Zeitschriftenartikel zum Thema „Landscapes in art – exhibitions“
Um die anderen Arten von Veröffentlichungen zu diesem Thema anzuzeigen, folgen Sie diesem Link: Landscapes in art – exhibitions.
Geben Sie eine Quelle nach APA, MLA, Chicago, Harvard und anderen Zitierweisen an
Machen Sie sich mit Top-50 Zeitschriftenartikel für die Forschung zum Thema "Landscapes in art – exhibitions" bekannt.
Neben jedem Werk im Literaturverzeichnis ist die Option "Zur Bibliographie hinzufügen" verfügbar. Nutzen Sie sie, wird Ihre bibliographische Angabe des gewählten Werkes nach der nötigen Zitierweise (APA, MLA, Harvard, Chicago, Vancouver usw.) automatisch gestaltet.
Sie können auch den vollen Text der wissenschaftlichen Publikation im PDF-Format herunterladen und eine Online-Annotation der Arbeit lesen, wenn die relevanten Parameter in den Metadaten verfügbar sind.
Sehen Sie die Zeitschriftenartikel für verschiedene Spezialgebieten durch und erstellen Sie Ihre Bibliographie auf korrekte Weise.
1
AMATO, LORENZO. „Landscapes of Identity: Nature, Art, and Modern Nations in Three Recent Exhibitions“. Journal of Asian Humanities at Kyushu University 8 (April 2023): 45–52. http://dx.doi.org/10.5109/6788688.
Der volle Inhalt der Quelle
2
Michałowski, Andrzej. „KRAJOBRAZ KULTUROWY NA LIŚCIE ŚWIATOWEGO DZIEDZICTWA – POLSKIE DOŚWIADCZENIA“. Protection of Cultural Heritage, Nr. 4 (29.11.2017): 21–30. http://dx.doi.org/10.24358/odk_2017_04_03.
Der volle Inhalt der QuelleAnnotation:
The central organisation around which Polish cooperation with UNESCO on implementing the World Heritage Convention has been concentrated from the beginning is the Polish National Committee ICOMOS.The cooperation has been organised by institutions and people connected in some way with the Committee. Specialised institutions were gradually joining the cooperation. One example of such measures was the appointment of the Board of Historical Gardens and Palaces Conservation, transformed subsequently into the Centre for the Protection of Historic Landscape in Warsaw. A „garden” conservation society has gathered around this institution, composed of art historians, landscape architects, architects and gardeners. They have been carrying out interdisciplinary works concerning historic gardens and cultural landscapes in Poland. Their cooperation with the Polish National Committee ICOMOS andthe International Committee of Historic Gardens and Sites ICOMOS – IFLA was connected with the activities of UNESCO. Major activities of the Centre include: valuation and assessment of cultural landscapes for the World Heritage List; drawing up, in collaboration with the Fürst-Pückler-Park Bad Muskau Foundation, an application for the inscription of Park Muskau in the UNESCO World Heritage List; organisation of international conference: „The Regional Expert Meeting on Cultural Landscapes in Eastern Europe” in Białystok in 1999 at the request of WHC UNESCO; organisation of international conference „Cemetery Art” in 1993 at the request of WHC UNESCO, along with accompanying exhibitions concerning specific issues, organised by the Board of Historical Gardens and Palaces Conservation in Warsaw.
3
Gerasimova, Natalia V. „Exhibitions of Art Works from Private Collections of Kazan in the Second Half of 19th — Beginning of 20th Century“. Observatory of Culture 21, Nr. 2 (19.04.2024): 214–23. http://dx.doi.org/10.25281/2072-3156-2024-21-2-214-223.
Der volle Inhalt der QuelleAnnotation:
The article uses the example of Kazan to reveal the process of organizing and holding exhibitions of artworks from private collections in the Russian pre-revolutionary province. Addressing this topic, which has not been sufficiently studied in the history of Russian art, is relevant because it expands the understanding of the phenomenon of exhibition activity, which is one of the most important aspects of artistic life in Russia. The source base of the present study is the catalogues of four exhibitions of paintings from private collections held from 1873 to 1916, as well as publications in the Kazan press of this period. The peculiarities of the organizational process, selection and exposition of works, and the owners of the works are revealed. It is established that the exhibitions were of charitable nature: their proceeds were directed either in favour of the starving or poor, or in favour of Russian soldiers. The main collectors of art works in Kazan in the second half of the 19th century were predominantly landed gentry and university professors (who came from the families of personal nobles and officials). By the early 20th century, representatives of individual merchant families also had significant art collections. The exhibited works represented the whole variety of genres, but they were dominated by landscapes and portraits, primarily family portraits, suitable for decorating mansions. Catalogues allow us to conclude that local collectors of the second half of the 19th century were primarily interested in foreign art (masters of the Italian, Flemish, Dutch, Belgian, German and French schools, mainly of the 17—18 centuries), as well as (to a lesser extent) Russian academic painting (from V.L. Borovikovsky and D.G. Levitsky to D. Zakharov) and itinerant painters (I.I. Shishkin, N.A. Yaroshenko). By the end of the 19th century, the vector of collectors’ preferences shifted towards contemporary Russian art (works by Makovskys, I.E. Repin, etc. were collected), and collecting works by local artists (K.V. Bardou, L.D. Kryukov, R.A. Stupin, N.I. Zeblov, etc.) began to develop as a special direction.
4
Bashiron Mendolicchio, Herman. „Wounded landscapes, tense equilibriums, and broken connections:“. Coolabah, Nr. 35 (19.03.2024): 4–12. http://dx.doi.org/10.1344/co2023354-12.
Der volle Inhalt der QuelleAnnotation:
This text delves into the complex interplay between humans and the natural environment, exploring its philosophical, historical, and ecological dimensions. From ancient contemplations on living in harmony with nature to the present-day ecological crisis, the narrative examines the impact of human activity on the Earth's ecosystems, emphasizing issues such as deforestation, pollution, and mining. The author highlights the growing awareness of this ecological crisis and its reflection in contemporary art. Various artistic projects and exhibitions are discussed as powerful means to address environmental challenges and provoke critical reflection. The text concludes by emphasizing the urgent need for a paradigm shift in humanity's relationship with nature, urging a collective effort towards coexistence and sustainable practices to heal the wounded landscapes and repair the damaged balance between human activities and the Earth's ecosystems.
5
Robertson, Carmen. „THE ETHICAL CHALLENGES OF RECOVERING HISTORICAL MEMORY SEEING LAND: RESITUATING LANDSCAPES THROUGH CONTEMPORARY INDIGENOUS ART EXHIBITIONS“. Les ateliers de l'éthique 14, Nr. 2 (2019): 108. http://dx.doi.org/10.7202/1071134ar.
Der volle Inhalt der Quelle
6
Pethő, Ágnes. „Tacita Dean’s Affective Intermediality: Precarious Visions in-between the Visual Arts, Cinema, and the Gallery Film“. Arts 12, Nr. 4 (31.07.2023): 168. http://dx.doi.org/10.3390/arts12040168.
Der volle Inhalt der QuelleAnnotation:
Tacita Dean’s art relies on the perception of liminalities, of moving in-between, of one medium unfolding into another through dispersed, “molecular” sensations, either subverting or augmenting impressions of art forms perceived on the level of larger, structural wholes. Arguing against the wide-angle perspective employed by media studies approaches and for a close-up analysis of an “affective intermediality” in Tacita Dean’s art, the author looks at the landmark exhibitions at the National Gallery, the National Portrait Gallery, and the Royal Academy in London organised in 2018. The article singles out some of the individual works in the context of the exhibition as a work of art, and focuses on questions like the cross-media phenomenon of the “cinematic”, the affective performativity of the various dispositifs employed in her installations of celluloid films, the affordances of Dean’s signature aperture-gate masking technique, as well as the relation between narrative cinema experienced in a theatrical space and film as the medium of a visual artist. The essay concludes with a brief analysis of her gallery film, Antigone (2018), unravelling an allegorical journey through cosmic time and atmospheric landscapes, viewed as an ode to the “blind vision” of photochemical film and as a synthesis of key features of her intermediality conceived as a strategy for the re-sensitization of mediums by approaching one art from the point of view of another.
7
Echesony, Gibson. „Perception of Gender Roles in Modern Art Exhibitions in Nigeria“. American Journal of Arts, Social and Humanity Studies 4, Nr. 1 (30.05.2024): 33–42. http://dx.doi.org/10.47672/ajashs.2066.
Der volle Inhalt der QuelleAnnotation:
Purpose: The aim of the study was to assess the perception of gender roles in modern art exhibitions in Nigeria. Materials and Methods: This study adopted a desk methodology. A desk study research design is commonly known as secondary data collection. This is basically collecting data from existing resources preferably because of its low cost advantage as compared to a field research. Our current study looked into already published studies and reports as the data was easily accessed through online journals and libraries. Findings: The study indicated that modern art exhibitions have increasingly become a platform for challenging and redefining traditional gender roles. Contemporary artists frequently address themes of gender identity and societal expectations, pushing boundaries and provoking thought. This shift reflects broader cultural movements toward gender equality and fluidity. Exhibitions now often feature works that explore the complexities of gender through various mediums, including painting, sculpture, and digital art. Curators are more consciously inclusive, aiming to represent diverse voices and perspectives. This evolving landscape not only highlights gender disparities but also celebrates non-binary and transgender experiences, fostering a more inclusive and reflective art world. These exhibitions serve as a critical dialogue on the evolving perceptions of gender roles, encouraging audiences to question and rethink preconceived notions about gender in contemporary society. Implications to Theory, Practice and Policy: Feminist theory, social constructionism and postmodernism may be used to anchor future studies on assessing the perception of gender roles in modern art exhibitions in Nigeria. Encourage art institutions to adopt diverse curatorial practices that prioritize equitable representation of artists across genders and identities. Develop and implement institutional policies that prioritize gender diversity, equity, and inclusivity in art exhibitions.
8
Syska, Rafał. „Comics in museums. Paradoxes of the presence and absence of comics in museum exhibition practices“. Kultura Popularna 60, Nr. 2 (31.01.2020): 148–61. http://dx.doi.org/10.5604/01.3001.0013.7341.
Der volle Inhalt der QuelleAnnotation:
The article analyzes the phenomenon of exhibitions dedicated to comic books, which are displayed in museum and gallery spaces. It presents the theory of contemporary narrative exhibitions. Using some tools of the latest research on the art of exhibition, the author analyzes the status of a comic book in a museum landscape. He reflects on the diversity of the comic book’s presence in everyday practices, the other nature of comic's experience by a visitor, and a link between comic books and other media, especially film. He describes the role of the viewer, who becomes the object in relations with a comic book transformed into a subject as a museum artifact.
9
Ferguson, Nicholas. „Migrating Landscapes“. Transfers 12, Nr. 2 (01.06.2022): 8–23. http://dx.doi.org/10.3167/trans.2022.120203.
Der volle Inhalt der QuelleAnnotation:
Abstract This article, one element in a multifaceted art research project, explores the agency of the aircraft landing gear compartment (wheel bay) in global transfer. It takes as its beginning histories of human and other-than-human actors falling from aircraft wheel bays as aircraft descend into London Heathrow and asks what art research can bring to the problem of their political and ethical framing. Its theoretical touchstones include John Ruskin on dust and the object-oriented philosophies of new materialism. These are brought into conversation with an account of the process of modeling and exhibiting a wheel bay, as well as extracts from a microstratigraphic survey conducted on the original. The article ultimately contends that the wheel bay gives shape to otherwise intangible aeromobilities, knowledge of which is integral to a nuanced understanding of the political geography of airspace at London Heathrow.
10
Tibbe, Lieske. „Aardappeleters“. De Moderne Tijd 5, Nr. 3/4 (01.12.2021): 328–52. http://dx.doi.org/10.5117/dmt2021.3/4.006.tibb.
Der volle Inhalt der QuelleAnnotation:
Abstract Potato eaters. A mundane theme in painting, 1885-1905 In late nineteenth-century Dutch art criticism, the topic of ‘poor people eating potatoes’ seems to have been a kind of litmus test for modern, Realist art. It was a sign of the dissolution of the hierachy of the genres, the decline of idealist painting with its elevated, literary themes, and it marked the emerging popularity of commonplace subjects without specific moral meaning attached to them. Likewise, painting of romantic, picturesque landscapes gave way to the more prosaic theme of hard work in the field. Poor farm workers at their shabby meal of potatoes, the fruits of their labour, were part of this subject matter. ‘Modern’ critics welcomed the shift in topics, ‘conservative’ ones fulminated against what they saw as a sign of decay. Catalogues of Exhibitions of Living Artists (Tentoonstellingen van Levende Meesters) and other expositions have been searched for paintings showing potato eaters, or related images like potato peeling, planting, digging, or potato still lifes. Quantitatively, these exhibitions did not justify the art critics’ rhetoric. Qualitatively, the critics’ aversion to the ‘potato eating’ theme was possibly related to its association with poverty and the imminent physical and moral decay of the lower class of the population. In modern realistic literature potato consumption also stood for degeneration. Partly outside the official art circuity, artists like Mauve, Witsen, Toorop, and especially Van Gogh showed potato production and consumption as ‘The Heroism of Daily Life’.
11
Stefańska, Joanna. „Painting in the exhibition space, interactions“. Teka Komisji Architektury, Urbanistyki i Studiów Krajobrazowych 17, Nr. 4 (30.12.2021): 19–24. http://dx.doi.org/10.35784/teka.2661.
Der volle Inhalt der QuelleAnnotation:
The article is based on the author's search for the relationship between painting and architecture and experiencing the space in the context of using its potential for painting exhibition. This is a summary of research carried out in 2017- 2019 at the Faculty of Architecture of Poznań University of Technology, entitled "Artwork in architecture".
This project aimed to explore the relationship between art and architectural space. Participation in the collective exhibitions, as a part of the first research stage, and the implementation of individual exhibitions in the second stage of the project, have become the basis for author's decisions in this field. The research findings were included in two monographs by a two-person research team, made up of prof. dr hab. Andrzej Maciej Łubowski and dr hab. Joanna Stefańska, titled "SPACES, artwork in architecture" and "RELATIONS, artwork in architecture", PUT Publishing House 2019, 2020. Searching for the best means of recording meaning and emotions connected with the theme of landscape undertaken by the author as well as the thoroughly analysed issue of the functioning of paintings series in the context of the exhibition space, translate into the process of exploration a relationship between artwork and architecture. The exhibition of paintings and selection of proper exhibition space affect an artwork’s reception. The exhibition’s design should exhaust the relationship between contemplation and dialogue in both the painting space and the broader architectural context. It can be stated that the mutual relationship of the artwork and the architectural space surrounding it affects the artwork’s meaning and aesthetics as well as the architecture’s perception.
12
Kugusheva, Alexandra Yu. „Saved art: Simferopol Art Gallery in evacuation (1941–1944)“. Issues of Museology 13, Nr. 1 (2022): 57–64. http://dx.doi.org/10.21638/spbu27.2022.104.
Der volle Inhalt der QuelleAnnotation:
The article is devoted to the evacuation of Crimean museum collections in October, 1941. The fate of the lost pre-war collection of the Simferopol Art Gallery, which did not have time to leave the Crimea and was destroyed by fire in Kerch port, is well known. At the same time, a temporary exhibition made up of the works of the Simferopol Gallery was evacuated from Feodosiya Art Gallery along with the masterpieces of the great marine painter Ivan Aivazovsky. Prominent museum figures Nikolay S.Barsamov and Jan P.Birzgal managed to send the exhibits to Novorossiysk, then to Krasnodar. Contrary to the plans of the Committee for the Arts to take these exhibits to Stalingrad, both Crimean galleries were sent to Yerevan. At the end of 1941, Birzgal compiled a list of 50 salvaged exhibits of the Simferopol Art Gallery. Soviet art of the 1920s–1930s is represented by the works of Igor E.Grabar, Mitrofan B.Grekov, Vladimir A.Eyfert, Peter P.Konchalovsky. The Russian landscape is represented by Vasiliy V.Baksheev, Pavel A.Radimov, Vasiliy V.Rozhdestvensky. From creative trips to Central Asia, Altai and Pamir, new works are brought by Peter I.Kotov and Peter N.Staronosov, Nikolay G.Kotov, Peter D.Pokarzhevsky, Sergei I.Pichugin. The work of Barsamov, the author of the portrait of the artist Bogaevsky (1940), is connected with Crimea. Among the rescued works are the works of Konstantin F.Bogaevsky himself, several of his industrial landscapes, and sketches for the panel Crimea (1921); Bakhchisarai landscapes by Alexander V.Kuprin, Sudak view by Alexander F.Gaush. In the postwar period, the museum workers established the affiliation of works by Ilya E.Repin, Joseph I.Oleshkevich, and Henri-Francois Riesener to the pre-war collection.
13
AKERMAN, Oleksandr, und Nadia BEDRINA. „THE APPLICATION OF PHOTOGRAMMETRY IN AUDIO-VISUAL ART (ON THE EXAMPLE OF THE EDUCATIONAL PROFESSIONAL PROGRAM “ADVERTISING AND VIDEO ART” AT KSADA)“. HUDPROM: The Ukrainian Art and Design Journal 2023, Nr. 2 (15.10.2023): 108–14. http://dx.doi.org/10.33625/hudprom2023.02.108.
Der volle Inhalt der QuelleAnnotation:
Over the past few years, photogrammetry has attracted the attention of researchers worldwide in different aspects and branches of science. Ecological issues and environmental changes update research related to the digitisation and preservation of cultural heritage and museum exhibitions. Photogrammetric methods also find their place in video production – creating virtual doubles of people, buildings, or landscapes. This article brings up the question of the use of photogrammetric methods in the educational process at the educational professional program “Advertising and video Art” specialty 021 Audio-visual Art of the first degree of higher education at KSADA. Selected and detailed knowledge and skills obtained as a result of studying mandatory educational components (processing of static images, photography theory, work with video editors, compositing programs, colour theory, colour correction, grading, theory and practice of 3D modelling programs), which contribute to the study of the discipline of choice “Fundamentals of photogrammetry”. Following the analysis, the technology to create a photogrammetric project is considered step by step, the steps of this process are outlined and described, namely: the shooting process, processing of the captured material, creating a cloud of points, polygonization of the three-dimensional model, retopology of the model, texturing and texture baking. The main fields of application of the photogrammetry method in audio-visual art are identified: “practical” photogrammetry (digital conservation of architectural and sculpture monuments, copy of museum exhibitions); construction of models for further use in the production of films and videos; using photogrammetric models as objects of artistic creativity, including advertising; the use of unusual textures, perspectives, physical processes that cannot be implemented in the real world; creating large-scale copies of historic buildings and 3D printing sculptures.
14
Zotti, Georg, Florian Schaukowitsch und Michael Wimmer. „The Skyscape Planetarium“. Culture and Cosmos 21, Nr. 1 and 2 (2017): 269–81. http://dx.doi.org/10.46472/cc.01221.0629.
Der volle Inhalt der QuelleAnnotation:
Communicating scientific topics in state of the art exhibitions frequently involves the creation of impressive visual installations. In the exhibition ‘STONEHENGE. A Hidden Landscape.’ in the MAMUZ museum for prehistory in Mistelbach, Lower Austria, LBI ArchPro presents recent research results from the Stonehenge Hidden Landscape Project. A central element of the exhibition which extends over two floors connected with open staircases is an assembly of original-sized replica of several stones of the central trilithon horseshoe which is seen from both floors. In the upper floor, visitors are at eye level with the lintels, and on a huge curved projection screen which extends along the long wall of the hall they can experience the view out over the Sarsen circle into the surrounding landscape. This paper describes the planning and creation of this part of the exhibition, and some first impressions after opening.
15
Zotti, Georg, Florian Schaukowitsch und Michael Wimmer. „The Skyscape Planetarium“. Culture and Cosmos 21, Nr. 0102 (Oktober 2017): 269–81. http://dx.doi.org/10.46472/cc.01221.0229.
Der volle Inhalt der QuelleAnnotation:
Communicating scientific topics in state of the art exhibitions frequently involves the creation of impressive visual installations. In the exhibition ‘STONEHENGE. A Hidden Landscape.’ in the MAMUZ museum for prehistory in Mistelbach, Lower Austria, LBI ArchPro presents recent research results from the Stonehenge Hidden Landscape Project. A central element of the exhibition which extends over two floors connected with open staircases is an assembly of original-sized replica of several stones of the central trilithon horseshoe which is seen from both floors. In the upper floor, visitors are at eye level with the lintels, and on a huge curved projection screen which extends along the long wall of the hall they can experience the view out over the Sarsen circle into the surrounding landscape. This paper describes the planning and creation of this part of the exhibition, and some first impressions after opening.
16
ROCACIUC, Victoria. „GRAPHIC AND PAINTING CREATION SIGNET BY THE MOLDOVAN VISUAL ARTIST ION SFECLĂ“. ART Space 1, Nr. 4 (2024): 9–18. http://dx.doi.org/10.28925/2519-4135.2024.41.
Der volle Inhalt der QuelleAnnotation:
The visual artist Ion Sfeclă (19.11.1941-27.05.2020) created several valuable works in various techniques of graphic art and easel painting. In parallel with his creative activity, he worked as a teacher at the Republican College of Fine (Visual) Arts “Alexandru Plămădeală” in Chisinau. Participating in various exhibitions, creative camps, international and national, the artist Ion Sfeclă manifested himself as a talented author of thematic compositions, landscapes, still-lifes and portraits. His watercolor landscapes and etchings, as well as the sketches of illustrations created in the same technique are of the great expressive force. The National Museum of Art of Moldova preserves the series of etching compositions dedicated to the Mihai Eminescu subject, dating from 1983, which can be analyzed as sketches of illustrations and those dedicated to the old city (Chisinau), from 1991. In creation the artist tended to approach philosophically the subjects chosen through associations, metaphors and symbols. The visual artist Ion Sfeclă had an expressive, fresh and at the same time rational artistic vision, managing to unite the content with the plastic form, composition and color. At the heart of his creative pursuits were the images and faces of people, the landscapes, the still0lifes, the rhythm and decorativism, the simplicity and stylization inspired by the folk wisdom and the beauty of the immediate reality. The artist has taken an interesting path from socialist realism to abstract art, from the painting to graphics works keeping the expressive charm of emotions in his creation. Ion Sfeclă’s creation denotes artistic refinement, the poetic sense of nature and colors, a free exploration of graphic and pictorial processes, in combination with original compositional ideas.
17
Oikarinen-Jabai, Helena. „Young Finnish People of Muslim Background: Creating “Spiritual Becomings” and “Coming Communities” in Their Artworks“. Open Cultural Studies 3, Nr. 1 (01.02.2019): 148–60. http://dx.doi.org/10.1515/culture-2019-0013.
Der volle Inhalt der QuelleAnnotation:
Abstract In this essay I discuss artworks by a sample of young people with a Muslim background who participated in the Numur—Islam and I exhibition, which was organised as part of the Young Muslims and Resilience (2016-2018) research project. Art exhibitions were staged in November 2017 and March 2018 with eighteen young adult participants/co-researchers. Their artworks included video and textile installations, photo collages, paintings, calligraphy and poetry, dealing with issues such as faith, dialogues between religious communities, gender, belonging and sexual diversity. Here I concentrate on some works by the participants who stated that they leaned on Sufism or spirituality in their working processes, or whose works expressed qualities that may be reflected through the spectrum in which rhizomes of Sufi ways of understanding human existence in the world are present. In their artworks, the participants created fresh ideas about possible encounters, which I interpret as being linked to modern and postmodern ideas of relationships between spaces and “becoming communities.” Likewise, these ideas can be traced to our common philosophical heritage, which is partly based on spiritual mystic thought and practices of different religions. By using art, the participants could embody this legacy, create spaces for themselves and open landscapes for discussions between Muslim believers and people with different religions and worldviews.
18
Lazzeretti, Cecilia. „A Landscape Never Goes Out of Style. Diachronic Lexical Variation in Exhibition Press Announcements“. HERMES - Journal of Language and Communication in Business 27, Nr. 52 (06.01.2017): 107. http://dx.doi.org/10.7146/hjlcb.v27i52.25138.
Der volle Inhalt der QuelleAnnotation:
The paper focuses on diachronic lexical variation in a professional textual genre which has gained growing importance over time in the fi eld of museum public relations and art discourse: exhibition press announcements (EPAs). The aim of the analysis is to investigate the language of EPAs from a diachronic perspective in order to identify word frequencies showing large increases or decreases, or stability in word frequencies. Baker’s (2011) method to distinguish variation over time across multiple corpora was applied and particular attention was placed on the presence of “lockwords”, i.e. words “relatively static in terms of frequency” (Baker 2011: 66). The analysis is carried out on a corpus of EPAs dating from 1950 to 2009 issued by American and British museums. The study reports on a number of trends relating to linguistic and cultural change of EPAs, including the emergence of new criteria in assessing the value of artists and artworks despite a certain consistency in terms of subjects, the shift from one-item to multi-item exhibitions and the preference for more vivid and straight-forward descriptions. For instance, the frequency of the noun landscape has remained stable over time, suggesting that this subject is particularly consistent in art displays, quite a sort of classic, that never grows old, while the artist's career – a word showing a clear pattern of growth – has become particularly valuable over time for museum professionals in charge of exhibitions.
19
Karina, Sarkissova. „Interconnectedness: Entangled curation and dance in unsettled landscapes: An interview with DACE“. Maska 37, Nr. 3 (01.12.2022): 87–94. http://dx.doi.org/10.1386/maska_00132_1.
Der volle Inhalt der QuelleAnnotation:
DACE is a platform for curatorial and choreographic explorations on dance and choreography in a more-than-human world, founded by Rickard Borgström and Rebecca Chentinell. Central to the duo is how the body functions as an interface towards the surroundings. Consequently, they collaborate with artists engaged in the rapid environmental, technological and political changes, exploring a multitude of bodily approaches in questioning how these affect our actions, thinking and artistic practices. DACE traces new bodily sensitivities and interconnections between human, technology and nature in a more-than-human environment. DACE seeks new aesthetic paradigms in the shifting nature of ecological systems in the geological era of human-made nature. Since 2019, DACE has created gatherings, symposiums, developed as well as presented exhibitions and art works in different media and contexts. The works are exploring ecological and technological planes in theatres and galleries, an exploration of what post-human dance can be in a postanthropocentric worldview. The questions are posed by curator and choreographer Karina Sarkissova in a meeting of three independent dance curators based in Sweden and Finland.
20
Bulavs, Vilnis. „Kārlis Cemiņš – mākslinieks un pedagogs“. Scriptus Manet: humanitāro un mākslas zinātņu žurnāls = Scriptus Manet: Journal of Humanities and Arts, Nr. 12 (21.12.2020): 89–113. http://dx.doi.org/10.37384/sm.2020.12.089.
Der volle Inhalt der QuelleAnnotation:
Kārlis Celmiņš (1894–1973) is one of the less famous Latvian artists. He was born in Cēsis as the fifth, the last child in his family, the only son. He received an artistic education at Stroganov School of Arts in Moscow. Still studying at this school, Celmiņš took part in the IV Exhibition of Latvian Art in Riga in 1914. After he had finished school, he was drafted into the Russian Empire’s army, where he was assigned a painter decorator of his regiment. Celmiņš returned to Latvia in 1918. After working as a teacher of drawing in Madona for two years, he moved to Jelgava. There he worked as a teacher of arts in Jelgava Classic Gymnasium. During the time of independent Latvia, Celmiņš actively took part in Jelgava’s artistic life. He regularly displayed his works at society’s “Zaļā Vārna” and other exhibitions and organized exhibitions himself together with students of the gymnasium. Celmiņš had many-sided artistic interests. He was not only painting and drawing but also doing graphics, applied arts, making silver jewelry, and writing poems in his leisure time. The monument devoted to the Latvian soldiers who fell in action in 1916–1917 was made after the artist’s project. Almost all works of the master were destroyed in the ruins of Jelgava during the war in 1944. Celmiņš felt very sorry about this loss. The artist and his wife and children moved to Dundaga after Jelgava was destroyed, but when the war was over, they settled in Tukums. There Celmiņš worked in a ceramics workshop as a decorator of ready-made plates and dishes. In 1946 the artist was invited to work at the School of Applied Arts in Liepāja. The rest of his life Celmiņš spent in this city. The artist painted portraits, landscapes, still-lifes, and decorative compositions with plants, flowers, and the sea all his creative life. He did his works with oil, watercolours, colour chalks, and pencil. The life of the free-thinking artist was not easy during the Soviet occupation. Many people did not understand the art of Celmiņš. At the end of his life, the master organised several personal exhibitions in Liepāja, Jelgava, Cēsis. Many interesting paintings of flowers done with watercolours, pastel, and colour oil chalks were displayed in his last exhibition, “Flowers” in 1973. Those were the paintings of gladioli, irises, calla lilies, and other flowers made during the last years of his life. Celmiņš died in Liepāja on 16 October 1973, leaving a wide range of works of his individual, unique style.
21
Чирков, В. Ф. „Zonal and regional exhibitions in Siberia from the Soviet period to the present day: gains and losses“. Iskusstvo Evrazii [The Art of Eurasia], Nr. 2(29) (30.06.2023): 116–39. http://dx.doi.org/10.46748/arteuras.2023.02.014.
Der volle Inhalt der QuelleAnnotation:
Статья посвящена развитию сибирского изобразительного искусства. Ее целью является анализ основных этапов его развития, а также сложных и разнородных сегодняшних тенденций в сибирском искусстве на примере ведущих выставок, проходивших в Сибири начиная с советского периода и до настоящего времени. В статье использовались исторический метод и ряд искусствоведческих методов. Охарактеризованы основные выставки, проходившие за указанный период; выявлены внешние и внутренние факторы, влияющие на развитие современного сибирского искусства. Отмечено, во-первых, что более чем шестидесятилетнее существование зональных и региональных выставок обогатило национальную культуру; во-вторых, и в современном искусстве, в картинах, графических произведениях, скульптуре и декоративном искусстве сохранились многие традиции, остались образы, отражающие универсальные культурные ценности. В-третьих, ведущими жанрами в искусстве Сибири остаются картина, портрет, пейзаж, натюрморт; в-четвертых, следует отметить возрождение православного иконописания, развитие прикладного искусства народов Сибири и позитивные тенденции в искусствоведении. The article is devoted to the development of the Siberian fine arts. Its purpose is to analyze the main stages of its development, as well as the complex and diverse current trends in Siberian art on the example of the leading exhibitions held in Siberia from the Soviet period to the present. The article used the historical method and a number of art criticism methods. The main exhibitions that took place during the specified period are characterized; external and internal factors influencing the development of modern Siberian art are revealed. It is noted, firstly, that more than sixty years of existence of zonal and regional exhibitions has enriched the national culture; secondly, in modern art, in paintings, graphic works, sculpture and decorative art, many traditions have been preserved, images that reflect universal cultural values have remained. Thirdly, painting, portrait, landscape, still life remain the leading genres in the art of Siberia; fourthly, it should be noted the revival of Orthodox icon painting, the development of applied art of the peoples of Siberia and positive trends in art history.
22
Avery-Quash, Susanna, und Lucy Davis. „New perspectives on Rubens’ landscapes: Separation and reunion of Het Steen and The rainbow landscape“. Oud Holland – Journal for Art of the Low Countries 136, Nr. 2-3 (06.09.2023): 70–88. http://dx.doi.org/10.1163/18750176-1360203002.
Der volle Inhalt der QuelleAnnotation:
The articles in this Oud Holland special issue ‘New perspectives on Rubens’ landscapes’ reassess Peter Paul Rubens’ late landscapes from a number of new perspectives. The occasion for this was the landmark exhibition Rubens: Reuniting the great landscapes held at the Wallace Collection, London from 3 June to 15 August 2021, preceded by a conference ‘Rubens’ great landscapes’ held at the Wallace Collection on 17-18 May 2021. The exhibition was in fact a reunion of A view of Het Steen in the early morning (c. 1636) from the National Gallery, London and The rainbow landscape (c. 1636) from the Wallace Collection – two great panoramic landscapes that were created as a pendant pair, but which had been separated for more than two hundred years. This introductory essay explores the journeys and changing ownership of the two paintings from after their separation in 1803 to the time of their reunion in 2021. It investigates the growing fame of the companion pieces in Britain in the nineteenth century, where the greatest proportion of Rubens’ landscapes were already to be found. It focuses on the decisive moment in the history of the two paintings: the auction of the collection of the third Earl of Orford in 1856, when the chance was lost to reunite the pair at the National Gallery, and the negative press that consequently ensued against the winning bid (4th Marquess of Hertford) and the outbid (the leading national collection of old masters) alike. The authors investigate the fate of Het Steen, from its acquisition by Lady Margaret Beaumont that effectively separated the pair, its role in Sir George Beaumont’s collection and its brief reunion with its companion piece at the British Institution of 1815. As part of the Beaumont Gift, it is one of the foremost paintings within the earliest collection of the National Gallery. The rainbow landscape, on the other hand, passed through a succession of private collections, where it became increasingly visible, engraved and discussed as one of Britain’s greatest masterpieces. The 1856 purchase was a possible turning point for Lord Hertford, the reclusive collector, who at this stage was considering what to do with his collection after his death. This essay charts the trajectory of Rubens’ two great landscapes from the ownership of dealers, to private collectors, exhibitions, and finally to public museums, with increased visibility at each stage of their journey. Originally painted by Rubens for his own collection, to be displayed either on the walls of his manorial castle, Het Steen, itself or his Antwerp home, they would have been seen by a range of visitors, including artists and collectors. Two centuries later, they were to be found on the walls of Coleorton Hall and Wolterton Hall, two grand country houses in England. During periods of leisure spent at the invitation of the owners of these homes, later artists were able to contemplate these works and the surrounding landscapes and draw inspiration from them, and formulate their own artistic responses, in much the same spirit of ‘otium’ as outlined by Corina Kleinert in her essay. In keeping with the themes of this special issue, their history in Britain encompasses both the ‘prosaic’, transactional account of how they were sold, and the ‘poetic’ account of how artists travelled some distance to see the works in situ, to copy and be inspired by them. The pattern therefore complements the earlier provenance of these works, as part of a story of a gradual transferral from the private to the public domain.
23
Ļaviņa, Dace. „Symbiosis of Modernisation and National Identity in the Legacy of the “Baltars” (Baltic Art) Porcelain Painting Workshop, 1924–1930“. Art History & Criticism 15, Nr. 1 (01.12.2019): 37–55. http://dx.doi.org/10.2478/mik-2019-0003.
Der volle Inhalt der QuelleAnnotation:
Summary This article is dedicated to the “Baltars” collective porcelain painting workshop (1924–1930), founded in Riga, Latvia by three modernist artists: painters Romans Suta (1896–1944) and Aleksandra Beļcova (1892–1981) and graphic artist Sigismunds Vidbergs (1890–1970).The “Baltars” phenomenon is significant because of the innovations that the artists brought to the landscape of Latvian porcelain manufacturing and its exhibition activities in the 1920s and the early 1930s, both local and in the Baltic Sea region—Lithuania, Estonia, and Sweden. The article investigates “Baltars” foundation and closure, artistic activities of the company, its attempts to enter the international art and trade scene, and its accomplishments. Special attention is paid to the amalgamation of modernisation, nationalism, and state-building manifested in their paintings on porcelain. Due to the present growing interest in porcelain art in Latvia, triggered by numerous exhibitions and publications, discourse on the “Baltars” phenomenon has become topical.
24
Stelmashchuk, Halyna. „Prince Vsevolod Karmazyn-Kakovsky scientist, teacher, artist“. Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2022, Nr. 1 (15.01.2022): 137–52. http://dx.doi.org/10.33625/visnik2022.01.137.
Der volle Inhalt der QuelleAnnotation:
The article is devoted to the creative work of the Ukrainian Diaspora scientist, teacher, historian of art, architect and graphic artist, Prince Vsevolod Karmazyn-Kakovsky (1898–1988), about whom there is very little information in Ukraine. The study emphasizes his Ukrainian roots. The publication is based on materials from the home archive of Ph.D., sculptor and artist Kristina Kishakevich-Kachaluba from Switzerland. Prince Vsevolod Karmazyn-Kakovsky studied and lived in Ukraine until 1944. In 1944 he left Ukraine for permanent residence in Romania. As a teacher he organized faculties of landscape architecture in universities in Ukraine (Odessa, Kharkiv) and Romania (Iasi). From 1978, professor lived and worked in Italy, then in France, Germany, lectured on the history of Ukrainian art, cooperated with Ukrainian research institutions in Western countries. As an artist he created and implemented the projects of health and recreational complexes on the Black Sea coast in Ukraine and Romania, which combined architecture with natural landscape, contributing to human health and longevity, and embodied the principles he established for enriching the expressiveness of landscapes. The Prince founded the Research Institute of Landscape Architecture (1921–1981), which worked in Ukraine, and then in Romania. This institution was focused on combining and harmonizing endogenous (internal) factors of human longevity with exogenous (external) factors — the synthesis of nature with art. The scientist argued that the tree crown shapes (triangular, ellipse-like, round) differently influence the mood and psychological state of a person, therefore, developed special health boxets in sanatorium complexes. This method of healing people, proposed by V. Karmazyn-Kakovsky in 1971–1981, was adopted in Czechoslovakia, Poland, France, Italy, Germany, and the United States of America. As a scientist he published more than 200 scientific works, including Monographs devoted to Ukrainian art, Lemkivska and Boykovska churches, art of Ukrainian houses, Ukrainian books. He designed his own works and covers for his books. He was skilled in the technique of pencil, sepia, watercolor, skillfully conveyed the space in the landscape, was perfect in the technique of pen and ink. The artist’s graphics is dominated by subjects closely related to his scientific works in the field of art history. Karmazyn-Kakovsky supplements almost all of his works with illustrations, headpieces, stylized folk motifs, architectural historical monuments of Romanian and Ukrainian cultures, valuable for the history of Ukrainian art, and landscape projects. V. Karmazyn-Kakovsky made more than 1200 drawings of wooden Ukrainian churches. He had personal exhibitions in Warsaw, Rome, Paris, Munich.
25
Cai, Gangwei, Baoping Zou, Xiaoting Chi, Xincheng He, Yuang Guo, Wen Jiang, Qian Wu, Yujin Zhang und Yanna Zhou. „Neighborhood Spatio-Temporal Impacts of SDG 8.9: The Case of Urban and Rural Exhibition-Driven Tourism by Multiple Methods“. Land 12, Nr. 2 (29.01.2023): 368. http://dx.doi.org/10.3390/land12020368.
Der volle Inhalt der QuelleAnnotation:
Rural arts events (triennials/festivals) are mainly aimed at local and regional revitalization. This exhibition-driven tourism (unlike traditional festivals, conferences, and exhibitions) has existed for more than 20 years in Japan. The curators of exhibition-driven tourism hope that these events can promote the economy and stop population decline as a result of the aging population. Therefore, this paper attempts to evaluate the effects of urban and rural arts event tourism in local and neighborhood areas in Niigata, Japan from the perspective of SDG 8.9. The Echigo-Tsumari Art Triennial and Water and Land Niigata Art Festival were chosen as case studies. Panel data (1997–2019) concerning tourists, income, and population in Niigata were evaluated using multiple empirical methods with descriptive correlation statistics (simple linear regression (SLR) and one-way ANOVA) and spatial analysis (Moran’s I). Through multiple-method analysis, the positive impacts of urban and rural arts event tourism in local and neighborhood areas in relation to Sustainable Development Goal 8.9 were evaluated. The findings presented herein have meaningful implications for tourism academia and the industry in general.
26
Hulme, Charles. „John Cassidy, Manchester Sculptor, and his Patrons: Their Contribution to Manchester Life and Landscape“. Bulletin of the John Rylands Library 89, Nr. 1 (März 2012): 207–45. http://dx.doi.org/10.7227/bjrl.89.1.9.
Der volle Inhalt der QuelleAnnotation:
John Cassidy, born in Ireland and trained as a sculptor at the Manchester School of Art, was a popular figure in the Manchester area during his long career. From 1887, when he spent the summer modelling for visitors at the Royal Jubilee Exhibition, to the 1930s he was a frequent choice for portrait busts, statues and relief medallions. Elected to the Manchester Academy of Fine Arts, he also created imaginative works in all sorts of materials, many of which appeared at the Academys annual exhibitions. He gained public commissions from other towns and cities around Britain, and after World War I created several war memorials. This essay examines his life and work in Manchester, with particular reference to two major patrons, Mrs Enriqueta Rylands and James Gresham. A list of public works still to be seen in Greater Manchester is included.
27
Kannike, Anu, und Ester Bardone. „Köögiruum ja köögikraam Eesti muuseumide tõlgenduses“. Eesti Rahva Muuseumi aastaraamat, Nr. 60 (12.10.2017): 34–60. http://dx.doi.org/10.33302/ermar-2017-002.
Der volle Inhalt der QuelleAnnotation:
Kitchen space and kitchen equipment as interpreted by Estonian museums Recent exhibitions focusing on kitchen spaces – “Köök” (Kitchen) at the Hiiumaa Museum (September 2015 to September 2016), “Köök. Muutuv ruum, disain ja tarbekunst Eestis” (The Kitchen. Changing space, design and applied art in Estonia) at the Estonian Museum of Applied Art and Design (February to May 2016) and “Süüa me teeme” (We Make Food) at the Estonian National Museum (opened in October 2016) – are noteworthy signs of food culture-related themes rearing their head on our museum landscape. Besides these exhibitions, in May 2015, the Seto farm and Peipsi Old Believer’s House opened as new attractions at the Open Air Museum, displaying kitchens from south-eastern and eastern Estonia. Compared to living rooms, kitchens and kitchen activities have not been documented very much at museums and the amount of extant pictures and drawings is also modest. Historical kitchen milieus have for the most part vanished without a trace. Estonian museums’ archives also contain few photos of kitchens or people working in kitchens, or of everyday foods, as they were not considered worthy of research or documentation. The article examines comparatively how the museums were able to overcome these challenges and offer new approaches to kitchens and kitchen culture. The analysis focuses on aspects related to material culture and museum studies: how the material nature of kitchens and kitchen activities were presented and how objects were interpreted and displayed. The research is based on museum visits, interviews with curators and information about exhibitions in museum publications and in the media. The new directions in material culture and museum studies have changed our understanding of museum artefacts, highlighting ways of connecting with them directly – physically and emotionally. Items are conceptualized not only as bearers of meaning or interpretation but also as experiential objects. Kitchens are analysed more and more as a space where domestic practices shape complicated kitchen ecologies that become interlaced with sets of things, perceptions and skills – a kind of integrative field. At the Estonian museums’ exhibitions, kitchens were interpreted as lived and living spaces, in which objects, ideas and practices intermingle. The development of the historical environment was clearly delineated but it was not chronological reconstructions that claimed the most prominent role; rather, the dynamics of kitchen spaces were shown through the changes in the objects and practices. All of the exhibits brought out the social life of the items, albeit from a different aspect. While the Museum of Applied Art and Design and the Estonian Open Air Museum focused more on the general and typical aspects, the Hiiumaa Museum and the National Museum focused on biographical perspective – individual choices and subjective experiences. The sensory aspects of materiality were more prominent in these exhibitions and expositions than in previous exhibitions that focused on material culture of Estonian museums, as they used different activities to engage with visitors. At the Open Air Museum, they become living places through food preparation events or other living history techniques. The Hiiumaa Museum emphasized the kitchen-related practices through personal stories of “mistresses of the house” as well as the changes over time in the form of objects with similar functions. At the Museum of Applied Art and Design, design practices or ideal practices were front and centre, even as the meanings associated with the objects tended to remain concealed. The National Museum enabled visitors to look into professional and home kitchens, see food being prepared and purchased through videos and photos and intermediated the past’s everyday actions, by showing biographical objects and stories. The kitchen as an exhibition topic allowed the museums to experiment new ways of interpreting and presenting this domestic space. The Hiiumaa Museum offered the most integral experience in this regard, where the visitor could enter kitchens connected to one another, touch and sense their materiality in a direct and intimate manner. The Open Air Museum’s kitchens with a human face along with the women busy at work there foster a home-like impression. The Applied Art and Design Museum and the National Museum used the language of art and audiovisual materials to convey culinary ideals and realities; the National Museum did more to get visitors to participate in critical thinking and contextualization of exhibits. Topics such as the extent to which dialogue, polyphony and gender themes were used to represent material culture in the museum context came to the fore more clearly than in the past. Although every exhibition had its own profile, together they produced a cumulative effect, stressing, through domestic materiality, the uniqueness of history of Estonian kitchens on one hand, and on the other hand, the dilemmas of modernday consumer culture. All of the kitchen exhibitions were successful among the visitors, but problems also emerged in connection with the collection and display of material culture in museums. The dearth of depositories, disproportionate representation of items in collections and gaps in background information point to the need to organize collection and acquisition efforts and exhibition strategies in a more carefully thought out manner and in closer cooperation between museums.
28
Rashidova, Feruza Ulugbekovna. „The Technology Of Creating Topiary Compositions With The Participation Of Ornamental Shrubs - Frame Topiary In The “Green Art” Style“. American Journal of Agriculture and Biomedical Engineering 03, Nr. 05 (22.05.2021): 39–44. http://dx.doi.org/10.37547/tajabe/volume03issue05-08.
Der volle Inhalt der QuelleAnnotation:
To create a unique design on your sites, in parks, recreation centers, playgrounds, to create amazing entrance groups, you can use landscape figures - topiary. Using decorative figures, depending on your wishes and fantasies, you can create fabulous corners for children using the figures of fabulous characters; picturesque corners with animals, creating whole compositions: for example, using a family of bears, rabbits or roe deer, you get an exceptional view of your site, which will delight you and your guests throughout the whole season; cozy corners with benches, etc. The fashion for ornamental gardens, ponds and rocky slides will never disappear from our garden plots. Cutting shrubs and trees in the form of various shapes is now in vogue. Interest in topiary art today is starting to gain momentum more and more, exhibitions of landscape art cannot do without elements of topiary compositions.
29
Romanova, E. O. „Italian Landscape in the Art of Konstantin Gorbatov“. Art & Culture Studies, Nr. 2 (Juni 2022): 194–217. http://dx.doi.org/10.51678/2226-0072-2022-2-194-217.
Der volle Inhalt der QuelleAnnotation:
Based on the first widely presented in Russia exhibition of works by the Russian emigrant artist Konstantin Ivanovich Gorbatov (1876–1945) organized in 2021 by the State Museum of History and Art ‘New Jerusalem’ with the participation of museum and private collections, the author analyzes a part of the master’s pictorial heritage dedicated to Italy. A graduate of the Imperial Academy of Arts and a follower of the Russian impressionist tradition, Gorbatov first came to Italy during his retirement trip in 1912. There he was able to feel the power of color and the influence of the light and aerial environment on the transformation of color, and forever remained faithful to the Italian landscape. Having left their homeland in 1922, Gorbatov and his wife settled in Berlin but made numerous journeys to Italy, where he always worked a lot. While staying in Capri, he would travel along the Italian coast, creating his chronicle of charming towns scattered on the coastal cliffs and poetic landscapes inspired by the emerald color of the sea and the bright sun. The subject of the research is the paintings by K.I. Gorbatov dedicated to Italy and his Notes on Art and Life that provide comments on the peculiarities of the master’s perception of nature, vision of color and balance of colors, and his work with color. The research aims to study K.I. Gorbatov’s works in the context of life and work of the Russian artistic emigration in Europe in the second quarter of the 20th century through the analysis of his Italian landscapes, and to analyze the master’s creative method using archival materials. This will contribute to raising understanding and awareness of his art among Russian viewers who were deprived of the opportunity to familiarize themselves with the artist’s work for a long time. The development of the declared research topic involves the application of the interdisciplinary approach, archival, empirical, and iconographic methods, and comparative, artistic and stylistic analyses.
30
Tsakiri, Efrossyni, Maria Markou, Konstantinos Moraitis und Helene Haniotou. „Local development and cultural landscapes: getting to know the inaccessible villages of the greek war of independence“. E3S Web of Conferences 274 (2021): 01033. http://dx.doi.org/10.1051/e3sconf/202127401033.
Der volle Inhalt der QuelleAnnotation:
The cultural landscapes have a dual, material and intangible nature being the result of interactions between people and nature through time. Considering that its understanding requires integrated analysis techniques we experimented a mapping method in «Revolutionary Palimpsests», a research project investigating the cultural landscapes of settlements that played an important role in the Greek War of Independence. Combining design, cartography and visual arts and focusing on socio-spatial complexities, our researchers produced maps of both artistic and informative nature revealing the mnemonic traces of such a historical event on those settlements. Maps’ exhibition in a visual art event is expected to sensitize the public to that local heritage. We argue that the protection and promotion of the cultural landscape plays a significant role in development, strengthening the local identity and commitment, also enhancing the attractiveness, that is essential especially for inaccessible settlements that are facing development deficiencies, such as many mountainous and island settlements in Greece. From about 150 mapped «revolutionary settlements» we will refer below to the example of two inaccessible areas, Souli in Epirus and Mani (Maina) in Peloponnese, exploring the question of whether the protection and promotion of their cultural landscape could contribute to development.
31
Butler, Sally. „Inalienable Signs and Invited Guests: Australian Indigenous Art and Cultural Tourism“. Arts 8, Nr. 4 (06.12.2019): 161. http://dx.doi.org/10.3390/arts8040161.
Der volle Inhalt der QuelleAnnotation:
Australian Indigenous people promote their culture and country in the context of tourism in a variety of ways but the specific impact of Indigenous fine art in tourism is seldom examined. Indigenous people in Australia run tourism businesses, act as cultural guides, and publish literature that help disseminate Indigenous perspectives of place, homeland, and cultural knowledge. Governments and public and private arts organisations support these perspectives through exposure of Indigenous fine art events and activities. This exposure simultaneously advances Australia’s international cultural diplomacy, trade, and tourism interests. The quantitative impact of Indigenous fine arts (or any art) on tourism is difficult to assess beyond exhibition attendance and arts sales figures. Tourism surveys on the impact of fine arts are rare and often necessarily limited in scope. It is nevertheless useful to consider how the quite pervasive visual presence of Australian Indigenous art provides a framework of ideas for visitors about relationships between Australian Indigenous people and place. This research adopts a theoretical model of ‘performing cultural landscapes’ to examine how Australian Indigenous art might condition tourists towards Indigenous perspectives of people and place. This is quite different to traditional art historical hermeneutics that considers the meaning of artwork. I argue instead that in the context of cultural tourism, Australian Indigenous art does not convey specific meaning so much as it presents a relational model of cultural landscape that helps condition tourists towards a public realm of understanding Indigenous peoples’ relationship to place. This relational mode of seeing involves a complex psychological and semiotic framework of inalienable signification, visual storytelling, and reconciliation politics that situates tourists as ‘invited guests’. Particular contexts of seeing under discussion include the visibility of reconciliation politics, the remote art centre network, and Australia’s urban galleries.
32
Said Ahmad @ Syed Ahmad, Siti Humaini, und Muhamad Rozali Othman. „Covid-19 Pandemic: Zainon Abdullah’s Expression Through Artworks“. Idealogy Journal 5, Nr. 2 (28.09.2020): 131–40. http://dx.doi.org/10.24191/idealogy.v5i2.235.
Der volle Inhalt der QuelleAnnotation:
The outbreak of the Covid-19 Pandemic has gravely impacted various sectors, such as the economy, tourism and education industries. It is also affecting social activities and the standards of everyday life. The effects it has on the art community includes the suspension of many art exhibitions and even the cancellation of these events when the MCO (Movement Control Order), designed to curb and contain the spread of the virus, was implemented by the government. In response, an initiative by prominent local artist Zainon Abdullah to hold a virtual exhibition of his work began. Throughout the partial lockdown, he delivers his artistic expressions through the lens of a world coloured by Covid-19. This study has identified certain themes like nature, the divine, environmental awareness, submission and resurrection in his artwork as extensions of the artist’s emotional landscape. Research concludes that this series of Zainon Abdullah’s artworks can be classified by phases wherein each phase represents a different order of shapes, meanings and messages while still operating within the restrictions of Covid-19. Thus, Zainon Abdullah’s work has become a chronologically recorded documentation of an artist’s reaction towards a momentous event in world history.
33
Kolenda, Karolina. „The Grass is Greener: Władysław Hasior in an Ecocritical Perspective“. Ikonotheka, Nr. 30 (28.05.2021): 155–71. http://dx.doi.org/10.31338/2657-6015ik.30.8.
Der volle Inhalt der QuelleAnnotation:
The text offers an analysis of selected works by Władysław Hasior from an ecocritical perspective. The focus is placed on Hasior’s best-known work, The Organ, as well as on several parts of his Photo Notebook. The analysis seeks to demonstrate that an application of an ecocritical perspective to the reading of Hasior’s work may help fill in the blanks in the environmental history of art in Poland. Several recent publications and exhibitions that concern the relationship between art and nature focus on uncovering the “prehistory” of ecological art in Poland or the local tradition of Land Art. The text is meant as a preliminary study of possible research perspectives that the proposed reading may open up, as well as a consideration of whether ecocriticism could serve as an opportunity to bring the tenets of horizontal art history into the practice of rereading the work of Polish artists and their relationship with the landscape.
34
Lyashenko, Ekaterina S. „Transbaikal Painting of the 18th — the Early 20th Centuries: Periodization Problems“. Vestnik of Saint Petersburg University. Arts 13, Nr. 3 (2023): 467–88. http://dx.doi.org/10.21638/spbu15.2023.305.
Der volle Inhalt der QuelleAnnotation:
The article is devoted to the research of Transbaikal painting history in the context of regional fine arts formation, artistic direction development. The Transbaikal art features are connected with region’s distance from cultural centers. Transbaikal painting has formed as result of penetration Russian art traditions and influence of regional national cultures. It’s possible to conditionally distinguish several stages in the history of Transbaikal painting. The first stage of formation (18th–19th centuries) was associated with creativity of visiting artists and with emergence of self-educated artists. The drawings were being made during the ethnographic expeditions in Siberia, also the Decemberists made their contribution. Besides, the icon painting was presented. The Transbaikal visual art heyday (the 2nd stage, 20th century) was presented with period of creativity and exhibition activities activation of the 20th century beginning, period of war years’ poster art, and period of realistic painting heyday. A lot of various in colorit landscapes were made in period of realistic painting heyday (the middle and second half of the 20th century). These are open spaces, steppes, roads, lyrical overcast landscapes, majestic north Transbaikalia and Buryatia mountains, landscapes of the Lake Baikal. The plot and historical paintings were being depicted scenes of Soviet reality, events of the region history and culture. Socialist realism was reflected in portraits and in subject painting, works of “austere style” were created. Individual artists with a pronounced style, manner stood out. Paintings were created with decorative, symbolic, ethnic motifs, impressionistic. At the present stage (beginning of the 21st century) artists of Transbaikalia create in the traditional and modernist direction, in the direction of ethnofuturism. Globalization processes, digitalization stimulate the penetration of creativity various forms into the region, and modern art projects begin to be implemented. System of art education traditions are emerging.
35
Polańska, Anna. „Działania artystyczne w gdańskim środowisku fotograficznym promujące fotografię marynistyczną w latach 1948-1981“. Porta Aurea, Nr. 17 (27.11.2018): 179–217. http://dx.doi.org/10.26881/porta.2018.17.08.
Der volle Inhalt der QuelleAnnotation:
With Gdansk artists an approach to the subject of the marine photography, was marked on several levels – artistic, documentary, journalistic and usable. Since 1945 to the first half of the 80s, we notice the popularization of maritime theme in the environment throughout artistic exhibition activities, and the program objectives. Maritime photography or maritime themes in photography? An analysis of the photographic medium in terms of belonging to the art can give the answer to this question. It is also worth considering whether there was „Gdansk School of the Maritime Photography”? The phenomenon of Polish marine art in the case of photography has been strongly emphasized in the Gdansk photography environment. The traditional display of the maritime theme has been broken, and with the approval of the authorities. Shipyard workers and dockers joined to the effigy of the sea people (fishermen, sailors). Photographers began to enter the maritime economy and use the effects of cooperation with maritime institutions for artistic purposes. Thematic exhibitions on shipyards and ports were created showing the sea from a different point of view, from the perspective of land. Socio-political events related to Solidarity stopped the promotion of the sea through the image of a shipyard worker and a shipyard, which became icons of the struggle for freedom. The Gdansk photographic community after the socio-political crisis of the first half of the 1980s, has not yet rebuilt its leading position in the dissemination of the maritime theme in photography on a large scale. Maritime exhibitions still appeared, but mainly on the local level, and the sea was reduced to the landscape understood very traditionally. At the same time photographers of the younger generation were interested in completely different issues of the style and aesthetics of photography. Te slogan „face to the sea” ceased to correspond with new times.
36
Tsvetkova, Anna Yu. „ON ONE TENDENCY IN THE DEVELOPMENT OF THE LENINGRAD LANDSCAPE IN THE SECOND HALF OF THE 1950S — 1960S“. Scientific and analytical journal Burganov House. The space of culture 17, Nr. 3 (10.09.2021): 65–77. http://dx.doi.org/10.36340/2071-6818-2021-17-3-65-77.
Der volle Inhalt der QuelleAnnotation:
In the scientific literature, the concept of the Leningrad landscape school is usually concretised in the chronology of the 1930s-1940s. The article examines a stylistically integral trend in landscape painting of the second half of the 1950s – 1960s, associated with A. Semyonov, S. Osipov, K. Gushchin and several other masters. The genesis of this trend is outlined: the Thaw period processes in culture and society. The formation of a new visual image of time, fixed by the so-called modern style, is shown. The problem of re-actualization of this concept in connection with a number of recent exhibitions is considered. The formative and worldview factors, due to which the creative searches of these painters converge into a single trend that determines the nature of the Leningrad landscape of the specified period, are analysed. It can be traced how this trend, which absorbed many impulses of the modern style, became its major component. An attempt to identify an essential tendency in the Leningrad landscape of the next stage, the second half of the 1950s - 1960s, is the purpose of the article. Are there grounds for focusing on this period in the development of the Leningrad landscape? Are there any connections between the trend in landscape painting, which we will consider, with the general style vector of Soviet art of the period we are interested in? Namely, with the socalled modern style? The very formulation of the question was initiated by several exhibitions dedicated to the so-called Thaw period in the State Tretyakov Gallery, the Pushkin Museum, the Moscow Museum in 2017–2018. But above all, by the exhibition “In Search of Modern Style. Leningrad Experience. The Second Half of the 1950s - Mid1960s”, which was held in the Russian Museum in 2018. (3). The concept of the organisers of the exhibition in the Russian museum was somewhat different from that of their Moscow colleagues. The creators of the expositions mentioned above sought to show a cross-section of social problems and moods, the history of mentalities. The curators of the exhibition in the Russian Museum were more focused on identifying stylistic vectors, shaping, and visual practices. Based on practical and theoretical research outlined in the article, the author returns the concept of modern style to scientific circulation.
37
Müller, Susanne. „L’art contemporain traversé par la mémoire ou la survivance de l’histoire des guerres“. Intercâmbio: Revue d’Études Françaises=French Studies Journal, Nr. 16 (2024): 150–64. http://dx.doi.org/10.21747/0873-366x/int16a9.
Der volle Inhalt der QuelleAnnotation:
This article addresses the contribution of contemporary artistic creation to the (com)memoration of a conflicted past. The art of recent decades seems to have been permeated by questions of history and memory, to the point of giving rise to a new artisticposture, that of the "artist-historian". Through the prism of France’s Grand Est region, we examine the possible transmission of a complex and ambiguous heritage through recent artworks and exhibitions, combining research (archives) and fiction.In the footsteps of a partially traumatic past, characterized by two annexations by Germany, we postulate, based on the research project Paysage(s) de l’étrange(Landscape(s) of the Strange), that contemporary art can contribute to commemoration and raise awareness of ruptures and gaps in history, while offering a rereading of historical facts through their anchorage in intimate experience. We conclude by putting into perspective an open andtransversal history of art, in the manner of Aby Warburg’s Mnemosyne Atlas.
38
Juszczyk, Aleksandra. „Wczesny okres twórczości Hanny Żuławskiej. Warszawa–Paryż–Gdynia“. Porta Aurea, Nr. 20 (21.12.2021): 148–73. http://dx.doi.org/10.26881/porta.2021.20.07.
Der volle Inhalt der QuelleAnnotation:
Hanna Żuławska (1908–1988) was one of the most prominent artists associated with the Tri -City, and dealing with many fields of art: easel and polychrome painting, architectural mosaic, sgraffito, ceramics and small architecture. Her husband was a painter known on the coast: Jacek Żuławski. She is known primarily for her mature work in the 1950s and 60s; it was then that she showed true individuality. From post - -war times, Żuławska was also teacher and professor at the State Higher School of Fine Arts in Gdańsk and the manager of the Kadyny Ceramics Works. Little, if anything, is known of Hanna Żuławska’s work in the interwar period.
In 1930–1934, Żuławska studied at the Warsaw School of Fine Arts, among others in the studios of Professors Felicjan Szczęsny Kowarski, Leonard Pękalski and Tadeusz Pruszkowski. It seems that Kowarski’s work in the fields of painting and monumental mosaics had a great influence on Żuławska›s later artistic activity. In the 1930s, Żuławska took part in exhibitions at IPS (Art Propaganda Institute).
At that time, the artist experienced a period of fascination with the works of the members of the Paris Committee and Pierre Bonnard and Paul Cèzanne, which resulted in the pair of the artists, Hanna and Jacek, leaving for Paris on a scholarship in 1935. In Paris, the artist studied in the painting studio of Józef Pankiewicz, painted still lifes, city views and quite standard landscapes; she also visited museums and led a lively social life. In May 1938, the works of Hanna and five other Polish painters were presented at the prestigious Bernheim Jeune gallery in Paris. The exhibition was well received by critics in Poland.
Hanna and her husband returned to Poland and settled in Gdynia in the autumn of 1938, where Żuławska established contacts with the artistic community of the city. In 1938, the artists joined the Gdynia branch of the Trade Union of Polish Artists and Designers, and actively participated in its exhibitions until the outbreak of World War II. In recognition of their contribution to the development of art in Gdynia, the Żuławskis also received state orders for a monumental painting decoration of the barracks’ common room at Redłowo, for the creation of paintings for the Chapel of the Hospital of the Sisters of Mercy at Kaszubski Square, and for the polychrome entitled ‘Apotheosis of Gdynia’ in the building of the Government Commissariat (designs not preserved).
During the Nazi occupation, the Żuławskis were in Warsaw; in November 1944, the artist came to Łańcut near Lublin, where she stayed at an artistic house. In the autumn of 1945, Hanna and Jacek Żuławski together with other residents of the manor house, e.g.: Juliusz Studnicki, Krystyna Łada -Studnicka, Janusz Strzałecki, Józefa and Marian Wnuk, established the State Institute of Fine Arts in Sopot, transformed into the State Higher School of Fine Arts in Gdańsk.
39
Tarnowska, Magdalena. „Zagłada i odrodzenie w twórczości ocalonej – łódzkiej malarki Sary Gliksman-Fajtlowicz (1909–2005)“. Studia Judaica, Nr. 2 (48) (2021): 437–71. http://dx.doi.org/10.4467/24500100stj.21.018.15073.
Der volle Inhalt der QuelleAnnotation:
The Holocaust and Rebirth in the Works of Sara Gliksman-Fajtlowicz, a Painter From Łódź, 1909–2005 Sara Gliksman-Fajtlowicz, a painter, came from a well-off family of Majerowiczs, the owners of opticians’ shops in Łódź. She studied at private painting and drawing schools in Łódźand Warsaw. Before the outbreak of World War II, she was active in the Polish art milieu. In 1933, she became a member of the Trade Union of Polish Artists (Związek Zawodowy Polskich Artystów Plastyków, ZZPAP) and participated in its exhibitions in Łódź, Warsaw, Kraków,and Lviv. She painted mainly landscapes, still lifes, and—less frequently—portraits. She published her works in the union magazine Forma. In 1940, she was displaced to the Łódźghetto where she worked as a graphic artist at the Statistics Department. Thanks to this she could obtain art materials. Her clandestine activity was documenting life in the ghetto in paintings and drawings. She survived the liquidation of the ghetto and then was forced to work on cleaning that area. Liberated on 19 January 1945, she returned to her house where some of her prewar works had survived. After 1945 she continued her artistic career and exhibited with the ZZPAP, as well as with the Jewish Society for the Encouragement of Fine Arts. In 1957, she emigrated to Israel. Gliksman died in Tel Aviv in 2005. The aim of this article is to verify and describe Sara Gliksman’s biography, to present her activities in the Polish-Jewish artistic community of postwar Poland, as well as to place her works in the context of issues concerning survivors’ memory and artistic attitudes toward the Holocaust, and art as a manifestation of hope for the rebirth of Jewish life and culture in postwar Poland in the second half of the 1940s and the beginning of the 1950s.
40
Gasparetto, Francesca, Laura Baratin und Giovanni Checcucci. „Digital Approaches for Public Art Collection Between Conservation and Public Outreach“. Studies in Digital Heritage 6, Nr. 2 (25.01.2023): 51–70. http://dx.doi.org/10.14434/sdh.v6i2.33914.
Der volle Inhalt der QuelleAnnotation:
Digital tools for artworks can offer new opportunities and design new approaches for conservation and public outreach. This paper presents the experience carried out by the School of Conservation and Restoration of the University of Urbino to preserve a public collection of wooden artistic models assembled by Umberto Mastroianni and used as a project of original bronze and steel sculptures. The digital documentation supported the maintenance protocol and helped design the restoration work. Moreover, thanks to cutting-edge technologies, a virtual exhibition was created, testing an AR application that allows the public to better appreciate the results of the interventions. Digital storytelling about artistic meaning connected the models to original sculptures placed in various Italian landscapes, offering the public an artistic journey into Urbino’s architecture.
41
Maksimov, Yu I., A. B. Mambetova und A. I. Krivichev. „STRAIGHT TO THE NORTH: ARCTIC EXPLORATION IN ARTISTS’ WORKS.“ Herald of Kola Science Centre of the RAS 13, Nr. 1/2021 (09.09.2021): 7–22. http://dx.doi.org/10.37614/2307-5228.2021.13.1.001.
Der volle Inhalt der QuelleAnnotation:
The article provides an overview on the history of the Kola Arctic region and the Arctic artistic exploration based on the “Straight to the North” temporary exhibition in Murmansk Regional Art Museum, 2019. Pieces of icon painting, decorative and applied arts, books, household items, painting and graphic arts and collection of the Kola Peninsula minerals were exhibited there. Some art works are described in details: paintings of Russian artists of the late 19th and early 20th centuries and Soviet artists, including painters from Murmansk and members of “The Arctic” creative team in 1978–1985. The authors analysed, how social and economic development of the Kola Arctic region influenced new art styles and directions: from plein air painting under the Extreme North conditions to industrial landscapes and creation of an art community. The authors dedicate the article to the memory of Honored Artist of the Russian Federation, the leader of “The Arctic” creative team Arvi Ivanovich Huttunen (31.08.1922–27.08.2020).
42
Bottinelli, Silvia, und Margherita d’Ayala Valva. „Symbiotic Relations at Ca’ Inua: Farming, Exhibitions, and Social Engagement. A Conversation with the Artist Collective Panem et Circenses (Ludovico Pensato and Alessandra Ivul)“. Humanities 12, Nr. 5 (01.09.2023): 92. http://dx.doi.org/10.3390/h12050092.
Der volle Inhalt der QuelleAnnotation:
Our contribution discusses the practice of Panem et Circenses (Alessandra Ivul and Ludovico Pensato), an art collective whose work revolves around food and agriculture. After founding Panem et Circenses in Berlin, Ivul and Pensato opened an artist-run exhibition space devoted to food-based practices in Bologna. Since 2017, they have lived at Ca’ Inua, a farm in Marzabotto, on the Bologna Apennines. Ivul and Pensato see their experimentation with regenerative and sustainable farming as a form of performance art, an embodiment of their engagement with philosophy and theory. Their work participates in discourses—with a range of variations that build on Indigenous sciences/knowledges, posthumanist and new materialist philosophies, and environmental arts and humanities—that recenter symbiosis, relationality, and human/more-than-human entanglements. Our methodological approach relies on critical, art historical, and visual studies tools and is informed by ethnographic observations on site as well as an interview with the artists published here. We begin to address the specificity of Panem et Circenses’ relationship with the lands that they care for and locate their experience in the larger landscape of Art Farming practices. Panem et Circenses translate theoretical frameworks into everyday interactions, hands-on activities, community-building, and long-term planning for the ecology of Ca’ Inua.
43
Pokrovskaya, Natalia V. „Valeryan Sergin and the development of the Siberian landscape painting at the turn of 21st century: to the study of the artist`s works“. Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 62 (2021): 310–24. http://dx.doi.org/10.37816/2073-9567-2021-62-310-324.
Der volle Inhalt der QuelleAnnotation:
The subject of research is an artistic practice of V. A. Sergin, a national artist of Russia, a full member of the Petrovskiy Academy of Sciences and Arts, an academician of the Russian Academy of Arts, a participant in more than 180 exhibitions, including 25 national and international projects, more than 20 personal exhibitions. The paper explores artist’s creative biography in the context of Russian and Siberian traditions and analyzes bright stages of the formation and flowering of the “Siberian school” of Russia, the Krasnoyarsk organization of the Union of Artists, with regional, regional, personal exhibitions and specific works of Sergin highlighted. The author addresses artistic originality of the national tradition of the Siberian region, allowing to holistically present a wide panorama of the development of the Siberian and Russian schools. The paper consistently attempts to discover the artist’s creative laboratory and to identify the “formula” of his inspiration. The basis of the study is a set of principles and techniques of work that have been carried out in practice by the artist from the late 1950s to the present day, and takes into account the creative work of V. A. Sergin, which solves specifically pictorial issues. The creative strategy of modern artist is perceived as a universal cultural environment, a territory for the formation of artistic meanings. The creative environment in the workshop, in the open air and during travels creates the conditions for implementing the art program and reveals those processes that help demonstrate and provide the continuity of artistic traditions.
44
Kulakova, Olga Yu. „Dutch Flower Still Life of 17th Century: Interest and Oblivion through the Centuries“. Observatory of Culture 18, Nr. 5 (29.10.2021): 496–505. http://dx.doi.org/10.25281/2072-3156-2021-18-5-496-505.
Der volle Inhalt der QuelleAnnotation:
Over three and a half centuries, the genre of flower still life created by Dutch artists experienced ups of interest and oblivion. There were the maximum assessment of society in the form of high fees of the 17th century artists; the criticism of connoisseurs and art theorists; the neglect in the 19th century and the rise of auction prices and close attention of art critics, manifested from the middle of the 20th century to the present day. In the middle of the 17th century, there was already a hierarchy of genres, based on both the subject and the size of the paintings, which was reflected in the price. Still lifes and landscapes were cheaper than allegorical and historical scenes, but there were exceptions, for example, in the works of Jan Brueghel the Elder and Jan Davidsz. de Heem. Art theorists Willem van Hoogstraten and Arnold Houbraken, resting upon academic tastes, downplayed the importance of still-life painting. Meanwhile, the artists themselves, determining the worth of their paintings, sought for maximum naturalism, and such paintings were sold well.In the 20th century, this genre attracted the attention of collectors in Europe and the United States. A revival of interest in Dutch still lifes in general, and in flower ones in particular, began in the 20th century, the paintings rose in price at auctions, and collecting them became almost a fashion. Art societies and art dealers of the Netherlands and Belgium organized several small exhibitions of still lifes. The course for studying symbolic messages in still lifes, presented by Ingvar Bergström, is continued by Eddie de Jong, who emphasizes the diverse nature of symbolism in Dutch painting of the 17th century. Svetlana Alpers, on the contrary, criticizes the iconological method and presents the Dutch painting of that period as an example of visual culture. Norman Bryson’s view of Dutch still lifes is formed against the background of the development of a consumer society, economic prosperity and abundance. Finally, there has been an increasing interest in the natural science aspects of flower still-life painting in the researches of the last twenty years. Curiosity, skill, and admiration for nature are the impulses that can still be felt in the images of bouquets and fruits.
45
Polyakov, E. N., und T. V. Donchuk. „SCOTTISH MODERN IN DESIGN WORKS OF C.R. MACKINTOSH AND M. MACDONALD“. Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture, Nr. 5 (30.10.2018): 9–34. http://dx.doi.org/10.31675/1607-1859-2018-20-5-9-34.
Der volle Inhalt der QuelleAnnotation:
The article is devoted to the creative heritage of Charles Rennie Mackintosh (1868–1928), the outstanding Scottish architect and Margaret MacDonald Macintosh (1865–1933), his wife, an artist-designer. Their life and main character traits which predetermined the choice of their future profession are considered. A brief overview is given to the main stages of their professional development. In the Glasgow School of arts they organized the famous creative group „The Four‟ which created a unique Glasgow style. They participated in international exhibitions of Art Nouvea, engaged in successful architectural and design practice including the development of unique geometrical pictures and Macintosh style furniture, floral and landscape paintings. The paper describes the tragic end of their creative career, departure from Glasgow, posthumous rehabilitation and international recognition. Their style preferences in the world architecture and design are shown as well specific features of their unique style. The articlepresents three of the most famous design projects of the Macintosh spouses made in the tradition of Glasgow style. Here belong interiors of Cranston tea rooms, Hill House in Helensburgh, Scotland and Bassett-Lowke Northampton house. At present, many Macintoshes works are successfully restored, their museums and exhibitions are organized.
46
Odinokova, P. S. „To the Problem of Attribution of the Albums Ten Landscapes and Travelling Along the River [Painted by] Shitao“. Art & Culture Studies, Nr. 2 (Juni 2021): 122–39. http://dx.doi.org/10.51678/2226-0072-2021-2-122-139.
Der volle Inhalt der QuelleAnnotation:
The article is devoted to the albums Ten Landscapes and Travelling Along the River [Painted by] Shitao, attributed to Shitao (1642–1707), a famous Chinese artist and theorist of painting in beginning of the Qing dynasty (1644–1911). The aim of the article is to estab- lish authenticity of the albums. The album Ten Landscapes is in the collection of the State Museum of Oriental Art (Moscow). In 2015 one leaf from it was displayed at the exhibition Classical Painting of China. After visual evaluation and the analysis of painting, calligraphy and seals the author came to conclusion that the album Ten Landscapes could not be the original work of Shitao. It is probably the copy of another album Travelling Along the River [Painted by] Shitao. The latter was very famous among the connoisseur’s circles at the beginning of the 20th century. Therefore, its authenticity is also the subject of scientific discussion. Some of Chinese experts and researchers regard the album Travelling Along the River [Painted by] Shitao as the best example of Shitao’s painting. Others question its authenticity. The author of the article gives arguments to confirm the latter point of view.
47
Kotovskaya, Mariya G., und Elina G. Shvets. „Painting-report as visual document of an event (based on graphic sketches of F. Reshetnikov’s polar expeditions)“. Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 61 (2021): 333–44. http://dx.doi.org/10.37816/2073-9567-2021-61-333-344.
Der volle Inhalt der QuelleAnnotation:
The exploration of the Russian north at the end of 19th – the beginning of the 20th centuries went along with the emergence of the topic “the conquest of the Arctic” in visual arts. The artists would travel as part of research polar expeditions to the North again and again. Picturesque images of Arkhangelsk, Karelia, Northern Dvina, Novaya Zemlya, the northern sea passage would appear in mass media in front of the viewer in artistically perfect images. Fyodor Reshetnikov took part in an expedition to the North in the 1930s. The artist was young; the desire to perform a feat for his country propelled him to take part in polar expeditions led by O. Yu. Schmidt. It was the time when the materials would be documented by means of photo- and movie camera. During the expedition the artist presented his own way of depicting the work of the expedition and its everyday life. Polar expeditions, the feat of “Chelyuskin,” northern landscapes would become an essential part of artistic exhibitions in the 1930s (such as “20 anniversary of Red Army” and “Socialism Industry”). Viewers’ interest in the topic and a general popularity of the topic made the exploration of the North one of the most prominent, sincere and significant moments in the national art of the 20th century before the war.
48
Filippova, O. N. „Пейзаж в творчестве Василия Переплётчикова“. Iskusstvo Evrazii [The Art of Eurasia], Nr. 2(21) (30.06.2021): 32–45. http://dx.doi.org/10.46748/arteuras.2021.02.003.
Der volle Inhalt der QuelleAnnotation:
The purpose of this article is to reveal the creative biography of Vasily Vasilyevich Perepletchikov as an landscape lyricist. The article analyzes the difficult creative path of the artist, who was generously gifted in various fields of fine art (engaged in painting and graphics), literature (wrote prose and poetry), had a sharp mind, observation, desire for various achievements in artistic life (organized exhibitions, participated in the creation of new associations). In addition, he was a keen traveler, which is reflected in all his work, one of the main themes in which was the North. Landscape drawings, paintings and sketches of different periods of the artist's work are consistently analyzed, characteristic features are noted. The historical and biographical method was used as the main one in this study. Целью данной статьи является раскрытие творческой биографии Василия Васильевича Переплётчикова как пейзажиста-лирика. Рассмотрен творческий путь художника, одаренного в различных областях изобразительного искусства (живопись, графика), литературы (проза, стихи), обладавшего острым умом, наблюдательностью, желанием разнообразных свершений в художественной жизни (организовывал выставки, участвовал в создании новых объединений). Кроме того, В.В. Переплётчиков был увлеченным путешественником, что нашло отражение во всем его творчестве, одной из главных тем в котором был Север. Последовательно проанализированы пейзажные рисунки, картины и этюды разных периодов творчества художника, отмечены характерные черты. В качестве основного в данном исследовании использован историко-биографический метод.
49
Sudirjo, Frans, Senna Enzovani und Eva Desembrianita. „Pendekatan Strategi Pemasaran NFT untuk Meningkatkan Kesadaran Konsumen dan Mendorong Tindakan dalam Lingkungan Kripto di Indonesia“. Jurnal Bisnisman : Riset Bisnis dan Manajemen 5, Nr. 2 (29.09.2023): 39–49. http://dx.doi.org/10.52005/bisnisman.v5i2.158.
Der volle Inhalt der QuelleAnnotation:
This research investigates the impact of NFT marketing strategies on consumer awareness and action in the Indonesian crypto environment. A mixed methods approach was used, combining quantitative surveys and qualitative interviews. Quantitative results revealed that marketing strategies, including celebrity endorsements and digital art exhibitions, played an important role in raising awareness of NFTs, with approximately 45% of participants citing influential marketing campaigns. Qualitative findings underscored the importance of cultural factors, such as respecting cultural symbols and traditions, in shaping perceptions of NFTs. Challenges include the need for clearer regulations and addressing environmental concerns, while opportunities lie in fostering local NFT communities and supporting emerging artists. This study contributes valuable insights for industry stakeholders looking to navigate the Indonesian NFT landscape.
50
Archer, Anita, und David M. Challis. „‘The Lucky Country’: How the COVID-19 Pandemic Revitalised Australia’s Lethargic Art Market“. Arts 11, Nr. 2 (05.04.2022): 49. http://dx.doi.org/10.3390/arts11020049.
Der volle Inhalt der QuelleAnnotation:
Since its publication in 1964, Australians have used the title of Donald Horne’s book, The Lucky Country, as a term of self-reflective endearment to express the social and economic benefits afforded to the population by the country’s wealth of geographical and environmental advantages. These same advantages, combined with strict border closures, have proven invaluable in protecting Australia from the ravages of the global COVID-19 pandemic, in comparison to many other countries. However, elements of Australia’s arts sector have not been so fortunate. The financial damage of pandemic-driven closures of exhibitions, art events, museums, and art businesses has been compounded by complex government stimulus packages that have excluded many contracted arts workers. Contrarily, a booming fine art auction market and commercial gallery sector driven by stay-at-home local collectors demonstrated remarkable resilience considering the extraordinary circumstances. Nonetheless, this resilience must be contextualised against a decade of underperformance in the Australian art market, fed by the negative impact of national taxation policies and a dearth of Federal government support for the visual arts sector. This paper examines the complex and contradictory landscape of the art market in Australia during the global pandemic, including the extension of pre-pandemic trends towards digitalisation and internationalisation. Drawing on qualitative and quantitative analysis, the paper concludes that Australia is indeed a ‘lucky country’, and that whilst lockdowns have driven stay-at-home collectors to kick-start the local art market, an overdue digital pivot also offers future opportunities in the aftermath of the pandemic for national and international growth.