식민지 대만의 관전에서 활동한 대만 거주 일본인 심사원은 대만 관전의 설치 및 운영에지대한 역할을 수행했다. 서양화가 이시카와 긴이치로(石川欽一郞)와 시오쓰키 도호(염月桃甫), 일본화가 고바라 고토(鄕原古統)와 기노시타 세이가이(木下靜涯) 등은 대만 관전의 설치를 대만 총독부에 건의하여 실현시키고 1927년 제 1회 대만미술전람회 이래 일본으로 귀국할 ...때까지 심사원으로서 활동했다. 특히 시오쓰키 도호와 기노시타 세이가이는 마지막 관전인 1943년의 총독부미술전람회에까지 심사원이었다. 그들은 대만미술교육에서 중추적인 역할을 수행하였고, 대만의 자연경관을 그린 풍경화나 대만인을 묘사한 인물화를 통해 소위대만 향토색을 주도했다. 중일전쟁 발발 이후 부전시기에는 판단하기 어려운 측면도 있지만, 적극적인 전쟁협력보다는 소극적인 입장을 취한 것으로 해석된다. 대만근대미술사와 일본근대미술사 어느 쪽에서도 단편적으로밖에 조명되지 않은 그들은 ‘애매한 문화권력’으로서 대만 근대미술사는 물론이고 동아시아근대미술사에서도 대단히 중요한 주제다.
Taiwan residence Japanese examiner in colonial Taiwan Government Exhibition played an important role in establishment and development of it. Western style painter ISHIKAWA Kinichiro SHIOZAKI Toho, and Japanese style painter KOBARA Koto, KINOSHITA Seigai proposed the establishment of the Government Exhibition of Fine Arts to colonial Taiwan Government, and realized. They acted as an examiner until return to Japan. In particular SHIOZAKI and KINOSHITA had been examiner to the last government exhibition in 1943. They were also important teachers in education of fine arts during residence in Taiwan, and leaded ‘Taiwanese local color’ in landscape painting and figure painting. Since second Sino-Japanese War occurred, Government Exhibition of Fine Arts changed it’s name to The Government-General Exhibition of Fine Arts, and it’s organizer from association of Taiwanese education to Government-General of Taiwan, too. Although there are some hard aspects to understand activity during the Government-General Exhibition of Fine Arts era, they seem hard to say acted with active attitude. It is certain that Taiwan Residence Japanese Examiner’s roles which are studied fragmentarily in modern Japanese Art history and Taiwanese modern art history so far, are very important theme in Taiwanese modern art history and East Asia modern art history.
Today, with the rapid development of economic level, people’s esthetic requirements are also rising, they have a deeper emotional understanding of art, and the voice of their traditional art and ...culture is becoming higher. The study expects to explore the performance of advanced affective computing in the recognition and analysis of emotional features of Chinese paintings at the 13th National Exhibition of Fines Arts. Aiming at the problem of “semantic gap” in the emotion recognition task of images such as traditional Chinese painting, the study selects the AlexNet algorithm based on convolutional neural network (CNN), and further improves the AlexNet algorithm. Meanwhile, the study adds chi square test to solve the problems of data redundancy and noise in various modes such as Chinese painting. Moreover, the study designs a multimodal emotion recognition model of Chinese painting based on improved AlexNet neural network and chi square test. Finally, the performance of the model is verified by simulation with Chinese painting in the 13th National Exhibition of Fines Arts as the data source. The proposed algorithm is compared with Long Short-Term Memory (LSTM), CNN, Recurrent Neural Network (RNN), AlexNet, and Deep Neural Network (DNN) algorithms from the training set and test set, respectively, The emotion recognition accuracy of the proposed algorithm reaches 92.23 and 97.11% in the training set and test set, respectively, the training time is stable at about 54.97 s, and the test time is stable at about 23.74 s. In addition, the analysis of the acceleration efficiency of each algorithm shows that the improved AlexNet algorithm is suitable for processing a large amount of brain image data, and the acceleration ratio is also higher than other algorithms. And the efficiency in the test set scenario is slightly better than that in the training set scenario. On the premise of ensuring the error, the multimodal emotion recognition model of Chinese painting can achieve high accuracy and obvious acceleration effect. More importantly, the emotion recognition and analysis effect of traditional Chinese painting is the best, which can provide an experimental basis for the digital understanding and management of emotion of quintessence.
Entre 1890 et 1910, les prix des concours artistiques officiels vont en Espagne à des toiles qui représentent les souffrances des couches sociales les plus défavorisées de la société de la ...Restauration. Pauvres et vagabonds, migrants et chômeurs, mendiants et prostituées, ouvriers et paysans précaires sont les figures de proue d’un nouveau répertoire pictural qui déclasse la peinture d’histoire et remporte un succès public et critique considérable. La présente étude a pour ambition de faire l’histoire de cette peinture de la détresse sociale, en cherchant à comprendre les raisons de son triomphe dans les Salons d’un régime peu enclin à considérer la misère comme un scandale, voire même comme une question politique. Ce travail croise pour ce faire deux historiographies : l’histoire de l’art, en participant de la redécouverte d’une production qui, bien que légitime et couverte d’éloges en son temps, n’eut par la suite aucune fortune critique; et l’histoire culturelle, l’enjeu étant de mettre au jour les représentations sociales produites ou véhiculées par cette peinture. L’analyse des regards portés sur ces tableaux permet parallèlement de cerner l’évolution des sensibilités face à la pauvreté, mais aussi d’identifier les croyances et représentations largement partagées en matière de légitimation des inégalités. En faisant dialoguer ces approches, cette recherche vise à proposer un premier travail de synthèse sur ce chapitre absent jusqu’ici de l’histoire culturelle du XIXe siècle espagnol.
Between 1890 and 1910, most prizes awarded in Spain by official art exhibits went to depictions of the hardships faced by the poorest subjects of the Restoration. Destitutes and vagrants, migrants and the unemployed, beggars and prostitutes, day laborers and poor peasants were the icons of a new repertoire of pictorial forms which not only superseded history painting but also proved immensely popular both with critics and the public. This thesis aims to write the history of this art of social destitution, by elucidating how it could triumph in the Salons of a Regime which was certainly not inclined to consider poverty as outrageous or as a legitimate political concern. This task has entailed melding two distinct historiographic traditions together: whereas the methods of art history were used to rediscover this body of work and explain why, shortly after having been officially sanctioned and showered with praise, it could be spurned by critics; those of cultural history were mustered to identify the different social constructs fashioned or promoted by these pieces. Moreover, the study of how these depictions of social destitution were perceived might help to determine how the feelings towards poverty evolved and what shared beliefs and preconceptions were used to legitimize inequality. By bringing these approaches together, this thesis hopes to offer the first synthetic study of a neglected chapter of Spanish, 19th century, cultural history.
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