Interpretation Of Painting Research Articles

Interrelationships of Characteristics of Perception and Interpretation of Paintings with Specific Traits of Personality Life-Meaning Sphere

Interrelationships of Characteristics of Perception and Interpretation of Paintings with Specific Traits of Personality Life-Meaning Sphere

Painting, Interpretation, Education: Tables of Knowledge in theImaginesof Philostratus the Athenian

AbstractThis article shows how the descriptions of paintings (Imagines) by the ancient Greek author Philostratus (third century AD) can be viewed as pedagogical tools in the introduction to higher education. Philostratus presented his descriptions in the context of a tour in a picture gallery for young students. In the study presented here, the pedagogical context is taken seriously. With the means of three examples, the study shows how Philostratus uses his descriptions to guide his students into the interpretation of paintings, agriculture, and astronomy. Rather than simply present exemplary rhetorical descriptions of paintings as one would expect a rhetorical teacher to do, Philostratus uses paintings as pedagogical working tables where students can view simplified versions of complex fields of knowledge, an approach that is not unlike the visual presentation of introductory knowledge on old-fashioned cardboard wallcharts in modern schools.

The Rhetoric of Paintings: Balinese Painters, Dutch Colonists and the Question of Gender Relationships in 19th and Early 20th Century Bali

The present essay is about the interpretation of paintings and how an interest which Balinese painters display in gender relationships in the context of illustrations of ritual in their narrative works on the one hand, contrasts with strong expressions of Dutch disapproval of the despotic nature of the rule of Balinese kings and consequentially the unjust treatment of women in Balinese society on the other. With this in mind, the present paper first considers the representation of gender relationships in a number of Balinese paintings from the nineteenth and early twentieth centuries and then turns to a discussion of the understanding of Balinese gender relationships of two members of Dutch colonial society in the Dutch East Indies, one a senior bureaucrat, Graaf C.W.S van Hogendorp and the other the protestant missionary R. van Eck. I discuss a play by Graaf C.W.S van Hogendorp, ‘Pièce de Circonstance sur la conquête de Bali 1846’, written to celebrate the victory of the Dutch army over the Kingdom of Buleleng in 1846 and an article about ‘Het Lot der Vrouw op Bali’ (‘The lot of the Balinese woman’), published in the journal Tijdschrift voor Indische Taal-, Land-, en Volkenkunde in 1872 by the protestant missionary R. van Eck.

«СЛІД ПЕРЕПИСАТИ ВСЮ ІСТОРІЮ ЖИВОПИСУ». ШІСТЬ ТЕКСТІВ НОВОЇ ІСТОРІЇ МИСТЕЦТВ.Щодо книги Daniel Arasse “Take a Closer Look”

In the article, the authors considered Daniel Arasse's (1944-2003) methodological approaches and principles in the book «On n'y voit rien: descriptions». In the six texts of different genres, Arasse proposes new interpretations of paintings, already analyzed by more than one generation of art historians. The texts of the French researcher not only propose new research optics but serve as an example of easy, popular, and at the same time deep way of art or (and) paintings history writing. The place and role of Daniel Arasse in the French intellectual environment have been found out. Also, the influence of André Chastel, Louis Maren, Francis Emilia Yates on the formation of Arasse's interests and research tools has been clarified. The peculiarities of Arasse's approach to the symbols interpretation in the canvases were also analyzed. The French researcher persuaded the meaning of images and work on the whole is often behind the “screen” of quotations and references from other works, which deprives the work of self-sufficiency and meaning. This review demonstrates how Arass interprets the seemingly unobvious elements in paintings, the role of symbols in the composition, and the work's integrity. According to Arass, recourse to iconography is not the main approach. So, the researcher leaves the viewer the right to free interpretation, not overburdened by previous readings and not limited by tradition. The authors considered how Arasse works with the paintings' text and the cultural field in which they appeared. Arasse finds and solves the semiotic «rebuses» of painting images. Specific examples given in the article show when anachronisms in interpretations lead to ahistoricity, and when they help to understand the meaning of visual material better. Semiosis catalyzes the image as an independent actant, which begins to produce meaning visually, according to Arasse. The role of the customer and the artist is leveled out. Moreover, semiosis continues long after their death. In this case, the researcher finds himself in the role of another constructor of concetto. This is more «another» than right or wrong.

ANTHROPOLOGY OF VISUAL SELF-OBJECTIFICATION OF THE PAINTER (BASED ON WORKS BY ARTEMISIA GENTILESCHI)

Purpose. Based on the anthropocentric approach to the analysis of visual self-presentations of Artemisia Gentileschi in paintings, to present the artwork as self-objectifications of the artist, which give rise to a new cultural reality and are at the same time a means of knowing the essence of man. Theoretical basis. The principles and methods of philosophical and anthropological research in combination with biographical, historical and comparative, iconographic, figurative and stylistic methods were used when writing the article. Among philosophical and anthropological methods the principle of anthropological reduction was used, based on which the works by Artemisia Gentileschi were analyzed as her self-objectification, principle of extrapolation of a separate fact (rape) of the painter’s life and anthropological interpretation of art evolution, when an attempt is made to know their creator through a series of chronological consistent works as figurative objectification. The biographical method was used when working with data on the painter’s life, iconographic and figurative stylistic (techniques of composition, narrative, color characteristics) – when analyzing the art visuals: self-portraits, allegories and narrative paintings. The analytical work was carried out in stages as transition from an iconographic interpretation of paintings with gradual elimination of art and style characteristics as extra-anthropological cultural constants with subsequent anthropological reduction of cultural image. Originality consists in the author’s method of analyzing the works of visual art in terms of anthropocentric approach, as well as in considering the artwork by Artemisia Gentileschi as her self-objectification as such that give rise to a new cultural reality. Conclusions. The artworks by Artemisia Gentileschi in diachronic deployment can be seen as the painter’s self-objectification, which traces the evolution of self-expression from a person with traditional self-perception by social gender stereotypes (1610) to the phenomenon of personal life, which will determine further evolution of her self-identification (rape in 1611) and extirpation of sense of shame through virtual revenge (self-expression in the cycle of Judith), repentance (cycle of Mary Magdalene), guilt (cycle of Lucretia), and formation of component of the painter’s identity as exemption from social gender prejudices and stereotypes on roles and standards of behavior socially assigned to women (cycle of Susanna).

Na tropie szamanizmu w paleolicie – na przykładzie jaskiń Cougnac i Pech-Merle .

The author of this thesis searches for traces of shamanism in paleolithic period through identification of signs and anthropomorphic resemblances that can have a connection with different stages of trance and shamanistic visions. For this article, Pech-Merle and Cougnac cave were chosen. Chronological range in this paper covers a period when Gravettian and Magdalenian cultures functioned. In order to carry out the above assumptions, the author used the results of structuralist research- search- ing for deep meaning and symbols, neuropsychological research – influence of altered states of con- sciousness on human and role of rites in simple societies, ethnographic research- different types of shamanic vocation and visions of shamanistic cosmology as well as interpretation of paintings and engravings based on the above mentioned scientific instruments. In the conclusion, the author shows that magical and religious practices similar to shamanism could function in paleolithic hunter-gatherer societies.

Dialogicality and culture of psychology in a study of individuation

Viewing psychology as a cultural activity associated with technologies of the self, and noting the cultural phenomenon of the Jungian movement internationally, this paper presents a reading of Jung’s ‘A Study in the Process of Individuation’ through the lens of dialogism. Jung’s study pivots on the interpretation of paintings by a middle-aged American woman, ‘Miss X’, whom he treated in 1928. The present paper critically examines dialogical aspects of the Jungian text, such as Jung’s metaphor of a dialogue with the unconscious, how he and his patient co-constructed her ‘inner’ dialogue, and the text’s dialogue with its audience. It is concluded that the process of individuation described by Jung is fundamentally dialogical, evincing the human capacity to co-construct meanings of self-experience and thereby to change how we experience our own selves.

‘Rain snakes’ from the Senqu River: new light on Qing's commentary on San rock art from Sehonghong, Lesotho

Previously unpublished rock art in Lesotho, southern Africa, is believed to explain the words of Qing — the San (Bushman) man who gave interpretations of paintings in the vicinity. Published in 1874, his testimony, when closely read and compared with other sources, has since become the single most important source for the decipherment of rock art in the sub-continent. One seemingly incomprehensible phrase, though, concerning the famous rain-making depiction at Sehonghong Shelter, Lesotho, has worried scholars for some time. Here, we make a connection that sets Qing's words within the context of the other rock art sites, and the greater cosmology, that he knew. Far from being too young, uninitiated or unfamiliar with the mythology and religion, as this painted site — Rain Snake Shelter — shows, Qing was more than conversant with San cosmology and ritual practice. His testimony is therefore more reliable than was hitherto granted.

Knowledge and perception about the Medical Humanities before and after a national workshop

Medical Humanities programs are common in medical schools in developed nations. In Nepal modules have been conducted at Manipal College of Medical Sciences (MCOMS), Pokhara and KIST Medical College (KISTMC), Lalitpur. A workshop was conducted on 26th September 2010 to familiarize participants with MH. Faculty members, medical and nursing students and doctors participated. Pre and post test were administered to study knowledge and perception about MH. Differences in scores among different subgroups of participants and before and after the workshop were explored.The workshop used interactive small group learning strategies to introduce participants to different aspects of MH. Group work, group presentations, facilitator presentations, interpretation of paintings, brainstorming sessions, and role-plays were the main learning modalities used. Participants’ knowledge and perception about MH was studied by noting their agreement with a set of 25 statements using a modified Likert-type scale. Median total scores were compared among different subgroups of respondents and before and after the module.Twenty-three of the 26 participants (88.5%) completed the pre and post-test. Thirteen respondents were male and 10 female. Only three respondents (13%) had been previously exposed to MH. The median total score before the workshop was 85 (maximum possible score 125). The score was higher among male respondents. The median total score after the workshop was 98 and was significantly higher compared to that before the workshop.The workshop was effective in increasing knowledge and perception of participants about MH. A follow up workshop to consolidate the initial gains is required and is being planned.Journal of College of Medical Sciences-Nepal, 2011, Vol-7, No-2, 72-79DOI: http://dx.doi.org/10.3126/jcmsn.v7i2.6688

The Death of of General Wolfe: Investigating the influence of artistic compositional techniques on eye movement control and interpretation of paintings

The Death of of General Wolfe: Investigating the influence of artistic compositional techniques on eye movement control and interpretation of paintings

What Makes an Image Singular Plural? Questions to Jean-Luc Nancy

This article examines the connection between Jean-Luc Nancy’s thinking of images and his radical ontology of the singular plural. It shows how Heidegger’s conception of Dasein becomes operative in Nancy’s understanding of the visual and examines the implications which Nancy’s critique of Heidegger carries for a new ontology of the image. The article’s central concern is the question of what it means for a philosophy of the visual to embrace the singular plural? In what senses is the singular plural the foundation of an image’s being? How should the singular plural play itself out in a thinking of the image? Focusing on Nancy’s interpretation of painting’s origins, the article questions the manner in which the ethical consequences of Nancy’s ontology are brought to bear on his understanding of art.

On Narrativity in the Visual Field: A Psychoanalytic View of Velazquez's Las Meninas

A reading of art books, critical essays or interpretations of paintings reveals that various writers frequently approach figurative painting in narrative terms. For some writers narrativity is the main core of the interpretation of a painting, while for oth ers it is of lesser importance. However, even those critics for whom narrativity is a marginal aspect of interpretation consider it an inseparable part of understanding a painting as a whole.1 Looking at paintings from the viewpoint of the narrative interpretations given to them renders an equivocal feeling. On the one hand, seeing a picture as an evolving sit uation seems natural, yet, on the other, there remains a persistent gap between the pic ture and the narrative discourse it entails. Despite the apparent connection between the narrative discourse and the painting, it appears that from the moment the discourse is uttered and stands on its own feet, there is an inevitable disruption between this dis course and the painting which brought it about. Narrative interpretation, by definition, produces a coherent stable structure of meaning. Viewing a picture, however, is frag mentary by nature; its temporality is not necessarily successive and does not correlate with the strict criteria that narrative structure demands. It seems that juxtaposing a pic ture with its narrative interpretation always produces a visual surplus that cannot be ver balized, so that a kind of hiatus exists between the two as a result of their positioning. What is the relation between painting and narrativity? Does narrativity by defi nition contradict visuality, and if so, why is it so prevalent in the context of painting? Furthermore, how can one explain the complicated relationship of attraction and re jection that has always existed between painting and narrativity? 2 In the hundreds of years during which the term narrative was used solely as a characteristic of literary texts, thinking about narrativity in painting entailed a

Malerei und Drama Über das Historiengemälde

The writer discusses history painting, drama, and the notion of narrative scenes. He notes that the age-old interpretation of painting as a story-telling art (the source of the currently fashionable notion of narrative scenes in painting) has involved playing around with the basic categories of the epic and the dramatic, and that the term “scene,” which derives from a Greek word for a stage, has nothing to do with narrative. He questions the idea that the great painters once set themselves the task of retelling often-told stories.

Real-World Knowledge Facilitates Interpretation of Paintings by Naive Art Observers

Real-World Knowledge Facilitates Interpretation of Paintings by Naive Art Observers

Federico Borromeo as a Patron of Landscapes and Still Lifes: Christian Optimism in Italy ca. 1600

Federico Borromeo's Pinacoteca Ambrosiana in Milan is one of the great small museums in Italy. Together with Italian Renaissance paintings and drawings, it contains a group of Flemish landscapes and still lifes noteworthy for both their number and quality. Borromeo founded his museum in order to teach students in his art academy how to reform religious art. The function of the Italian istorie in this context is obvious, but that of the landscapes and still lifes has eluded scholars. The purpose of this paper is to demonstrate that Borromeo found religious meaning in his landscapes and still lifes, thus making them suitable models for reformers of sacred art. His interpretation of paintings of nature was linked to his theology, a form of Christian optimism characteristic of Italian thought around 1600, and shared by his colleagues Roberto Bellarmino and Filippo Neri.

Images and Words

INTERPRETATIONS OF PAINTINGS are multiple and totally contradictory, just like the phraseologies used to express 1 A. Zemsz is alluding here to contemporary Western painting, which he opposes to the intelligible of certain other peoples; the latter figures differ from the former in that they refer to a system of signification which is unanimously understood in the culture that produced them. We believe that it is this more or less fluctuating, more or less systematized, relationship between the image (we will not deal with sculpture here; it would require special treatment, since it is inscribed in a three-dimensional space) and the culture which gave it birth that we must first investigate in order to establish an analysis of the pictorial phenomenon. The difficulty comes later, with the hierarchization and systematization of these questions so as to posit different levels of reading (formal, historical, symbolic, etc.) in order to arrive at semiological analysis. In other words, one must first envisage the relationship of the linguistic and the iconic, of that which is painted and then seen (the image) with that which is said (language), whether it is a matter of language as that which constitutes thought (and thus the view of the organized world, culture), or of language as that which offers itself as a complement to or substitute for a particular image (this in turn raising the problem of difference and equivalence). One can imagine at least three general types of relationships between image and language (though these do not by any means exhaust all the possibilities). The first, fundamental type of relationship is situated at the level of cosmology, of a world view, of the culture of a society and of the iconic representations (on the optic and thematic levels) that this set of articulated concepts elaborates (this, of course, in the case where a given culture engenders an iconography). One can envision a second type of relationships in which image and language coexist in a message, are the constitutive parts of this message. A third type arises when language tries to describe, to analyze an image, to substitute itself for it (as in the case of the descriptive and critical discourse); or, on the contrary, when the image attempts to make an entire discourse visible all at once (as in the case of the illustration of a narrative). In this last case, the relationship can become related to the first type of relationship that we defined. In this third type, however, we will stress instead the first aspect