Comparison of painting technique of Urushi products between expert and non-expert

2012 ◽  
pp. 160-167 ◽  
Author(s):  
A Goto ◽  
A Endo ◽  
C Narita ◽  
Y Takai ◽  
Y Shimode ◽  
...  
Keyword(s):  
Painting Technique

scholarly journals Material characterisation of a painted beehive panel by advanced spectroscopic and chromatographic techniques in combination with hyperspectral imaging

2020 ◽  
Vol 8 (1) ◽  
Author(s):  
Klara Retko ◽  
Maša Kavčič ◽  
Lea Legan ◽  
Polonca Ropret ◽  
Bojana Rogelj Škafar ◽  
...  
Keyword(s):  
Raman Spectroscopy ◽  
Hyperspectral Imaging ◽  
Cross Sections ◽  
Extreme Temperature ◽  
Transformation Products ◽  
Paint Layer ◽  
Non Invasive ◽  
Painting Technique ◽  
Invasive Techniques ◽  
Conservation Interventions

AbstractIn this study, a painted beehive panel from the collection of the Slovene Ethnographic Museum was examined with respect to its material composition with the aim to reveal the painting technique. Due to the state of degradation due to outdoor weathering (UV irradiation, rainfall, extreme temperature and humidity fluctuations), as well as past conservation interventions, the object represented a complex analytical challenge. We aimed for non-invasive techniques (FTIR in reflection mode, Raman spectroscopy and hyperspectral imaging in the range of 400–2500 nm); however, in order to explore paint layers, cross-sections were also analysed using Raman spectroscopy. FTIR spectroscopy in transmission mode and gas chromatography coupled to mass spectrometry were also used on sample fragments. Various original materials were identified such as pigments and binders. The surface coating applied during conservation interventions was also characterised. Additionally, organic compounds were found (oxalate, carboxylate), representing transformation products. The potential use of Prussian blue as a background paint layer is discussed.

scholarly journals Coloring in Short Prose by Yevhen Hutsalo

2019 ◽  
pp. 41-56
Author(s):  
Oleksandr Brayko
Keyword(s):  
Short Stories ◽  
Comparative Analysis ◽  
Visual Imagery ◽  
Real Situation ◽  
Painting Technique ◽  
Dominant Color ◽  
Color Harmony ◽  
The World ◽  
Claude Monet ◽  
Color And Light

The paper considers the means of representing space in Yevhen Hutsalo’s prose which are suitable for comparison with the painting technique. Coloring is one of determining graphic resources of a picture. The artistic effect of the figures and spatial compositions fixed on canvas is to a great extent predefined by the color solution of the subjects and air environment depicted. In order to make the world of imagination more representational the literature used to involve visual imagery in a verbal design, in which color and light markers not only specify a representation of fictitious or real situation but also give some lyrical, epical or dramatic coloring to the narration, increasing the expressivity of a picture. In the descriptions of landscapes in the short stories by Yevhen Hutsalo one may find the verbal analogues of such painting tools as color dominant, color harmony, lighted up and shaded areas. The dynamics of color solution in a verbal picture, the introduction of new hues and their combinations, and the constructing of light environments help to strengthen the emotional effect of the narration and make some special mood accents. The change of chromatic range and interpretation of painting components of the verbal image liken the narration to the melodious and sound transitions in music and editing tools in filmmaking. The color effects contribute to plasticity of the represented objects or, on the contrary, make their representation less material, give some decorative or symbolic sense to the nature. The story “On the Shining Horizon” may be compared to the cycle of paintings by Oscar-Claude Monet “Rouen Cathedral”. The unsteady landscape of Y. Hutsalo is marked by interpretative activity of the narrator. The landscape descriptions with a less vivid and not too rich, i. e. comparatively weak in terms of stimulating emotions, color range are also endowed with a noticeable expressive potential. In accordance with the requirements of expression in painting the verbal chiaroscuro also may give dynamics to relatively static environment. The paper offers a comparative analysis of the verbal ‘pictures’ and their corresponding paintings-predecessors.

scholarly journals Художник Мария Масленникова: поэзия Карельского перешейка и Гималаев в пастели

2021 ◽  
pp. 22-31
Author(s):  
L.D. Melnichuk
Keyword(s):  
Contemporary Art ◽  
Unique Contribution ◽  
Karelian Isthmus ◽  
Artistic Creativity ◽  
Russian Culture ◽  
Eastern Culture ◽  
Painting Technique ◽  
Entire Complex ◽  
Ecological Culture ◽  
First Time

The purpose of the article is to identify the ideological and stylistic features of the work of the modern Russian artist Maria A. Maslennikova, who continues the best traditions of Russian culture, especially the art of St. Petersburg. Until now, not a single article has been devoted to the talented representative of artistic creativity, working in the pastel technique. But the master takes an active part in various exhibitions in Russia and abroad. The totality of Maslennikova's artworks is a significant example of contemporary fine art. The artist's graphic sheets embody important topical searches of contemporary art: the original author's development of the landscape genre, Russian-Finnish interaction in the field of art, the specifics of the perception of northern nature, the continuation of the traditions of the Leningrad landscape. The realistic method closest to the artist proves its relevance in her works and demonstrates the limitless possibilities that allow it to solve a variety of artistic tasks. The artist's work fully manifested the so urgent nowadays “ecological consciousness”, calling for the preservation of natural wealth, the growth of ecological culture. Reproductions of the master's paintings are published here for the first time. The statements of Maria Maslennikova, who has an undoubted literary talent, about herself, her work, and their origins, are very valuable. Along with pastels, she uses oil, acrylic, gouache, and acrylic tempera. Attention is drawn to the originality of the painting technique, most often used by the master — working with very soft dry pastels on pastel or primed paper. The pastel landscape, representing the quivering, austere or monumental image of the nature of the Karelian Isthmus, is the most widespread in the work of the master. The landscape of the Himalayas also occupies a large place in her work. The artist makes her unique contribution to the artistic and aesthetic comprehension of the Himalayas and Eastern culture. The unrecognizability of nature by man, the need to search for their harmonious coexistence is the main pathos of the master's work, the identification of which is aimed at the entire complex of meaningful and artistic means of her works, which is consistently considered in this article. Задачей статьи является выявление идейно-стилистических особенностей творчества современной российской художницы Марии Александровны Масленниковой, продолжающей лучшие традиции российской культуры, в особенности искусства Санкт-Петербурга. Талантливой представительнице художественного творчества, работающей в технике пастели, до настоящего времени не было посвящено ни одной статьи. Но мастер активно принимает участие в различных выставках в России и за рубежом. Корпус работ Масленниковой является значительным образцом современного изобразительного искусства. В листах художницы воплощены актуальные поиски современного искусства: оригинальная авторская разработка жанра пейзажа, русско-финское взаимодействие в области искусства, специфика восприятия северной природы, продолжение традиций ленинградского пейзажа. Наиболее близкий художнице реалистический метод доказывает в ее работах свою актуальность и демонстрирует безграничные возможности, позволяющие решать самые разные художественные задачи. В творчестве художницы в полной мере проявилось столь актуальное ныне «экологическое сознание», призывающее к сохранению природного богатства, росту экологической культуры. Приводимые репродукции картин мастера публикуются впервые. Ценны высказывания Марии Масленниковой, обладающей несомненным литературным дарованием, о себе, своем творчестве, его истоках. Наряду с пастелью художница применяет масло, акрил, гуашь, акриловую темперу. В статье обращено внимание на своеобразие живописной техники, чаще всего применяемой мастером, — работе очень мягкой сухой пастелью по пастельной или грунтованной бумаге. Пастельный пейзаж, представляющий трепетно-строгий или монументальный образ природы Карельского перешейка, является самым распространенным в творчестве мастера. Изображение природы Гималаев также занимает большое место в ее творчестве. Художница вносит свой неповторимый вклад в художественно-эстетическое осмысление Гималаев и восточной культуры. Непознаваемость природы человеком, необходимость поиска их гармоничного сосуществования — основной пафос творчества М. Масленниковой, на выявление которого нацелен весь комплекс содержательно-художественных средств ее работ, последовательно рассмотренный в предлагаемой статье.

From Byzantine to post-Byzantine art: the painting technique of St Stephen's wall paintings at Meteora, Greece

2008 ◽  
Vol 35 (9) ◽  
pp. 2474-2485 ◽  
Author(s):  
Sister Daniilia ◽  
Elpida Minopoulou ◽  
Konstantinos S. Andrikopoulos ◽  
Andreas Tsakalof ◽  
Kyriaki Bairachtari
Keyword(s):  
Wall Paintings ◽  
Painting Technique ◽  
Byzantine Art

A Painting Technique Using Ceramic Pigments for the Artificial Iris of an Ocular Prosthesis Guided by Applying Newton's Color Wheel

2018 ◽  
Vol 28 (2) ◽  
pp. e822-e825 ◽  
Author(s):  
Elizabeth Rodrigues Alfenas ◽  
Jéssica Genoveva Boline Passarelli da Silva ◽  
Maria Elizabeth Sousa Silveira ◽  
Maria Fernanda Lopes Fonseca ◽  
José Alcides Almeida de Arruda ◽  
...  
Keyword(s):  
Ceramic Pigments ◽  
Ocular Prosthesis ◽  
Painting Technique ◽  
Color Wheel ◽  
Artificial Iris

Rotund bellies and double chins: Hogarth’s bodies

2018 ◽  
pp. 252-270
Author(s):  
Frédéric Ogée
Keyword(s):  
Human Body ◽  
Visual Representations ◽  
Modern History ◽  
Abstract Concepts ◽  
Painting Technique ◽  
True Representation ◽  
Physical Phenomena ◽  
History Paintings

In his choice of subjects as in his painting technique, William Hogarth’s rendering of ‘life’ is remarkable for its tangible physicality. Be it for the materiality of its settings or for the variety of human characters, his pictures try to offer some kind of total ‘show’, with a view to representing Nature ‘as it is’ and in action, in opposition to the rarefied delusions of ‘high’ art which tended to show it as it ought to be, and ‘abstracted’. While some forms were certainly more ‘polite’ than others, a true representation of mankind had to allow for the presence of all its specimens. By composing ‘modern history paintings’ in which the most elegant forms converse with the plainest lines, Hogarth endowed variety with a new epistemological and aesthetic status that meant the inclusion of the ones and of ‘the others’. In all his pictures, it is always the human body which, from painful distortions to graceful curves, endows his art with its textural, formal and rhythmic qualities. Hogarthian beauty and grace, far from being abstract concepts, emerge as transient, “living”, physical phenomena, apprehended by the beholder through visual representations of the bodies’ natural and ‘peculiar’ movements.

Trompe L'oeil Painting Technique

2012 ◽  
pp. 315-329
Author(s):  
Susan Crabtree ◽  
Peter Beudert
Keyword(s):  
Trompe L'oeil ◽  
Painting Technique

Seurat, Georges-Pierre (1859–1891)

2018 ◽  
Author(s):  
Lynn M. Somers
Keyword(s):  
Pablo Picasso ◽  
Henri Matisse ◽  
Avant Garde ◽  
Sunday Afternoon ◽  
Paul Gauguin ◽  
Vincent Van Gogh ◽  
Painting Technique ◽  
French Painting ◽  
Gallery System ◽  
Figure Paintings

Born in Paris in 1859 to a bourgeois family, painter and draughtsman Georges-Pierre Seurat enjoyed a brief but mature career as the leading French Neo-Impressionist. His invention of Divisionism (or "chromo-luminarism"), a painting technique grounded in science and the study of optics, challenged the spontaneity and fluidity of Impressionism, which by the 1880s had been largely subsumed by a capitalist gallery system. In 1886, at the eighth and final Impressionist exhibition, Seurat debuted his monumental Sunday Afternoon on the Island of La Grande-Jatte (1884–1886), a "patient tapestry" of line and color that led the art critic and activist Félix Fénéon to coin the term néo-impressionisme. Equally shaped by the Renaissance frescoes of Piero della Francesca and the Baudelairean praise of the ephemerality of modern life, La Grande-Jatte symbolically closed a chapter in French painting. Seurat’s systematic aesthetic produced an indelible impact on fin de siècle artists such as Vincent van Gogh, Paul Gauguin, Henri de Toulouse-Lautrec, Henri Matisse, and later Pablo Picasso, Robert Delaunay, and André Breton’s Surrealism, firmly establishing him as integral to the 20th-century avant-garde. Seurat’s oeuvre includes approximately 500 drawings and 6 major figure paintings, an astonishing output for a career that lasted only 11 years.

First Analytical Study on Second-Century Wall Paintings from Ulpia Traiana Sarmizegetusa: Insights on the Materials and Painting Technique

2019 ◽  
Vol 14 (5) ◽  
pp. 751-761 ◽  
Author(s):  
Ioana Maria Cortea ◽  
Luminița Ghervase ◽  
Ovidiu Țentea ◽  
Anca Constantina Pârău ◽  
Roxana Rădvan
Keyword(s):  
Analytical Study ◽  
Second Century ◽  
Wall Paintings ◽  
Painting Technique

ANNA TEACHING ELISABETHBY BARTOLOMEO ALTOMONTE: A CASE STUDY OF AUSTRIAN BAROQUE PAINTING TECHNIQUE

1998 ◽  
Vol 43 (sup2) ◽  
pp. 20-20
Author(s):  
B. Baatz-Fischer ◽  
M. Schreiner ◽  
W. Baatz
Keyword(s):  
Painting Technique
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