Painting Research Articles

Reflexiones sobre el pintor Jacomart: un nuevo retablo de la Visitación (1455)

El presente texto da a conocer la noticia de un encargo por parte del mercader valenciano Pere de Llorach al prestigioso pintor Jacobus Baço, Jacomart, en 1455. Se analiza la importancia de este retablo con el tema de la Visitación en el marco de los estudios sobre la figura de este controvertido pintor. Esta noticia inédita permite plantear una reflexión sobre el artista, que sigue presentando numerosas incógnitas.

Big Stone and Rain. Artist Residency at Tidworth Garrison

This video film documents a workshop undertaken by Steve Pratt with a tank crew from The Royal Tank Regiment, Tidworth Garrison, Wiltshire. The workshop was part of an artist residency commissioned by the Young Gallery, Salisbury, Wiltshire, as described in the article ‘Working with Uncertainty: The Soldier’s Nightmare’ by Steve Pratt in this issue. The title of the film comes from the John Piper watercolour landscape painting ‘Maen Bras’ (Big Stone and Rain, 1943) owned by the Young Gallery, which formed a focus and point of reflection for the project. Mark Edmondson is the Digital Media Manager at Goldsmiths, University of London. He has a Diploma in Filmmaking and Photography from the London College Of Printing (now LCC) and a BA Hons in Anthropology & Communication. Other activities include sound recording/engineering and photography.

Molly Brunson, Russian Realisms, Literature and Painting, 1840‑1890

Dans cet ouvrage, Molly Brunson etudie les relations interartielles entre la peinture et la litterature russes des annees 1840‑1890. Depassant une simple confrontation ou comparaison entre ces deux medias, l’auteure n’entend pas donner une definition absolue du visuel et du verbal, mais bien saisir comment « l’autre » artistique est imagine dans une œuvre et comment artistes et auteurs interrogent ainsi les capacites de representation de ces medias. Elle fait un triple pari, reussi : par c...

Singing and Painting the Body: Walt Whitman and Thomas Eakins’ Approach to Corporeality

Dans son celebre recueil de poesie Leaves of Grass, Walt Whitman (1819-1892) fait l’eloge du lien entre l’homme et la nature et explore le champ charnel. L’erotisme et la sensualite des vers ont mene ses premiers editeurs a tenter de convaincre Whitman de supprimer certaines sections du recueil. L’attention portee a la corporeite a fait qualifier l’ouvrage d’indecent et de malseant lors de sa premiere parution. Ami proche de Whitman avec lequel il partageait une veritable fascination pour l’anatomie, le peintre Thomas Eakins (1844-1916) fut, en son temps, lui aussi vilipende pour ses representations physiologiques detaillees et pour son etude poussee du corps humain, le plus bel objet concu par la nature selon lui. Son realisme sans compromis et son enseignement juge impropre causerent son renvoi de l’Academie des Beaux-Arts de Philadelphie. Son chef d’œuvre The Gross Clinic (1875) choqua egalement le public, scandalise par la nature pretendument irreverencieuse de son sujet. A travers la critique de la vision du corps que partageaient Whitman et Eakins se lit la persistance d’une moralite victorienne, une pruderie esthetique en opposition avec les progres technologiques et medicaux de cette epoque et une culture americaine qui, des le tournant du 19eme siecle, prone l’harmonie de l’homme avec la nature. Axee sur le traitement du corps dans l’art de Whitman et d’Eakins, cette etude fait etat des similitudes de leurs approches et de leurs efforts mutuels a faire accepter une vision moderne de la chair. Si les rapports entre les pratiques artistiques d’Eakins et de Whitman ont deja fait l’objet de recherches, cet article porte non seulement sur le croisement du travail des deux artistes mais aussi sur les resonances sociales de leur nouvelle esthetique du corps.

Ornament und Abstraktion: die »Arabeske als Triebfeder der Moderne«?

Abstract Contrary to the current discourse on world art, which revives the notion of the ornament as a global artistic phenomenon that transgresses cultures and connects tradition and modernity, this article will elaborate how this concept actually follows a modernist ideology, which evades the crisis of a specifically Western art term in order to reconcile abstraction and representation. The recourse to artisanal procedures of jewelry making motivated an aesthetics of process, within which social practice and its depiction seemed to be unified. Semper’s consequential idea of the ornament as a symbol of art entered exemplary artist theories of the twentieth century. This mythology of the ornament is, however, to be differentiated from the ornament-critical materiality of the paintings of Mondrian, Pollock, and Warhol, which simultaneously nourish a radically iconoclastic impulse, questioning the claim of totality of the classic panel painting by negating the identity of line and surface, figure, and ground.

Trompe-I'oeil Nail Art Using Sasindo (the Painting of Four Guardian Gods) as a Motif

Trompe-I'oeil Nail Art Using Sasindo (the Painting of Four Guardian Gods) as a Motif

DEVELOPMENT OF ART AND CREATIVITY IN CHILDREN

Every invention and creation, no matter in what field, is the outcome of a search for solutions and distinct ideas. Creativity is a sine qua non for development and improvement. This view has been a central focus in every field and a considerable volume of research has sought to find out how creativity starts, occurs and develops. Creativity is also a principal element of change and progression. Art can be defined as the manifestation of creativity and imagination. As the lively debate about what is art and what is not art continues, new meanings are assigned to art. Art is, in general, a reality that should exist in everyone's life, whether an adult or a child. Since creativity emerges as the beginning of art in children, children’s art (paintings, drawings and other works produced by children) is of key importance. A child’s development can be followed in his or her art. Article visualizations:

Raised into Ruins: Transforming Debris in Contemporary Photography from China

At the turn of the twenty-first century, contemporary art from China has displayed a recurrent engagement with urban ruins. Painting, performance, film, and photography have turned the rubble of demolition and construction works, an outcome of the vast urban development programs of the past few decades, into a powerful symbol of China's contemporary milieu. Critical and academic approaches to contemporary Chinese art have rightly inquired about the meaning of these ruins, in a process that has also reevaluated the place of these images in the representational traditions of China. Starting with these academic perspectives, this paper situates images of ruination in contemporary Chinese art in dialogue with transnational debates on the meaning and epistemology of the ruin, to argue for an essential element of constructedness in the representations of ruins. Photographic series by Wang Qingsong, Jiang Pengyi, and Yang Yongliang are analyzed as examples of an active appropriation of the process of ruin creation from a critical stance. Recycling urban wasteful rubble into an aesthetic object, these photo artists generate alternative visions of urban development and its consequent demolition and contribute to the negotiation of the meaning of the ruin.

Review of Andrea Korda, <i>Printing and Painting the News in Victorian London: The Graphic and Social Realism, 1869–1891</i> (2015)

Review of Andrea Korda, Printing and Painting the News in Victorian London: The Graphic and Social Realism, 1869–1891 (Farnham: Ashgate, 2015). 205 pp. ISBN 978-1-4724-3298-8.

Maria Fabricius Hansen. Review of "Inventing Falsehood, Making Truth: Vico and Neapolitan Painting" by Malcolm Bull.

Maria Fabricius Hansen. Review of "Inventing Falsehood, Making Truth: Vico and Neapolitan Painting" by Malcolm Bull.

Van Dyck paintings in Stuart royal inventories, 1639–1688

Van Dyck paintings in Stuart royal inventories, 1639–1688

Printmaking History, A Survey Techniques and Artists

In this paper, the brief survey of the history of printmaking -beginning of printing in India and its further development as an artistic medium is discussed. The printmaking is the term used for the process of creating prints, in fact printed pictures by the artists. Relatively a new medium compared to painting or sculpture, printmaking has gone through many changes in the course of time. Including various techniques, processes, materials and equipment it is mainly divided in three types- Relief prints, Intaglio and planography depending on the way the matrix or the surface is prepared and prints are taken from it

Cheongnyu mallok and Mt. Geumgang paintings of Lee Ui-seong (1757-1833)

Cheongnyu mallok and Mt. Geumgang paintings of Lee Ui-seong (1757-1833)

Constructing the “Deadly Parallel”: Paintings, Politics, and the Comparative Eye in Turn-of-the-Century Clubland

Constructing the “Deadly Parallel”: Paintings, Politics, and the Comparative Eye in Turn-of-the-Century Clubland

“Mukoe” Culture and the Cultural Discipline of Painting and Calligraphy∶Centered around Kim Yong-jin and Geumran Mukoe

묵회(墨會)`는 오늘날 심성수련과 교양, 취미의 일환으로서 서예 및 문인화를 수련하는 정기적 모임으로 이해된다. 본 연구는 동호형식의 대중적 교양으로 자리 잡은 묵회 문화에 관심을 가지고, 묵회의 용례와 연원, 그 미술사적 의의에 주목하고 있다. 이 논의의 중심에는 해방을 전후한 서화계의 상황이 놓여있다. 새로이 제시된 `한국화`의 비전 가운데, 일제강점기의 흔적을 극복할 돌파구로 `묵(墨)`이라는 매개가 부각되었기 때문이다. 따라서 화단(畵壇)과 서단(書壇)은 동양화와 한국화, 서와 화, 그 경계에서 신문인화의 위상을 경험했으며, 이 과정에서 `마지막 문인화가` 김용진(金容鎭 1878∼1968)의 존재가 돋보인다. 청말 신문인화풍에 대한 관심과 맞물려, 김용진의 해파풍 사군자 및 문인화훼화가 미술계와 대중들에게 특히 애호되었기 때문이다. 더욱이 안동 김문의 명문가 출신, 한일병합 이후 관직에서 물러나 서화에 평생 소일(消日)한 김용진의 문인적 작화태도는 근대적 문인문화의 모범으로 받아들여지기도 했다. 묵회의 실체는 1950년대 초반 조직된 금란묵회(金蘭墨會)의 기록과 유묵을 통해 다시 한 번 확인된다. 이에 본 연구에서는 근대기 한묵회, 이묵회, 그리고 해방 이후 대동한묵회, 금란묵회를 검토하여 묵회의 정의와 연원을 살펴보며, 아회(雅會)에 대한 흠모와 계승의식에 기반하여 비전문적 작화태도 및 회원 교류에 중점을 두었던 묵회의 특별한 문화적 가치를 조망한다.

Betsy Fahlman. Review of "A Place in the Sun: The Southwest Paintings of Walter Ufer and E. Martin Hennings" by Thomas Brent Smith.

Betsy Fahlman. Review of "A Place in the Sun: The Southwest Paintings of Walter Ufer and E. Martin Hennings" by Thomas Brent Smith.

Old or new art? Rethinking classical Chinese animation

ABSTRACTFrom the 1950s to the 1980s, a large number of outstanding animations produced by the Shanghai Animation Film Studio gained high international reputation on the basis of their unique Chinese style and oriental aesthetics, and are usually referred to as ‘classical Chinese animation’. Although many scholars highly appreciate its national and traditional style, and believe that it was the most important factor that contributed to the success, I would argue that this style also potentially limited the independence and originality of Chinese animation. In this essay, I will rethink classical Chinese animation through an analysis of the intimate relationship between Chinese animation and Chinese literacy classics, classical painting and traditional opera, with the aim to demonstrate that, in spite of its international reputation, classical Chinese animation also was negatively influenced by those prestigious art forms. Faithfully appropriating classical literature limits the ability of Chinese animation to freely explore the modern themes and narratives, and prioritizing the techniques and conventions of traditional Chinese painting and opera tied Chinese animation to the original masterpieces and potentially harmed its inherently cinematic nature. All of these factors would overshadow the destiny of classical Chinese animation and precipitated its foreseeable decline after the 1980s.

The Wanderings of Hermann Struck’s Ahasver: The Rediscovery of a Forgotten Painting and Its Evocative Transformation

The Wanderings of Hermann Struck’s Ahasver: The Rediscovery of a Forgotten Painting and Its Evocative Transformation

A Comparative Study of Syntactic Hypotaxis and Parataxis in English and Chinese From the Aesthetic Perspective of Classical Painting

Parataxis is the main grammatical feature of Chinese sentences while hypotaxis is the main grammatical feature of English. Similarly, Chinese classical paintings stress on the psychological harmony of subject-object unity and Western classical paintings on extrinsic form. It is found that the aesthetic thinking of classical painting is reflected in English and Chinese syntactic structure.

Painting and Photography in Foreigners’ Construction of an Image of Qing Dynasty Law

In recent years, with the spread of the internet and the booming auction markets, combined with our new age of so-called “picture-reading,” paintings and photographs concerning Qing justice have overwhelmed our view. Scholars and nonscholars are attracted by them, and believe them to be showing real historical scenes. Pictures seemingly facilitate our grasp of the world more than mere facts do, but they actually demand readers’ careful discrimination. The author of the present article has discovered that the initial British construction of a discourse about the cruelty of China’s criminal punishments was related to this topic having been exposed by Chinese themselves. The seemingly real images or pictures have an unknown back story, and even contain a serious distortion of the truth. Such imagistic constructions by foreigners in fact directly or indirectly served the establishment and maintenance of foreign extraterritoriality in China. The living images recorded by foreigners’ cameras not only constructed Western impressions of China and Chinese people as distant, thus strengthening contemporary Westerners’ mental images of Chinese culture, but still urge us Chinese today to interpret the past in the light of such images. An icon of a blood-thirsty Qing legal system constructed through painting and photographic procedures became an objective fact, a collective consciousness that penetrated people’s hearts and eventually led to modifications of those Qing laws. The mental construction of an icon influenced actual institutional movement.