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The Sebastiano del Piombo is mine!!!' crowed the novelist and art collector William Beckford in May 1823. Originally commissioned by Cardinal Giulio de' Medici and standing at nearly four metres [...]

During the conservation of easel paintings, black draperies or dark backgrounds often prove problematic to treat and understand in terms of condition. Despite most black pigments in Old Master paintings not intrinsically containing high atomic number elements, the investigation of black paints is one of the National Gallery's major uses and most helpful applications of x‐ray fluorescence (XRF) scanning. As a visual tool, XRF element distribution maps of black paints are useful for assessing the extent of overpainting or condition of any surviving original paint beneath, and for revealing the original modelling. However, interpreting the XRF element maps can be challenging. It is important to consider not only the primary compositions of black or dark pigments, but to have an understanding of other possible associated materials and more broadly of historical painting techniques, artists' practices and the paint stratigraphy. Through a series of case studies, this paper demonstrates how a detailed knowledge of historic painting materials and techniques, based on study of documentary sources and archives of materials‐based evidence from the analysis of paint cross‐sections—both from the paintings being studied and related works—aids and enriches interpretation of XRF element maps of black paints. While samples are invaluable in understanding exactly how—and with what materials—such regions were painted, they are not always representative and scanning XRF may be of complementary benefit in providing a more holistic view of pigment distribution. The examples presented range from the fifteenth to the seventeenth century from both Northern Europe and Italy. [ABSTRACT FROM AUTHOR]

The Victoria and Albert Museum holds an important portrait of the Jamaican scholar and writer Francis Williams (c.1692/97–1762), portrayed as a scholar in his study. It is believed to have been painted around 1745 by an unknown artist, but the circumstances of its production are unknown. A technical examination of the painting was performed using x‐radiography and infrared reflectography (IRR), macro x‐ray fluorescence scanning (XRF), digital microscopy, scanning electron microscopy with energy‐dispersive x‐ray spectroscopy (SEM–EDX) and reflectance imaging spectroscopy in the short‐wave infrared (SWIR). XRF, IRR and reflectance imaging spectroscopy in the SWIR revealed the distribution of inorganic pigments including lead white, earth pigments, Prussian blue, vermilion, orpiment (or pararealgar) and bone or ivory black. Pentimenti and a different sketched landscape were observed in the IRR images, highlighting changes in the final composition. Three‐dimensional (3D) digital microphotography provided additional historical and contextual information through the observation of book titles and details. High‐resolution digital imaging complemented analytical data. Results of the technical examination revealed the material composition and the development of the painting, contributing to shed new light on the production of the portrait, the history and significance of the portrait. [ABSTRACT FROM AUTHOR]

Copyright of Mevzu is the property of Ali Sever and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Background: Currently, multiple tools exist to teach and learn anatomy, but finding an adequate activity is challenging. However, it can be achieved through haptic experiences, where motivation is the means of a significant learning process. This study aimed to evaluate a haptic experience to determine if a tactile and painting with color marker interactive experience, established a better learning process in comparison to the traditional 2D workshop on printed paper with photographs. Methods: Plaster bone models of the scapulae, humerus and clavicle were elaborated from a computerized scan tomography. Second year undergraduate medical students were invited to participate, where subjects were randomly assigned to the traditional 2D method or the 3D plaster bone model. A third group decided not to join any workshop. Following, all three groups were evaluated on bone landmarks and view, laterality, muscle insertions and functions. 2D and 3D workshop students were asked their opinion in a focus group and answered a survey regarding the overall perception and learning experience. Evaluation grades are presented as mean ± standard deviation, and answers from the survey are presented as percentages. Results: The survey demonstrated the students in the 3D model graded the experience as outstanding, and in five out of the six questions, answers were very good or excellent. In contrast, for students participating in the 2D workshop the most common answers were fair or good. The exception was the answer regarding the quiz, where both groups considered it good, despite the average among all groups not being a passing grade. Conclusions: To learn the anatomy of the shoulder, the conventional methodology was compared with a haptic experience, where plaster bone models were used, enabling students to touch and paint on them. Based on the focus group and survey this study revealed the 3D workshop was an interactive experience where, the sense of touch and painting greatly contributed to their learning process. Even though this activity was useful in terms of learning bone landmarks, view muscle insertions, and establish relations, further activities must be developed to increase their understanding regarding their function, and its relevance in a clinical setting. [ABSTRACT FROM AUTHOR]

This article examines Judd’s Specific Objects in light of Cézanne’s paintings and suggests that the two artists share a conception of the relation between objects and space. I argue that, much like Cézanne, Judd saw objects and space as related elements that constantly define each other. Cézanne and Judd are prominent figures who represent two distinct positions in the history of Western art. I consider these positions in relation to the topic of artistic autonomy and suggest that, even though theoreticians have framed Judd’s work in opposition to the modernist concept of the autonomous work of art—the American founding figure of Minimalism has something in common with the French ‘Father of Modern Art’. The proposed phenomenological analysis of works by Judd and Cézanne moves beyond period-based and medium-oriented interpretations and differs from much art-historical discourse, to suggest an additional perspective on their works. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper calls for a reassessment of early-stage Korean avant-garde and experimental art as the cornerstone of Korean media art. The aim is to discern a new genealogy of media art in Korea by tracing and linking the activities of early avant-garde artists and media art pioneers who have been neglected in the dominant art historiography, which has shown a preference for painting and video art. My detailed analysis of the experimental artists of the 1960s and 1970s, small groups in the mid-1980s, and the Art Tech Group in the early 1990s demonstrates how they revealed and articulated their spirit of resistance against academism and the mainstream using technology, thus following a different trajectory from that of the avant-garde and media art in Europe and North America. [ABSTRACT FROM AUTHOR]

Throughout the author's career, Neural Art, which is based on the functional properties of the nervous system, has been a significant part of his artwork. Three features stimulated his artistic development: (1) nervous systems as functioning networks, (2) sequences of neural impulses that operate within these networks, and (3) the interactions of nervous systems with external environments. This has resulted in three types of artworks: (1) artist's books, (2) paintings with overlaid grids to suggest the neural networks as interfaces between inner experience and outer reality, and (3) interactive sound sculptures and installations that, when viewers move around the pieces, generate nerve impulse–like sounds or words and phrases related to a nervous system experiencing the external environment. This paper describes the development of this artwork. [ABSTRACT FROM AUTHOR]

Some paintings may have hidden depictions beneath the visible surface, which can provide valuable insights into the artist's creative process and the genesis of the artwork. Studies have shown that these covered paintings can be revealed through image-based techniques and integrated data processing. This study analyzes an oil painting by Beceri from the mid-16th century depicting the Holy Family, owned by the Uffizi Galleries. During the analysis of the materials, we discovered evidence of pictorial layers beneath the visible scene. To uncover the hidden figuration, we applied a multimodal approach that included microprofilometry, reflectance imaging spectroscopy, macro X-ray fluorescence, and optical coherence tomography. We analyzed the brushstrokes of the hidden painting, visualized the underdrawing, located the painted areas beneath the outermost painting, and quantified the thicknesses of the pictorial layers. The pigments used for the underpainting were identified through cross-analysis of X-ray fluorescence and spectral correlation maps. The underlying pictorial subject, Leda and the Swan, appears to be inspired by a long-lost and replicated work by Michelangelo. This information places Beceri and his production in a more defined context. [ABSTRACT FROM AUTHOR]

In the survey of biodiversity of actinobacteria associated with mosses (Taxithelium nepalense (Schwägr.) Broth. and Barbula indica (Hook.) Spreng.), certain strains of pigment producing actinobacteria were isolated and purified on SCA and incubated at 30°C for 1 week. Based on deep-shade color of actinobacterial pigments, 4 strains were collected and used for painting color preparation. To evaluate the antimicrobial activities, the crude extracts were prepared from 4 actinobacterial strains and tested with Escherichia coli PSRU-01 and Staphylococcus aureus PSRU-01. The results indicated that the crude extracts of C7, C13, C15 and D13 could not inhibit growth of E. coli PSRU-01, but S. aureus PSRU-01 was inhibited. Two fungal testers, including Colletotrichum sp. PSRU-01 and Fusarium sp. PSRU-01, were completely inhibited by the crude pigment extracts of C13, C15 and D13. Based on phylogenetic results, the actinobacterial strains were closely related to Streptomyces californicus (C7, 100% identity), Streptomyces bungoensis (C13, 99.8% similarity), Streptomyces humi (C15, 99.9% similarity), and Streptomyces rectiverticillatus (D13, 99.8% similarity). They also shared phenotypic characteristics with Streptomyces. The cultivated cells of actinobacteria on broken-milled rice were used for pigment extraction and followed by determination of the extracted pigments for mixing with acrylic color in the shade violet, green, orange and pink colors. Application of actinobacterial pigments in painting is the first report and it is an innovative utilization of actinobacterial pigments in non-scientific field in Thailand. [ABSTRACT FROM AUTHOR]

To what extent, and on what grounds, can we ethically evaluate art from a generative context that is at some significant distance from our present reception context—at enough distance, at least, so that the two contexts differ, in important ways, in aspects of their moral outlooks? This paper has four aims. The modest task of the paper is to show that this question is much more difficult than has been recognised. The somewhat more ambitious goal is a methodological intervention: it is to highlight the need for interdisciplinary research that illuminates the socio-historical specificities of remote generative contexts in a way that allows us to see the relevant ways in which the moral outlooks overlap with ours (or do not). In relation, the third aim of the paper is to argue, with reference to Bernard Williams's 'relativism of distance', that there are some cases in which the moral outlooks of a work's generative and reception contexts differ so significantly that the warrant for our moral judgments of remote artworks is attenuated—if it exists at all. Finally, we try to demonstrate how the sort of interdisciplinary collaboration we're advocating might inform our moral judgments of art—more specifically, in a way that invites a degree of quietude or uncertainty about remote artworks that are deeply morally troubling in our present reception context. We do this with reference to the paintings of Titian. [ABSTRACT FROM AUTHOR]

Aim: To describe the application of selected creative and participatory research methods in nursing science. Design: Research methodology paper. Methods: Researcher‐initiated role play, stimulated recall interviews, the Storycrafting method, painting and drawing. Altogether, 11 children (5–7 years old) and 12 parents participated in the research. Results: Each small group (n = 3) acted differently during the data collection. Not every child wanted to play, draw or tell stories, but they all expressed their views through some method. Although the same themes emerged from children's narratives, they could not have been verified by just one method. Conclusions: Using creative and participatory methods and the principles of studies of child perspectives are applicable ways of conducting research in nursing science. Children must be treated as individuals during the research process, and they must have opportunities to use several communication methods to express their views. Implications for the profession and patient care: Understanding different ways to interact with children and hear children's views will help nurses to encounter children. Impact: In this article, we present a valid way of conducting research with children. By following our protocol, nursing research from a child perspective can be implemented. Reporting Method: Consolidated criteria for reporting qualitative research (COREQ). Patient Contribution: The child participants were involved in choosing physical places for data collection and the usage and order of the selected methods. Both the children and the adult participants took part in interpreting the research data. [ABSTRACT FROM AUTHOR]

Copyright of Early Modern French Studies is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Aesthetic quality evaluation has been an important research question in the field of user experience in product design. However, the feasibility and accuracy of using fNIRS data for product aesthetic quality evaluation are unknown. In this article, we analyze the correlation and association between fNIRS data and aesthetic quality and designed a product aesthetic quality evaluation model to answer this question. We find that HBO2 data in the prefrontal (S19-D11), frontal (S4-D3), temporal (S3-D1), and parietal (S8-D8) regions of the brain have significant correlations and logistic relationships with high visual product aesthetic quality, whereas HBO2 data in the prefrontal (S19-D11) and parietal (S8-D8) regions of the brain have significant correlations and association relationships. These data can be used for products aesthetic quality evaluation. Importantly, the overall prediction accuracy of the model to evaluate products’ aesthetic quality is 84.1%. The model is therefore able to better distinguish and evaluate the aesthetic quality of products. This study demonstrates the feasibility of using fNIRS data to evaluate the aesthetic quality of products and shows that the product aesthetic quality evaluation model can provide an objective and accurate decision-making reference to help designers evaluate and improve the aesthetic quality of products. [ABSTRACT FROM AUTHOR]

This paper examines Students' choice and their placement into various areas of specialization in their third year (300-level) of study in the Department of Fine and Applied Arts, University of Benin, Nigeria and what informs such choice and placement. Oftentimes, most students, before this level may not have any area of specialization in mind but the course advisers are to counsel them regarding their areas of strength and interest. Sometimes, the Department uses its discretion to place some student. The objective of this paper is to carve out certain criteria to be taken into consideration in placing students into their various areas of specialization. Pedagogic and survey research designs were used in which case questions were served to respondents in order to elicit responses and at the end, it was found out that majority of the students preferred study areas that attracts immediate and attractive monetary rewards like Graphics and Painting. This research examines students' attitudinal disposition towards areas of specialization from 2016/2017 to 2020/2021 academic sessions. [ABSTRACT FROM AUTHOR]

In translation studies, intersemiotic translation, which is the transference of a verbal sign system to a non-verbal sign, vice-versa or between two non-verbal modes, is a dynamically creative form of translation often involving literary works. Intersemiotic translations make it possible for written source texts to be brought to life in various artistic ways; they can usurp the power of the written word to transfer sense and meaning through unforgettable images from one culture to another. Folktales, documented in writings, have been translated into many different forms, such as in performing arts, animations, paintings, and illustrated books. This article examines the intersemiotic translation of the evergreen Malay folktale, “Puteri Gunung Ledang” or “The Princess of Mount Ledang” recreated in the form of batik paintings by the batik artist, Mat Dollah. The first specific objective of this study is to identify the variant and invariant features in Mat Dollah’s representation of the folktale by comparing his batik paintings to its original written account. The second objective is to investigate Mat Dollah’s skopos or purpose for recreating the folktale in his batik paintings in the ways that he has represented it. Six selected batik paintings of the folktale are analysed using Kress and Van Leeuwen’s (2006) multimodality approaches in visual grammar focusing on social actor representations and viewer networks (2008), colour (2011) and modality to fulfil the first objective. Transcripts from an email interview with the painter are analysed to fulfil the second objective. In this study, Vermeer's Skopos Theory underpins the overall discussion. The findings show that one invariant core links the batik paintings to the written source text. Next, the skopos or purpose of the artist in producing these recreations in his own unique ways is strongly influenced by his personal experience, his work as an artist, and his perspectives of the world. Two key insights can be surmised about intersemiotic translations from these findings. Firstly, it is the translators’ intent that determines the translation strategies used, ultimately shaping the final translated product. Secondly, this makes the translator’s presence highly visible in intersemiotic translations. [ABSTRACT FROM AUTHOR]

This text is a part of bigger research of different premodernist characteristics in the works of Maupassant. It is focused over a part of picture images in the novel Bel Ami, interpreted as a game coding of dominant themes of the work and Maupassant's works in general through the figure of pseudoekphrasis. The text presents our understanding for ekphrasis together with the reasons for choosing the term of pseudo-ekphrasis. We analyze pseudo-ekphrasis as a sign of modern thinking of mimetic technics, because it succeeded to present whole phantasm images as iconic. The text presents thematic analysis of the images of the character Walter collection in order to introduce the functions of technical figure on a semantic level in the narration. [ABSTRACT FROM AUTHOR]

The article deals with the aspect of the interrelationship between two related artistic fields under the “rhythmic” aspect – painting and music. This connection has been present in artistic manifestations since the beginning of human civilization and had a magical-religious character. Interest in musical aesthetics increases in the medieval period, but especially in the Renaissance when the arts gain a dominant role in society. The socio-political and religious changes in society in the century XVII-XVIII, impose an alert and dynamic rhythm, an increased interest in all spheres of artistic culture, including fine art and music. The musical component persists in plastic creation and in the century XIX-XX, in different styles or artistic currents. A particular predilection for musical subjects is observed in the representatives of romanticism and symbolism, visual artists making a “leap” from the sphere of the real, mundane world to mystical-fantastic or cosmic dimensions. The return of the artistic vision in everyday life is evident in subjects with human figures singing, dancing, etc. in realism, impressionism, post-impressionism, fauvism, etc. A special plastic formula of the musical component in painting is present in the creation of abstractionists, expressionists who “see” musical sounds in color. In the Romanian-Bessarabian space, the musical theme is found in various thematic works, of a static nature, but with a generally relatively low frequency.

The article deals with the theme of the works addressed in the creation of Inga Edu, which established itself in the artistic life of the Republic of Moldova and Romania in the early 2000s. Practicing oil painting and pastel, the artist frequently approaches the genres of landscape and still life. The theme of the outdoor landscape is very varied: from medieval Romanian cities and European civilizations to today’s Chișinău. The capital becomes a motif in the painting at different times and moods of the day. Thus, we find the city in the rain in “Rainy Day”, the nocturnal city in “Night in the City”, the blooming city in “Spring in Chișinău”. All these themes are found in both stages of the artist’s creation, only the approach changes. The first period of creation is characterized by figurative compositions in which the sensitivity typical of impressionists persists, achieving chiaroscuro, spatial perspective, light direction, drawing perfection, consonance, etc. The second period, the experimental one, stands out for the decorative treatment of the composition with pure colors in which halftones are timidly preserved. It is certain that although Inga Edu resorts to abstractionism in some works, she does not completely abandon the figurative. Having a predilection for oil and pastel painting, Inga Edu does not try to imitate reality, but meditates, choosing the most valuable elements.

Abstract Background Currently, multiple tools exist to teach and learn anatomy, but finding an adequate activity is challenging. However, it can be achieved through haptic experiences, where motivation is the means of a significant learning process. This study aimed to evaluate a haptic experience to determine if a tactile and painting with color marker interactive experience, established a better learning process in comparison to the traditional 2D workshop on printed paper with photographs. Methods Plaster bone models of the scapulae, humerus and clavicle were elaborated from a computerized scan tomography. Second year undergraduate medical students were invited to participate, where subjects were randomly assigned to the traditional 2D method or the 3D plaster bone model. A third group decided not to join any workshop. Following, all three groups were evaluated on bone landmarks and view, laterality, muscle insertions and functions. 2D and 3D workshop students were asked their opinion in a focus group and answered a survey regarding the overall perception and learning experience. Evaluation grades are presented as mean ± standard deviation, and answers from the survey are presented as percentages. Results The survey demonstrated the students in the 3D model graded the experience as outstanding, and in five out of the six questions, answers were very good or excellent. In contrast, for students participating in the 2D workshop the most common answers were fair or good. The exception was the answer regarding the quiz, where both groups considered it good, despite the average among all groups not being a passing grade. Conclusions To learn the anatomy of the shoulder, the conventional methodology was compared with a haptic experience, where plaster bone models were used, enabling students to touch and paint on them. Based on the focus group and survey this study revealed the 3D workshop was an interactive experience where, the sense of touch and painting greatly contributed to their learning process. Even though this activity was useful in terms of learning bone landmarks, view muscle insertions, and establish relations, further activities must be developed to increase their understanding regarding their function, and its relevance in a clinical setting.

Maria Padula (Montemurro, PZ 1915 - Naples 1987) was a painter and writer. Daughter of a peasant woman and a man who did not want to recognize her, she was adopted by a family from her country who encouraged her artistic trends by supporting her in her studies at the Academies of Fine Arts in Naples and Florence. The first Lucanian woman to attend an Academy, she developed a strong and autonomous personality, original with respect to the traditional canons of femininity in force in rural southern Italy. During the Second World War she married the artist Giuseppe Antonello Leone. In the mid-forties she began her exhibition career as a naturalistic and subtly metaphysical painter in various Italian cities. She attended intellectuals and artists, including Rocco Scotellaro, Carlo Levi, Manlio Rossi Doria, Leonardo Sinisgalli. In the 1950s she began her writing activity. The autobiographical novel The wind carried the voices. The story of a Lucanian girl, tells about her difficult youthful experience as an off-site student, forced to face many male-dominated prejudices. He published critical, literary and socio-political writings. Teacher at the art institutes of Potenza and Naples, she reconciled the practice of painting and writing and the duties of teacher and mother of five children with the social commitment aimed at defending women's rights, militating in the context of the parliamentary left and of catholic groups. In 1976 she was one of the founders of the Nuova Identità feminist movement, whose activity was documented in the Naples 1980s exhibition, organized in Naples in 1980.

When working as a fine-arts curator, I never felt comfort-able presuming an artist's intentions. But there is no doubt that context is important when looking at artwork, in-eluding the artist's [...]

Self-Portrait: Waking Up with/to Cat Companions is a triptych composed of prismatic acrylic paint on three adjacent hexagon-shaped canvases (from left to right, 8 inches, 12 inches, and 10 inches in diameter). The central hexagon features my face, from the nose to the head, with an enlarged cat's eye on my forehead and surrounded by blooming vines. Adjacent at each side are portraits of my cats in poses that interact with my petting, amputee hands. I blend my personal history with cats, legends about cats as fortune-tellers, and mythology about women and cats as magical soothsayers to analyze this work's personal and folkloric significance. Keywords: (from the AFS Ethnographic Thesaurus), art, presentation of self, physical disabilities, pets, traumatic brain injuries, divination, reflexivity, art therapy, disability identity, SELF-PORTRAIT: WAKING UP WITH/TO CAT COMPANIONS is a triptych composed of acrylic paint on three adjacent hexagon-shaped canvases (from left to right, 8 inches, 12 inches, and 10 inches in [...]

In our continuing series of 'Tales from the Archives' articles, looking back at some of the history of the Shakespeare authorship debate, we return to the Ashbourne portrait of Shakespeare [...]

Rembrandt's painting of the biblical prophet Jeremiah is suffused with emotion. Curator Koen Bulckens explains how Rembrandt drew on the early modern Dutch genre of tronies--pictures of anonymous faces--to create [...]

Howard Hodgkin was an unhappy schoolboy at Eton in the 1940s when he was introduced to Indian court painting by his art teacher, Wilfrid Blunt. Better known as an authority [...]

In the context of globalization, the world is forming a kind of global consumption network (GCN) which is like a global production network (GPN) making the countries of the world closer together. The cultural industries are a mixture of localization and globalization, where production is highly concentrated in a few places but consumption is globalized. The painting industry, a part of the cultural industry, has undergone transformations in its sales channels, product forms and consumer subjects amidst globalization. This paper explores the spatial and temporal evolutionary pattern of GCN of painting products based on data from the United Nations Commodity Trade Statistics Database for the period 1988–2022, with the help of Mann–Kendall test, social network analysis (SNA) and GIS spatial technology methods. The main conclusions are as follows: (1) Overall, the scale of global trade in paintings has shown a fluctuating upward trend. However, the scale of trade declined during the global economic depression. (2) The number of countries participating in GCN of painting has increased from 120 in 1990 to 210 in 2010. In terms of individual network characteristics, the GCN of painting as a whole is gradually characterized by the United States as the core and the United Kingdom, France and Germany as the second core. (3) In the GCN of painting, the connection between countries is so close that it is difficult to divide them into smaller communities. These findings can provide data support and theoretical basis for relevant organizations at the national and international levels when formulating cultural policy, and at the same time enrich the theoretical foundation in the field of globalization and cultural industries. [ABSTRACT FROM AUTHOR]

The study was written in line with research into the specifics of painting and literature. At its center is the painting “Unknown” by Ivan Nikolaevich Kramskoy, which still remains a mystery in terms of the history of its creation, the reason for painting, the customer, and most importantly - the heroine of the painting. A parallel is drawn between the painting, A. Blok’s poem “The Stranger”, and the image of Anna Karenina in the theater in the novel by L.N. Tolstoy’s “Anna Karenina” and others. Both Kramskoy’s painting and the works of art examined in the article ask the same questions: what is the attractiveness and mystery of this woman, who is she, is she happy or, conversely, very unhappy, and ultimately - what is beauty? Why does humanity have an inescapable yearning for beauty? In addition to the associations that arise, there are several versions of assumptions about who is depicted in the picture. One of them is a portrait of Catherine Dolgoruky, the second wife of Alexander II. The article describes the story of their amazing love.

Abstract Background Post-traumatic stress disorder (PTSD) can lead to complications such as depression and grief, which are more prevalent in veterans than in the general population. Recently, art-making, including mandala coloring, has gained attention as a potential treatment for PTSD patients. Methods This randomized clinical trial was conducted on 84 male veterans diagnosed with PTSD and hospitalized at the Milad Psychiatric Center in Tehran, Iran. The patients were recruited using a convenience sampling method and were assigned to either the mandala coloring group or the free coloring group. The Post-Traumatic Stress Disorder Checklist DSM-5 and the Oxford Happiness Scale were used to collect data. The intervention group colored mandala designs, while the control group colored squares freely. Coloring was done twice a week for three weeks. Results The mean baseline happiness scores did not differ significantly between mandala coloring group and free coloring group (p = 0.376). However, at the end of study, happiness scores were significantly higher in mandala coloring group than in free coloring group (p

The article is dedicated to the study of the art criticism views of the author of the first Russian textbook for students of the Imperial Academy of Arts, diplomat and Vice‐President of the Imperial Academy of Arts, Pyotr Petrovich Chekalevsky. In his essay A Discourse on Free Arts with a Description of Some Works by Russian Artists (1792), Chekalevsky mainly relies on J.J. Winckelmann, whose republican ideas do not repel him as a Russian aristocrat of the period of Catherine II and Paul I, but even arouse his warm sympathy. Chekalevsky sees the main reasons for the extinction of the arts of different countries and peoples in the despotism of state (for example, Rome of the Caesars’ era) and in the tyrannical power of money, depriving the artist of freedom, without which, according to Chekalevsky, full‐fledged artistic creativity is impossible. The death of art, according to him, can be avoided only if new Athens appears. Chekalevsky pays particular attention to the issues of artistic form, proving that a sculptor can express the idea of his work if he finds an artistic language corresponding to this idea. Meanwhile, the language of the sculptor is different from that of the painter, and confusion of different artistic languages (forms) leads, in a certain way, to empty talk, the loss of both content and form. According to Chekalevsky, it is architecture that requires the greatest creative ingenuity. Not only does he reconsider the ideas of classical art history independently and remaster them thoughtfully, but he also expresses them in the original Russian language. Chekalevsky’s utopia of the possibility of a new arts revival based on a certain republicanism in the conditions of the Russian enlightened absolutism predetermined the most progressive trends in the activities of the Imperial Academy of Arts, and his Discourse on Free Arts... can be called the first “living word” of Russian art studies. The textbook by Chekalevsky contains brief information about outstanding Russian sculptors, painters and architects of the second half of the 18th century.

A large number of digital painting image resources cannot be directly converted into electronic form due to their differences in painting techniques and poor preservation of paintings. Moreover, the difficulty of extracting classification features can also lead to the consumption of human time and misclassification problems. The aim of this research is to address the challenges of converting various digital painting image resources into electronic form and the difficulties of accurately extracting classification features. The goal is to improve the usefulness and accuracy of painting image classification. Converting various digital painting image resources directly into electronic format and accurately extracting classification features are challenging due to differences in painting techniques and painting preservation, as well as the complexity of accurately extracting classification features. Overcoming these adjustments and improving the classification of painting features with the help of artificial intelligence (AI) techniques is crucial. The existing classification methods have good applications in different fields. But their research on painting classification is relatively limited. In order to better manage the painting system, advanced intelligent algorithms need to be introduced for corresponding work, such as feature recognition, image classification, etc. Through these studies, unlabeled classification of massive painting images can be carried out, while guiding future research directions. This study proposes an image classification model based on AI stroke features, which utilizes edge detection and grayscale image feature extraction to extract stroke features; and the convolutional neural network (CNN) and support vector machine are introduced into image classification, and an improved LeNet-5 CNN is proposed to achieve comprehensive assurance of image feature extraction. Considering the diversity of painting image features, the study combines color features with stroke features, and uses weighted K-means clustering algorithm to extract sample features. The experiment illustrates that the K-CNN hybrid model proposed in the study achieved an accuracy of 94.37% in extracting image information, which is higher than 78.24, 85.69, and 86.78% of C4.5, K-Nearest Neighbor (KNN), and Bi directional Long short-term Memory (BiLSTM) algorithms. In terms of image classification information recognition, the algorithms with better performance from good to poor are: the mixed model > BiLSTM > KNN > C4.5 model, with corresponding accuracy values of 0.938, 0.897, 0.872, and 0.851, respectively. And the number of fluctuation nodes in the mixed model is relatively small. And the sample search time is significantly shorter than other comparison algorithms, with a maximum recognition accuracy of 92.64% for the style, content, color, texture, and direction features of the image, which can effectively recognize the contrast and discrimination of the image. This method effectively provides a new technical means and research direction for digitizing image information.

echnique and its impact on the expressive content in the figurative works of the artist Alberto Puri It deals with artistic research and its impact on the expressive content in the figurative works of the artist Alberto Bori, where the war constituted a present topic in the history of the world, while these factors affect the expression of the soul and its symptoms, symptoms and consequences. His people lived in times of adversity with various visions and formulations. Hence, the research problem may lie in the following question: - What is the expressiveness and aesthetics of the technique in photogrammetry? Has technology helped achieve the integrated expressive content of Alberto Burri? This phrase helps in the search for assistance in the artist's work, expressionism and aesthetics in the artist's work, her wonderful, and her wonderful in the work of the artist, her wonderful, within entries, pioneering, and wonderful in the works of the artist and her wonderful, and within entries, experimental that can be depicted in the works of the artist. The productivity of photographic works with a contemporary vision, wherein its productivity lies also the search for PNG beauties of photography, photography, to enrich and new artistic visions. And we dealt with dealing with and contemplation, and contemplation, and contemplation of technique and material, and their role is to confirm the expressive content. Research problem Techniques are the means to implement the artwork through different materials, and the technique differs from one era to another and from one artist to another, and since the technique here in the work of the artist Alberto Bori is determined by the problem of research in the following:- What are the expressive and aesthetic features of technology in graphic work? - Has technology helped achieve the expressive content in the works of the photographer Alberto Burri?

Painting is an art form of beauty has become increasingly crucial to convey Islamic messages and values in the new digital, da’wah media in the digital era, indicating in broadcasting Islam with various forms of methods, one of which is through painting (sign). This digital da’wah is a trend in society, especially the younger generation, the tendency to learn religion through social media. This research investigates the role of paintings in Islamic preaching. taking a case study of paintings on artists on the Instagram account "@_Zukkk". This research aims to analyze how the art by Zukkk plays an important role to starting da'wah in a unique way to convey Islamic values and its impact on viewers' understanding and interaction on the Instagram. This research used by Roland Barthes' semiotic study, which is a continuation of Saussure's thought in introducing the concept of connotation and denotation is the key to analysis. The results show that Zukkk's paintings have a very crucial role in da’wah Islam using a unique way. Through the expression of painting, Zukkk succeeds in providing Islamic messages, such as kindness, justice, patience, to inspiring his followers. Positive responses and powerful interactions, the many people who use the Instagram platform indicate the effectiveness of painting as a medium for delivering da’wah. The paintings are able to motivate the audience. Keywords: Dakwah, Painting, Instagram, Semiotics

This study investigates the essence and manifestations of nature in the works of Romantic poets such as Lord Byron and Emerson, as well as painters like Thomas Cole. It then explores the components of literary tourism in Romanticism to answer the question: What positive aspects does Romanticism’s perspective on nature have for tourism. This study aims to examine the common characteristics of the Romanticism school’s approach to nature. The data and images were collected and analyzed through a descriptive-analytical method, utilizing library studies and document analysis. The dimensions and meanings of nature in selected Romantic poems and paintings encompass untouched nature, wild and untamed nature, grand and awe-inspiring nature, the supernatural, the inner and human soul, nature as a human construct, emotional and exquisite landscapes, sublime and heavenly landscapes, accompanied by explorations of caves, forests, roaring waters, waterfalls, and mountainous landscapes. The positive results of Romanticism’s perspective on nature for tourism can be observed at both the general and individual levels. At the general level, governments and stakeholders plan and prepare national assets based on remarkable natural places, regions, and landscapes depicted in literary and artistic works. At the individual level, there exists a beautiful cognitive path where tourism is seen as an accepted social form based on notable regions and landscapes depicted in works, serving as a search for emotional, intellectual, and reflective experiences. Consequently, the attention, perception, and Romanticists’ approach to nature contribute to enriching and diversifying the perspective on nature in the tourism industry.

Perhaps among the ancient literary works of India, the epics of Ramayana and Mahabharata are more significant and are the main pillars of the country’s epic literature. This epic narrates Rama’s life, the beloved Dasaratha’s son, Kosala land’s king, in exile with his wife Sita. These two paintings are recalled as symbols of purity and happiness in Hindu tradition. Rajasthani artists have depicted a painting of the wedding ceremony of Rama and Sita, which possesses the main characteristics of Hindu art, namely an emphasv is on the symbolic use of colors. This study aims to analyze the symbols and features used in this painting. The study was conducted using a descriptive-analytical method. The painters of the present work used colors to enhance the clarity of the images and have shown special attention to their symbolism. Each color has been used according to its identity, and elements such as building architecture and the arrangement of figures have been precisely positioned in the painting. The decorations and other components presented in this painting have adhered to specific principles for proper composition, guiding the viewer’s eye, and maintaining the positions of the characters. The overall composition of the painting is designed to reflect the customs and traditions of wedding ceremonies in India.

Background and purpose: Art education is one of the areas of the curriculum in the development of various individual characteristics and capabilities. Art, with its profound impact and appeal, can serve as an effective tool for gaining a deeper understanding of basic medical science courses, including anatomical sciences (anatomy, histology, and embryology). The study was designed to assess the influence of creative painting on the teaching of anatomical sciences, emphasizing a social, individual, and spiritual approach to encourage forward-thinking and imaginative skills in medical students. It seems that when students of medical sciences become familiar with the clinical considerations and personal, social, and spiritual consequences of the subject while teaching their course material, they will try to learn the material more accurately and multi-dimensionally. Materials and methods The present research-educational study was designed with a qualitative-quantitative approach and in it the art of painting was used as an educational intervention. At first, after the introduction of anatomical sciences and the presentation of the objectives of the lesson, interested medical and pharmacy students of Ramsar Medical Sciences Campus were asked to choose a topic from anatomical sciences in a group or individually. Then, by connecting it with the clinical points in the textbooks, the following personal, social, and spiritual challenges are displayed by maintaining the scientific content in the form of a purposeful painting. After several meetings about the topics, the paintings meeting the desired criteria were selected and the paintings were displayed to the public. During the exhibition, the correctness of the way of conveying the target message was interpreted and analyzed from the point of view of the audience. Finally, the attractiveness of education and the level of learning among students were investigated. The evaluation of the results was done in two quantitative and qualitative methods, and in the quantitative method, a researcher-made questionnaire was used. The quantitative part was descriptive-analytical and the qualitative part was based on content analysis. To check the validity of the conducted study, Anderson et al.'s five-step criteria including study validity, democratic validity, results validity, dialogue validity, and persuasive validity were used. Results: The results showed that the integration of art and education can be useful. Most of the students believed that with this method, the educational atmosphere was happier and more attractive for them (54%). 90% of students had increased learning of anatomical concepts. Students stated that they had more enthusiasm (81%) and motivation to learn (72%) lessons and learned the concepts of anatomical sciences in a more permanent way (63%). While learning the material, they were more curious to know, on the one hand, what clinical challenges are significant in the topic in question, and on the other hand, what social, personal, and spiritual consequences these problems will face the patient. All this made them more analytical thinking (79%). This method increased creativity (75%) and spirit of cooperation (75%) in most students, and 77% of students preferred it to other educational methods. Also, students' motivational, team, and communication skills increased by changing the study method and creating a multi-dimensional view of issues. Conclusion: The use of creative drawing in the teaching of anatomical science concepts was able to encourage the students of medical sciences to learn and increase their enthusiasm by creating a happy and attractive educational environment, raising the spirit of teamwork in them and increasing creativity, communication skills, and analytical thinking in them.

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 Șoitu 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 Șoitu’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.

Background: Post-traumatic stress disorder (PTSD) can lead to complications such as depression and grief, which are more prevalent in veterans than in the general population. Recently, art-making, including mandala coloring, has gained attention as a potential treatment for PTSD patients. Methods: This randomized clinical trial was conducted on 84 male veterans diagnosed with PTSD and hospitalized at the Milad Psychiatric Center in Tehran, Iran. The patients were recruited using a convenience sampling method and were assigned to either the mandala coloring group or the free coloring group. The Post-Traumatic Stress Disorder Checklist DSM-5 and the Oxford Happiness Scale were used to collect data. The intervention group colored mandala designs, while the control group colored squares freely. Coloring was done twice a week for three weeks. Results: The mean baseline happiness scores did not differ significantly between mandala coloring group and free coloring group (p = 0.376). However, at the end of study, happiness scores were significantly higher in mandala coloring group than in free coloring group (p < 0.001). After the intervention, happiness score of both groups increased significantly (p < 0.001). Conclusion: Both coloring methods increased veterans' happiness scores; however, mandala coloring was more effective than free coloring. It is recommended that art-making be added to conventional treatments for veterans with PTSD. Trial registration: This study was registered in Iranian Registry of clinical trials (No. IRCT20210604051491N1, 29/08/2021). [ABSTRACT FROM AUTHOR]

The tissue‐specific heart decellularized extracellular matrix (hdECM) demonstrates a variety of therapeutic advantages, including fibrosis reduction and angiogenesis. Consequently, recent research for myocardial infarction (MI) therapy has utilized hdECM with various delivery techniques, such as injection or patch implantation. In this study, a novel approach for hdECM delivery using a wet adhesive paintable hydrogel is proposed. The hdECM‐containing paintable hydrogel (pdHA_t) is simply applied, with no theoretical limit to the size or shape, making it highly beneficial for scale‐up. Additionally, pdHA_t exhibits robust adhesion to the epicardium, with a minimal swelling ratio and sufficient adhesion strength for MI treatment when applied to the rat MI model. Moreover, the adhesiveness of pdHA_t can be easily washed off to prevent undesired adhesion with nearby organs, such as the rib cages and lungs, which can result in stenosis. During the 28 days of in vivo analysis, the pdHA_t not only facilitates functional regeneration by reducing ventricular wall thinning but also promotes neo‐vascularization in the MI region. In conclusion, the pdHA_t presents a promising strategy for MI treatment and cardiac tissue regeneration, offering the potential for improved patient outcomes and enhanced cardiac function post‐MI. [ABSTRACT FROM AUTHOR]

When deaths among the enslaved and crew occurred during the eighteenth-century voyages of the vessels of the Middelburg Commercial Company, many of the officers who kept logbooks aboard drew skulls and crossbones, crosses, hourglasses, and other icons to mark those deaths. While some scholars have previously noted those icons preserved in the margins of 109 logbooks in the Zeeuws Archive in Middelburg, the Netherlands, this first comprehensive description and analysis of that iconography of death contributes a novel dimension to our understanding of the Atlantic slave trade. Many of the icons relate to memento mori symbolism that emerged during the sixteenth and seventeenth centuries in Dutch vanitas paintings and quotidian objects to emphasize the evanescence of mundane existence lived without spirituality, helping to reconcile the conspicuous consumption of material goods extracted from a global colonial empire with a Calvinist piety that abjured earthly possessions. The iconographical analysis reveals seventeen types of icons, ranging from basic marks such as an X to combinations of skulls, crossbones, hourglasses, and wings. Moreover, it reveals which icon types appear most commonly, how they changed over time, how they varied among logbook authors, and how they differed for deaths among the enslaved and crew. [ABSTRACT FROM AUTHOR]

This article explores intersections between the author's process of making art and the analytic relationship. The author makes correlations between witnessing a deeply moving impressionist painting, engaging in Jung's method of active imagination, and the experience of reverie and opening to the imagination in the clinical relationship. Opening to the unconscious, and relating consciously to what emerges, is an art and a dance that involves the capacity to play. When there are unconscious and conscious meetings, a creative process ensues and can constellate what Jung called the transcendent function, a process that often catalyzes personal transformation. In witnessing great art and engaging in a creative process within the analytic situation, there is a curiosity and willingness to be affected and bear uncertainty for the sake of new discoveries, as well as dedication to becoming a more whole human being. [ABSTRACT FROM AUTHOR]

This paper analyzes Italian artist Auro Lecci's contribution to pioneering media art, beginning with his paintings and ending with his computer artworks (1969–1972). As the author suggests, Lecci's paintings were already characterized by an algorithmic method that the artist went on to develop in his computer-generated works. The paper first discusses the plotter drawings Lecci created at the Computing Center of the University of Pisa (CNUCE), and then focuses on his last computer art project, made at the University of Massachusetts in Amherst, to suggest connections between Lecci's work and artificial intelligence. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]