Paintwork Research Articles

Колористические искания художников современной России: белая палитра станковой живописи Марии Пак

The article attempts to consider the work of the Moscow artist Maria Pak in the context of coloristic searches in Russian painting based on artists’ work with the white colour. The article opens with a brief outline of the development of the doctrine of colour in the European art of the early modern and modern periods. The main part is devoted to the analysis of the latest exhibition of the easel painting (March 2023) by Associate Professor of the V.I. Surikov Moscow State Academic Art Institute, Maria Pak, student of I.L. Lubennikov. Particular attention is focused on the “winter” canvases in which the creative task is to paint white on white. The author of the article makes the conclusion that colour preferences are not only determined by social, national and other conditions for artistic culture development, but also closely related to a person’s ability to empathize. The author comes to this conclusion considering the white colour palette of M. Pak’s easel painting in a broad cultural context — appealing to the works of painters as well as to the poetic creations of Russian writers.

The Predictive Effect of Protection Motivation Theory Structures on the Protective Behaviors of Painting Workers: An Analysis of Threat Appraisal and Coping Appraisal Processes

The Predictive Effect of Protection Motivation Theory Structures on the Protective Behaviors of Painting Workers: An Analysis of Threat Appraisal and Coping Appraisal Processes

Ekphrasis of painting in P. Zahrebelny's novel "Wonder"

At the modern stage, ekphrasis was recognized as one of the most fruitful and effective phenomena for comparativistics – the manifestation of specific expressive mediation of one medium in the figurative field of another. Bright, contrasting manifestations of ekphrasis are observed in the content of the novel “Wonder” by the classic of Ukrainian literature P. Zahrebelny. They focus on painting and the work of artists, contain prognostic features of the current semantic potential, and thereby determine the relevance of their coverage. The purpose of the study, therefore, is to distinguish the features of ekphrasis of works of painting, as well as to highlight the formal and semantic dominants and the overall semantic configuration of the expressed poetics of the phenomenon of painting in prose. The novelty consists in the identification, poetic classification, semantic analysis and final systematization of figurative instances of literary prose, which descriptively reveal the expressive means of painting with the generalization of their semantic panorama within the boundaries of a localized description and on the scale of the novel in general, in particular, in relation to landmarks from the field of axiology, as well as with functional weighting in accordance with the definitive signs of literary imagology, which enriches the experience of the ethno-image-creating fruitfulness of the ekphrasis of painting. The study is based on the methods of cultural semiotic and structural-semantic analysis in combination with a descriptive and comparative-typological approach. Conclusions. As a result, it was found that the features of the ekphrasis of painting in “Wonder” testify to a separate experience of a multifaceted ekphrastic model.According to its formal dominants, in compliance with the criteria of the medium and the structure of the image, a condensed discrete ekphrasis is distinguished. In its plot-fabula track, the figurative material that turns out to be the carrier of ekphrastic poetics, the focus on the figure of the common heroine stands out. Its semantic accents emphasize the stages of its spiritual impoverishment and decline and, at the same time, the tragedy of the lack of spirituality, in particular, for creativity. Meanwhile in the heroine, the creation of a semantically multi-dimensional image is observed through the richness of ekphrases: in the combined form-meaning transitions of ekphrasis, the meaning-making line builds up and reaches the sphere of ethnoimagology, for which the basis of identity should be recognized as a full-scale verification of purely artistic meanings and senses. It is about the ability to clarify the idea of striving to avoid negative human qualities, to overcome or compensate for them, in particular, through the power of art, through the prism of the revealed precedent of Russian mental apathy.

Anak Gelandangan sebagai Objek Seni Lukis Kontemporer

The purpose of making this final work is to visualize homeless children in contemporary painting. This is a form of the author's anxiety towards homeless children about how the activities of small children have tried to find food for themselves. In essence, young children should be in a decent position for their life. But in the field there are many cases of homeless children who work, because there is no family that provides enough for their needs. The creation method for the final work is carried out in stages, namely the preparation stage by seeking information, elaboration by analyzing problems, synthesizing establishing ideas, realizing concepts by creating works of contemporary painting and finishing by holding exhibitions. Ten works of painting with a size of 100 cm x 120 cm in acrylic on canvas based on the theme "social phenomena" in accordance with a predetermined idea about the activities of homeless children were developed through ten titles "consistent", recalculating", "carrying a burden", “for mother's sake”, “must be strong”, “want to play”, “my wheelbarrow and my uniform”, “thank you Allah”, “my sister is crying hungry”, hope.

Gitar Dalam Karya Digital Painting

This work aims to visualize the problems of adolescents experienced by the author through the image of a guitar which is used as a metaphor in digital painting works. The hope of this work is to improve the messages contained, to be able to inspire and provide support to teenagers who find it difficult to deal with problems. With this work, the author seeks to raise awareness of the importance of mutual understanding and provide space to talk about sensitive issues in the youth environment. The method of creating this work follows five stages, namely: preparation, in which the author makes observations and explorations to find inspiration. Then, at the elaboration stage, relevant references are collected and searched. The third stage, synthesis, involves applying the ideas and main ideas that have been generated. Furthermore, at the concept realization stage, the final work is made based on the previously designed concept. Finally, at the completion stage, the work is exhibited and a report is created covering the entire process from start to finish. In creating works, the author uses the Krita application as a technique in making digital painting works. Each work features a guitar object consisting of 10 works with the titles, "Break up", "Abandoned", "Stuck", "Confused", Depression", "Social Media", "Frenzy", Academic", "Bully", and “trapped”

Principles of color formation in Chinese painting and ceramic painting

The art of traditional painting and ceramic painting in China has a long tradition, in particular in understanding the role of color in the compositional and semantic structure. The principles of creating a color image have long been associated with national peculiarities of perception of shades and their combinations, as well as philosophical ideas. Technological features and properties of glazes imposed certain restrictions on the use of expressive possibilities of color by Chinese ceramic artists. The object of this research is the works of Chinese painting and ceramics, the subject is the principles of color formation in these arts. Particular attention is paid to identifying similarities in approaches to color transfer in paintings and ceramics. The author's special contribution to the study of the problem is an attempt to characterize and compare the role of color in the art of Chinese painting and ceramic painting. The article defines a number of general principles of correlation and harmonization of colors in the two arts. The traditions of the color formation of works of various epochs are traced, the peculiarities of their evolution are established, the colors characteristic of painting and painting ceramics of different historical periods are revealed. The article examines the essence and symbolism of different colors, which are based on national philosophical and cultural ideas. The conclusion is made about the significance of the color image and color formation for the works of ceramics and painting in China.

The Urgency of Regulating Resale Royalty Right on Painting Copyrights in Indonesia (Comparative Study of Germany and Australia)

The Berne Convention includes provisions for resale royalty rights, which have been adopted by countries worldwide. However, Indonesia has yet to establish a framework for resale royalty rights, leading to suboptimal protection of economic rights for creators of painting works. This study aims to analyze the regulation of economic rights for the resale of painting works under Copyright Law in Indonesia, Germany, and Australia. Additionally, it seeks to identify the urgency of implementing royalty rights resale in the Indonesian Copyright Law. The research utilizes a normative legal approach with a statutory and comparative focus. The findings indicate that Indonesia currently lacks specific regulations for royalty rights resale within its Copyright Law. In contrast, Germany and Australia have incorporated the resale royalty right provisions of the Berne Convention into their respective Urheberrechtsgesetz 1965 and Resale Royalty Right for Visual Artist Act 2009. The creators of painting works deserve royalty rights on the resale of their works to enhance their well-being and secure benefits for their heirs. Therefore, it is crucial for Indonesia to adopt legal practices regarding royalty rights resale based on the experiences of Germany and Australia. Recognizing the advantages of implementing royalty rights resale, it becomes evident that such regulations are essential in Indonesia. To protect the economic rights of creators of painting works adequately, Indonesia should consider incorporating provisions for royalty rights resale in its copyright law reform. This will not only strengthen the legal protection of creators but also promote the growth of the artistic community in the country.

Integrated Imaging and Spectroscopic Analysis of Painted Fresco Surfaces Using Terahertz Time-Domain Technique

Terahertz time-domain (THz-TD) imaging plays an increasingly significant role in the study of solid-state materials by enabling the simultaneous extraction of spectroscopic composition and surface topography in the far-infrared region (3–300 cm−1). However, when applied to works of art in reflection configuration, significant challenges arise, including weak signal intensity, multiple signal losses, and surface distortion. This study proposes a practical solution to overcome these limitations and conducts an integrated imaging and spectroscopic analysis on painted fresco surfaces, allowing for the retrieval of surface thicknesses, material distribution, and pigment spectroscopic signals. The study addresses the issue of surface geometrical distortion, which hampers the accurate determination of the THz phase signal. By tackling this challenge, this work successfully determines the absorption coefficient for each point on the surface and retrieves spectroscopic signatures. Additionally, the temporal deconvolution technique is employed to separate different layers of the sample and differentiate between outer and inner surface topography. The objective of this study is to demonstrate the advantages and limitations of THz-TD imaging in determining surface thicknesses, material distribution, and pigment spectroscopic signals. The results obtained highlight the potential of THz-TD imaging in investigating painted works of art, offering new possibilities for routine analysis in the field of cultural heritage preservation.

Християнські архетипи у творчості Тараса Шевченка

The assimilation of Byzantine culture in the Slavic lands was accompanied by the exegesis of the New Testament and the formation of the phenomenal value of symbolic images, which were part of the literary and artistic consciousness of that time. The force field of Christian archetypes has preserved a long tradition in the Ukrainian literature. Christian archetypes of the Resurrection and the Crucifixion in Shevchenko’s painting and literary work are studied with modern approaches to comparative literature and theological exegesis, taking into account artistic Christology, philosophical and aesthetic approach to art, and key ideas of archetypal interpretation. It is found out that, in Shevchenko’s poetry, the archetypes of the Resurrection and the Crucifixion are manifested in a number of modifications, where resurrection / crucifixion has a symbolic meaning in the sense of the resurrection / crucifixion of Ukraine, the resurrection / crucifixion of the people, the resurrection / crucifixion of a lyrical hero, etc. In painting, Christian archetypes are directly related to the transmission of the New Testament history.

Pengembangan Model Pembelajaran Inkuiri-Seni Berbasis Google Art and Culture untuk Siswa Sma

Appreciation learning has not taken place optimally with its delivery focusing more on understanding theory, involving less active student participation and using limited learning resources. Based on these conditions, it is considered necessary to develop an appreciation learning model, especially the appreciation of painting works using a more effective learning model. This development research aims to produce an inquiry-art learning model based on Google Arts and Culture. This research uses Research and Development (RnD) research approach. The subjects of this study were grade XI high school students in Kebumen Regency. Data collection techniques are carried out by observation, interviews and using questionnaires. The collected data was analyzed with a combination of qualitative
 
 
 
 
 
 
 
 
 
 
 
 
 
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 and quantitative. The resulting product is in the form of a learning implementation plan, learning model syntax, and student activity sheets. The results of the study obtained showed that the development of learning models applied to grade XI high school students showed that students were more enthusiastic and actively involved in the learning process, compared to previous learning. The ability of students to respond in discussion activities and through painting appreciation worksheets is proven to be good, so that the Google Arts and Culture-based inquiry-art learning model is feasible to be applied in appreciation learning in schools.

Cognitive Aspect of Dhakon Games in Painting Art Creation with Augmented Reality Technology

This art creation was born because of the author's anxiety about the lack of child-friendly nowadays games. Games on gadgets are mostly not very child-friendly and will have a negative impact on them, so there is a need for educational games such as traditional dhakon games. This creation aims to create a work of painting that comes from one of the hidden essences of dhakon games, which can hone the cognitive aspects of children. The painting art creation uses practice-based research method. The process of collecting data is obtained through observation, literature study, and interviews. The result of this creation is a two-dimensional painting that is representational, deformative, and has symbolic meaning with acrylic on canvas media combined with AR (augmented reality) technology trough trans-media approach. This painting has the title “Gemi, Setiti, Ngastiti, Ngati-ati”. This creation is useful as a medium of criticism and as a medium of education to the public about the essence of a game has a big role in the child's growth and development process, so parents must be selective in choosing children's games. In addition, this art creation is also an attempt to revitalize the dhakon game as a product of the past culture that is full of educational values but sadly has been abandoned by many people.

The technical mediator in contemporary Iraqi formation

The current research (technical mediator in contemporary Iraqi painting) dealt with the concept of technical mediator in contemporary arts and its role in the qualitative transformation in art, the diversity of discoveries in technical media that artists use in their artistic achievement, and the extent of their impact on contemporary Iraqi painting, where the research problem was identified (what is The nature and role of technical media in showing works in contemporary Iraqi painting) and (What are the intellectual and aesthetic concepts of media and techniques as references for contemporary art in Iraq). The second topic dealt with technical media and their impact on the plastic arts, and the third topic focused on the technical medium and the mechanisms of its manifestation in contemporary Iraqi painting, and the third chapter, which included samples of the sample numbered (3), was a model representing the work of three Iraqi artists, while the fourth chapter included the results of the research. And conclusions, and sealed by the researcher sources and references.Conclusions: -1. Achieving visual creativity in artistic works by experimenting with contemporary media and techniques.2. The clear influence of contemporary Western techniques, in the use of new non-circulated media, as a result of constant friction with the latest prevailing artistic trends.3. Contemporary media and techniques are clearly influential in the Iraqi plastic achievement through the dismantling of forms, giving expression a dramatic dimension, and modifying the media from its relations to become self-sufficient, starting towards innovation and singularity in the constructivist style.4. The Iraqi artist was tempted to experiment according to contemporary propositions, after he was tired of the traditional ideas and methods, which have become stagnant in a vicious circle.5. The works of the three artists (Kuish, Abdeen, Bilal) were distinguished by the freedom to choose the appropriate media for their work, and to try to dialogue with the other through multimedia to convey the suffering of his people and the crises they are going through

Implementation of the Hybrid Mobile Application in The Street Artist Painting Auction Application “Strauction”

The works of street artists' paintings tend to have minimal interest in Indonesia. This is caused by many factors, one of which is the limited scope of painting marketing. Therefore, the author seeks to provide a means of marketing in the form of an online painting auction application. The purpose of this research is to create an application as a means of connecting painting artists with painting enthusiasts. The research method used is descriptive analysis method with a quantitative approach. While in the development process, this application adopts the Hybrid Mobile Application method which has many advantages over the Native Android and IOS methods. The advantages of this hybrid method are in terms of coding effectiveness and efficiency of time and resources used. By applying this method, the application can be accessed from various circulating smartphone operating systems such as Android and IOS so that it can make it easier for the application to be accessed by potential users. The main concept of this application is to implement an auction system in the sale of paintings. This application also has several core features such as painting auctions, homepage, explore, bidding, payments and other supporting features that are expected to facilitate the painting auction transaction process. In the end, this application is intended for painting artists and painting lovers so that it can be easier to make transactions for buying and selling paintings online.

Artifacts from the Perspective of Effutu Masquerade Performance: An Aesthetic Album

Artifacts from the Perspective of Effutu Masquerade Performance: An Aesthetic Album

Exposure to paints and respiratory health ailments among painting workers

Exposure to paints and respiratory health ailments among painting workers

The artistic aesthetic and cultural value orientation of 3D printing

Abstract For the current artwork, 3D printing design simulation technology has the disadvantage of low clarity and poor effect, which cannot effectively describe the designer's work. To this end, this paper investigates the artistic aesthetic and cultural value orientation of 3D printing. First, the 3D digitization work of the oil painting was carried out by using the multi-baseline photogrammetry method in photogrammetry technology. Then the non-measurement digital camera was checked for internal orientation elements, the control panel was photographed, and the internal orientation elements of the camera were measured using the spatial backward rendezvous solution method. Next, the digital image acquisition of the oil painting is carried out, and finally, the photos are sequentially introduced into the Lens photo multi-baseline photogrammetry system to generate the color point cloud model of the oil painting after performing the steps of homonymous point selection null-three matching and beam leveling. In order to enhance the visualization effect, the color point cloud model was used to generate a digital model of the TIN irregular triangular network to realize the 3D digitization of oil painting art. The results of the study show that the thickness of each layer obtained by UV inkjet printing of five types of inks: yellow, green, blue, black, and white is about 11.19 μm, 12.71 μm, 7.91 μm, 9.47 μm, and 13.12 μm, respectively. 3D printing technology for positive impact on art design needs to be recognized and respected, and the better development of related technologies can make the advantages and advancement of the technology itself more fully embodied.

A Brief Discussion on the Significance of Material Mediation to Mixed Media Painting

In contemporary society, material artworks have been widely used in art and established as a new form of artistic language. The creative use of media materials has greatly expanded people's visual space. The materialization of artists' aesthetic concepts means that media materials are involved in the process of painting practice through different ways of expression, promoting the independence and connotation of painting language, and strengthening it, so that the creation of mixed media has obtained a very strong living space in today's era. In the process of artistic creation, material materials are branded with themes and need to serve artistic ideas. They not only play the role of media of artworks but also have certain artistic characteristics. Materials will show different effects in different works and the use of different artists, reflecting the artist's visual perception of the objective world and also conducive to stimulating the work's deeper meaning. This paper studies the influence of media on the creative process of painting works by changing the creative thinking mode, emotional expression, and visual perception mode of mixed media painting, and tries to summarize the meaning of material media in mixed media painting.

Interpretation of Aci Usaba Sumbu in Paintings

The creation of works in the Independent Study MBKM program in this paper takes ideas or ideas about the interpretation of Aci Usaba Sumbu in Pakraman Timbrah Village in works of painting. The phenomenon of a religious ritual in Timbrah Village called Aci Usaba Sumbu which has its own uniqueness from the ceremonial facilities used in these religious activities. Banten Sumbu, which resembles a towering tower and the banten be guling which is offered by local villagers, is unique from a visual standpoint. The objects at the ceremony have their own meaning, the creator interprets them into life and social values through works of painting. The process of creating this work adopts the theory and methods of Alma M Hawkins. The creation method goes through 3 (three) stages, namely, the exploration, improvisation, forming stages. In the embodiment of the work, the ideas obtained created 6 works entitled: : 1) “Pengendalian Diri” , 2)”Keharmonisan” , 3)”Penyatuan”, 4)”Tri Kaya Parisudha”, 5)”Pohon Sumbu” 6)”Naga Sumbu”. The works created are a form of interpretation of Aci Usaba Sumbu along with the objects contained in the ceremony. With the creation of these works, it is hoped that they will be able to convey a message about the turbulence of the creator's feelings that have been observed.

Breadfruit Leaves in the Expression of Painting

Breadfruit Leaves in the Expression of Painting

Иконографические особенности образа Непорочного Зачатия Богородицы – «Жена, облеченная в солнце»

The article is dedicated to the analysis of the formation and typological features of the iconography “The Women clothed with the Sun” that became the main type of the image “ The Immaculate Conception” in the European Christian art of the end of XVI – XVII centuries. A lot of specialists are sure that this iconography is stable and undeveloped but it’s wrong. The image of the Immaculate Conception as the Woman of Apocalipse has a long way of evolution and exists in the art in various iconographical types. The basic material are the works of the Spanish painting of the XVII-th cent.in which the iconography is very rich and various. In this article there is the analysis of a lot of works by the best painters of the “Golden Age” of the Spanish school: El Greco, Diego Velasquez, Fransisco Zurbaran, Bartolomeo Esteban Murillo. Also we research the genesis of this iconography in the art of the Late Gothic and Renaissance of France and Italy XVI- XVI centuries in the works by Giorgio Vasari, Piero di Cosimo, Ludovico Chigoli (Cardi). The evolution of the iconography developed from the use of a lot atributs and symbols with theological content to the so called mystical image where this content is demonstrated only by means the mode of painting.