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Copyright of German International Journal of Modern Science / Deutsche Internationale Zeitschrift für Zeitgenössische Wissenschaft is the property of Artmedia24 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.)

The article explores the meaning of the term painting, as described by the Russian State Academy of Artistic Sciences. It discusses how painting creates an artistic sensory-contemplative unity of spatial relations. It further discusses several characteristics of painting including symbolic expressiveness; and flatness as it gives form to an isolated fragment of material surface. It reports quality of painting being inscribed, because this mode of giving form is realized with the help of inscriptive signs. It suggests that a painting should be distinguished from other forms of non-autonomous inscription in spatial arts.

This paper looks at Sartre's 1957 papers on Jacopo Tintoretto to examine his reading of action and space in Tintoretto's St George and the Dragon. I suggest that Sartre offers an idea of grace which, far from shoring up a sense of decisive resolution to the action depicted in the painting, speaks instead of an abandonment in the subjective situation. This notion of abandonment appears through the erasure of a conclusive causal point, the disappearance of which lies at the heart of Sartre's reading. Once freed from causal moorings existence is not loosened but rather becomes weighed down in its very situation. Taking support from the work of Levinas this paper considers how Sartre follows the cursive lines of this burdened subjectivity within the deceptive play of Tintoretto's painting. [ABSTRACT FROM AUTHOR]

In the paintings of Mikalojus Konstantinas Čiurlionis motifs related to royal theme appear sequentially. These motifs lead his creative work, "dedicated to Lithuania", towards universal and spiritual problems and less towards political and historical questions. Considering the range of the artist's perspective, Čiurlionis' paintings can be divided into two kinds: works of universal content, speaking about God (not necessarily Judaist or Christian), a Ruler who created the universe, who rules it and acts in it, and works touching on a human theme - the place of a man in the universe, his condition and the ways of comprehending the spiritual powers managing the world. The first group is best represented by the symbolic triptych Rex (1904) and the monumental composition of the same name (1909), which crowns the creative work of the artist. The musical and abstract qualities of Čiurlionis' paintings seem to be a consecutive outcome of his vision of how the world functions as well as of the development of his idea of God-the King: from the ancient mythological Demiurge who is personal and visible through his creations, the nature, to the God who is omnipresent and not present at the same time, incomprehensively Absolute - from the pillar of the world, axis mundi, to the perpetual rhythm and order of the universe. The neo-romantic position of the artist and his interest in syncretic philosophic-theological questions also encourages him to touch on themes of personal spiritual development and to show the attempts of a person's individual soul to get closer to the potential divinity (royalty) within itself. The most direct expressions of this human striving give the "fairy tale" paintings and cycles of Čiurlionis, repeating the themes of journey and road, for example "The journey of the Prince" and "The journey of the Princess" (both 1907). On this spiritual way, in further paintings suggested through the motifs of a boat or of bridges, hills, stairs and also pyramids, the traveler is accompanied by guides - the messengers from the other world dimensions, a grasssnake and a bird. This idea is also strengthened by the symbols of sun and fire, which for ages have been related to the ideas of kingship, the spiritual perfection and the sanctity of God. This way, the expression of eternal human desires, a search to understand the role of an individual in the world, the meaning of life and the highest aim of existence, become the focus of Čiurlionis' works. Due to the limitations of traditional religious systems and the deficiency of rational scientific knowledge, the artist refers to a personal amalgam of worldviews, consisting of beliefs, mythology, philosophy and its hermetic trends, "a well mixed esoteric-mystic mash" (after U. Makowska), which in itself hides both positive outcomes and dangers. [ABSTRACT FROM AUTHOR]

The article focuses on the paintings of painter Thomas Hart Benton. Benton had high hopes for his artwork, aims that usually transcended their visual status, and which concerned sonic metaphors. In paintings depicting time-honored American folksongs, he consistently modeled foreground figures to suggest the music and lyrics coming to life in the middle ground and background.

The article discusses the acknowledgement of French artist Henri Matisse as the greatest modernist painter. It states that all commentators, the conservatives as much as the leftists, agree that Matisse is the greatest modernist painter. However, many present-day historians who admire his art are very suspicious for the fact that Matisse lived and worked in colonial North Africa where he violated indigenous Moroccan codes of behavior in the very act of painting, which he undertakes with the sovereign self-assurance of the colonialist. Moreover, Matisse's life and works are also discussed.

The article presents a study which aims to draw conclusions and ingest ideas on the rock art of the Swat Valley. It provides information on the physical landscape of the area, which include red-ochre figurations, several painted images of a bowman with additional limbs in the lower sector, an anthropomorph and hand figures of dancers. It relates that warriors, animals and bowmen are the common art subjects in the sites and that it also contains a small elongated cavity that contains a distorted and odd image of a dome-shaped shrine erected by Buddhists.

The article focuses on the painting entitled "Self-Portrait as a Soldier" of expressionist Ernst Ludwig Kirchner in Germany. The painting has been interpreted as an indication of his growing anxiety brought about by the outbreak of World War I and his enlistment as an involuntary volunteer. Kirchner's self-portrait serves as an unsuitable lens through which other works from the same period are interpreted. Recent interpretations suggest that even in the painting Kirchner was not guided solely by his undeniable anxiety about the war, but was savvy in choosing his subject matter and pictorial style.

The article focuses on the historical figures that are covered in Franz Hartmann's Early Modern album amicorum, which flourished in Germany during the sixteenth and seventeenth centuries. It notes that the said album contains at least eight watercolors, including "Triumph of Mundus" and "commedia." Moreover, other historical paintings in the album are of courtship and tavern scenes.

The article discusses the differences of the "Fortuna," by Giovanni Larciani, and the "Fortuna," by Nicoletto da Modena. As reported, the "Fortuna" of Florentine painter Larciani testifies the history of the earlier Renaissance artworks that he himself adapted, appropriated and transformed, with habitual eclecticism. It depicts the unusual motif of the billowing sail grasp by the yardarm, with a figure of a woman standing upon a twisting dolphin. On the other hand, the "Fortuna" produced by da Modena shows a goddess wrapped in a billowing veil and stands athwart a terrestrial globe and a rudder. Both paintings, however, are somewhat similar considering the distinctive crook of the women's upraised arms as well as the motif of wind-blown hair trailing in the breeze.

The article offers information related to the painting of Norman Rockwell entitled "Shuffleton's Barbershop," which was recognized as one of the greatest work of artists in the U.S. The painting occupies a unique position among Rockwell's Post cover for its calm narrative simplicity with a furnace aglow during a chilly evening. It states that the painting is a mysterious one, especially for the musically inclined viewers who might puzzle over the odd combination of instrument that constitutes the ensemble.

Dating from about 470 B.C., the frescoes of the Tomba del Tuffatore (Tomb of the Diver) at Paestum are the only example of Greek wall painting with figured scenes from the Orientalizing, Archaic, or Classical periods to survive in their entirety. Close examination of the paintings shows the working practices of the artists. Technically these are similar to those of the painters of Etruscan tombs of the period. There is a world of difference, however, between the purpose and conceptualization of Etruscan tomb painting and that revealed in the Tomb of the Diver. Furthermore, although interpretations claiming Orphic or Pythagorean significance have been advanced, reconsideration of the frescoes gives some reason to think that the program for the tomb's decoration may have been of the simplest nature and developed by the artists themselves from prototypes in Attic vase painting available to them in Italy. Thus, although the diver may make reference to the moment of death and the symposium may have been intended to create a welcoming scene to surround the dead man in the tomb, the creation of these frescoes may owe more to the initiative of the painters than to any complexities of philosophy. [ABSTRACT FROM AUTHOR]

The article talks about the walls of the Campo Santo in Pisa, Italy. The frescoes on the walls of the Campo Santo was depicted in the folio of engravings by Carlo Lasinio that was often mentioned as the spark that ignited the Pre-Raphaelite movement. These engravings exerted such influence on the Pre-Raphaelite Brotherhood because of its kindred simplicity. William Holman Hunt and other young artists wanted to make a new start in the Pre-Raphaelite style by trying to return to the purer style which shows naive traits of frank expression and unaffected grace.

The article analyzes the oil painting The Clock Maker by Jefferson David Chalfant. The author assesses the visual effect and structure of the oil painting. The theme of the painting is featured. The author also presents information on how Chalfant made the painting. The implications of the painting on the artist are presented.

The article focuses on the painting "A Family" by painter and artist Louis le Brocquy. Brocquy's painting can be seen to refer to the vulnerability of the impoverished family in 1950s Ireland. The stark treatment of its subject also has relevance for contemporary Irish society, which is undergoing a similar and more fundamental adjustment in its attitudes towards the family and the Catholic Church. However, when he painted the work, le Brocquy was based in London and clearly intended it to refer to an aspect of modern experience that would be readily understood by the London public, rather than a specifically Irish audience.

Reports on the interpretation of artist Dan Namingha’s images of Katsina in Nigeria. Observation of the paintings within the Hopi–Tewa tradition from which Namingha claims his heritage; Observation of the artworks within the broader context of contemporary American Indian art, particularly the modernist movements; Comprehension of the otherwise arcane Hopi–Tewa imagery which recurrently turns up in Namingha’s compositions.

Examines American popular culture in Roy Lichtenstein's ironic reworking of panels taken from American comic books. Two particular comic book genres emphasized by Lichtenstein; War comic; Romance comic; Issue on why Lichtenstein's painting, based on a single panel from a comic book, should be valued so much when the entire comic book cost only a dime; Distinction between comic books and painting.

Various ideas on the origins of art, challenging a naturalist or evolutionist approach, are put forth in the paper. Its aim is to show that artistic feelings originally appeared in abstract form. For this purpose, it examines the nature of Upper Palaeolithic art in order to demonstrate that during this period two forms of art coexisted: figurative and abstract art in paintings and engravings, and abstract in the design of tools. The evidence here presented reviews the earlier periods - Middle and Lower Palaeolithic - to show that even in the earlier manifestations of human material culture we find the same expressions considered artistic. It is concluded that artistic taste fluctuates between abstraction and figuration. The only progression observed is its search for increased symmetry, regularity and slimness. [ABSTRACT FROM AUTHOR]

Features the art exhibit "Routes of Influence: International Artists From Asia," organized by Art Projects International in New York City. Asian graphic tradition; Calligraphy; Painting.

The article presents the life and works of Lino Mannocci, a painter and printmaker who enjoys considerable renown in the world of print connoisseurship for his Claude Lorrain "catalogue raisonné," and for other scholarship. He has produced distinct bodies of work in several media including painting, etching and drypoint, monotype, and the treated postcard. The author also presented the historical background of all his art works including "Spiaggia Dell'Annunciazione," and "Isola Dell'Annunciazione."

The article discusses the works of artist Frank Stella. It explores the three suites of Stella's lithographs, related to paintings called "Concentric Squares and Mitered Mazes," which are published in London, England by the Petersburg Press. It also illustrates the fourteen more prints he made based on "Moby Dick," in 1992. It relates to several prints collaged together from "Moby Dick" leftovers, combined with an enlarged pictorial vocabulary, they include rings blown in Stella's cigar smoke, crushed honeycomb aluminum, the curvaceous linearities of Canadian banknotes and patterns printed from a type of perforated plastic fencing.

The article provides analysis on the Entombment of Abraham Janssens. It presents an affordable, deeper knowledge data and meaning of the painting. The artistic composition uses a satisfactory plain tabby weave linen canvas without the presence of tacking margins. The observance of thread around the edges of the canvas shows an unpresent recurrent distortion of the weave pattern. Furthermore, interpretations on the various painting samples from different composition was considered as essential for the artist.

The article focuses on the development of mezzotint engraving in Great Britain. Mezzotint engraving has been influential to art enthusiasts and has played an important role in imparting awareness in several arts made by various artists including Rembrandt and Van Dyck. In addition, reproductive engraving has been widely practiced by provincial painters and always in fashion in metropolitan centers. However, there are controversies regarding the process of engraving. It has been stated that reproductive engraving is far from straightforward. It also tackles the issue of accuracy and complexities of engraving.

There is no documentary evidence regarding artist Titian's so-called "Allegory of Prudence" in the National Gallery, London, England, and the interpretation set forth by E. Panofsky in 1955 has remained almost uncontested until now. This article examines the theory that what appears to be an exceptional theme actually derives from long and well-documented literary and artistic traditions. An attempt is made to explain why this painting was created. Titian's repeated use of animal themes in seemingly incongruous associations is derived from literary and artistic traditions of animal iconography combined with the exegetic methods applied in religious and mythological allegory.

After 1350, Sienese painting shows evidence of a significant, widespread change in both artistic working arrangements and aesthetic attitudes. While it is, in theory, possible that examples of stylistically diverse altarpieces were also produced in the first half of the trecento, it is significant that no intact examples or clear iconographic or documentary evidence for such altarpieces from that period have yet been brought forward. The "St Victor Altarpiece," completed in 1351 as the fourth and final retable in the patron saint cycle for the Siena Cathedral, is the earliest surviving example of a new pattern of artistic working relationships.

The article focuses on the painting "The Death of Saint Joseph," a work attributed to Giovanni Francesco Barbieri. The painting was acquired in 1940 by the Art Museum of Estonia from Anna Oldekop. The work features a glowing quality of the colour, which was heightened by the use of a russet ground, clear and distinct brushstrokes on the almost blackish ground. The artist was said to be inspired by one of his teachers, the Bologna master Giuseppe Maria Crespi. The painting was an independent easel picture that belongs to the artist's creative life.

This article presents a collection of works of art by artist Jim Stark. It is opined that the paintings of Jim Stark compels the reader to look at, not through the window frame. He makes the reader conscious of the eye--the body organ that the western artistic tradition has privileged over all other senses. They are de-framing frames, in which heterogeneity overpowers and disintegrates the official agency of identity. Further, it is observed that Stark's sculptures are intertextual in the parodic sense, because these frames deconstruct the frame, that his work must be called postmodern. Some of his paintings shown are: "Lonesome Cowboy," "Window With Plug and Weight," "Window With Chain," "Window With Lever Handle," "Window With Hook and Leash," and "Shooting Gallery," "Window with Landscape and Pulleys," "Window With Dixie Cup and Valve," and "Window With Rock and Hole."

The article discusses Gustave Caillebotte's painting titled "The Floor-Scrapers." It focuses on a reading of the institutional and specifically art historical conditions and presuppositions that position this painting to be read and that have, in turn, rendered it legible and accessible. Situating a painting a little too self-evident for Art History, the author tries to explore the ways in which this discipline negotiates this excess. It is opined that the questions concerning memory, archaeology, and historical access to the past are, of course, crucial to the work Art Historians do when they situate a past before them for which they take themselves to be representatives. It is observed that at a time when the discipline is characterized by an active resistance to questions that seek to displace its founding axioms, it is imperative to begin to open out this discipline in memory and to review the underlying conceptions of history and representation that inform its professional technologies. The article also discusses how Art History situates "The Floor-Scrapers," an overly confrontational painting, a painting first exhibited in 1876 at the same time as the institutional organization of the discipline was.

The author discusses the work of M.K. Čiurlionis, a Lithuanian musical composer and painter who lived in the late 1800s and early 1900s. Although historians recognize that music influenced some of the composer's paintings, the author argues that all of Čiurlionis's work is based on or influenced by elements of classical musical composition. [ABSTRACT FROM AUTHOR]