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A catastrophic worldwide trauma occurred with the 2020 COVID-19 pandemic, which caused changes in the content of dreams worldwide. In response to this, the science art collaboration DreamsID (Dreams Interpreted and Drawn; Dreams Illustrated and Discussed) held dream salons online, from March to July 2020, to explore the effects of the pandemic on the dreams of healthcare professionals and keyworkers. In each salon a worldwide audience discussed the dream of a key worker, and the dream was painted simultaneously so as to return the dream to a visual form. Three of these dreams are described here. Each is shown to reflect metaphorically the adverse circumstances of the pandemic. The painting of each dream is reproduced, with feedback from each dreamer about this process. This article shows how, through discussion with others, the socialization of the dream results in an artistic intervention and a collaborative act of creativity. It concludes that the dream salon, as a forum, combines the dream and rational waking life of the dreamer, one of the key aims of Surrealism. [ABSTRACT FROM AUTHOR]

Cet article vise à explorer les processus psychiques à l'œuvre dans le travail créatif de Jean Olivier Hucleux, artiste de la deuxième moitié du XXe siècle, qui a su, en créant des reproductions picturales hyperréalistes, générer des expériences d'inquiétante étrangeté chez son public. Il se propose également de considérer les opérateurs psychiques qui ont concouru au virage artistique de Hucleux au début des années 1980, pour tenter d'en comprendre la logique et les fonctions au regard de l'ensemble de son processus créateur. Nous travaillerons à partir de l'histoire de Jean Olivier Hucleux, de l'étude attentive de ses œuvres, ainsi que des multiples entretiens, documentaires, articles qui portent sur son travail. La méthode est celle de l'approche clinique de la création qui ne réduit pas l'analyse d'œuvre à une simple application de la métapsychologie, mais s'intéresse aux processus psychiques impliqués dans les multiples dimensions de l'acte créateur (corporelle, représentationnelle, fantasmatique, sociale, interrelationnelle, émotionnelle, transitionnelle, auto-sensuelle...). Cet article met en évidence un processus créateur caractérisé par la répétition d'une expérience physique éprouvante où, jusqu'à l'épuisement, le peintre dépasse ses limites de tolérance afin d'atteindre un espace où « il n'y aurait plus de langage ». Ce dispositif créateur d'abord marqué par une impitoyable contrainte à créer et nous conduisant à repérer dans son œuvre des formes primaires de symbolisation, va prendre un décours plus tranquille au sein d'un espace transitionnel où ces signifiants énigmatiques, ces affects primitifs et ces sensations non remémorées, trouveront la possibilité de se cacher/d'être retrouvés par et dans l'acte créateur. Au milieu des années 1980, un procès pour contrefaçon va représenter pour Hucleux une étape importante dans le réaménagement de cette contrainte à symboliser où des « expériences d'envisagement » pourront être réactualisées de manière ludique et interactive, là où elles surgissaient de façon mécanique et solipsiste dans la première partie, hyperréaliste, de son œuvre. L'œuvre de Hucleux est-elle un travail de survivance psychique, aux limites de la folie d'auto-emprise ou peut-elle se comprendre comme une expérience limite d'exploration de processus archaïques ? À l'écoute de l'œuvre et de son auteur, il est en tout cas possible d'entendre la manière dont sa quête artistique ne s'intéresse qu'aux formes et aux impressions liées aux expériences d'accordage avec l'environnement et ses visages, nous retraduisant, au moyen de la remise en scène de la rencontre d'un double figé, mortifié, les silences et les malaises en attente d'être symbolisés. L'étude du travail créateur de Hucleux constitue un dispositif unique d'exploration de la vie psychique d'en deçà de la symbolisation secondaire, c'est-à-dire de cette trame de l'expérience où les sens et les affects irriguent le fonctionnement mental sous la forme de chaînes associatives formelles, au risque de l'écart intersubjectif. This article sets out to explore the psychic processes involved in the creative work of Jean Olivier Hucleux, an artist of the end of the 20th century, whose hyperrealistic pictorial reproductions have been able to generate experiences of the "uncanny valley" in his audience. This article also considers the psychic operators that participated in Hucleux's artistic shift in the early 1980s, in an attempt to understand its logic and functions in relation to the whole of his creative process. We makes use of Jean Olivier Hucleux's life story, and the careful study of his works, as well as the many interviews, documentaries, articles that relate to his output. The method is that of the clinical approach to creation, which does not reduce the analysis of the work to a simple application of metapsychology, but which is interested in the psychic processes involved in the multiple dimensions of the creative act (corporal, representational, fantasy, social, interrelational, emotional, transitional, auto-sensual...). This article highlights a creative process characterized by the repetition of a trying physical experience where the painter goes beyond his limits of tolerance in order to reach a space of exhaustion where "there would be no more language". This creative practice, first marked by a ruthless constraint to create and leading us to identify primary forms of symbolization in his work, will take a more tranquil course within a transitional space where these enigmatic signifiers, these primitive affects, and these unremembered sensations will find the possibility of hiding/being found by and in the creative act. In the mid-1980s, a lawsuit for counterfeiting allowed Hucleux to take an important step in the reorganization of this constraint to symbolize, whereby "experiments of envisioning" could be updated in a playful and interactive way, in contrast to the mechanical and solipsistic nature of his first, hyperrealistic, period. Is the work of Hucleux a work of psychic survival, at the limits of the madness of self-control, or can it be understood as a borderline experience of exploration of archaic processes? Listening to the work and its author, it is possible to hear the way in which his artistic quest is only interested in forms and impressions linked to experiences of attunement with the environment; His faces translate, by means of the re-staging of the meeting of a frozen, mortified double, the silences and uneasiness waiting to be symbolized. The study of Hucleux's creative work constitutes a unique window through which we can explore psychic life on this side of secondary symbolization: that is, this weft of experience where the senses and the affects irrigate the mental functioning in the form of formal associative chains, at the risk of intersubjective deviation. [ABSTRACT FROM AUTHOR]

This article analyzes Chinese video artist Zhang Peili's latex-glove-themed paintings and conceptual art from the 1980s. It argues that they are an important intervention into post-socialist China's politicized discussions on art's role in society. Building on Mel Chen's discussion of animacy hierarchies as sociopolitical constructs, the article reads Zhang's latex gloves as animate—transgressing boundaries of "aliveness" between humans and objects. It locates Zhang and his art collective, "Pond" Society, amid mid-1980s discourses on art's emotional contagiousness, highlighting that the Chinese art establishment's insistence on Realism and on the Maoist art methodology of "immersion into life" (shenru shenghuo) reflected anxieties about "healthy" art making that could promote national progress. Zhang's series of X? glove paintings from 1986 onward represent strategic promotions of his medical conceptualization of art. Zhang was infected during the 1988 Shanghai hepatitis A epidemic, and his subsequent glove-themed work called for an embrace of viral life. The figure of the glove was also central to Zhang's first two video works, including Document on Hygiene No. 3, which signals a shift away from the insistence that art should reinforce the artist's authority. Instead, Document uses the gloved hand to reflect on where, in a society obsessed with purity and in an art world obsessed with radicalism, we might fundamentally locate agency. This article shows that the history of contemporary Chinese art cannot be understood without considering artists' responses to, and contributions in shaping, the deeply politicized notion of hygiene. [ABSTRACT FROM AUTHOR]

Computer art has recently become a vital part of the artistic process of creating digital versions of illustrations. Digital painting is an example. It has become a new phenomenon in Chinese art, transforming technique, aesthetics and culture. Thus, this study determines the impact of digital tools on the digital painting skills of students with different painting levels. The study involved 90 students from the Zhengzhou Preschool Education College in China. The study used a quasi-experimental design with a single-group pre-test/post-test design. The research findings indicated that there were improvements in painting skills for the groups with poor and medium achievements. The considered painting skills included composition, colour theory, interpretation and creativity. The resulting data validate the positive impact of digital tools on learning and creating paintings. The research described in this article is valuable for creating and implementing innovative courses in digital painting. Future studies should focus on the design and development of computer-aided painting courses and their impact on art students. [ABSTRACT FROM AUTHOR]

The author writes about the recent exhibition of Botticelli's art, primarily focused on his drawings, that was presented at the San Francisco Legion of Honor. Botticelli lived in Florence during the Early Italian Renaissance. A brief overview of Botticelli's life and his times is provided. Although he was well regarded as an artist during his lifetime, his art was largely forgotten for nearly four hundred years. Botticelli's reputation grew during the twentieth century and he continues to command our attention. This essay explores the psychological reasons for our attraction to his art. Botticelli was highly talented at drawing and painting the human form, and he gave creative emphasis to the eyes. His emphasis on both may not have been entirely coincidental. He seemed to have known that appreciation of art occurs within a field including the artist, their creation, and the viewer. [ABSTRACT FROM AUTHOR]

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]

Copyright of Journal of Social Sciences Research / Sosyal Bilimler Arastirmalari Dergisi is the property of ODU Journal of Social Sciences Research 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.)

Copyright of Cahiers Victoriens & Edouardiens is the property of Presses Universitaires de la Mediterranee 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.)

Copyright of Central Asian Journal of Art Studies is the property of Central Asian Journal of Art Studies 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.)

Copyright of Central Asian Journal of Art Studies is the property of Central Asian Journal of Art Studies 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.)

Copyright of Journal of Communication Theory & Research / Iletisim Kuram ve Arastirma Dergisi is the property of Gazi University, Faculty of Communication 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.)

Cultural heritage data plays a key role in the understanding of past human history and culture, enriches the present and prepares the future. A wealth of information is buried in artwork images that can be extracted via digitization and analysis. While a huge number of methods exists, a deep review of the literature concerning object detection in visual art is still lacking. In this study, after reviewing several related papers, a comprehensive review is presented, including (i) an overview of major computer vision applications for visual art, (ii) a presentation of previous related surveys, (iii) a comprehensive overview of relevant object detection methods for artistic images. Considering the studied object detection methods, we propose a new taxonomy based on the supervision learning degree, the adopted framework, the adopted methodology (classical or deep-learning based method), the type of object to detect and the depictive style of the painting images. Then the several challenges for object detection in artistic images are described and the proposed ways of solving some encountered problems are discussed. In addition, available artwork datasets and metrics used for object detection performance evaluation are presented. Finally, we provide potential future directions to improve object detection performances in paintings. [ABSTRACT FROM AUTHOR]

Analysing art that emerges from remediation can be a form of critical pedagogy in and of itself. This article focuses on art forms that involve remediation as a strategy of the critical pedagogy of “unlearning imperialism” (Azoulay 2019). The aim is to examine the role of the adaptive process of artistic remediation (by which new media technologies incorporate, reinterpret, and reference older media forms) in conceptualising and developing a critical and engaged approach in the classroom to the inequities in knowledge production, mediation, and sharing. The strategic approach to unlearning imperialism is combined with Ariella Azoulay’s idea of “potential history”. This frames the analysis of three artworks that are, in different ways, linked to photography, either as photography-to-painting or painting-to-photography remediations. The first artwork discussed is Roxana Manouchehri’s Power (2014), a neo-Victorian photography-to-painting remediation depicting Queen Victoria and Princess Tadj es-Saltaneh; the second and third artworks are Jan Banning’s Immigrant (Jamaican) Olympia with Dutch Servant (2011) and Raeda Saadeh’s Who Will Make Me Real? (2003), both painting-to-photography remediations of Édouard Manet’s 1863 oil painting Olympia. [ABSTRACT FROM AUTHOR]

This study is the first systematic survey of a large corpus of zinc white (ZnO) artists' materials. Zinc white is a white pigment developed within the wave of 19th-century technological developments in the paint industry. The composition, particle morphology and size, and luminescence of 49 zinc white samples from artists' materials were characterized, including three references of known synthesis methods (indirect and direct) and synthesized by the authors (ZnO nanosmoke). The corpus included historical and modern zinc white pigment powders and paint materials from the leading European and American color manufacturers. The study aims to characterize and evaluate the variability of the properties of zinc white and its paint formulations. The reference materials presented properties in agreement with the literature: indirect ZnO exhibited submicron prismoidal blue-luminescent particles of higher purity than direct ZnO, which had larger acicular green-luminescent particles. ZnO nanosmoke presented acicular (tetrapod-like) blue/green-luminescent nanoparticles. Composition, particle morphology, size, and documentary sources suggested a production via the indirect method for the analyzed corpus. However, the luminescence behavior was more complex to interpret. The fundamental emission of ZnO was not always detected, even in pure ZnO powders. Three trends were identified: smaller ZnO particles for the most recent samples; green luminescence connected to larger particle size; fewer trace elements, and of the same type (i.e., lead, sulfur) for historical materials. Another interesting finding was the detection of hydrozincite in some powders, likely a degradation product of ZnO. In terms of methodology, cathodoluminescence proved a valuable tool for pigment identification. The study provides a database of zinc white references for pigment and artwork analysis. [ABSTRACT FROM AUTHOR]

When appreciating a painting, people often classify it into a style. The extent to which the painting is regarded as a typical example of the style is called its style prototypicality. The authors propose a method of quantifying style prototypicalities and conduct an experiment to validate this method using the drift rate parameter of the drift diffusion model. This parameter is calculated using participants' decision-making response times. The authors find a positive correlation (r =.88, p <.001) between the drift rates and the quantified prototypicalities for the paintings used in this study, confirming the psychological appropriateness of the proposed quantification method. [ABSTRACT FROM AUTHOR]

Stemming from a general study of rhythm in the work of Gilles Deleuze, we propose a distribution of this concept throughout three levels: a topic level, in which we place rhythm between chaos and measure; a dynamic level, in which we analyse the formation of rhythm towards its stabilisation as a spatio-temporal dynamism; and an unfolding, in which these dynamisms take on the form of rhythmic machines applied in music (refrain), in painting (sensation) and in cinema (montage and time crystals). In this last phase, the rhythmic devices of various arts lead to a genesis of time. We are thus driven to think and elaborate on the link between these two concepts, rhythm and time, in the writings of Deleuze. Bearing this purpose in mind, we turn to the schema of the three syntheses of time in Difference and Repetition. These syntheses show how time emerges from different ways of understanding repetition, in the place of which rhythm will then appear. We will compare this schema with the argument articulated by Deleuze in Logic of Sensation regarding rhythm in its pictorial form. This comparison will enable us to deduce that both concepts follow a parallel path arising from the same series of processes: vibration, coupling, resonance and forced movement. We will conclude that the schema proposed in Difference and Repetition and its aesthetic purpose delineate the ways in which rhythms unfold creatively. These three syntheses of rhythm are implicated in artistic processes. [ABSTRACT FROM AUTHOR]

This article presents a set of old postcards of the catacombs of Callixtus and an unpublished tourist booklet belonging to the same timeframe. It analyses them from the point of view of heritage tourism, history of archaeology, pilgrimage and promotion of Rome's cultural heritage. It compares them to other postcards on themes of Christian archaeology and introduces these objects as a wider phenomenon for the first time. In particular, it reflects on their role in disseminating the Roman catacombs in tourist circuits in Europe, and in the early Christian revival that spread across the continent between the nineteenth and twentieth centuries. The article will provide a more detailed reading of postcards as an object contributing to the dissemination of Catholic imagery and cultural heritage at the dawn of international mass tourism. [ABSTRACT FROM AUTHOR]

This article probes the complex interrelationship between Derek Walcott's poetry, Paul Gauguin's art, and Ernest Hemingway's prose. Following an overview of cutting-edge research into postcolonial artistic intermediality, it argues that Walcott admired Gauguin's depictions of Caribbean landscapes, but that this admiration was tempered by his awareness of the artist's racism. Having established the broad strokes of their relationship, the article hones in on the influence Gauguin exerted on Walcott's early lyric 'Letter to a Painter in England' (1948). Through close reading, it outlines the role Gauguin's synthetism played in shaping the work's aesthetic, especially with regard to its nonmimetic use of colour, and contends that Walcott's early imitation of Gauguin was inspired by Ernest Hemingway's intermedial imitations of Cézanne. However, unlike Hemingway, Walcott sought to 're-vision' his model through visual-verbal translation. [ABSTRACT FROM AUTHOR]

Copyright of Electroplating & Finishing is the property of Electroplating & Finishing Editorial Office 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.)

Viewing art inspires creativity, which can encourage learning in art education. A previous study revealed that the type of artwork and the way art is viewed affects adults' inspiration; however, no study exists concerning the way children are inspired by viewing art. Thus, the current study aimed to examine whether children's age group/grade level, art style (figurative or abstract), and artwork creators (children or adults) influence children's inspiration, and whether the effects of the art style and creators vary by children's age group/grade level. An online questionnaire survey was conducted with the help of 600 pairs of parents and their elementary‐school‐aged children. They were asked to view eight paintings that differed in terms of the artists and their individual style and they then rated their inspiration experience when viewing each artwork. The results revealed that children were more inspired when viewing abstract, rather than figurative, paintings, and the effect of the type of painting differed in the third and sixth grades. Additionally, children gained more inspiration by viewing paintings created by children rather than by adults; a difference observed in all grade levels. [ABSTRACT FROM AUTHOR]

In this article translated from the German original, author Kathrin Asper explores Frida Kahlo's life and art—the scars and cuts of life, both physical and emotional, that were balanced by the light side of existence. Suffering the consequences of polio contracted as a child and a streetcar accident that left her with lifelong pain, Kahlo found herself through painting, using her experience as a palette. The themes of her art include suffering, transience, and nearness to death as well as the cuts of her husband's, Diego Rivera's, love affairs. Rarely were these experiences portrayed without the juxtaposition of the bright, beautiful, and colorfulness of life, however. [ABSTRACT FROM AUTHOR]

The Rijksmuseum in Amsterdam held a major exhibition of the artwork of Johannes Vermeer from February 10 to June 4, 2023. Twenty-eight of his paintings were gathered in one place, the largest exhibition ever of his oeuvre. The author not only went to this exhibition but also traveled to Vermeer's hometown of Delft where the artist spent almost his entire life. In addition to reviewing the design and layout of the exhibition as well as the art shown, he discusses the importance of Delft as a location along with significant events in Dutch history at that time. The psychological effects of looking at Vermeer are considered, with attention to Vermeer's use of colors, perspective, themes, and light. Vermeer's capacity for opening an observer to introversion is elaborated through a discussion of the archetypal dimensions of his art as well as his innovative understanding of how to represent pregnant moments. [ABSTRACT FROM AUTHOR]

The article focuses on the introduction of Catholic religious paintings in China from the late Qing Dynasty to the early Republic. Topics include the distinctive characteristics and substantial output of the Fu Jen Catholic paintings, the reasons behind the university's pursuit of traditional Chinese Christian paintings, and the differing reactions from Western and Chinese audiences rooted in cultural and theological disagreements on visual modernity and syncretism.

The origin of utopia narratives is based on mythical legends and religious texts. In these narratives, the ideal life of the old world and the phenomenon of paradise are emphasized. Utopia narratives depict a perfect world set in past times or living in an uncertain future. Dystopian discourses and apocalyptic narratives are closely related to each other and have been influenced by utopian narratives. Apocalyptic and dystopian descriptions describe the place and time when it is difficult to live in all aspects, like hell. Apocalyptic descriptions as a religious discourse and dystopian narratives as political discourse emphasize the chaotic collapse of society and states, from the degeneration of ancient civilizations to the hedonistic consumerism of today's capitalist societies In both discourses; It is told that a series of events explained by prophecies such as terrible disasters, epidemics, wars and famine befell authoritarian civilizations that resort to ruthless methods and raging and deviant societies. The general framework of apocalyptic images in Western painting is based on the text in the New Testament from the Bible writer St. John’s Apocalypse / Book of Revelation. The apocalypse phenomenon and descriptions in Western civilization have been dealt with from a religious point of view for a long time; In today’s world, it has begun to be defined as a concept that includes the destruction of states and societies as a result of sociological, economic and political extremism. The aim and scope of this study is to examine the concept of apocalypse in Western art from the 13th century to the present day, and to identify the artists who painted apocalyptic narratives associated with religious and dystopian discourses. [ABSTRACT FROM AUTHOR]

Artist have taken different starting points as reference points that allow them to express herself during the creation process of their work of art. The impact of art on people in a social sense can be counted among these reference points. The social impact situation has resulted in art turning into a propaganda tool and influencing the masses. This research includes examples of the stages that art goes through in terms of visual language formation and the artists' search for a unique way out. The research was carried out through literature review, one of the data collection techniques, and the collected information was brought together, mainly by reference to the works of foreign authors. The problem of the study is how the concept of art, in theoretical terms, turns into a propaganda tool with examples from various periods and geographies. The findings obtained at the end of the study were focused on works of art that turned into propaganda tools based on the concept of art, artists' search for identity and the principles of influencing the masses. As a result, it has been concluded that the concept of art can be considered as contemporary for every artist in their own period, that it does not cover a specific period, and that in every period there are works of art that turn into different means of expression depending on the relationship between art and politics, and this understanding continues today. [ABSTRACT FROM AUTHOR]

This article analyzes pictorial representations of the natural world in Blindness (1995), by José Saramago. It covers the moment when an anonymous character describes some paintings he saw in a museum just before he went blind. Some of them are pastorals, suggestive of the lives of the characters before they became blind; but there are also descriptions of paintings that mirror the desperate situation analogous to the situation of the blind people in the asylum. As far as intermedial ecocriticism is concerned, I rely mainly on Jørgen Bruhn's article "Towards an Intermedial Ecocriticism," and when referring to culture, nature, and animals, I count on Raymond Williams' and Greg Garrard's concepts. Claus Clüver and Liliane Louvel become the main voices when analyzing the intermedial references to painting in the literary text. [ABSTRACT FROM AUTHOR]

This study aims to investigate the image reconstrual of Shan Gui 山鬼 in the multimodal translation from the poem Shan Gui to three renowned paintings, i.e., Li Gonglin's 李公麟 (date unknown; 1049–1106), Fu Baoshi's 傅抱石 's (1945) and Xu Beihong's 徐悲鸿 (1943), within the framework of social semiotics, and to explore the reason why the image changed through recontextualization. It is found that the image of Shan Gui reconstrued by Li looks like a detached sprite; Fu is a sentimental goddess, while Xu is a mundane human girl. Contextual factors, including scholastic explanations of the poem, the individual orientation of painters, and their media choices, contribute to such image divergence. [ABSTRACT FROM AUTHOR]

The article focuses on Lionel LeMoine FitzGerald's deep connection to his hometown of Winnipeg, which greatly influenced his artistic development and subject matter. Topics include his preference for painting local scenes, particularly in his neighborhood of St. James-Assiniboia, his meticulous documentation of his own residence and surroundings, and his pursuit of capturing the essence of everyday life through his modernist approach to art.

Paintings can exert a strong effect on their viewers by creating atmospheres. But how is it possible for a painting to create an atmosphere? My goal in this paper is to provide a partial answer to this question by focusing on the depiction of light. I argue that paintings can elicit experiences of atmospheres in part because they can depict pictorial space as filled with ambient light that has a distinctive phenomenal character. It is in virtue of this distinctive phenomenal character that the depicted ambient light can make a significant contribution to the overall phenomenal character of the experienced atmosphere. [ABSTRACT FROM AUTHOR]

The purpose of the study is to establish the technique of creating four miniature portraits by Rosalba Carrera (1673-1757) from the collection of the Bohdan and Varvara Khanenko National Museum of Art (The Khanenko Museum) using optical and physicochemical methods and to introduce the results into scientific circulation. The methodology of the work is to use modern methods of analysing works of art in different spectral ranges, including microscopic, ultraviolet (UV) and infrared (IR) studies, X-ray fluorescence analysis (XRF) and Fourier transform infrared spectroscopy (ATR-FTIR). The scientific novelty is that for the first time a comprehensive study of miniature portraits of the famous Venetian artist Rosalba Carrera from the Khanenko Museum collection is presented, which establishes the technological features of creating miniatures on ivory and their design using various materials, the author's techniques of applying the image of portraits and the identification of pigments of the paint layer. Conclusions. As a result of the research, it was found that ivory was used as a basis for creating the miniatures. Infrared light studies have shown the absence of preliminary drawings, author's changes of composition and hidden signatures on the miniatures. The XRF method confirmed that copper substrates, gilded silver frames, and Venetian glass coverings were used in the design of the art objects. It has been established that the portraits were painted with watercolours using the author's spot method, and the pigments in the paint composition identified by ATR-FTIR correspond to the time of creation of the miniatures in the second quarter of the 18th century, which coincides with the museum attribution. The results obtained can be useful for art historians, restorers, and technology experts for the attribution/re-attribution of works of art of the 18th- 19th centuries. [ABSTRACT FROM AUTHOR]

The purpose of the article is the systemisation and analysis of the available biographical information about Antonio Solario, also known as Lo Zingaro or "The Gypsy" - a representative of Italian fine art; comprehending the problems of interpreting the artist's creative works and defining his place in the artistic environment of the Italian Renaissance. For this purpose, historical-cultural and chronological research methods were used, as well as systematisation, art history analysis and figurative-stylistic analysis. The scientific novelty lies in the fact that for the first time, data from scientists of different centuries about the life and work of the Italian artist Antonio Solario has been introduced into the Ukrainian scientific realm, and for the first time an attempt has been made at a comprehensive attribution of four works by the artist. The conclusions made were that the article systemises, specifies and analyses the data on the main stages of the artist's biography, taking into account that there still exist discrepancies in the information about his origin and places he stayed. Within the framework, the fact of the existence of a large number of contradictory data about him as an outstanding representative of the Italian Renaissance has been established and these contradictions have been characterised according to the chronological principle. It is noted that the artist has Venetian origins and at different periods of his life worked in Naples, the Italian region of Marche and on the territory of present-day Great Britain. Several hypotheses about the origin of the nickname "Lo Zingaro" are considered separately. The main stages in the evolution of the artist's creative manner are described - from early Venetian influences to the formation of a mature Neapolitan style that organically combined the achievements of Renaissance masters. It was found that his development was influenced by the creative style of such Italian Renaissance artists as Perugino, Pinturicchio and others. It is summarised that the figure of Antonio Solario personifies the multidimensional processes in the art of the Italian Renaissance and provides a number of areas for further research. [ABSTRACT FROM AUTHOR]