Auswahl der wissenschaftlichen Literatur zum Thema „Painting, abstract – 20th century – exhibitions“
Geben Sie eine Quelle nach APA, MLA, Chicago, Harvard und anderen Zitierweisen an
Inhaltsverzeichnis
Machen Sie sich mit den Listen der aktuellen Artikel, Bücher, Dissertationen, Berichten und anderer wissenschaftlichen Quellen zum Thema "Painting, abstract – 20th century – 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.
Zeitschriftenartikel zum Thema "Painting, abstract – 20th century – exhibitions"
Linden, Diana L. „Modern? American? Jew? Museums and Exhibitions of Ben Shahn's Late Paintings“. Prospects 30 (Oktober 2005): 665–84. http://dx.doi.org/10.1017/s0361233300002222.
Der volle Inhalt der QuelleChvyr, L. A. „The Visitor and the East West Jazz“. Journal of the Institute of Oriental Studies RAS, Nr. 1 (11) (2020): 61–75. http://dx.doi.org/10.31696/2618-7302-2020-1-61-75.
Der volle Inhalt der QuellePark, Hyesung. „Rethinking the 20th-Century Korean Embroidery from Gender Perspectives“. Korean Journal of Art History 320 (31.12.2023): 65–98. http://dx.doi.org/10.31065/kjah.320.202312.003.
Der volle Inhalt der QuelleMark, Reet. „Endel Kõksi abstraktsetest maalidest“. Baltic Journal of Art History 11 (30.11.2016): 125. http://dx.doi.org/10.12697/bjah.2016.11.07.
Der volle Inhalt der QuelleYur, Maryna. „Ukrainian painting of the first third of the 20th century in scientific discourse: National aspect“. МISТ: Art, history, modernity, theory 18 (29.11.2022): 98–105. http://dx.doi.org/10.31500/2309-7752.18.2022.271060.
Der volle Inhalt der QuelleBeck, Mirja. „A Lived Experience—Immersive Multi-Sensorial Art Exhibitions as a New Kind of (Not That) ‘Cheap Images’“. Arts 12, Nr. 1 (17.01.2023): 16. http://dx.doi.org/10.3390/arts12010016.
Der volle Inhalt der QuelleKulakova, 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 QuelleŽanja Vrbica, Sanja. „Hrvatska slikarska dionica ruskog marinista Alekseja Hanzena“. Ars Adriatica 8, Nr. 1 (28.12.2018): 163–78. http://dx.doi.org/10.15291/ars.2760.
Der volle Inhalt der QuelleGerasimova, 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 QuelleXiaotao, Li, und Yan Qing. „The influence of the Itinerants' creative ideas on Chinese realistic painting“. World of Russian-speaking countries 2, Nr. 8 (2021): 87–104. http://dx.doi.org/10.20323/2658-7866-2021-2-8-87-104.
Der volle Inhalt der QuelleDissertationen zum Thema "Painting, abstract – 20th century – exhibitions"
Draguet, Michel. „Genèse et naissance de l'abstraction de Kandinsky à Malevitch: essai de définition de la notion de Permière abstraction, 1911-1918“. Doctoral thesis, Universite Libre de Bruxelles, 1990. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/213179.
Der volle Inhalt der QuelleRampin, Dantas Neves. „A musica de Morton Feldman sob a otica de sua compreensão da pintura do expressionismo abstrato“. [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284696.
Der volle Inhalt der QuelleDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-12T15:11:52Z (GMT). No. of bitstreams: 1 Rampin_DantasNeves_M.pdf: 9209358 bytes, checksum: 374af3500d1f2a9923260762214a4c2a (MD5) Previous issue date: 2008
Resumo: Esta pesquisa reflete a relação entre a música do compositor norte americano Morton Feldman e o grupo de pintores do Expressionismo Abstrato The New York School of Visual Arts - partindo da ótica do próprio compositor. Abordamos a maneira como Feldman trabalhou concepções advindas da pintura na composição técnica e estética em sua música. Para discorrer sobre este tema, a dissertação apresenta uma breve contextualização histórica da década de 50, do século passado, momento do encontro de Feldman com os pintores. Em seguida, apresentamos as concepções desenvolvidas por Feldman em sua música derivadas da pintura. Para tanto, apresentaremos análises que nos permitam compreender como estas concepções se concretizam musicalmente através da história notacional do compositor. Do ponto de vista metodológico a pesquisa se vale das declarações do próprio compositor, de pesquisas que abordam o trabalho composicional de Morton Feldman e da análise de obras. Priorizamos a análise da peça Crippled Symmetry, já que ela apresenta uma das notações mais originais produzidas por Feldman, o que nos inspirou a composição de Sombras Sobre o Encoberto 11, peça que apresentamos neste trabalho como resultado composicional desta pesquisa. Nas considerações finais, além do resultado de Sombras Sobre o Encoberto 11, discutimos como as concepções utilizadas por Feldman a partir da pintura pode ser amplamente explorada como base composicional singular.
Abstract: This research is about the relation between the music of the American composer Morton Feldman and the group of painters of Abstract Expressionism The New York School of Visual Arts - from the point of view of himself. It will focus the way Feldman developed concepts drawn from painting in the technique and aesthetics of his music. Thus the dissertation presents a historical account of the 1950s, when Feldman and the painters met. Then we present concepts Feldman drew from painting and developed in his music. We provide analyses which allow us to understand how such concepts work musically throughout Feldman's notational history. The method of this research is based on Feldman's statements, researches about his compositional work and the analysis of pieces. Crippled symmetry, whose notation is among the most original devised by Feldman, undergoes extensive analysis. It has also been the inspiration for the composition of our work Sombras sobre o Encoberto II, We present this piece as the compositional outcome of this research. In addition to this piece, the conclusion shows how the concepts Feldman drew from painting can be vastly explored as a unique basis for the composition of music.
Mestrado
Mestre em Música
Andrieu, Mélanie. „Une spécificité Cobra, les oeuvres collectives: émergence d'une pratique et exemplarité de Christian Dotremont“. Doctoral thesis, Universite Libre de Bruxelles, 2011. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209838.
Der volle Inhalt der QuelleCe travail est structuré en trois points. Le premier établit une étude du contexte artistique et social des années précédent Cobra puis la mise en place du groupe. Le second aborde les années d’intense activité "officielle" du groupe, au service du collectif. Enfin, le troisième propose de suivre l’évolution post-Cobra des œuvres collectives et des recherches sur l’écriture et la peinture. / This thesis is a study of the Cobra movement through one of its characteristic components: the collective works. First of all it's about understanding the movement, its origins (three countries), its influences and its purpose of a free art, open, experimental, involvement with life. In a social after-war context, often politicized, Cobra defends collective action, notably defined in concepts of anti-specialism and inter-specialism. We should therefore underline the origins of this practice and undestand different aspects that it shows, in particular through publications, exhibitions or shared creations. The poet Christian Dotremont, leader and soul of Cobra, promotes cooperative work by collaboration and contributes to its development by stimulating artistic meetings. He is the purveyor and permanent "agitator" of this concept. The words-paintings that he creates with other artists, take part of his major thinking about writing and painting. This link interpellates a few Belgian artists like Pierre Alechinsky, but it fascinates Christian Dotremont who keeps experimenting on it, in order to reach what he calls the logograms, a remarkable fusion of painting and poetry, and a culmination of a life-time of research.
This work is structured in three parts. The first one draws a study of the artistic and social context of the years preceding Cobra and the setting up of the group. The second one talks about years of intense "official" activity of the group serving collective way of work. Finally, the third one offers to follow the post-Cobra evolution of collective works and researches about writing and painting.
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished
Coats, Elizabeth. „Organic growth and form in abstract painting“. Phd thesis, 2012. http://hdl.handle.net/1885/151306.
Der volle Inhalt der Quelle德卡, Sagar Talekar. „“Zen and Taoism Influence on 20th Century Abstract Painting -- and Researcher's Art Creation Experience”“. Thesis, 2013. http://ndltd.ncl.edu.tw/handle/84207426211489177805.
Der volle Inhalt der Quelle國立臺灣師範大學
美術學系
101
First chapter focused on the introduction of Zen and Taoism philosophy by Eastern and Western viewpoints. Second part of this chapter investigates the literature review by number of books, novels, research papers, articles of Zen and Taoism philosophy, art influence on east and west. However, several painters from East and West have deeply influenced by this philosophy but there is very less information available about painting and philosophy connection. Some of literature are very important for this research and had details examination in this chapter. Second chapter Research background is constructed on Twentieth century artists, who can be safely said to be influenced by Zen and Taoism philosophy, were not interested in a photographic representation of an object but in interpreting its spirits. It has been Cosmo centric. Therefore this chapter examines western artists and their involvement and viewpoints and for Eastern mainly concern on Taiwanese and Indian artists works. Third chapter of significance and expected outcomes mainly focused on varied colors and abstract forms of Zen and Tao such as Enso, Yin-Yang, circle, square, triangular, spiral or (Kundalini). Therefore this Chapter is constructed on philosophical influence of Zen and Taoism by basic of line, calligraphy, color, techniques and styles by various artists. Fourth chapter is based on my own art experience and an influence of Zen and Taoism philosophy as well as the influence of abstract painters of 20th century. The guidance of my fine art professor Su Hsian-Fa and Hsiao Chong Ray, about collective unconscious, that all humans have common inherited archetypal and symbolic patterns of emotional and mental behavior which took me to the higher levels and in depth in abstract paintings creation inspired by Zen and Taoism Philosophy. Fifth chapter is main analysis of this research. It’s analyzed by number of artist of Europe and America. 20th century’s American artists explored the calligraphic brushstroke, which was an approach to abstract painting that focused on popular writings on Taoism and Zen and its ethics of direct action. American artists were searching beyond the limitations of their culture for motivation. Shodo, in general, served as inspiration to numerous Abstract Expressionist painters of the period. Japanese art and Zen Buddhism dominated in part because America’s political and economic ties with Japan were historically stronger than those with China or India. Especially European artists inspired by this philosophy and their composition were depending upon chance, random accident or highly improvisational execution, typically hoping to attain freedom from the past, from academic formulas and the limitations placed on imagination by the conscious mind. 20th century most of abstract art was spiritual in its origin and one of them was theosophy movement, it can compare with many of spiritual techniques in Eastern systems of spirituality, to compare the different meditation techniques of Zen and Taoism in this chapter. Conclusion is arrived on Zen Philosophy is constructed on Nothingness whereas Taoist philosophy is constructed on Empty mind therefore this research focused on the aspects of comparative philosophical and painting study and view but not religious view.
Price, Justine Dana. „Abstraction, expression, kitsch: American painting in a critical context, 1936-1951“. Thesis, 2007. http://hdl.handle.net/2152/3391.
Der volle Inhalt der QuelleMessina, Philip. „Establishing 21st Century Expressionisim“. 2014. http://scholarworks.gsu.edu/art_design_theses/148.
Der volle Inhalt der QuelleAdsett, Peter. „Beyond picturing“. Phd thesis, 2012. http://hdl.handle.net/1885/155939.
Der volle Inhalt der QuelleMladičová, Iva. „Jan Kotík 1916-2002 - monografie“. Doctoral thesis, 2012. http://www.nusl.cz/ntk/nusl-322931.
Der volle Inhalt der QuelleBücher zum Thema "Painting, abstract – 20th century – exhibitions"
Michael, Auping, und Albright-Knox Art Gallery, Hrsg. Abstract expressionism: The critical developments. New York: H.N. Abrams in association with Albright-Knox Art Gallery, 1987.
Den vollen Inhalt der Quelle findenWyckaert, Maurice. Maurice Wyckaert: L'oeuvre peint, 1947-1996 : tentative de catalogue raisonné. Paris: Allia, 2012.
Den vollen Inhalt der Quelle findenSuzan Frecon: Kunsthalle Bern, 4. August-14. September 1986. [Bern]: Die Kunsthalle, 1986.
Den vollen Inhalt der Quelle findenStephens, Chris. Terry Frost. London: Tate Pub., 2000.
Den vollen Inhalt der Quelle findenPetersens, Magnus af. Explosion! Herausgegeben von Moderna museet (Stockholm Sweden) und Fundació Joan Miró (Barcelona, Spain). London: Koenig Books, 2012.
Den vollen Inhalt der Quelle findenMorgan, Robert C., 1943- writer of introduction und Pace Gallery, Hrsg. Mark Tobey. New York: Pace Gallery, 2018.
Den vollen Inhalt der Quelle findenLandauer, Susan. The San Francisco school of abstract expressionism. Berkeley: University of California Press, 1996.
Den vollen Inhalt der Quelle findenHans, Hofmann. Hans Hofmann: Provincetown paintings and drawings. [Fort Worth, Tex.]: Fort Worth Art Museum, 1985.
Den vollen Inhalt der Quelle findenHans, Hofmann. Hans Hofmann: Major paintings 1954-1965. New York: Andre Emmerich Gallery, 1985.
Den vollen Inhalt der Quelle findenHans, Hofmann. Hans Hofmann: Major paintings, 1954-1965. New York: Andrê Emmerich Gallery, 1985.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Painting, abstract – 20th century – exhibitions"
Calè, Luisa. „Conclusion“. In Fuseli’s Milton Gallery, 231–36. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780199267385.003.0007.
Der volle Inhalt der QuellePoddubtsev, Ruslan A. „The Newspaper Nov’ and the Supplement Utrennij Telefon “Novi”: List of Contents“. In Russian Literature and Journalism in the Pre-revolutionary Era: Forms of Interaction and Methodology of Analysis, 562–681. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/978-5-9208-0661-1-562-681.
Der volle Inhalt der QuelleArnold, Dana. „What language does British architecture speak?“ In British Architecture, 108–20. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/actrade/9780192898210.003.0005.
Der volle Inhalt der QuelleCalè, Luisa. „The Reader Turned Spectator: Visual Narratives“. In Fuseli’s Milton Gallery, 105–57. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780199267385.003.0004.
Der volle Inhalt der QuelleKasson, Joy S. „Narratives of the Female Body: The Greek Slave“. In The Culture of Sentiment, 172–90. Oxford University PressNew York, NY, 1992. http://dx.doi.org/10.1093/oso/9780195063547.003.0011.
Der volle Inhalt der QuelleBobilewicz, Grażyna. „Obraz Afryki w malarstwie rosyjskim XX i początku XXI wieku“. In Afryka i (post)kolonializm. Wydawnictwo Uniwersytetu Łódzkiego, 2016. http://dx.doi.org/10.18778/8088-260-7.07.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Painting, abstract – 20th century – exhibitions"
Dumont d'Ayot, Catherine. „Machines à exposer“. In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.1025.
Der volle Inhalt der QuelleGranados González, Jerónimo. „Captando la mirada. Publicidad y reclamo en el espacio expositivo de Le Corbusier“. In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.699.
Der volle Inhalt der QuelleLopes Dias, Tiago. „La mirada de Pedro Vieira de Almeida a Le Corbusier: una visión desde Portugal en la segunda mitad del siglo XX“. In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.732.
Der volle Inhalt der Quelle