensively by the Dutch landscape painter Henk Chabot (1894-1949). Chabot is the Rotterdam painter of an oeuvre that is associated with angular, realistic expressionism of many layers of paint in hard colours, who painted heavily emphasised skies over poor countryside, or monumental portraits of refugees or farmers. For fifteen years, he lived and worked in a studio by the river Rotte. Now, only a relic of the farmland where he lived remains: an interstice between motorways, recreation parks, and suburbs that seemed to be overlooked in the frenzy of urban planning processes. The reason this interstice still exists is that it has been reserved for a future motorway for the last 30 years, and in the not-so-distant future will become the tunnel entrance for the new A16 motorway. As a left-over space, the terrain seems non-descript. However, it does have the implicit characteristics of a ‘landscape theatre’: introducing the processes and the scale of landscape as self-evident elements of the city, and heralding the open polder landscape twenty minutes away. It borrows its physical boundaries from the Rotte river dyke, the heemtuin (botanical garden) adjacent to the Ommoord apartment blocks, the access road to Ommoord, the industrial estate, and residential area in Terbregge. Such a “borrowed boundary” can be seen as a defining trait of the landscape theatre. The open space that is defined by this borrowed boundary and the central point of the tunnel entrance, is a secluded, self-contained place, removed in time and space, insulated against the everyday reality and, aside from the public realm of streets, squares, and parks, from the hustle and bustle of urban life: a place “outside”.

Modest Worker of Russian Sinology: Remembering Vadim L’vovich Sichev

The author recalls the outstanding Russian sinologist Vadim L’vovich Sichev (1940–2019): He narrates the scientist’s biography and names his main academic works. Vadim L. Sichev was born in the family of famous soviet artist Lev P. Sichev. After graduation from the Institute of Asian and African Countries at Lomonosov Moscow State University, he worked in the State Museum of Oriental Art for a long time. The main areas of his scientific research were the study of Chinese costume and Chinese classical painting. Vadim L. Sichev has published a large number of books and academic articles. The most famous works of the scholar are “Chinese Costume: Symbolism, History, Interpretation in Literature and Art” (1975, co-written with his farther Lev P. Sichev), “Chinese Classical Paintings in the Collection of State Museum of Oriental Art” (2016), “Modern Chinese Prints in the Collection of State Museum of Oriental Art” (2016). The article contains reflections about the creative method and research principles of Vadim L. Sichev.

Contrast the difference of thinking between Chinese and Western painting

This article is based on the theoretical basis of Chinese and Western culture, with Chinese and Western classical paintings as the object of comparison, with problem awareness as the research perspective, and through five aspects of aesthetic characteristics, spatial awareness, painting themes, color concepts and development roads of Chinese and Western classical paintings. Aesthetics comparison and research in this respect reveal the different cultural connotations and aesthetic qualities of Chinese and Western classical paintings

An Analysis about the Formation of Morandi’s Personal Artistic Concept

Not influenced by the current mainstream but chose to study alone, Morandi was a fresh stream in the art history. He has formed his unique concept of art through study of classical painting and under the influence of Cezanne and other artists. The ancients once said, “One can't show high ideals without simple living; One can't have lofty aspirations without a peaceful state of mind.” This state is rare both in the way of life and in the attitude of painting. Only by concentrating on what one love and putting aside the complex thoughts in one’s mind can one have a dialogue with his inner self. So is for Art.

Upaya Meningkatkan Ketrampilan Motorik Halus melalui Kegiatan Finger Painting pada Anak Usia Dini di Kober Rofa Sukadana Lampung Timur

Tujuan dari penelitian ini adalah untuk meningkatkan keterampilan motorik halusn melalui kegiatan Finger painting di KOBER Rofa Sukadana Lampung Timur. Jenis penelitian ini adalah Penelitian Tindakan Kelas yang dilaksanakan melalui 2 siklus.Untuk mengetahui tingkat perkembangan anak peneliti menggunakan lembar observasi. Berdasarkan hasil penelitian yang telah dilakukan, ditemukan bahwa kegiatan Finger painting dapat meningkatkan keterampilan motorik halus anak di KOBER Rofa Sukadana Lampung Timur. Hasil tersebut dapat dilihat dari hasil penilaian siklus II yang menunjukan bahwa keterampilan motorik halus sudah mencapai kriteria perkembangan yang diharapkan yaitu BSH (Berkembang Sesuai Harapan). Hasil yang sama dapat diilihat saat proses kegiatan Finger painting berlangsung, anak sudah dapat mengkoordinasi mata dan tangannya. Sehingga dapat disimpulkan bahwa anak-anak sudah dapat menggunakan tangan dan jari-jarinya untuk melukis dengan baik serta jari–jari anak nampak lentur pada saat kegiatan melukis.

Sprezzatura: The Art of Concealing Art in Fashıon, Music and Painting

Baldassare Castiglione’nin 1528 tarihinde yazdığı Il Cortegiano isimli kitaba konu olan sprezzatura kavramı, dönemi ve sonrası için çığır açmış, estetik yaklaşımları derinden etkilemiş bir kavramdır. Bugün hala estetikte tartışılagelen; güzellik ve grazia gibi kavramları açıklamak için oldukça etkili bir araçtır. Başlangıçta, bir Rönesans aristokratının davranışları ve sahip olması gereken özelliklere yönelik kullanılan bir kelime olup; kavramsal kökleri Aristoteles ve Cicero’ya kadar dayandırılır. Antik Yunan’dan beri tartışılagelen sanat eserinde ulaşılmak istenen grazia’ya ulaşmak için mutlak bir gereklilik, bir araç olarak da görülür. İnsan eliyle yapılan bütün sanatsal eylemlerde sprezzatura, ustalık noktasının da ötesi, en üst olgunluk noktasının bir ifadesi olarak görülür. Edebiyat, resim, heykel, görsel sanatların tümü, moda, mimari, konuşma sanatı ve müzikte sprezzatura alana özgü farklılıklar doğrultusunda sanatçının dikkate alması gereken bir prensiptir. Bu makalede sprezzatura, estetik tartışmalar ışığında anlam ve kapsamı ile birlikte açıklanırken; özellikle moda, müzik ve resimde bu kavramın neyi ifade ettiği ortaya konulmaya çalışılmış, eğitim süreçlerine yönelik öneriler ortaya konulmuştur.Baldassare Castiglione’nin 1528 tarihinde yazdığı Il Cortegiano isimli kitaba konu olan sprezzatura kavramı, dönemi ve sonrası için çığır açmış, estetik yaklaşımları derinden etkilemiş bir kavramdır. Bugün hala estetikte tartışılagelen; güzellik ve grazia gibi kavramları açıklamak için oldukça etkili bir araçtır. Başlangıçta, bir Rönesans aristokratının davranışları ve sahip olması gereken özelliklere yönelik kullanılan bir kelime olup; kavramsal kökleri Aristoteles ve Cicero’ya kadar dayandırılır. Antik Yunan’dan beri tartışılagelen sanat eserinde ulaşılmak istenen grazia’ya ulaşmak için mutlak bir gereklilik, bir araç olarak da görülür. İnsan eliyle yapılan bütün sanatsal eylemlerde sprezzatura, ustalık noktasının da ötesi, en üst olgunluk noktasının bir ifadesi olarak görülür. Edebiyat, resim, heykel, görsel sanatların tümü, moda, mimari, konuşma sanatı ve müzikte sprezzatura alana özgü farklılıklar doğrultusunda sanatçının dikkate alması gereken bir prensiptir. Bu makalede sprezzatura, estetik tartışmalar ışığında anlam ve kapsamı ile birlikte açıklanırken; özellikle moda, müzik ve resimde bu kavramın neyi ifade ettiği ortaya konulmaya çalışılmış, eğitim süreçlerine yönelik öneriler ortaya konulmuştur.