Way Of Painting Research Articles

Aesthetic, Craft, Innovation: Research the Evaluation Tendency of Ceramic Experts on Plant Motif Ceramic Artworks

Plant motif has always been the primary creative way of painting and molding in ceramic artwork creation. The authors created four groups different types of plant motif ceramic artworks to explore new ways of expression and compare creative ways to obtain better visual art effects. The criteria evaluation are aesthetic (value, color, pattern, value, motif ), craft (strength, quality, technique, material), and innovation. Then, 18 ceramic experts quantitatively rated the ceramic artworks on ten criteria. The research found that ceramic artworks with emotion, artistic aesthetic, pure color, vital pattern decoration, creative handcraft, comprehensive material, and flower motifs are more likely to be praised. That verifies the validity of the author's expansion of the innovation of plant motifs. It also found an improvement in abstractness and individuation. Expert evaluation positively influences the creation, guiding the practical creation of plant motif ceramic artworks.

A Study on Leonardo Da Vincis Renaissance and the Influence on His Way of Painting

In the fourteenth century, the era of Medieval governance came to an end. The exploration of ancient Roman and Greek literature and art inspired artists to replicate those glories. By no means a mere reproduction, this advanced the Renaissance by deepening the artists' awareness of the world and their all-encompassing humanistic appreciation of the leading personalities of the day. Among the most influential Renaissance leaders was Leonardo di ser Piero da Vinci. The High Renaissances Italian polymath Leonardo was an architect, sculptor, theorist, scientist, engineer, draftsman, and painter. Along with his recognition as a famous painter, he also made his name due to his manuscripts, where he made notes and drawings on various subjects, such as paleontology, painting, cartography, botany, astronomy, and anatomy. Leonardo is normally considered as an intellectual individual, who personified the humanist ideal of the Renaissance, and his collective pieces have inspired artists of the later generations. This study analyses Leonardo di ser Piero da Vinci and his influence on his way of painting.

A Study of the Development History and Stylistic Features of Chinese Ink Painting

The modern ink painting in China started in the 1980s and it didn't become popular until the late 1990s. Up till now, it has become a major branch of Chinese art and painting. This paper makes a brief review on the historical development of Chinese ink painting based on the current studies on the topic. Compared with the western painting, the Chinese ink painting enjoys a special position in terms of spiritual forms, Artistic function, Language Structure, ink and brush form. The study finds that ink painting has a strong philosophical conception of Chinese cultural traditions and an ideology that matches its history, culture and religious beliefs. The values and ideology of the traditional Chinese philosophical outlook can be glimpsed in ink painting, and the ancient subsistence smallholder economic system also permeated and influenced the way of painting in terms of economic and social development. This influence ultimately reflected in the ancient philosophical system of thinking .

Exceptional Illuminated Manuscripts at the Gulbenkian Museum: The Colors of a Bible and Three Gospels Produced in the Armenian Diaspora

The illuminated manuscripts at the Gulbenkian Museum were produced in the 17th century, in scriptoria of the Armenian diaspora. In this work, we selected analytical methods that can be used in situ to study the colors of the illuminations. Scientific analysis based on fiber-optics reflectance spectroscopy in the visible and Raman spectroscopy has shown the use of a medieval palette based on inorganic pigments such as lapis lazuli, minium, vermilion, orpiment, indigo, two different greens (vergaut and malachite), lead white and carbon black. More importantly, in this context, it showed that the very important reds and pinks are possibly based on carminic acid. The painting technique is, however, different, as are the ways of painting the faces, hands, and vestments. The range of colors in the Bible and the three Gospel Books, enhanced by lapis lazuli blue and organic reds and pinks, demonstrates a desire to create exceptional illuminated manuscripts.

Balancing Authentic Arab Rhetorical Sciences with Modern Artistic Vision


 
 
 No doubt that there is an urgent need to develop the rhetorical sciences as one of the approaches of linguistic sciences, because the language of man develops and is renewed by the renewal of intellectual sources, and with the change of perceptions the language and the tool of expression changes. We wanted to balance some of the aesthetic terms: "Artistic radiation", "Linguistic composition" and "Poem structure on the way of painting" as the pillars of the approach: "Art Vision", and the three sciences of Arabic rhetoric: Stylistic, Figures of speech and Embellishments. As an attempt to root these terms, and increase their clarification and link them to the scientific heritage of the Arabs, to confirm the link between the authenticity of Arab rhetoric and contemporary criticism. One of the biggest indications of the difficulty in finding modern rhetoric is the difference of opinions about the nature of the literary word. The role of the writer is difficult in finding his own dictionary, and to the extent that he succeeds in the liquidation of the traditional heritage must succeed in giving the picture dimension to him, and it means that he enters the battle in two fields: One is to get rid of the old templates, and the other to get rid of the conventions of the intellectual age. However, we should not forget that the grammar is a basic criterion for knowing the quality of linguistic expressions in that era.
 
 

Function of Psychological Analysis of Painting Based on Image Information in Cultivating College Students’ Entrepreneurship

Painting psychoanalysis is to allow artists to use nonverbal tools to present their subconscious self and personality characteristics in a safe and acceptable way of painting. College students need to have a correct understanding of them and know whether their personality characteristics are suitable for starting a business. In order to enable college students to better carry out entrepreneurial activities, painting psychological analysis can be integrated into the course of innovation and entrepreneurship education to guide students to analyze their own personality characteristics and better analyze and deal with psychological obstacles that may be encountered in entrepreneurship. This article starts with the lack of education and guidance for students’ entrepreneurial psychological quality in existing innovation and entrepreneurship education courses, aims at studying the education and guidance of students’ entrepreneurial psychological quality in innovative projects and existing entrepreneurship, and tries to help cultivate college students’ entrepreneurial interest through the method of drawing psychoanalysis. Due to the psychological barriers to entrepreneurship in business activities, many students begin to feel fear or frustration about entrepreneurship. Psychological analysis of painting helps to cultivate students’ commercial psychological quality. This article proposes a method of drawing psychoanalysis to speculate on students’ entrepreneurial desires, and to a certain extent encourage them to take the steps of entrepreneurship bravely in order to contribute to the country’s economic development. The experimental results of this article show that more than 70% of college students have a strong interest and desire for entrepreneurship, but less than 30% can put it into practice in the end. Therefore, this article hopes to help students through the psychological analysis of painting psychology and cultivate the psychological quality of entrepreneurship.

Important Properties and Principles of Using Color in Monumental Paintings

This article discusses the important features and principles of the use of color in monumental paintings. There is also talk about the importance of colors, the level of vitality, the creation of colors. In order to properly guide the work of young artists, the future teacher must master the basics of painting and know the theory of color. At the same time, as a result of mastering the knowledge of the theoretical foundations of real painting and practical exercises, it is possible to teach literate ways of painting. To achieve this, it is necessary to study the science of color in depth and to address these issues repeatedly in the process of practical work.

Marie Spartali-Stillman’s feminism against Pre-Raphaelite Brotherhood gender stereotypes art

In the middle of the 19th century Great Britain, Queen Victoria had been imposing her new ethical code system on social and cultural conditions, sharpening evidently the already abyssal differences of the gendered stereotypes. The Pre-Raphaelite painters reacted to the sterile way of painting dictated by the art academies, both in terms of thematology and technique, by suggesting a new, revolutionary way of painting, but were unable to escape their monolithic gender stereotypes culture. Using female models for their heroines who were often identified with the degraded position of the Victorian woman, they could not overcome their socially systemic views, despite their innovative art ideas and achievements. However, art, in several forms, executed mainly by women, played a particularly important role in projecting several types of feminism, in a desperate attempt to help the Victorian woman claim her rights both in domestic and public sphere. This article aims at exploring and commenting on the role of Marie Spartali-Stillman, one of the most charismatic Pre-Raphaelite Brotherhood models and later famous painter herself, in the painting scene of the time. Through the research of her personal and professional relationship with the Pre-Raphaelites, and mainly through an in depth analysis of selected paintings, the authors try to shed light on the way in which M. Spartali-Stillman managed to introduce her subversive feminist views through her work, following in a way the feministic path of other female artists of her time. The ways and the conditions, under which the painter managed to project women as dominant, self-sufficient and empowered, opposing their predetermined social roles, have also been revised.

¿Cómo se pintaba el trinacrio?: una aproximación a los modos de pintar en la cuenca del Maipo durante el período Intermedio Tardío (1000/1200-1450 d. C.)

Este artículo tiene como objetivo mostrar una aproximación a las formas de pintar cerámica en los grupos Aconcagua de la cuenca del río Maipo durante el período Intermedio Tardío, enfocándose en el motivo iconográfico del trinacrio, el cual se utiliza para entender el grado en que los modos de hacer se compartieron entre estas poblaciones. Este motivo iconográfi­co se escogió para el análisis ya que está presente en la mayoría de la alfarería pintada de estos grupos. Para esto, se analizaron los motivos presentes en escudillas o pucos provenientes de seis sitios arqueológicos: Chicauma, Til Til, Huechún, María Pinto, Talagante y Alhué 01. Luego se comparan los resultados a nivel de sitio y a nivel de cuenca, tras lo cual se identificó una misma forma de pintar las piezas en los sitios de la cuenca del Maipo y una forma de pintar el trinacrio diferente en el sitio Alhué, concluyéndose que existe una interacción entre los gru­pos Aconcagua de la cuenca del Maipo, donde se comparten las técnicas empleadas para pintar las piezas.

Colour matters in Balzac, from his beginnings to Séraphîta

This article explores Balzac’s understanding and exploitation of colour from his beginnings to Séraphîta (1835), the ordinal end of La Comédie humaine. Beginning with his earliest philosophical writings, it considers the relative roles of the spiritual and the material, and of light and black–white binaries as absolutes versus a more nuanced evolution of colour. Falthurne and Wann-Chlore bookend a development in which La Dernière Fée pivotally mixes the referential and the symbolic. The 1830 Scènes de la vie privée, La Maison du chat-qui-pelote, and La Vendetta, stories told via colour and ways of painting, Neoclassicism and Dutch genre, are then considered. Sarrasine and Le Chef-d’œuvre inconnu’s, contrasting texts presenting a monochrome-binary patterned, white sculptural supposed ideal, and an absolute colour-based incarnation of the real, are then examined. Le Chef-d’oeuvre inconnu’s hands-on grappling with paint as matter takes representation beyond the colour–line dichotomy into the realm of modelling and form, and the philosophical question of the relationship between causes and effects. The article closes by comparing La Fille aux yeux d’or (1834–35) and Séraphîta, two coeval narratives at opposite ends of the moral and chromatic spectrum, but which both demonstrate contrasting ways of using colour in the quest for the Absolute.

오지호와 반 고흐의 과수원

How similar is Oh, Chiho’s to Van Goghs ? The theme is “Blossoming Orchard”, which is full of flowers. And the compositions is also similar : the horizon that separates about a third of the canvas, and the line of field furrows that run to a diagonal line, and the structure that deals with about three trees as the main subjects, and the outlining technique for representing trees is similar. The answer to how to interpret this similarity was found in Oh Chihos diary in 1937. Chiho studied and learned how to express the sun and the life from Van Gogh. At the same time, he made it his own painting theory, and based on this painting theory, he created . What he showed in this painting was a meticulous reproduction of the real scenery according to this law of nature, and he used his own brush strokes researched on Van Goghs coloring and brush touches as a way of painting in the plein air. We define Van Gogh, whose life is a theme, not an idealist or a romanticist, as a post-Impressionist or an expressionist. Chiho in his diary defines Van Gogh a “Colorist”. Almost every artist, like Van Gogh, starts out as a realist who paints his surroundings, and by some means decides his or her own style at some point in time, 32-year-old Chiho had a great sympathy with Van Gogh in 1937 and took his style of painting into his own style. So the similarity between the works of the two artists is superficial, and is due to a solidarity far beyond the superficial similarities. They realized their own experiences in paintings and recreated the subjects reality by assimilating it with themselves. Chiho might defined his art style based on realism as Colorist style. His colorist style, set in 1937, will later reach its peak in his 1939 work , which would have studied and applied the methods of impressionists and neoimpressionists who often use violet hues.

About the Contributors

About the Contributors

The Barbizon School (1830-1870): Expanding the Landscape of the Modern Art Market

During the 1830s to the 1870s, a cohort of French artists developed new approaches to landscape painting and became known collectively as the Barbizon School. This informal group of artists were proponents of an innovative way of painting in which nature was the central subject of their artworks. Moreover, nature was depicted without the classical idealization or polished refinement required by the French Academy at the time. Barbizon artists were also the catalysts for changes in how art was sold during the 19th century, paving the way for an open art market system that spread across the globe and continues unchanged to this day. Using Jean-Baptiste-Camille Corot (1796-1875) as a case study, I establish the ways in which the Barbizon School forged new stylistic and economic possibilities for later modern art movements, most prominently Impressionism, outside the purview of the French Academy. I also highlight the ways in which the Barbizon artists and their supporters contributed to the formation of a new art market founded upon an interconnected network of producers, consumers, and distributors.

Os talentos e a cultura: a trajetória de Anita Malfatti

Muito se tem pesquisado sobre os indivíduos dotados e talentosos, havendo, em diversos momentos históricos, preocupação com essa população. No Brasil, uma das primeiras vezes em que se falou disso foi na década de 30, por ocasião da fundação da Sociedade Pestalozzi. Apesar desse interesse crescente, na atualidade, existem poucas pesquisas que versam sobre o tema. Este trabalho visa entender como dotação e talento podem se manifestar e serem reconhecidos pela sociedade e cultura na qual a pessoa está inserida, com base na análise da biografia de Anita Malfatti (1889-1964), pintora expressionista, incompreendida em sua época, por ter introduzido uma forma de pintar que não era reconhecida como arte no Brasil. Neste estudo, será apresentada, brevemente, a teoria de Gagné, bem como o que se pretende nomear com os termos dotação e talento. O grande desafio de nossa sociedade é reconhecer as diferenças e valorizá-las, oferecendo a essas pessoas condições para expressão de suas habilidades, garantindo-lhes plena inserção na vida em sociedade para que se sintam produtivas e autorrealizadas. Precisamos lutar contra a “solidão do fundista”, para que o talentoso não esteja sempre adiante dos demais no aspecto intelectual, mas emocionalmente solitário e incompreendido.

Narsisme sebagai Wujud Eksistensi Diri dalam Novel “My Name is Red” Karya Orhan Pamuk

<p>This paper discusses about socio-psychological dimension in paintings pictured in Orhan Pamuk’s novel My Name is Red. The novel shows us fi ne examples about how paintings can be a media of painters who lived in a repressive era of Sultan Murat III which established rigid rules adopted from Islamic principles of how a painting should be done. This idea manifested in the characters’ behaviour, especially Velijan Eff endi, who hold the Islamic or East principles, but dilemmatically fond of Western principles as an aesthetic way of painting. This kind of dilemma born from the presence of East and West principles intertwined in Turkey at the era pictured in the novel. Results determined that Velijan<br />Eff endi is narcistic as a result of his needs to be acknowledged, to exist in his repressed life. He uses his paintings as the media of expressing his needs.</p>

On the Artist’s Palette

Edward Burne-Jones, Pygmalion and Galatea III: The Godhead Fires, 1878, oil on canvas, Birmingham Museum and Art Gallery © Birmingham, United Kingdom Chemistry and the history of art are two disciplines that few people would naturally associate. A new perspective on the subject is now possible, by emphasizing the material dimension of artistic creativity. I would like to show how technological innovation has led artists to invent new ways of painting and, conversely, how the current or futur...

El retrato en los primeros cartelistas españoles de cine: De la escena costumbrista al retrato realista

El artículo, que forma parte de un trabajo más amplio, pretende resaltar el uso del retrato en los carteles de cine de los primeros cartelistas españoles antes de que se implantase el star-sytem en España. Para ello se describe la evolución que se produce en la representación de los personajes en los carteles de cine desde los años diez hasta el inicio de los treinta del siglo XX, período histórico de profundas influencias de las vanguardias artísticas y publicitarias en las obras de nuestros cartelistas. Sin embargo, a finales de los años veinte se pasa de la simple inclusión de una escena, basada en un fotograma de una película, a la representación cromática y realista del rostro de la estrella, justamente en los años en los que comienza a notarse la influencia de los grandes estudios norteamericanos en España. No obstante, destacan su libertad técnica y compositiva, y la influencia que ejercen sobre los cartelistas posteriores ya que muchos de ellos integrarán los retratos y ambientaciones en sus carteles, siguiendo las directrices de los grandes estudios o los estudios independientes: o sea, los estudios en general, pero sin abandonar su forma personal de pintar los rostros de las estrellas de cine.

Structure Design and Control for Multifunctional Paint-Device

In view of the traditional way of painting by using brush, wearing protective clothing and breathing harmful gas, etc. problems, The bottleneck of traditional manual approach to health, safety and social progress should be solved. By analyzing the relationship between innovative structure, strength analysis, recycling of resources and environmental protection,A comprehensive solution is put forward which includes the structure design of quadruple adjustment and twofold recycling, integration of roll-spray, automatic control and frequency conversion for speed regulation. The results of the enterprise’s practical application indicate that this device is effective on ensuring human health, environmental protection, resource utilization, improving productivity and creating economic benefit, Its market application prospect is very broad.

Farewell to the Self: Between the Letter and the Self-Portrait

In this paper I consider interfaces between visual and textual representations of the female self in art. I am looking in particular at Gwen John's self-portraits and the letters revolving around them. In this context, there are three thematic areas that I explore: a) questions around portraiture in general and the self-portrait in particular, b) connections between visual images and textual narratives in life-writing research and c) genealogical lines in John's self-representation through her paintings and letters. What I suggest is that John's self-portraits become events for playing with different modalities of self-representation and experimenting with other ways of painting the self, while her letters become texts destabilizing and interrogating conventions of reading the visual. What I finally argue is that the visual turn in narrative research needs to consider carefully discourses and debates in the field of art histories, while the latter have to become more informed in the nuances of life narrative research.

‘Het witte spook van Mesdag’. De bruid van Matthijs Maris opnieuw bezien

(1867- ´68) by Matthijs Maris in The Mesdag Collecion is without doubt one of his most intriguing early works. Though he defensively described it as only a which he could not bring to a satisfying end, Maris considered this fairly large piece as quite important. Regardless of its condition, it formed a blatant statement next to another painting by his hand in Mesdags collection: The Kitchen Maid. In early seventies Maris sold this much acclaimed, more narratively accessible painting to his Paris dealer Goupil & Cie., but soon afterwards dismissed it as a potboiler. Much later, when living in London, he said: connection is there between of girl in & keukenprinces? The one may be bad, but is myself, other model. What he aspired to was an art less realistic than Dutch contemporary art at that time: an art which would convey a conception or a deeper thought, in his own words - a goal most probably inspired and encouraged by fierce theoretical discussion on originality and individualism in those days. Maris shared Carel Vosmaer´s claim that artists should prioritize therir own feelings and ideas; good art always rested on a transformation of reality, mediated by imagination. Though critic H.L. Berckenhoff real in 1888 as a scene of Gretchen (Margareta) from Goethes famous Faust, iconography has been much debated and has long been considered a mystery, due to a lack of narrative or visual evidence and of clear statements by artist himself. Maris neutrally spoke of it in terms of the young lady in white, the ghost of Mesdag, or more Whistlerian as a sketch of a girl in white. never confirmed Berckenhoff´s interpretation, though he clearly deployed Gretchen or Margareta-motive for several other paintings from early seventies, such as He is Coming! (Cardiff) or Spinner (Otterlo). In one of most thorough studies on Maris' iconography until now (Patterns in Life and Work of Matthijs Maris', Simiolus 1978-79), authors Braakhuis and Van der Vliet follow Berckenhoff´s interpretation of and, for first time, present a number of arguments, some more convincing than others, that link this Gretchen-motive to other Maris paintings in which females in historical costume play a part. Decisive for them is Maris' autobiographic stance concerning his own work. always bitterly proclaimed that he was exploited and artistically corrupted by dealers, above all by Daniel Cottier who convinced him to leave Paris and work for him in London. Maris therefore strongly identified himself with deceived Gretchen, as he later did with Tennyson´s Lady of Shalott, that other female martyr who fell victim to her own ideals. As tempting as their conclusions may sound, most of Maris' so called Gretchens, including in De Mesdag Collectie barely support such a specific narrative reading, because lack usual ingredients (mis-en-scene, attributes, etc) one normally finds in such Faustian scenes. Most of all, in Bride´s case, stiff and rigorous stylisation of protagonist renders painting more resistant to such intertextual iconographic interpretation. Moreover, there is another source mentioned in Maris' letters, that to some extent accounts for inconsistencies that arise when equating with Gretchen. Maris mentions an opera-play Maris he enjoyed, which he attended with friends in The Hague around 1860 : this was comic opera Dame Blanche by Francois-Adrien Boieldieu, bases on a text by Eugene Scribe. It was this title, La Dame Blanche, Maris literally uses when referring to Bride, after Dutch dealer and printer W.J.G. Meurs had asked him for suitable works from which to make reproductive prints. Reading story, which was situated in 18th century Scotland, one finds convincing clues to identify The Bride with this veiled woman in white which alternatively functions as a statue and as a ghost in story. If painting would be better off with another title is, however, likewise questionable. In sixties Maris was first of all experimenting with a more idealistic way of painting, to convey, in case of Bride, a more general concept of purity and uncorrupted piety, as Fred Leeman rightly suggested. For that reason he could still be looking for things he read or saw, using it as a starting point, s he was probably less interested in person or fictitious character than in allegorical meaning this image could conduct.