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Painting

About: Painting is a research topic. Over the lifetime, 20215 publications have been published within this topic receiving 142318 citations. The topic is also known as: painting.


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Book
01 Jan 1991
TL;DR: In this paper, a wide-ranging survey of postmodernism is presented, from high art to low art, from market ideology to architecture, from painting to “punk” film, from video art to literature.
Abstract: Now in paperback, Fredric Jameson’s most wide-ranging work seeks to crystalize a definition of ”postmodernism”. Jameson’s inquiry looks at the postmodern across a wide landscape, from “high” art to “low” from market ideology to architecture, from painting to “punk” film, from video art to literature.

6,317 citations

Book
01 Jan 1993

2,013 citations

Proceedings Article
26 Oct 2016
TL;DR: It is demonstrated that such a network generalizes across a diversity of artistic styles by reducing a painting to a point in an embedding space and permits a user to explore new painting styles by arbitrarily combining the styles learned from individual paintings.
Abstract: The diversity of painting styles represents a rich visual vocabulary for the construction of an image The degree to which one may learn and parsimoniously capture this visual vocabulary measures our understanding of the higher level features of paintings, if not images in general In this work we investigate the construction of a single, scalable deep network that can parsimoniously capture the artistic style of a diversity of paintings We demonstrate that such a network generalizes across a diversity of artistic styles by reducing a painting to a point in an embedding space Importantly, this model permits a user to explore new painting styles by arbitrarily combining the styles learned from individual paintings We hope that this work provides a useful step towards building rich models of paintings and offers a window on to the structure of the learned representation of artistic style

967 citations

Proceedings Article
01 Jan 1971
TL;DR: A method of shape generation using shape grammars which take shape as primitive and have shape-specific rules is presented and implications for aesthetics and design theory in the visual arts are discussed.
Abstract: A method of shape generation using shape grammars which take shape as primitive and have shape-specific rules is presented. A formalism for the complete, generative specification of a class of non-representational, geometric paintings or sculptures is defined which has shape grammars as its structural component. Paintings are material representations of two-dimensional shapes gen~rated by shape grammars, sculptures of three-dimensional shapes. Implications for aesthetics and design theory in the visual arts are discussed. Aesthetics is considered in terms of specificational simplicity and visual complexity. In design based on generative specifications, the artist chooses structural and material relationships and then determines algorithmically the resulting works of art. SHAPE GRAMMARS AND THE GENERATIVE SPECIFICATION OF PAINTING AND SCULPTURE In this paper we present (1) a definition of shape grammars, (2) a formalism, based on these grammars, for the complete, generative specification of a class of paintings or sculptures, and (3) a discussion of the implications of these specifications for aesthetics and design theory. Generative specifications can be used in the analysis and aesthetic evaluation of the paintings or sculptures they define. In design based on generative specifications, the artist chooses structural and material relationships and then produces algorithmically the res'ulting works of art, Our underlying aim is to use formal, generative techniques to produce good works of art and to develop understanding of what makes good works of art. The class of paintings shown in Figure 1 is used as an explanatory example. Additional paintings and sculptures defined by generative specifications are shown in the I ppendix.

779 citations

Book
01 Jan 1981
TL;DR: The history of painting can be traced back to the early 1800s, when Bacon's Periods and Aspects of painting were described by Badiou and Cassin this paper.
Abstract: Translator's Preface, by Daniel W. Smith Preface to the French Edition, by Alain Badiou and Barbara Cassin Foreword Author's Preface to the English Edition 1. The Round Area, the Ring 2. Note on Figuration in Past Painting 3. Athleticism 4. Body, Meat, and Spirit: Becoming-Animal 5. Recapitulative Note: Bacon's Periods and Aspects 6. Painting and Sensation 7. Hysteria 8. Painting Forces 9. Couples and Triptychs 10. Note: What is a Triptych? 11. The Painting Before Painting... 12. The Diagram 13. Analogy 14. Every Painter Recapitulates the History of Painting in His or Her Own Way... 15. Bacon's Path 16. Note on Color 17. The Eye and the Hand Index of Paintings Notes Index

740 citations


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Performance
Metrics
No. of papers in the topic in previous years
YearPapers
20241
20231,705
20223,765
2021417
2020579
2019615