Modern Painting Research Articles

Innate in modern painting Henri Rousseau... as a model

ان تعدد المفاهيم المعرفية المختلفة التي انطوت عليها الطروحات الفكرية في مختلف الصعد والمجالات العلمية والانسانية ,أسواء كانت مجالات فلسفية ،ام نفسية ,ام نقدية ,ام فنية .أحدثت تحديات جديدة ،وامام كم هائل من التنوع الذي تميز به العصر الحديث في معالجة ودراسة الظواهر الجمالية من اجل الوقوف على حيثيات كل ظاهرة , فقد اظهرت تلك الطروحات تداخلاً وتشابكاً بين عدد من المفاهيم , وذلك تبعاً لطبيعة التقارب والتجاور بين البنى الفكرية والمعرفية من جانب وتأثرها بالرؤى المتعددة ووجهات النظر المختلفة من جانب اخر

Тристадийният живописен метод на старите майстори

The text traces the three stages of the old masters’ painting method, demonstrating how they achieve an incredibly rich colouring despite their poor palette. And if their colour compositions are built on the principle of harmony through a smooth transition from one range to another, then, in modern painting, colour combinations are built on contrast.

Nanoindentation of softening modern oil paints

A methodology was developed to address challenges associated with the use of nanoindentation to characterize small volumes of soft-matter thin films, encountered in many research fields including heritage conservation. The methodology is based on the use of a flat-punch indenter, whose radius is so dimensioned to be able to predict the effect of substrate rigidity using an existing solution independently of the film’s Poisson’s ratio and frictional characteristic. The film’s mechanical response is analyzed in a minimally strained condition at the onset of full contact to fulfill the solution’s assumption of linear viscoelasticity. The indentation response prior to full contact is corrected for the substrate effect using a model of structural compliance coupled with the solution. Homogeneity of the film material, further assumed by the solution, can thus be established based on its constant loss tangent response while deforming linear viscoelastically prior to full contact. This methodology was applied to minute volumes of bone black oil paints sampled from modern paintings by Karel Appel and Asger Jorn, across a range of relative humidities. The methodology not only differentiated between viscoelastic behaviors of these paints from the same period, but also facilitated the discovery that they possess softening points below the target humidity range of museums. The latter finding convincingly explains why these paints exhibit conservation problems even in a standard climate-controlled museum environment. The methodology can be applied to polymer coatings and thin biological tissues, whose Poisson’s ratios and frictional characteristics are not exactly known.

Formalistic Analysis of Siri Dungun Artworks in Cultural Context

This paper explains the visual identity aspect of the Malaysian Modern Painting. Siri Dungun Painting was chosen as the subject of discussion by describing its physical shape. Then this painting is analysed in a formalistic context. It is also clearly researched using the cultural concepts that exist through behaviour, values, necessity and environment in the field of art. The objective of the study was to identify the design aspects of the subject in the work of the Siri Dungun painting. The association between the formalistic of art in painting through the social cultural system is also explained through identity analysis that applies traditional Malay images using sculptural art to wood carvings. The written and visual data collection methodology in this study uses a descriptive qualitative approach based on empirical field work of the data obtained. Documentation, visual recording and observation methods are used to collect information related to the work of the studied painting. The findings showed that the Siri Dungun artwork by Ruzaika Omar Basaree has applied wood carving elements in traditional Malay constructions featuring cultural designs. The concepts used in the study underlie the subject, design and aesthetic meaning to classify the identity of the painting using a cultural approach. The implications of the research show that the paintings can not only be viewed from the formalistic point of view of art only, but can also be shown from the cultural context through the application of cultural characteristics and identities. This study contributes to understanding the meaning, concept and purpose of the design application that needs to be applied in shaping the image and identity of the paint based on Islamic scholars.

From Folk Art to Abstraction: Ukrainian Embroidery as a Medium of Avant-Garde Experimentation

The article examines the correlation between the stylistic iconography of traditional Ukrainian embroideries and the experiments in modernist painting that led to the emergence of abstraction, Suprematism in particular. The focus is made on the artistic output of the embroidery workshops in the villages of Verbivka and Skoptsi, both located on the territory of present-day Ukraine, in the early 1910s. These studios, led by Natalia Davydova and Alexandra Exter, and Yevheniia Prybylska, respectively, engaged ‘leftist’ artists and local artisans to produce a new type of embroidery, relinquishing the mere stylization characteristic of other kustar studios in the Russian Empire. While scholars in Ukraine have undertaken extensive research to highlight the centrality of the Ukrainian context in progressive artists’ engagement with folk embroidery on the territory of the Russian Empire, internationally this phenomenon is still largely viewed under the generalized imperialist term of the ‘Russian avant-garde’. Using existing scholarship as the foundation, the present article seeks to redress this misconception. It also recognizes the long overdue need to situate the handicrafts revival movement in Ukraine within the broader framework of the engagement with vernacular culture by the nationally minded intelligentsia in East-Central Europe, while contrasting it with similar undertakings in Russia proper.

The influence of Japanese Ukiyo-e on Western painting art in the 19th Century

Ukiyo had a profound influence on western painting in the 19th century. It can be seen from the works of Artists such as Monet and Van Gogh that they extensively used, imitated and improved Japanese Ukiyo techniques such as brushwork, composition and color. In addition, under the historical background and social environment at that time, the expression of thoughts and emotions was also greatly influenced by Ukiyo. This paper, starting from the origin and characteristics of Japanese Ukiyo, explains in detail the influence of Japanese Ukiyo-e on western painting in the 19th century, explores the way of expression of Impressionist and post-Impressionist works, analyzes the process of its absorption and re-innovation of Ukiyo-e, in order to provide some reference for modern painting creation. This paper explores the influence of Japanese Ukiyo on western painting in the 19th century in two chapters. First of all, from the origin of Japanese Ukiyo, style, techniques, representatives of the detailed interpretation of Japanese Ukiyo artistic characteristics; Secondly, based on the background of the introduction and integration of Ukiyo in western painting art, the paintings of Monet and Van Gogh, the representative painters of Impressionism and post-Impressionism, are extracted respectively, so as to explore the influence of Japanese Ukiyo on western painting art in the 19th century in terms of style, techniques and ideas.

Review: Form and Feeling: The Making of Concretism in Brazil, edited by Antonio Sergio Bessa

Review: <i>Form and Feeling: The Making of Concretism in Brazil</i>, edited by Antonio Sergio Bessa

The Application of Traditional Chinese Woodcut Printmaking Language in Digital Painting Based on Intelligent Computing

With the passage of time, information technology has been implicitly embedded in people’s lives, bringing an important impact on artists’ creations. Modern painting technology is advanced, using electronic products, digital devices, electronic hand-painting tools, and other equipment to simulate the real texture of brush strokes to paint the style and effect the artist seeks. The integration of woodcut prints into digital painting has enriched the form of digital painting, and one of the characteristics of digital illustration is its fast dissemination, which is more powerful to promote the charm of traditional art. In the new era, with new technology, we consider whether we can combine the digital painting style, expression, woodcut language, and cultural connotation of ancient Chinese woodcut prints with digital technology and use new methods and forms to speak about the unique and essential attributes of ancient Chinese woodcut prints to be innovated and continued. The emotional motivation and the implicit, obscure connotations of the art of painting are not as far apart as they seem, although they are more like logical computerized counterparts. The continued development of artificial intelligence has made it possible for computers to create paintings independently. This paper explores a process flow model for digital painting based on intelligent computing and effectively incorporates the language of traditional Chinese woodcut printmaking while looking at future trends in this field.

Modernism, Identity, and Spirituality in Joseph Stella’s Paintings of Christian Subjects

Abstract Joseph Stella is best known today as one of the first modernist painters in the United States. He created colorful Cubist-Futurist inspired paintings of modern urban structures and spaces, especially the Brooklyn Bridge and Coney Island. He occasionally did some paintings and drawings of Christian subjects, most often of the Virgin Mary and Jesus and more frequently in the late-1910s and 1920s, but these remain little-known and have received scant scholarly attention. Stylistically, they are rooted in a complex fusion of Symbolism, Cubism, and Futurism and often reflect the post-World War I return to greater verisimilitude and clear, solid forms and believable spaces. These works reveal Stella’s complex spirituality and how he reconnected to his Roman Catholic, Italian roots and reconciled them with American urban, industrial, and secular values. Most of them are complex syntheses of his Christian piety and sexual desires and needs. Although limited in quantity and scope, some writings by Stella and those who knew him suggest his sexual concerns were often intensely lustful and frenzied. Therefore his paintings of the Madonna usually show her as spiritually pure and sensuously arousing. A few paintings, particular from his last years and which do not depict female figures, are more introspective and tranquil in mood and attitude. Stella’s paintings of Christian subjects are an intriguing case study of how modernists returned to traditional religious themes and depicted them in ways that combined the old and the new, the modernist and the more traditionally representational, and the urban and industrial twentieth century with pre-modern life.

Literary Element Order of Square Kufic in Malaysian Modern Paintings

Literary Element Order of Square Kufic in Malaysian Modern Paintings

Literary Element Order of Square Kufic in Malaysian Modern Paintings

Literary Element Order of Square Kufic in Malaysian Modern Paintings

There is a Garden in her Face: The Georgic O’Keeffe

“The cooking has been done for you in the garden; it’s merely finished in the kitchen,” the English biodynamic gardener Alan Chadwick used to say. These were ideas that Georgia O’Keeffe, the American modernist painter, already had in mind when she decided to devote large attention to the creation of vegetable and fruit gardens in her houses in New Mexico between the 1930s and 1940s. When Chadwick, “the gardener of the souls,” started using his Biodynamic Method of organic gardening and farming in North America in the late 1960s, Miss O’Keeffe was already deeply engaged in an agricultural project that had seen her teaching, prodding, cajoling, and strictly guiding her many assistants and guests in New Mexico. Through her idea of hard work applied in any creative context, O’Keeffe anticipated, following the studies of Adelle Davis, an ecology of food instead of an economy. A strong believer in the energy coming from the patient and enduring cultivation of the earth, in its reproductive power comparable to the work and labor of childbirth, O’Keeffe used her adobe gardens, kitchens and cooking habits as a sort of mystical places where labor turned into blessing, giving birth to beauty. Through the reading of O’Keeffe’s letters and books inspired by her life and work, this article intends to analyze the beginning of an ecological, though aesthetically refined, politics of gardening and food in the hands and mind of the modernist artist. O’Keeffe nimbly moved from the stylish urban class-conscious foods and flats of New York City, in the first decades of the century, to the revolutionary culture of local production in the Southwest. In her garden cultivation and food rituals, O’Keeffe reproduced the spiritual landscape that nourished the body and the soul of men and women, both engaged in the prodigious creative project. In addition, her strong relationship with the Indigenous allowed her to rediscover the organic bases of civilization, the “sober reality” (Norman Brown) that helped her fulfill the meaning of her work: giving birth to beauty.

The Illusionist

The Illusionist

The Efforts of Modern Painters to Avoid Monotony and Repetitiveness in Their Personal Style Artworks

In modern art painting, a personal style is required to represent the artists through their artworks. To have distinctive artworks, there must be a consistent repetition in the specific aspects of the different paintings by the same artist. Yet at a certain point, this repetition can result in a monotonous and predictable artwork. This paper intended to discover what efforts artists make to avoid monotony and repetitiveness in their artworks. In this paper we looked at the efforts of three modern artists: Popo Iskandar, Ahmad Sadali, and Fadjar Sidik. It was found that even when there is a consistent repetition between artworks, these artists continue to experiment with the visual elements of their art so that the artworks will vary from each other. The visual elements varied in the painting were: (1) object, including type, amount, color, and background; and (2) object composition, including setting, direction, and attitude.&#x0D; Keywords: personal style, modern painting, monotonous, stereotype

Fotocolor Le distorsioni moderniste della pittura fiamminga tra cromatico e fotografico

In this essay I aim to draw close to an exceptional case study in American modernist art theory: Clement Greenberg’s reinterpretation of Flemish and Dutch painting. I will focus on it in connection with the Greenbergian vision of modernism as a whole.&#x0D; Firstly, I will make a genealogy of the “Flemish turn” in the history of aesthetics, by analyzing the key moments (Winckelmann, Hegel, Baudelaire) in which the so-called Northern Primitives have served to frame modern painting, in contrast to Southern classic Renaissance.&#x0D; Then, I will concentrate on Greenberg’s use of this heritage, by comparing his linking Flemish colour with photography to Svetlana Alpers’ notion of “art of describing”. It will emerge that an original interaction between colour and photography is given, that is suitable both to the notion of realism and to its modernist acceptance.

Traditional art technologies as the basis of experiments in contemporary art (on the example of levkas technology)

The purpose of the work is to comprehend the experiments conducted by artists with traditional technology «levkas» and describe their results in modern art practice. Methodology. The study used a comparative method and comparative analysis of technical and technological features of the traditional icon-painting levkas and modern painting (using this soil). For this purpose, in the practice of modern levkas, works were identified that correspond to the concept of «artistic experiment». The scientific novelty lies in the analysis and refinement of technical and technological innovations in the modern artistic practice of levkas, which were invented and applied by some Ukrainian artists. Conclusions. In the modern artistic practice of levkas there are works: created on the plane (one and two-sided) and art objects. On surface treatment, they can be smooth and textured; with low (bulk) and high (overhead) sculptural relief. When creating textures, different fillers are added to the soil. Components of traditional recipes are sometimes replaced by modern materials. Usually the basis for the levkasny ground is a board, but also it can be pieces of wooden furniture or a canvas. Levkasny ground covers the surface of the work completely or partially. Collage techniques in levkas are becoming a common practice. The mixing of techniques and technologies of fine arts led to the creation of a new technique – «gesography». The inclusion of finished objects in the work is a new technique (it is associated with ready-mades). The graphite pencil in levkas showed a new function of the material (drawing on levkas). This way of using a graphite pencil opens up space for new experiments with graphics and levkas.&#x0D; Key words: levkas, soil for icon painting, icon painting, gesography, art object, artistic experiment.

Analysis of the main trends of modern Ukrainian wartime painting and artistic parallels

The purpose of the article is to highlight the main stylistic features of modern Ukrainian fine arts of the war period in relation to the art of Ukraine of the twentieth century. The research methodology is based on the comparative analysis of the visual-plastic language of contemporary Ukrainian art, as well as the comparative-historical method, which allows us to analyze the artistic temporal parallels of the development of Ukrainian fine arts. The scientific novelty consists in the first attempt to create a holistic picture of the development of modern Ukrainian fine arts of the war period and to determine the main artistic trends in the formation. Conclusions. The war period for Ukrainian art became a milestone that separated the artistic trends of the early XXI century and stylistic features of 2022, which introduced new artistic priorities and requirements. As a result of the analysis, it is established that the main trends in the development of modern Ukrainian wartime painting can already be identified. Generally speaking, this is primarily a tendency to posterity, generalization, monumentality. Heroization of the images of the victorious pages of the past in Ukrainian history, as well as glorification of the image of Ukraine-woman, suffering, but unshakable in the fight against the enemy. The use of Ukrainian symbols in works of art - flag, coat of arms, Ukrainian ornament, etc. - acquires a new sound. An attempt was also made to structure works of modern painting in the following areas: features of graphics and posters; tendencies of folk art and neo-primitivism; signs of heroic and epic style, neorealism. Of course, this process of forming a new plastic trend in Ukrainian painting has only just begun; it develops, moves, pulsates, changes. It is happening here and now. However, despite the terrible catastrophe and its destructive action, which we are witnessing and the name of which is the war, today we can see how radical changes are taking place not only in the national context of Ukraine, but around the world. And the destiny of art is not only to reflect these global changes that we have witnessed, but also to lead society, consolidate, affirm the eternal values and ideals of humanity, national foundations and lead to victory.&#x0D; Key words: modern painting, poster, national style, neorealism, neo-primitivism, avant-garde, national symbols.

The Mount Sainte-Victoire: The possible impacts of Cézanne on modern paintings

As the "father of modern painting", Cézanne's creative ideas and techniques have had a profound influence on subsequent generations of artists. To this day, many artists still admire his creative and revolutionary painting theories. The purpose of this paper is to analyze the techniques and ideas of Cézanne's series of paintings around the Mount Sainte-Victoire and to explore his inspiration for subsequent artists to break through the constraints of traditional painting techniques and creatively express their subjective consciousness by using flat shapes, multi-point perspective, and multiple painting types. In this way, we can clarify the position of Cézanne in art history and the inspiration his ideas and works have brought to people. This paper is divided into two parts, the first part is about the analysis of the concept, technique and style of Cézanne's landscapes with the Mount Sainte-Victoire as the theme; the second part is about the specific distinction and explanation of the succession and development of Cézanne's style by modern artists represented by Picasso, Matisse and Klimt.

Time-resolved fluorescence and anisotropy studies of red pigments present in acrylic formulations

Red organic pigments are frequently found in modern paintings and murals based on acrylic formulations. The detection of these molecules is valuable to guide investigations about cultural heritage and for restoration efforts. These studies usually employ microscopic amounts of materials that are obtained through swabbing or micro-sampling. In this contribution we describe the time-resolved emission properties of a set of red pigments with the objective of characterizing their excited state properties and developing strategies to identify their presence through fluorescence lifetime measurements, even in concentrations of the order of 10−9 M. As we show, using different solvent systems, the emission decay measurements can be setup to be a robust identification technique that avoids problems with evaporation or partial solubility. We also show that the sensitivity of these determinations is improved using a confocal type of setup with a high numerical aperture lens to ensure a high photon capture. This setup also allows for the samples to be prepared in microliter level volumes which implies a relatively high concentration of the pigments. In addition, we show that the lifetime measurements can be complemented with determinations of the emission anisotropy decays with the same experimental setup, which provides an additional property specific to each pigment, permitting an accurate differentiation between fluorophores.

INTERPRETATION OF MYTHOLOGICAL TOPICS IN THE FINE ART OF THE XX CENTURY

This article provides a comprehensive and systematic study of the evolution of the interpretation of mythological themes in the fine arts of Uzbekistan in the XX century, the dynamics of development of works on the theme in the works of artists in terms of the relationship of socio-political ideology to our artistic culture. New interpretations of myths, epics and folklore in modern painting over the past hundred years, the originality of works based on the creative thinking of artists, the dynamics of development, the influence of new and old artistic traditions on the development of art are comprehensively scientifically presented.