Practice Of Painting Research Articles

Review: Painting in Stone: Architecture and the Poetics of Marble from Antiquity to the Enlightenment

Review: <i>Painting in Stone: Architecture and the Poetics of Marble from Antiquity to the Enlightenment</i>

Untrammelled ways: Reflecting on the written text, nourishment and care in online teaching

As the COVID-19 pandemic gathered momentum in 2020, it became clear that online teaching spaces risked a distancing from the embodied knowledge so necessary to creative education. Teaching written texts to creative practitioners is a process that calls for alternative spatial and visual literacies, for ontological methods, for honouring experience and reflection – especially in a neo-liberal climate of higher education. In my teaching practice, as well as writing and painting practices, I like so many others have sought spaces for nourishment during this era. Through my teaching and a collaborative research group, one space in which I located this was via hope. This is a time to ask if we can use this moment in history to encourage thinking in an untrammelled manner and to move more freely in the unfamiliar, to transform the classroom; to seek materiality as a method of interpretation, even online; to encourage fearlessness, plurality and relationality; to use craft methods; and to enter a space of care and emotional openness. This contribution will consider creative allyship between staff and students, with the written text as a place of beginning. This is a deliberately open-ended, exploratory, personal and reflective piece of writing, gathered during teaching and research from 2020 to 2022. ‘Ways of Writing’ are explored both through the method of this article as well as its content.

The Call of the Great Indoors

In February-March, 2021, Hermes, a gallery in Halifax, Nova Scotia about the size of two large living rooms showed an exhibition called ESCAPE / The Great Indoors. Curated by Halifax’s then Young Curator Liuba González de Armas, the exhibition brought together “cozy, bright, and colourful explorations of domestic space by four emerging artists” working with textiles, painting, installation, and social practice. In this piece, I explore ESCAPE / The Great Indoors through interviews with the curator and one of the artists, its written documentation, and my responses to the pieces. The exhibition’s playful retreat into the inner sanctums of our homes—our bathrooms, bedsides, and bellies—seems to be a panacea for the agoraphobic times of the pandemic. However, it also presents a soft pandemic politics, playful but stitched through with threads of both anxiety and solidarity. The curator’s statement stresses the social over the solo: “the artists draw meaning from connections with themselves, others, culture, and the more-than-human.” ESCAPE / The Great Indoors folds back the screen around private space to invite the public in to listen to the artists’ stories and call up their own.

The influence of Western ideas of women's Enlightenment on women's painting in the Republic of China

During the period of the Republic of China, China was in the complex context of the fusion of Eastern and Western cultures. Under the influence of Western women's educational thought, the artists of the Republic of China entered the modern context of the Republic of China as participants. In this article, the object of research is the "new women's painting" from 1912 to 1949. The study includes an analysis of painting practices and artistic concepts of new women artists in the Republic of China. Under the influence of internal and external factors, their participation in the modern transformation of traditional Chinese fine art and contribution to the development of new women's painting. The paper examines the formation of a new women's painting in the Republic of China from the standpoint of culture, sociology and education. Studying the background of the appearance of new women's paintings in the Republic of China, the artistic value and historical significance of new women's paintings in the Republic of China were discovered. It is demonstrated how new masters were born and developed in the clash of Chinese and Western art, new and traditional ideas and concepts. They freed themselves from the shackles of feudal female ideas and pursued an independent personality, rights and freedom. In art, he promotes the modern transformation of traditional painting with its unique emotional expression and fusion of Chinese and Western styles.

Evolution of Liu Kang’s Palette and Painting Practice for the Execution of Female Nude Paintings: The Analytical Investigation of a Genre

The comprehensive technical investigation of female nude paintings by the Singapore pioneer artist Liu Kang (1911–2004) provided the evidence for a discussion of the evolution of his palette of colours and his working process for expression in this genre, particularly the execution of female bodies. As the artist’s free expression in classical nude paintings was limited by the censorship imposed by the Singapore government, the investigated artworks span two periods, 1927–1954 (early career) and 1992–1999 (the “golden years”, during which censorship policies were relaxed). Hence, eight paintings from the Liu family and National Gallery Singapore were selected for non- and micro-invasive analyses of the paint layers. The obtained results were supplemented with archival sources to elucidate certain aspects of Liu Kang’s working practice. The investigation revealed the importance of drawing and sketching studies in the development of artistic ideas. The analytical techniques, such as polarised light microscopy (PLM), field emission scanning electron microscope with energy dispersive spectroscopy (FE-SEM-EDS) and attenuated total reflectance–Fourier transform infrared spectroscopy (ATR-FTIR), enabled us to observe a transition from the yellow iron-based tonal ranges of skin colours to complex pigment mixtures composed of additions of cobalt blue, ultramarine, Prussian blue, Cr-containing yellow(s) and green(s), cadmium yellow, orange and/or red and organic reds, revealing the artist’s more liberal use of colours and his experimentation with their contrasting and complementary juxtaposes. In terms of painting technique, the artist’s comparatively laborious paint application using small brushes quickly gave way to a more effortless manipulation of the paint using bigger brushes and the incorporation of palette knives. Moreover, visible light (VIS), near-infrared (NIR) and X-ray radiography (XRR) imaging techniques led to the discovery of a hidden composition in one investigated artwork, which bears resemblance to the nude painting known only from an archival photograph. Additionally, for the first time, the archival search provided photographic evidence that Liu Kang used oil paint tubes from Royal Talens and Rowney in the 1990s. Overall, this in-depth investigation contributes to the understanding of Liu Kang’s approach to the female nude painting and may assist conservators and art historians in studies of twentieth-century commercial paints.

The (de)situated subjective: a cognitive autoethnography of ‘the New York School’

ABSTRACT In this article I initiate an inquiry into the artistic act and its relation to self-expression in an age of computational virtuality, a time when subjectivity is being subsumed by ubiquity and its requisite social mediation. Starting from my painting practice, I attempt to access the tacit aesthetic prior to the emergence of the algorithmic mediation permeating contemporary culture, by exploring metaphor in precomputational artistic praxis. I examine the entanglement of self and context in a ‘cognitive autoethnography' reflecting on artists' reports from late Modernism, a time when subjectivity found focus in the studio of the individual practitioner, not across networks of digital mediation. I examine metaphors of curiosity and intuition in the creative ‘play’ of artists to offer a qualitative analysis of 10 articles published in ARTnews magazine during the 1950s and 1960s interviewing Expressionist artists of the New York School. I seek the individual in the creative act to relocate myself as a practitioner in our age of distributed subjectivity. The study brings into question presumptions about sampling and interpretation, explores the subjective dimensions of creative praxis and speculates on what we – as artists and humanists – may be losing in the algorithmic transformation of embodied creative intentionality.

Unearthing Wu Daozi (c. 686 to c. 760): The Concept of Authorship in Tang Painting

Worshipped by later folk artists as the god of painting, Wu Daozi (c. 686 to c. 760) was also praised by ninth‐century art historian Zhang Yanyuan as someone who ‘did not look back and will have no successors’. But alas, this ‘Sage of Painting’ (Hua sheng) left no work to us (imagine if we knew Leonardo da Vinci or Michelangelo only by reputation). Can archaeology remedy this unfortunate situation as it has done for so many other fields from classical philosophy to ancient science? How should we utilize possible archaeological evidence in studying painting practices? This essay suggests that a set of newly discovered imperial tomb murals may allow us to approach Wu's style more closely than ever before, and also leads us to problematize the concept of authorship in an age when individual authorship was inseparable from workshop practice.

Light on Fire: The Art and Life of Sam Francis

Light on Fire: The Art and Life of Sam Francis

The emergence of Liu Kang\u2019s new painting style (1950\u20131958): a multi-analytical approach for the study of the artist\u2019s painting materials and technique

Liu Kang (1911–2004) was renowned Singapore artist trained in Shanghai and Paris, and known for his contributions to the Nanyang style—an art movement practised by migrant Chinese painters in Singapore between the late 1940s to the 1960s. The style depicts aspects of the tropical way of life, synthetising the artistic traditions of the School of Paris and Chinese ink painting with remarkable stylistic innovations. The aim of this study was to characterise Liu Kang’s painting materials and technique by way of ten paintings from a significant period in his oeuvre, 1950–1958, during which his Nanyang style emerged. The selected artworks are from the National Gallery Singapore. A broad range of analytical techniques was employed to study the painting supports and paint layers. The results indicate the prevailing use of commercially prepared linen canvases with double-layered oil-based ground. Single- and triple-layered structures of the ground, as well as semi-absorbent ground, were used sporadically. The identified group of pigments partially overlaps with those already known from Liu Kang’s earlier practice and also incorporates some noteworthy peculiarities like manganese, cerulean and phthalocyanine blues, phthalocyanine green, zinc yellow, and naphthol red AS-D. Some of these newly identified pigments made a distinctive appearance in the individual artworks, but ultimately Liu Kang was not convinced about increasing their role in his painting practice of the 1950s as presented in this research. This study highlights the significance of drawing and photography as integral elements of his artistic process. It also delves into the artist’s different painting approaches and discusses their evolution, which culminated in the stylistic innovation that became Liu Kang’s signature for decades to come. The obtained data may assist art historians and conservators in authenticity and attribution studies, evaluating the condition of artworks and designing conservation strategies. Moreover, this study contributes to the growing body of knowledge about twentieth-century artists’ materials, which are characterised by the complex mixtures of inorganic and organic compounds. It also provides information about the availability of art materials in Singapore in the 1950s.

Analisis Hasil Karya Seni Lukis Menggunakan Bahan Cat Poster Pada Siswa Kelas XI SMA Negeri 1 Purbatua Tahun Ajaran 2020/2021 Ditinjau Dari Prinsip-Prinsip Seni Rupa

This study aims to determine the quality of the work of class XI students of SMA Negeri 1 Purbatua for the 2020/2021 academic year in painting four-legged animals by applying the principles of fine art using poster paint materials. The method used in this research is descriptive qualitative and qualitative data analysis techniques collected using observation and documentation. The results of this study indicate that the results of painting four-legged animals by class XI students of SMA Negeri 1 Purbatua on average get a good category. Category A has 1 work (2%), category B has 39 works (73.5%), and category C has 13 works (24.5%). The proportion indicator gets category B with a total average of 3.01, the composition assessment aspect gets category B with a total average of 3.32, the gradation indicator gets category B with a total average of 3.12, the balance indicator gets category B with a total average 3.33 average, and finishing indicators get category B with a total average of 3.21. Thus, the lack of work by class XI students of SMA Negeri 1 Purbatua lies in the proportion indicator. In conclusion, the students' work was good and the students' ability to master the plaque technique was good. It is recommended that students study and practice more in the practice of painting using poster paint materials with the plaque technique, especially in the application of fine art principles.

Jan Grejm: The Role of Painting and Graphic Practice of the Artist in the Artistic Culture of Podillya

The article is devoted to the analysis of the creative work of the Podolsk artist Jan Grejm (1860–1886), whose short life and activity practically remained out of attention of researchers and scientists. Information on the history of the Grejm family, conditions of formation and development of his creative talent, the influence of the spiritual atmosphere of the environment on the formation of professional qualities of the artist are considered. Emphasis is put on the work of Jan’s father, Mykhailo Grejm (1828–1911), a famous photographer, restorer and numismatist, who created an atmosphere of creativity, conditions for constant intellectual and creative development for his son. It was stated that Jan Grejm, with the support of the best representatives of the Polish intelligentsia of Podillya, through his father’s international relations, received the highest quality art education at that time, studying in art institutions of Europe: Warsaw, St. Petersburg, Munich. The article highlights the results of the authors’ searches for information about the artist in the archives of Poland and Ukraine, which made it possible to clarify the presence or absence of Jan Grejm’s creative works, to correct the mistakes of previous researchers. New information about the young artist’s awards for participation in art competitions has been introduced. The article proves that the few architectural compositions of J. Grejm, which record the lost objects of Podolsk architecture, together with much more common photo compositions of his father M. Grejm represent a unique, and sometimes the only fixation of destroyed monuments, extremely important for restoration work, able to significantly replenish the historical and architectural science and ensure the creation of quality graphic reconstructions; they contain information about the style and typology of the depicted objects of antiquity in a specific period of time (second half of the 19th century).

The dark halo technique in the oeuvre of Michael Sweerts and other Flemish and Dutch baroque painters. A 17th c. empirical solution to mitigate the optical \u2018simultaneous contrast\u2019 effect?

Although the topic is rarely addressed in literature, a significant number of baroque paintings exhibit dark, halo-like shapes around the contours of the dramatis personae. Close examination of both finished and unfinished works suggests that this intriguing feature was a practical tool that helped the artist in the early painting stages. When applying the final brushwork, the halo lost its function, with some artists undertaking efforts to hide it. Although their visibility might not have been intended by the artists, today this dark paint beneath the surface is partially visible through the upper paint layers. Moreover, the disclosure of many halos using infrared photography (IRP), infrared reflectography (IRR) and macro X-ray fluorescence imaging (MA-XRF), additional to those that can be observed visually, suggests that this was a common and established element of 17th-century painting practice in Western Europe. Building on an existing hypothesis, we argue that halos can be considered as a solution to an optical problem that arose when baroque painters reversed the traditional, 15th- and 16th-century painting sequence of working from background to foreground. Instead, they started with the dominant parts of a composition, such as the face of a sitter. In that case, a temporary halo can provide the essential tonal reference to anticipate the chromatic impact of the final dark colored background on the adjacent delicate carnations. In particular, we attempt to clarify the prevalence of dark halos as a response to optical effects such as ‘simultaneous contrast’ and ‘the crispening effect’, described in literature only centuries later. As such, the recently termed ‘ring condition’ can be seen as the present-day equivalent of the ‘halo solution’ that was seemingly empirically or intuitively developed by 17th-century artists. Modern studies in visual perception proves that by laying a black ring around a target color, the optical impact of a surrounding color can be efficiently neutralized. Finally, by delving into works by Michael Sweerts, it becomes clear that resourceful artists might have adapted the halo technique and the underlying principles to their individual challenges, such as dealing with differently colored grounds.

Prameny k tvorbě Huberta Maurera a Johanna Georga Däringera

A short study with an edition of the correspondence of the Viennese painters Hubert Maurer (1738–1818) and Johann Georg Däringer (1759–1809) gives several important details on painting practice in Central Europe at the end of the 18th century. In t he first place, the painter's method of working with drawn sketches is worthy of attention. On the one hand, Maurer used them for the continuous reworking of his earlier, frequently reused compositions. On the other hand, he used his working drawings to communicate with clients, to whom however they did not give them a completely accurate idea of the intended composition, and the painter himself urged them not to consider them completely binding, as he anticipated reconsideration of a composition during his work. This phase of the continuous search for a final shape might even coincide in time with the phase of starting work on the altarpiece itself. Maurer's reluctance to create sample oil sketches for the client was also related to this, since working on them would needlessly deprive him of the time needed to "better finalise the altarpiece itself" and would make his work disproportionately more expensive. In the end, the published correspondence bears witness to the financial problems which, at the time of the reforms of Emperor Joseph II in the 1780s and in the following two decades, complicated the new outfitting of sacral interiors.

Geo-environmental approach to assess heavy metals around auto-body refinishing shops using bio-monitors

The vehicular industry is looking for continuous challenges to develop the sustainability of its manufacturing, maintenance processes, and vehicle emissions due to marketability, environmental, economic, and policy concerns. The present study focuses on the impact of these processes on the environment. In Pakistan, most of the auto-body refinishing processes are carried out in an open atmosphere. The shades of Azadirachta indica (Neem Tree) are generally used for the outdoor practice of scrapping, grinding, and painting in auto-body refinishing shops of Pakistan. Azadirachta indica leaves were selected as bio-indicator. For the present work, 26 affected sites and 10 control sites were selected from Karachi city, which is the financial hub and biggest city of Pakistan. Concentrations of different metals (Fe, Co, Cd, Cr, Cu, Mn, Mo, Ni, Pb, and Zn) were determined by atomic absorption spectrophotometer. A geographic information system (GIS) is used to present the variation in concentrations within Karachi city. The only positive correlation was observed in Pb and Mn (0.750). Principal component analysis (PCA) is applied to identify the anthropogenic effect between auto-body refinishing areas and control areas. Almost all analyzed metals show higher concentration at affected sites but Pb (87.14 mg/kg), Mn (46.47 mg/kg) and Fe (146.95 mg/kg) were leading the values, as compared to their concentration at control sites, Pb (48.83 mg/kg), Mn (15.23 mg/kg) and Fe (43.07 mg/kg). All analyzed metals are frequently present in different color pigments, whereas Pb, Mn, and Fe may also come from other sources, like the anti-knocking agent, vehicular exhaust, and scraping of car surface.

A Study on Instructorsʼ Perceptions and Experiences on Non-face-to-face Oriental Painting Practice Education in University Liberal Arts Education

대학 교양 교육에서 비대면 동양화 실기교육의 운영 실태를 파악하고 활성화 방안을 모색하기 위하여 관련 경험이 풍부한 교수자를 대상으로 면담하고 그 결과를 ‘인식’, ‘준비’, ‘운영’, ‘평가’의 측면에서 분석하였다. 그 결과, ‘인식’은 수업 목표에 따라 인식의 간극은 컸지만 공통적으로 비대면 수업을 통해 교수자의 역할이 더욱 확장되었음을 인식하게 되었고 ‘준비’는 수업 준비를 위한 시간과 노력이 늘어났으나 수업 계획이 체계적으로 이루어졌다는 점에서 장점도 있었다. ‘운영’은 교육 환경의 다양화로 인한 긍정적인 측면을 발견하고 활용할 수 있었으나 비대면 수업으로 인한 학생과의 물리적, 심리적 거리는 교수자 정체성의 혼란과 회의라는 문제가 발생하였다. 마지막으로 ‘평가’는 평가의 기준은 성실성이었고 비대면 상황에서 더욱 강화되었으며 작품의 왜곡, 고의적인 보정, 수정 프로그램의 활용으로 인해 정확하고 공정한 평가가 침해당할 수 있다는 점에서 어려움이 있었다. 위와 같은 분석 결과를 바탕으로 활성화 방안을 교수자 내적 측면으로 교수자 역할에 대한 인식과 태도 변화, 미술 실기 수업의 목표 재설정 및 교수법 연수, 수업 목표에 맞는 평가 기준 설정을, 교수자 외적 측면으로 기자재와 공간 등 물적 지원, 미술 실기 수업 지원을 위한 학습관리시스템 개발 및 지원을 제안하였다.

The Art of Everyday Objects: A Non-Invasive In Situ Investigation of Materials and Techniques of Italian Pop Art Paintings on Aluminium

Two paintings, made on aluminium support by Silvio Pasotti (among the major exponents of 1960s Italian pop art) were investigated in a totally non-invasive manner to identify the materials used by the artist. Raman spectroscopy, Fourier-transform infrared spectroscopy (FTIR), visible reflectance spectroscopy, and spectrofluorimetry with visible excitation were exploited as molecular analysis techniques, which are particularly suitable to recognise also synthetic organic materials, such as pigments and binders. The effectiveness of this multi-analytical approach was demonstrated, leading to the identification of several synthetic organic pigments, both conventional and “special effect” ones, introduced during the first half of the 20th century, as well as some well-established inorganic ones. Combining FTIR results both in the medium and near IR ranges, considerations regarding the binders employed by the artist could also be made, suggesting the use of both nitrocellulose and acrylic paints. Imaging techniques, such as IR reflectography, false colour IR, UV induced fluorescence, and portable microscopy, were also used to achieve a better knowledge of the painting practice.

ОСОБЛИВОСТІ УКРАЇНСЬКОГО ЖИВОПИСУ У ПОСТМОДЕРНІСТСЬКОМУ ВИМІРІ

The purpose of the study is to identify the postmodernism principles' influence on formation of the distinctive features of Ukrainian painting in the XXIstсentury. Methodology. The research uses a culturological approach to consider postmodernism as a creative method and factor that influences the activities of Ukrainian artists. Formal-stylistic analysis is applied to clarify the connection between creative practices and the principles of postmodernism and to determine their features as well.Results.The analysis of Ukrainian artists' painting practice of the XXI century in the context of the postmodern worldview was carried out. The study focuses on postmodernism as a factor in the development of various artistic styles. The artistic and stylistic features of painting over recent years in Ukraine were analyzed. There was revealed the natural influence of postmodernist principles on domestic painting, characterized by the features of postmodernism, which is manifested in a variety of areas (conceptualism, transavant-garde, contemporary, etc.) and syncretism in art. Although the latest painting practices are integrating into European culture and tend to the Western European tradition, Ukrainian art still saves its distinguishing features. It was found that a feature of Ukrainian postmodernism is the conceptualization of painting, the introduction of deep content into a new format of painting and the synthesis of traditional fine art and new technologies. Scientific novelty lies in the identification of the main distinctive features and patterns of Ukrainian postmodern painting development. The practical significance. Presented results aid to trace postmodernism as a factor of influence on the peculiarities of the formation of new directions in Ukrainian painting practices, which can be used as a theoretical basis for further art criticism analysis of contemporary painting.

Research on Nie Weigu's Art Education Thought and Creative Practice

Nie Weigu is a great master with great attainments in higher art education and painting practice. He is familiar with the psychology of art education and the principles of education and teaching, and has a strong interest in exploring a new way of integration between China and the West. He embraces both Chinese and Western heuristic teaching, focuses on shaping students' sound personality, and carefully cultivates students' noble quality. Facing nature and reality, he took the lead in setting an example and kept writing. He widely absorbed nutrition from other categories and foreign art, expressed his true feelings, made personalized creation, pointed to Western architecture with a Chinese brush, talked with the incarnation of the Holy Spirit, and displayed the second nature - Architecture created by mankind in an unprecedented artistic way, Creatively opening up the art category of "freehand painting" is of milestone significance in the history of contemporary Chinese art.

Painting historiography: Meleko Mokgosi's Democratic Intuition

This interview focuses particularly on Democratic Intuition (2013-20), Meleko Mokgosi's epic, eight-chapter painting cycle, the title of which references Gayatri Spivak's lecture on the necessary relationship between education and democracy. Education, reflection on theory and practice and engagement with young practitioners are all important parts of Mokgosi's work. The interview discusses the way the chapter format of Democratic Intuition is influenced by film processes, and the research and critical analysis on which his work is based; this includes historiography; the western genre of history painting; narrative tropes and the work of Hayden White; and painting techniques that more accurately construct Black skin tones. It also discusses discourses of race and assumptions about whiteness in the western canon; and whether there is a possibility for the Black subject to inhabit allegorical representational space without being overdetermined by histories of Blackness and race discourse. Stuart Hall's work has been important to Mokgosi because of its analysis of the complexities of the discourses within which cultural production and consumption is located. This has been helpful for reflecting on the location of the western art tradition within discourses of the Enlightenment and western humanism, which provide specific rules of circulation and consumption, and structures of authority. Such discourses assume that the viewer has the necessary tools or literacies to read in order to arrive at the meanings proposed in cultural objects. Mokgosi is engaged in continuous reflection on the extent to which, in spite of this, he, as a particular subject from Botswana, has managed to locate meaning within the narrow practice of painting.

Application and Practice of Expressive Painting in Middle School Art Education

By combing the theoretical framework of contemporary expressive painting and expressive art therapy, this study explores the application and practice of integrating expressive painting into middle school art education in hope to provide new ideas for art education and teaching in contemporary middle schools.