History Of Painting Research Articles

USE OF HISTORICAL PAINTINGS IN ADVERTISEMENTS THROUGH YEARS AND ITS IMPACT ON CONSUMERS: A CASE STUDY

This case study explores the evolution, idea, impact, and reasons for using historical paintings in advertisements over the years. This paper will also analyze various advertisement campaigns and their popularity and effectiveness on the consumers and enhancement of brand messaging. This study will also try to elucidate the strategies used by advertisers to clout the power of historical artworks to grab the attention of consumers and possible customers. This paper will also try to investigate the ethical considerations surrounding the usage of historical paintings in advertisements and their significance for both the art world and the advertising industry.

Chinese Oil Painting Nationalization from the Perspective of Traditional Culture

"Nationalization of oil painting" is an important phenomenon in the history of modern Chinese art. As a practice of Chinese oil painters actively establishing and integrating Chinese and Western artistic expression with cultural consciousness, it began at the beginning of the 20th century and ran through most of the history of Chinese oil painting in the 20th century. It promoted the development of Chinese oil painting itself, especially expanded the expression of realism, and created oil painting morphology with the characteristics of The Times and China. The nationalization of oil painting reflects the changing process of the integration of Chinese and Western cultures in a concrete form.

Picturing the Snakes

Abstract This paper explores the ways in which Indian snakes were represented through natural history paintings along with textual taxonomic descriptions—a principal means of modern “exploratory experimentation” in early British India. It specifically examines Patrick Russell’s scientific engagement with the subcontinental snakes (a “new” branch of natural history of snakes fashioned by him) and the nature of “local” involvements in his undertaking. While considering the crucial role of colonial natural history in knowing and making visible the “terror” of Indian snakes to manage the snakebite-laden landscape, this paper elucidates how both the Western inferiorisation of non-Western perspective and the non-European indifference towards the European planetary vision disrupted the heterogeneous network of “knowledge making” in late eighteenth-century British India. Thus, this paper questions the recent historiography that projected a seamless “collaboration” or “hybridisation” in the formation of scientific knowledge across the globalised space of empire.

Thoughts upon a Neolithic Cave Painting of Childbirth in Anatolia and its implications

Abstract The subjects of the Late Neolithic cave paintings in İnkaya Cave, Balıkesir are life and death. It is seen that the panels representing Life are based on the formation of a fetus inside a pregnant woman’s abdomen, its development then birth, and the celebration of a new individual joining the community, alongside an emphasis on the shaman’s function throughout this process. Similar subjects in the Neolithic Age in Anatolia are presented to the viewer from different perspectives in cave paintings, reliefs and figurines showing scenes that depict sexuality, pregnant women, and childbirth. The successful use of the “X-ray” style in the creation of the İnkaya Cave painting in the Neolithic period fills a gap in the history of Anatolian painting and sculpture.

On the way to tempera grassa: Unraveling the properties of emulsion-based paint binders

Painting technique in Europe underwent a major change in the 15th century, when the use of egg yolk as a binder in tempera painting was gradually replaced by oil paint. This transitional period probably saw the occasional use of a mixed technique called tempera grassa, in which both types of binders, egg and oil, are mixed in the form of an emulsion. In order to better understand and document this historical painting practice, this article describes the physico-chemical aspects of emulsion-based binders, prepared with egg yolk and either raw linseed oil, or linseed oil partially saponified with lead oxide. Highly stable direct emulsions can be prepared with linseed oil (raw or lead-treated) and egg yolk. Remarkably, lead-treated oil also allows the formation of stable inverse emulsions. The rheological properties of direct emulsions are driven by the oil fraction: as this parameter increases from 0 to 70 wt% oil, the emulsion changes from a viscous liquid to a viscoelastic solid, which allows its flow to be easily tuned by the painter. The impact of egg yolk on the drying mechanism of the emulsion is elucidated thanks to the combined use of NMR relaxometry and FTIR spectroscopy.

Crystalline materials in art and conservation: verdigris pigments – what we know and what we still don’t know

Abstract Verdigris is a collective term for synthetic copper based green and blue pigments that have been used by mankind since the antiquity. As the term is only loosely defined it covers a great variety of chemical compounds. All of them contain copper but also acetate, formate, hydroxide, water and sometimes also chloride, carbonate and sulphate. This article focusses on the verdigris phases related to the ternary system Cu(CH3COO)2–Cu(OH)2–H2O, which are commonly denoted according to their chemical composition as x–y–z phases. Besides neutral verdigris (1–0–0 and 1–0–1 phase), several basic verdigris phases (2–1–5, 1–1–5, 1–2–0, 1–3–0, 1–3–2, 1–4–3, 7–1–4) have been reported. These compounds can be obtained either by intentional corrosion of copper metal by direct contact with acetic acid and its vapours, which represents the historic pigment manufacturing or by incomplete precipitation from copper(II) acetate solutions. Due to their slow crystallisation behaviour the synthesis of verdigris pigments usually leads to multiphase and polycrystalline samples, which impedes the phase characterisation, in particular of the basic verdigris samples. Hence, most crystal structures that have been published were solved ab-initio from X-ray powder diffraction data by applying global optimisation methods like simulated annealing or charge flipping . Up to now the crystal structures of the 1–0–0, 1–0–1, 1–3–2, 1–2–0 and 2–1–5 phases were determined, the spectral and physical properties of these compounds completely characterise and therefore their existence and their chemical composition unambiguously proven. Investigations on historic verdigris samples and systematic synthesis approaches, however, show that there are at least four additional, hitherto unknown pigment phases. Information on the thermodynamical stability and the solubility of the verdigris phases are also lacking.

Fan history and art in publications and research

The article was written in the wake of the exhibition «The Wing of the Wind Open in Time: Publications from the Collections of the Russian Academy of Sciences Library, its Department at the Museum of Anthropology and Ethnography (Kunstkamera), items from the personal collections of the staff» (April — May 2023), prepared with the direct participation of the author. The main exhibits of this event were publications from the Library — exhibition catalogs, illustrated 19th–20th centuries editions on the history of painting and costume, ethnographic literature. Fans and objects of arts and crafts from the organizers personal collections were designed to enhance the information content and entertainment of the exposition. The author is not limited himself to a review of the publications presented at the exhibition, but develops the theme of fan studying on the basis of domestic and foreign 19th–20th centuries publications. The first paragraph of the article details publications containing photographs and descriptions of fans — catalogs of expositions and exhibitions, as well as scientific publications. A review of these publications, originating at the end of the 19th century, allows to trace the change in attitude towards fans: household items, fashionable costume accessories and interior items, works of arts and crafts and painting. The second paragraph outlines a range of pictorial sources, primarily picturesque. As an example, a number of portraits and book illustrations of the 16th–19th centuries are mentioned. In the third section of the article, in connection with the descriptions of the main forms of fans, items from the author's collection are described. The article is illustrated with photographs of exhibition fragments, fans, dolls and postcards from the author's collection.

Analisis Struktur Puisi “Sahabat Baik” Karya Tere Liye dengan Pendekatan Objektif

Poetry is a literary work that has high aesthetics. In contrast to other literary works, such as novels and prose. This can be seen from the structure of the literary works of poetry. In general, poetry is used as an intermediary from the outpouring of the author's heart. It can be expressed in spoken or written form using figurative language and beautiful diction. This difference is not seen from the physical structure, but also from the inner structure of the poem. The main elements in poetry consist of two structures, namely physical and mental. Both have elements that bind each other so that a complete totality of meaning is formed. With that, in interpreting a poem can not be separated from these two elements. With that in mind, in this study the researcher will conduct an analysis of the physical and mental structure of the poem entitled 'Good Friends' by Darwis Tere Liye. With the aim of describing diction, images, concrete words and figurative language as well as describing the themes, feelings, tones and messages contained in the poem. It is hoped that this study can be useful and add insight to readers in the field of literature. In this study using an objective approach. The data source is Tere Liye 'Friend of Biak' poem which was obtained from Tere Liye collection of poems. Based on the results of the analysis it is known that this poem has the theme of harmonious friendship. The poet chooses beautiful language diction through his expertise, knows the meaning of the poem to move the hearts of readers, moves them to maintain the good friends they have. Dervish Tere Liye succeeds in presenting the theme of friendship, a happy tone that is able to inspire the spirit to always appreciate, love and maintain the good friends he has because he is special compared to anything. A good friend is like a historical painting that will always have the most beautiful place for it, even though it already has new things.

Chinoiserie in European painting of the XVII-XVIII centuries

After 1604, Chinese art through Chinese goods rapidly and widely penetrated into European society and had a profound impact on European art and aesthetics.During the century of the popularity of everything Chinese in Europe, it was Chinese goods represented by porcelain and flowing silk that were most directly related to people's lives. From the second half of the XVII century to the second half of the XVIII century, European culture and art experienced a boom in Oriental art. A number of innovative artists began to change their traditional interests and methods of painting, creating many masterpieces with a Chinese flavor. Thus, a new page was opened in the history of Eastern and Western painting. China and Europe, two advanced human civilizations.It took quite a long time before the fog of myths and legends that enveloped China and Europe, the two highest civilizations of mankind, dissipated, until the true nature of China was revealed in the XVIII century. This work is divided into the following three parts: The emergence of Chinoiserie; Rococo and Watteau painting; The decline of Chinoiserie. Documentary studies, comparative analysis and case studies are used to study the phenomenon of China's popularity, which has engulfed Europe as a direct consequence of the spread of Chinese culture in the West.

Two Danish Artists—Two Not So Divergent Paths: C. C. A. Christensen, Carl Bloch, and the Evolution of Latter-day Saint Art and Aesthetics

Two Danish Artists—Two Not So Divergent Paths: C. C. A. Christensen, Carl Bloch, and the Evolution of Latter-day Saint Art and Aesthetics

V.V. Vereshchagin kak istoricheskij zhivopisec. K voprosu o klassifikacii zhanrov v iskusstve

The article discusses the work of V.V. Vereshchagin (1842-1904) in the context of the question of art genre classification. Analyzing artist's main painting series - Turkestan, Balkan, Russian, including “1812", from this point of view, the author concludes that VV. Vereshchagin is an outstanding master of the historical painting. The article discusses the phenomenon of a Large-Scale history painting as a credo of the 19th century Russian history painters.

A Study of the Development History and Stylistic Features of Chinese Ink Painting

The modern ink painting in China started in the 1980s and it didn't become popular until the late 1990s. Up till now, it has become a major branch of Chinese art and painting. This paper makes a brief review on the historical development of Chinese ink painting based on the current studies on the topic. Compared with the western painting, the Chinese ink painting enjoys a special position in terms of spiritual forms, Artistic function, Language Structure, ink and brush form. The study finds that ink painting has a strong philosophical conception of Chinese cultural traditions and an ideology that matches its history, culture and religious beliefs. The values and ideology of the traditional Chinese philosophical outlook can be glimpsed in ink painting, and the ancient subsistence smallholder economic system also permeated and influenced the way of painting in terms of economic and social development. This influence ultimately reflected in the ancient philosophical system of thinking .

A World Tour of Dental Paintings

‘A picture is worth a thousand words.' In this short adage, the goal and desire achieved through this article focusing on the history of dentistry through paintings is contained. Past experience, whether direct or indirect, is an invaluable asset for dentists. In essence, the past teaches us vicariously, has historical lessons, and is a compass for the future. One of the attractions of art is that it helps people empathize. This is especially true of the power of painting. Even without words or explanations, paintings connect people from the past to modern times. Moreover, if you listen to an explanation of the historical significance of a particular painting, you discover a deeper understand-ing and connection to the events depicted. In this study, famous dental paintings in art museums from around the world will be introduced. In addition, the dental paintings will be considered and discussed as evidence of the life and times of famous painters of the past, and as related to dentistry in particular. We conclude the tour as experts of dental history paintings.

Obraz w obrazie i rama. Schulz wobec tradycji

This article aims to reevaluate Schulz’s early drawings from 1919 to 1921, rarely included in scholarship on Schulz’s artwork, by focusing on the motifs of “picture within a picture,” imitation of historical paintings, and the frame of the image. Previous scholarship on Schulz’s artwork mainly discussed the specific theme of men’s worship of women in the 1920s cliché-verre series The Book of Idolatry and regarded Schulz’s seemingly realistic renderings as “anachronistic” compared to twentieth-century modernist art. Here, I will first focus on Schulz’s adaptation of the style of historical paintings into his so-called “masochistic motifs” of men supplicating themselves to women. By creating a gap between the style and the content expectations of the viewer familiar with the conventions of European paintings, Schulz’s early drawings question the custom or conventional understanding of paintings created for acceptance and success in the European Art Academy system. Second, I invoke Derrida’s interpretation of the concept of “parergon” in The Truth in Painting (1978) to reconsider the motifs of frame and “picture within a picture,” omnipresent in Schulz’s early drawings. Through these means, I explore Schulz’s perception and attitude regarding medium specifics of paintings as Clement Greenberg argued regarding modernist paintings. Thus, I discuss his early drawings as self-referential and radically modernist works.

Ecological Disquisitions on Six Paintings by Edouard Jean

Abstract: Capois artist Edouard Jean (1953–) created this group of paintings especially for a Haitian Studies Association conference, held in Cap-Haïtien in 2016, with the environment as its central theme. Jean is among the artists who were students and then colleagues of Philomé Obin, founder of the “School of the North History Painters.” Many of Jean’s works depict scenes of Haitian history, and he has been observed walking about with a rolled-up copy of a paperback book on Haitian history sticking out from his back pocket. His history paintings always include keenly observed and finely executed flowers and trees, and he has created many works where these are the subject. When he heard of the conference on the environment, he wanted to make a set of works that would tell some of the story, often distressing, that he was observing around him. With the collaboration of his main collector, Laetitia Schuett, Jean has made the paintings available for this special issue of the journal.

Connections between 18th-Century Russian and European Culture

Connections between 18th-Century Russian and European Culture Ivan A. Abramkin I. M. Marisina, Ocherki po istorii mezhdunarodnykh sviazei Imperatorskoi akademii khudozhestv vo vtoroi polovine XVIII–pervoi treti XIX veka (Essays in the History of the Imperial University of Art's International Contacts in the Second Half of the 18th and the First Third of the 19th Centuries). 440 pp. Moscow: BuksMArt, 2021. ISBN-13 978-5907267473. M. A. Pozharova, Evropeiskie kontseptsii iskusstva v russkoi kul´ture XVIII veka: Ocherki (European Concepts of Art in 18th-Century Russian Culture: Essays). 240 pp. Moscow: BuksMArt, 2022. ISBN-13 978-5002030019. Both of the books reviewed here share commonalities not only in their essay-collection format but also in their subject (cultural interactions between Russia and Europe in the 18th century). Russian-language scholarly work on this problem in the field of art history owes much to the pioneering research of D. V. Sarab´ianov, who studied 19th-century Russian painting in the context of European schools.1 Before this book, scholars of art tended to consider Russian and European art in isolation from one another. Sarab´ianov aimed both to identify the general features of artistic processes common to both and to reveal the national specifics of concrete phenomena; in the process, he uncovered a variety of links among different traditions, inaugurating a methodologically novel approach. He considered not only general problems (the specifics of Russian Romanticism, Realism, Impressionism, and Modernism in the European context) but more specific ones as well (comparing artists of A. G. Venetsianov's circle and German Biedermeier art, A. A. Ivanov and the [End Page 403] Nazarene movement, V. I. Surikov and European historical painting, V. E. Borisov-Musatov and Les Nabis). Sarab´ianov did not analyze 18th-century art in detail, but applying his approach to that period became a hallmark of the Moscow school in the field of art studies. This tradition was associated with the name of O. S. Evangulova—a professor at Moscow State University and a leading specialist of the last decades on 18th-century Russian art—and actively developed two thematic areas: the study of Russian-European artistic relations of this era and the consideration of the customer's role in the development of national culture and the creation of art collections. In the 1990s and 2000s numerous dissertations were written on issues of French influence in the field of painting under Evangulova's guidance: the work of Jean-Louis Voille in Russia, the activities of French artists at the court at the beginning of the 18th century, the art of Jean-Laurent Mosnier in Russia, and the interaction of Alexander Roslin with the Russian artistic environment.2 In 2007, Evangulova wrote a monograph on 18th-century Russian travelers' perceptions of European art schools, which highlighted the most important aspect for understanding the cultural dialogue between Russia and Europe.3 The development of sculpture was already being actively investigated in the Russian Academy of Art; in the 2000s, several dissertations examined the work of Marie-Anne Collot in the context of the Enlightenment era and style formation in the art of Étienne Maurice Falconet.4 These researchers paid special attention to the role of English art in the development of 18th-century Russian culture: the interest of researchers in Moscow and in St. Petersburg was drawn both to general aspects of interaction in the field of painting and the work of certain masters—John Atkinson and James Walker.5 [End Page 404] ________ Marisina's book aligns with the contemporary trend in art studies in Russia, which is characterized by close attention to the history of art education: if S. V. Moiseeva's research is devoted to the establishment of the Academy and the educational organization of various painting classes, then this work is her international relations counterpart.6 The introduction of the book highlights the background of the academic project in Russia, which already in Peter the Great's plans assumed a focus on Europe and attention to Russia's international reputation (8). The purpose and objectives of the book are not specified in the introduction, but in the abstract the problems of the work are associated with the...

Spectroscopic and chemometric characterization of green earth pigments employed by ancient Romans in the wall decoration of buildings in the X Regio (Venetia et Histria)

In this work the study of the green pigments employed by ancient Romans in the decoration of 50 wall fragments from buildings of different ages located in seven archaeological sites of the Augustean X Regio (Venetia et Histria) is presented. The pigments are green earths—celadonite and glauconite, the latter associated to variable amounts of smectites—as found through mid-Infrared Fourier Transform Spectroscopy and as confirmed by Principal Component Analysis. The investigation was performed in suitable spectral ranges that while accounting for all the most intense absorptions of green earths allowed to minimize the influence of absorptions due to accessory minerals in the pigment ores or to the mineral species contained in the preparatory layers of the painted fragments (carbonates, quartz, kaolinite and gypsum) and sampled with the pigment. Three commercial green pigments consisting of the minerals celadonite and glauconite were also considered to check the soundness of the approach followed for the identification of the historical pigments and the reliability of the results obtained. For the first time it is shown that Principal Component Analysis is an effective tool to confirm the results of conventional spectroscopic analysis of the two green earths celadonite and glauconite.

Neural Networks for Hyperspectral Imaging of Historical Paintings: A Practical Review.

Hyperspectral imaging (HSI) has become widely used in cultural heritage (CH). This very efficient method for artwork analysis is connected with the generation of large amounts of spectral data. The effective processing of such heavy spectral datasets remains an active research area. Along with the firmly established statistical and multivariate analysis methods, neural networks (NNs) represent a promising alternative in the field of CH. Over the last five years, the application of NNs for pigment identification and classification based on HSI datasets has drastically expanded due to the flexibility of the types of data they can process, and their superior ability to extract structures contained in the raw spectral data. This review provides an exhaustive analysis of the literature related to NNs applied for HSI data in the CH field. We outline the existing data processing workflows and propose a comprehensive comparison of the applications and limitations of the various input dataset preparation methods and NN architectures. By leveraging NN strategies in CH, the paper contributes to a wider and more systematic application of this novel data analysis method.

Complex Study of a Painted Gypsum XVIII Century Bas-Relief by Optoelectronic Methods to Develop a Combined Cleaning Technique

In this work, a painted gypsum bas-relief from the facades of the inner courtyard of the St. Petersburg Academy of Arts building was examined using UV and visible light photography and optical and electron scanning microscopy, which showed the heterogeneous layers of white painting on the surface of the bas-relief that covered the historical ones. These undesirable layers should be removed during the restoration work, but it was found that the traditional method of removing surface layers of painting with the help of chemical solvents and mechanical cleaning does not solve the problem to the full extent. A cross-section of all the painting layers was prepared to investigate the stratigraphy of the paint layers. These studies were conducted using optical and electron scanning microscopy in order to determine the structure of the paint layers more properly and study the chemical composition of every layer. After this study, a complex cleaning technique was developed. This technique combines chemical and laser cleaning, making it possible to effectively remove the upper dense layers of paint without damaging the historical paint layers.

Overview of the history of painting and lacquer art in Vietnam

Traditional Vietnamese lacquer is recognized through professional and historical forms. First of all, decorative painted relics, associated with religious beliefs, have served in spiritual life through worshiping items in pagodas, temples, communal houses, and palaces. Architectural columns and horizontal lacquered board are applied in hammocks, couplets, animism, four holy creatures, flowers of the four seasons, eight precious items of Buddhism, Baguio, palanquin, hammock, long communal house, worshipping paintings, decorative paintings... Especially Vietnamese lacquer painting through actual labor, practical works, research, and application of traditional techniques in the artistic creation of artists, has formed the appearance of traditional Vietnamese lacquer art in the past over the course of more than two thousand years of history.