Contemporary Painting Research Articles

Postural mechanics and artistic control in painting: Investigating the role of movement in artistic creation

Postural mechanics and movement control play fundamental roles in artistic creation, particularly in painting, where precision and fluidity of motion directly influence artistic outcomes. This study investigated the biomechanical relationships between posture, movement, and artistic control in painting practice through a comprehensive analysis of 38 artists (22 Female, 16 Male) ranging from novice to expert-level practitioners in traditional Chinese and contemporary painting techniques. Using an integrated measurement approach combining Motion Capture System (MCS) (Vicon Motion System), electromyography (EMG), and force plate analysis, we examined postural dynamics, movement patterns, and their effects on artistic precision across varied painting conditions. Results revealed significant correlations between postural stability and painting precision (r = 0.82, p < 0.001), with experienced artists demonstrating superior postural control strategies compared to novices. Analysis of seated versus standing positions showed distinct advantages in stability metrics (88.5 ± 4.2 vs. 82.3 ± 5.6 stability index, p < 0.01), though standing positions offered a more excellent range of motion (58.7 cm ± 7.2 cm vs. 42.3 cm ± 5.6 cm brush reach, p < 0.001). Environmental factors, particularly easel configuration and lighting conditions, significantly impacted performance, with optimal easel height (90%–105% of eye level) correlating with enhanced precision scores (improvement of 18.4 ± 4.2%, p < 0.001). Tool selection analysis demonstrated that medium-length brushes (20 cm–30 cm) provided optimal comfort (8.7 ± 0.9 out of 10) and precision (88.6 ± 3.8 out of 100) scores. Extended painting sessions revealed progressive changes in muscle activation patterns, with expert artists maintaining more consistent movement patterns despite fatigue (8.4 ± 1.2% vs. 18.7 ± 3.2% movement variability, p < 0.001). These findings provide quantitative evidence for the importance of proper postural mechanics in artistic creation and offer practical insights for optimizing painting performance through improved biomechanical awareness and environmental setup.

Structure-Optical Properties Relationships in Cobalt-Based Purple Pigments Used by Robert Delaunay.

Following the industrial revolution and the modernization of chemistry, purple became one of the most popular colors in the palettes of late 19th- to 20th-century painters. Among them, Robert Delaunay (1885-1941) was one of the key artists of the avant-garde movement in France in the early 20th century. Although widely used in modern and contemporary paintings, inorganic purple pigments of the cobalt phosphate and cobalt arsenate families have been little studied chemically until now. The diversity of emerging chemical syntheses resulted in a wide range of products, characterized by a high diversity of hues, function of their respective composition, and crystal structures. The present work combines structural and optical analyses to probe the purple pigments used by Delaunay. Reference materials synthesized in the laboratory were characterized via synchrotron radiation-based high-angular-resolution X-ray powder diffraction and UV-vis-NIR spectroscopy. Structure-color relationships were established for the first time for several inorganic compounds of the Co-P/As family. Two of Robert Delaunay's earliest masterpieces conserved at the Centre Pompidou in Paris were probed in situ via X-ray powder diffraction in imaging mode and fiber optic UV-vis-NIR reflectance spectroscopy. The results highlight the decisive effect of their structural chemistry on the palettes of modern and contemporary painters.

The aesthetics of hybridization in contemporary painting and its reflection on the productions of art education students

إن تقنيات التهجين في الرسم المعاصر وانعكاسها على نتاجات طلبة التربية الفنية، هو موضوع له أهمية في مجال فن الرسم على المستوى النظري والعملي في الدراسة الأكاديمية نظرية كانت أو عملية، فالرسم في العراق ارث وتاريخ حضاري فضلاً انه يعتبر أحد اهم الاجناس الفنية العراقية المعاصرة والقديمة، فالرسم العراقي من الفنون ذات الجذور التاريخية وذات المكانة المميزة بين الأجناس الفنية الأخرى، وقد نال الرسم القدر الكافي من التطوير من خلال استخدام تقنيات معاصرة مختلفة للرقي به نحو الأحسن. ضمّ الإطار المنهجي، مشكلة البحث والحاجة إليه، ومن ثم جاءت أهمية البحث في تسليط الضوء على تقنيات التهجين في الرسم المعاصر، وأثر هذه التقنيات على نتاجات طلبة التربية الفنية والفائدة التي انعكست في نتاجاتهم الرسمية. وهدف البحث إلى الكشف عن التقنيات الآنية وآلياتها، ومدى انعكاسها على نتاجات طلبة التربية الفنية. وبالتوقف وتحديد المصطلحات؟ وتضمن الإطار النظري مبحثين: الأول: مقدمة تاريخية في الرسم العراقي المعاصر، جذوره وبداياته. الثاني: تقنيات التهجين في الرسم المعاصر. وتضمن إجراءات البحث: إذ كان مجتمع البحث وعينة البحث تضمنت على (3) أعمال رسمية، أما النتائج والاستنتاجات التي توصلت إليها الباحثة: ظهر ت التقنيات بقوة في جميع نتاجات طلبة التربية الفنية في العينات جميعها. اعتمد الطالب على خياله فأنتج تراكيب رسمية جديدة. قلة عدد الكتب المنهجية عن مادة تقنيات الرسم لتدريسها لطلبة قسم التربية الفنية

Perceptual distortions characteristic of Alice in Wonderland syndrome in contemporary figurative painting.

Alice in Wonderland syndrome (AIWS) is a neurological condition characterized by perceptual distortions, most of which are visual in nature (metamorphopsias). Over the past decade there has been a movement in contemporary figurative painting away from strict mimesis toward depicting distortions of the painting's subject, called disrupted realism. In certain cases the similarities between the distortions in those paintings and those characteristic of AIWS are so striking that we suspect that artists may have experienced distorted perceptions themselves and used them for creative inspiration. To empirically test this hypothesis we interviewed 20 painters who frequently use distortions in their work, using the SIntAD, a tailor-made, semi-structured questionnaire. We then carried out a phenomenological analysis of the perceptual phenomena reported on, and compared them with those in their paintings. Of the artists interviewed, 85% reported on having experienced positive disorders of perception in general (comprising hallucinations, perceptual distortions and other perceptual phenomena), with 55% reporting on a total number of 15 metamorphopsias. Most artists had not been aware of having these distortions to their perception. Nonetheless, most did not use these specific distortions in their work, but rather different types. Symptoms of AIWS and other positive disorders of perception are common among contemporary painters who frequently use distortions in their figurative work, although perhaps not more common than in the general population. Artists in the disrupted-realism movement tend not to mimic their own perceptual distortions in their work, although they do feel inspired to distort their work in different ways.

Comparative semiotics of womanhood: portrayal of Chinese and Pakistani women in contemporary paintings

Abstract Images have the potential to both alienate and unite. Due to their ideological power, images can both create and clear misconceptions. To analyze the semiotic variation in the portrayal of women in contemporary art in relation to feminine identities and ideological representations, the study analyzes the choice of ideational signs in the contemporary Chinese and Pakistani paintings on the basis of the social semiotic approach of the grammar of visual design suggested by Kress and van Leeuwen. Considering diversity of themes and portrayal of women, 30 Pakistani and 30 Chinese paintings, painted by 17 Chinese and 17 Pakistani male and female painters were selected through an information-rich sampling technique. Results suggest that loneliness, waiting, leisure, and love for nature are the common themes related to Chinese and Pakistani women which the painters have creatively modeled. The images vary in the sense that Chinese women have been represented in constructive gender roles, such as working women, ballerinas, sports women, and hardworking farmers, etc., while Pakistani women have been represented in terms of resistance, oppression, victimhood, religiosity, and protection. The study has implications for gender studies, multimodal representations, and the way we comprehend, describe, and construct the interconnected yet fragmented fabric of our world.

Contemporary Painting and Spiritual Landscape--Re-examination of the History and Theme of Shelf Paintings

This paper and the graduation piece continue the course of my research. By investigating the history and development of contemporary painting, of how painting going from representational to abstract, this paper and my graduation piece is aimed to find a new interpretation to integrate the ideas of painting; to achieve the "landscape of spirit" of artist and to interpret the expressive principle of art fully. Finally, combining the landscape of spirit and painting together, highlighting an important factor of creation-"spirit". This paper has taken the analysis from Chinese and Western to be the main content-from representational to abstract; from the West to the East; and from the combination of the East and the West. Of western artists, Picasso, Rothko was chosen to be the representative while the integration of Confucianism, Buddhism and Taoism from the Wei and Jin Dynasty was chosen to represent the East. Whether it is the religion of the West of the philosophy or the East could be found in painting easily, this show that spirit is necessary in painting. Nowadays, the East and the West are closely linked, Chinese artist's self-study and the "landscape of spirit" could be easily seen. How to explain the "landscape of spirit" is also a problem. This paper tries to explain the "landscape of spirit" by combining art history, study of the connection and development of art and technology, and my own art.

Use of magnetic sheets in vertical deformation treatment of textile supports of contemporary paintings

The practice developed during a conservation and restoration intervention does not always follow common or traditional standards, whether due to technical limitations, or space constraints related to the size of the works, or by the material requirements that the works themselves can present. In the light of various particularities and needs, research was initiated into the use of harmless and satisfactory methods in the occasional treatment of deformations of the support of contemporary pictorial works, using magnetic sheets. In its use, different valences were evaluated, such as the control in the iteration of the work, the effectiveness and control of humidity and time during the performance of the treatments, and the results obtained. This article will reflect on the process developed with the application of four case studies, presenting the advantages and disadvantages in the use of this method.

The Development and Impact of AI-Generated Content in Contemporary Painting

The paper examines the evolution and impact of generative artificial intelligence (AI) technology in the field of painting, tracing its ascent from the early 21st century. It highlights pivotal developments in AI-generated content (AIGC), starting with Harold Cohen's "AARON" program in the early 1990s, progressing to Yang Zhiping's introduction of generative adversarial networks (GANs) in 2000, and culminating in Robbie Barrat's innovative applications in 2018. These milestones underscore the swift progression and vast potential of AIGC for both technical innovation and artistic expression. This analysis delves into the current landscape of AIGC in painting, identifying key technological advancements such as deep learning, GANs, style transfer, adaptive algorithms, and augmented reality. These technologies have elevated artistic creation to unprecedented levels. However, AIGC also confronts significant challenges, including issues related to copyright and intellectual property, artistic ethics and originality, technical constraints, market acceptance, and socio-ethical and legal concerns. To address these challenges, the paper proposes several solutions: clarifying legal standards, establishing authorization mechanisms, fostering hybrid creative models, enhancing the diversity of training data, promoting public education and outreach, and developing professional training and ethical guidelines.

Monsoon Winds and Ming Porcelains: Chinese Ceramics and Their Reception in Early Modern South Asia

Abstract This essay will explore the arrival, acquisition, and reception of Chinese ceramics within early modern South Asia, with a focus on the Mughal dynasty (r. 1526–1857) courtly context. The first step in placing South Asian ceramic collecting practices within the broader historical and geographic circulation of porcelains in the Gulf and Indian Ocean worlds is understanding the breadth and nature of South Asian collections. While the Safavid porcelain collections donated by Shah Abbas to Ardabil, and the massive Chinese porcelain collection of the Ottoman courts held today in Istanbul’s Topkapı Palace are well known and relatively well published, the Chinese ceramic collections of South Asia have received less scholarly attention. Fresh material presented here includes new evidence of the extent of multi-generational Mughal interactions with, and interest in, Chinese ceramics. The broader question to be addressed is how these porcelains were perceived, utilized, and displayed in the South Asian context. Considering textual evidence, contemporary paintings, extant architecture, archaeological finds, and surviving inscribed objects, this essay will argue that Mughal porcelain collections should be understood within the context of their broader collecting activities, and in relation to the porcelain collections and displays of their Timurid ancestors.

Explore Wen Zhenheng's Painting and Calligraphy Protection Concept and Strategy in Zhangwu Zhi

Zhangwu Zhi, written by Wen Zhenheng in Ming Dynasty, is a monograph on the appreciation and protection of antiquities, which contains a wealth of ideas and strategies for the protection of calligraphy and painting. This paper aims to explore the concept and strategy of painting and calligraphy protection proposed by Wen Zhenheng in Zhangwu Zhi, and analyze its inspiration and reference to contemporary painting and calligraphy protection. Through the in-depth study of Zhangwu Zhi, this paper analyzes Wen Zhenheng's views and measures on the protection of calligraphy and painting, and discusses the storage environment, light regulation, air pollution control and pest control of calligraphy and painting collections. And put forward to establish a good storage environment, reasonable control of temperature and humidity, do a good job in the warehouse heat insulation, moisture-proof and ventilation management of calligraphy and painting protection strategies. These strategies had a profound impact on the preservation of calligraphy and painting at that time and later. Although Wen Zhenheng's ideas and strategies for the protection of calligraphy and painting still have certain limitations in the contemporary era, the protection measures and methods proposed by Wen Zhenheng still have inspiration and reference significance for the protection of contemporary calligraphy and painting. Through in-depth study and understanding of Wen Zhenheng's painting and calligraphy protection concept and strategy, we can better protect and manage the painting and calligraphy collection to ensure its safe inheritance and long-term preservation.

Study on the Application of Traditional Elements in Modern Paint in Chinese New Year Wood-block Paint

The paper discusses the application of traditional elements in woodblock prints in contemporary painting as well as the difficulties and optimization strategies. Firstly, the probability and current situation of the combination of traditional elements and modern aesthetics are described, and then many problems such as the block of traditional culture, the test of contemporary conversion, and its theoretical and practical derailment appear in the practical activities of contemporary painting are elaborated. In response to the above problems, enhancement strategies are given such as upgrading traditional culture and education, promoting innovation and integration, and strengthening the integration of theory and practice. The paper hopes to promote the effective use and inheritance of traditional elements of woodblock prints in contemporary painting and development through in-depth research and practical exploration, providing new ideas and design inspiration for artistic creation in China.

Historical Study of the Use of Low Seat Dingklik In Java in the Socioeconomic Activities of the Colonial Era (1800-1900)

ABSTRACT Since the 8th century, Indian traders have brought Hindu/Buddhist practices to Java, influencing the culture of sitting low. When furniture came to Indonesia during the colonial era, the Javanese started using low-wooden benches called dingklik for work and informal interactions. Despite having a simple form and being often hidden, dingklik underwent a transformation through socioeconomic activities in Java during the colonial period. Contemporary paintings, photographs, and films were used to analyse dingklik in terms of content, visual elements, and height in socio-economic activity. From an economic perspective, the shape of dingklik was oriented towards mobility so that for carry-on traders, the dingklik had smaller and lighter legs, making it easy to carry. Meanwhile, socially, the form of dingklik was influenced by philosophical symbolism, and for Javanese nobles, it had decorative features similar to royal chairs as symbols of power. This study highlights the shift in the value of traditional Javanese sitting facilities.

Effectiveness of labels in digital art experience: psychophysiological and behavioral evidence.

Nowadays museums make large use of digital materials (e.g., virtual tours) to attract visitors. Therefore, it is worthwhile investigating which variables affect the engagement with art outside the museum, and whether digital reproductions of artworks are as effective as museum originals in producing a satisfying aesthetic experience. Here we tested the effectiveness of introducing additional informative materials on the artistic enjoyment of contemporary paintings presented on a computer screen. Naïve observers were exposed to essential and descriptive labels before viewing artworks. We flanked traditional measurement methods - viewing times and questionnaires, with biometric parameters - pupil responses, eye movements, heart rate, and electrodermal activity. The results were then compared to our previous museum study that adopted the same experimental paradigm. Our behavioral and psychophysiological data lead to a complex pattern of results. As found in the museum setting, providing detailed descriptions decreases complexity, evokes more positive sensations, and induces pupil dilation but does not enhance aesthetic appreciation. These results suggested that informative labels improve understanding and emotions but have a limited impact on the hedonic evaluation of artworks in both contexts. However, other results do not mirror those found in the museum; in the laboratory setting, participants spend a similar amount of time, have a comparable gaze behavior, and their electrodermal activity and heart rate do not change when viewing artworks with different types of labels. The main difference between the lab and museum settings is the shorter time spent viewing digital reproductions vs. real paintings, although subjective ratings (e.g., liking, interest) are comparable. Overall, this study indicates that the environmental context does impact the aesthetic experience; although, some beneficial effects of introducing additional relevant content in labels accompanying artworks can also be acquainted through digital media outside of the museum.

Semiotics And Hermeneutics in The Art of Painting and Contemporary Architecture

This study focuses on semiotic and hermeneutics between Contemporary painting and architecture as an important aspect of how to read text, which is shown in the form Contemporary painting and architecture, through the changes that have taken place in contemporary thought، and then the direction of Contemporary painting and architecture. He did it in general to a wider range، and for example، the changes in the form of cubism took a new direction، resulting in the destruction of all real forms. This study consists of four parts، the first is the general framework, the research paper focuses on how semiotics and hermontics work within the circle of painting and architecture. Are they important in these two areas؟ The importance of research، and the purpose of research، is to show the semiotic and hermeneutics between Contemporary painting and architecture, and the boundary of research، as well as the definitions of the terms referred to in the text of this research، but the second part of the theoretical framework consists of three sections، the first part Interpretation of the contemporary semiotic image, the second The concept of semiotics in painting and contemporary architecture, the third is the concept of hermeneutics in painting and contemporary architecture, as well as the outline of the theoretical framework، and the third part is the research methodology developed in the society of research، research tools، and the decomposing of research samples. The fourth part is the Findings, conclusions, and the list of sources.

Abundance on Canvas: Cultivating Peace and Floral Expressions in Lida Sherafatmand’s Paintings

In this study we discuss the relationship between the concepts of abundance, peace and painting. After a general look at different definitions and approaches to the concept of abundance, we will choose the cultural and artistic approach and, in this context, take a brief look at the painters who used the concept of abundance together with peace. Then we will look at the style of Florescencism, invented and introduced by the contemporary painter Lida Sherafatmand, and the related paintings that have been shown in many prestigious exhibitions around the world, in the context of one of the main approaches of this style, which is to represent the concept of abundance. The abundance of fresh and bright flowers with vivid and promising colors in Lida Sharafmand’s paintings is formally and conceptually in line with one of the clauses of the Florescencism manifesto, which refers to the concept of abundance as a way to develop peace. The paintings selected and presented in this review have been examined in the same two basic analytical directions, namely form and meaning, so that the depth of the concept of abundance and its use in line with the goal of peace in these paintings can be broken down and presented to the reader.

The Visible and the Invisible: Jean-Luc Marion on the Artistic Phenomenology

Jean-Luc Marion, as a renowned phenomenologist today, transcends painting from the realm of aesthetics and, through a series of fundamental inquiries into painting, images, and issues such as idols and icons, rearticulates phenomenology's overcoming of subjectivity. This article will reflect on Marion's artistic phenomenology, focusing on the visible and the invisible and describing painting, idols, and the most visible from the perspective of givenness. Particularly noteworthy is that painting is no longer seen merely as the intentional object of the viewer; it transcends the ordinary object to become an idol. The idol evokes more gazes while also concealing itself beneath the subject. Contemporary painting rebels against dependence on nature, showcasing more possibilities. From Impressionism to minimalism, artistic creation breaks away from pure visibility, attempting to operate autonomously from intentional subjects and move towards the icon.

Analysis of Matisse's Painting Style

Henry Matisse is an important representative of contemporary "Fauvism" and a revolutionary figure in Western art history. The artistic concept he advocated broke free from the constraints of traditional painting, broke free from traditional colors and forms, and achieved a revolutionary innovation. "The Harmony of Red" is an important work by Mattis, who abandoned traditional views and created a harmonious, relaxed, and peaceful atmosphere by linking colors with vine patterns. This transformation has had a profound impact on contemporary painting.

THE INFLUENCE OF THEOSOPHY ON MODERN PAINTING

An interesting subject that delves into the junction of spirituality, philosophy, and creative expression is the effect of Theosophy on contemporary painting. In the late 19th century, Helena Petrovna Blavatsky established the spiritual movement known as Theosophy. Theosophy is a belief system that seeks to discover the truth about the oneness of all faiths and delve further into the secrets of life, positing the existence of concealed realities beyond the material world. During the late 19th and early 20th centuries, Theosophy wielded a transformative influence on the field of contemporary art. Its principles were not just influential, but potent enough to reshape the work of even the most prominent painters. Russian artist Wassily Kandinsky is a testament to this; his journey was not just instrumental, but transformative in the ascent of abstract expressionism.Theosophical teachings resonated deeply with Kandinsky, echoing not just his profound spirituality, but his personal quest to uncover art's hidden significance. Theosophy posited the existence of concealed realities beyond the material world, placing not just a premium, but a profound importance on the spiritual facets of life. For Kandinsky, art was not just a portal, but a profound conduit for these higher realms, a conduit for the cosmic spirit to manifest. This profoundly impacted Kandinsky as he veered away from realistic imagery and delved into the realm of abstract painting. He aimed to articulate spiritual experiences and emotions through the medium of color and shape. For instance, in his painting 'Composition VII, 'Kandinsky used vibrant colors and dynamic shapes to convey a sense of spiritual energy and movement. Driven by the belief that art could convey profound, transcendent truths, his work progressively shed its symbolic nature. Famous for his geometric abstract paintings, Piet Mondrian was another artist impacted by Theosophy. Theosophy's principles of spiritual progress and cosmic oneness resonated with Mondrian's search for inner peace and a sense of cosmic order, which were crucial to his creative process. For instance, in his painting 'Composition with Red, Yellow, and Blue, 'Mondrian used primary colors and straight lines to represent the harmony and balance he believed existed in the universe, a concept aligned with philosophical ideas. Beyond specific artists, the influence of Theosophy on contemporary art might be seen in more systemic currents like Abstract Expressionism and Symbolism. Some artists, like the symbolists, drew inspiration from the theosophical tradition's emphasis on introspection and mystical themes. Theosophy had not just a significant but a lasting impact on contemporary painting. It inspired painters to seek not just new ways but innovative ways of expressing themselves that went beyond traditional depictions. Modern painting's enduring legacy is not just profoundly rooted but intricately intertwined with theosophical ideas of spirituality, oneness, and inner change, which fostered not just the emergence but the flourishing of abstract and emotionally charged art forms, such as Wassily Kandinsky's abstract expressionism and Piet Mondrian's geometric abstraction, which aimed not just to convey, but to evoke spiritual and emotional experiences through non-representational forms.

The Meaning of Text Visualization in Contemporary Paintings in West Sumatra

Within two decades in West Sumatra, some artists' paintings contain visualization of letters, numbers, sentences, which are sometimes arranged scattered, even upside down. This is unusual considering that contemporary painting has developed into more sophisticated forms. This research aims to explore the meaning of text visualization in contemporary paintings of artists in West Sumatra. This research uses descriptive qualitative method with Hans-Georg Gadamer's hermeneutic approach. The object of study was selected based on purpose sampling, namely the paintings of Syahrial, Yasrul Sami, Yon Indra and Dika Adrian. The results showed that the meaning of Syahrial's painting text hints at a critical mindset in viewing the reality of life facing the value conventions of Western theories that give distance to the mindset of the community towards culture. The meaning of the text in Yasrul Sami's painting is a representation of the inner and psychological self over the problems of life. The meaning of Yon Indra's painting text leads to the essence of the attitude and mindset of the younger generation. The meaning of the text of Dika Adrian's paintings, leads to cultural consumption, social context and environment of today's young generation. From the results of the research, it can be concluded that the text in the paintings has personal meaning and social meaning. The difference in the way the text visualization is expressed in the work has an influence on cross-generational cultural consumption.

Analyzing Socio-Cultural and Cognitive Components in Sobha Brahma's Contemporary Paintings

"Contemporary" suggests that a person is roughly the same age as another person from the same historical period, as well as contemporary and Contemporary. The late 1900s global improvements in socioeconomics, culture, spirituality, politics, and education had a profound effect on art, among many other productive sectors. This led to a considerable loss of flexibility in the classification of various art genres throughout time, and this is what was eventually referred to as contemporary art. Contemporary art is flexible and addresses issues that are mostly pertinent to its time.