• Journal of the Korean Institute of Rural Architecture
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• v.25 no.2
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• pp.43-50
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• 2023

This study is an architectural and landscaping analysis view to rural landscape paintings painted by Vincent van Gogh in the late 19th century. The purpose of this research is to discover the expressive techniques of Western art that Van Gogh's landscape paintings have, and to understand the characteristics of the architectural object in his landscape paintings from February 1888 to April 1889 in Arles, southern France. The method of this study is to analyze the landscape paintings of Van Gogh painted during 15 months in Arles. Among the total paintings in Arles, 47% of the paintings he made were landscapes. The following conclusions have three views. First, Vincent van Gogh was born into a Protestant family in the Netherlands and become an artist in his late twenties. While living in Arles, he painted prolific landscapes. Farming, farmers, and rural area related to normal living are the main subjects of paintings. It can be seen as showing the view that everyday life is sublime and should be included as a unitary value. Second, Gogh's rural landscape paintings were painted with linear and aerial perspective with other the expressive techniques, and plane painting structure that leads to two dimension. Third, from an architectural point of view, Van Gogh's paintings depicted simple vernacular architecture such as traditional rural house, mas, thatched houses, and mills in southern France. This means the normal value of the rural landscape through the eyes of the painter.

• Journal of the Korean Institute of Rural Architecture
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• v.26 no.3
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• pp.29-36
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• 2024

The purpose of this study is to define the characteristics of regional architecture shown in the landscape paintings of Paul Cézanne, who is called the father of modern art, and then to think over the form of regional house in Korea modern architecture. The subject of the study focuses on landscape paintings depicting landscapes among Paul Cézanne's post-impressionist works. The research contents are, first, to understand the landscape structural and cubical characteristics of primary psyche-scene landscapes in his thoughts and insight, and second, to understand the characteristics of regional architecture depicted in his landscape paintings. In this study, characteristics of color in his pictures were excluded, and I attempted to find the origins of pure cube, then tried to pull out the cubical from from Korean regional architecture. The research results are summarized as follows. First, more than 54.7% of Paul Cézanne's paintings are post-impressionism, and the fact that he chose landscapes as the subject of his paintings can be explained to show the value of primary psycho-scene. Second, the building depicted in Paul Cézanne's painting is a pure cube as bastide and mas that are local houses in the Aix-en-Provence region in southern France. Third, Korean cubical flat style of house in the village comes from De Stijl that was provided the concept of Cubism and Mondrian's neo-plasticism.

• 한국HCI학회:학술대회논문집
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• 2008.02a
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• pp.426-432
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• 2008

We introduce a method of rendering a scene lying 3D objects which is like that artist draw on a canvas by brushing. Painting is the art area presenting something created by color and line on 2D plane. We are brushing on billboards on screen space for the 2D brushing effect according to the definition of "Painting". Brushing orientation is haven to rotate for preventing the orientation in the first scene in the case that object or camera are moving. If the brushing isn't rotated, shower-door effect is watched on the scene as undesirable result We present a brushing rotating method for keeping the orientation changing the direction of view and object rigid animation. The brushing direction is computed with Horn's 2D similarity transform by least-square solution. We watched the changing brushing to track the motion of object and view.

• (The)Study of the Eastern Classic
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• no.50
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• pp.295-318
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• 2013

The purpose of this study was to define the 'caligraphy as a modern concept of art. For this purpose, it was necessary to exclude the elements betraying 'the caligraphy as a pure art' in reference to 'autonomy' as an indicator of modernity in order to reflect on the current topology of the caligraphy in our age. Checking the current conditions facing the caligraphy from the pre-modern, modern and post-modern perspectives will clarify the current topology of the caligraphy and further exploring 'the caligraphy as a post-modern art concept. To this end, this study defines the caligraphy 'as a pure formative art' and thereby discusses it in terms of nature and form. In terms of nature, the caligraphy should be subsumed into a spacial art, but it has a nature of a temporal art created and appreciated over time. Hence, among the spacial arts, the painting is most similar to the caligraphy, while among the temporal arts, the caligraphy is most similar to such rhythmic (of high mobility) or performing arts as music and dance. Merely, the painting does not reveal the flow of time on the canvas, while music and dance leave no residual in terms of audibility and visuality. All in all, the caligraphy is sort of 'temporal-spacial art' like dance in that the visible letters express the artist's sense of life on the plane over time like music. In terms of form, this study compares the caligraphy with engraving, wood print and character design to define the caligraphy as a pure art concept. The caligraphy as a modern art concept, namely, the autonomy of the caligraphy is associated with legibility and meaning in addition to the question whether it is an applied or a pure art. The legibility and meaning of the characters are not only the essential elements of the caligraphy but also are the factors limiting its autonomy, which must be a paradox. All in all, the legibility and meaning of the characters must be the key criteria for determining the caligraphy as a practical art or literary art or as a pure figurative art. In this context, this study discusses the caligraphy as a pure art by comparing it with the spatial art 'painting' and the temporal art 'music.' It might be impossible to define the caligraphy or a genre of art as an autonomous art of self-perfection and categorical identity. Moreover, any attempt to define the caligraphy would fail to interpret the caligraphy appropriately. Merely, we are obliged to position the caligraphy in the process of localizing 'their modernity' and thereby, discuss how to respond to their scheme.