Pictorial Works Research Articles

Use of magnetic sheets in vertical deformation treatment of textile supports of contemporary paintings

The practice developed during a conservation and restoration intervention does not always follow common or traditional standards, whether due to technical limitations, or space constraints related to the size of the works, or by the material requirements that the works themselves can present. In the light of various particularities and needs, research was initiated into the use of harmless and satisfactory methods in the occasional treatment of deformations of the support of contemporary pictorial works, using magnetic sheets. In its use, different valences were evaluated, such as the control in the iteration of the work, the effectiveness and control of humidity and time during the performance of the treatments, and the results obtained. This article will reflect on the process developed with the application of four case studies, presenting the advantages and disadvantages in the use of this method.

Blake’s “Watchman”: Los and the London Police

ABSTRACT The Metropolitan Police Act of 1829 created a centralized police force in London, formally ending the tenure of the parochial watchman—a recognizable figure in the capital for centuries—and replacing him with the uniformed “bobbies” still visible today. This change, however, was far from an inevitability. The proto-centralization embedded in the Middlesex Justices Act of 1792, and the various textual and pictorial works defending the watchman’s role as a local guardian, reflect the conflicting approaches to policing London’s spaces which competed in the decades preceding 1829. This essay explores points of interaction between these debates and the works of William Blake. After examining Blake’s 1807 letter to publisher Richard Phillips, which condemns the activities of the Hatton Garden Police Office, I probe how a distrust of centralized authority manifests itself within Blake’s work through the figures of the “Watch-fiends.” From here I explore how Blake’s depiction of Los as “Albions Watchman” in Jerusalem (c.1804–20) shares similarities with contemporary works celebrating the symbolic opposition of the parochial watchman to central tyranny. Ultimately, I show that Blake’s utilization of a recognizable London type allows us to draw productive parallels between his works and the city spaces in which they were formed.

AR EXPLORATION OF THE PERSPECTIVE/ARCHITECTURAL SPACE PAINTED BY PERUGINO

Abstract. The perspective study of one of the panels from the cycle of San Bernardino attributed to Perugino has revealed a contracted space in depth, represented three-dimensionally by the objective model. In contrast, the ideal model eliminates the contraction and maintains the proportions dictated by the architectural interpretation. The contribution presents an advancement in the perspective study aimed at developing an augmented reality (AR) application. It is designed to be experienced at the museum housing the artwork, serving as an in-depth exploration that explains to visitors the nature of the perspective space and the architectural space represented. The case study of the painting by Perugino becomes an opportunity to define and experiment with a workflow aimed at creating AR applications focused on the visualisation of architectural models derived from the perspective restitution of pictorial works. The description of the adopted method focuses on the following aspects: the use of the pictorial image as an AR marker and the relationship between the perspective picture plane and the 3D model; the optimisation of 3D models for AR visualisation purposes; the issue of the landscape; scene lighting; and the user interface for multilayer interaction.

Мир старообрядчества в русском изобразительном искусстве XVIII – первой трети XX вв.

Basing on a review of about 300 works created in the 18th – first third of the 20th centuries, the study presents a chronological and genre-thematic panorama of the development of the Old Believer trend in Russian fine art. It includes portraits, architectural landscapes, historical, genre paintings, book illustrations and sketches of theatrical scenery. The portrait genre is represented by commissioned works depicting real personalities and portrait types reproducing collective images of a diverse Old Believer community. Architectural landscapes captured key Old Believers locations — Vygoleksinskoe community, Rogozhskoye and Preobrazhenskoye cemeteries in Moscow, Pustozersk, Kerzhenets, Karelian necropolises. Historical painters came to the attention of such events as the presentation of new books by Patriarch Nikon, the rejection of newly printed books by Solovetsky monks, a dispute about faith in the Faceted Chamber, and the persecution of Old Believers. A special place is occupied by the images of Boyaryna Morozova and Archpriest Avvakum. Genre painting reflects the way of life of the Old Believers and its connection with the religious picture of the world. Over the course of two centuries, there was a formation and development of interest in the Old Believer theme, which found expression in enriching the genre palette and increasing the number of authors. About 60 artists showed interest in the Old Believers. A special contribution was made by M. Mylnikov, F. Solntsev, V. Perov, S. Miloradovich, V. Surikov, M. Nesterov, F. Malyavin, I. Kulikov, I. Goryushkin-Sorokopudov, B. Kustodiev, V. Kuznetsov, V. Plotnikov. In graphic and pictorial works, Old Believers act as bearers of national culture, adherents of their native antiquity.

“GALLERIE DES MODES ET DES COSTUMES FRANÇAIS...“ TO THE SOURCES OF KONSTANTIN SOMOV’S ART

The article is devoted to the art of Konstantin Somov and his practice of using art works of the past, in particular, the famous French engraved series of costume engravings ”Gallerie des modes et des costumes français dessinés d’après nature…” of 1778–1787, which included images not only various costumes and hairstyles, but also everyday scenes. The engravings of the series have never before been considered as a source of easel and applied works by the master, including his book and magazine vignettes. The author gives examples and evidence of the artist’s good acquaintance with the ouvrage. A comparison of the series’ etchings and Somov’s graphic and pictorial works of different years provides examples of various types and forms of borrowing from the art of the 18th century by the artist of the turn of the 19th-20th centuries: from individual themes and plots to specific motifs and compositions; from figures, their poses and angles to details of costumes and hairstyles, and so on. The genre of costume engraving meant working from life, a wide range of topics, interesting plots and lengthy inscriptions. All this made ouvrage a most valuable source on the French 18th century and created the possibility of various interpretations of old sheets by an artist of the early 20th century. Most of them were summarized in his many years of work on the so-called ”Le Livre de la Marquise“. Thus, the originality of Somov’s creative ideas, his inexhaustible imagination in conveying his favorite era was largely based on a collection of images of the ”Fashion and Costume Gallery“ compiled by French engravers and artists of the second half of the 18th century…

On pairing visual shapes in painting and cinema

The paper presents an analysis of the interaction of visual forms in painting and cinema (on the example of the pairing of A. Durer's painting and the modern cinema). The empirical basis of the analytical part of the study was visual sources (films by Andrei Tarkovsky, Ingmar Bergman, Lars von Trier, Francis Ford Coppola, Lado Kvataniya, works of art by Albrecht Durer). During the conducted research, it was determined how painting and cinema correlate, whether the analysis of a painting in a film makes it possible to understand the general concept, the chronicle of what is happening, the image of the main character. The main hypothesis of the study was confirmed that the pictorial work is the conceptual basis or “ideology” of the film, which makes it possible to identify stable and reproducible forms of conjugation of historical painting in the modern cinema. It was found that the analyzed films raise questions of vitality, pure soul and the role of conscience, parting with peace and war, both external and internal. It is shown that in the film "Ivanov's childhood", "Execution" and "Dracula" the presence of works creates a conceptual field for understanding the images and plot, in "Melancholy" the pairing occurs at the junction of the interpretation of the names and the alignment of the frame. In the "Seventh Seal", the meaning of A. Durer's engraving is generally adjacent to the meaning of the director's painting, justifying the artistic connection of both creators.

Empirics vs. art theory: Exploring a factor structure of pictorial expression based on contemporary artworks

ABSTRACT The RizbA scale combines psychometrics and art theory and enables a measurement of pictorial expression. This study explores its factor structure and a potential gap between theory and empirics. A sample of 275 pictorial works by artists and nonprofessionals was rated by 179 art experts. Three CFA path models were specified: models A and B based on the empirical results of previous studies, C on the theory of the initial study. Model C was additionally tested on a combined dataset. A and B did not converge, C was associated with fit indices as follows: RSMEA = .122, CFI = .712, TLI = .679, SRMR = .135, for the combined dataset: RSMEA = .086, CFI = .740, TLI = .696, SRMR = .084. Only model C partly suggests an acceptable fit. The results speak to a methodological gap between empirics and theory, that might be solved by a postdisciplinary measurement model.

The plastic expression of everyday life in the satirical graphics of the artist Glebus Sainciuc

Glebus Sainciuc is known in the artistic and cultural space of the Republic of Moldova, thanks to his pictorial works, papier-mâché masks and remarkable drawing sheets. Initially, the protagonist debuts in the art of easel painting, so as over decades to also enrich his area of interest through a vast activity in the art of masks, the art of social caricature and friendly cartoons. Caricature, as a genre of plastic creation, was practiced by artist Glebus Sainciuc mainly in the late 50s - early 60s of the 20th century. His debut in satirical graphics coincides with the period of time in which he becomes a member of the editorial board of the satire and humor magazine “Chiparus” in 1958. The artist’s activity involves social caricatures that were part of various thematic branches such as culture, social life, national economy, etc. The creator’s efforts were directed towards the elaboration of expressive images with an accentuated metaphorical substrate that originally reflects everyday life. Made in watercolor and ink, the caricatures developed by Glebus Sainciuc highlight the plastic expressions of color and line, while the subject of the image favors the satirical elucidation of some social and cultural realities.

Carol Rama: lo sguardo della Medusa


 
 
 By analysing a choice of Carol Rama’s (1918-2015) pictorial works and comparing them with her ‘discursive practices’ or the ways she articulates her verbal expressions and interactions, this paper aims to construe a particular model for studying the relation between words and images, drawn from and inspired by both Émile Benveniste's ‘Enunciation’ Linguistics and Mikhail Bakhtin’s Metalinguistics. Read in this way, the alleged "pornography" of some of Carol Rama's early works is transformed into its opposite, that is, into an invitation addressed to a traditional voyeur to become a possible erotic interlocutor. This transformation is effected by the figures appearing in Rama’s paintings, who aim their gaze directly at the spectator’s eyes, addressing him as "you". Instead of enticing a voyeur, stealthily peeping at a sensual object, the figures’ gaze transforms the spectator into a “second person of the enunciation” (Benveniste). Similar considerations apply to Carol Rama's discursive practices, all of which are characterized by a "polyphony of voices", a polyphonic ensemble whose voices are not split and conflicting against one another. To quote Bachtin’s on Dostoewsky’s characters, whose voices are usually self-conflicting, in Carol Rama’s case, the voices are problematically “pacified” (Bakhtin,).
 
 

Interactive Media Innovation Articulate Storyline Animation to Improve Fast Drawing Ability of Art and Design Students Universitas Negeri Malang

Student creativity in drawing projects is far from learning outcomes, where visual objects tend to be imitative. Therefore, student creativity needs to be honed again in order to optimize skills. In addition, it is also due to the lack of learning media used by teachers for students. This study aims to produce interactive learning media that is fun and uses technology in the painting competence of art and design students at the State University of Malang. The method used in this study uses the Moeljadi Pranata development model, namely five-D which consists of Define, Data, Design, Development, Disseminate. Data collection through observation, interviews, validation, and field trials. Observations were made at the Department of Art and Design, State University of Malang and conducted interviews with art lecturers and student representatives. This development resulted in an interactive media product, Articulate Storyline. The results of the study show that the use of interactive media Articulate Storyline can improve students' ability to make pictorial works more quickly. After using the media students are more interested in learning because the views of the material provided are more practical and unique. Apart from that, there is also a demonstration video in this media which can help students to make images more easily. This media development product is packaged creatively and interactively. This is supported by the validation results of media experts and material experts as well as field trials in small groups.

Decoupage Art in the Modern Egyptian Painting

Objectives: This research aims to trace the history and techniques of decoupage art as a medium in contemporary Egyptian painting. It explores how decoupage enhances tactile values and achieves visual richness in artworks. Additionally, it examines the tactile qualities of decoupage in Egyptian pictorial works through descriptive analysis of selected pieces by contemporary artists. The hypothesis suggests that the use of decoupage art enriches visual and tactile experiences in contemporary Egyptian figurative painting. The significance of this study lies in shedding light on a novel approach that enhances the surface texture of contemporary Egyptian painting, specifically the decoupage technique. It also explores diverse technical approaches through artistic experimentation.
 Methods: The researcher adopts a historical approach to examine the emergence of decoupage art and utilizes a descriptive and analytical approach to study samples of contemporary Egyptian artists' works that incorporate decoupage techniques.
 Results: The research confirms the hypothesis that the use of decoupage in contemporary Egyptian artworks enhances visual richness and artistic value. The technique achieves color and linear diversity through the decorative elements of the decoupage paper.
 Conclusions: Based on these findings, the researcher presents recommendations and proposals. These include encouraging experimentation with various materials and interdisciplinary approaches to enrich contemporary artistic work. It advocates for the development of an educational curriculum that allows art students to enhance their visual and aesthetic experiences. Furthermore, it emphasizes the importance for artists to pay attention to the materials available in their local environment and utilize their aesthetic components to the fullest extent.

ЛЕТОПИСЬ МОНПАРНАСА: К ВОПРОСУ О ТИПОЛОГИЗАЦИИ ПОРТРЕТНОГО ИСКУССТВА МАРЕВНЫ

The portraits of friends from Montparnasse by Marevna may be a key to insights regarding the study of the School of Paris. The graphic and pictorial works by the artist in combination with her memoirs have great cultural and historical value. They provide a new view not only on Marevna’s stylistic search but also on the organization of the daily life in Montparnasse. In spite of the artistic and memorial significance of the artist’s heritage, there are a number of historiographical lacuns. In particular, no attempt has been made to study Marevna’s portrait work in all its variety. In this article the principle of the tipologisation of the portraits of the montparnos is developed. For this purpose, a wide range of portraits are presented and categorized; some subjects portrayed are identified; stylistic features of the portraits and the main techniques that Marevna preferred are highlighted.

Libros y escritura en la pintura de Murillo

"This article addresses the world of books in the pictorial works of Bartolomé Esteban Murillo. Firstly, it focuses on studying the formal representation of books depicted in the paintings of the Sevillian artist, analyzing their binding, closures, format, cuts, inscriptions, and other relevant aspects. Secondly, it examines all the elements present in these paintings from which we can obtain information related to the reading and writing practices characteristic of the 17th century. The aim is to demonstrate how pictorial works offer us insights into various aspects of books and written culture, often going beyond what meets the eye."

IX Международная научная конференция «География искусства»

Geography of Art is an interdisciplinary synthesis inspired by the theme of creative genius comprehending and exploring space. The project began in 1994, with the first collection of works published at the Russian Heritage Institute under Yuri Vedenin’s guidance; the first conference was held in 2009. In recent years, the conferences have been held annually under the auspices of the Institute of Scientific Information on Social Sciences of the Russian Academy of Sciences, the Russian Academy of Arts, GITR Film and Television School, the Russian State University for the Humanities. The IX International Conference Geography of Art of 2023 united culturologists and art historians, geographers and philosophers from all over Russia and abroad. Traditionally, the participants discussed issues related to artistic space of literary and pictorial works, local texts, geographical and cartographic images, and virtual spaces created by art. As always, a separate section was devoted to “mastering,” using, modeling space in screen and photography art. An innovation in the scholarly dispute of the 2023 conference was the culturological and anthropological discourse on the visual image genesis and transformation from archaic to modern times, as well as the transgression of genius loci in the online media and virtual space.

СИМВОЛИЗМ И ЖИВОПИСЬ С. А. ЖУКА

This article is devoted to the work of the artist S.A. Zhuk, which is considered from the point of view of his artistic stylistic features and his worldview dominants. For this purpose, an art-historical analysis and comparative analysis of some of his pictorial works are carried out, considered from the standpoint of the artistic "language" of forms, as well as from the side of the "canonical" philosophical meanings established in the art of symbolism. During the analysis and upon its completion, conclusions are formulated that the stylistics of the artist's painting, to a greater extent, tends to symbolism rather than realism, as the author himself believes. In general, the article positions the thesis that S.A. Zhuk has his own author's style, that the bright, original work of a mature master is an interesting phenomenon, the significance of which, in the context of the artistic life of the country and in the process of training young artists, is undeniable.

Les frères Rouart, Augustin, le peintre et Philippe, le céramiste. Essai pour deux oeuvres croisées

Representing ceramics in a pictorial work is not a novelty in the 1930s but it remains exceptional. This approach stems from familiarity, the softness of intimacy and recognition of its aesthetic and/ or symbolic value.

L’analyse sérielle des œuvres picturales

We cannot reduce a pictorial work to an image or painting. As a work, it invokes, from the outset, other paintings, sketches, variants, a creative practice, a know-how, materials and gestures, forms of legitimation, exhibition, publication and archiving devices, etc. Therefore, we can consider each painting part of one or several series. The work is then the series, not each of the paintings taken separately. We thus adopt a conception of the work as fundamentally being plural, hybrid, heterogeneous, and one of the effects of this is the series. If we consider a painting as an image, the presentation space is flat and delimited by edges: exploration and interpretation are constrained by this elementary topology. But, if one adopts the perspective of the work as a series, the evoked space-time is multiple, stratified, and multi-dimensional. Choosing the serial analysis of the works does not imply that they are already classified as ‘serial’ but that the method that will apply to them will reveal serial properties. In this article, seriality is approached only in a comparative way, as the comparison of the work of two painters who oppose formidable difficulties: an Iranian painter, Medhi Sahabi, and a French painter, Georges Laurent. In both cases, the serial structure and meaning have a concrete impact on understanding the work and the choices we must make when presenting them in public: How do we organize the exhibition? How do you configure the archiving? From a methodological viewpoint, this serial analysis involves identifying the syntagmatic forms of associations and metamorphoses within the series and then the properties of the space-time in which they unfold.

ЖИВОПИСЬ ИЕРОНИМА БОСХА В РУССКОЯЗЫЧНЫХ ИНТЕРНЕТ-МЕМАХ

Internet memes are an integral part of online communication, reflecting the mood of a part of society through the combination of image, text and implied context of use. Memes based on pictorial works make it possible to f it the paintings of old masters into the context of contemporary social discussions. Memes reinterpreting the legacy of Hieronymus Bosch have a distinctive place in the system of such knowledge of art, which is supported by the fact that the artist belonged to two epochs at a time, the Middle Ages and early Modern Times, which allows the Web user to recode meanings more actively. Based on the concept of the Internet meme as a creolized text, the semantic productivity of referring to Bosch’s legacy is discovered. It is demonstrated that the perception of Bosch is not reduced to an emphasis on the strangeness or ambiguity of his images. On the contrary, the users of the Web penetrate beyond the surface of individual images and uncover the reflection in them of the crisis epoch, in particular, of the aesthetic and ethical breakdown. Bosch’s images allow for the interpretation of an unpredictable world and new ethical imperatives of social life.

The Pre-Raphaelite city and the trap of modernity

The poetic and pictorial works of the “Pre-Raphaelite galaxy”, as one might call the group formed by Dante Gabriel Rossetti, the Pre-Raphaelite Brotherhood, and their artistic kindred, exhibit an ambiguous relationship to Victorian modernity and 19th-century technical and political “progress”, especially British urbanisation. As urban-living people, the Pre-Raphaelites were always in direct contact with the modern city and its evolutions, and if the urban context is not their one major topic, the paintings and poems that come to grasp with it from the late 1840s onward are the strongest proponents of what could be called an alter-modern philosophy: the acceptance of some aspects of modern society, combined with the rejection of its dehumanizing and alienating excesses, to form a via media, an alternative to untamed Progress and unchecked urbanisation. The return to Nature they advocate is not just a nostalgic look backwards, but a real way of life based on simplicity, common decency, and the equality of all mankind – a vision which comes to life in the 1880s in William Morris’s socialist pamphlets and proposals for a new city. We shall base our demonstration on a set of four poems: Christina Rossetti’s “The Dead City” (1840) and “Goblin Market” (1862), Dante Gabriel Rossetti’s “Jenny” (1848-1869), and William Bell Scott’s “Maryanne” (1854), and compare them with D. G. Rossetti’s painting The Gate of Memory (1857-1864) and some of William Morris’s essays. This corpus constitutes an ensemble of works answering one another, and openly attacking the alienating artificiality of the modern world and its consequences.This paper will successively focus on three aspects of the Pre-Raphaelite relationship to the modern city. The first aspect is its representation: the city is a fatal beauty which seduces and corrupts, winds its network around the characters, and whose façades hide only death. This criticism opens the way to an attack against urban modernity, characterised by unnatural excess and human alienation. Beings are reified and despised, used and abused, and finally lost in a haze that separates them from any source of meaning – all this the fruit of a capitalist vision of the world. After this criticism comes a proposal: a return to what is the essential part of humanity. The definition of this “human essence” may vary depending on the author, but always centres on intimate knowledge of oneself, God, or others. The modern city is not absolute evil: even its corruption is a thing of beauty. But it is only a half-drawn canvas that the Pre-Raphaelite project tries to achieve, by opening the way for humanity to realize its full potential.

Text et langaje visuel: un proces de mise en abîme

The problem of the pictorial past in literature and of literary influences in painting has created a whole tradition. The literary experience of the image and the pictorial exercise in literature demonstrated the affinities between them, based on a specific view of the world. From contemporary philosophy, culture and literature, painting chooses its elements, symbols and ideational background, which is the substrate of the pictorial work. Translating them into the language of images, the painter reaches a more personal interpretation of literary works. The article presents a reflection on the prolific artistic career of the artist Cezar Secrieru, whose work creates a unique creative dynamic by transposing the mental and literary image into his canvases. The “Correspondences” of the arts enrich the deep ideational background of his creation, but also the diversification of the pictorial meanings potential.