Language Of Painting Research Articles

TO THE QUESTION OF SPACE ORGANIZATION OF BOOK ILLUMINATION OF LATE ANTIQUITY AND EARLY MIDDLE AGES (IV – VII CENTURY)

The article focuses on peculiarities of spatial organization of book miniature paintings of late antique and early medieval manuscripts (IV – VII centuries). The author analyses the problem of conveying illusion of depth in illustration in context of gradual transmission from roll to codex, which took place in antique book culture between the II and the V centuries. By analyzing survived fragments of illuminated rolls author displays characteristic features of their spatial organization and observes influence which had tradition of roll illustration on the development of codex. Nevertheless, precisely the miniatures of the codices that have come down to our time are in focus of the author’s attention. The stages of development of the text page, the peculiarities of interaction of text and images in codices are compared with the principles of space organization in miniatures. The article makes an attempt, relying on the monuments that have survived to our time, to consider the development of spatial constructions in the period of late Antiquity and early Middle Ages as a continuous process of evolution of the language of book painting. The author assumes that the development of spatial constructions in miniature painting does not imply sharp breaks or regression. Each new stage of the evolution arises from the previous one and makes it possible to expand the arsenal of artistic means which are necessary for solving artistic problems of the time. In accordance with this approach, the article concentrates not only on compositions in which a spatial illusion is created, but also miniatures that are in character more plane. As a result, the author reveals the main types of spatial constructions, considering all surviving monuments of miniature painting of that time. For each type of space organization, the author identifies the basic principles and artistic techniques that allow the artist to convey a sense of depth on the plane of page. The author pays special attention to the comparison of illusionistic tendencies in the late antique book miniature and “reverse perspective”, features of which are present in the monuments of the era. The author casts doubt on the need for a sharp contrast between these two approaches to space organization in the monuments of book miniatures of the era. He analyzes the reasons for the appearance of such features of space organization in miniature paintings of late antique and early medieval manuscripts, which are so important for the formation of artistic language of medieval book illumination.

Comparative Analysis of Egon Schiele’s Inheritance and Innovation of Gustav Klimt’s works

In their artistic career,Gustav Klimt and Egon Schiele kept the friendship as teachers and friends. Both of them are representatives of Vienna secession. This paper, through a comparative analysis of Gustav klimt’s and Egon Schiele’s paintings of the same subject, explores Gustav klimt’s specific influence on Egon Schiele’s works and Egon Schiele’s inheritance and innovation. The study found that although Gustav Klimt had a strong influence on Egon Schiele’s early decorative expressionist style of painting, Egon Schiele eventually developed his own painting language.

Image spaces. Digital visual media in the context of baroque mural painting in architecture

In the art of the 20th century, space became the basic material. Today, digital media and VR and AR technologies are used to cross the visual and space barriers, but always at the expense of experiencing reality. The spatial turn in culture results from the post-avant-garde ideas of art that cuts itself off from ancient art. Using the example of the fresco by Andrea del Pozzo from the Sant’Ignazio church in Rome, we will show analogies between baroque illusionist painting and digital visual media. It turns out that contemporary art arrives at the space issues that have been practiced in architecture and art since antiquity. The space created by painting illusion as a total work of art exhibits many features of contemporary art and the phenomena of VR and AR such as intermediality, immersion, interactivity. Spatial turn arguments can be used to enhance the potential of classic painting language in architecture.

THE EXPRESSION FORM OF ARTISTIC LANGUAGE IN OIL PAINTING CREATION

The expression of artistic language is one of the most important conditions in the creation of oil paintings. Good works are not limited to subject matter, technique and composition, but more importantly, the artist's conversion of artistic language in his works. Only through the art logic summed up through practice and the unique art language system established by ourselves can we create excellent works of art. Today, with rapid changes, oil paintings are not only presented in museums and art galleries, but also gradually appear in people's lives. The unique charm of oil paintings is deeply loved by people. In today's multicultural society, fast-paced and diverse cultural life has also promoted the further development of oil painting language. In this paper, the comprehensive display of artistic language in oil painting creation and the in-depth exploration of the potential power of expression forms are used for research, hoping to provide some reference for oil painting career and artistic creation language expression.

������������ ��������� ���糿 ���� �������

The author of the article examines the lyrics of the poet and artist Harry Gordon through the category of intermediality, discovering the unique visual possibilities of his word when creating ekphrasises in the narrow sense of the word (�translations from the language of painting�) and works in the author`s artistic form � �daguerreotypes�. The use of the word as a pictorial tool to create artistic imagery by poet Harry Gordon is of scholarly interest. The study is based on the theory of intermediality. The category of �intermediality�, primarily known from the works of the German scholar Aage A. Hansen-Lowe, has been further developed by a number of scholars. Gordon�s landscapes appear as (framed) paintings; portraits are masterfully created; contour, colour, outline actively work along with the word. Literature does not belong to the expressive, but to the fine arts, which can display the contours of actual reality, but the share of representationalism in the poems and the optics of the artists of the word are undoubtedly different. Harry Gordon is a poet in poetry, a painter in painting. However, the intermediality and ekphrastic nature of his poetry is extremely interesting: the poet combines words, colours and outlines as a means of creating artistic imagery, he creates poems as �translations from the language of painting�, literary ekphrasis, works with a multiview lens. The art form, which Harry Gordon called the �daguerreotypes�, is often titled with visual motifs. Often these are images from the lyrical protagonist`s childhood, but a number of them belong to the present. They are mediators that take the protagonist back to the world of childhood, such as the alarm clock. Odessa and, more broadly, maritime motifs (�Dophinovka�, �Privoz�, �Bread Harbour�, �Liman�) are autobiographical. Gordon�s daguerreotypes are mostly images from his childhood, imprinted on the retina of the lyrical character. The lyrical protagonist is often an observer (sometimes the title even specifies the angle from which the observation is made: �At the window�), but often he is also the subject, sometimes observed by another lyrical character, or even an object mentioned but not in the picture. Often Gordon�s poetic pictures are filled with the gamut of experiences of the lyrical self, such as childhood fears, shame and embarrassment, lingering curiosity, excitement, a sense of freshness, longing, etc. With a clear predominance of visual motifs (and even endowing non-visible phenomena with the properties of the visual), Gordon�s �daguerreotype� depicts a picture with sound, smell, taste and tactile sensations. As a result of the study, it has been found that Gordon�s depiction is acquired by sound, olfactory, tactile, gustatory images, with the predominance of the visual, an exchange of signs is observed between the images generated by different senses.

«Первоначальный курс обучения» В. А. Жуковского: опыт реконструкции и анализа визуального ряда

Purpose. The aim of the article is to investigate the little-studied pedagogical project of V. A. Zhukovsky in the last years of his life (Initial Course of Study, hereinafter – Course) from the point of view of the interaction of verbal and visual elements in it. V. A. Zhukovsky mainly worked out the Course in 1848-1851. He tested it in class with his daughter. The ‘course’ was to consist of three parts: 1) language; 2) mathematics; 3) Sacred History. For each of these parts, Zhukovsky prepared visual tables, which were original experiments in combination of verbal and visual (graphic) materials. The emphasis on visuality and experiments with it were innovative pedagogical strategies for the mid-19th century. An analysis of the techniques used by Zhukovsky to combine the visual and the verbal will reveal the connection between the creative strategies of Zhukovsky the poet and Zhukovsky the teacher. Results. Types of graphic elements involved in the Course are very diverse: plot-shaped images, pictograms, ideograms, symbols, their combinations similar to ideographic writing, as well as diagrams that use various methods of color selection of elements. Based on handwritten material from the Zhukovsky Foundation in the Russian National Library, the article analyzes in detail the most important of these: plot-shaped images, diagrams and mnemonic symbols. We identify the nature of the interaction of signs of different nature in the heterogeneous (visual-verbal) environment of the Course and find that in the materials of the Course related to Sacred History, the model of creolized text is used, and in the materials on mathematics and language – polycode text. The fact of various semiotic systems interaction in the Course was very important for Zhukovsky. The process of concentration, ‘folding’ the content into visual signs-ideograms, and then narratively unfolding it in the process of the student’s response formed the methodological basis of the visual didactics. The techniques used by Zhukovsky as a teacher can be compared with the techniques used by Zhukovsky as a lyricist in the manifestos of his ‘poetic philosophy’ – the poems The Inexpressible and Lalla Rookh. Both of these texts are explications of the romantic duality, but in the The Inexpressible the idea of the duality is articulated with the help of suggestive poetics, and in the Lalla Rookh with the help of emblematic poetics. The poetics of The Inexpressible is dominated by the rejection of figurativeness in favor of a complex way of intonated atmospherics, which is close to the artistic language of painting. In contrast to The Inexpressible, the language of the poem Lalla Rookh is so figurative that this poem can be considered an ekphrasis of the Baroque emblem. Suggestive painting and emblematic graphics are the two poles between which Zhukovsky’s artistic, poetic, and pedagogical language fluctuates. The style of the Course is close, of course, to the second of these poles. Conclusions. The idea of the Course was undoubtedly influenced by such types of family communication between adults and children as domestic make-believe games (playing books and stories), board games (cards and other educational games, word registers), games of charades. But in addition, the influence of Zhukovsky’s translation activity and a certain specificity of the figurative activity of his artistic consciousness, a kind of ‘habit of translation’, manifested in the multiplying ways of transmitting the same meaning in different forms, visual and metaphorical, is obvious.

HISTORICAL AND PHILOSOPHICAL ASPECTS IN THE RENEWAL OF THE LANGUAGE OF CHURCH MONUMENTAL PAINTING IN FRANCE AT THE TURN OF THE 20th CENTURY ON THE EXAMPLE OF PAINTINGS BY MAURICE DENIS

The study analyzes the historical and philosophical origins of the renewal in church monumental art in French culture at the turn of the 20th century. The crisis that broke out in the second half of the 19th century within the philosophical knowledge and classical religion and an attempt to rethink the evolution of Christianity entailed significant changes in artistic creativity devoted to the sacred theme. The author explores the topic based on the church mural paintings of the French painter Maurice Denis, who stood at the origins of the transformation of the language of religious painting and whose role is significant for the further history of European art. The relevance of the work lies in the fact that all previous studies on this topic were primarily art criticisms. They paid special attention to the analysis of the artistic language and pictorial and expressive means. At the same time, questions of historical and philosophical nature and their role in the formation of new European religious painting were analyzed to a much lesser extent.

Expressionism in European and Chinese painting (late XIX – early XXI centuries)

This article examines the impact of Chinese traditional painting upon the formation of Western expressionism, as well as interprets the influence of Western expressionism upon Chinese painting in expressionist manner of different periods. The author reveals the mutual influence, similarities and differences between Western expressionism and Chinese painting in expressionist manner, Chinese imagery oil painting, Chinese colored ink painting, and Chinese imagery painting in Western style. Based on correlation between the spiritual ideology of painting and artistic form, the author carries out a comparative analysis of spiritual and formal factors of Chinese and Western painting systems for the purpose of determination of their mutual influence, and how it affects the emergence of new concepts in painting. The structure of brush stroke of the artist defines his aesthetic spirit. The article determines the “cyclic” nature of interinfluence processes between Chinese and Western painting systems that stimulate the development of human civilization. The analysis of corresponding cultural factors allows assessing the individual artistic characteristics of painting. Both, Chinese and Western painting systems entered the period when spiritual ideology of painting interacts with the artistic forms, opening the era of “globalization” of the language of painting.

Non-classical Art: The Anthropological Aspects

The birth of the phenomenon of “Non-classical Art” was prepared by the very logic of the historical movement of the Culture of the New Age. If you try to express this in a short formula, at a certain stage of a person’s search a rational distrust of the rational arises. The crisis of the classics came as a consequence of the crisis of classical rationalism that erupted in European culture since the 1830s. The New Art is focused on ways of expressiveness that cast doubt on the absoluteness of the norms of Classical Art. In painting, this was manifested in the prevalence of the principle of pictoriality (color-light relations) over plasticity (the primacy of the line, drawing), dynamics over statics, atectonics over tectonics, a shift from the central axis of the picture in favor of the so-called “landscape vision”, which tells the painting several centers at once . The Artist of the 20th — early 21st centuries understands that his life goes on in a completely different Picture of the World and puts a lot of effort into ensuring that his works can become the artistic equivalent of a contradictory era, expressed by adequate colors, lines, a complex composition, a deformed space, a displacement of the center paintings, its sustainability — all that has always been masterfully mastered by the language of painting. Tested and adapted means of Classical Art are unsuitable for the implementation of the dramatic and tragic collisions that occur with a man of Modern times. Interpreting the sharp, painful, depressing images of Egon Schiele, Rene Magritte, Francis Bacon, Anselm Kiefer, Jean-Michel Basquiat, the Philosophy of Art captures the conditions of painful erotica, loneliness, acute anxiety, an existential impasse, almost an anthropological disaster. Nevertheless, all of the creators listed have a strong letter. The works of these artists of the twentieth century do not fit into any expected, familiar “format”, but they are full of some hidden vitality. A number of examples of non-classical art demonstrate that painters are not very shy, solving today the problem of “art and evil”.

Study on the Oil Painting Language Study of the Image of Lotus in Ancient Poems

Take the image of lotus in ancient poems as the carrier, and analyze the cultural implication of lotus imagery. Through the internal connection between lotus visual text and image language, the metaphorical image of lotus in ancient poetry and the image interpretation of lotus in oil painting language are used as the starting point to describe the artistic conception in literary works in an image way. There are four parts to study the image of lotus in ancient poems. Observing the state of things and experiencing the feelings of things; using the spirit of lotus and lotus to express the spirit of poetry, finding the aesthetic conception of poetry, co-constructing the strategy of image and text isomorphism, and fitting the personalized oil painting creation language with both pictures and text, it can help readers to build a new aesthetic perception and poetic comprehension to realize the cross-cultural resonance of poetry and painting imagery.

Expression of fear, horror and despair in bacon’s painting: “three etudes for figures at the base of the crucifixion” (1944)

The article presents a detailed analysis of one of F. Bacon’s main pictures — “Three Etudes for Figures at the Base of the Crucifixion” (1944), as well as its late variation — “The Second Version of the Triptych 1944” (1988). Author uses the iconological method and shows the specifics of Bacon’s artistic intention that associates with the grotesque depiction of complex existential motifs of fear, horror and despair. Author studies a painting language of Bacon and focuses on the spatial organization of work, color palette, visual solution.Author considers the semantics of the figures and hypothesizes on the anti-narrative nature of this work. Author relies on the books of contemporary art historians (M. Harrison, L. Ficacci, D. Sylvester, J. Russell) and identifies the main sources of inspiration by Bacon’s “Triptych” (“La Coiffure” by E. Degas, “Guernica” and “Anatomy: Three Women” by P. Picasso, “Bathers” P ezanne). At the same time, author emphasizes that Bacon, who inherits the ideas of his predecessors does not stop at imitation, but goes further and creates his own style flamboyant, a “fiery style” that brings him well-deserved fame. The author draws on the assessments of leading art critics (L. Gowing, G. Melville, S. Hunter) and notes that Bacon’s “Triptych” serves as a turning point in the art of the 20th century, because this work accumulates a negative καιρός.The phantasmagoria of the lifeless “ghost world”, “world ruins”, and “world ashes” that Bacon plays in his picture shows the viewer how the world is alienated from man and man is alienated from the world

The Student-Self Oriented Learning Model as an Effective Paradigm for Education in Knowledge Society

Proceeding from broadly accepted role of emotional intelligence (EI) in professional and personal life, the paper suggests a new learning model (LM) called Student-Self Oriented LM (SSOL-model). It is defined as the model being beneficial for self-cognition and self-construction through the prism of the acquired knowledge and life experience. Two successful implementations of the SSOL-model are shortly described: the system of emotional-imaginative teaching (the EIT-system) developed by the authors in the 1990s and expanded in the 2000s and art cognitonics. The EIT-system is underpinned by the authors’ Theory of Dynamic Conceptual Mappings (the DCM-theory). The EIT-system includes an original method of developing figurative thinking and creativity at the lessons of second language (English for Russian children), literature and poetry in English and Russian, symbolic language of painting, and communication culture. It is stated that this method may be used as an effective starting framework of STEAM education. It is mentioned that the DCM-theory and the EIT-system became the starting point for developing the foundations of a new scientific discipline called cognitonics. The basic principles of art cognitonics – a well developed branch of cognitonics and the concept of cognitive engagement are described. The significance of art cognitonics for helping the learners to answer the encountered moral questions is explained. The broad possibilities of designing intelligent tutoring systems (ITSs) of new generation are indicated. These are culture and moral experience oriented systems aimed at developing figurative thinking, creativity, early socialization and helping the students to find in the outstanding art works the answers to emerging moral questions. An original, detailed script of an ITS contributing to early socialization of the learners is described, its literary source is the fairy-tale Sleeping Beauty. Since the sphere of using the SSOL-model is not restricted, it is suggested to interpret this model as an effective paradigm for education in knowledge society and a strong support to anthropocentric approach to education in the digital age.

Issues and development trends of modern Icon painting

The article is concerned with topical issues and problem points of modern icon painting: understanding meanings and the mission of the icon in society, position of the Church, issue of the canon in icon painting, commercialization of the icon painter’s work, etc. The main tasks of modern icon painting have been determined. For example, ability to find a harmony of artistic creation and icon painting canon; mastering the icon painting language and icon painting thinking; development of new iconography. Today, development trends of icon painting are seen in the return and preservation of the icon painting canon culture and in the interaction of the state and the Church in terms of the spiritual and professional education of modern icon painters. Today, an example of such an interaction is the joint icon painting department of the Rostov Art College named after M.B. Grekov and the Don Theological Seminary.

Proceso experimental a través de los lenguajes del arte en el abordaje terapéutico de la mujer con trauma

La implicación social frente a la situación que viven las mujeres que han sufrido maltrato, no es suficiente para dar respuesta a las necesidades requeridas dentro de lo que entendemos por una verdadera inclusión en nuestra sociedad. Ayudarlas en el restablecimiento de sus vidas tanto psíquica como emocionalmente requiere de programas de intervención que incluyan políticas integradoras desde todos los campos. Es importante que no se rompan eslabones en la cadena de ayuda en un sistema de por sí complicado desde que se empieza a hacer una denuncia hasta que la mujer siente que está incluida socialmente como una ciudadana más. Los programas aplicados a la mejora del estado psico-físico y emocional de la mujer maltratada en gran medida ayudan notablemente a normalizar su situación de vida y relación social. La aplicación de un programa con la intervención de diferentes lenguajes expresivos como son la música, la pintura y la expresión corporal son cruciales en el empoderamiento de estas personas. Nuestra línea de actuación lejos de trabajar tan solo la parte cognitiva en el tratamiento de la mujer, propone una aplicación de programas que acoge en su esencia, la parte cognitiva, afectiva y vivencial mediante actividades cuyo foco nuclear se basa en los lenguajes del arte. Analizaremos un cuerpo de mujer que es consciente, que siente y que actúa para reafirmar su identidad y su relación con el mundo

동아시아 畵題 아카이브의 구축과 활용

The “Comprehensive Research and Digitization Project on Hwaje(畵題) of East Asian Painting” project aims to comprehensively collect, organize, classify, compile and interpret hwaje of literary records and paintings of East Asia, as well as to establish a comprehensive database.BR Hwaje(Kr.) is known as huati in China and gadai in Japan, and it refers to a title, topic, theme, or subject matter of a painting. The term first appeared as titles in paintings, but later on came to encompass critiques, themes, and many other aspects of paintings. Later, hwaje was repeated, became stereotypes, and represented topics that visualized particular iconographies. As a result, in East Asian paintings, hwaje gradually became the most fundamental painting language resonating with the objectives and intentions of an artist.BR In this research project, East Asian hwaje will be comprehensively compiled as an elected database. It will constitute a method of classifying hwaje of paintings, which can emphasize the inherent characteristics of East Asian paintings. Interprets of hwaje will describe the definitions, the literary sources, and the periodical changes in painting styles. The final goal will eventually produce a “Comprehensive Archive of East Asian Hwaje” in the near future.BR The expected usage of the Hwaje Archive are as follows: The Hwaje Archive is to give numerous paintings a precise hwaje. It enables us to fix incorrect titles and assign proper titles to paintings with no hwaje. Secondly, the Hwaje Archive not only helps to improve the possibility to extrapolate hwaje from nonextant paintings, but also to offer criteria to evaluate a considerable amount of paintings, of which the country of origin, date, or subject matter is unknown. Thirdly, the Hwaje Archive proposes a painting classification system based on the unique features of East Asian paintings.BR The present-day, technology, humanities, and art are increasingly converging, while new art contents and platforms are continuously being developed. In this environment, an academically qualified Hwaje Archive is expected to be actively utilized in diverse ways in the field of art and culture now and in the future.

The Research of Animation Art Drawing Design Paradigm from the Perspective of Aesthetics and Structural Thinking

Animation scene design is an important part of a successful animated cartoon, which plays an important role in setting the atmosphere and art style. We will decorate the scene design of painting techniques used in opera animation, is the traditional ethnic elements into an art form with modern aesthetic needs, in the opera animation scene design in multi angle use of painting language training, aims to expand the creator more space. On the one hand, on the one hand, on the other hand, it should be drawn by means of painting. From the birth of the animated film, art style and the film has a close relationship between the blood, the art style is the mother of the animated film, the different forms of art for the development of animation film provides the creation of nutrients. In addition to its story, image and music and many other factors, the scene design and art style settings are two important aspects.

Painting beyond the stretcher

This article is an extract of my Honours exegesis, Boxes of Contrast and Painting Beyond the Stretcher, completed within the Painting Department at the ANU School of Art, 2015. The article focuses on my Painting Beyond the Stretcher research, which investigates the relationship between colour, shape and materiality through the language of abstract painting. I explore the way shape, colour and material relate to each other through intuitive and responsive processes of paint application. My fundamental concerns are how these elements can construct ambiguous pictorial spaces and therefore create visual tensions within the pictorial order of marks applied. This project also explores how non-traditional painting materials can aid this, with contextual research that includes contemporary artists who work with similar ideas; such as Katharina Grosse and Jessica Stockholder. This research informs how my studio practice contributes to contemporary art and the field of an expanded notion of painting.

Peculiar Characteristics of (Vietnamese) Painting Language: Oil Painting and Contributions From Notable Painters Including Le Van Mien, Thang Tran Phenh and Nam Son

Peculiar Characteristics of (Vietnamese) Painting Language: Oil Painting and Contributions From Notable Painters Including Le Van Mien, Thang Tran Phenh and Nam Son

The “Language of Painting”: Aesthetic Appreciation in Edwardian Art Criticism

In 1908 the artist-critic Walter Sickert (1860–1942) and the dealer-critic Robert Ross (1869–1918) engaged in a debate in the London art press and in their own private correspondence in which they discussed the idea of a “language of painting.” Using their debate as a case study, this article investigates how these writers posited different approaches to the practice of viewing art. I show how they used the notion of a “language of painting” as a basis for discussing critical authority, the nature of art appreciation, the role of beauty and pleasure, and the value of form and technique. In doing so, I reveal how they both adapted and departed from the ideas and rhetorical practices of nineteenth-century art writing, in order to consolidate their own critical authority and to present diversified ways of speaking about art attuned to new developments in the art world. In a wider sense, this article contributes to ongoing scholarly revaluation of the Edwardian period, which aims to recover a sense of the era’s innovation and heterogeneity.

Traditions of Copying in the Imperial Academy of Arts

The article describes the essence of the subject of “Copying”, which was presented in the curriculum of the Imperial Academy of Arts right from the day of its opening. The Academy pursued objectives that were aimed at the achievement of excellence and quality of the works of art, in a relatively short period, by the example of those created in the French and Roman Academies of Fine Arts. It is proved that the copying system was introduced at the Academy not only as a discipline that would help young painters master their technical skills and hold a “conversation with the old master”, but it also represented a “translation” of the old masters’ language into the modern language of painting. The technical perfection during the process of copying allowed many artists to reveal their talent and create great masterpieces of the Russian painting. The article uses the analytical, comparative, and diachronic research methods.