Practice Of Painting Research Articles

Iconografía precolombina en el arte urbano y el grafiti en Bogotá. Un acercamiento a la prácticade pintura mural precolombina en espaciosconvencionales y no convencionales

The past, far from being a remote time framed in remi-niscence and faint imagery, is latent and susceptible to change. The main objective of this paper was to applymethodologies provided by fields of knowledge such asethnography, sociology, and art history, in order to capture and delve into the presence of pre-Columbian iconography in urban art and graffiti in the city of Bogotá, in both conventional and unconventional spaces; taking an epistemological approach to the practice of mural painting with allusions to pre-Columbian elements. In this way, through urban drifts, iconographic and iconological visual analysis, mapping, and qualitative interviews, we examined over twenty mural paintings, from which theoretical approaches were derived in relation to the use of public space, on the one hand, and the use of symbols, on the other. The conclusion reached is that artistic interventions, by participating in the construction and reconstruction of the social fabric, allow us to understand space as a volatile phenomenon; likewise, in the exercise of reflecting on the presence of art in the city, it is critical to pay attention to the conditions of production under which a piece is made, insofar as images have historically been powerful semantic toolsthat embody a purpose. Finally, the paper is an argument in favor of observation as a space of learning. The present reflections were part of a research process developed for the class “Uses of the past in the present: The Iconography of Antiquity in the Contemporary Culture”, at the Universidad de los Andes, first semester of 2023.

Amazon Journeys and Poetic Re-Discoveries in Jan Conn’s 'Jaguar Rain' and Malu de Martino’s 'Margaret Mee e a Flor da Lua'

The year 2023 marks the thirty-fifth anniversary of botanical artist Margaret Mee’s final expedition to the Amazon. On this trip, she was at last able to paint the rare night-flowering of Selenicereus wittii, commonly known as the Amazon moonflower. Such an accomplishment was not only significant due to the rare nature of the event, but also because it was the final piece created by an artist who renewed the practice of botanical painting. Originally from Britain, Mee lived in Brazil for more than thirty years, embarking on fifteen expeditions to the Amazon region between 1956 and 1988, painting while travelling in dugout canoes deep in the forest and becoming a fervent activist for the protection of the environment. Her work has influenced many artists, e cologists, and biologists, and has served as inspiration for literary and filmic creations. In 2006, Canadian poet Jan Conn published Jaguar Rain: The Margaret Mee Poems, in which she poetically recreates Mee’s journeys to the Amazon. As both a scientist and a poet who has also extensively travelled in the region, Conn reimagines Mee’s wondrous encounters while situating them as part of a tradition of travel and exploration in South America. A few years later, in 2012, the documentary Margaret Mee e a Flor da Lua, directed by Brazilian filmmaker Malu de Martino, was premiered. In the film, Martino reconstructs Mee’s final journey to the Amazon in search of the moonflower while also reinstating the artist’s important contributions as an artist, environmentalist, and contemporary explorer. The connections between the biographical, poetic, artistic, and professional Mee are closely woven throughout the documentary, which can be seen as inserted in a new documentary tradition, less analytical and more poetic, in which notions of truth, history, and reality are problematised and rendered through different lenses. Bearing in mind that both Conn and Martino re-read Mee’s journeys through the tropes of exploration and discovery, which are commonly associated with imperial practices and colonial narratives of the New World, in this paper, we propose to discuss in which ways these tropes are brought into context and problematised, especially in relation to the depiction of Amazonian nature.

Painting matters: new materialism and new knowledge

ABSTRACT This article discusses the contributions of two individual research-creation projects focussed on the practice of painting and the matter of paint, emergent trans-disciplinary discussions regarding critical posthumanities, and new materialism. As an epistemological field, artistic research pursues knowledge in subjective, constructive and affective dimensions. It searches for new forms of understanding the world that do not reproduce existing modes of thinking, seeking to disrupt established research conventions regulating how the world is explored. Through reflections on the process of painting from a new materialist perspective, we define acts of painting as assemblages of human and non-human entities formed through complex intra-actions within a dynamic of becoming. Painting as practice is an embodied process of non-verbal material thinking, capable of enabling practitioners and viewers of artworks to experience, actualise and re-enact traces of affective registers. The article concludes with the proposal that painting practices within a new materialist framework enable modifications of personal affective registers contributing to transformations of the self and subjectivities.

Marvelous Returns. Readings of Wifredo Lam by Lydia Cabrera, Alejo Carpentier, and Aimé Césaire

Cuban painter Wifredo Lam (1909-1982) returned to the Caribbean in 1941 after spending eighteen years in Spain and France. In the following four years his painting practice transformed, generating the iconic imagery that he would become known for inventing. His return from Europe figures prominently in essays that Lydia Cabrera, Alejo Carpentier, and Aimé Césaire wrote about him soon after his 1943 completion of La jungla, his most famous painting. These Caribbean writers had close relationships of friendship and collaboration with Lam, and while their essays have become important sources for Lam criticism, they rarely receive critical analysis. In my analysis, I am interested in how they illuminate the role of return in shaping the dichotomy that Alejo Carpentier went on to establish between surrealism and the Americas-located aesthetic he dubbed “lo real maravilloso.” For Carpentier, the aesthetic of the marvelous that the surrealists sought to render emanated readily from social reality in the Americas. I understand this idea to be predicated upon his own return from Europe, and I argue that his earlier work on Lam, alongside Cabrera’s and Césaire’s, offers coordinates for a theory of return, from Europe and surrealism, through which to understand the real-marvelous aesthetic in Lam.

Expansion painting: a visual essay

ABSTRACT ‘Expansion Painting: A Visual Essay’ attempts another way of thinking about and through my practice of expansion painting through the form of a visual essay. In Asian art, images and words often come together as one. As can be seen in Chinese ink painting, images and words appear on the same visual plane, suggesting we look equally at both, seeing and reading both image and text. I aim to replicate this equal relationship between images and words in this paper as ‘another’ form of expansion painting. The image/text relationship also aims to reflect the viewers’ ambiguous relationship between their bodies and the work in the installations.

PRODUCT DIVERSIFICATION FOR SUSTAINABILITY INSPIRED BY TRADITIONAL ROGAN PRINTING OF GUJARAT

The age-old artistic practice of rag painting, which is practiced in Gujarat, Peshawar, and Sindh. It involves using a stylus to expertly apply a thick paste made of vegetable colours and castor or linseed oil onto fabric. The Persian origin of the term "Rogan" means "oil-based," emphasizing the process of heating and forming castor oil in cold water to create a viscous material. This art form was once quite popular among the Muslim Khatris group in Gujarat, and it is historically credited to the Afridis, a community of Syrian descent. After the first impression, the cloth is carefully folded to create a mirrored design. The artists used their palms to apply body-temperature paint. Rogan painting, which is well-known for its rich colours and intricate designs that frequently incorporate floral themes, animals, and regional cultural features, has faced challenges due to low awareness and the rise of low-cost, automated textiles. However, there has been a resurgence in recent years, contributed to increased tourists, support from non-profits and local cooperatives, and the prestige of winning awards and recognition. This paper gave insights into the ideation of incorporating and being inspired by Rogan art motifs into product diversification with contemporary designs through embroidery for garment collections.

Michel Serres’s Sensorial Philosophy and the Importance of Skin in Francis Bacon’s Nudes

Prompted by the exhibition Francis Bacon: Man and Beast (January–April 2022), this article takes a cultural studies and historical poetics approach to the significance of skin in Bacon’s nudes. Drawing upon Michel Serres’s philosophy and the work of prominent figures within skin studies, this article argues that Bacon’s paintings intuitively embody the significance of skin as a dynamic site/sight of sensory, lived, experience shaped by socio-historical context. Bacon’s nudes are considered in relation to the dermalogical turn; the topological body; Didier Anzieu’s skin ego and skin as our ‘deepest surface’; and the importance of movement in Bacon’s imagery, which correlates with Serres’s notion that learning occurs through bodily motion. Serres recognises that cultural works – including painting and other creative practices – can convey complex multiplicities of knowledge synthesised into new and distinct forms.

Pelatihan Teknik Pengelasan dan Pengecatan Atomozing Bagi Santri Pesantren Anak Yatim Darul Hikmah Cot Yang-Kuta Baro Aceh Besar

Islamic boarding schools are traditional educational institutions that prioritize a religion-based curriculum. The Darul Hikmah Orphans Islamic Boarding School, located in Cot Yang Village, Kuta Barou District, Aceh Besar Regency, Aceh Province, faces the challenge of low levels of entrepreneurial skills in the field of welding and atomizing painting due to the absence of this material in their curriculum. To overcome this, atomizing welding and painting training was carried out at Islamic boarding schools, which aimed to improve students' hard skills in this field. This training is also planned to develop business units, including the establishment of atomizing welding and painting workshops. This atomizing welding and painting entrepreneurship training program is measured by several parameters, with the output being the basic welding technical skills obtained by the students. It is hoped that this program will produce entrepreneurs in atomizing welding and painting workshops that will benefit the environment of the Darul Hikmah Cot Yang Orphan Islamic Boarding School. The training implementation stages include welding and painting theory, occupational health and safety (K3), as well as practice and assistance in basic welding and painting, with the final product being a table. The training material was adopted from teaching welding and painting practices at Syiah Kuala Darussalam University-Aceh. The result of this training is an increase in participants' knowledge in welding and painting, as well as their ability to apply these processes by prioritizing K3 (Occupational Safety and Health).

An Overview of the Progress of Mural Painting Practice and Research in Chinese Subways

This paper takes CNKI database database as the source of literature data, and carries out data visualization literature analysis through software Citespace. It aims to sort out the basic characteristics, research hotspots, literature citations, source analysis and literature keywords of the literature related to subway mural design in China, with a view to providing certain theoretical references for the development of the subsequent research, guiding the subsequent practice and promoting the great development of the subway mural industry.

Leonardo da Vinci’s Ginevra de' Benci: The palette and further observations on underdrawing and undermodeling

To further our understanding of Leonardo da Vinci’s painting practices, a new scientific research study was conducted on Ginevra de' Benci, c. 1474/1478. More information about the preparatory underdrawing, undermodeling, and palette was obtained. The new analysis included multispectral infrared reflectography at high spatial resolution (50 μm per pixel) in three spectral bands between 1000 and 2500 nm. These high-resolution infrared images were registered to the digital X-ray radiograph and color image of the painting. This allowed careful comparison of specific compositional features among the color, infrared and X-ray images which helped to deduce the paint layering sequence. A false-color infrared reflectogram helped to better visualize the undermodeling present in the face of Ginevra, as well as the pounced dots used to initially position the sitter. Finally, the pigments used were determined from non-invasive chemical point analysis using reflectance and X-ray fluorescence spectroscopies, which were found to be consistent with Leonardo’s known palette. The combination of multispectral infrared reflectography, the ability to register the images from multiple imaging methods, and the knowledge obtained about the pigments provides a more comprehensive understanding about the underdrawing and painting process of Ginevra de' Benci.

Application practice of digital painting in basic teaching of fine art in colleges and universities

Application practice of digital painting in basic teaching of fine art in colleges and universities

PHOTOGRAPHY IN THE PRACTICE OF CONTEMPORARY PAINTING. A PEDAGOGICAL PERSPECTIVE.

Photography in the Practice of Contemporary Painting. A Pedagogical Perspective. Photography is a technological medium that suffers continuous evolution. From its earliest developments to the various types of recent printing, the photographic image has become an avatar of the world. Since images are irreversibly intertwined with human activity, their usage becomes an increasingly frequent practice in the area of traditional creative techniques. This article discusses some examples of this usage in the context of contemporary painting studios in higher education. Photography is accessed by young students and the foray into photographic documentation is now an inevitable tool. The way students use it as an intermediary can be disruptive to their learning process, as long as the role of photography in painting practice is not fully comprehended. There are different ways of integrating photography into the practice of contemporary painting. The present article addresses conceptual aspects, presents several particular situations and launches some perspectives for better understanding these practices. Photography is a tool, not an end, but what happens when these terms juxtapose or are taken for granted? What kind of painting results out of the practical process “contaminated” by photography? However, if technology is properly and timely integrated in the practice of painting, one can no longer talk about a “contamination”, but rather about a conscious process able to generate quality painting. Keywords: painting, photography, hyper-realism, photorealism, contemporary art, art teaching, art pedagogy, art courses, artist, contemporary painters

State Murals, Protest Murals, Conflict Murals: Evolving Politics of Public Art in Ukraine

Russian interference and invasion in Ukraine have transformed that nation’s historical practice of mural painting. A traditional art form with deep religious and political resonance in Ukraine, murals have become an instrument for patriotic mass mobilisation against the Russian military threat. From the mid-2000s, spraypaint graffiti underwent a gradual process of professionalisation and reconciliation with mainstream culture as Ukrainian municipalities pursued urban beautification initiatives and city-branding strategies to mitigate the socioeconomic challenges of postsocialism. It was this legacy of apolitical, privately funded street art that provided the foundations for patriotic muralism following the Maidan “Revolution of Dignity” and the Russian annexation of Crimea. Amidst the post-Maidan search for a postcolonial understanding of Ukrainian culture disentangled from Soviet and Russian influences, professionally produced murals in central urban districts proposed new visions of national identity. The war’s intensification since 2022 has resulted in a decentralisation of mural production. No longer reliant on international festivals in urban centres, conflict murals are now made by Ukrainian artists in large cities and small towns across the country. The newest murals represent a blending of the physical and digital—with a subject matter often inspired by viral conflict memes; artworks are, in turn, shared with worldwide audiences via social media.

The Formalism Issue of Catholic Iconography in China

During the Republican period in China, the Catholic Church gradually developed and grew in China and made attempts to localize itself in different fields, one of which was the promotion of localized Catholic icon painting in the field of art. Due to the problem of divergence between Chinese and Western cultures and styles, formalistic expressions of these paintings emerged. As a representative practice of Catholic painting in China, Beiping Fu Jen Catholic University, with Chinese painting style as its main focus and Western style as its auxiliary, consciously innovated the expression of Catholic icon painting in China, however, in the expression of content and selection of subject matter, excessive emphasis was placed on Chinese visual language to cater to the tastes of Chinese audiences, and as the edifying function of Catholic painting failed to be exercised to a certain extent. There is still a certain degree of formalism. The development of Catholic painting in China needs to find a balance between the spirit of doctrine and Chinese visual culture, integrate Catholic aesthetics into the Chinese painting tradition, and create a new form of painting language, rather than the migration and appropriation of visual symbols.

Fictioning painting: Or imagining an ‘outside’ to art history

This article seeks to explore the relationship between contemporary painting and fictioning practices, examining the implications for historicization, authenticity and authorship. Taking as a starting point the re-appearance of Walter Benjamin in 1986, I will trace the ways in which painting practice and fictioning discourse have intersected, drawing on recent interviews with the authors of these projects and ongoing research into artist novels. I will discuss Albert Oehlen’s 2021 film The Painter, which is set in Oehlen’s studio and documents the struggle to produce an abstract painting, asking why certain clichés are re-staged in fictional portrayals of artistic labour rather than re-imagined? I will develop a discussion of Oehlen’s use of parody by reading this film as a performance to camera, and will explore the ways that Oehlen plays with plausibility through the use of an actor, a semi-improvised script, and modelling the narrative on the historical precedent of Paul McCarthy’s 1995 video Painter. I will offer a case study from my recent practice-based Ph.D. research in which I worked with Bruce McLean to re-enact his 1969 artwork Underwater Watercolour to highlight the relationship of fictioning practices to archival practice and develop an understanding of fictioning as a performative form of historicization. I will situate these examples in relation to recent theory (specifically, David Burrow’s and Simon O’Sullivan’s survey of ‘Fictioning’ practices in art and philosophy and Carrie Lambert-Beaty’s concept of ‘Parafiction’), positioning my research within a broader discussion of a current trend towards fictioning practices in contemporary art.

Pigments and Binders Used in Bark Paintings by Aboriginal Artists from Across the Northern Territory and the Kimberly Region in Western Australia

ABSTRACT Bark paintings represent a unique artform that originated in Australia and continues to this day. This paper presents a scientific investigation into both the pigments and binders used by Aboriginal artists from across the Northern Territory (NT) and the Kimberley region in Western Australia (WA) and represents the first major study dedicated to identifying these materials in samples taken from paintings. Laser ablation-inductively coupled plasma-mass spectrometry (LA-ICP-MS), Fourier transform infrared (FTIR) and Raman spectroscopy were used to identify the pigments in the four colors commonly associated with works by Aboriginal artists: red, yellow, black, and white. Iron oxides are used for red and yellow. Typically, kaolin is used for white and carbon or natural manganese ores are used for black, although the use of other pigments such as huntite (white) and battery black were seen in paintings from specific locations. Evidence of trade could not be established during this study; however, analysis shows that artists may use different pigments based on location and availability. A combination of FTIR and pyrolysis-gas chromatography-mass spectrometry (pyrolysis-GC-MS) was utilized to investigate the presence of a binder in the paint. Plant-based materials were identified as the binder in the majority of the paintings. The use of orchid juice was common, both as a preparatory layer on the bark substrate and as a paint binder. The presence of synthetic resins was more widespread than anticipated, attributed to both conservation efforts and more modern painting practices.

Pengecatan Balai Pertemuan Kelurahan Muktiharjo Kidul Kecamatan Pedurungan Kota Semarang

<p align="justify"><em>Building maintenance is an activity to maintain the reliability of the building and its infrastructure and facilities so that the building is always fit for function. A consistent building maintenance period has become a requirement that must be met, especially for buildings that are used commercially. As one part of the construction process, post-construction building maintenance has an important role to ensure the life of building construction. Lack of understanding of work methods, procedures, standardization of maintenance, and equipment used for maintenance activities of building elements also affects the age of building construction. This activity aims to carry out building maintenance in the form of repainting the meeting hall building to provide comfort and safety for the community, both for housing or residence, religious activities, business activities, social and cultural activities, and other special activities. The method used is in the form of socialization and direct practice of painting meeting halls. The result of this community service activity is that it has finished repainting the meeting hall of the Muktiharjo Kidul Village, Pedurungan District, Semarang City so that it looks more beautiful and comfortable.</em></p><p align="justify"><span><br /></span></p>

Oven Pintar Berbasis Kontrol Elektonik Modul untuk Pengeringan Bahan Praktek di Laboratorium Pengecatan

Extreme climate change makes the situation and environmental conditions uncertain, causing the painting practice lecture process to be less than optimal. Weather that tends to be cloudy has the potential to damage the paint from student practicum results. Referring to these problems, in this research an LPG-assisted automatic paint dryer was made as the solution offered. The purpose of this research is to make an oven to support the acceleration of drying of student paint. This research is a design type, which is carried out to support effective and efficient learning in accordance with the planned learning series. The instruments used in this study were: (1) paint drying oven machine assessment sheet; and (2) the target audience's response questionnaire. Indicators of research success are based on process and results. This smart oven based on electronic control module is very suitable to be used as a tool in improving the quality of painting results, especially in automotive painting. Making a smart oven based on electronic control of this module does not require too much money and is very easy to understand in operating the system because of the simplicity of how the oven machine system works. Questionnaire responses of students who have used smart ovens show results that agree and strongly agree with the existence of this smart oven.

Contemporaneity in Seventeenth-Century Chinese Painting, Theory, and Criticism

Chinese painting has often been considered timeless and unchanging, an art reliant on the copying of the ancients, and thereby forever reiterative. Closer inspection of the art, theory, and criticism, especially of the seventeenth century, however, challenges these notions. When time and again we see artists referring to the works of earlier acclaimed painters but yet transforming them — or even subverting them — we must ask what values are being promoted. In this essay, it is argued that a shift occurred in painting criticism and practice from the sixteenth century to the seventeenth, that seventeenth-century critical values emphasized the contemporary, new, and different, and that this resulted in an expanded canon of painting.

New Insight into Liu Kang’s Village Scene (1931): A Non-Invasive Investigation by Technical Imaging

This study examines the intriguing peculiarities of the surface paint layer found in the painting Village scene (1931) by renowned Singapore artist Liu Kang (1911–2004). The incorporation of non-invasive visible light (VIS) and near-infrared (NIR) photography techniques, combined with high-power digital microscopy, revealed unusual features on the surface paint layer. Flattened impastos, clusters of incrusted foreign paint unrelated to the existing paint scheme, and fragments of paper with printed traditional Chinese characters were identified on the painting’s surface. The results of the analyses cross-referenced with the archival photographs enabled the consideration of the specified features of the paint layer as unintentional damage caused by the artist due to inadequate storage and transportation conditions—paradoxically, in his attempt to protect the painting. As these damaged areas pose potential display and conservation problems, three conservation strategies were proposed based on ethical guidelines formulated by various governing bodies for the conservation profession. This study demonstrates that there is no universal conservation solution that can satisfy conflicting aesthetic and ethical opinions. The damage to the paint layer affects the visual properties of the artwork but also provides evidence of its complex history. In light of the above, there may be valid arguments both for returning the painting to its original state and for preserving its current condition. Therefore, good practice would require balanced judgments from conservators and curators, considering Village scene in the broader context of Liu Kang’s early painting practice and the existing archival information about the artist.