Figurative Painting Research Articles

Research on Chen Hongshou's woodcut figure painting

At the beginning of the 20th century, various western art research methods were introduced into China, and Panovsky imaging methods are one of them. In Pan's theory of imagery, the most often used in the study of a work of art is: "three levels" theory, Pan proposed that a work of art can be divided into three levels layer by layer, in order to comprehensively and solid analysis of the research objects. Panowski's imagery method is not only applicable to the western art research, but also applicable to the art in the history of Chinese art.

Learning of Art Style Using AI and Its Evaluation Based on Psychological Experiments

GANs (Generative adversarial networks) is a new AI technology that can perform deep learning with less training data and has the capability of achieving transformation between two image sets. Using GAN we have carried out a comparison between several art sets with different art style. We have prepared several image sets; a flower photo set (A), an art image set (B1) of Impressionism drawings, an art image set of abstract paintings (B2), an art image set of Chinese figurative paintings, (B3), and an art image set of abstract images (B4) created by Naoko Tosa, one of the authors. Transformation between set A to each of B was carried out using GAN and four image sets (B1, B2, B3, B4) was obtained. Using these four image sets we have carried out psychological experiment by asking subjects consisting of 23 students to fill in questionnaires. By analyzing the obtained questionnaires, we have found the followings. Abstract drawings and figurative drawings are clearly judged to be different. Figurative drawings in West and East were judged to be similar. Abstract images by Naoko Tosa were judged as similar to Western abstract images. These results show that AI could be used as an analysis tool to reveal differences between art genres.

Результаты комплексного исследования памятника Куртеке (Восточный Памир)

The materials of most of the archaeological sites of the Eastern Pamirs are known from lifting samples. One of them is the Kurteke rock shelter, that was discovered in 1960 by V.A. Ranov. At that time at the site there were distinguished two cultural layers dated to the Neolithic-Eneolithic and Eneolithic-Bronze period. This site is also interesting because on the walls of the rock shelter , directly above the cultural layers there are rock paintings of anthropomorphic and geometric figures. Modern data have shown that the first layer associated with the settlement of the site belongs to the final Pleistocene (older than 13 thousand years ago). In the course of the new stage of the study, palynological and carpological analysis of the soil, the study of undetectable faunal remains using the ZooMS method, and the documentation of rock carvings of the site were carried out. A comprehensive interdisciplinary study of the Kurteke materials showed that the stone industry presented here is typical of the mountainous part of Central Asia; the climate during both periods of human settlement of the site was arid, and despite the presence of cereal plants, no direct indications of their domestication were found; the faunistic composition of the site is represented by taxa typical for the territory of the Eastern Pamirs today; in the rock art there are images common in the territory of Central and Central Asia in the Bronze Age.

Intertextuality of Hero's Novel and Kim Hong-do's Taoist Figure Painting

이 논문에서는 18~19세기에 향유되었던 영웅소설과 김홍도의 도석 인물화를 중심으로 문학과 회화의 상호텍스트성을 탐구했다. 그 결과 세 가지 결론을 얻을 수 있었다. 첫째, 도교인물화의 도교적 인물들은 중국 도교에서 추앙하는 신들의 모습에서 영향을 받은 부분이 많은데, 도석인물화와 영웅소설에 드러난 각 인물의 표식을 통해 도교적 인물들을 추정할 수 있었다. 둘째, 영웅소설 속 도교적 인물들의 모습은 도교인물화보다 세속적, 토착적으로 그려져 있는데 이것은 회화와 소설의 주요 향유계층과 연관 지어서 이유를 찾을 수 있다. 셋째, 도교인물화와 영웅소설에 그려진 도교적 인물을 통해 당시 사람들이 바랬던 것이 복(福)을 가진 운명, 사회적 출세, 무병 장수라는 것을 엿볼 수 있었다. 위와 같이 동시대에 향유되었던 문화예술은 주요 향유계층과 그들의 가치관에 따라 공통점과 차이점을 찾을 수 있었다. 이 논문에서 시도해 본 도교인물화와 영웅 소설간의 비교 연구처럼 회화와 소설간의 장르적 교섭 연구는 그 당시의 문화를 더욱 풍부하게 엿볼 수 있고, 당시 사람들의 사상과 가치관도 깊게 탐구할 수 있는 요인이 되기에 더욱 확대되어야 할 것이다.In this thesis, the intertextuality of literature and painting was explored, focusing on the heroic novels enjoyed in the 18th and 19th centuries and Kim Hong-do s Doseok figure paintings. As a result, three conclusions were drawn. First, the Taoist figures in the Doseok figure paintings were influenced by the appearance of the gods worshiped in Taoism in China, and the Taoist figures could be inferred from the marks of each character revealed in the Taoist paintings and heroic novels. Second, the figures of Taoist characters in heroic novels are drawn more secularly and indigenously than those in Taoist figure paintings, which can be found in connection with the primary classes who enjoyed the paintings and novels. Third, through the Taoist figures drawn in the Taoist figure paintings and heroic novels, the people at the time hoped for was a lucky fate, social advancement, and longevity without disease. As above, commonalities and differences in widely enjoyed cultural arts could be found according to the primary classes who enjoyed them and their values. Like the comparative study between paintings and heroic novels attempted in this thesis, studies on the genre negotiation between paintings and novels can provide a richer glimpse into historical culture and become a factor that facilitates deep explorations into the thoughts and values of the people of the time, and therefore should be further expanded..

Resimde Duygu ve Gerilimin Çekiciliği Francis Bacon (1909-1992)

Abstract Francis Bacon was born in Dublin in 1909 to an English family. The artist rejected the literary field and perceived his painting directly as an act of expressionism. The period he lived in and the effect he had on it was reflected in his paintings as horrifying images emerged in them. The figures in his paintings were distorted, trapped in a strong motion, caught in a vortex or storm. The audience subjected to the emotional tension of the figures were subjected to intense emotions. The aim of this study, which was conducted by qualitative research method, is on Francis Bacon who, even though did not receive academic art education, managed to have a strong emotional effect on the audience with his expressionist art. Keywords: Francis Bacon, Figurative Painting, Expression in Painting, Motion and Art.

Linen Boxes and Slices: Raoul De Keyser and American Modernism in Belgium in the 1960s and 1970s

Before his international breakthrough shortly before the turn of the century, Belgian painter Raoul De Keyser (1930–2012) had a long career that reaches back to the 1960s, when he was associated with Roger Raveel and the so-called Nieuwe Visie (New Vision in Dutch), Belgium’s variation on postwar figurative painting that also entails Anglo-Saxon Pop Art and French nouveau réalisme. Dealing with De Keyser’s works of the 1960s and 1970s, this article discusses the reception of American late-modernist art currents such as Color-Field Painting, Hard Edge, Pop Art, and Minimal Art in Belgium. Drawing on contemporaneous reflections (by, among others, poet and critic Roland Jooris) as well as on recently resurfaced materials from the artist’s personal archives, this essay focuses on the ways innovations associated with these American trends were appropriated by De Keyser, particularly in the production of his so-called Linen Boxes and Slices. Made between 1967 and 1971, Linen Boxes and Slices are paintings that evolved into three-dimensional objects, free-standing on the floor or leaning against the wall. Apart from situating these constructions in De Keyser’s oeuvre, this article interprets Linen Boxes and Slices as particular variations on Pop Art’s fascination for consumer items and on Minimalism’s interest in the spatial and material aspects of “specific objects”.

An Analysis of the Contemporary Transformation of Traditional Ink and Wash Characters’ Brush and Ink Language

Traditional Chinese ink and wash figure painting originated in the Five Dynasties, and has become more mature in the Ming and Qing Dynasties. With the changes of the times, in order to promote the sustainable development of ink and wash figure painting, the majority of artists have gradually explored and innovated the ink language, incorporated many artistic elements, and formed a pen and ink language with the characteristics of living alone. Based on this, this article discusses the contemporary transformation and trend of traditional ink and wash characters’ brush and ink language for reference.

Martha Edelheit's 'Flesh Walls': towards a communal, queer futurity

During the early to mid-1960s the American artist Martha Edelheit (b.1931) produced a series of large-scale figurative paintings. For many of her contemporaries, abstraction was a more accepted and widely practised mode of painting than figuration; Edelheit’s massive Flesh Walls depict

Decolonising Love

This article reconsiders Frank Bowling’s figurative paintings from the early 1960s, emphasising the recurrence of intimate affects in this body of works. It argues that the representation of romantic entanglements is cardinal rather than marginal in this artist’s negotiation of both personal and pictorial freedoms. This becomes especially clear when Bowling’s early work is set against the backdrop of nativist anxieties about the growing visibility of interracial unions in postwar Britain. With this in mind, and in a nod to the growing literature on love and anti-racist resistance, the article presents affective relationships and their visual manifestations as charged sites for the renegotiation of unequal power relations. Not only does this analysis restore political substance to a series of paintings that is rarely considered by scholars of Bowling’s work, but points toward new ways of reassessing the field of mid-twentieth century modernism in terms of diasporic and intersectional phenomenologies of desire.

Pupil responses to implied motion in figurative and abstract paintings.

Motion can be perceived in static images, such as photos and figurative paintings, representing realistic subjects in motion, with or without directional information (e.g., motion blur or speed lines). Motion impression can be achieved even in non-realistic static images such as motion illusions and abstract paintings. It has been shown that visual motion processing affects the diameter of the pupil, responding differently to real, illusory, and implied motion in photographs (IM). It has been suggested that these different effects might be due to top-down modulations from different cortical areas underlying their processing. It is worthwhile to investigate pupillary response to figurative paintings, since they require an even higher level of interpretation than photos representing the same kind of subjects, given the complexity of cognitive processes involved in the aesthetic experience. Also, pupil responses to abstract paintings allows to study the effect of IM perception in representations devoid of real-life motion cues. We measured pupil responses to IM in figurative and abstract artworks depicting static and dynamic scenes, as rated by a large group of individuals not participating in the following experiment. Since the pupillary response is modulated by the subjective image interpretation, a motion rating test has been used to correct individual pupil data according to whether participants actually perceived the presence of motion in the paintings. Pupil responses to movies showing figurative and abstract subjects, and to motion illusions were also measured, to compare real and illusory motion with painted IM. Movies, both figurative and abstract, elicit the largest pupillary dilation of all static stimuli, whereas motion illusions cause the smallest pupil size, as previously shown. Interestingly, pupil responses to IM depend on the paintings’ style. Figurative paintings depicting moving subjects cause more dilation than those representing static figures, and pupil size increases with the strength of IM, as already found with realistic photos. The opposite effect is obtained with abstract artworks. paintings depicting motion produce less dilation than those depicting stillness. In any case, these results reflect the individual subjective perception of dynamism, as the very same paintings can induce opposite responses in observer which interpreted it as static or dynamic. Overall, our data show that pupil size depends on high-level interpretation of motion in paintings, even when they do not represent real-world scenes. Our findings further suggest that the pupil is modulated by multiple top-down cortical mechanisms, involving the processing of motion, attention, memory, imagination, and other cognitive functions necessary for enjoying a complete aesthetic experience.

The Adoption and Development of the Gu’s Embroidery in Late-Joseon embroidery

This article uses the idioms of embroidery appreciation as depicted in narrative figure paintings in the collection of the National Museum of Korea, to examine the effects of Gu-style embroidery, which reached Korea during the late Joseon period, on the development of late Joseon embroidered pictures enjoyed by the royal court.<br/>The late Joseon period saw unprecedented developments in social, economic and cultural norms. Among these were friendly relations with Qing, allowing Koreans access to new imported culture including various regional Chinese embroidery styles. Gu embroidery became an early source of influence on change and production of embroidery in the royal court. By the 18th century, embroidered everyday items had spread into the private homes of aristocrats and commoners as part of a luxury trend. Expert producers created masterpieces specifically for viewing, which were collected for this purpose. Decorative embroidered screens were created featuring Taoist hermit and narrative figure paintings, driving artistic growth based on motifs of elegance and appreciation of luxury. Characteristics relating to Gu found in these works include: first, the filling of parts corresponding to Gu-style mixed embroidery and painting with long and short stitches and irregular long and short stitches; second, the development of a type of decorative stitching capable of the same elaborate expression as Gu; third, the replacement of untwisted thread, in which Gu style was used to achieve gradation, with twisted thread; fourth, the tracing of the outlines of all pictorial elements with outline stitch, unlike in Gu, emphasizing neatness; fifth, the use of contrasting complementary colors rather than intermediate colors; and sixth, the production of Taoist hermit paintings such as Banquet at Jade Pond and narrative figure paintings as screens. In sum, it can be said that this series of phenomena developed into a formal idiom in Joseon embroidery, which had become more highly renowned than that of China by the 19th century.

Art in the Time of Pandemic: Elisabetta Sirani, Artistic Agency, and Capitalist Social Reproduction

Art in the Time of Pandemic: Elisabetta Sirani, Artistic Agency, and Capitalist Social Reproduction

The Influence of Heritage multiplicity on Contemporary Egyptian Painting

The Influence of Heritage multiplicity on Contemporary Egyptian Painting

Komodifikasi Pantai Bali Lestari sebagai Daya Tarik Wisata di Kecamatan Pantai Cermin

This study aims to determine the form commodification of Bali Lestari Beach as a tourist attraction in the District of Pantai Cemin. Commodification is carried out by adopting Balinese culture and renewal of Bali Lestari Coast facilities, as evidenced by this commodification, can increase the number of tourist visits. The research method used is a qualitative method with an ethnographic approach, data collection techniques using participatory observation and interviews. The results of this study explain the form of commodification carried out on the Bali Lestari beach by changing the beach brand from Indah to Bali. Then adopt Balinese culture such as traditional Balinese architecture, Balinese arches, paintings of puppet figures, statues and polished saput, which are made in such a way as to be identical to the nuances on the island of Bali. To get the appropriate commodification, the manager renewed and added several supporting facilities such as, water games, photo spots, prayer rooms, bathrooms and restaurants. The increase in visitors creates new jobs for the surrounding community, many of whom are shifting jobs from farming and fishing to traders on the beach. In order to get a permit to sell in this coastal area, the manager charges a low fee to the merchant to be paid. Government participation is also very necessary to develop the Bali Lestari Coast.

The Production of Narrative Figure Paintings of the Virtuous Gathering of Chen and Xun Family in the Late Chosŏn and Its Meaning

The Production of Narrative Figure Paintings of the Virtuous Gathering of Chen and Xun Family in the Late Chosŏn and Its Meaning

Islamic heritage versus orthodoxy: Figural painting, musical instruments and wine bowls at the Dutch National Museum of World Cultures

Shahab Ahmed’s What Is Islam? The Importance of Being Islamic (2016) challenges anthropologists, Islamic Studies scholars, art historians and museum practitioners to question the theological assumptions underlying conceptions of Islamic art and material culture. This article analyses three object types key to Ahmed’s analysis – Islamic figural painting, musical instruments and wine bowls – from the vantage point of the collection of the Dutch National Museum of World Cultures. Based on the author’s experience as Assistant Curator for West Asia and North Africa in 2015–2016 and on exhibition developments up until 2019, Ahmed’s framework is demonstrated as a guide for critical interpretations of exhibitions of Islamic art and material culture. This perspective lays bare a tension that contemporary museums struggle with in response to nationalist pressures to integrate Muslim citizens in Western Europe: between a diverse Islamic heritage, on the one hand, and orthodox desires to materially purify the very idea of Islam, on the other.

Personal Meanings Inspired by the Beauty of Paintings

Abstract For many generations, works of art have been a source for experiencing beauty. They add to the wealth of our culture because they convey universal themes and values. In this study, we treat paintings as a stimulus for personal story-telling. The purpose was to explore the affective quality of personal meanings present in autobiographical narratives. Our findings show that subjective ratings of the beauty of figurative paintings are linked with the quality and theme of personal experiences recalled in response to viewing them, but not related to the length of the story. ‘Beautiful’ pictures elicit descriptions of desirable experiences associated with passive contemplation and satisfied self-enhancement motive. ‘Non-beautiful’ pictures call to mind difficult experiences linked with frustration. The experts formulated longer self-narratives inspired by paintings rated beautiful in comparison to laypersons, and laypersons formulated longer self-narratives inspired by paintings rated not beautiful in comparison to experts. The results are discussed in connection to the nature of the aesthetic experience and specificity of personal maenings.

The image of wine in the Iranian cinema and contemporary art

The proclamation of the Islamic Republic made its own adjustments to the cultural life of Iran, but despite the imposed restrictions and prohibitions, modern directors and artists continue to saturate their works with references to poetic images of wine. In cinema, the authors act quite straightforwardly, although sometimes in their films there are more inventive methods of mentioning an illegal drink (verbal ac-companiment of the visual series through reading poetic lines about wine). Representatives of the modern art scene can resort to the wine motive in a more diverse form than their colleagues in the field of cine-ma, since it is easier for them to encrypt this topic in their works. Artists turn to the leitmotif of wine, classic for Iranian miniatures, both in abstract drawings, experimenting with calligraphic patterns, and in figurative painting, creating various compositions from mystical and phantasmagoric plots to everyday realistic sketches. When examining the image of wine in historical retrospect, the connection between poetry and Iranian art is clearly visible. The poetic tradition is deeply rooted in Persian culture, an environment so deeply formed by metaphor and permeated with allegory, depicting not the literal, but the symbolic. In addition to the fact that great masters of literature are revered in Iran, poetry is an everyday language in which people communicate today. Therefore, quotes from the poems of poets of the past and present saturate the narrative in Iranian cinema and penetrate into modern fine art, thereby uniting the eras into a single cultural field.

Analysis of the Application Skills of Color in the Creation of Characters in Traditional Chinese Painting

The reason why Chinese painting can occupy an important position in the history of world painting lies in the unity of its lines and colors. The figure painting in Chinese painting is the perfect combination of color and line, creating the unique beauty of Chinese figure painting. Color has undergone many rounds of evolution in the process of Sinicization, and the entry of Western art has also had an impact on Chinese painting. This article combs the evolution of color in Chinese painting, and analyzes how to use color in Chinese figure painting.

Berthe Morisot's Subversive Objectification of Women

As was evident in "Berthe Morisot, Woman Impressionist," an international touring exhibition of the artist's work in 2018-2019, Morisot's painting often captures ways in which the libidinal and affective politics of vision shape the objectified construction of the viewed female subject, and it subtly examines how those politics can be negotiated and challenged. Her portraits of bourgeois Parisian women and figure painting in the late 1860s and 1870s are especially compelling in their interrogation of painting feminine objectification and are a crucial part of Morisot's contribution to the culture of Modernity. I offer a new interpretive framework for identifying a relationship among four well-known paintings of women in domestic spaces that all play with the concept of objectification to engage viewers in the work of essentialist deconstruction. I argue that these paintings build on two innovative and ultimately interrelated forms of defamiliarization to subvert typical viewing practices that essentialize the emotionalized minds and sexualized bodies of women.