Modern Painting Research Articles

자포니즘의 특성을 응용한 아트메이크업 디자인 연구 - 우키요에 모티브를 기반으로

In the 19th century, European society faced a turbulent period with the Industrial Revolution, forming a capitalist world market and transforming into an imperial society. The history of Western art, which sought endless challenges and quests in search of new artistic expressions, increased interest in Japanese culture and art through London in 1862 and the World Exposition in Paris in 1867. Japonism in European art went beyond shock and curiosity and became a turning point in art history. Ukiyo-e, which caused the Japanese craze in modern western society, had a significant influence on Edo period painting with a universal aesthetic and artistic value that could be enjoyed by all classes, not for a specific class. This study analyzed the trend of Japonism, which had a significant influence on the revival movement of modernist painting and decorative arts by transmitting the originality of Japanese aesthetics to French society. Based on the formative characteristics of Japonism, aesthetic values, and exotic motifs such as ukiyo-e, three makeup artworks utilizing traditional meaning and modern materials and characteristics were produced. Body art will inspire from Japanese art and create a new visual expression style in various ways to activate the artistic mix of East and West cultures and establish itself as a modern art while continuing the tradition. In addition, various contents with high utility value will be developed for body art.

The Role of Contour Line in Painting — an Analysis of Morandi's Still Life Painting

In painting, line is one of the basic compositional elements and an important "tool" for artists to express their ideas. The combination of line and color, composition, and shape allows the viewer to feel the author's thoughts, emotions, or distinctive thinking through the picture. Foreign cave paintings, European pre-Renaissance oil paintings and modern paintings, and domestic Dunhuang murals, silk paintings of the Warring States period and cave paintings all show that the contour line has never disappeared despite its different roles in the changing times. Therefore, the artist's generalized expression of contour lines can become a characteristic of the picture that makes the artist stand out.

Current Trends in the Use of Works of Fine Arts in the Interior of Premises

The purpose of the article is to identify current trends in the use of works of fine art in the interior of the premises, as well as to clarify the impact of works of art in the interi­or on the psychophysical state of a person. The research methodology contains general scientific theoretical methods of analysis, syn­thesis, abstraction and observation, as well as art analysis. The scientific novelty is to de­termine the features of the influence of works of modern art both on the appearance of the premises themselves and on the psychophys­ical state of a person. The paper attempts to identify the features of human interaction with works of contemporary art, in particular in the aspects of interactivity, relaxation and aesthetic pleasure. The article contains an explanation of the artistic techniques used to achieve such ef­fects. The analysis of works of modern painting by the artist O. Yasenev, placed in the interior of the premises, is used in the work. Conclusions. The study identified the benefits of applying contemporary art in the interior. The use of art, which is created on the border of figurative and abstract perception, is common today. In par­ticular, such art often has a surreal component, which encourages the viewer to interact with the imagination the most. This approach is rein­forced by the technique of work with a trace of deliberate imperfection, which also creates the ground for co-creation. Such work can divert the attention of the recipients, distract them from everyday worries and promote their relax­ation. The mentioned technique also contrib­utes to the visual expansion of the space of the room. In fact, such criteria should be followed by the designer when selecting works of art in the design of modern interiors.

Nana Yaw Frimpong: A royal footprint of modern Ghanaian painting

Ghanaian modernist painting started with the establishment of Achimota school in 1927 where the artists learned to combine the traditional Ghanaian artforms with the European representation artistic techniques. Though the influences of this new movement went beyond the academically trained artists to affect the self-trained artists, very little is known about it. The main objective of this paper was to conduct a biographical study of Nana Yaw Frimpong who without any art college training, booked a notable slot for himself through his painting within the modern Ghanaian art space. An Iconographic analysis of five paintings of Nana Yaw Frimpong using Erwin Panofsky’s three-step approach which include 1. the pre-iconographical description, 2. the iconographical analysis, and 3. the iconological interpretation. The selected paintings were compared to the philosophical underpinnings of the works of the earlier academically trained artists from the Achimota school. The findings revealed that the philosophy and style of Nana’s paintings were the philosophical foundations of modern painting in Ghana hence, placing Nana within the Ghanaian modern painting space.

Культ и критика Рафаэля у поздних назарейцев

The cult of Raphael is an important part of German romantic culture of the beginning of the 19th century. There were the Nazarenes who developed the cult of the Renaissance genius, and Raphael’s modern reputation is based on these romantic tradition. The article reveals special features of late romantic cult of Raphael, which caused the critique of the Italian master in the second half of the 19th — 20th centuries. The article discusses the art works of the Nazarenes (Franz Pforr, Peter von Cornelius, Franz and Johann Christian Riepenhausen). Special attention was paid to the art works and texts of the founder of Nazarene movement J.F. Overbeck of the 1830–1840s. This material was compared with the German art criticism of the same years, dedicated to the Düsseldorf Academy, an art school considerably influenced by the Nazarenes (A. Fahne, H. Püttmann). Typical for the Nazarene movement is the cult of Raphael as the main Christian painter, whose art is characterized as pure and harmonious. Other features of Raphael’s works, such as dynamic and emotional expressiveness of the form, were ignored or criticized. Such approach was firstly used in the J.F. Overbeck’s comment to the program painting The Triumph of Religion in the Arts (1829–1840) and developed in his later works (The Marriage of the Virgin, 1834–1836; The Lamentation, 1840–1845). This simplified image of Raphael became the subject of criticism for the next authors’ generation who supported the realistic searches of the masters of the mid-19th century. Nevertheless, Raphael’s works continued to be used as a standard for discussing of modern religious paintings.

Confronting the Past, Hanging Together: Charles Stewart Carstairs’s Campaign for Modern Art

Abstract Charles Stewart Carstairs (1865–1928) was a world-renowned art dealer and adviser to eminent collectors like Henry Clay Frick (1849–1919) and Andrew W. Mellon (1855–1937). As a principal member of M. Knoedler and Company—an art-dealing firm founded in about 1848 as the New York branch of the French Goupil and Company that remained active until its closure in 2011—and the director of its London headquarters for more than two decades, Carstairs was a key figure in the art market of the late nineteenth century and the early twentieth. Although his fundamental role in creating a market for Old Master paintings in the United States is now being acknowledged, his advocacy of modern and contemporary art and especially modern French painting remains largely unexplored. This article discusses his personal art collection and shows how the promotional methods he employed—including displaying Old Masters and modern and contemporary works together, a strategy being increasingly adopted by museums, galleries, and auction houses today—encouraged collector and public appreciation of modern painting.

Light Effect, Color Applications and Composition in Ustad Nasrullah Sarwary Arts

This research pays for Ustad Nasrullah Sarwary arts’ characteristic one of Afghanistan modern painters in which analysis light display workout, color application and composition in his arts. The aim of this research it the cognition and introduction of specifications and hidden artistic and scientific points in Sarwary arts. The importance of this research is to introduce specification of one of skillful painters who was not known in art. The results show that Prof. Sarwary was successful to combine classism, naturalism and impressionism and make his own unique method. He also could make ideal space of light effect display and application of basic geometry in his art composition. Art students in Herat and Kabul Art Faculties can make the best of use of this research results as their study complementariness and also increase social knowledge level about an Afghan painter work specification (Sarwary).

The history of the stages of painting art in the Kurdistan region of Iraq during the twentieth century

في هذه الورقة، قمنا بدراسة تاريخ المراحل الفن الرسم في اقلیم كردستان العراق في القرن العشرين، لنتبیّن منذ متی وعبر أي مراحل وبأي طرق دخل فن الرسم إقليمَ كردستان؟ في النهاية استنتج أن هذا الفن في المناخ مر بمرحلتين نتائج البحث إلی أن هذا الفن في الإقلیم تخطّی مرحلتین: ففي النصف الأول من القرن العشرين (1900 فصاعدا)، كان فنّ الرسم في الغالب فنّاً شعبیّاً غير أكاديمي. وبعد النصف الثاني من القرن العشرين (1950 فصاعدا)، بالإضافة إلى وجود الفن الشعبي دخلت الإقلیمَ أساليبُ الرسم الحدیث والأکادیمي من طرق ثلاثة وهي: أولا، من قِبل الفنانين الذين ذهبوا إلى أمریکا والدول الأوروبية وتعرّفوا علی مختلف الأسالیب لفن الرسم الحديث، ثمّ رجعوا إلی الإقلیم. وثانیاً من طریق الفنانين الذين درسوا فن الرسم بجامعة بغداد، وأخیراً عبرَ الرسوم التقليدية والمنسوجات الیدویة کالسجاجید والبُسط و...إلخ. واتبعنا فی هذه الدراسة، الوصفي التحلیلي التأریخي وقمنا بجمع المعلومات من الکتب والأبحاث وعن طریق الملاحظة والتجربة أیضا.
 
 چکیده 
 در نوشتار حاضر تاریخچه مراحل هنر نقاشی اقلیم کُردستان عراق در قرن بیستم به‌عنوان پیکره مطالعاتی بررسی شده‌است و پژوهشگر تلاش می‌کند به این پرسش پاسخ دهد که هنر نقاشی مدرن از چه تاریخی و طی چه مراحلی و از چه راه‌هایی وارد اقلیم کردستان شده‌است؟ در پایان این نتیجه حاصل شد که این هنر در اقلیم دو مرحله را پشت سر گذاشته‌است: ابتدا در نیمه اول قرن بیستم (1900)، هنر نقاشی بیشتر یک هنر غیرآکادمیک و مردمی بوده. بعد از نیمه دوم قرن بیستم (1950 به بعد)، علاوه بر وجود هنر مردمی، سبک‌های هنر نقاشی مدرن و آکادمیک، غالبا از سه راه وارد عرصه هنر این اقلیم شده‌است. ابتدا از راه هنرمندانی که به کشور های اروپایی و امریکا رفته اند و با سبک های مختلف هنر نقاشی مدرن آشنا شده اند. راه دیگر از جانب آن هنرمندان که در رشته هنر نقاشی در دانشگاه بغداد مشغول به تحصیل بوده اند، راه سوم از نقش و نگار های سنتی و دست بافته های مثل قالی و گلم و فرش، و . . . روش تحقیق، از منظر هدف، بنیادی-نظری و از منظر شیوۀ، توصیفی تحلیلی، با رویکرد تاریخی است. شیوه جمع‌آوری اطلاعات نیز به‌صورت کتابخانه‌ای و میدانی است.

The Female Burden Visualized: Cinematic Representation of Women during Epidemics

The Female Burden Visualized: Cinematic Representation of Women during Epidemics

Развитие современного монгольского искусства: на примере современной монгольской живописи конца ХХ – начала ХХI вв.

Modern art in Mongolia has been developing since the last century. The art appeared as a result of artists’ ideas, expression of national mentality and other factors. As some researches said: “Mite of the abstract paintings were established in Hun states, because when this times, all of the people to the paint-ed effect of their mind on the rock of cave” on their tractate book. That says that the abstract paintings was established at that time, but according to other sources it was developed in 1960. For example, in 1968 Mongolian young painters orga-nized an exhibition named: the first exhibition of young painters. Then, in 1980 modern and contemporary arts started developing. The purpose of the study is to analyze the development and classification of modern art in the late twentieth and early twenty-first centuries, which are kept in art galleries. The study was con-ducted in the following steps: to study modern Mongolian art and to identify cur-rent trends in its evolution. The study classified 2,333 paintings. Consequently the next conclusions were drawn: abstractionism, post-impressionism, and im-pressionism were more developed in modern paintings created in 1990–2000. Modern paintings created in 2000–2009, on the other hand, were more developed in abstraction, fauvism, surrealism, and symbolism. This shows that modern Mongolian artists prefer abstract and symbolic paintings. Before 1990, there was a lot of realism, but since 1990, modernism has developed a lot and has become a major trend.

Взаимосвязь стилистики модерна и эмоциональной реакции зрителя на художественные образы в графике А. В. Хвастуновой

The paper aims to identify specificity of a spectator’s emotional response to Art Nouveau images created by the talented modern painter A. V. Khvastunova. The article reveals the potential of the figurative language introduced by the Miriskusniks (members of the artistic movement “Mir Iskusstva (World of Art)” (1898-1927)). The author shows how the Art Nouveau style influences a spectator’s emotional response, and herein lies scientific originality of the study. The conducted analysis allows concluding that at the beginning of the XXI century, A. V. Khvastunova successfully uses such elements of the Art Nouveau style as line, stain and stroke, which not only decorate a picture but express the author’s emotions, thus participating in an image formation.

William March’s Company K: history, memory, and metafiction

ABSTRACT Despite enjoying a sustained readership, William March’s Company K remains a surprisingly understudied examination of American soldiers in World War I. To date, just a mere handful of critical articles or book chapters have examined the novel in detail. March’s relentlessly anti-heroic themes, which now seem overly familiar (even clichéd) thanks to the popularity of works like Erich Maria Remarque’s All Quiet on the Western Front (the bestselling war novel of all time) and Stanley Kubrick’s iconic film Paths of Glory, are perhaps part of the problem. But Company K is more than a war novel: on many levels, the book is about war writing. Indeed, March’s metafictional narrative plays with notions of representation and truth-telling in war literature in ways that anticipate Tim O’Brien’s The Things They Carried. This essay offers a new appraisal of Company K by focusing on its metafictonal features, which include the deployment of a novel-within-a-novel structure, and its iconoclastic form. To underscore the originality of March’s approach, as well as his implied scorn for the critical standards of his day, the essay first summarizes attempts by leading war-literature critics in the 1920s and 1930s to nail-down the relationship between war fiction and truth. This section of the essay spotlights the controversial French expert on literary testimony, Jean Norton Cru, as well as the English military historian Cyril Falls and two distinguished American men of letters, Archibald MacLeish and Malcolm Cowley, both of whom had strong opinions about what constituted a truthful depiction of the Great War. The essay then demonstrates how March’s novel rejects most of the assumptions put forward by these critics, both through its reflexive recognition of its own fictionality and through its subversive form, a transmedia blend of devices drawn from early cinema, modernist painting, and historical writing.

Exhibition Review: Every Day. Art. Solidarity. Resistance

Exhibition Review: <i>Every Day. Art. Solidarity. Resistance</i>

Research on the Class Origins of Modern Painting Audiences in Iran between 1940-1970 A.D.

Modern Iranian painting emerged and developed between 1940 and 1970 A.D. and became the dominant current in the field of visual arts of Iran. The Khorus Jangi Society which consisted of a group of pioneering artists had an important role to establish this new current.The continuity and authority of this current is not only owed to the producers and distributors of modern works of art but also to the consumers-audiences of them. Although the emergence and continuation of Modern paintiongs was understandable along the policy of modernization, and cultural developments in Iran, it was not understandable for all urban classes. At the same time, the efforts of artists and the government to reduce the distance between people in general and these works of art were not very successful. Main question is about the origin and social class dependency of these audiences .Collecting information from the mentioned texts, and comparing them with the result of sociological studies about classes and social strata in Iran, has not only been effective in determining the accuracy and validity of this scattered information but also to some extent has clarified the class origin of Modern painting audiences. As a result, it can be said that most of the audience of Modern painting, not all of them, was from the upper class and elite, and the urban middle class, including intellectuals and students in genral. Due to some cultural factors such as religious and customary beliefs, and fashionism resulting from the modernization in Pahlavid era, it can not be inferred that all of mentioned classes had been consumers of Modern paintings or at least the most sincere fans of it.

THE AESTHETICS OF GENTRIFICATION: Modern Art, Settler Colonialism, and Anti‐Colonialism in Washington, DC

AbstractIn 1988 a local homeowner in Washington, DC, commissioned a 30‐foot mural of an artwork by modernist painter Piet Mondrian on the side of a public housing building, along with several other similar murals across the street. Three months later all the residents of the public housing development were moved out. Later, the buildings were destroyed. Here I explore how these murals enabled the residents’ permanent displacement. Explaining this displacement and destruction by pointing to the federal Housing Opportunities for People Everywhere (HOPE) VI policy is completely insufficient. I argue for looking beyond the conventional actors in policy history to other actors, such as, but not limited to, aesthetics, art, artists and art purveyors. I examine Mondrian's years in Paris, during which he developed his abstract art and philosophy of spiritual evolution, white supremacy and total urban renewal. The homeowner brought Mondrian's art and philosophy to Washington, DC, at a time of an ideological shift towards global revanchism and gentrification. These specific murals reveal the settler colonial nature of gentrification in confrontation with anti‐colonial art and geographies. This study provides new insight into gentrification by illuminating the battles of multiple globalizations in cities and even on individual blocks.

Marketing and Self-Promotion in Early Modern Painting: The Case of Guercino

This article focuses on Guercino’s Return of the Prodigal Son, commissioned in the name of Cardinal Alessandro Ludovisi and on his marketing choices. This is a case study in terms of self-promotion tactics employed by an ambitious artist. My argument is that one finds in the painting a secondary and more sophisticated level of interpretation, which relates to the relationship between the painter and his patron. To the most traditional iconography of the scene, Guercino added musicians and spectators, thus positioning the entire composition in the theatre. One of the musicians is depicted in a way that casts him as a representative of the painter. The patron understood Guercino’s intentions and commissioned what became Guercino’s most important artworks. It was Guercino’s ability of shifting the attention of a given iconography and deliver current political meaning that is discernible in his Roman works commissioned by the same Cardinal Ludovisi who was elected Pope Gregory XV.

For Modern Children

For Modern Children

Retooling Medievalism for Early Modern Painting in Annibale Carracci’s Pietà with Saints in Parma

Annibale Carracci (1560–1609) drew on the Italian Renaissance tradition of the Man of Sorrows to advance the Christological message within the altarpiece context of his Pietà with Saints (1585). From its location at the high altar of the Capuchin church of St. Mary Magdalene in Parma, the work commemorates the life of Duke Alessandro Farnese (1586–1592), who is interred right in front of Annibale’s painted image. The narrative development of the Pietà with Saints transformed the late medieval Lamentation altarpiece focused on the dead Christ into a riveting manifestation of the beautiful and sleeping Christ worshipped by saints and angels in a nocturnal landscape. Thus eschewing historical context, the pictorial thrust of Annibale’s interpretation of the Man of Sorrows attached to the Pietà with Saints was to heighten Eucharistic meaning while allowing for sixteenth-century theological and poetic thought of Mary’s body as the tomb of Christ to cast discriminating devotional overtones on the resting place of the deceased Farnese Duke.

Modernist Art in Ethiopia

Modernist Art in Ethiopia

Cultural Elements In Kedah State Modern Painting

Kebudayaan adalah keseluruhan jalan hidup masyarakat atau segala aspek pemikiran dan perilaku manusia yang diwarisi dari satu generasi ke generasi lainnya melalui proses belajar. Gambaran tentang adaptasi unsur budaya dalam seni lukis tahun 1940-an hingga 2020. Kutipan akan dilakukan pada lukisan modern oleh pelukis sebagai kajian diskusi dengan menjelaskan gambaran bentuk fisiknya, menganalisis aspek formalistik dan menafsirkan kedua aspek tersebut. Terakhir, pembahasan kali ini akan melihat pengaruh unsur budaya terhadap keseluruhan lukisan Kedah modern. Beberapa seniman telah dipilih untuk menonjolkan lukisan bentuk budaya lokal ke dalam ruang seni saat ini. Ada empat unsur utama yang diekspresikan dalam pembentukan seni rupa, di antaranya terkait dengan konsep yang digunakan seniman seperti teknik, unsur formalistik, dan gagasan karya secara keseluruhan. Keseluruhan kajian terkait citra budaya negara Kedah berpedoman pada konsep nilai, pranata sosial, kebutuhan, dan lingkungan yang menjadi dasar hubungan dengan nilai budaya. Menggunakan pendekatan kualitatif dengan menggunakan teori Erwin Panofsky (1939). Pendekatan ini mengusulkan tiga tingkatan analisis: Prekonografi, ikonografi, dan ikonologi. Data yang diperoleh melalui hasil penelitian lisan, dokumen dan analisis karya yang secara signifikan akan melengkapi hubungan penelitian.