Elements Of Painting Research Articles

Multisensory Memories and Monastic Identity at Sant’Elia near Nepi (VT)

When confronted with pictorial details emphasizing such bodily actions as singing, observing, gesturing, or moving in other ways, art historians typically follow one of three interpretive approaches, either using the details as signs of a specific iconographic source or markers of a particular artistic style or understanding them as generic flourishes designed to lend vivacity to an image. The field’s recent expansion to consider sensory dimensions beyond the visual or spatial offers new pathways to making sense of such elements in painting and sculpture. This article argues that images of open mouths and gesturing hands within a set of twelfth-century frescoes preserved in the monastic church of Sant’Elia near Nepi (VT), built and decorated ca. 1125 to serve as the abbey church of a male Benedictine community known as the monastery of Elijah, guided medieval audiences (and should guide modern scholars) into a world of gesture, movement, ritual, and voice. These paintings were inseparable from daily ritual, from liturgical elements spoken and sung at specific times, and from commemorative practices followed on such occasions as the feast days of saints and the deaths of terrestrial leaders—in sum, even if presenting themselves initially as motionless two-dimensional images, these images were profoundly intertwined with the monastery’s existence as a lived ritual site. These links between image and site served a further purpose: to establish and promote a distinct communal identity among the monastery of Elijah’s brethren by depicting and then activating specific concepts regarding their community’s sacred history, the history of monasticism more generally, and appropriate monastic behaviors and aspirations. Crucial in this regard were a series of images depicting the monastery’s local saint, the abbot Anastasius, and its exceedingly rare titular saint, the Old Testament prophet Elijah. While the process of generating communal identity may have begun at a visual level, it was only effected through, first, the use of mediums including, in addition to painting, architecture, furnishings, pavement, inscriptions, and topography, and, second, the activation of multiple bodily actions and sensations, including physical movement through the monastery’s wider landscape. Likewise, a scholarly discussion that begins within the field of art history necessarily expands to encompass history, liturgy, and theology, but always with a close focus on twelfth-century Italy.

Lines of Meaning Three calligraphic paintings by Didin Sirojuddin

This article analyses textual themes and images in three paintings by Didin Sirojuddin. The aim is to show the complex interrelationship between the written and painted elements of the works and the levels of rational and spiritual insight possible for the reader-viewers. Four aspects of the paintings have been selected for analysis: constituent elements; textual themes; visual images; and light.

Intersection of reality and fiction in art perception: pictorial space, body sway and mental imagery.

BackgroundThe thesis of embodied cognition claims that perception of the environment entails a complex set of multisensory processes which forms a basis for the agent’s potential and immediate actions. However, in the case of artworks, an agent becomes an observer and action turns into a reaction. This raises questions about the presence of embodied or situated cognition involved in art reception.AimsThe study aimed to assess the bodily correlates of perceiving fictional pictorial spaces in the absence of a possibility of an actual physical immersion or manipulation of represented forms.MethodThe subjects were presented with paintings by Vermeer and De Hooch, whilst their body sway and eye movements were recorded. Moreover, test and questionnaires on mental imagery (MRT, VVIQ and OSIQ) were administered.ResultsThree major results were obtained: (1) the degree of pictorial depth did not influence body sway; (2) fixations to distant elements in paintings (i.e. backgrounds) were accompanied by an increase in body sway; and (3) mental rotation test scores correlated positively with body sway.ConclusionsOur results suggest that in certain cases—despite the fictional character of art—observers’ reactions resemble reactions to real stimuli. It is proposed that these reactions are mediated by mental imagery (e.g. mental rotation) that contributes to the act of representing alternative to real artistic spaces.

Adoption of Chinese Ink Painting Elements in Modern Poster Design Inspired by Innovation Research on Physical and Chemical Reactions

With the development of modern art, the application of Chinese ink painting elements in modern poster design is gradually developing. We study here the application of ink painting elements in poster designs using collaborative fusion method in detail. Results show that innovative as well as creative ideas determine the best place to fuse ink painting elements and poster designs, thus creating design innovation from the fusion of arts and physics (or chemistry). The results provide the theoretical foundation for the progression of traditional Chinese culture and the redevelopment of poster design.

The formal properties of Virginia Woolf’s novel “The Waves”: polylogue participants

The present article focuses on V.Woolf’s experimentation with narrative and ambitions to pursue a technique able to transgress the boundaries of socio-descriptive Victorian and Edwardian fiction, and to open a dialogue/polylogue for different participants, i.e., for different kinds of literature such as epic, lyric and drama. In the article the arguments are based on the formalist aesthetics of Roger Fry and Clive Bell whose theories had a crucial influence upon Woolf’s writing. Having set the novel within the framework of the postimpressionist paradigm, Woolf extracts the epic, lyric and dramatic elements out of their natural habitat, and misrepresents and distorts them, and employs the so-called “estrangement” method, i.e., Woolf adheres to the postimpressionistic tenets not to merely reproduce and copy the things seen: an artist is expected in some way or other to misrepresent and distort the visual world. Woolf synthesizes arts and achieves a form which encompasses the elements of painting and music altogether. Moreover, not only does “The Waves” enter the polylogue with different kinds of literature, it also resumes a dialogue with (Romantic) tradition and its preoccupation with the inner form as the form which best expresses the depth of spirit, the moments of being.

Jake at Gymnastics by Rachel Isadora (review)

Reviewed by: Jake at Gymnastics by Rachel Isadora Hope Morrison Isadora, Rachel Jake at Gymnastics; written and illus. by Rachel Isadora. Paulsen/Penguin, 2014 [32p] ISBN 978-0-399-16048-6 $14.99 Reviewed from galleys R 3-6 yrs In this companion to Bea at Ballet, Isadora once again takes a preschool activity and celebrates it through focus on a participating child. Jake, a young Asian-American boy with a shaggy row of bangs, arrives at gymnastics class ready to begin. The children go through a series of stretches and guided activities (“Let’s be frogs and hop today”) before starting on the equipment: a tunnel, balance beam, trampoline, ball pit, etc. The multicultural cast of preschoolers takes turns, observes, and cheers each other’s successes, and teacher Dave is always on hand to guide and assist. The simple narrative clearly conveys class activities, beginning with the start of the class and ending with the dismissal (“Right before we go home, Dave says, ‘Let’s be birds.’ We spread our wings and fly out the door”), and while there’s little additional story, the narrative effectively captures the children’s enjoyment of the class session. Oil paints add glowing panels of color in clothing and hair accessories to the simple ink and pencil-drawn figures floating on white backgrounds. The brushstrokes in the painted elements add texture and directionality to the illustrations, and the clean layout keeps the focus squarely on the kids. This would lend itself well to a kinesthetic storytime wherein participants move along with Jake and his friends. Copyright © 2014 The Board of Trustees of the University of Illinois

Razvojni put modne ilustracije 20. i 21. veka – likovno predstavljanje mode (u slikarstvu, modnim tablama i modnim ilustracijama) / Development of Fashion Illustration during the 20th and 21st Century: Pictorial Representation of Fashion (in Painting, Fas

The theme of this study is pictorial representation of costume and fashion in painting, fashion plates and fashion illustrations. Fashion illustration of the 20th century, specific in terms of freedom of interpretation that is given to the artists when representing fashion trends, has kept those elements of painting that are almost lost in contemporary art movements (for instance figuration). Through several specific examples in art history I will try to demonstrate the artist’s approach to the representation of costume. In this study I will also try to define the role of painting when it comes to the fashion, the role of fashion plates and then the role of fashion illustration created in the early 20th century. Finally, I will take a look at the fashion photography that in the beginning has found its role-models precisely in the fashion illustration and today is returning to the visual characteristics of renaissance art, and to the painting in general, from which everything has begun.

Estética de una imagen visual en la obra de A. Pushkin: hacia el problema de la relación entre la literatura y la pintura

The appeal of verbal art to painting elements, display in literature of graphic works can be defined as characteristic of creative process of the beginning of the XIX century. The analysis of means and methods of painting in their literary refraction reveals that the correlation between verbal and visual sides in an image is significant for A. Pushkin’s poetics. Disconnecting the text to the world of an imitative art, the poet expands the influence of a verbal image, created by him, to reader’s feelings and mind, considers his impressions of plastic arts. The development of the poet’s art skills and the forms of presence of imitative arts in Pushkin’s creativity kept changing at different stages. All these modifications are associated with the evolution of the poet’s world views, with expansion of his interests in the field of comprehension of the historical process and a personality’s role in the history. The picturesque beginning noted in article, characteristic for works of the poet, allows to reveal borders between the word and image art, to define verbal and visual Pushkin’s relation in poetics. Correlation of the art’s esthetics with Pushkin’s poetics of creativity allows to newly comprehend the formation of the poet’s skill and to reveal the peculiarities of his literary images.

A Conceptual and Technical Discussion on Digital Painting as New Media Art: Introducing Some Malaysian Works

The revolution of media technology offers artists a lot of possibilities to create different art forms. The artist explored and manipulated different media to give different impact in their works since modernism and post modernism period. Malaysia as one of Asian country also committed to art development where artist explore various media in painting including conventional and technological media as well. Digital technology and art movement were developed in two separate segments. In fact, new media art does not establish in art history plot. Therefore, the word digital painting poses an ambiguity to describe its status. The convergence of scientific term and art term called digital painting will be discussed into two sections under conceptual issues and technical issues. In conceptual issues, digital painting will be linked to the ingredient and components of art including the artist, the form, the audience and its surrounding, the subject, and the content. This paper will also discuss what is behind digital painting which includes some technical issues including concept of digital image, the hardware and the software. This paper will confer some Malaysian digital paintings situation and scenario. Subsequently, it summarizes the core elements in digital painting to be implemented in further studies.

Realistic paint simulation based on fluidity, diffusion, and absorption

ABSTRACTWe present a new method to create realistic paint simulation, utilizing the characteristics of paint, such as fluidity, diffusion, and absorption. We treat the painting elements separately as pigment, binder, solvent, and paper. Adopting smoothed‐particle hydrodynamics including a consideration of viscoelastic movement, we simulate the fluid motion of the paint and the solvent. To handle the diffusion of the pigment in the solvent, we utilize the mass transfer method. Following Fick's law, the concentration of pigment changes and each pigment particle is diffused to the neighborhood accordingly. As time elapses, the binder and the solvent are absorbed, and for the most part, the pigment remains on the paper. The Lucas–Washburn equation determines the distance of absorption. The examples show that our approach can effectively generate various types of painting. Copyright © 2013 John Wiley & Sons, Ltd.

A növények Szerepe id. Markó Károly festészetében

Károly Markó sr.'s meticulous technique of depicting the tiniest details of vegetation and the accurate rendering of botanic forms suggest that he was more deeply interested in the flora and its individual species than usual. Some allusions to this effect in his private correspondence seem to prove this assumption. The aim of the paper is to propose a few basic assumptions about the flower symbolism and plant representation in Markó's oeuvre, and to outline a few possible directions and approaches. More important still, it aims to inspire the insight that there is more to the sight than we would at first think. The painted elements are not merely suggestive of a mood or arranged by esthetic principles “to fill blank spaces”; in some cases the grouping of certain species and plant ensembles were used to emphasize or reinforce the depicted (Biblical or mythological) scene, adding some extra connotations to it. One of the finest and so far best known examples is the Judgment of Paris whose explanation including the meaning and symbolism of the depicted plants is provided by Markó himself in his letters about the painting. What can we do when there is no accurate explanation? Now only the first steps can be taken. A complex and comprehensive view of Károly Markó sr.'s depicted flora and the connotations they imply would need a longer and deeper research. This essay gives an assessment of Károly Markó the Elder's paintings as reflected in the eye of a landscape architect.

Coleridge's Light in Malta and Rome

In his room in Malta on February 12, 1805, at precisely 1:30 in afternoon, Coleridge records decisive moment, after a 7 or 8 year ... passage from Unitarianism, at which awful Truth of doctrine of Trinity burst upon him. Coleridge wrote in Notebook entry 2448: Christ. No (Notebooks, 2: 2448). entry comes after another recorded at noon, in which Coleridge claimed that metaphysics and radical theology of lower Platonists is in agreement with the true meaning of Plato, and harmonizable with doctrines of orthodox Xstian (Notebooks, 2: 2447). Notebooks from this period reveal a confluence of reflections on aesthetics and Christian belief. From these one can conclude that Mediterranean climate awakened Coleridge's sense how sunlight plays in cognition of form. Shortly after arriving at Malta, Coleridge drew following parallel: The eye cannot behold Sun ... nor Soul God ...--The Light shines about, not into (Notebooks, 2: 2164). entries reveal Coleridge's discovering principles of aesthetic form in Mediterranean seascape. These are basic elements: first., principle of unity in multeity, a Coleridgean term first presented in Malta notebooks (Notebooks, 2: 2344); secondly, distinction, developed later in Biographia Literaria, between Fancy and images ordered by thought and reality (Notebooks, 2:2543); third, aesthetic intuition, originating in senses, by and through which ideal is an object (Notebooks, 2: 2274); fourth, act of seeking in nature expression of human soul, in form (Notebooks, 2: 2546). In all of these elements, role of light dominates Coleridge's attempts to formulate an account of aesthetic intuition in which natural objects, human, subjectivity, and spiritual realm in God, coalesce. After Malta, Coleridge traveled to Rome, where he spent a good deal of time looking at Italian paintings. Notebooks, which are sketchy and incomplete, are dominated by comments on paintings of American artist, Washington Allston, whom Coleridge met shortly after arriving in Rome. experience of Italian art and its influence on Coleridge appear in his assessment of work. Allston's Landscape in Diana and Her Nymphs in Chase is described in detail in a spring, 1806, Notebook entry (2: 2831), with special attention to its composition, whereby effect of light organizes parts into a whole. Coleridge catches way various elements in painting are illuminated by sunlight, constituting form of unity in painting which he describes as [t]he divine semitransparent and grey-green Light. entire effect of this canvas is telescoped, in very next Notebook entry, onto his aesthetic experience in Rome where he spent month before at Vatican and inside Sistine Chapel: quiet circle in which Change and Permanence co-exist, not by combination or juxtaposition, but by an absolute annihilation of difference/column of smoke, fountains before St. Peter's, waterfalls/GOD!--Change without loss--change by a perpetual growth, that past, & future included in Present//oh! it is aweful (Notebooks, 2: 2832). An entry written during a stay at country villa in Olevano Romano records how use of light function both to illuminate objects and as a wholly separable component: What Tone to colors, chiaro-Oscuro to Light & Shade: viz, such a management of them that they form a beautiful whole, independent of particular Images colored, lit up, or shaded (Notebooks, 2: 2797). Unfortunately, if Coleridge did make a more fuller record of his aesthetic experiences in Rome, as he says he did, they are lost (see Holmes, 64). But later writings explain how artistic representation, as seen through paintings, informs his understanding of way natural symbolism points to spiritual truths. …

Fabricação e utilização experimentais de réplicas de tangas marajoara

Apresentamos, neste trabalho, uma experimentação que envolveu a fabricação de várias réplicas de tangas marajoaras, assim como sua utilização por mulheres jovens. Debate-se a forma de elaboração desses artefatos, as possíveis modalidades de fixação e a sua « confortabilidade ». Verificou-se qual a posição das peças no corpo, assim como os movimentos possíveis. Foi estudada a variação de posição dos cordões de fixação em função do modelo de tanga e dos movimentos realizados. Os resultados destas observações foram comparados com as marcas de utilização encontradas nas peças arqueológicas. Algumas observações foram também feitas a respeito de elementos da decoração pintada e da situação em relação ao corpo durante a utilização das tangas.

Altered States

This retrospective of the art of Kristján Guðmundsson will address how by refining the elements of painting and drawing, while simultaneously engaging the viewer in new and more thorough ways, the artists broadens the capacity to interact with art by confusing the viewer’s own immediate perception. Through unconventional, visual ways of measuring time and altering audio perception, the realm of the art becomes ours as well. By requiring us as viewers to relinquish our senses to fully participate in the work, it broadens one’s perception of art to the essential level of how one perceives the world.

Mediating Marginality: Ekphrasis and the Outsider in Christoph Geiser’s Das geheime Fieber

Mediating Marginality: Ekphrasis and the Outsider in Christoph Geiser’s Das geheime Fieber Thyra E. Knapp As a man on the margins, the first-person narrator in Christoph Geiser’s Das geheime Fieber is driven by desire: the desire to seek out and possess the sensuous young boys depicted in paintings by the Italian artist Michelangelo Merisi da Caravaggio (1571–1610). Because his objects of desire are merely images captured in oil on canvas, the only way the narrator is able to experience and engage them is to transpose what he sees into literature. This act of intersemiotic transposition is nothing new; from ancient Greece to modern-day Berlin, from poetry to prose, art works have often served as catalysts for the production of literary language (see Boehm and Pfotenhauer; Hagstrum; Schmitz-Emans; Weisstein). Indeed, the narrative potential of the visual arts is most evident in the act of ekphrasis: the use of verbal means to evoke the visual image of an art work, either real or imagined, in the mind’s eye (see Heffernan; Mitchell; Scott). Although in recent decades ekphrasis has become “a highly codified conceptual site that hosts inquiries into logocentrism, aesthetic autonomy, and the interplay of description and narration” (Spinozzi 223), this codification has not yet been considered through the particular lens of alterity employed here. While much research in the field is devoted to the results of these ekphrastic acts, this article argues that in many cases it is the transposition itself that is of greatest interest, the means of production rather than its ends. Analyzed here in a new and specific role, ekphrasis is redefined in form and function as an act that gives voice to the marginalized first-person narrator in contemporary prose. Taking Geiser’s 1987 novel as evidence, this analysis shows that by engaging already extant paintings from his perspective on the fringes of society, the narrator creates something entirely new: literary portraits that reflect his own, individual experience as an outsider. In the act of ekphrastic narration, the man uncovers previously unexplored elements of canonical paintings while simultaneously identifying and mediating the realities of his own marginality. Geiser’s narrator is a modern-day writer obsessed with the art works and personal life of Caravaggio. The man’s fascination with the painter drives him to seek out the artist’s creations, visiting the locations in which Caravaggio lived and worked. His quest begins close to home in Berlin’s Gemäldegalerie, but he eventually travels to Rome, Naples, Sicily, and Malta, consciously [End Page 419] mirroring the trajectory of Caravaggio’s tumultuous life and untimely death. This convoluted text is told on three narrative levels: the narrator’s present-day experiences, the historical world of Caravaggio, and the imagined scenes represented in the artist’s paintings. These three levels are “verschränkt,” folded into one another. They complicate the structure of Geiser’s novel, allowing the author to shift temporalities without indicating these transitions. As Ruth Schori puts it, the text “kreist [...] in assoziativer Bewegung um die von der Situation evozierten Felder” (62–66), an effect that gives the reader the same feeling of disorientation experienced by the narrator and Caravaggio and most startlingly achieved through the presence of ekphrastic passages that are neither introduced nor explained. In the course of Geiser’s novel, more than twenty paintings are engaged by the narrator, resulting in ekphrases ranging from mere allusions to paintings to detailed excursions into the picture plane. Each painting provides the main character an opportunity to locate reflections of his own homoerotic desire, here awakened by Caravaggio’s seductive portrayals of young men, martyrs, and saints. By identifying with the subjects of these paintings and transposing what he sees into language, the narrator is able to give voice to his own marginalized condition. While the sufferings of a narrator positioned on the margins of society remain a recurring motif in twentieth-century literature, Geiser’s treatment of this main character, and his narrative doppelgänger in the personage of Caravaggio, deserve further investigation. Both figures, the writer and the painter, can be categorized not only as men conflicted by their homosexual desires, but also as characters who do...

Painting abstraction: new elements in abstract painting

Introduction: The Persistence of Abstraction Chapter 1: Hybrid Pictures (Kristin Baker, Lisa Beck, Alex Brown, Jules de Balincourt, Tomory Dodge, Jacob Feige, Chris Finley, Wayne Gonzalez, Alex Hay, Carrie Moyer, Elizabeth Neel, David Ratcliff, Wilhelm Sasnal, Chris Vassell) Chapter 2: Rhythm and Opticality (Karin Davie, Philippe Decrauzat, Xylor Jane, David Malek, Anja Schwoerer, James Siena, Esther Stocker, Philip Taaffe, John Tremblay, Dan Walsh, Chuck Webster) Chapter 3: Colour and Structure (Mike Cloud, Joanne Greenbaum, Mary Heilmann, Daniel Hesidence, Alison Miller, Odili Donald Odita, Ann Pibal, Bernd Ribbeck, Ruth Root, Alan Uglow, Stanley Whitney, Jens Wolf) Chapter 4: Found/Eccentric Abstraction (John Armleder, Richard Aldrich, Monika Baer, Agnieszka Brzezanska, Francis Baudevin, Daan Van Golden, Chris Johanson, Tony Just, Marta Marce, Monique Prieto, Alex Ross, Amy Sillman) Chapter 5: Form, Space and Scale (Tomma Abts, Varda Caivano, Kim Fischer, Katharina Grosse, Bill Komoski, Alex Kwartler, Chris Martin, Julie Mehretu, Katy Moran, Olivier Mosset, Steven Parrino, Peter Peri, Thomas Scheibitz, Clare Woods) Chapter 6: The Act of Painting (Bernard Frize, Wade Guyton, Jacqueline Humphries, Nathan Hylden, Charline von Heyl, Jutta Koether, Michael Krebber, Anselm Reyle, Josh Smith, Rudolf Stingel, Kelley Walker, Christopher Wool, Heimo Zobernig)

Design Process and Analysis of the Designer's use of the Painting Elements - Focused on Robert Edmond Jones and Lee Simonson's Design Strategy

Design Process and Analysis of the Designer's use of the Painting Elements - Focused on Robert Edmond Jones and Lee Simonson's Design Strategy

Love Has No End: Ghada Amer

Art, like psychoanalysis, is a site for cultural transmission and its critique. The work of Ghada Amer, an Egyptian living in New York, speaks to issues that beleaguer contemporary psychoanalysis, particularly the relationship between individuals and their cultural/political surrounds. Her gorgeous paintings, often combining brushwork and embroidery, are infused with concerns such as the submission of women to the tyranny of domestic life, sexuality and pleasure, and the incomprehensibility of love. Amer tackles in a candid and personal way the mystique and impasse between the Western gaze and Islam, inviting us to examine the foolishness of war and violence. The different elements in Amer's paintings speak to the multiplicity of identities that confuse our postmodern existence. They share a life on the canvas, creating a sequence of interpellations, each hailing a different self-state yet allowing us to examine how ideologies work to imprison us.

Impression Evaluation and Eye Movement Related to The Characteristic Expression as Elements in Abstract Paintings: Mondrian, Malewitsch and Rothko

This paper has the purpose to inspect differences regarding impression evaluation and eye movement by comparing characteristic expression as elements in abstract paintings. Malewitsch's paintings which emphasize oblique lines and inclined rectangles elicited impression evaluations such as “hard”, “irritable”, “dynamic” and “exciting”. Mondrian's paintings which emphasize vertical and horizontal line elicited impression evaluations such as “cheerful” and “light”. Rothko's paintings which are obscure outlines elicited impression evaluations such as “mild”, “comfortable”, “relaxing”, “static” and “tedious”. Paintings that have clear vertical and horizontal lines elicit a trend toward higher mean line-of-sight velocity. Paintings that have many distinctive expression elements elicit large frequency of long gaze point. This study indicates that vertical lines, horizontal lines, oblique lines, obscure outlines, and other expression elements in abstract paintings are influencing factors for impression evaluation and eye movement. This suggests that mutual interactions of components that constitute paintings cannot be disregarded. This study is inspection of common impression and perception caused by appreciation of paintings.

Relation between Impression Evaluation and Straight Line Elements in Abstract Paintings : Comparison Verification in Showing in Hospital Space

Relation between Impression Evaluation and Straight Line Elements in Abstract Paintings : Comparison Verification in Showing in Hospital Space