Suchergebnisse

Due to increased government regulations on environment, health, and safety, the cost of on-site bridge painting has quadrupled over the past several years. The construction industry faces a great challenge in how to control the increased costs of bridge painting and meet the regulations at the same time. A possible solution to address this challenge is to develop a robotic bridge painting system. The development of the robotic system can be justified by the potential improvements in safety and productivity. This paper presents the development and testing of an Intelligent Painting Process Planner. The Planner, built based on bridge feature scheme, is the key component for the robotic bridge painting system that integrates the painting process planning, robot path planning, cost optimization, and quality control functions. During the development process, lab experiments were conducted to determine the values of painting process planning parameters and coating thickness distribution functions. Field tests demonstrated that the prototype robotic bridge painting system achieved the specified painting quality using the parameter values provided by the Planner. Areas that need to be improved in the future were also identified.

The article considers the erotic genre of traditional Chinese art, chun gong hua ('spring palace paintings'), which was developed in painting. The study uses comparative - historical, cultural and historical methods, as well as methods of systematization, analysis and synthesis. The author traces the formation and evolution of the genre, reveals its specific features. The paper analyzes the system of artistic images of the works of chun gong hua, reveals that they are based on the ideas of Taoism, which are visualized through painting, which made it possible to reveal a second, meaningful plan of paintings filled with metaphors and allegories. Particular attention is paid to the characterization of expressive means, specific techniques and visual techniques of the genre. The study shows that due to the richness of images, artistic and expressive means and techniques, juxtaposition of the conditional and the real, double transformation of nature, the first impression of seemingly pornographic images of naked bodies and erotic scenes is subdued. The high artistry of the 'spring palace paintings' allows us to attribute them to the unique works of Chinese traditional art.

In this unit we will examine a range of Napoleonic imagery by David, Gros and a number of other artists, beginning with comparatively simple single-figure portraits and moving on to elaborate narrative compositions such as Jaffa and Eylau. In so doing, we will have three main aims: to develop your skills of visual analysis, to examine the relationship between art and politics and to introduce you to some of the complex issues involved in interpreting works of art.

Casta Painting. Ilona Katzew. New Haven, CT: Yale University Press, 2004. 256 pp.

Two of Foucault's signature essays on painting are especially well known: the analysis of Velazquez's Las Meninas, and an essay on Rene Magritte that includes a striking account of how abstraction displaced representation in Western art. In addition, many of Foucault's texts are studded with acute descriptions of major painters from Breughel to Warhol; he gave lecture courses on quattrocento painting and Manet and published essays on several contemporary artists (Rebeyrolle, Fromanger, Michals). Since one of Foucault's major themes was the relation between visibility and discursivity, it is not surprising to find that painting is a favored site for exploring variations in this conjuncture. Throughout his work, painting and the visual arts serve as emblems of the epistemes that characterize distinct epochs of thought. At the same time, Foucault's engagement with contemporary art reveals his sense of its political significance and force. These themes coincide in Foucault's continuing interest in how art forms can break with acquired archives, apparatuses, and practices. In (mostly implicit) contrast with romantic concepts of genius (as in Kant, or more generally in the time of "man and his doubles"), Foucault attempted to analyze and articulate the processes of rupture and transformation that mark specific changes in what is called style. Dominant trends in art history either sought to trace relatively continuous developments (following a Hegelian lineage) or operated with sets of categories derived from Geistesgeschichte such as Heinrich Wollflin's linear and painterly modes. Philosophical aesthetics (as Derrida observes) has systematically (from Plato to Heidegger) given premier status to the linguistic arts of poetry and literature. Both of those ways of understanding visual art are put into question by Foucault's engagement with painting and photography.