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C. R. Leslie's influential biography of John Constable highlighted that his friend's artistic strengths stemmed from his unprecedented geographical "confinement." The unpublished draft preface, however, compared Constable with a "voyage of discovery." Attending to Leslie's conflicting images of confinement and remoteness enriches our understanding of how Constable's rhetorical preoccupation with the local was a response to his place within expanding global artistic, social, and economic networks. His conception of the English landscape was constructed against a background of exploration, colonization, and international commercial expansion, the negotiation of these realities animating his paintings, prints, and public theorizing. [ABSTRACT FROM AUTHOR]

Lead white (basic lead carbonate), before its effective ban in much of Europe from 1989 onwards, was among the most versatile and widespread but also one of the most harmful pigments available. This paper is a critical discussion of the regulation of lead white paint and its consequences from the point of view of conservation and artistic practice in Europe. It looks at who benefited from exemptions to bans, and whether there was resistance to them. Buildings and artworks are both taken into account. The paper discusses nuances in regulation in four European countries which have notable differences in approach (France, Austria, Germany, and the United Kingdom). The centralised regulatory framework of the United Kingdom allows data analysis on the authorised use of the paint since its restriction up to the present day. This dataset shows a steady decrease in the use of the paint by conservators across disciplines. The paper concludes by considering the professional and ethical implications of lead white paint for artists and conservators, in the context of varied regulation and a decline in use. [ABSTRACT FROM AUTHOR]

The purpose of the article is to examine the development of characteristics, perspectives, and tools that contribute to the formation, in the process of teaching student artists, of self-organisation, self-development, awareness, responsibility during the performance of work (creating an artistic work) and the ability to think creatively, define a problem, set a goal and find a non-trivial way of solving it and learning about oneself and one's capabilities. Solving this problem contributes to increasing the efficiency of training a young, in-demand, competitive and adaptively mobile artist, in the person of whom society will receive a specialist to solve tasks in the field of fine arts, art and culture that are relevant today. The research methodology is based on systemic and value approaches, with the use of general scientific and special methods determined by the artistic and creative paradigm, which made it possible to comprehensively consider the specified problem and obtain appropriate research results. The scientific novelty of the work lies in the understanding of the peculiarities of the formation of artistic and aesthetic competences among student artists in the process of studying in higher education institutions of Ukraine. The acute problem of the lack of scientifically substantiated content bases, methods, principles of formation of artistic and aesthetic competences among students - future artists, related to modern changes in professional art education in connection with the introduction of distance learning into practice, which leads to the modernisation of the very process of studying an artist student. Conclusions. Undoubtedly, this study should take into account modern transformational processes in professional art education in general, and, including, those related to the introduction of distance learning into practice, which will allow to more deeply reveal the essence of the professional training of specialists in the artistic profile and ensure their personally oriented general development. In our opinion, the success and effectiveness of the formation of artistic and aesthetic competences among student artists in the process of studying in institutions of higher education depends on the set of educational conditions under which training will be organized in a separate institution of higher education. It was determined that the following conditions are necessary to increase efficiency in solving the above-mentioned issue: an art-critical approach to the formation of artistic-aesthetic competence; optimal combination of forms, methods and means of educational and artistic activity in a higher education institution; development of a system of practical tasks. [ABSTRACT FROM AUTHOR]

Science and art are often disconnected but, if combined, can help stimulate learning and novelty and guide societal change. How then to bridge the divide between scientists and artists in a way that extends beyond superficial, short-term interactions? We describe an ongoing coproduction practice between a Swedish sustainability scientist and two Chilean artists--a sculptor and painter--striving to find ways to work together. Our transdisciplinary collaboration was initiated in 2013 and, although there has never been an agenda or goal for our interaction, there has been a mutual interest to investigate joint possibilities. Through a series of meetings, we tried but failed to accomplish anything for several years. By 2022, we finally created something tangible together, realizing it was not just material objects we were producing but also a meeting between worlds. We describe how this long-term partnership, driven by mutual respect and curiosity, created conditions for bridging across our respective knowledge and practices. By working, walking, and exploring together, we learned how to communicate, overcome challenges of different languages, and combine perspectives. We have recognized similarities in how we engage with material from the natural world and how we combine elements for novelty. Through our interactions, we have started to identify how coproduced science and art can stimulate a reconnection with the biosphere, thereby providing a foundation for transformative societal change. [ABSTRACT FROM AUTHOR]

The purpose of the work is to investigate the artistic and stylistic practices of V. Hegemyan, which he applied in the process of creative activity in the context of the history of art of Armenia and Ukraine. Emphasis is placed on clarifying biographical facts about the artist and teacher. The research methodology consists in the application of general scientific and special research methods, in particular, analysis, synthesis, induction and deduction, generalization and abstraction, semitic, descriptive, which collectively allowed to consider artistic practices in the work of the artist V. Hegamyan. The scientific novelty of the work lies in the fact that for the first time the facts of the artist's creative biography were introduced into scientific circulation, which made it possible to reveal the intercultural influences of the environment of Ukrainian and Armenian cultures on the formation of V. Hegamyan's creative style. Conclusions. V. Hegamyan's creativity and teaching are frankly synthetic in nature. Both of his activities are based on classical traditions, but as a result are qualitatively new artistic phenomena. Hegamyan's artistic style is a kind of symbiosis of masterful realism and modernist principles of symbolism, expressionism, fauvism, and constructivism embodied in monumental techniques. V. Hegamyan's genre work is widely represented: from studies of classics, landscapes, still lifes, wonderful realistic and conventional portraits to huge genre paintings. There are strong ethnic motifs in the artist's work: both Armenian and Ukrainian, while the artist nevertheless operates with general aesthetic categories, finding his own symbolic and figurative meaning. [ABSTRACT FROM AUTHOR]

This article aims to recover the work of American artist Donald Evans (1945–1977), who operated on the fringes of conceptual art. Evans created postage stamps for imaginary nations, which he collected in his Catalogue of the World. Evans's system of images, painstakingly drawn on paper and painted with watercolors, references the decolonizing world of the 1960s–70s. Through fictional countries like the "Oriental" state of Adjudani, or the former colonies of Katibo and Amis et Amants, the artist captured the volatile international scene of his day, torn by the violent forces of colonial heritage. Painting and cataloging went hand in hand in his project, which attempted—not always successfully—to arouse critical thinking about domination through images, the structuration of different worldviews, and the predatory dimension of cataloging. [ABSTRACT FROM AUTHOR]

This article focuses on the question of periodisations in Japanese art history through a consideration of the long-running careers of four successful but politically and aesthetically diverse artists: Domon Ken (1909--------‒1990), Okamoto Tarō (1911‒1996), Yoshihara Jirō, and Katsura Yuki (1913‒1991). The arc of these artists careers across the prewar, war, and postwar periods upsets popular periodisations in Japan's art history that assert the postwar as a time of rupture and renewal. My focus is meant to challenge this 'postwar paradigm' while elucidating these artist's negotiation of ethics and plurality during drastically different political eras. How does a reading of their work reveal continuities before and after the war, and what are the political stakes of these continuities? [ABSTRACT FROM AUTHOR]

The purpose of the article is to identify the features and patterns of Mykhailo Sapozhnykov artist's creative method and define the role of realistic artworks in symbolist painting of the artist. The research methodology consists in application of system-analytical, formal-stylistic, and semiotic-semantic methods and approaches, which enabled qualitative considering of the specified issues and drawing substantiated conclusions. The scientific novelty of the article is aimed to systematise the important principles of the author's creative method of Mykhailo Sapozhnykov, identifying the main principles of form creation in his symbolist paintings and elucidating the role of painting from the nature. Conclusions. The number of works analysed in the study demonstrated several principles on which the artist tried to build his personal system of form creation. According to the results of current scientific research, the author has been identified three conceptual variants of the transformation of painting material with realistic direction from the nature into a symbolist figurative construction. The importance of works with realistic direction have been proven. The presented auxiliary works, plein air sketches and sketches from the nature, clearly demonstrated that accumulated realistic painting material was the starting point that encouraged the creative imagination of Mykhailo Sapozhnykov. [ABSTRACT FROM AUTHOR]

Front and back cover caption, volume 40 issue 3 DREAMING'S DIMINISHING DIMENSIONS The cover image, Desecrating the Rainbow Serpent by Jack Green, powerfully illustrates the profound cultural and spiritual disruption Indigenous communities face from the expansion of the McArthur River Mine in Australia's Northern Territory. The painting, divided into two sections, represents the past and the present. The left side, vibrant and lush, depicts a time when the Gudanji, Garrwa, Marra and Yanyuwa peoples had control over their land and lived on Country, with the Junggayi (traditional managers) and Minggirringi (owners) guarding the eye of the sacred Rainbow Serpent at the top of the painting. The dark and fragmented right side portrays the devastation caused by mining activities, highlighting the diversion of the McArthur River, which the artist describes as having 'cut the back of our ancestor – the Rainbow Serpent', 'pull[ing] people down' as 'the stress of seeing our land suffer means we suffer.' Richard J. Martin's article examines the broader implications of such cultural losses within the context of Australian legal and social frameworks. He discusses the complexities of compensating for cultural loss, as seen in landmark cases like Northern Territory v Griffiths and the destruction of Juukan Gorge, underscoring the challenges of quantifying spiritual and cultural damage in monetary terms and the broader impacts on Indigenous communities. The image and article together highlight the enduring effects of colonization and industrial exploitation on Indigenous cultures. They call for a more profound understanding and respect for Indigenous spirituality and the urgent need for legal frameworks that adequately address and compensate for these irreplaceable losses. This artwork serves as a reminder of the work ahead – acknowledging the immense cultural losses suffered, supporting Indigenous peoples in reclaiming and revitalizing their heritage, and finding ways to move forward that respect and honour Indigenous traditions. The painting's winding colours speak to the unbreakable bonds between identity, history and the land that must be nurtured and protected. Like Martin's article, this image is an invitation to open our minds, educate ourselves and take meaningful steps to help preserve and celebrate Indigenous cultural heritage now and into the future. SHADOWS OF DISCOMFORT This haunting illustration is a visual complement to Ståle Wig's thought‐provoking article, 'Pity the rich man', which explores the dynamics surrounding begging and work and the discomfort often felt by both givers and receivers in such encounters. The image depicts a dishevelled man, presumably experiencing homelessness, sitting amidst the detritus of his meagre possessions on a bustling city pavement. Passers‐by, rendered as ghostly silhouettes, navigate around him, their body language subtly conveying a mixture of discomfort, pity and a desire to maintain distance. This scene encapsulates the awkwardness and unease that Wig identifies as central to many begging encounters, where the act of giving can heighten awareness of social inequality and provoke feelings of guilt or embarrassment. Yet, as Wig astutely observes, those who beg are keenly attuned to these discomforts and often seek to alleviate them by reframing their solicitations as a form of work or exchange. The man's small cardboard sign and scattered belongings hint at this strategy, suggesting an attempt to present his predicament as a legitimate, if desperate, means of subsistence. By appearing to offer something in return for aid, even if only a token acknowledgement of the giver's generosity, he appeals to societal values that prioritize industriousness over perceived idleness. Ultimately, this image serves as a powerful reminder of the everyday struggles and adaptations of those living on the margins while also prompting readers to reflect on their own assumptions and unease when confronted with the visible face of poverty. In doing so, it encapsulates the central themes of Wig's analysis, inviting us to consider how both givers and receivers navigate the complexities of these fraught social interactions. [ABSTRACT FROM AUTHOR]

The article examines how the Geumgang Mountain located in the alpine Korean Peninsula has been reshaped in paintings and poems, particularly through the personification of peaks and rocks figuratively. It explores the lack of research and exhibitions of art and literary works on the Geumgang Mountain, a description of the Geumgang Mountain by bureaucratic scholar Chae Su, a song about the mountain composed by Confucian scholar Yi Yi, and the painting of Geumgang Mountain created by painter Jeong Seon.

It is increasingly acknowledged that creativity cannot be fully understood without considering the setting where it takes place. Building on this premise, we use the concepts of niche construction, scaffolding, coupling, and functional integration to expound on the environmentally situated nature of painters' studio work. Our analysis shows studios to be multi-resource niches that are customized by artists to support various capacities, states, and actions crucial to painting. When at work in these personalized spaces, painters do not need to rely solely on their "inner" powers of imagination, memory, decision making, and technique to execute their paintings. Instead, with the help of carefully selected resources, they can offload elements of creative mentation and action onto the studio niche and enact different forms of a creative agency. To put more flesh on these ideas, we examine how painters use (1) existing artworks, (2) memory aids, and (3) music to scaffold the creative process. Overall, our analysis illuminates underexamined aspects of environmentally situated creativity and demonstrates the broader utility of the applied concepts for future creativity research. [ABSTRACT FROM AUTHOR]

Paintings of music are a significant presence in modern art. They are cross-modal representations , aimed at representing music, say, musical works or forms, using colors, lines, and shapes in the visual modality. This article aims to provide a conceptual framework for understanding paintings of music. Using examples from modern art, the article addresses the question of what a painting of music is. Implications for the aesthetic appreciation of paintings of music are also drawn. [ABSTRACT FROM AUTHOR]

The authors use convolutional neural networks (CNNs) to analyze authorship questions surrounding the works of Leonardo da Vinci—in particular, Salvator Mundi, the world's most expensive painting and among the most controversial. Trained on the works of an artist under study and visually comparable works of other artists, the authors' system can identify likely forgeries and shed light on attribution controversies. Leonardo's few extant paintings test the limits of the system and require corroborative techniques of testing and analysis. [ABSTRACT FROM AUTHOR]

The authors use convolutional neural networks (CNNs) to analyze authorship questions surrounding the works of Leonardo da Vinci—in particular, Salvator Mundi, the world's most expensive painting and among the most controversial. Trained on the works of an artist under study and visually comparable works of other artists, the authors' system can identify likely forgeries and shed light on attribution controversies. Leonardo's few extant paintings test the limits of the system and require corroborative techniques of testing and analysis. [ABSTRACT FROM AUTHOR]

The article examines that artist works across painting, sculpture and furniture design recently experimented with video and time-based installation as Peju Alatise has wed piercing social commentary with technical sophistication to create a prolific and diverse corpus of work. Topics include reports that A.N.A.I Alatise sought to create a space through which Nigeria artists might ponder what is native about contemporary Nigerian artistic practice; and considered that efforts to shift narratives and mindsets in recognition of the rights and power of women and girls has remained unwavering.

To contribute to the comprehension of the painting of Diego Velázquez is the main objective of this study, is to point out some of the latent sevillian roots that the artist kept in his extensive Madrid's stage. In this logic, I would like to analyze the relationships arising from the comparison of the table that represents to San Pablo Ermitaño y San Antonio by Pedro de Campaña, and the painting of Velázquez with a similar theme: Encuentro de San Antonio Abad con San Pablo, primer ermitaño. [ABSTRACT FROM AUTHOR]

With its modernist instinct, each area has attempted to become pure by exploring its own boundaries; however, contrary to predictions, different areas and species have always interfered with each other; over time, not a pure but pluralistic (interdisciplinary) art perception has emerged. Especially, the art of painting and sculpture after modernism were began to exhibit their non-characteristic features by feeding from each other. This approach has contributed to the enrichment of disciplines both practically and conceptually. Therefore, in the article, artist productions, which are located around the ambiguous area, have been studied for their contributions to these disciplines by reviewing conceptual construction. [ABSTRACT FROM AUTHOR]

An interview with the Camden artist Pedro Fuller, is presented. Topics include paintings inspired by music, politics and spirituality that conveyed the horror of civil war; and Fuller manages to develop his career painting and performing maintenance work at Rutgers-Camden influenced by both surrealism and cubism.

The article discusses the two female artist of post-colonial India which includes Y.G Srimati, who studied arts, Carnatic vocal and Painting, her painting would always reflect involvement in dance, graceful posture, and she was also chosen to sing the devotional songs at Mahatma Gandhi's rallies in 1946 and on the other hand Mrinalini Mukherjee worked on fiber, her initial works in the exhibition were made from hemp, jute, and cotton fibers and rope-fabric composition as a form of sculpture.

A long list of works show homage to the figure of St Jerome, who was represented by many artists from the late ancient age to the modern age. In the centuries the image of the Saint was described as a scholar, as "Doctor of Church", who wrote during his reflection and his hermitage. The Florentine, Umbrian, Venetian, Bolognese and Neapolitan school are rich of works which describe the main episodes of his life. Masters as Masaccio, Gozzoli, Ghirlandaio, Perugino, Dürer, Lotto, Tiziano, Veronese, Guercino e Domenichino are only some of those ones who precede, support and follow chronologically the Jerome's Masterpieces of Leonardo, Caravaggio and Bernini. [ABSTRACT FROM AUTHOR]

In the present article let's sense beforehand Jan Baptist de Wael's engraving that it must be put in relation with the work of Murillo "Four Figures on a Step", belonging to the Kimbell Art Gallery. We enter also in some form the process of creation of the image, of the history narrated in the masterpiece, according to the mind of the sevillian artist. [ABSTRACT FROM AUTHOR]

The feminine plastic in the republican period in the city of Santiago de Cuba was analyzed. Interviews were conducted with personalities and artists and bibliographic materials and exhibition catalogs were reviewed. They also analyzed works created by women and reproductions of some that have been lost. As a result, the manifestations and most recurrent techniques in the feminine creation of the stage were determined. It is concluded that despite the numerical superiority of women graduates with respect to men in the José JoaquínTejadaschool in Santiago de Cuba, their works did not reach the notoriety that their male contemporaries obtained. [ABSTRACT FROM AUTHOR]

This article presents various approximations to the practice of urban mural painting in San Cristobal de Las Casas. The analysis of the characteristics of graphic-pictorial urban intervention and creative processes through talks and interviews with artists and examination of their works made it possible to glimpse the projects, ideas, and discourse that flow from the creativity in this city. In this way, we can approach some of the senses and meanings that allow us to conceive urban mural painting as a youthful, artistic-social, collective, and community practice. [ABSTRACT FROM AUTHOR]

Summary: The Margaret Mee Fellowship Programme's Artist Scholar‐ships effectively celebrate their thirtieth anniversary this year, 2019. Christabel King has been the Artist Scholars' mentor throughout. A chronological list of Artist Scholars is provided. Officially, there have been 23 Brazilian Artist Scholars; Mark Fothergill was the first 'unofficial' scholar. Illustrations of a limited number of paintings of some of the Artist Scholars is provided, showing examples of their competition entries and work completed during their scholarship stay in Kew. A bibliography gives references of selected plant portraits published in Curtis's Botanical Magazine. [ABSTRACT FROM AUTHOR]