The phrase "artistic conversion" is correct and usable in written English.
It can be used in contexts where one is discussing the transformation or reinterpretation of art or artistic ideas into a different form or medium.
Example: "The exhibition showcased the artistic conversion of traditional paintings into digital art, highlighting the evolution of creativity in the modern age."
Alternatives: "creative transformation" or "artistic reinterpretation".
Taking a question from the audience on which of his novels had been the most enjoyable to write, Franzen offered a reversal of the truism that artists must suffer for their art, saying: "I had a kind of artistic conversion in the 90s and sort of retooled all sorts of ways of thinking about what I was doing … so that if it's not fun, I'm not doing it".
Motherwell also used Surrealist ideas about automatic drawing and the unconscious to facilitate his artistic "conversion".
His artistic conversion took place while he studied in Italy on a Fulbright scholarship in the early 1960s.
After seeing the Jackson Pollock painting "The Moon-Woman Cuts the Circle," Mr. Jackson underwent an artistic conversion.
The Adoration of the Magi of 1633 serves as a manifesto of his artistic conversion and is unashamedly modeled after an earlier work on this theme by the greatest Classical master of the Renaissance, Raphael.
He experienced an artistic conversion in 1959 on a trip to the United States during which he was exposed to Mr. Smith's sculpture as well as the work of the color-field painters Kenneth Noland, Morris Louis and Jules Olitski.
For everyone else, this thoughtful, elegantly installed show offers an airy, inspiring glimpse of artistic osmosis, assimilation and conversion.
Apart from the economic realities of the conversion to sound, were the artistic considerations.
After the Christian conversion of what is now Scotland in the seventh century, artistic styles in Northumbria interacted with those in Ireland and Scotland to become part of the common style historians have identified as insular or Hiberno-Saxon.
By offering an extensive analysis of the religious, political, and artistic innovations through which the Kongo embraced Christianity, Fromont approaches the country's conversion as a dynamic process that unfolded across centuries.
His conversion notwithstanding, Rubens received a classical and humanist education and also an artistic training under three of Antwerp's most prominent painters.
