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Painting
Kinds of Painting Selected AbstractsMICHEL FOUCAULT AND THE POINT OF PAINTINGART HISTORY, Issue 4 2009CATHERINE M. SOUSSLOFF This article offers a historiographical analysis of Foucault's contribution to art theory by arguing that the philosopher used the medium of painting and its history since Alberti to explore the differences in the concept of realism between 1650 and his own day. I argue that in his four essays on painting written between 1966 and 1976 Foucault took up the relation of painting to knowledge (savoir), particularly the question of how painting means using an innovative approach that he termed historical. Like the phenomenologists who immediately preceded him, Foucault understood painting as related to our understanding of how knowledge is communicated or felt rather than of how it exists as philosophy. This article explores the consequences of Foucault's contribution to the history of painting for both art history and visual studies. [source] DUTCH GENRE PAINTING AS RELIGIOUS ART: GABRIEL METSU'S ROMAN CATHOLIC IMAGERYART HISTORY, Issue 2 2008VALERIE HEDQUIST Gabriel Metsu's reputation rests on his popular genre imagery; however, the Dutch artist also produced religious paintings with Roman Catholic symbolism. Archival documents, personal and professional relationships, and a small number of paintings confirm a close engagement with the Dutch Roman Catholic community from his youth in Leiden to his maturity in Amsterdam. Metsu's connections with Roman Catholic painters, poets, and priests in the Netherlands provided the cultural context for his religious art. Moreover, contemporary devotional publications and reproductive engravings after Italian art established iconographic and compositional solutions evident in Metsu's traditional religious scenes and in his genre imagery. [source] RE-READING INSCRIPTIONS IN CHINESE SCROLL PAINTING: THE ELEVENTH TO THE FOURTEENTH CENTURIESART HISTORY, Issue 5 2005ZHANG HONGXING Art historians often regard Chinese art as the classic example of the unity between word and image. Such a view is predicated on the uncritical acceptance of canonical Chinese art theory and on mistaken notions about a changeless China and ideographic Chinese writing. Those misconceptions have prevented an understanding of the historical specificity of the relationship between the two graphic systems. In applying Charles Sanders Peirce's theory of the three fundamental types of sign (icon, index, symbol) to Chinese writing, scholars tend to conclude that it is not a symbolic-indexic system, but primarily an iconic one. Taking as the point of departure an antinomy between word and image, I demonstrate that the introduction of inscriptions into Chinese scroll painting was a long and uneven process. Between the eleventh and the fourteenth centuries, inscriptions initially entered pictorial space timidly; gradually growing in size and type, they eventually became separated from the pictorial elements, bringing about a fundamental change to the relations between word and image. In the age of the advent of codex and the invention of printing, inscriptions, through their intrusions into and encounters with painting, served to rescue the scroll from oblivion and to transform it into the major bearer of pictorial culture. [source] ANALYSIS OF ROMAN WALL PAINTINGS FROM THE THERMAE OF ,IULIA CONCORDIA'ARCHAEOMETRY, Issue 4 2010G. A. MAZZOCCHIN Twenty-six wall painting fragments and some plaster, ,intonachino' and stucco samples, discovered at Iulia Concordia, have been studied by different analytical techniques to gain information about the pigment nature and the composition of the materials. The presence of calcite, dolomite and aragonite allow the distinction of four groups of wall samples varying in the nature of pigments and in the application technique. These differences can be attributed to different execution times or, more probably, to the arrangement of the rooms in the building structure. The nature of the pigments found in the Thermae of Iulia Concordia appears similar to that found in other Roman villas of Venetia et Histria, with the use of precious pigments such as Egyptian blue and cinnabar. [source] DETERMINATION OF PIGMENTS AND BINDERS IN POMPEIAN WALL PAINTINGS USING SYNCHROTRON RADIATION , HIGH-RESOLUTION X-RAY POWDER DIFFRACTION AND CONVENTIONAL SPECTROSCOPY , CHROMATOGRAPHYARCHAEOMETRY, Issue 2 2010A. DURAN The employment of synchrotron techniques complemented by conventional laboratory systems has allowed us to deepen and improve our knowledge of Roman wall painting procedures. The palette identified in wall paintings from Pompeii and Herculaneum from the second century bc includes goethite, hematite, cinnabar, glauconite, Egyptian blue, and other components such as calcite and aragonite. Proof of the use of organic binders is provided by FTIR and PY,GC/MS. Therefore, the possibility of the use of ,a secco' techniques cannot be ruled out. Pigments in wall paintings are usually found in small percentages and conventional X-ray diffractometers do not detect them. Synchrotron radiation , high-resolution X-ray powder diffraction has allowed identification with only a few micrograms of sample. [source] THE IMPACT OF SOLUBLE SALTS ON THE DETERIORATION OF PHARAONIC AND COPTIC WALL PAINTINGS AT AL QURNA, EGYPT: MINERALOGY AND CHEMISTRY*ARCHAEOMETRY, Issue 2 2009A. M. A. MOUSSA The wall paintings of Al Qurna in Egypt were studied by means of XRD and ICP,AES in order to determine their mineralogical and chemical composition, and to evaluate the impact of soluble salts on their deterioration, including the identification of the building materials and pigments used. Soluble salts analysis showed that NaCl is the most common soluble salt in the bedrock, ground water and surface water samples. The building materials are affected by the ground water, while the wall paintings in the area are affected by the Upper Egypt climatic conditions, which were studied in order to detect their role in the deterioration cycle in the area. [source] The Synthesis of Rock Textures in Chinese Landscape PaintingCOMPUTER GRAPHICS FORUM, Issue 3 2001Der-Lor Way In Chinese landscape painting, rock textures portray the orientation of mountains and contribute to the atmosphere. Many landscape-painting skills are required according to the type of rock. Landscape painting is the major theme of Chinese painting. Over the centuries, masters of Chinese landscape painting developed various texture strokes. Hemp-fiber and axe-cut are two major types of texture strokes. A slightly sinuous and seemingly broken line, the hemp-fiber stroke is used for describing the gentle slopes of rock formations whereas the axe-cut stroke best depicts hard, rocky surfaces. This paper presents a novel method of synthesizing rock textures in Chinese landscape painting, useful not only to artists who want to paint interactively, but also in automated rendering of natural scenes. The method proposed underwrites the complete painting process after users have specified only the contour and parameters. [source] The Animated Muse: An Interpretive Program for Creative ViewingCURATOR THE MUSEUM JOURNAL, Issue 3 2005Austin Clarkson ABSTRACT Explore a Painting in Depth, an experiment presented in the Canadian Collection of the Art Gallery of Ontario, consisted of a booth that offered seating for two visitors and, opposite them, The Beaver Dam, a 1919 landscape painting by the Canadian artist J. E. H. MacDonald. In a 12-minute audio-guided Exercise for Exploring, visitors were invited to engage in a creative process with the imagery of the painting. This paper sketches how the experiment evolved, presents the background of the Exercise for Exploring, and surveys the effects of the exhibit on a wide range of visitors. The question is raised: How can facilitating visitors' creative responses to artworks be part of the museum's educational mandate and its arsenal of interpretive resources? More broadly: Do strategies that foster and privilege visitor creativity, as well as honor the creativity of artists, affect the accessibility and relevance of the museum for the general public? [source] Narrative Trauma and Civil War History Painting, or Why Are These Pictures So Terrible?HISTORY AND THEORY, Issue 4 2002Steven Conn The Civil War generated hundreds of history paintings. Yet, as this essay argues, painters failed to create any iconic, lasting images of the Civil War using the conventions of grand manner history painting, despite the expectations of many that they would and should. This essay first examines the terms by which I am evaluating this failure, then moves on to a consideration of the American history painting tradition. I next examine several history paintings of Civil War scenes in light of this tradition and argue that their "failure" to capture the meaning and essence of the war resulted from a breakdown of the narrative conventions of history painting. Finally, I glance briefly at Winslow Homer's Civil War scenes, arguably the only ones which have become canonical, and suggest that the success of these images comes from their abandonment of old conventions and the invention of new ones. [source] Seeing History: Malaika Favorite's Furious Flower Poetry Quilt Painting and Pan-African MemoryINTERNATIONAL JOURNAL OF ART & DESIGN EDUCATION, Issue 2 2010Maureen G. Shanahan Malaika Favorite's Furious Flower Poetry Quilt (2004) is an acrylic painting that depicts 24 portraits of leading poets of the African Diaspora. Commissioned by Dr Joanne Gabbin, English professor and director of the Furious Flower Poetry Center at James Madison University, the painting is part of a larger programme of poetry education. The painting's interweaving of the portraits with fragments from the poets' writing functions to create an interactive visual-textual body of poets and poetry, a collection which has been taught at all levels of education from primary school to university. Its quilt structure pays homage to the historic role of women in preserving history and memory. The painting also serves to construct a pan-African identity and collective memory about slavery, African American history and empowerment. [source] Efficient Polymer Solar Cells Fabricated by Simple Brush Painting,ADVANCED MATERIALS, Issue 24 2007S.-S. Kim We demonstrate a brushing technique as a promising method for the mass production of efficient and flexible solar cells even on a non-flat surface such as roofing tiles. Higher device efficiency could be obtained compared to the spin-coated devices, resulting from the improved organization of polymer chains and domains induced by more effective application of shear stress to the polymer chains during the brushing process. [source] Patriarchy, Pathos, Power: The Figure of the Father in Later French Enlightenment Literature and PaintingJOURNAL FOR EIGHTEENTH-CENTURY STUDIES, Issue 1 2008ROBIN HOWELLS [source] Art from Start to Finish: Jazz, Painting, Writing, and Other Improvisations edited by becker, howard s., robert r.faulkner, and barbarakirshenblatt-gimblettJOURNAL OF AESTHETICS AND ART CRITICISM, Issue 2 2008LEE B. BROWN First page of article [source] Aboriginal Painting: Identity and AuthenticityJOURNAL OF AESTHETICS AND ART CRITICISM, Issue 4 2001Elizabeth Burns Coleman [source] Art, the Ethical Self, and Political Eremitism: Fujiwara Seika's Essay on Landscape PaintingJOURNAL OF CHINESE PHILOSOPHY, Issue 1 2004John Allen Tucker [source] Digital Analysis of Experimental Human Bitemarks: Application of Two New MethodsJOURNAL OF FORENSIC SCIENCES, Issue 6 2006Nazar Al-Talabani B.D.S., Ph.D. ABSTRACT: Bitemark determination in forensic odontology is commonly performed by comparing the morphology of the dentition of the suspect with life-sized photographs of injury on the victim's skin using transparent overlays or computers. The purpose of this study is to investigate the suitability of two new different methods for identification of bitemarks by digital analysis. A sample of 50 volunteers was asked to make experimental bitemarks on the arms of each other. Stone study casts were prepared from upper and lower dental arches of each volunteer. The bitemarks and the study casts were photographed; the photos were entered into the computer and Adobe Photoshop software program was applied to analyze the results. Two methods (2D polyline and Painting) of identification were used. In the 2D polyline method, fixed points were chosen on the tips of the canines and a straight line was drawn between the two fixed points in the arch (intercanine line). Straight lines passing between the incisal edges of the incisors were drawn vertically on the intercanine line; the lines and angles created were calculated. In the painting method, identification was based on canine-to-canine distance, tooth width and the thickness, and rotational value of each tooth. The results showed that both methods were applicable. However, the 2D polyline method was more convenient to use and gave prompt computer-read results, whereas the painting method depended on the visual reading of the operator. [source] New Directions in British Art History of the Eighteenth CenturyLITERATURE COMPASS (ELECTRONIC), Issue 5 2008Douglas Fordham This essay examines new developments in the history of eighteenth-century British art since the publication of David Solkin's Painting for Money: The Visual Arts and the Public Sphere in Eighteenth-Century England in 1993. While Solkin's account of an urban professional class recasting a civic humanist ideology in its own polite and commercial image continues to hold tremendous sway in the field, this state of the field article identifies three major trends that have tempered and challenged that account. Recent scholarship dealing with gender, space, and empire has subtly reoriented the field towards a more inclusive notion of artistic agency and reception, a more synchronic and spatial approach, and an increasingly global perspective. [source] Art from Start to Finish: Jazz, Painting, Writing, and Other Improvisations , By H.S. Becker, R.R. Faulkner and B. Kirschenblatt-GimblettTHE BRITISH JOURNAL OF SOCIOLOGY, Issue 1 2007Alexander Hawkins No abstract is available for this article. [source] "Girl with a Pearl Earring": Painting, Reality, FictionTHE JOURNAL OF POPULAR CULTURE, Issue 4 2004Deborah H. Cibelli First page of article [source] ,Theatricality' in Tapestries and Mystery Plays and its Afterlife in PaintingART HISTORY, Issue 2 2010Laura Weigert First page of article [source] Making the Most of Theatre and Painting: The Power of Tableaux Vivants in Joyous Entries from the Southern Netherlands (1458,1635)ART HISTORY, Issue 2 2010Stijn Bussels First page of article [source] Staging Bianca Capello: Painting and Theatricality in Sixteenth-Century VeniceART HISTORY, Issue 2 2010Elsje van Kessel First page of article [source] Painting and Printing Living Bacteria: Engineering Nanoporous Biocatalytic Coatings to Preserve Microbial Viability and Intensify ReactivityBIOTECHNOLOGY PROGRESS, Issue 1 2007Michael C. Flickinger Latex biocatalytic coatings containing ,50% by volume of microorganisms stabilize, concentrate and preserve cell viability on surfaces at ambient temperature. Coatings can be formed on a variety of surfaces, delaminated to generate stand-alone membranes or formulated as reactive inks for piezoelectric deposition of viable microbes. As the latex emulsion dries, cell preservation by partial desiccation occurs simultaneously with the formation of pores and adhesion to the substrate. The result is living cells permanently entrapped, surrounded by nanopores generated by partially coalesced polymer particles. Nanoporosity is essential for preserving microbial viability and coating reactivity. Cryo-SEM methods have been developed to visualize hydrated coating microstructure, confocal microscopy and dispersible coating methods have been developed to quantify the activity of the entrapped cells, and FTIR methods are being developed to determine the structure of vitrified biomolecules within and surrounding the cells in dry coatings. Coating microstructure, stability and reactivity are investigated using small patch or strip coatings where bacteria are concentrated 102 - to 103 -fold in 5,75 ,m thick layers with pores formed by carbohydrate porogens. The carbohydrate porogens also function as osmoprotectants and are postulated to preserve microbial viability by formation of glasses inside the microbes during coat drying; however, the molecular mechanism of cell preservation by latex coatings is not known. Emerging applications include coatings for multistep oxidations, photoreactive coatings, stabilization of hyperthermophiles, environmental biosensors, microbial fuel cells, as reaction zones in microfluidic devices, or as very high intensity (>100 g·L -1 coating volume·h -1) industrial or environmental biocatalysts. We anticipate expanded use of nanoporous adhesive coatings for prokaryotic and eukaryotic cell preservation at ambient temperature and the design of highly reactive "living" paints and inks. [source] ,A Natural and Voluntary Dependence': The Royal Academy of San Carlos and the Cultural Politics of Art Education in Mexico City, 1786,1797BULLETIN OF LATIN AMERICAN RESEARCH, Issue 3 2010SUSAN DEANS-SMITH In this article, I explore the controversies that characterised the foundational years of the Royal Academy of San Carlos of Painting, Sculpture, and Architecture in Mexico City (1786,1797). They provide provocative insights into questions of competing agendas and ambitions among the artists and bureaucrats of the royal academy. They also illuminate contemporary understandings about the hierarchical relationships between a metropolitan power, Spain, and its American colonies and their visual culture and artistic production, which mirror broader political hierarchies and relationships of power and subordination. [source] Art Museums, Old Paintings, and Our Knowledge of the PastHISTORY AND THEORY, Issue 2 2001David Carrier Art museums frequently remove old paintings from their original settings. In the process, the context of these works of art changes dramatically. Do museums then preserve works of art? To answer this question, I consider an imaginary painting, The Travels and Tribulations of Piero's Baptism of Christ, depicting the history of display of Piero della Francesca's Baptism of Christ. This example suggests that how Piero's painting is seen does depend upon its setting. According to the Intentionalist, such changes in context have no real influence upon the meaning of Piero's painting, and consequently museums can be said to preserve works of art. According to the Skeptic, if such changes are drastic enough, we can no longer identify the picture's original meaning, and museums thus fail to preserve works of art. Skepticism deserves attention, for such varied influential commentators as Theodore Adorno, Walter Benjamin, Maurice Blanchot, Hans-Georg Gadamer, Martin Heidegger, Hans Sedlmayr, and Paul Valéry hold this pessimistic view of museums. I develop the debate between the Intentionalist and the Skeptic. Ultimately skepticism is indefensible, I argue, because it fails to take account of the continuities in the history of art's display. But Intentionalism is also deficient because it is ahistorical. In presenting the history of Piero's painting, The Travels and Tribulations of Piero's Baptism of Christ shows that we can re-identify the original significance of Piero's work and the recognizable continuities that obtain through its changes. It thus makes sense to claim that at least in certain circumstances art museums can preserve works of art. [source] Fish and Fishermen in English Medieval Wall Paintings , By Frederick BullerINTERNATIONAL JOURNAL OF NAUTICAL ARCHAEOLOGY, Issue 2 2010JOE FLATMAN No abstract is available for this article. [source] New Boat Paintings from Angkor Wat?INTERNATIONAL JOURNAL OF NAUTICAL ARCHAEOLOGY, Issue 2 2009Veronica Walker-Vadillo No abstract is available for this article. [source] Looking at Paintings from Left, Front and RightTHE CANADIAN JOURNAL OF CHEMICAL ENGINEERING, Issue 6 2003Abraham Tamir No abstract is available for this article. [source] Manganese Black Pigments in Prehistoric Paintings: the Case of the Black Frieze of Pech Merle (France)ARCHAEOMETRY, Issue 2 2001B. Guineau Different black pigments of natural origin (mineral or organic) have been examined by means of several analytical methods (colour measurements, elemental analysis and structural analysis). The results, after being compared with each other, then served as reference points in the study of the ,Black Frieze' of the cave of Pech Merle (Lot). After that, colour measurement was investigated in situ on the paintings as a means of displaying small differences (in hue or chroma) between the black colours. The aim of this study was to verify several hypotheses concerning the techniques used by the painters of Pech Merle, and specifically by the one(s) of the Black Frieze. A first objective was that of identifying the nature and, if possible, the origin of the black pigments used in these figures. A second objective was that of determining in which parts of the frieze one or the other (or one and the other) had been used; and the final objective was to provide new technical information that might help us better to understand how the Pech Merle frieze was produced, whether by a single painter and in one episode, for the most part, or, on the contrary, in several episodes and by a succession of different painters. [source] Paintings, Films and Fast Cars: A Case Study of Hubert von HerkomerART HISTORY, Issue 2 2002Lynda Nead In a recent conversation with Bruno Latour, the French philosopher Michel Serres visualized his concept of modernity through the image of the automobile. The car, Serres argued, could not be defined as uniquely of one period or as belonging exclusively to the modern, being ,a disparate aggregate of scientific and technical solutions dating from different periods , The ensemble is only contemporary by assemblage.' This metaphor offers a highly productive way of looking at the history and forms of visual culture in Britain in the early twentieth century, when the technological and commercial possibilities of nineteenth-century optical developments were filtering into all aspects of cultural production and consumption. The article examines this moment via a case study of the artist Hubert von Herkomer; offering a reassessment through an examination of his paintings, films and fast cars and thereby proposing a reframing of the history of British visual culture through the integration of still and moving images. [source] | |||||||||||||||||||||||||||||||