Contemporary Painting Research Articles

Contemporary pictorial representations of the Asturian coast.

The principal aim of this paper is to function as a showcase for contemporary painting that depicts Asturian littoral. This analysis is carried out based on a double reading, which not only includes the geography chosen for these images but also considers the coastal representation that bloomed on artworks. The ultimate purpose is to locate the interest of these landmarks, as well as understand approaches, styles and artistic languages that have been used to transfer those landscapes.

Preliminary Identification of Mixtures of Pigments Using the paletteR Package in R—The Case of Six Paintings by Andreina Rosa (1924–2019) from the International Gallery of Modern Art Ca’ Pesaro, Venice

Frequently, the study of modern and contemporary paintings requires the taking of micro-samples to gain an in-depth understanding of the employed materials and techniques. However, since this procedure is characterized by its invasive nature, it must be carried out only if strictly necessary. This study aimed to evaluate the potentiality of K-means clustering to the corrected images of paintings to identify mixtures of pigments. This could assist in obtaining relevant preliminary information, facilitate the research process, and guide the sampling collection. Additionally, this method would be less expensive than the traditional multi-analytical approach as it would only require a modified digital camera, lenses, a color target and three computational resources for the processing of data (Imatest Master, Adobe Express—online, and R), out of which the latter two are freely available. The six paintings that have been selected for this study belong to the International Gallery of Modern Art Ca’ Pesaro in Venice (Italy) and have been depicted by Andreina Rosa (1924–2019), a Venetian artist. The artworks were thoroughly investigated mainly through non-invasive analytical techniques (FORS, RAMAN, ER-FTIR, EDXRF). Using cluster analysis, simulating mixtures, and calculating the color differences, it was possible to infer the existence of color mixtures of two/three detected primary colors from the examined images, which could be validated by the analytical results. Hence, it was concluded that samples taken from mixtures might suffice, since primary colors would be concomitantly analyzed.

Distillation technique and its impact on the criticism and formation of contemporary painting

تعد التقنية المعروفة بالتقطير في التشكيل العالمي المعاصر من أهم التحولات في فن الرسم ، وهي ظاهرة طغت منذ خمسينات القرن المنصرم حتى يومنا وقد ازدهرت التعبيرية التجريدية في الرسم بصورة عامة وخصوصا الرسم بأسلوب التقطير ، فهل أنّ الدافعَ نحو التجريدِ يجب أنْ يُفْهَمَ ( كتبسيط للشكل) وهل هو مظهر من مظاهر روحِ العصرَ العلميةَ السائدةَ وان كل القيم والرموز يجب ان تستبعد عن روح الفن اجتماعية كانت ام سياسية ، دينية او تجارية !!، وهل ان ما توصل اليه الانطباعيون من تركبية الشكل والصورة والأجزاء هي “ فَنّ مُجرّد ” ؟ ،وان الفَنِّ الحديثِ توصل لهذه الحقيقة ؟ ان هذا البحث ناقش وربط بين ثلاثة عناصر لا يمكن تجزئتها لنقف على ميكانيكيات انجاح اعمال فناني التقطير وشهرة اعمال واسلوب الفنان الامريكي جاكسون بولوك في التقطير وهي ثلاثة يمكن اختصارها بما يأتي :- ان هناك فنان قدم اسلوبا جديدا ففرش ( canvas ) على الأرضية وحمل الألوان وبدا بسكبها وتقطيرها جيئة وذهابا فوق سطح اللوحة واستخدم العديد من المواد المختلفة كالحصى واعقاب السكاير وغيرها، وهذا الفنان هو بولوك، لكن هذا وحده غير كاف لينال الفنان او الأسلوب كل هذه الشهرة والازدهار، مـالم تكن هناك جهات لها وزنها الفني باحتضانه أي ان هناك الصحافة او الاعلام او باختصار (مدارس النقد) التي دعمت هذه الفكرة وشجعتها ، وهذا ما حصل فعلا فقد عاصر بولوك اشهر ناقدين في امريكا هما غرينبرغ و راوزنبرغ ، اتجاه غرينبرغ يرتبط بقوة مع دعمه للتعبيرية التجريدية ويدفع بشدة في ضرورة ان يكون الفن التجريدي وسيلة لمقاومة التدخل في السياسة والتجارة في الفن فهو صاحب مبدأ (إن الفن يجب أن لا يباع) ، اما الاتجاه الاخر فهو راوزنبرغ ،وينادي بان الفن التجريدي الحديث هو صورة تميز بها العالم الحديث ، في مجتمع يواجه الازمة في الثقافة الممثلة لجميع تطلعاته لذلك وجد ان الفن (الآني) او اللاواعي هو الحل لهذه الازمة في الثقافة والمجتمع والسياسة ، رغم وجود رأيين نقديين في المجتمع الفني المعاصر ، اتخذ بولوك الاتجاهين معا كنهج له او ان المنهجين تطابقا مع نهجه ، أما العنصر الثالث فهو المجتمع ، وهنا سيكون بالتحديد مجتمع نيويورك في أمريكا ، فأوربا غارقة في حربها ومعظم المدن مدمرة وكثير من فناني العالم توجهوا إلى هذه المدينة لتكون ، رئة الفن الجديدة بعد باريس وروما، و في مرحلة ما بعد الحرب العالمية الثانية انتشر شعور التحرر الجسدي والعاطفي والإحساس بالإفراج قد أثرت كثيرا على الذين أنهكتهم الحرب ، قدم جاكسون بولوك نحو التجريدية التعبيرية أسلوبه الجديد هذا وفي نهاية المطاف فرض على النقاد تسمية النمط بـ(التقطير) ،حيث استقبل مجتمع المدينة ذات الصخب من بنوك وأبنية شاهقة وبورصات وقاعات عرض فنية مختلفة ، هذه الأعمال واعتبرها معبرة عن مشاعره وصخبه . بوجود هذه العناصر الثلاثة (الفنان ، النقد ، المجتمع ) استمر أسلوب الرسم بالتقطير او التنقيط او السكب وازدهر وتفرع وعاش حتى يومنا هذا .

Michael Fried’s theatricality and the practice of painting

ABSTRACT This article is the posthumous publication of a lecture given by the artist and academic Beth Harland (1964–2019). It was originally presented at a conference on Theatricality, at Lancaster University in 2017. This paper begins by working through the arguments of Michael Fried, to situate the key terms of theatricality and absorption, before then turning to contemporary painting practice (with notable reference to the work of Tomma Abts) to advance her reading of ‘an absorptive mode of address within contemporary painting’. This article also situates Harland's own art practice.

Indelible marks: Beth Harland’s absorption

ABSTRACT The article traces Beth Harland's approach to painting practice in light of her engagement with Michael Fried's interpretation of eighteenth and nineteenth century painting and her fascination with Marcel Proust's À la recherche du temps perdu. The contrast between reflection on phenomena of inner life and a painting’s audience address is explored through a reading of passages from Nietzsche’s The Gay Science, Proust's Contre Sainte-Beuve and Fried's writing about theatricality and absorption. Harland’s practical and theoretical explorations of the situation and possibilities of contemporary painting, illuminated by her engagement with notions of theatricality and absorption, are then outlined. After considering Hans Belting’s views on seriality and processes of re-working, the article concludes by suggesting that Harland sought and achieved a buoyant working relationship between formational contraries, avoiding both hypostatisation and easy compromise.

Reflexia vybraných teoretických zdrojov tematizujúcich maliarstvo prelomu 20. a 21. storočia v našom regióne

The article is a reflection on selected theoretical sources dealing with painting in Slovakia and the Czech Republic at the turn of the 20th and 21st centuries. These are several key theoretical publications or works that go into the depth of the given issue and analyse the contemporary situation and personalities in contemporary painting in different ways.

A Study of Shang Yang’s Symbolic Pictorial Language—Take the “Nature” Pictorial of the “Dong Qi Chang Project” Series as an Example

Landscape and natural scenery has always been an important motif in Shang Yang's paintings, incorporating a sense of traditional classical landscapes into contemporary painting. This paper analyses the nature and landscape motifs of Shang Yang's art, using his Dong Qichang series paintings as a case study, and argues that his symbolic pictorial language focuses on the “mother nature”, which is a combination of traditional Chinese art and contemporary art, fulfilling the goal of building the contemporaneity of his art in the context of Chinese tradition.

On the Application of Costume Design Elements in Chinese Contemporary Oil Painting

An essential step in examining the evolution of contemporary Chinese painting is this study. Since the 80’s, the Chinese oil painting in a short span of 30 years, to copy the western oil painting genre from the original variety of evolution, after the test, the Chinese painter did not blindly copy the western model, but in a tolerant attitude, to the west and other multi-national cultures between compatible attitudes, try in the context of local self-innovation, with a new form of vitality and unusual speed. All kinds of different styles and artistic language forms emerge in an endless stream of changes. This paper adopts a qualitative research method case study to analyze the expression of costume design elements through visual art, such as popular colors, patterns, and ornamentation in contemporary Chinese painting, with the aim of studying the transformation of Chinese contemporary oil painting from the richness of visual form expression to the contemporaneity of ideological expression, which is of great significance in studying the visual presentation of Chinese contemporary painting art, exploring the laws of its creation and the comprehensiveness of artistic element expression. Contemporary Chinese society in the development of the economy is in a boom era, the breakthrough in advancing of science and technology, social and cultural prosperity and communication increasingly frequent, people’s thought is also more freedom and openness. The scientific novelty of this thesis lies in the artistic expression of works of contemporary Chinese oil painting art whether in the creation subject, creation way or in such aspects as a visual presentation reflecting the strong clothing elements. The characteristics not only conform to the characteristics of contemporary aesthetic culture, they are also an important symbol of the development of Chinese contemporary painting. Keywords: elements of costume design, Chinese contemporary oil painting, application. DOI: https://doi.org/10.55463/hkjss.issn.1021-3619.60.84

Historical Study of the Use of the Dingklik in Java in the Economic Activity of the Colonial Era (1800-1900)

Low seats in Java have existed since Indian traders came to bring Hindu/Buddhist practices in the 8th century, where only high-caste people sat on low-elevated stone. During the colonial era, ordinary Javanese began using a low wooden stool named dingklik, intended for work. It has a simple form and is often hidden when unused, with little perceived importance. This study identifies the dingklik’s transformation through economic activities in Java during the colonial era. By collecting contemporary paintings, photographs, and films, the dingklik was analyzed in terms of content, visual elements, and height in the economic activities. Economically, the shape was oriented for mobility: the dingklik for pikul traders has smaller and lighter legs, hence was easier to carry. The dingklik in crafting has a greater volume of wood legs for long term use in a workplace. This research exposed the visual characteristics of the dingklik especially in the trade and craft economic activities. [Java, dingklik, Javanese sitting culture, trade and craft economy, colonial era, traditional low stool].

The Philosophical Fusion of the Primitive Aesthetics of Chinese and Western Religious Paintings and the Study of Contemporary Paintings

When art develops to a certain extent, it is bound to be mixed with traces of religion, and art influenced by religion occupies an important position in the entire history of art development. Looking at the development history of Chinese and Western painting art, we can find that there are indeed many connections between religion and art. The spiritual transmission of religion is carried out using intuition through painting art, and its vital role is reflected in the long history of human civilization. This paper studies the relationship between the philosophical fusion of the original aesthetics of Chinese and Western religious painting and contemporary painting by studying the development and characteristics of religious painting in China and the West. This paper studies the differences between Chinese and Western religious doctrines and how religious figure painting embodies divinity and secularized humanity in terms of painting methods and forms of expression. The study of the philosophical fusion of the original aesthetics of Chinese and Western religious paintings and its influence on contemporary paintings fills the gap in this aspect.

Space, place, and the landscapes of slavery

Reconstructing the Landscapes of Slavery: A Visual History of the Plantation in the Nineteenth-Century Atlantic World by Dale Tomich, Rafael de Bivar Marquese, Reinaldo Funes Monzote, and Carlos Venegas Fornias examines the economic and political restructuring of 19th century slavery through contemporary paintings, plans and images. Ranging across the diverse settings of the lower Mississippi Valley, Cuba, and Brazil, the authors use a landscape-oriented perspective to chart the redeployment, reorganization, and industrialization of slavery during the 19th century, a time referred to as the ‘Second Slavery’. The incremental steps toward abolition during the 19th century did not result in a decline of agriculture based on enslaved labor or weaken the institutions that supported it. Rather, plantation slavery emerged as an efficient agro-industrial system, massive in scale, that was central to the political and economic restructuring of industrial capitalism. New political-economic spaces were exploited, while old ones declined. Focusing on Cuba, Brazil and the Mississippi Valley, the authors examine the contrasting spatial and material organization of plantations to shed new light on how these landscapes expressed both global socioeconomic processes and local contexts. The volume affords an insightful view of plantation landscapes that can be usefully read by historians, archaeologists, and wider audiences.

The Painting "Jamuan Kerinduan" by Nurali, a Regional Artist Who also Enlivens Contemporary Art in Indonesia

This writing is motivated by the art world today, that contemporary art is an art movement that gives freedom to art connoisseurs and art creators in creating works and assessing beautiful art. Independence which gives freedom to work, both in terms of: concept of work, ideas, visual/visual forms, techniques, character of visual language, freedom of expression, and other freedoms. The purpose of this paper is to find out the results of the analysis of visual forms in contemporary paintings. Where the discussion is focused on the artist Nurali and examines one of his paintings entitled "Jamuan Kerinduan". The results obtained in writing are to examine the visual analysis of the painting using art science and the principles of contemporary art. The conclusion is the result of an analysis by using art science on the principles of contemporary art, the painting "Jamuan Kerinduan" by Nurali and that work, entered into contemporary art which has the freedom to work, both freedom in images/visuals, techniques, concept and so on. Has distinctive features and characteristics according to the concept of its creator. The depiction of marginal creatures/figures, the hallmark of Nurali's depiction is the depiction of humans, which becomes the concept of the work that comes from an understanding of the surrounding environment.

A Study of Contemporary (Modern) Painting in Herat. Case Study (Faculty of Fine Arts, Herat University)

Painting in Herat in the last two decades has achieved new achievements and approaches to the past traditions. These achievements were mostly in terms of form, color and technique, first influenced by modern Western painting, but then painters and students presented works with a combination of Eastern and Western painting based on the culture and traditional patterns of our society.The purpose of this study was to examine the contemporary (modern) painting within the framework of Herat College of Fine Arts, which can be important for students, artists and art lovers. In this research, two methods of library method and field method have been used. Authentic books and articles have been used in background. In field method, the data collection was based on observations and interviews with several professors of the Faculty of Fine Arts and pioneers of contemporary painting in Herat, which the result is summarized as follows. Contemporary painting was introduced to the audience academically for the first time by presenting the works of two painters from the Faculty of Fine Arts of Herat in an exhibition entitled Gardoun. By observing the pictures and interviews that were conducted, in the early days of its formation, contemporary painting was influenced by the Cubism style, but in recent years, contemporary painters have presented works with a new look and a combination of Eastern and Western art based on culture and civilization and indigenous environmental patterns of our country, which some unique methods can be seen in the works of a number of masters.Contemporary painting in the Faculty of Fine Arts of Herat began academically in 2009 and went through good stages and in the last decade found its place among students, but unfortunately by the change of government, some restrictions arose on the art of painting and establishing exhibitions which caused the lack of motivation of artists and students to art, and this process caused a number of artists and students to go abroad. What will be the future of art and the artist is a question that will be answered in the future.

The Music Image in the Image — On the Visual Representation of the Music Image in the Painting Exhibition of Qiu Xiaofei

Qiu Xiaofei, an artist, is one of the most popular artists among the post-70 generation of Chinese contemporary painting. You can see from his painting creation, the subject matter of painting works and the working way of creation all start from the artistic concept similar to image text. When artists explain their paintings, the capriciousness of painting creation and the lyricism presented in the works are inseparable from the artist's infatuation with music. In this paper, from the perspective of imagology, through the analysis of the artist Qiu Xiaofei's painting creation of music images in the exhibition, it can be seen that his image text is closely related to music when transformed into visual images, and the concept of "empathy" behind the transformation of the painting form of the artist is elaborated.

Tracing the minor gesture in painting: a shift from reflection to diffraction

ABSTRACT It is commonly assumed that we come to know the world best by observing it and that innovation is a human centred phenomenon. However, the objective of this review is to synthesise literature that emphasises the under examined, yet crucial, role that materials and tools exert in generating embodied perception; a diffractive pattern experienced as a passage of intensity sensed in the body of the painter when interacting with the material aspects of painting. Drawing on new materialist philosophies, recent creative practice research and the practices of three contemporary painters: Bracha Ettinger, Jude Rae and Paul Ching-Bor, this review examines how this complex phenomenon, known as the ‘minor gesture’, occurs in the painting process. It concludes that common painting strategies activate this phenomenon and demonstrates that innovation has its origin, not only in the intentional acts of the painter, but also in embodiment during the painting process.

JAN VERMEER'İN RESİMLERİNDE GÜNLÜK YAŞAMIN İZLERİ

Bu çalışmada; Jan Vermeer’in eserlerinde gündelik yaşam sahnelerinin araştırılması yapılmış, on altıncı ve on yedinci yüzyılda meydana gelen olayların ışığında şekillenen ve gelişme gösteren Barok dönem resim sanatının ana hatları incelenerek Barok dönem Hollanda resim sanatına ağırlık verilmiştir. On altıncı ve on yedinci yüzyıldaki; Katoliklik ve Protestanlık arasındaki mezhep savaşları, Otuz Yıl Savaşları gibi olaylar, ekonomik alanda yaşanan değişimler insanların yaşam şartlarını ve bakış açılarını etkilemiş, bu durumun neticesi olarak sanata olan yaklaşım değişkenlik göstermiştir. Toplumların yaşadığı olayların, onların yaşamlarında meydana getirdiği değişimlerin sanatsal alana da yansıdığı görülmüş, Hollanda toplumunda gelişen refah düzeyi, dini olayların etkisi resimlerde işlenen konularda değişiklikler meydana getirmiş ve kendi içinde portre, natürmort, janr gibi türlere ayrılmıştır. Portreciliğin Hollanda resim sanatında oldukça önemli bir yer bulduğu Frans Hals’ın eserlerinde kendini göstermiş, din dışı konuların giderek daha fazla yer bulduğu dönemde natürmort türündeki resimlerde de gerçekçi yaklaşımın etkili örnekleri verilmiştir. Janr resim türünün usta ismi olarak resimlerinde sıklıkla yer verdiği mekân betimlemeleriyle günlük yaşamın izlerini yansıtan Jan Vermeer, gerek kompozisyon gerekse renk kullanımı bakımından çağdaşı ressamların önünde yer almıştır. Barok dönem Hollanda resim sanatı içinde görülen janr resminin önemli temsilcilerinden Jan Vermeer’in eserleri kapsamında ele alınan bu resim türü, sanatçının sanat anlayışı ve eserleriyle çalışmanın amacını oluştururken, çalışmada teknik analiz ve eser çözümleme yöntemi uygulanmıştır. On altıncı yüzyılın sonu on yedinci yüzyılın başından itibaren ele alınan Barok dönem ve Hollanda resim sanatının ele alındığı çalışmada Jan Vermeer’in yaşadığı dönemden yola çıkılarak sanatçının eserleri incelenmiş ve gündelik yaşamın izlerinin eserlerinde yer aldığı janr resminin tipik özelliklerini taşıdığı sonucuna varılmıştır.

On the Peripheries of Contemporary Paintings: Impact of Frame Decorativeness on the Reception of Abstract Artwork

By applying persuasion and consumer research findings to art appreciation we have checked whether and how artwork framing affects the evaluation of non-representational, abstract contemporary paintings. The frame can be treated as a cue signaling the value of the framed work—the more expensive it seems, the greater the value attached to the painting. However, the frame can be also seen as a means of exhibiting or promoting the picture. Exhibiting a painting in a frame that is perceived as excessively expensive can lead to a lowered rating of this painting. Both of these effects can be moderated by the perceivers’ interest in art. We conducted one experimental study, where participants evaluated paintings viewed either without a frame or framed in a simple or decorative frame. The results showed that decorative frames make paintings seem less valuable. Moreover, although simple frames do not affect the evaluation of the paintings by respondents with little interest in art, they impair the evaluation made by more interested participants. It seems that in certain conditions (highly visible frame or engaged perceivers) the frame can be treated as a form of promotion for the framed painting. And such attempts can backfire and negatively impact the evaluation of the painting.

La Vie En Rose - Danièle Sylvie Aron-Rosa

La Vie En Rose - Danièle Sylvie Aron-Rosa

Comparison of the Effectiveness of Visual Thinking Strategy Between Persian Miniature and Classical Painting in Learning Medical Humanities from the Perspective of Medical Students

Background: Visual thinking strategy (VTS) is an interdisciplinary education that focuses on art. In this method, all students think about complex artistic elements. VTS uses visual literacy to teach communication skills and thinking. Objectives: This study aims to compare the educational effectiveness of Persian pictures with classical painting, which leads to teaching the concepts of medical humanities using medical students’ perspective. Methods: In this cross-sectional descriptive-analytical study, medical students of clinical course (trainees and interns, 4th - 7th year of medicine) in the second semester of the 2021 academic year attended a VTS discussion session, which contained thinking about three paintings, including a classical western painting, a Safavid era miniature, and a contemporary painting. At the end of the session, an opinion poll on the effectiveness criteria was completed by the students separately for each painting, and the results were analyzed. Results: According to the findings, our intervention improved visual and auditory sensitivity, accuracy and attention, interaction and cooperation with others, teamwork, and an understanding of their share in the group. In addition, from the perspective of contemporary miniature students, this field played a prominent role in reducing job exhaustion, anxiety, and stress, and created a sense of calm and aesthetics in students by applying topics and issues of the day and paying attention to socio-cultural issues. Classical western painting conveyed a sense of calm and discomfort to the students. Based on the results of interpretive content analysis, this kind of painting had a profound effect on the meaning transmission so that it exposed the comprehensive views on the subject to the viewer’s sight. Given that the Safavid miniature contains various symbols that express the details of the social context and cultural traditions related to human beings, it conveys a variety of senses. On the other hand, the use of classical painting and contemporary Persian painting in VTS discussions in medical education was more prominent than the Safavid era miniature. Conclusions: Miniature can have helpful effects on improving medical professional skills similar to classical painting in VTS topics.

Painted spaces: an exploration through embodied and expansive practice

ABSTRACT This article investigates the nature of perceptual and actual spaces created and occupied by painting. The focus is on two artistic projects taken up by the author that incorporate sculptural elements and site-specific explorations to create a series of work. The body of work retains characteristics unique to painting. These projects are situated against the background of a similar trend in contemporary painting that sees many painters taking their painterly gesture outside of the bounds and flat surface of the canvas. This investigation is also a search for establishing theory-practice relation as the author's own practice is analysed with the support of Maurice Merleau-Ponty's phenomenological theory of embodied perception. This theory proposes the radical notion that sensation is an active reflective process and vision works in unity with different tactile and kinaesthetic senses. Reflective analysis of author's evolving practice – from the two-dimensional flat canvas to expansive installations on the terrain of a Himalayan village – opens up a productive opportunity for exploring how contemporary paintings incorporate and respond to space. Application of pigments through gestural brushstrokes on appropriate surfaces and strategically positioning these painted surfaces following compositional rules are ways of creating paintings in an expanded space.