Painting Research Articles

Sprezzatura: The Art of Concealing Art in Fashıon, Music and Painting

Baldassare Castiglione’nin 1528 tarihinde yazdığı Il Cortegiano isimli kitaba konu olan sprezzatura kavramı, dönemi ve sonrası için çığır açmış, estetik yaklaşımları derinden etkilemiş bir kavramdır. Bugün hala estetikte tartışılagelen; güzellik ve grazia gibi kavramları açıklamak için oldukça etkili bir araçtır. Başlangıçta, bir Rönesans aristokratının davranışları ve sahip olması gereken özelliklere yönelik kullanılan bir kelime olup; kavramsal kökleri Aristoteles ve Cicero’ya kadar dayandırılır. Antik Yunan’dan beri tartışılagelen sanat eserinde ulaşılmak istenen grazia’ya ulaşmak için mutlak bir gereklilik, bir araç olarak da görülür. İnsan eliyle yapılan bütün sanatsal eylemlerde sprezzatura, ustalık noktasının da ötesi, en üst olgunluk noktasının bir ifadesi olarak görülür. Edebiyat, resim, heykel, görsel sanatların tümü, moda, mimari, konuşma sanatı ve müzikte sprezzatura alana özgü farklılıklar doğrultusunda sanatçının dikkate alması gereken bir prensiptir. Bu makalede sprezzatura, estetik tartışmalar ışığında anlam ve kapsamı ile birlikte açıklanırken; özellikle moda, müzik ve resimde bu kavramın neyi ifade ettiği ortaya konulmaya çalışılmış, eğitim süreçlerine yönelik öneriler ortaya konulmuştur.Baldassare Castiglione’nin 1528 tarihinde yazdığı Il Cortegiano isimli kitaba konu olan sprezzatura kavramı, dönemi ve sonrası için çığır açmış, estetik yaklaşımları derinden etkilemiş bir kavramdır. Bugün hala estetikte tartışılagelen; güzellik ve grazia gibi kavramları açıklamak için oldukça etkili bir araçtır. Başlangıçta, bir Rönesans aristokratının davranışları ve sahip olması gereken özelliklere yönelik kullanılan bir kelime olup; kavramsal kökleri Aristoteles ve Cicero’ya kadar dayandırılır. Antik Yunan’dan beri tartışılagelen sanat eserinde ulaşılmak istenen grazia’ya ulaşmak için mutlak bir gereklilik, bir araç olarak da görülür. İnsan eliyle yapılan bütün sanatsal eylemlerde sprezzatura, ustalık noktasının da ötesi, en üst olgunluk noktasının bir ifadesi olarak görülür. Edebiyat, resim, heykel, görsel sanatların tümü, moda, mimari, konuşma sanatı ve müzikte sprezzatura alana özgü farklılıklar doğrultusunda sanatçının dikkate alması gereken bir prensiptir. Bu makalede sprezzatura, estetik tartışmalar ışığında anlam ve kapsamı ile birlikte açıklanırken; özellikle moda, müzik ve resimde bu kavramın neyi ifade ettiği ortaya konulmaya çalışılmış, eğitim süreçlerine yönelik öneriler ortaya konulmuştur.

방법론의 회화: 박미나의 회화 및 드로잉 연작(1996~2020)에 관한 연구

이 논문은 박미나(1973~)의 회화와 드로잉 작업이 어떻게 한국 회화의 담론과 실천의 방향을 확장시켰으며, 어떠한 새로운 지평을 열어줄 수 있는지 방법론의 차원에서 살펴보는 것이다. 1990년대 중반부터 박미나의 회화는 물감 수집을 통해 색의 의미를 안료의 생산과 유통으로 재설정하는 작업을 진행한다. 하늘의 색을 물감의 색으로 정의, 기록하는〈 Sky Paintings〉(1996~2020), 시중에 판매되는‘ 오렌지’ 단어가 들어간 물감을 모아 색 띠로 구현한 〈Orange Paintings〉(2002~2003), 특정도시의 공공색을 수집하여 물감의 색에 대응시키는 〈Color Landscape〉(2003~2020)이 대표적인 예이다. 또한 작가는 〈Scream〉(2001~2010)을 통해 동시대 레디메이드 도상들의 생태계를 가늠하고, 이를 자체적인 기호 변주 프로그램을 가동시켜 시각적 직역의 형식으로 펼쳐낸다. 마지막으로 색칠 공부 도안을 활용한 〈Drawings〉(1998~2020) 연작에서는 색, 형태, 그리기의 관행을 수집, 조사할 뿐 아니라 주어진 규칙을 변형하고 질문에 붙인다. 박미나의 방법론들은 회화의 근본요소인 재료와 도상, 그리기에 대한 질문을 캔버스 내부로 침잠시키지 않고, 사회적 회로 안으로 미디엄을 진입시켜, 접촉과 충돌의 결과를 다시 회화적 언어로 구현하는 독특한 회화 프로그램을 구축한다.

USE OF WRITING IN PICTORIAL EXPRESSION

The purpose of this research is to analyze the reasons for the usage and positioning of writing in the field of plastic arts by using semiotic analysis. Therefore, the purposes for which the writing is used in pictorial expressions has been researched by using literature scanning techniques, and it has been exemplified over different methods of use by elaborating on a few artists. During the research, qualitative research method was used and the works of the artists who used writing in their paintings were examined by examining the research examples made in this field together with the literature review. Research; The use of images in the article is important in order to reveal the present status of the century in Turkey, it is limited by the Contemporary Turkish Painting Artists and their works using text in this important line in the works. While Contemporary Turkish Painting Art constitutes the universe of the research, he uses painting and writing together in his works as a sample; The works of Aylin Beyoğlu, Bedri Baykam, Gültekin Akengin, Kayıhan Keskinok, Özdemir Altan, Rauf Tuncer and Seyit Mehmet Buçukoğlu were selected. Undoubtedly, many artists who used writing in their works could be included in this research. However, the main purpose here is not to create a complete list of artists who use writing in their works; to reveal the existence and usage purposes of writing in contemporary Turkish painting. Keywords: Plastic arts, painting, writing, painting artist, Contemporary Turkish painting art

Buddhist motives in painting Garry Rokchinsky (1960–1990s)

The article analyzes the work of the artist Garry Rokchinsky, People's Artist of the RSFSR, in the context of the fine arts of Kalmykia in the 1960s – 1990s. It is noted that during this period, called the post-deportation period, the autonomy of the republic was restored, and many masters of art experienced a creative take-off. This was reflected in the appeal to the historical genre, as well as in the search for new artistic expression in Kalmyk art of the second half of the 20th century. The work of Garry Rokchinsky became a vivid expression of these tendencies. His works are marked by the desire to find and figuratively embody ethnic identity, which responded to the revival message of the post-deportation development of Kalmyk art. As one of the directions of its development, it is necessary to highlight the appeal to the philosophical and moral foundations of Buddhist teachings. The creative path of the artist from realism to the iconic symbolism of traditional art and pointless composition is shown. В статье анализируется творчество художника Гаря Рокчинского, народного художника РСФСР, в контексте изобразительного искусства Калмыкии 1960–1990-х годов. Отмечается, что в этот период, получивший название постдепортационного, была восстановлена автономия республики, и у многих мастеров искусства наблюдался творческий взлет. Это нашло отражение в обращении к историческому жанру, а также в поисках новой художественной выразительности в калмыцком искусстве второй половины XX века. Наглядным выражением этих тенденций стало творчество Гаря Рокчинского. Его произведения отмечены стремлением найти и образно воплотить этническую идентичность, что отвечало возрожденческому посылу постдепортационного развития калмыцкого изобразительного искусства. В качестве одного из направлений его развития необходимо выделить обращение к философским и нравственным основаниям буддийского учения. Показан творческий путь художника от реализма к знаковой символике традиционного искусства и беспредметной композиции.

The Use of Zeteo in the Fourth Gospel: A Debate with John Painter's The Quest for the Messiah

Użycie zeteo w czwartej ewangelii: debata z The Quest for the Messiah Johna Paintera
 Artykuł jest formą debaty z monografią Johna Paintera The Quest for the Messiah: The History, Literature and Theology of the Johannine Community obszernie podejmującą temat zeteo (poszukiwania) w Ewangelii Jana. W publikacji tej Painter doszedł do wielu cennych rezultatów w próbach ustalenia znaczenia zeteo w Ewangelii Janowej, analizując przedstawione historie poszukiwań i odrzucenia. Artykuł przedstawia, w jakim stopniu Painter zrozumiał historyczne pochodzenie zeteo w stosunku do Sitz im Leben Wspólnoty Janowej. Opisuje także niektóre z możliwych kierunków rozwoju myśli Paintera i zwraca uwagę na niektóre nurty ostatnich badań nad Ewangelią św. Jana.

PRAKTIK YANG TEPAT MENGHIDUPKAN HADIS LARANGAN MENGAMBIL GAMBAR PADA KEHIDUPAN MILENIAL

This study aims to examine the proper practice of enforcing the ban on taking pictures in millennial life. especially the hadiths regarding the prohibition of taking pictures. The limitations of this research include the proper practice of turning on the ban on taking pictures in millennial life. The issues examined in this study are: (1) textual analysis of the hadith of the Prophet prohibiting drawing. (2) Contextual analysis of the hadith of the Prophet prohibiting drawing (3) Proper practice in reviving the hadith of the Prophet prohibiting drawing in the present. The conclusions of this study are (1) the hadith that we examined is a hadith that contains God's threat to painters, especially painters whose painting objects are animate creatures, (2) Scholars differ on what criteria will be affected by the threat. However, some opinions say that this threat only applies to painters whose work resembles God's creation, (3) taking pictures is an activity that is permissible, and it becomes something good if it has a positive impact. However, taking pictures can be illegal if the content created has a negative impact and also violates Islamic sharia provisions

Oggetti musicali, produzione di identità e interazione sociale

Besides sound, the essence of music is inherent in the materiality of the objects that graphically represent, concretely produce, and ideally describe that sound: books, instruments, paintings. The history and didactics of music, therefore, must also include these objects among its research and teaching contents, especially if these are aimed at illustrating the meaning and role of music in a specific era or environment. With a methodological support from anthropological studies on the notion of gift, on the social meaning of collecting, and on the symbolic functions of objects owned, requested or donated, this study probes into the hermeneutic effectiveness of this perspective by specifically investigating the musical collecting of the Duke of Urbino, Guidubaldo II Della Rovere. The study reveals how much the Duke's interests for musical objects have contributed to define his identity and his role in relations with foreign gentlemen of his time.

The Landscape Painting Interpretation Based on “Barrier-free” & “Barrier” Visualization Techniques

The process of painting interpretation handling and text writing resulted in insufficient attention to children's live speech; the teacher guided their activities, and individual interpretation of a painting is blocked by “barriers,” such as rigid teacher instructions, sample descriptive texts, and the like. The experimental technique was recognized based on establishing open educational communication between the teacher and pupils at the lesson, where primacy and value of the painting worked as a visual image. The research represented the comparative analysis of children's texts. The results were as follows: first,n comparison of text drafts and final versions describing the painting; second, third, analysis of pupils' worksheets for comparing two paintings; fourth,n analysis of individual memos. The research concluded that the “barrier” technique, where pupils should respond on already prepared text, resulted in less detailed statements with fewer figurative expressions, and also increased the similarity of the texts, that was “leveling up” of perception and vision of the painting by children. “Barrier-free” technique ran effectively because it helped children build educational and personal communication.

The Scope of Poems and Proses on Paintings and the Research Methodology on Three Perfections: Poetry, Calligraphy, and Painting

The Scope of Poems and Proses on Paintings and the Research Methodology on Three Perfections: Poetry, Calligraphy, and Painting

Unfulfilled Longing for an Ideal Place in the Landscape Painting of Ludwig Richter

Unfulfilled Longing for an Ideal Place in the Landscape Painting of Ludwig Richter

Heaven on Earth: Painting and the Life to Come, by Clark, T.J.

Heaven on Earth: Painting and the Life to Come, by Clark, T.J.

Transcendental Space-Time in Chinese Literature and Paintings

Transcendental Space-Time in Chinese Literature and Paintings

Molly Warnock, Simon Hantaï and the Reserves of Painting

Simon Hantai and the Reserves of painting est une monographie de 233 pages, ecrite par l’historienne de l’art americaine Molly Warnock. En deux parties, ce livre repertorie l’œuvre de Simon Hantai, et porte sur plus de cinquante-huit annees de creation, de 1946 a 2004. Simon Hantai a d’abord produit des peintures a tendance gestuelle dans les annees 1940-1950, avant de peindre de grandes toiles – s’inscrivant dans le Deconstructivisme des annees 1960-1970 – en experimentant differentes techni...

Painting the complete Aggie picture

No abstract available.

Applications of Raman spectroscopy in art and archaeology

Applications of Raman spectroscopy in art and archaeology

Woven under Glass: Francis Bacon’s Linen and the Queerness of His Materials

Though often mentioned only in passing, the linen fabric Francis Bacon used as a ground for his paintings from 1948 until his death in 1992 (technically the unprimed side of commercially primed canvas), is a determinant factor in the perception of his paintings. The rough linen strongly impacts the distribution of paint and thus the perception of Bacon’s “touche” as scattered, as well as—by extension—its perception as violent or deforming. In addition to choosing a raw ground, Bacon at times physically raised the fibers of the linen to awaken the nubuck of the canvas and included weave pressings over previously applied paint. This paper discusses the presence of raw canvas and weave in Francis Bacon’s paint(ings). It will first outline some of the fundamental ways in which Bacon relies on the canvas in portrait paintings, addressing the relationship between canvas fabric and skin, between paint and (wiped?) makeup, through a close-up analysis of some of his early and mid-career portraits. Then, it will examine the consequences of Bacon’s preference for a systematic presentation of his unprimed canvas behind reflective glass. My conclusion is that, once his paintings are under glass, Bacon retains an imprint or image of the woven structure of the canvas.

Diálogos intersemióticos: pintura, dança e audiodescrição voltados ao atendimento do público surdocego

A Moça de Di é uma performance de dança mediada com audiodescrição. Ela faz parte de uma parceria com a exposição “Sentir prá Ver”. O convite veio através da professora e curadora Amanda Tojal. Foi selecionada a pintura Sem título, de Di Cavalcanti (Rio de Janeiro, 1897-1976), que faz parte de uma das 14 reproduções fotográficas de obras pertencentes à Pinacoteca do Estado de São Paulo. Essa exposição inclui recursos de acessibilidade, entre eles, a audiodescrição mediadora das pinturas, estimulando a exploração e interpretação das obras selecionadas. A performance representando a pintura será mais uma forma de traduzir uma obra de arte por meio da experiência concreta, corporeificando a palavra para o público. Convidamos para essa apresentação uma instituição que atende surdocegos e pessoas com múltiplas deficiências sensoriais da cidade de São Paulo. Foram selecionadas duas surdocegas adultas para participar da pesquisa. Com base nos dados coletados por meio de fotografia e vídeo, foi realizado um estudo de caso. Para a análise dos dados utilizou-se as ferramentas de audiodescrição de dança relatadas por Snyder, fundamentadas no Laban Movement Analysis. Pretendemos demonstrar como a audiodescrição da dança e a vivência da corporeificação da obra pelo surdocego irá somar à compreensão da pintura, colaborando para a fruição da arte.

Transnational Cultural Identity Reflected in the Creations of Uzbekistan Painter Shin Soon-Nam (Nikolai Shin)

Transnational Cultural Identity Reflected in the Creations of Uzbekistan Painter Shin Soon-Nam (Nikolai Shin)

Meningkatkan Kreativitas Menggambar Menggunakan Media Finger Painting Pada Anak Kelompok B Paud Gentaralia Desa Jambat Akar Kecamatan Semidang Alas Maras Kabupaten Seluma

Abstract: The purpose of this research is to know the Children’s drawing creativity by use Finger painting media in group B paud Gentaralia village Jambat akar Kec. Semidang Alas Maras. Seluma, to know the increase in children’s drawing creativity of finger painting media in PAUD GENTARALIA village Jambat akar kec. Semidang Alas Maras. Seluma. Class action Research ocused on the classroom situation, or commonly known as the Classroom Action research procedure used in cycle-shaped cycles. The main subject in this study is the children paud Gentaralia Desa jambar akar Kec. Semidang Alas Maras. Group B Seluma numbered 15 persons. Data collection techniques using observation methods and documentation. Data analysis is done in a qualitatively qualitative – quantitatively with its use to determine the improvement of processes expressed in a predicate, whereas quantitative data analysis is used to determine the increase in results by using a percentage Abstrak: Tujuan penelitian ini adalah untuk mengetahui kreativitas menggambar anak dengan menggunakan media finger painting kelompok B di PAUD GENTARALIA Desa Jambat Akar Kec. Semidang Alas Maras Kab. Seluma, untuk mengetahui peningkatan kreativitas menggambar anak kelompok B dengan penggunaan media finger painting di PAUD GENTARALIA Desa Jambat Akar Kec. Semidang Alas Maras Kab. Seluma. Penelitian Tindakan Kelas (PTK) yang difokuskan pada situasi kelas, atau lazim dikenal dengan classroom action research prosedur yang digunakan berbentuk siklus (cycle). Subjek utama dalam penelitian ini adalah anak PAUD GENTARALIA Desa Jambat Akar Kec. Semidang Alas Maras Kab. Seluma kelompok B berjumlah 15 Orang. Teknik pengumpulan data menggunakan metode observasi dan dokumentasi. Analisis data dilakukan secara deskriptif kualitatif-kuantitatif dengan penekananya digunakan untuk menentukan peningkatan proses yang dinyatakan dalam sebuah predikat, sedangkan analisis data kuantitatif digunakan untuk menentukan peningkatan hasil dengan menggunakan persentase.

“An artist, first and foremost”: An Interview with Sara Baume

Sara Baume has become one of most brilliant recent voices in the literary and artistic panorama of contemporary Ireland. She has managed to combine in a unique way an already established career as a writer with her vast knowledge of art and her own artistic projects. Baume has written two unanimously critically acclaimed novels, spill simmer falter wither (2015) and A Line Made by Walking (2017) and a handful of short stories which have been published in prestigious literary magazines and collections such as The Stinging Fly, Granta, The Moth, The Dublin Review, or The Davy Byrnes Collection. More recently, she published Handiwork (2020), a most intimate account of her life, interests and projects as a writer and as an artist, as well as a deeply felt personal homage to the figure of her dead father. In the present interview, the writer comments on the contemporary panorama of Irish literature, on the social and economic changes that have taken place recently in her native country, and on the two languages between which she has always felt caught, the one that goes down on paper and the one that goes down in small painted objects. These two languages have been put at the service of one of the most obvious and recurrent interests of the writer, her endless fascination for and deep concern with nature and animals.