Painting Style Research Articles

Su Shi’s Artistic Legacy as a Man of Letters: Insights into Song Dynasty Paintings

As a man of letters, Su Shi’s poetic art spirit energized the Song paintings. As for painting, Su Shi advocated the idea of “unconscious of the boundary between oneself and the external world”, “unity of poetry and painting”, and “perfection of form and spirit” in creation and aesthetics. That is to say, he pursued not only the Naturalness but also humanistic and poetic connotations. His art spirit contributed to the formation of the concept of “literati painting”. Through exchanges with other artists, Su Shi’s poetic spirit spread both inside and outside the imperial court, shaping the overall style of the Song paintings by osmosis.

Color Expression and Mood Creation in Imagery Oil Painting

Oil painting is a traditional Western painting form. With the introduction of China and the influence of China’s traditional painting and aesthetics, the painting style became more distinctive, expanding a new development direction of oil painting, and thus imagery oil painting came into being. Color, as the most important element in imagery oil painting, mainly plays the role of mood creation and emotional expression. Many creators are good at injecting their thoughts and emotions into the paintings through color matching, so as to enhance the artistic expression of the paintings. This paper analyzes the color expression characteristics of imagery oil painting and explores the color expression techniques in imagery oil painting and mood creation of imagery oil painting from several aspects.

DIGITIZATION OF SHEKHAWATI MURALS USING AUGMENTED REALITY TECHNOLOGY

This paper presents the experimental digital documentation of Shekhawati murals using an augmented reality simulation system. Augmented reality is the most influential technology of this era. All other sectors are using AR to obtain the best results in a minimum amount of time and produce outstanding products and services for the masses. This paper tells the story of augmented reality technology’s intense relationship with traditional paintings in terms of creativity and showcases the experimental use of artificial reality technology to build a digital version of an open art gallery in Rajasthan. Shekhawati murals are huge and contain beautiful drawings and painting styles, unique colour palates, and incredible composition settings, all of which have the essence of our rich tradition. The digitization of the characteristics of murals and the application of artificial reality technology made this open art gallery virtually accessible for pedagogical use.This article discusses the approach of 3D digitisation techniques in wall painting murals, including testing. The project was tested based on the requirements of Shekhawati Havili's wall paintings and their digital equivalent using an open-source technology that may be utilised for several purposes. Because the total project was created using open-source techniques, anybody can access the project to experience the Haveli paintings and their specifications.

The Aesthetic Value of Caravaggio’s Light and Shadow Technique from a Geometric Perspective

Abstract Caravaggio was an influential Italian painter of the 17th century who made important contributions to the development of later European art, both in terms of light and shadow techniques and in terms of ideas. This study first explores the characteristics of Caravaggio’s paintings and briefly explains Caravaggio’s painting style, light and shadow processing techniques, and their significant influence. Secondly, based on the visual perception art understanding method and aesthetic law, the curvelet geometric transformation is utilized to interpret the characteristics of different styles of Caravaggio’s light and shadow techniques in terms of three geometric features: multi-scale amplitude, coefficient distribution curve, and image non-smoothness. Finally, the aesthetic value of Caravaggio’s light and shadow techniques is interpreted from the geometric point of view by using six works from different periods: Caravaggio’s The Doubt of St. Thomas, The Supper at Emmaus, The Basket of Fruits, The Diviner, Narcasus and Judith Cutting down Hierophant as the research materials. The results show that Caravaggio’s light and shadow technique in the early stage of his creative career is characterized by a high low-scale coefficient and a low high-scaled coefficient, which indicates that there are more thick lines and fewer details. The maximum smoothness value of the works is 0.4035 respectively. The light and shadow technique in the later stage of his creative career is characterized by a low scale coefficient and a high scale coefficient, which means that he uses more fine lines to depict the details and less thick lines, reflecting the fact that the light and shadow technique in the later stage of his creative career is characterized by a low scale coefficient and a high high scale coefficient. Caravaggio’s light and shadow technique is characterized by a low scale factor, a high scale factor, and the use of fine lines to depict details and fewer thick lines, reflecting the light and shadow characteristics of Caravaggio’s light and shadow technique, which is depicted by the use of brushes and mineral pigments, and highly demonstrating the aesthetic value of his realist painting.

The Development and Application of Computer-Assisted Painting Technology in the Convergence of Art and Technology

Abstract With the development of computer technology, digital painting has become more and more mature, which makes the whole creative process of painting more convenient, efficient, and diversified. This paper first introduces the definition, development history, and application of digital painting. A computerized painting model is created using knowledge representation, and the basic unit of the painting model is described. The paintbrush consists of hair filaments, each of which has its color tone and strokes. The brush’s movements are a result of position, pressure, and color tone, while the picture is a collection of strokes. Geometric transformations such as translation, rotation, and scaling are applied to the geometric information describing the strokes. This approach enables the simulation of painting effects, including the creation of scratches, color diffusion effects, texture mapping, and mutations on the strokes. This paper’s model enhances the painting skills of art students in six dimensions, achieving an efficiency evaluation score of 93 and a quality evaluation score of 96 in the abstract painting style. This model meets the realistic requirements for the advancement of computer-aided painting technology in art creation at a high level.

The influence and development of painting therapy on psychological treatment of Chinese teenagers

With the satisfaction of material basis, people have paid more attention to the spiritual field, and psychological treatment has attracted more people’s attention. As an important form of psychological treatment, art therapy plays an important role in regulating psychology. As the group with a high frequency of psychological problems, contemporary teenagers should be the main target of social attention. As an effective healing method that is more easily accepted by teenagers, art therapy needs to be noticed by more people. This article focuses on painting therapy and summarizes the development of art therapy. At the same time, aiming at the Chinese youth group, summarizes the current situation of Chinese art therapy, and puts forward suggestions. This paper has conducted research in two aspects: Firstly, through case studies, the effectiveness of painting therapy was explored; Secondly, through a literature survey, the effectiveness of painting therapy on teenagers was explored, and the influence of different painting styles and different fields on the healing effect is explored. The research results show that painting therapy can effectively improve the psychological condition of teenagers, and natural art is the most effective form of painting for teenagers’ healing effect.

Deep Learning-Based Image Style Transformation Research on Landscape Paintings of Wei, Jin and North-South Dynasties

Abstract In this paper, the convolutional neural network is applied to the processing of stylistic features in the images of landscape paintings of Wei Jin and North and South Dynasties. After convolution and pooling activation, rich and less parametric feature maps are generated to lay a solid foundation for generative adversarial networks. Meanwhile, in order to ensure the rigor of the image dataset of landscape painting images under scene transformation, an improvement is proposed on the basis of traditional GAN technology, and a function represents the improved CycleGAN model. The experimental dataset has been constructed, and the loss function, network training, and hyperparameters have been designed for the model. The visual and conversion outcomes of the model-generated images are evaluated through simulation experiments. The migration of all landscape painting style textures is within the range of (0.5,2.4) at a gray level of 8. The migration styles increase as the gray level increases, and the data between groups does not overlap. In the subjective evaluation of the landscape painting style transformation generated by the model used in this paper, the score of the generated image is 3.8135 points, while the number of high scores is more than 65% of the votes. The model constructed in this paper has a better effect on the transformation of the image style of the Wei, Jin, and North and South Dynasties, and it can satisfy people’s visual needs.

“VICTORY CODE”: THE PAINTING BY OLGA KARPENKO AS A REFLECTION OF ARTISTIC PROCESSES IN UKRAINE DURING THE WAR

Modern Ukrainian art has a heterogeneous, rather rapidly pulsating character. Its latest history formally begins in 1991, when Ukraine began to write its own art history. Stages of development of contemporary Ukrainian art in the first quarter of the 21st century became extremely short. The most extreme of them to date has a duration of only one and a half years – It began on February 24, 2022, from the moment of the full-scale invasion of Russian troops into the territory of Ukraine. It was the war that became the Rubicon that changed the value orientations of artistic processes in Ukraine. The article is an episodic review of the creative biography of the Kyiv artist, painter, designer, scientist Olga Karpenko of the wartime era. The purpose of this investigation is to supplement the picture of the creative chronicle of Olga Karpenko, emphasizing the reasons that provoked a change in her style and plot. She possesses all the advantages of genre variety – portrait, still life, plot compositions (of different directions), but the landscape always attracted the most attention – free, fast, sketchy, light. But the main note that affects all of Olga Karpenko's work since February 2022 has become the note of war. A comparative analysis of the painting style of the previous years, when a light palette, textured painting, and impressionistic influence prevailed, with the creativity of the two war years, when both the subject of the painting and the color scheme, was made. The reasons for these changes are highlighted, the analysis is based on the material of the exhibition “War and Victory”, which took place in the “Hlibnya” gallery in May-June 2023. The narrative canvases, portraits, landscapes of the artist, created during 2022-2023, are highlighted, and the peculiarities are analyzed transformations of artistic language, reasons for stylistic changes. Emphasis is placed on colors, rhythms of painting. Two canvases of 2023 are highlighted as a visualization of the “victory code” in Olga Karpenko's painting of the war period.

Thomas Gainsborough’s “Carelessness”: Portraiture, Technique and Individuality

This article delves into Thomas Gainsborough’s distinctive painting style, characterised by fluid, expressive brushwork, and how it was perceived by his contemporaries as a form of “carelessness.” By revealing the mechanics of his craft, Gainsborough simultaneously inscribed his work within the prestigious lineage of the Old Masters, while also redefining the concepts of portraiture and identity. The article explores the historical lineage of his technique, noting that Gainsborough’s “odd scratches,” as described by Joshua Reynolds, are reminiscent of a painting tradition identified by the art historian Nicola Suthor as “bravura.” Yet it also addresses a specific cultural context by discussing the perceived femininity of Gainsborough’s style and its significant role in shaping the evolving concept of individuality during the late 18th century. The article argues that Gainsborough’s deliberate “studied carelessness” contributed to the new regime of individuality prevalent in the age of sensibility. Furthermore, it examines the influence of Gainsborough’s technique in shaping a national art school in Britain and his impact on late Victorian artists, emphasising the dual nature of his style as both an expression of individual genius and a reflection of broader trends in British art.

A Comparative Study of Early and Late Painting Styles in Zhang Daqian’s Lotus Works

A Comparative Study of Early and Late Painting Styles in Zhang Daqian’s Lotus Works

초원(蕉園) 김석신(⾦碩⾂)의 생애와 회화 연구

Kim Seok-shin (⾦碩⾂, 1958~?) was born into a major family of painters during the Late Joseon Dynasty, Kaesung Kim family (開城⾦⽒), and was a painter of the court under the reign of Jeongjo and Sunjo. Although he was overshadowed by the fame of his uncle Kim Eung-hwan(⾦應煥, 1742?~1789) and brother Kim Deuk-shin (⾦得⾂, 1754~1822), he indeed was a capable painter with substantial talent in landscape painting.
 There are five pieces of true-view landscape paintings by Kim Seok-shin depicting the real landscape of suburbs of Seoul. Of these, Dobongdo (道峰圖), as its title suggests, appears to have been produced by Kim Deuk-shin upon the request of Dobongsan sightseeing by Criminal Judge Lee Jae-hak(李在學, 1745~1806) and Left Uijeong Seo Yong-bo(徐⿓輔, 1757~1824) in 1805 (Sunjo Year 5). Other paintings are also determined to have been painted at the same time as they depict scenic places around Seoul and the sizes and strokes are all similar. These paintings by Kim Seok-shin express popular spots of the Han River as realistically as possible and in an original way under direct and indirect influence by senior painters including Jung Seon (鄭敾, 1676~1759), Sim Sa-jung (沈師正, 1707~1769), Kim Eung-hwan, and Kim Hong-do (⾦弘道, 1745~1806?). Especially, apart from Kim Deuk-shin who was greatly influenced by Kim Hong-do, directly succeeding Kim Eung-hwan’s style, who had been influenced by Jung Seon and Sim Sa-jung, his style is more apparent in demonstrating Kaesung Kim family’s style, as well as the variety and process of change of landscape paintings during the Late Joseon Dynasty. Furthermore, his descendants continued to work as painters of the court as family business, lading to a conclusion that his painting style may have provided certain impact on establishing Kaesung Kim family’s style. In conclusion, Kim Seok-shin appears to have played a pivotal role in establishing Kaesung Kim family as a prestigious painters family, and substantially impacted the court painting style during the Postand Late Joseon Dynasty.

Early Neolithic red-painted pottery from the Prandocin site, southern Poland. Indirect transfer in a technological context

The paper presents the results of specialized research on a small collection of artefacts of the Linear Pottery Culture in southern Poland. Among the 27 pottery fragments discovered at the Prandocin Site 1, a few painted fragments were identified. Such kind of painting style directly relates to the Želiezovce group of this culture in western Slovakia. Painted vessels are rarely found in the context of the Linear Pottery Culture in Lesser Poland (Małopolska), which is why special attention was given to raw material and technological studies of the ceramics. The study aimed to answer the question of whether the painted vessel was produced locally or if it representsevidence of direct migration of people, objects, or ideas from the areas of present-day western Slovakia at the turn of the 6th and 5th millennium BC.

Reinterpretation of brazilian artistic works using recycled material with students from youth and adult education

This paper presents the results of an outreach project carried out with students of the Youth and Adult Education (YAE). The theme was developed from the idea of associating artistic culture with the recycling of solid materials. The project’s goal was to introduce students to the practice of separating solid waste produced in their homes, at school, and in other environments, as well as to promote cultural actions, through the creation of creative reinterpretations of works of art by Brazilian artists. To achieve this goal, two themes were addressed: the Sustainable Development Goals (SDGs) and naïve art, a style of painting in which artists express themselves spontaneously, also known as “spontaneous art". Knowing this, the students were challenged to create their own reinterpretation of naïve works of art using reusable materials. This project provided formative and socio-environmentally significant learning by helping the students understand the outreach practices. The dissemination of the UN SDGs through the actions carried out (visits, production and delivery of folders, lectures, reinterpretations of works of art) enabled the construction of ethical and environmentally responsible knowledge.

From Perugino to Picasso revisited: Electrophysiological responses to faces in paintings from different art styles

Behavioral research (Ventura, et al., 2023) suggested that pictorial representations of faces varying along a realism-distortion spectrum elicit holistic processing as natural faces. Whether holistic face neural responses are engaged similarly remains, however, underexplored. In the present study, we evaluated the neural correlates of naturalist and artistic face processing, by exploring electrophysiological responses to faces in photographs versus in four major painting styles. The N170 response to faces in photographs was indistinguishable from that elicited by faces in the renaissance art style (depicting the most realistic faces), whilst both categories elicited larger N170 than faces in other art styles (post-impressionism, expressionism, and cubism), with a gradation in brain activity. The present evidence suggest that visual processing may become finer grained the more the realistic nature of the face. Despite behavioral equivalence, the neural mechanisms for holistic processing of natural faces and faces in diverse art styles are not equivalent.

A Deep Learning-Based Multidimensional Aesthetic Quality Assessment Method for Mobile Game Images

Mobile games have played an increasingly significant role in people's leisure lives in recent years, thanks to the fast expansion of the gaming industry and the widespread use of mobile devices. The aesthetic quality of game pictures is a very important factor that attracts users' interest. However, evaluating the aesthetic quality of mobile game pictures is difficult since the painting styles of games vary greatly and the evaluation criteria are also diversified. In this paper, we propose a multi-task deep learning based method, which is able to predict the aesthetic quality of mobile game images in multiple dimensions (MGQA). The proposed model consists of two modules, a feature extraction module and a quality regression module. We extract quality-aware features from intermediate layers of the deep convolution neural network (CNN) and then incorporate them into the final feature representation in the feature extraction module, allowing the model to fully use visual information from low to high levels. The quality regression module uses fully connected (FC) layers to map quality-aware features into quality scores across multiple dimensions. The multi-dimensional aesthetic quality scores are trained using a multi-task learning approach, in which quality-aware features are shared across multiple dimensional quality prediction tasks. Finally, several key factors which help the proposed model perform better are analyzed. The experimental results indicate that our proposed method not only achieves the greatest performance on mobile game images, but also is applicable to natural scene images.

교내 도서관 대출도서를 통해 살펴본 초등 저학년이 선호하는 그림책의 특성 연구

This study analyzes the characteristics of picture books preferred by first and second graders, focusing on in-school library loan books of five public elementary schools in Korea. There are four criteria for preference analysis: ‘author’, ‘publisher and publishing year',‘genre',‘theme', and‘painting style'. The subjects of the study were 1,485 lower grades from five elementary schools in four regions, and the data targeted the top 100 picture books that these students borrowed from the school library from 2023.03.02. to 2023.08.31. As a result of the study, the countries preferred by the lower grades were Korea, Japan, the United States, and the United Kingdom in order, and the lower grades tended to prefer picture books with publication years after the 2000s. In addition, picture books with stories were preferred over verse picture books and information picture books, and fantasy stories were especially preferred. Next, the subjects of the lower grade's most preferred picture books were ‘growth’, ‘preference’, and ‘family’. Then 1st and 2nd graders preferred‘artist style' that shows well artist's personality. Research examining the preference for picture books of lower grades can provide a basis for future related research. First, it can be a starting point for research comparing parents and teachers' preferences for picture books with children's preferences within the concept of dual readers, and can provide clues to picture books that school teachers can use in the curriculum. It will also help you understand children's emotions through picture books and understand their level of understanding, emotions, and thoughts about picture books in depth.

긍재(兢齋) 김득신(金得臣, 1754-1822)의 산수화 연구

Geungjae (兢齋) Kim Deuk-shin (金得臣, 1754-1822) is known as one of the three genre painters along with Kim Hong-do (金弘道, 1745-1806?) and Shin Yun-bok (申潤福, 1758-1817 afterwards) or only as a painter who had been largely influenced by Kim Hong-do. In fact, he was a 44-year veteran Dohwaseo painter who had participated in important national art projects. Aside from his famous genre paintings, his extraordinary talent in portraits, landscapes, birds and animals, and flowers and animals established him as one of the best painters during the period. Especially, his results in Nokchwijae (祿取才: the state examination for court painters) demonstrates his ability in landscape painting among other themes as well as how much recognition he received at the time; some of these works are currently available.
 Kim Deuk-shin’s landscape paintings carry two styles of landscape painting in Late Joseon Dynasty: literati landscape painting of the ideal and conceptual landscape and true-view landscape painting that painted mountains and rivers in Korea. This allows better understanding of his diverse works, as well as the variety of trends and transformations of the landscape painting in the Late Joseon Dynasty. In addition, compared to other themes such as genre, figure painting of Taoism and Buddhism, birds and animals, and flowers and animals that had been apparently influenced by Kim Hong-do’s style, his landscape painting has a different pattern due to being directly and indirectly influenced by a number of preceding painters including Jeong Seon (鄭敾, 1676-1759), Sim Sajeong (沈師正, 1707-1769), Kim Eung-hwan (金應煥, 1742?-1789), and Kim Hong-dothat were largely established in the area of landscape painting At the same time, it is also possible to observe the Gaeseong Kim family’s painting style from Kim Deuk-shin’s landscape paintings as they show association with those of his uncle Kim Eung-hwan, brother Kim Seok-shin (金碩臣, 1958-?) and Kim Ha-jong (金夏鍾, 1793-1875 afterwards). Kim Deuk-shin’s landscape painting style may have been passed on to Kim Seok-shinand Kim Ha-jong through secondary influence from Kim Eung-hwan, who was influenced by Jeong Seon and Sim Sajeong. Based on this, his landscape painting style appears to have had a significant influence on the establishment of the painting style within the Gaeseong Kim family and on later generations of court painters.

Who, or Rather, What Painted This? Generation Z's Attitudes Towards Artificial Intelligence Artworks

Throughout art history, the exact boundaries of what can and cannot be considered art has long been debated, and the rise of artificial intelligence (AI) algorithms that produce artworks has rekindled this debate in the context of technology. History indicates that the answer to what is considered “art” largely depends on the evaluator’s personal definition of creativity and their perception of the artist, which gives reason to investigate people’s attitudes towards AI art. Pre-existing research has discovered a negative perception bias towards AI artists in adult generations. However, no studies have been conducted on Generation Z specifically. Gen Z possesses a close association to technology which distinguishes them from previous generations, and could therefore produce differing attitudes towards AI art. Therefore, this study seeks to investigate: what are Generation Z’s attitudes towards AI art? This study defined “attitudes” to combine attitudes towards the artist, and attitudes towards the artworks. Therefore, a mixed method study consisting of 1) a ratings test to examine any perception biases towards AI artists, and 2) a questionnaire to investigate the criteria Gen Z used to determine value in AI artworks were combined to answer this question. It was concluded that Generation Z had a neutral attitude towards AI artists and responded rather well to AI art styles of landscape paintings.

‘Dripping venison memory’: the radical ekphrasis of Max Porter’s The Death of Francis Bacon

ABSTRACT This paper explores the radical ekphrasis employed by Max Porter within his 2021 novella, The Death of Francis Bacon. Blurring prose, poetry and quasi-fictional biography, the text greatly elaborates upon more traditional and classical forms of ekphrasis, exploring all new methods of adopting the form. Alongside Porter's linguistic-aesthetic mosaic there is a theoretical acuity to his assimilation which resonates greatly with Gilles Deleuze's 1981 creative-critical study, Francis Bacon: The Logic of Sensation. Porter demonstrates the great potentiality of his innovative expansion of the form as a means to enhance our understanding of an artwork and to give an intimate glimpse into the processes undertaken by the artist, testing the ground for literary methods which evoke Bacon’s iconic style of painting, as well as pondering how to capture a true sense of his philosophical impetus. Porter seems particularly interested in considering the process of readership itself; the very act of conjuring mental images while reading - particularly through literary metaphor - and how this experience can be manipulated in writing to reflect Bacon’s visual aesthetics.

Painted eggs in the Muslim and Christian traditions

Eggs are a symbol of life, reproduction and restoration of nature for many nationalities. The oldest egg decoration ceremonies are known to have taken place among Zoroastrians, whose historical heartland lies in Azerbaijan, India and Iran. The ancient tradition of decorating eggs connects the culture of historical Persia to contemporary Europe. In many Eastern European countries, including Poland, Hungary, Romania and Ukraine, these practices persist up to the present where painted eggs serve as national symbols. While the patterns on the eggs and the style of painting may differ (Iran’s Nowruz holiday eggs are different from European Easter Eggs), there are similarities in the decorative techniques used by the Slavic peoples of Ukraine, Poland and Romania who have preserved the tradition of treating the egg as a sacred source and repository of nascent life which has a protective power.