School Of Painting Research Articles

Painting as Existential Experience: the Work of the Painter Rimvidas Jankauskas-Kampas

The aim of the article is to study the life and creative work of the famous Lithuanian artist Rimvidas Jankauskas-Kampas in the context of socio-cultural phenomena of the late 20th century. Results. Paintings of Rimvidas Jankauskas-Kampas (1957–1993) give an impression of intriguing, temperamental, obscure and enigmatic creative work. The artist lived for a short time, as his life ended unexpectedly when he was only thirty-five years old. The painter is strongly etched in the memory of his contemporaries, and his personality, as well as creative work are intertwined with things that may not even exist. Nowadays, a lot of people talk about Rimvidas Jankauskas-Kampas and his paintings. This bright personality achieves more and more colourful tones, and is vividly portrayed. Art historians are interested in his artistic legacy. The artistic work of this painter remains a subject of interest and discussion among artists and art critics. It is fought over at public auctions, and in the shadow of the art market. After graduating from the Vilnius Art Institute (now the Vilnius Academy of Arts), the young artist was thrust into a period of political change. The liberation of Lithuania from the Soviet Union meant new opportunities and creative freedom for him and other artists. Scientific novelty. This article is the first attempt to analyse in detail the oeuvre of Rimvidas Jankauskas-Kampas, as during the period of political changes, his paintings became a symbol of creative freedom. Conclusions. In fact, this outstanding artist brought many innovations to Lithuanian painting. The painter intuitively found a new concept of abstract painting in Lithuania. His main idea was to improvise freely on a very large canvas, and to paint nature alla prima. Free colour improvisations in his work only appeared after long sessions in painting plein air workshops. Rimvidas Jankauskas-Kampas stood out because he did not care about subtle colour nuances, or even for the whole expressive colourist school of Lithuanian painting. His abstractions are like a short and precise message spoken aloud.

The Impact of Political and Cultural Alterations on Crown Designs in the Herat School Paintings of the Timurid Period

A crown or headwear was considered one of the most important parts of clothing in the past. More than any other article of clothing, it expressed one’s social position and status. As a symbol of royalty in Iran, the design of crowns evolved over different historical periods. At times, it was used as a symbol to show power and authority. At others, it was as a symbol of the tyranny of mighty kings, and sometimes a symbol of luxury and aristocratic life. The Timurid period, with all of its political and social turbulence, is considered one of the most brilliant periods of painting, where new details and subjects appeared. This article investigates the role of crowns and headdresses with a historical descriptive method based on the existing library sources. It shows how the design of the crown in the paintings of the Timurid period was mostly influenced by cultural and religious factors. Timurid artists of the Herat school did not stick to the historical facts. Instead they sought to present an ideal image of the king, following the standards of the era, displaying slight differences in each period and reign.

The Early Formation of the Moscow School of Landscape Painting. Landscape Class of the Moscow School of Painting and Sculpture (MUZHV), 1844–1857

The article delves into the formative years of the landscape class at the Moscow School of Painting and Sculpture (MUZHV), whose growth parallels the advancement of the landscape genre in Russia during the latter half of the 1 9th century. It explores the pioneering efforts of Karl Ivanovich Rabus, the inaugural head of the class, and evaluates his instructional techniques in landscape painting. His methods introduced academic traditions of landscape painting to the School, thereby laying the groundwork for its future development. Additionally, the article delineates the challenges encountered by the nascent landscape painting tradition, attributable to a range of internal and external factors.Drawing from archival records and periodical sources, the author endeavors to reconstruct a detailed portrayal of the class's early years (1844-1857), emphasizing the pivotal role of students in the evolution of artistic life and the formation of the art market in Moscow. The research enhances scholarly knowledge by bringing into focus the identities of the class's students, most of whom are lesser-known artists, alongside their artistic creations, enriching our comprehension of Russian landscape painting during the late 1800s.

The Development Trend of Xin 'an Painting School in Contemporary Art

The Development Trend of Xin 'an Painting School in Contemporary Art

REVIEW – A VALUABLE EDITORIAL APPEARANCE IN THE FIELD OF THE LOCAL LANDSCAPE: LANDSCAPE AESTHETICS IN FINE ARTS IN MOLDOVA

The monograph Landscape Aesthetics in Fine Arts in Moldova, Chișinău: CEP Publishing House, USM, 2024, second edition (first edition, 2021), is a work carried out within the Postdoctoral Program (2021-2022), Strategic Priority – Societal Challenges, with the theme: Morphological stylistics in interior design, architecture, fine arts in Moldova, with the project code 21.00208.0807.00/PD, authored by Angela Munteanu. The paper discusses the issue of the evolution and constitution of the landscape genre in the fine arts in Moldova. The monograph Landscape Aesthetics in Fine Arts in Moldova reflects the periods of evolution and development of the landscape genre through stylistic trends, representatives of different schools of painting, graphics, and decorative arts, and artistic currents, resulting in a truthful panorama of the artistic process in Moldova.

SCULPTOR AND ARTIST I.I. SEVRYUGIN. HIS CONTRIBUTION TO THE ORGANIZATION OF THE FIRST ANTHROPOLOGICAL EXHIBITION IN 1879

Introduction. The work is devoted to an extraordinary person - the sculptor and artist Ivan Illarionovich Sevryugin (1839-?), his contribution to the organization, holding and sculptural embodiment of the Anthropological Exhibition of 1879, which became the starting point in the development of anthropology as an exact and natural-historical science and the basis for the creation of the department and Museum of Anthropology. Materials and methods. This study is based on the printed works of the second half of the 19th century, published by the Society of Amateurs of Natural History, Anthropology and Ethnography (OLEAE), in the research of which historical-typological and historical-descriptive methods were used. The main attention was paid to the analysis of materials and documents related to the preparation and holding of the First Anthropological Exhibition in Moscow in 1879. Archival documents from the Research Institute and the Museum of Anthropology and literary sources were also studied. Results and discussion. The work examines the creative path of the sculptor and artist I.I. Sevryugin. Coming from a poor family of guild artisans, Ivan Illarionovich received an excellent education at the Moscow School of Painting and Sculpture. Studied under Professor N.A. Ramazanov. During his studies, he was repeatedly awarded for his work and upon graduation received the title of third-degree artist. Along with famous sculptors and artists, he took part in the production of collections of mannequins for the Ethnographic Exhibition of 1867. The most significant peak of his activity was the First Anthropological Exhibition of 1879. The development of the exhibition model, its sculptural embodiment, collection and preparation of exhibits (mounds, burial grounds, masks, busts, etc.), a trip to Paris and much more - all this shows him as an incredibly talented person who masters a variety of artistic and sculptural techniques, who was hard working and earned the highest praise from specialists. Conclusion. Analysis of archival and literary sources showed that I.I. Sevryugin, being a talented artist and an excellent sculptor with a colossal capacity for work, took an active part in the preparation of the Anthropological Exhibition of 1879, and contributed to the solution of one of its main tasks - the popularization of anthropology in Russia. Thanks to his talent, he was able to express scientific ideas in artistic form. His works, exhibited in the gallery halls of the Exhibition, clearly showed the general public the unity of the biological and social in human nature. Collections created by I.I. Sevryugin, formed the basis of the sculptural fund of the photo-illustrative department of the Museum of Anthropology of Moscow State University.

Stylistic and iconographic features and evolution of the Luccan school of painting through the example of painted crosses made by the Berlinghieri's workshop

Stylistic and iconographic features and evolution of the Luccan school of painting through the example of painted crosses made by the Berlinghieri's workshop

THE EVOLUTION OF CHRISTIAN ICONOGRAPHY IN THE VI-VII CENTURIES

The II-III centuries represented the period of the birth of Christian sacred art through Christians imitating the custom of pagans, from whose ranks most of them came, to decorate their graves, sarcophagi or mausoleums with images and even by borrowing some pagan symbols and themes, to which they obviously gave a new, Christian meaning, to which, of course, exclusively Christian themes were added, most often of biblical origin, most of them having a narrative-historical character. In the 4th-5th centuries, under the careful supervision of the Church, a synthesis was made regarding the themes addressed, by abandoning some, by taking over others from the imperial imaginary, prevalence acquiring a dogmatic character, from the desire to express and through the mediation of figurative art, not only through the poetic, transposed into songs, the truths of faith formulated at the first four ecumenical synods, but also in terms of styles. In this second stage of the history of Christian sacred art, especially in the 5th century, as a result of the synthesis achieved in the capital of the empire between the two great artistic currents that manifested themselves in painting, the Hellenistic-Alexandrian and the SyroPalestinian, was formed the Constantinopolitan painting school and the stylistic features specific to this school crystallized . The present study aims to point out the main characteristics and developments of Christian sacred art in the Byzantine Empire starting from the time of Emperor Justinian I until the outbreak of Byzantine iconoclasm.

Dumitru Peicev. The tribute to art

Dumitru Peicev (19.05.1943–18.12.2023), a renowned figure in the field of fine art in the Republic of Moldova, professionally evolved during the 1960s, inspired by the traditions of the French and Romanian schools of painting from the late 19th to early 20th centuries. A significant influence on his artistic conceptions and aesthetic visions was played by master Mihail Grecu, one of the founders of the national school of painting, with whom Dumitru Peicev had a warm and fruitful collaboration. Throughout his artistic career, he manifested himself as a talented painter of thematic compositions, genre scenes, landscapes, still life, and portraits. Dumitru Peicev’s paintings are housed in the collections of the National Art Museum of Moldova, the Museum of Fine Arts in Razgrad, Bulgaria, the Art Museum in Ţelingrad, Kazakhstan, and in numerous private collections. A significant number of his works have been donated to the „Dumitru Peicev” Art Gallery in the city of Taraclia. Through his original creations, Dumitru Peicev contributed to the enrichment of the national cultural heritage, shaping a new chapter in the history of contemporary fine arts.

The Indigenization Strategies of Catholic Painting in Early 20th Century China

The spread of Christianity to China initiated a process of indigenization, particularly evident in Christian art. This study explores the indigenization of early 20th-century Chinese Christian paintings through literature reviews, case studies, and comparative research. The analysis covers four forms of primary research. First, it explores the indigenization of Christian concepts, tracing their development from the introduction of Nestorian Christianity in the Tang dynasty through the establishment of Fu Jen Catholic University in the Republican era. Matteo Ricci’s implementation of the “Ricci Rule” during the late Ming dynasty, subsequently expanded by Celso Costantini, played a crucial role in the indigenous adaptation of Christian painting in China. The second facet focuses on the Beijing Catholic School of Painting, led by Chen Yuandu, a group that innovated Chinese Christian art by integrating local artistic expressions with traditional depictions of saints, assimilating symbols from Chinese literati painting, and preserving time-honored Chinese painting techniques. The third facet examines the strategy behind Christian painting methods. Fourth, this study discusses how the Fu Jen School faced varied reception and evaluations from domestic and international audiences under the complex social currents of the Republic of China and how the artists reflected the national spirit and artistic responsibility in their narrative paintings. Fundamentally, the practice of Christian painting at the early 20th-century Catholic School is not only an innovative artistic endeavor but also a significant case of cultural exchange between East and West and religious localization.

The Aesthetics of Timurid and Safavid Miniatures

This research studies the aesthetics of Timurid and Safavid miniatures in a comparative manner. The first chapter deals with the research problem, its importance, and defining the most important terms used in it. The research problem included the topic of the aesthetics of Timurid and Safavid miniatures in the drawings of both eras through the artistic works produced by Islamic painting schools, where each school has characteristics that distinguished it from the other. The research problem was overcome through the following question: How did the Muslim artist achieve the miniatures aesthetics in manuscripts for both eras?The II chapter, the theoretical framework, includes four sections: the first on the aesthetics of Islamic art, the second on the art of Islamic miniatures, the third on the most important artistic features of painting (the Timurid era), and the fourth of the (Safavid) era. The third chapter included the research procedures, and the fourth chapter included the results and conclusions.The functional treatment of the concept of space designated for Islamic miniatures came according to a fruitful and sincere artistic and functional emotional approach within the relationships of creation that give it a spiritual feeling due to what the elements of construction have of multiple intellectual meanings and connotations, such as transferring the stories and events that were prevalent at that time, to documenting the style of Islamic architecture and the type of clothing worn by Muslims, the moral and social values that appeared through the interpretation of the movements of people in the Islamic miniature, as came in most of the sample models.

WuMKG: a Chinese painting and calligraphy multimodal knowledge graph

Chinese Painting and Calligraphy (ChP&C) holds significant cultural value, representing integral aspects of both Chinese culture and global art. A considerable amount of ChP&C works are dispersed worldwide. With the emergence of digital humanities, a vast collection of cultural artifacts data is now available online. However, the online databases of these artifacts remain decentralized and diverse, posing significant challenges to their effective organization and utilization. Addressing this, our paper focuses on the Wu Men School of Painting and proposes a framework for constructing a multimodal knowledge graph for the ChP&C domain. We construct the domain ontology by analyzing the ChP&C knowledge schema. Then, we acquire knowledge from diverse data sources, including textual and visual information. To enhance data collection around collecting historical context and subject matter, we propose methods for seal extraction and subject extraction specific to ChP&C. We validate the effectiveness of these methods on the constructed dataset. Finally, we construct the Wu Men Multimodal Knowledge Graph (WuMKG) and implement applications such as cross-modal retrieval, knowledge-based question-answering and visualization.

Resistance or Compromise: A Comparison of Western Mainstream Painting Language Before and after the Invention of Photographic Technology

This paper focuses on the developmental changes in the language of drawing brought about by the invention of the camera. Therefore, this paper takes the time of camera invention as the node. First, we will analyze the common features of the painting language of the famous painting schools before this point in time and the common features of the painting language of the famous painting schools after this point in time. Then we will compare and analyze them to explore the development and evolution of the painting language. Current research on painting before and after the invention of the camera is mostly focused on aesthetic approaches, art criticism, and its influence on popular culture. It adds to the gap in research on the language of painting and provides some insights into the creation and development of today's photography and painting.

ODESSA IN PAINTINGS, OR THE URBAN LANDSCAPE OF ODESSA

The article explores the peculiarities of the Odessa plein air painting school in the works of the prominent Odessa artist A.V. Strelbitsky. The influence of Odessa's architecture, history, and southern climate on the formation of a unique, unparalleled painting school, with a special place belonging to the urban landscape, is demonstrated. The historical aspects of the formation of the urban landscape are analyzed. The main stages of the formation of the Odessa plein air school are outlined and analyzed. The main direction of the Odessa plein air school, which consists of a consistent continuation and development of the traditions of the urban landscape of the late XIX - early XX centuries in plein air painting from the second half of the XX to the beginning of the XXI century, is indicated.

Contemporary Oil Painting Art and Art Market in Real Life

Since the reform and opening up in the 1980s, in the context of cultural exchange between China and the West, Chinese culture, art, and ideological concepts have undergone tremendous changes. Under the influence of Western painting, the development of oil painting art has further explored and studied modernist painting. At the same time, under the influence of Western modernist painting art, Chinese oil painting art has also shown a phenomenon of a hundred flowers blooming, such as the diversification of artistic styles and the diversification of painting language types, thereby creating the birth of various new painting schools. In the context of globalized art and culture, contemporary Chinese oil painting has also begun to go global. However, the development of contemporary Chinese oil painting is still criticized by the art of easel painting and photorealistic painting. Faced with the booming art market and the diversification of evaluation standards, how to understand the current situation and trends of contemporary oil painting art development is a question worthy of our in-depth research and reflection.

AESTHETICS AND IMPLICATIONS OF HADOTI SCHOOL OF PAINTING: AN EVALUATIVE ANALYSIS OF VIBRANT REFLECTION OF THE RAJPUT STYLE OF PAINTING

This forum explores the ways in which the Hadoti School of Painting, more than other forms of art, reflects the love of chromatic expression. Hadoti paintings, which are known for their strong lines and vibrant colours, effectively contrast with the vigor and strength of Rajasthani paintings' characterization. Rajasthan's topography is characterised by dramatic contrasts, from the wealthy black soil and environment of Malwa to the river Chambal, the verdant eastern region, and the nearly unending dry desert of Western Rajasthan. These landscapes are strikingly colourful and fascinating. The brave and courageous people of Rajasthan have always maintained their resilient spirit despite living in a place with harsh weather and geographical conditions. For Rajasthanis, colour is an integral aspect of daily existence. The tone is an important symbol of the rigorous spirit in its arts and architecture, in its clothing and costumes, and in its rites and rituals. Perhaps Hadoti has a distinct style but the common trait is, it called Rajasthan Style of painting constructs Rajasthan as rich in colour and united with culture.

An Example of Shahnameh Prepared for a Ruler (Promotion and Evaluation)

Ferdowsi' Shahnameh, which has been the subject of debate for a thousand years since it was written, is one of the most important works of world literature. There are examples of the work, of which we have encountered illustrated examples since the 14th century, that have not yet been discovered and have not reached a wide readership. The Shahnameh copy, which is the subject of our study, was prepared by artists from Samarkand for Ish Mohammad, who reigned in the Khiva region for a short time between 1556 and 1557. The work is preserved in the Institute of Oriental Studies of the Academy of Sciences of Uzbekistan N. 1811, where the original examples of Central Asian painting are kept. The importance of the copy stems from the fact that the work has survived to the present day as a complete text without fragmentation and the name of the miniaturist is mentioned in a few of the existing paintings. This indicates that the work has been preserved in an original way. In the copy, we encounter 115 paintings by another artist and a manuscript illumination bearing period characteristics. The copy contains several paintings by Mohammad Morâd Samarqandî, who represents the original Samarkand painting school, as can be understood from his signature. Some researchers claim that most of the unsigned paintings belong to Mohammad Morâd Samarqandî in terms of style, while the remaining paintings belong to the 17th century. The main purpose of this study is to introduce the work, which is not well known among the copies of Shahnameh, to introduce it to the masses, to evaluate it in terms of style, to give information about the content of the work, to introduce the artist, to explain the formation of the painting program, and thus to contribute to the literature.

Exploring the Styles of Peasant Painters in the Netherlands: A Case Study of Bruegel Pieter the Elder

This section discusses the origin and main types of development of the Renaissance. It gradually developed from Italy to the whole of Europe. Artists find inspiration from ancient Greek works and use scientific techniques such as perspective in their paintings, resulting in works that are full of volume. At the same time, the styles of southern and northern Europe are also different, especially in the southern region of the Netherlands where Bruguel is located. This is the birthplace of humanism, which has made the civic class the main force on the path of the Renaissance. It is precisely because of spiritual liberation that art has become a tool for ordinary people to showcase their thoughts and feelings. This article focuses on the peasant painter Peter Brueghel the elder of the Renaissance. And Bruegel was the last painter in this region after the Renaissance. He is also the founder of the Dutch painting school. Most of his works are inspired by farmers and his own life, as he chose to use art as a weapon to praise virtue and hope for national independence. He is a true 'farmer painter'. At the same time, his creative techniques are also changing over time.

Mapmaking Process Reading from Local Distortions in Historical Maps: A Geographically Weighted Bidimensional Regression Analysis of a Japanese Castle Map

Shoho Castle Maps are maps of castle towns throughout Japan drawn by Kano School painters on the order of the shogun in 1644. The Shoho Castle Map of Takada, Joetsu City, Niigata Prefecture was used to visualize local distortions in historical maps and to scrutinize the mapmaking process. A novel method, geographically weighted bidimensional regression, was developed and applied to visualize the local distortions of the map. Exaggerated expressions by mapmakers that have not been identified in previous studies were revealed. That is, in addition to the castle being drawn enlarged, the town where the merchants and artisans lived was drawn larger than the castle. Therefore, the Takada Shoho Castle Map reflects mapmakers’ intentions, besides enlarging military facilities, which appear to have emphasized the pictorial composition of the map by placing the main gate to the castle at the center and drawing the map area evenly from the center in a well-balanced layout.

Plastic artist Gheorghe Șoitu, a true honorary citizen of the city of Cahul

Gheorghe Șoitu studied at the School of Arts in Cahul, in the class of Professor Gheorghe Huzun, who gave him the basis for drawing, painting and composition, and later at the Republican School of Fine Arts “Ilia Repin” in Chisinau. After finishing his studies, he worked as a teacher, training generations of young artists at the School of Painting for Children “A. Sciusev”. Returning to Cahul, he continued his work as a painter at the workshop of the city’s Culture Department. Being a nonconformist, Gheorghe Soitu fits perfectly into the evolution of the plastic arts in the second half of the 80s, which is characterized by the easy transition from ideological themes to subjects expressing the human essence, translated into symbols. During this period, Gheorghe Soitu’s creation is characterized by experimentalism. In the compositions of the genre, the invoice, the incision and the contrasting chromatic range dominate, with multiple nuances. Balanced, however, tonally, chromatically and compositionally, they exude perfection. In the 2000s the artist’s work is distinguished by neo-expressionist compositions in which the plastic form is managed by impulsive and spontaneous temperament. This stage is characterised by a particular expressive force, diverse colour range and energetic colour tones. For his entire creation, the Cahul City Hall made an inspired gesture in 2009 to grant him the title of honorary citizen of the city, Gheorghe Șoitu being, rightly, the representative artist of Cahul and the south of the Republic of Moldova.