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"Painting, Abstract Technique."
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Layered modeling and generation of Pollock’s drip style
In this paper, we propose a layered approach to model Jackson Pollock’s dripping style of paintings. Having analyzed fractal-based algorithms and observed the details of Pollock’s paintings, we designed a layered modeling approach that divides Pollock’s artwork into four layers: from bottom up are background layer, irregular shape layer, line layer and water drop layer. The layers are drawn sequentially and independent, forming the desired Pollock style. We have developed a program using Processing to generate artworks of the dripping style. The parameters of our program can be randomly generated or tuned by the user, supporting high flexibility and effectiveness. Experimental results show that our layered modeling approach can systematically generate images resembling Pollock’s dripping style.
Journal Article
Abstract painting and abstraction
Abstract painting and abstraction can be a daunting and frustrating genre of art. How should you approach a surface? How can you use colour effectively? How can you make better, more expressive paintings? This inspiring book answers these questions and many more. By looking at his own work, Emyr Williams covers the practical issues of abstract art before explaining techniques to develop your own personal style and approach. He emphasises the relationship of colour to surface and the importance of seeking a profound connection with your art.
Book
REMEMBERING ALEXANDER \SKUNDER\ BOGHOSSIAN
I did not start working with Skunder until he was well established at Howard University where he taught a masters class. While in Paris, Skunder reported to be influenced by Barque, Picasso, and he often mentioned Cuban artist Wilfredo Lam. However, as an impressionable young adult, he recalled that on a personal as well as a societal level it was Paris that made its mark. It was Paris that allowed him the freedom and independence to move outside the beautiful, but conservative, constricted, and traditional Ethiopian society he had known. In Ethiopia artistic freedom and experimentation would not have been welcomed or encouraged. Paris is the place that Skunder was both encouraged and allowed to become Ethiopia’s first modern contemporary artist. At the end of his life I had a number of shows of Skunder’s work: four or five oneman shows. His work was so totally divergent both in media and subject that the only safe descriptions that might apply to all his works are “abstract” and “multi-media.” However, there is another important and common theme which was found in almost all of Skunder’s work; Skunder was transfixed with Ethiopian religious scrolls.
Journal Article
Study of the Painting Methods of Mural Paintings in Ancient Tombs of Goguryeo Using Scanning Electron Microscope
Disputes on the painting methods of Goguryeo murals can mainly be categorized into whether the murals adapted eastern secco or western fresco; however, the murals have their own unique methods as well. There are different viewpoints among experts on interpreting the painting methods. This study involved the creation of research samples to discover the painting methods under dispute and may help discover the methods based on scanning electron microscopy energy-dispersive X-ray spectroscopy (SEM-EDX) studies. Goguryeo murals introduced pseudo-fresco rather than buon fresco methods. Unlike fresco techniques in the West, Goguryeo painters mixed traditional soft binders and adapted typical secco painting techniques for paintings, borders, and corrections after drying. The disputed issues may be resolved by these techniques, and samples may be produced based on the analyzed data. Therefore, many questions can finally be answered through SEM-EDX elemental mapping.
Journal Article
Painting
\"Painting is one of the oldest and most important arts. Since prehistoric times, artists have arranged colors on surfaces in ways that express their ideas about people, the world, and religion. The paintings that artists create have great value for humanity. They provide people with both pleasure and information.\" (World Book Online Behind the Headlines) Learn about the evolution of painting from prehistoric times to modern art movements.
Web Resource
Paul Klee : the visible and the legible
The fact that Paul Klee (1879-1940) consistently intertwined the visual and the verbal in his art has long fascinated commentators from Walter Benjamin to Michel Foucault.However, the questions it prompts have never been satisfactorily answered--until now.
eBook
Crossing the Liminal: Why Write Poetry About Art?
At the Philadelphia Museum of Art, a ten-part Cy Twombly series scribbled out my more organized perspective. At whatever point a writer decides to explore a work of art with words, he or she is striving for the same thing writers always seek: an alchemy of knowledge and surprise. The completeness of the experience begins with the attention the piece commands for the writer, a connection that might not make sense for even the person standing beside the writer in the museum.
Journal Article
Three Modes of Dialogue about Works of Art
Over the last two decades, art teachers and museum educators have increasingly embraced group dialogue to help students make meaning from works of art. To an outside observer, most dialogues about art could appear to be the same. Nevertheless, careful analysis reveals that the spirit and dynamics can differ greatly from one dialogue to the next. In this article, the author will distinguish between two kinds of group dialogue about art: \"predetermined dialogue\" and \"interpretive dialogue.\" She will argue that these two forms are associated with different approaches to education: predetermined dialogue is aligned with \"objectivism\" and interpretive dialogue with \"constructivism.\" Moreover, she will posit that the second kind, interpretive dialogue, can be of two sorts: (a) \"thematic\"; and (b) \"open.\" (Contains 2 endnotes.)
Journal Article
\The Importance of the Spaces 'Inbetween' in Painting\: A Close Look at Hedda Sterne's Artistic Process
Josenhans and Schwarz look at the artistic process of artist Hedda Sterne. After exhibiting her work in her native Bucharest and then in Paris, she came to fame in New York, where she spent the majority of her life. Her art drew from her European background, as well as from her contacts with the Romanian and French avant-garde, and has mostly been associated with Abstract Expressionism. Her body of work seems heterogeneous; she embraced various styles and often shifted back and forth between these two opposing modes, refusing to embrace a particular artistic identity. And yet, upon close examination of Sterne's paintings and drawings, there is one constant in her practice: her interest in the material aspect of a work and the technique itself. She would apply various layers of paint.
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