Representation In Painting Research Articles

Female Authority Figures in Dorothea Tanning’s Chasm: A Weekend

Abstract Little girls and young women are Dorothea Tanning’s recurrent archetypes, defining and structuring her conceptual archive concerning gender and the feminine. A celebrated painter and sculptor who shaped her artistic vision in the proximity of the historical avant-gardes, Tanning was also a writer who revealed the mystery and estrangement of family ties in Chasm: A weekend, a novel she started writing in 1943 and published six decades later, in 2004. This singular book offers a privileged dialogue between literature and art, as several episodes revisit and translate the high tension of some of her most representative paintings. From within a feminist framework, the article will discuss aspects of female authority and control in Tanning’s novel as dominant forms of female empowerment, present throughout her visual Surrealist oeuvre. I argue that examining these allegories reveals their role as connectors between the literary and the visual arts, between Dorothea Tanning’s fiction and her painting.

THE GIFT OF IDENTITY: (RE)PRESENTING AUTOCHTHONY IN CLASSICAL ATHENS

The Athenians of the fifth century BCE both created and were captivated by an unusual and memorable concept that provided citizens with an ancestry that was closely linked to the very earth they inhabited: autochthony. Although autochthony in classical Athens has been studied extensively, the methodology of viewing the myth as a representation of a ritual and performative act has not been widely considered. This paper reflects upon autochthony from the angle of its ceremonial (re)presentation, considering how iconography helped shape a concrete and specific understanding of Athenian civic identity, including familial ties with the gods and eponymous ancestors. By situating fifth-century visual representations in vase painting as the most effective conduit for what autochthony meant, we can better understand its power as a visual action that replicates a ritual gift.

Analysis of pigments and damages for the 19th century White-robed Water-moon Avalokitesvara Painting in Gongju Magoksa Temple, Republic of Korea

The White-Robed Water-Moon Avalokiteshvara painting displayed on the rear wall of Daegwangbojeon (main hall) in Magoksa temple, is one of the representative Buddhist paintings in the late nineteenth century of Korea, and a valuable resource for understanding the coloring techniques and characteristics of Buddhist paintings in terms of expression and description in landscape painting. In this painting, the contours and colored surface remain undamaged, but blistering and exfoliation appear on some pigment layers. Furthermore, the partial decomposition of wooden materials due to wood-decay fungi and insect damage were found on the rear wall requiring proper treatment for long-term conservation. As the results of chromaticity and P-XRF analysis regarding the color pigment layer of the painting, the pigments were classified into ten types. The results suggest that the colors other than blue, green, yellow, red, black, and white were prepared by mixing two or more pigments. The types of pigments according to colors, were determined as traditional pigments with azurite; emerald green or clinoatacamite; 0 massicot; minium or hematite; Chinese ink; and kaolin, white lead, and gypsum, respectively. Violet and pink colors were assumed to have been prepared by mixing white with blue and red. In most of these pigments, small amounts of synthetic compositions from the modern era were detected at many points.

“Arquétipo(grafia) obscura do feminino”, 2020. Performance instalativa multimedia com a colaboração da artista/performer Sol Casal (Br) e a participação da Cantadeira Sara Grenha, na Galeria Ana Lama, (25/10/2020), Lisboa

The universality’s myth power, and the sense of the sacred exercises, is explored in the multimedia installation performance “Arquétipo(grafia) obscura do feminino”, from the Russian tale “Vassalissa, the Wise”. The confrontation between Present Body/Virtual Body (and transpersonal) versus Time/Space dynamics (real and digital, and sound / word dialogue in the image) is related to an ancient psychic mapping about induction in the underground and wild world of the Female God, and with the recognition of the primordial woman’s instinct in varied ritualistic tasks. This Project refers to the meaning of the represent(action) of the body and the rite, focusing on the study of the symbols and archetypes of the female spiritual universe, and in the context of contemporary art and culture (namely, in the interaction between Art and Technology - creation image and moving images). We will try to demonstrate how these new devices can contribute to a deeper experience of the symbolic dimension and to the symbiosis between Art, Tecnhology and Spirituality. Raising this question: how does the crossing of the performative body, through the image (video in real time) and digital technology, reflect new modus operandis, with direct implications in a more expanded notion of the representation of Painting?

‘The Rose and Lily Queen’: Henrietta Maria’s fair face and the power of beauty at the Stuart court

AbstractThe marriage of Henrietta Maria (1609–69) and Charles I (1600–49) was presented in literature and prints as the joining of the ‘lily’ (France, the queen) and the ‘rose’ (England, the king). Harnessing these floral analogies, this article examines how Henrietta Maria’s fair face was invested with social, political and medical import, and as such was widely cultivated and enhanced through physic, sartorial choices and painted representations. Her skin texture and colouring were considered a mirror of her dynastic pedigree, marital status and good health. The white and red palette of the lily and the rose were intrinsic to longstanding ideals of facial colouring, and to youthful bloom and fertility. This colouring was marshalled by painters such as Anthony van Dyck in her portraits, and strategically deployed through her clothing. Her physician, Theodore de Mayerne, also provided her with prescriptions to clean, smooth and restore her face. As such, the queen’s facial skin functioned as a mirror of her quality, a paradigm of health and a canvas for artists, wardrobe specialists and physicians to cultivate and highlight her natural beauty. The analysis is built on a range of primary sources including treatises, wardrobe accounts, herbals and cosmetic recipes.

The Power of Photographs in Richter's Paintings - The Essence of Photographs and the Representation of Paintings

The Power of Photographs in Richter's Paintings - The Essence of Photographs and the Representation of Paintings

Сакральний аспект образу дитини у польському та західноукраїнському живописі початку 20-го століття: соціально-історичний контекст та регіональна специфіка

he late 19th and early 20th centuries marked significant changes in the social perception of children and childhood in Europe and the US. The phenomenon was vividly reflected in works of art, including painting. Images of children and childhood acquired new positive connotations. A rather ambiguous notion of “innocence” became one of the most important characteristics of childhood. The category was associated with children’s ability to receive more profound and intense religious experiences in comparison to those of adults. Poetry, philosophy, and art of that time emphasized this aspect of idealised childhood. In this research, we examine and compare works of easel and monumental painting on religious subjects by American and Western European as well as Polish and Ukrainian artists which depict children and childhood. We address both works intended for sacred spaces and secular paintings containing symbols and allusions borrowed from Christian imagery. The article looks into the genesis of the sacralised image of children and childhood in Western cultures, its specific features and ways of its representation in painting, including local traditions. The study focuses on the portrayal of peasant children in paintings by Polish and Ukrainian artists (Jacek Malczewski, Kazimierz Sichulski, Wlastimil Hofman, Oleksa Novakivskyi, Yulian Butsmaniuk) on religious subjects. The sacralisation of village children in Central and Eastern European art constitutes a peculiar artistic phenomenon closely associated with the social structure as well as political situation in the region. In the course of the research we employed a range of methods—formal, iconographical, iconological analysis, content analysis and semiological analysis.

Comparative analysis of mythological role of Layla in poems of Nezami and Jami and its representation in Iranian painting

Comparative analysis of mythological role of Layla in poems of Nezami and Jami and its representation in Iranian painting

Imaging and spectroscopic data combined to disclose the painting techniques and materials in the fifteenth century Leonardo atelier in Milan

The project “Leonardesque Artists beyond the Visible” was planned on the 500th anniversary of the death of Leonardo da Vinci, with the occasion of an exhibition held in Milan in 2019, where more than twenty works made by Leonardesque masters have been put on display. Among them, five representative paintings made by his closest pupils were selected for a comprehensive and multidisciplinary project. Portable non-invasive imaging and spectroscopy techniques were applied to supply useful information to scholars but also to the wider public: description of the material composition of the pigments, of the preparation and of the binders, existence or absence of underdrawing, and identification of the painters’ technique and style. Particular attention was paid also to the image processing techniques, mostly for hyperspectral and radiographic data, to get the most from both innovative and traditional techniques.Results highlighted for each author a peculiar painting technique showing hidden features such as pentimenti and the panel preparation methods, pigments, binders and varnishes.

Caïn et Abel : de la Bible à la peinture du XIXe siècle

This article proposes to examine, first of all, the literary myth of Cain, whose different mythemes meet much more in his representation in painting than in his literary rewritings. Apart from this, the article undertakes to study the pictorial choices of the representation of the biblical episode of Cain and Abel in four paintings from four different artistic movements of the 19th century, in order to see how each artistic movement and each painter appropriates and then transposes the episode of the enemy brothers into painting. Cet article se propose d’examiner, dans un premier temps, le mythe littéraire de Caïn dont les différents mythèmes se rencontrent beaucoup plus dans sa représentation en peinture que dans ses réécritures littéraires. Dans un second temps, l’article entreprend d’étudier les choix picturaux de la représentation de l’épisode biblique de Caïn et Abel dans quatre tableaux issus de quatre courants artistiques différents du xixe siècle, afin de voir comment chaque courant artistique et chaque peintre s’approprie et, par la suite, transpose en peinture l’épisode des frères ennemis.

Exploring the Representativity of Art Paintings

Art painting evaluation is sophisticated for a novice with no or limited knowledge on art criticism, and history. In this study, we propose the concept of <italic xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink">representativity</i> to evaluate paintings instead of using professional concepts, such as genre, media, and style, which may be confusing to non-professionals. We define the concept of representativity to evaluate quantitatively the extent to which a painting can represent the characteristics of an artists creations. We begin by proposing a novel deep representation of art paintings, which is enhanced by style information through a weighted pooling feature fusion module. In contrast to existing feature extraction approaches, the proposed framework embeds painting styles, and authorship information, and learns specific artwork characteristics in a single framework. Subsequently, we propose a graph-based learning method for representativity learning, which considers intra-category, and extra-category information. In view of the significance of historical factors in the art domain, we introduce the creation time of a painting into the learning process. User studies demonstrate our approach helps the public effectively access the creation characteristics of artists through sorting paintings by representativity from highest to lowest.

Women under Men’s Brushes: Representation, Production, and Cultural Consumption of Painting of Court Ladies in the Tang Dynasty

Women under Men’s Brushes: Representation, Production, and Cultural Consumption of Painting of Court Ladies in the Tang Dynasty

A Paleolithic bird figurine from the Lingjing site, Henan, China.

The recent identification of cave paintings dated to 42–40 ka BP in Borneo and Sulawesi highlights the antiquity of painted representations in this region. However, no instances of three-dimensional portable art, well attested in Europe since at least 40 ka BP, were documented thus far in East Asia prior to the Neolithic. Here, we report the discovery of an exceptionally well-preserved miniature carving of a standing bird from the site of Lingjing, Henan, China. Microscopic and microtomographic analyses of the figurine and the study of bone fragments from the same context reveal the object was made of bone blackened by heating and carefully carved with four techniques that left diagnostic traces on the entire surface of the object. Critical analysis of the site’s research history and stratigraphy, the cultural remains associated with the figurine and those recovered from the other archeological layers, as well as twenty-eight radiometric ages obtained on associated archeological items, including one provided by a bone fragment worked with the same technique recorded on the object, suggest a Late Paleolithic origin for the carving, with a probable age estimated to 13,500 years old. The carving, which predates previously known comparable instances from this region by 8,500 years, demonstrates that three-dimensional avian representations were part of East Asian Late Pleistocene cultural repertoires and identifies technological and stylistic peculiarities distinguishing this newly discovered art tradition from previous and contemporary examples found in Western Europe and Siberia.

A Unified Account: Pictorial, Photographic and Sculptural Seeing as Spectral Seeing

AbstractI extend my account involving the notion of “spectral seeing” from representation in painting (and drawing, etching, etc.) to representation in photography and sculpture. The account is psychological, but it steers clear of the psychological complexity often found in Wollheim‐derived accounts of pictorial representation; indeed no extra‐ordinary special sensory capacity is involved. That the account extends so naturally to these other non‐linguistic varieties of representation is a virtue of the account.

MODEL OF MURAL PAINTING IN THE INPATIENT ROOM OF FATMAWATI HOSPITAL

The research model of mural painting in the children's ward of Fatmawati Hospital is interesting not only as a beauty but also the beauty it gives to patients. The model of mural painting as a form of instrumenta art works that aims and serves as the beauty of a child's inpatient room to further provide calm, coolness and peace to the pediatric inpatients. By using Terry Barrett's interpretation research method, the interpretation research method must include the contextualization of substantial creative work. And the development model of Borg and Gall, Dick and Carey. As a method that is integrated as a representation of mural painting. Thus the study would like to see interpretations and models of mural paintings in inpatients at Fatmawati Hospital, as part of direct treatment that can alleviate and provide healing to patients indirectly. The model of mural painting in the children's ward of Fatmawati Hospital is part of the value of painting that has an influence on pediatric patients in the inpatient room. Conclusion The model of the value of mural painting as part of identity, sign and character as well as part of participation in involving the public in an awareness of the beauty of mural painting as a value of socio-cultural reality. The value model of mural painting is based on the ability of affective aspects, where the experience of taste and spirit becomes a strength in providing life force for children.

Ligne, sensation et métaphore dans la peinture persane du XVe siècle

This article explores the tension between sensation and representation in Persian painting, and the role of the line in expressing and embodying the metaphorical possibilities of the medium. Persian painting from the fifteenth century has most often been approached as illustrative, a grid of figures and motifs representing fixed meanings. This paper argues that Persian painting’s system of representation, although seemingly articulated into differentiated signs, cannot be reduced to a pre-given text. Using primary sources that illuminate the terms in which Persian painting and drawing could be described by their historical audiences, I reveal that contemporary viewers were also attentive to the sensory work of the artist, especially visible in the line’s materiality. Examining the lyrical verve of each motif’s contour, the period eye uncovered the artists’ sensation, as well as a series of images linking the line to the artist’s bodily movements, the face of the beloved, and the pursuit of mystical desire.

Cloud and Weather Symbols in the Historic Language of Weather Map Plotters

AbstractWeather mapping began in the nineteenth century when telegraphs began sending simultaneous observations of conditions at the surface of Earth to weather stations around the world. Indicating the complexity of the clouds and weather seen at a site needed a common naming system and simple symbols that were independent of language, since telegraph signals crossed international borders. The first symbols representing clouds were abstracted and stylized versions of their artistic representations in naturalistic drawings and paintings. By the end of the nineteenth century, however, photography began to replace hand-drawn illustrations. Before the advent of color film, black and white photographs were sometimes even reproduced in colored inks using new mechanical printing processes. Nineteenth-century meteorologists developed symbols for various cloud types in the form of simple lines and curves suggestive of the pictures. In contrast, weather symbols (for rain, snow, fog, hail, etc.) were drawn largely from a lexicon of nonalphabetic written symbols, such as punctuation marks. Skilled map plotters used these simple symbols, suggestive of complex weather and clouds, to transfer telegraph and Teletype codes to visually meaningful hand-produced maps. The craft of manual weather map plotting reached an apex in the 1940s–60s. With advances in digital and satellite technology and automation of surface weather observations, the symbols used in traditional weather mapping have largely disappeared from daily use.

Sic vita est: Visual representation in painting of the conceptual metaphor LIFE IS A JOURNEY

Abstract This article analyzes how the conceptualization LIFE IS A JOURNEY is conveyed within a series of paintings ranging from the fifteenth century to the twentieth century. While the previous research on visual metaphor generally aims to describe how the domains of metaphorical conceptualization interact or discusses the rhetorical effect that visual metaphor is able to induce, this article takes a historical perspective in order to identify the main conceptual aspects shared by the paintings under consideration. It is proposed that the concept of a JOURNEY is associated with a PURPOSIVE ACTIVITY that involves the start of the journey and its termination as two qualitatively different moments that are faced as a collective/shared experience and that are inspired by some human wish. This article also shows how the conceptual potential of metaphor tends to maintain a coherent representation although the paintings represent different historical sensitivities and artistic approaches.

Selective clustering for representative paintings selection

Selective classification (or rejection based classification) has been proved useful in many applications. In this paper we describe a selective clustering framework with reject option to carry out large-scale digital arts analysis. With the help of deep learning techniques, we extract content-style features from a pre-trained convolutional network for the paintings. By proposing a rejection mechanism under Bayesian framework, we focus on selecting style-oriented representative paintings of an artist, which is an interesting and challenging cultural heritage application. Two kinds of samples are rejected during the rejection based robust continuous clustering process. Representative paintings are selected during the selective clustering phase. Visual qualitative analysis on small painting set and large scale quantitative experiments on a subset of Wikiart show that the proposed rejection based selective clustering approach outperforms the standard clustering methods.

The Invention of Body Representation in Modern China: Case Study of Liu Haisu and the “Model Event”

Abstract This article analyzes the “Model Event” that shook the Chinese art world around the 1920s in order to investigate the issue of aesthetic modernity by comparing two different épistémès of Chinese and Western culture. Totally different from Western culture, in China's premodern mainstreams culture, the naked human body was hardly represented except for pornographic purposes. In the West, the nude human body has been a frequent subject of representation in painting because it corresponds to ideas about form and perfection, making these ideals or the “essence” of a person or idea visible and concrete. Possibilities for bodily representation depend on the respective épistémès to which cultures, such as Chinese and Western cultures, are linked. In early twentieth-century China, Liu Haisu's use of naked models incurred great censure from many members of the gentry because he intended to represent the human body objectively in the name of art. But Liu Haisu and his allies won the battle at last by illuminating and convincing their opponents of the self-explanatory superiority of Western culture. Worth notice is that during this debate, Liu and his friends tactically replaced the difference between the épistémès of Chinese and Western cultures, one emphasizing practical wisdom, and the other truth, with that between premodernity and modernity, which undermined their victory because the crucial Western épistémè did not play its due role to reform Chinese culture. This further implies that representation of the body will again become impossible if the values of modernity are called into question.