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Journal articles on the topic '20th century Australian painting'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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1

Jones, Mark. "20th century composers." Psychiatric Bulletin 15, no. 7 (July 1991): 442–45. http://dx.doi.org/10.1192/pb.15.7.442.

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At the turn of the century, opera was leaderless after the heady days of Verdi and Wagner. Puccini emerged as the new voice of Italian opera, where realism, or verismo, was the way forward. But verismo could never be the answer to the operatic dilemma that faced the latest composers, since it only gave a musical dimension to a stage painting of ‘life as it is’, without reference to underlying psychodynamics — I personally have never thought Puccini much of an intellectual. Beautiful his music may be, but as thinking pieces of theatre they are devoid of real challenges. Their appeal and potency lies, to a great extent, in Puccini's obsession with needless suffering.

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2

Ковальова, М. М., and Цю Чжуанюй. "ІМПРЕСІОНІСТИЧНІ ТЕНДЕНЦІЇ В КИТАЙСЬКОМУ ОЛІЙНОМУ ЖИВОПИСУ ПЕРШОЇ ПОЛОВИНИ XX СТОЛІТТЯ." Art and Design, no. 3 (November 13, 2020): 55–65. http://dx.doi.org/10.30857/2617-0272.2020.3.4.

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The purpose of the article is to reveal the impressionistic trends in the fine arts of China, determining the originality of the Chinese oil painting development of the 20th century. Methodology. Historical and cultural, comparative, iconographic and iconological methods are used in the study. Results. The study examines the underinvestigated aspects of Chinese painting development in the first half of the 20th century. The retrospective analysis of the pictural art enables tracing the traditions and innovations in the formation of oil painting in China, which prevails at this historical stage of the national art school development. The desire of Chinese artists to preserve the philosophical foundation and theoretical principles of classical ink painting, and at the same time an interest in Impressionism, have become a peculiar feature of Chinese oil painting. The main trends, dominating at the beginning of the century, persist to this day, defining the development of Chinese oil painting in general. It is determined that the decorativeness and thematic repertoire of classical Chinese ink art has been transferred to oil painting, as evidenced by the booming exhibition activities. The study determined that in the first half of the 20th century, the impressionistic trend was spread in the country, which resulted from the study of Japanese and French masters by Chinese masters. The teaching methods and stylistic searches of Chinese artists of the period under study became the foundation of contemporary Chinese art. The latest trends in Chinese oil painting in the first half of the 20th century are: an artistic rethinking, reminiscences of a similar phenomenon in Western European painting of the late XIX – early XX century. The spread of impressionism contributed to the greatest development of still life and landscape genres, and also brought plein air practice to a new level. Many Chinese artists spread impressionistic ideas not only in artistic creation, but also in art history. The scientific novelty lies in the systematization and factual material analysis on this problem, determining the role of the impressionist trend in the Chinese oil painting development. Practical significance. The results of the study can be used in further studies of the history and theory of Oriental art of the 20th century.

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Šeparović, Ana. "Icons and Croatian Painting in the Early 20th Century." IKON 9 (January 2016): 299–310. http://dx.doi.org/10.1484/j.ikon.4.00026.

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Koltsova, Tatiana Mikhailovna. "Icon-Painting Workshop of the Solovetsky Monastery. 17th - Early 20th Century." Secreta Artis, no. 3 (November 20, 2020): 50–75. http://dx.doi.org/10.51236/2618-7140-2020-3-3-50-75.

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Founded in 1429, the Solovetsky Monastery has throughout several centuries preserved and maintained the traditions of Russian icon painting in the North. In its iconpainting chamber (the building was constructed in 1615), new iconostases were created and icons from the churches of the monastery and patrimonial lands in Pomorie were repaired. In the 17th century, 45 icon painters worked on Solovki in different years, among them were monks, monastery servants, and “trudniks” (lay workers). In the 18th century, the artists of the Pomor patrimonial lands underwent their initial training at the monastery school of icon painting. Families of hereditary icon painters Chalkovs and Savins from Sumsky Posad are particularly well-known. The monastery sent the most gifted students to St. Petersburg and Moscow to improve their art. In 1880, the Solovetsky painting school was inaugurated, where many northern icon painters acquired basic painting skills. Copying and painting from life formed the basis of the educational process; students were offered paintings from the Academy of Arts as samples. The icons and paintings made in the workshop are distinguished by their characteristic stylistic, technical and technological features. The most prominent graduates of the school (A. A. Borisov, N. G. Bekryashev) contributed significantly to the history of Russian art. The article contains new archival documents and rare photographs.

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Kayapinar, Umut. "EXPRESSIVE INTERACTIONS IN THE 20TH CENTURY THE ART of PAINTING." Idil Journal of Art and Language 6, no. 32 (May 20, 2017): 1253–67. http://dx.doi.org/10.7816/idil-06-32-06.

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Song, Yicai. "The development of 20th century realistic oil painting in China." Vestnik of St Petersburg University. Series 15. Arts, no. 2 (June 2016): 36–43. http://dx.doi.org/10.21638/11701/spbu15.2016.203.

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Fan, Liu. "Lijiang river image in painting of Chinese 20TH century artists." Humanities science current issues 2, no. 39 (2021): 33–41. http://dx.doi.org/10.24919/2308-4863/39-2-6.

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8

Betz, Dorothy M. "Australian Divagations: Mallarme & the 20th Century (review)." Nineteenth Century French Studies 32, no. 3 (2004): 413–14. http://dx.doi.org/10.1353/ncf.2004.0004.

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9

Armitage, Marc. "Antipodean traditions: Australian Folklore in the 20th century." International Journal of Play 2, no. 2 (September 2013): 150–52. http://dx.doi.org/10.1080/21594937.2013.823812.

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Ryder, Nicole. "Acidity in canvas painting supports: Deacidification of two 20th century paintings." Conservator 10, no. 1 (January 1986): 31–36. http://dx.doi.org/10.1080/01410096.1986.9995015.

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11

Schweik, Robert. "Painting as "EXPLORING" and Related Metaphors in 20th-Century Art Commentary." Metaphor and Symbolic Activity 11, no. 4 (December 1996): 285–96. http://dx.doi.org/10.1207/s15327868ms1104_4.

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Bragina, Natalia, and Jelena Jermolajeva. "THE DOLL IN THE PAINTINGS OF THE LATE 19TH – EARLY 20TH CENTURIES: HERMENEUTIC ANALYSIS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 20, 2020): 616. http://dx.doi.org/10.17770/sie2020vol5.4859.

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The semantics of the doll in painting is not sufficiently investigated in art history and culture studies. The doll is never an accidental or unimportant component of a painting; it reveals deep psychological and symbolic undertones, complicates and concretizes the content of the painting. Each art style deals with this topic in its own way. The aim of the article is to analyse the interpretation of the image of the doll in various styles of painting of the second half of the XIX century – beginning of the XX century: in realistic painting, in symbolism, impressionism, and modernism. The research methods are the analysis of literature, the descriptive method, the hermeneutic method, and the comparative analysis method. The article may be useful for researchers in art and cultural studies, and can be used at school and university courses in the History of Art and Culture.

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Géger, Melinda. "Az elveszett paradicsom. A vidéki táj és vidéki élet ábrázolása a somogyi képzőművészetben a 20. század első felében I." Kaposvári Rippl-Rónai Múzeum Közleményei, no. 7 (2020): 337–50. http://dx.doi.org/10.26080/krrmkozl.2020.7.337.

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The depiction of Hungarian village and rural life ap-peared as a motif of outstanding significance in 20th-century painting. The representation of the hungarian village and ru-ral life appeared as an outstanding motif in the 20th century painting. The variations in the appearance of the topic are closely related to the transformations of Hungarian society in the 20th century (vagy 20th century helyett:era). The focus is on each in artistic oeuvres to depict the rural sites of civic life and to the myth of a peasant living in harmony with nature and folklorization, elsewhere a new, pantheistic one falls to cre-ate a picture of nature. In the artistic oeuvres the focus was on the representation of the civil life’s rural locations, on the myth of peasants who live in harmony with nature, more on their folklrisation and elsewhere on a new, pantheistic nature-picture creation. In the first half of the 20th century, this idyll dominates in pictorial expressions describing the concept of rurality. In the first part of the study, different variations of the depictions of the rural idyll appearing in the art of Somogy are reviewed, especially focusing on the art of József Rippl-Rónai. In the first half of the study, the different variations of rural idyll’s depictions in Somogy’s art are reviewed, espe-cially focused on József Rippl-Rónai’s works.

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Gultyaeva, Galina S. "Realistic Painting of the 20th Century China in the Context of Cultural Visualization." Observatory of Culture 18, no. 1 (May 24, 2021): 32–43. http://dx.doi.org/10.25281/2072-3156-2021-18-1-32-43.

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This article examines the phenomenon of Chinese realism, as well as the prerequisites and factors that influenced the processes of reception in modern Chinese art. At the beginning of the 20th century, under the influence of Western academic realism and the artistic system of social realism, a new direction and artistic method was formed — realism, which became mainstream in the art of China of the mid-20th century. According to its aesthetic and ideological motifs, Chinese realism is an object of social realism reception, which was determined by cultural and historical factors, and the development of political, economic and cultural ties with the USSR. Studying the realistic painting, which reflects the atmosphere of the era, the worldview, and the dialogue of cultures, is relevant for both Chinese and Russian contemporary art studies. The article examines the role of realism in the development of Chinese art culture of the 20th century, including its socio-political components, as well as the dynamics of artistic and expressive means and the iconographic system in the context of the historical and cultural situation. In the 1980s and 1990s, as a result of the liberalization of economic and political life, the artistic consciousness formed new concepts of realistic painting — neorealism and cynical realism, associated with a critical rethinking of the historical heritage. The neorealism and cynical realism, which would significantly enrich realistic painting with new forms and content, adopted Western postmodern concepts of pop art, and debunked, in a grotesque and satirical form, the political stereotypes of the past. The analysis of realistic painting of the 1990s demonstrates how the transformation of past painting canons reflects the desire of society to free itself from the pressure of totalitarian ideology and to rethink the value orientations of the previous era.The novelty of this study lies in the fact that it applies a systematic and holistic approach to the analysis of realism in Chinese painting, reveals the diversity of its forms and directions, and gives ground for the specifics of its evolution in the context of the artistic culture of the 20th century China. There are almost no comprehensive studies of this issue in modern art history, so this work is an attempt to create a scientific approach to the study of this artistic phenomenon and the formation of ideas about how the artistic consciousness of an entire epoch was changing.

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Demchenko, Alexander I. "The Great Saratov Triad of the Early 20th Century." ICONI, no. 3 (2019): 52–64. http://dx.doi.org/10.33779/2658-4824.2019.3.052-064.

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Saratov is justifiably called one of the most significant centers of the artistic culture of the Russian Near-Volga Region. When analyzing the condition of that domain of the plastic arts represented by painting and graphics, it is necessary to state that during the course of the entire 19th century (not to mention the previous century) the figures of the artists were merely episodic: Jean Baptiste Savin, a Frenchman in his origin (famous for his portraits and watercolors), watercolor painter Maria Zhukova, Andrei Godin (who was the first teacher of Mikhail Vrubel) and Feodor Vassiliev (the first instructor of Victor Borisov-Musatov), portraitists and church painters Lev Igorev and Nikolai Rossov. For the most part, the artists who worked beyond the confines of Saratov were its natives, who were veritably well-known artists – Vassily Zhuravlev and Alexei Kharlamov. The high flourishing of painting in Saratov at the end of the 19th and the beginning of the 20th century was prepared by the activities of Hector Baracchi, originally from Italy, and graduate from the St. Petersburg Academy of the Arts Vassily Konovalov. They exerted a decisive influence on the local artistic school, the main representatives of which were Victor Borisov-Musatov, Pavel Kuznetsov, Piotr Utkin, Alexander Savinov, Kuzma Petrov-Vodkin (a native of Khvalynsk), as well as sculptor Alexander Matveyev. However, there were three names which have become the most “celebrated” for Saratov, which led the brilliant assemblage of remarkable artists pertaining to the visual arts and were in the vanguard of the so-called era of “cultural boom,” as the high artistic accomplishments of the late 19th and early 20th century are sometimes referred to. They are Victor Borisov-Musatov, Pavel Kuznetsov and Kuzma Petrov-Vodkin. The present essay is devoted to them.

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Sharaeva, Tatyana I. "Особенности иконографии в калмыцкой вышивке: традиционные и современные практики." Oriental Studies 14, no. 2 (July 20, 2021): 314–36. http://dx.doi.org/10.22162/2619-0990-2021-54-2-314-336.

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Introduction. The Kalmyks are a Mongolic Buddhist people that arrived in the Volga region in the 17th century. The specific ethnic features of Buddhism professed by the Kalmyks took shape over centuries of Russian suzerainty and were determined by various historical factors, including prolonged remoteness from Buddhist centers, the total eradication of Buddhist monasteries and centuries-long ban on spiritual guidance experienced in the 20th century, and the official Buddhist restoration by the early 21st century. Goals. The work aims at identifying and comparing traditional and contemporary Buddhist thangka patterns as elements to mirror particular features of Kalmyk iconography, as essential objects of religious cult and cultural heritage at large. Results. The paper shows that in the pre-20th century period Kalmyks used different techniques for producing thangkas — painting, embroidery, and applique ones. In the late 18th century onwards, imports of religious attributes from Tibet and Mongolia were restricted, and the role of art workshops affiliated to local Buddhist temples increased. That resulted in further development of thangka painting schools and the shaping of somewhat ethnic style in depicting Buddhist deities characterized by certain differences from canonical images. The old thangkas from private and public collections have served a basis for the restoration of ethnic painting traditions integral to Kalmykia’s Buddhism proper. The contemporary practices of producing divine images are closely related to stages in the regional development of Buddhism from the late 20th century to the present, lay Buddhist experiences, women’s leisure-time activities, and ethnic entrepreneurship. The study concludes contemporary Kalmyk needlewomen are guided by traditional rules of religious craftsmanship.

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Radonjic, Ana, and Slobodan Markovic. "Judgement of paintings belonging to different tendencies in the 20th century painting." Psihologija 37, no. 4 (2004): 549–69. http://dx.doi.org/10.2298/psi0404549r.

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In this study Trifunovic? hypothesis that there are three objective lines in the development of modern art was psychologically evaluated. According to Trifunovic, in the first line (C?zanne - cubism - neoplasticism - suprematism) the geometrization of form prevails, in the second (Van Gogh - expressionism - abstract expressionism) the use of color is dominant, whereas the main features of the third line (Gauguin - fauvism) are symbolic use of color and reduction of perspective. Fifteen reproductions of paintings that represent the three developmental lines were used as stimuli. The subjects were asked to judge the stimuli on nine bipolar 7-step scales. These scales constitute the three factors of instrument SDF 9: Evaluation, Arousal and Regularity (3 scales x 3 factors = 9 scales). Four clusters of paintings were obtained: Abstract-expressionistic (moderate Evaluation, high Arousal and low Regularity), Figural-expressionistic (very low Evaluation, low Arousal and high Regularity), Constructivistic (moderate Evaluation, low Arousal and high Regularity) and Realistic (high Evaluation, high Arousal and high Regularity). The results partially confirm Trifunovic? hypothesis indicating that, besides the formal features, the content (abstract vs. figural) is also significant factor of subjective clustering of paintings.

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Jun, Min-Kyung, and Kyung-Chul Jeong. "A Correlation between Expressionism and Neo Expressionism in 20th Century Modern Painting." Journal of the Korea Contents Association 11, no. 2 (February 28, 2011): 259–67. http://dx.doi.org/10.5392/jkca.2011.11.2.259.

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Kultasheva, Nigorakhon Daniyarovna. "THE GENRE SYSTEM FORMATION (EVOLUTION) IN PAINTING OF UZBEKISTAN IN 20TH CENTURY." Theoretical & Applied Science 62, no. 06 (June 30, 2018): 28–30. http://dx.doi.org/10.15863/tas.2018.06.62.6.

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Hryhorov, V. "Monumental and decorative art of the second half of the 20th century in specialized literature." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 99–104. http://dx.doi.org/10.33838/naoma.27.2018.99-104.

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The article deals with a number of issues highlighted in the research of monumental painting during the 1960–2000s, and follows the development of art studies literature during the specified period. Ukrainian monumental painting during the second half of the 20th century evolved rather unequally, which affecte the art criticism reflections. In the 1960's and 80's the active and dynamic development of monumental art took place. Research in this area also reached the peak of its popularity. For example, the article of I. Pronina contains a review of publications from 1973–1974, and the author brought the statistics indicating more than 200 works. (180) Since the mid-1960's, academics have been increasingly focusing on monumental art. The attitude to monumental painting in the art history literature of the 1960's is ambiguous. However, most researchers are still critical of post-war practice and consider monumental works of the late 1950`s and 1960`s as a step forward. The distinctive differences between the 1960's and 1970's – 1980's lie in various attitudes towards themes and scenes of the monumental painting. In the 1960's the monumentality was associated with the laconic content, using a set of all understandable associative attributes. The expansion of the range of themes in monumental painting in the professional literature occured in the 1970's. Since the research problem stands at the crossroads of various branches of art, important scientific advancements were reflected in such prominent professional publications as: "Architecture of the USSR", "Decorative art of the USSR" and "Fine Arts". In the 1970's the publishing house "Soviet artist" released a series of articles compilations called "Soviet monumental art." The state of monumentalism significantly changes in 1990's as there was a significant decline in the activity of this artistic direction. At this time the monumental painting fell into the field of wide-scale artistic studies. In the professional literature of the last decade the scope of art study themes has changed to a certain extent as the art historians more often address the issues previously tabooed in Soviet times, and some of them partially or fully relate to the monumental painting. To such themes belong the Sixties and Boichukizm. Today the problem of the preservation of Soviet monumental works sharply appears. Many authors turn to the theme of monumental art in order to attract the attention of society to the rapid destruction of mosaics and wall murals, and to prove their value for Ukrainian fine arts.

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Fitch, Kate. "Rethinking Australian public relations history in the mid-20th century." Media International Australia 160, no. 1 (August 2016): 9–19. http://dx.doi.org/10.1177/1329878x16651135.

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This article investigates the development of public relations in Australia and addresses calls to reconceptualise Australian public relations history. It presents the findings from an analysis of newspaper articles and industry newsletters in the 1940s and 1950s. These findings confirm the term public relations was in common use in Australia earlier than is widely accepted and not confined to either military information campaigns during the war or the corporate sector in the post-war period, but was used by government and public institutions and had increasing prominence through industry associations in the manufacturing sector and in social justice and advocacy campaigns. The study highlights four themes – war and post-war work, non-profit public relations, gender, and media and related industries – that enable new perspectives on Australian public relations history and historiography to be developed.

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Sinem Kucuk, Kamile. "The Sociocultural Aspects of Merchant Class in the Light of Russian Painting Art." European Journal of Multidisciplinary Studies 2, no. 1 (August 30, 2016): 81. http://dx.doi.org/10.26417/ejms.v2i1.p81-85.

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The merchant class, which contributed to the improvement of Russia, evolved due to politicial reforms. Especially in 1861 the emancipation reform of the Russian serfs caused social and culturel changes in the life of merchants. In 19th and early 20th century, the works of Russian genre painters P.A. Fedetov, A.P. Ryabushkin, V.G. Perov, F. Juravlev and B.M. Kustodiyev not only reflected the social situation and stereotypes of merchants, but also revealed cultural history of the mentioned class. In this paper it is aimed to disclose the evolution of merchant class in 19th and the early 20th century, observing and analysing the art of Russian painting in sociocultural perspective.

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Burganov, Aleksandr A. "ICONOGRAPHY OF LITURGICAL COMPOSITIONS IN THE PAINTING PROGRAM OF THE КRONSTADT ST. NICHOLAS NAVAL CATHEDRAL." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 1 (2021): 124–36. http://dx.doi.org/10.28995/2073-6401-2021-1-124-136.

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The painting of the Kronstadt St. Nicholas Naval Cathedral is one of the largest and little-studied monuments of Russian church painting of the early 20th century. Тhe study of the iconographic program of the painting of the cathedral will fill in the gaps in our understanding of the development of Russian art of that period. The article undertakes an iconographic analysis of some compositions united by liturgical symbolism, which brings us closer to a more complete understanding of the artistic method of the authors of the painting.

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Lacina, Jan, and Petr Halas. "Landscape Painting in Evaluation of Changes in Landscape." Journal of Landscape Ecology 8, no. 2 (November 1, 2015): 60–68. http://dx.doi.org/10.1515/jlecol-2015-0009.

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Abstract One of common methods of determining landscape change usually is to compare maps and photographic images of the same places in different time horizons. Landscape painting, which has a long and rich tradition in the Czech Republic, can be used similarly. Landscape-ecological interpretation of selected works by painters of the 19th century - Julius Mařák, František Kaván and Antonín Slavíček was done in this paper. Some pictures of the Českomoravská vrchovina (Bohemian-Moravian highlands) by Josef Jambor from the mid-20th century were used for detailed comparative analysis to the level of habitats. We compared 80 landscape paintings and found that most of the painted sceneries have changed for worse.

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Song, Hee-kyung. "Early 20th Century Korean Literary Painting - Kim Young-ki (1911-2003)’s theory of painting and his works." Korean Literature and Arts 27 (September 30, 2018): 323–57. http://dx.doi.org/10.21208/kla.2018.09.27.323.

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Jaiswal, Abhilasha. "DIGITAL TECHNIQUES OF PAINTING." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 150–53. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3727.

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As technology is evolving gradually from the ages, the human way of living and different types of arts have also influenced. In these days the old energy consuming process has got extent and a creative fusion of the two worlds of art and technology is prevailing. Inspiringly, the background medium of this force which is fast developing into an indispensable asset is the digital age of computer. It’s effect on the human life can be said to have secured unusual style in past 20th century, where the computer as a machine which uses codes and binary digits computerized to keep and achieve facts provided, were used in various ways to process easier the functions of particular absolutely necessary machines in human attempts to achieve a goal, until then it was done manually or by some other means.

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Junge, Maxine Borowsky. "The perception of doors: A sociodynamic investigation of doors in 20th century painting." Arts in Psychotherapy 21, no. 5 (January 1994): 343–57. http://dx.doi.org/10.1016/0197-4556(94)90062-0.

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Smyth, Russell, and Vinod Mishra. "The Prestige of Australian State Supreme Courts Over the 20th Century." Australian Journal of Political Science 45, no. 3 (August 17, 2010): 323–36. http://dx.doi.org/10.1080/10361146.2010.499160.

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Abdokova, Marina B. "Portrait and landscape in Boris Zaitsev’s publicistic writings: style and ethos." RUDN Journal of Studies in Literature and Journalism 25, no. 1 (December 15, 2020): 17–32. http://dx.doi.org/10.22363/2312-9220-2020-25-1-17-32.

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The article represents genre-style etymology of Boris Konstantinovich Zaitsev (1881-1972) publicistic legacy (that includes essays, profiles and critical notes). Style-forming expressions of this outstanding representative of 20th century Russian literary abroad are analyzed within the context of his ethical and philosophical principles. Zaitsev’s portrait and landscape sketches are considered for the first time as figurative-poetic and genre-compositional components of the artist's “visual palette”. One of the effective methods of comprehending the style and ethos of the writer is the disclosure of multi-genre subtexts that reflects the creative worldview of B. Zaitsev, in which aesthetics is closely intertwined with metaphysics, and this, in turn, determines the adjacent disciplinary tools for the study of “literary painting”, actualizes parallels with non-verbal art forms (painting, music). The intertextual phenomenology of B. Zaitsev's publicistic texts is not limited to the artful, masterly and technical depiction. The nature of refined subject-figurative “painting”, as follows from the analysis, is based on the spiritual contemplation of the writer and reflects a rare for the art of the 20th century harmony of the artistic and transcendent.

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Eskilson, Stephen. "Thomas Wilfred and Intermedia: Seeking a Framework for Lumia." Leonardo 36, no. 1 (February 2003): 65–68. http://dx.doi.org/10.1162/002409403321152347.

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The most successful early-20th-century artist of colored light in the United States was undoubtedly Thomas Wilfred (1889–1968). In the 1920s, his “Lumia” compositions were praised by art critics and performed throughout the U.S. After initially embracing a musical analogy to explain Lumia, in the early 1930s he shifted to an analogy based on painting. In pursuit of this new context, Wilfred sought to legitimize Lumia through a relationship with the Museum of Modern Art in New York. His career is emblematic of the difficulties inherent in the creation of art using technology early in the 20th century, years before the postmodern embrace of pluralism.

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Hoffmann, Frank. "20th Century Korean Art, and: Modern Korean Ink Painting (review)." Journal of Korean Studies 13, no. 1 (2008): 118–23. http://dx.doi.org/10.1353/jks.2008.0000.

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Abdullina, Darina Aleksandrovna. "Сhildin the Image or Image of Achild : Russian Child Portrait in Painting and Photography of the Late 19 th − Early 20 th Century." Secreta Artis, no. 2 (August 12, 2021): 68–83. http://dx.doi.org/10.51236/2618-7140-2021-4-2-68-83.

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The stylistics of the child portrait in Russia in the 1850s – early 20th century underwent significant changes due to the emergence of photography (light painting). From the very beginning of its era, the 1850s, early photography borrowed composition, means of expression, and attributes from painting. Towards the end of the century, artists began to pay attention to the achievements of portrait photography, striving to depict children not in a staged way, but rather in moments of play, studies and rest, taking heed of photographic effects, in particular, cropped and “blurred” compositions. Many Russian artists used photo sketches, rethinking and re-creating the image of a child in their works. At the turn of the 19th and 20th centuries, the child portrait turned into an expressive medium of the artist’s self. By contrast, child photography focused on a specific child, with an emphasis on the continued documentation of the stages of his or her growth and development. The art form experienced further technical improvement, which led to the flourishing of the child photo portrait in the subsequent periods.

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Pepler, Acacia S., Josephine Fong, and Lisa V. Alexander. "Australian east coast mid-latitude cyclones in the 20th Century Reanalysis ensemble." International Journal of Climatology 37, no. 4 (June 28, 2016): 2187–92. http://dx.doi.org/10.1002/joc.4812.

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Paz-Agras, Luz. "Creative processes in the Avant-Garde Movements." Estoa, no. 15 (2019): 21–30. http://dx.doi.org/10.18537/est.v008.n015.a02.

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The 20th Century Avant-Garde Movements broke with the traditional distinction of artistic disciplines in favour to an ambiguous space where limits are diffuse. Exhibition space played a relevant role in this sense as a laboratory where art object and spectator are together in interaction, getting to experiences that, in many cases, transcend from the exhibition to disciplinary Architecture. Through the analysis of the Proun Space of El Lissitzky, constructed in 1923, and some of the most relevant proposals of Neplasticist authors, focusing on the creative and experimental process, contributions from Painting to Architecture are established. Some of them, partially shaded by the hegemony of Modern Movement, have been incorporated to 20th Century architectural projects and they are a significant chapter about interdisciplinary creative processes.

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Kovalchuk, Igor. "Galician painters of the end of the 19th - the first third of the twentieth century - the creators of the latest page of Ukrainian sacred art." Ukrainian Religious Studies, no. 74-75 (September 8, 2015): 176–86. http://dx.doi.org/10.32420/2015.74-75.573.

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The article deals with the development of sacred art in Galicia at the turn of the 19th and 20th centuries. Masters of Ukrainian icon painting K. Ustinovich, Y. Pankevich, M. Sosenko, P. Kholodny and others. continued the creative process through which the Ukrainian icon for a long historical period of development did not lose its viable direction, did not degenerate into the picture. They have not crossed that limit, when the departure from the fundamental theological foundations of iconoclasm threatens to transform it into a painting of dry religious content.

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MOSENDZ, Oksana. "Symbolics of colour in the painting of Ukrainian symbolist artists of the early 20th century." Humanities science current issues 2, no. 36 (2021): 50–58. http://dx.doi.org/10.24919/2308-4863/36-2-8.

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Rodríguez Gómez, Gonzalo. "Estudi de l´Obra de Miquel Mont i Xavier Escribà en Relació a la Novel-la de Ficció d´Edwin Abbott, Planilàndia." Barcelona Investigación Arte Creación 8, no. 3 (October 3, 2020): 265. http://dx.doi.org/10.17583/brac.2020.3952.

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Although some art critics and historians predicted the end of painting during the 20th century, the evidence of the good state in which the medium is found has served to increase the meaning of painting and its expressive possibilities, expanding the limits of this field and combining it with different disciplines without any prejudice. In this article we approach the work of two artists who maintain close ties with the cities of Barcelona and Paris, Xavier Escribà and Miquel Mont. Our spirit is not to reflect the coincidences between the two artists but to claim the innovation of their own professional career.

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Brock, Fiona, Nicholas Eastaugh, Thierry Ford, and Joyce H. Townsend. "Bomb-pulse Radiocarbon Dating of Modern Paintings on Canvas." Radiocarbon 61, no. 1 (July 11, 2018): 39–49. http://dx.doi.org/10.1017/rdc.2018.55.

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ABSTRACTRadiocarbon (14C) dating has previously been applied to modern paintings on canvas from the 20th century to identify potential modern forgeries, and dates indicate a time lag of several years between the harvesting of plant fibers for making canvas, and completion of a painting. This study investigated both the length of this time lag and the potential of 14C dating to inform about an individual artist’s mode of working (for example long-term storage or reuse of canvases, or extended reworking on a single canvas) and/or to establish a chronology for a corpus of work. Two pre-bomb and 16 post-bomb artworks by 17 mid-20th-century Scandinavian artists were 14C dated. The majority of post-bomb samples indicated a time lag of 2–5 years between the harvesting of the plants and completion of a painting, but some samples recorded lags of up to 10 years, and others produced much earlier results, potentially indicating the use of much older canvases or challenges removing contamination prior to dating. The importance of thorough pre-screening of canvas samples for both synthetic fibers and contaminants prior to dating, and selection of the most suitable calibration curve, are highlighted.

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Freak-Poli, Rosanne, Peng Bi, and Janet E. Hiller. "Trends in cancer mortality during the 20th century in Australia." Australian Health Review 31, no. 4 (2007): 557. http://dx.doi.org/10.1071/ah070557.

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An epidemiological study was conducted, using annual cancer mortality data over the period 1907 to 1998, to explore change in Australian cancer mortality. A 3-year moving average mortality was calculated to minimise the annual fluctuations over the study period. The results suggested that overall cancer mortality rose slightly over the past century, with a small decrease in more recent years. The male and female cancer mortality rates diverged over time. Younger age groups had low and stable death rates, 35?59 years age groups demonstrated decreased rates, and older age groups had increased rates over the study period. Modifiable lifestyle factors and other possible reasons for the changes were explored.

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Rigante, Elena C. L., Cosima D. Calvano, Rosaria A. Picca, Simona Armenise, Tommaso R. I. Cataldi, and Luigia Sabbatini. "Multi-Technique Characterization of Pictorial Organic Binders on XV Century Polychrome Sculptures by Combining Micro- and Non-Invasive Sampling Approaches." Applied Sciences 11, no. 17 (August 30, 2021): 8017. http://dx.doi.org/10.3390/app11178017.

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A stony sculptural composition of the Nativity Scene is preserved in Altamura’s Cathedral (Apulia, Italy). This commonly called Apulian “presepe”, attributed to an unknown stonemason, is composed of polychrome carbonate white stone sculptures. While earlier stratigraphic tests have unveiled a complex superimposition of painting layers—meaning that several editions of the sculptures succeeded from the 16th to 20th century—a chemical investigation intended to identify the organic binding media used in painting layers was undertaken. Drawing on current literature, two strategies were exploited: a non-invasive in situ digestion analysis and an approach based on micro-removal of painting film followed by the Bligh and Dyer extraction protocol. Both peptide and lipid mixtures were analyzed by matrix-assisted laser desorption/ionization-mass spectrometry (MALDI-MS) and reversed-phase liquid chromatography coupled to mass spectrometry by electrospray ionization (RPLC-ESI-MS). Attenuated total reflectance Fourier-transform infrared spectroscopy (ATR-FTIR) examinations were also performed on micro-samples of painting films before lipids and proteins extraction. While human keratins were found to be common contaminants of the artwork’s surfaces, traces of animal collagen, siccative oils, and egg white proteins were evidenced in different sampling zones of the sculptures, thus suggesting the use of non-homogeneous painting techniques in the colored layers.

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Benkara, Dana Maria. "Restaurarea picturii Peisaj cu biserică, de Ștefan Popescu." Anuarul Muzeului Etnograif al Transilvaniei 30 (December 20, 2016): 267–77. http://dx.doi.org/10.47802/amet.2016.30.14.

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The paper presents some important aspects of the restoration- conservation process of a painted canvas, belonging to Ştefan Popescu, a romanian painter, whose creation, at the beginning of the 20th century, was famous especially through its landscapes. Stylistic and technological aspects of the painting were analyzed. The painting depicts a realistic landscape, with a house and an imposing stone church. A detailed account of the conservation state of the painting prior the restoration was made. The actual restoration process started with the cleaning of the superficial dirt and dust from the back of the painting. After protecting the entire face of the painting (by applying the Japanese paper), the old patch on the back of the painting (covering a small area of torn canvas) was replaced with a new one. The cleaning process (the removal of the light dirt and the old varnish layer) was followed by the filling of all the gaps of the painted layer with putty. The chromatic integration and the final varnishing ended the restoration process of the painted canvas.

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Zavadska, Galina, and Ilona Bagele. "THE SYNTHESIS OF PAINTING AND MUSIC: WASSILY KANDINSKY – ALFRED SCHNITTKE." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 28, 2021): 727–34. http://dx.doi.org/10.17770/sie2021vol4.6190.

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The interaction between colors and sounds, music and painting has existed long since. Throughout the centuries these two kinds of art have been developing simultaneously and in close contact with each other, besides. Composers, especially those of the 20th century, find in the sphere of painting images for their musical compositions, without trying to depict definite plot lines or specific landscape sketches. The paper analyzes a specific composition by Alfred Schnittke – Wassily Kandinsky – The Yellow Sound. Research aim: to investigate the features of musical implementation of W. Kandinsky’s ideas by Alfred Schnittke on the basis of a comparative analysis of specific compositions of both authors. Research method: a comparative analysis

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Melessanaki, K., C. Stringari, C. Fotakis, and D. Anglos. "Laser Cleaning and Spectroscopy: A Synergistic Approach in the Conservation of a Modern Painting." Laser Chemistry 2006 (December 25, 2006): 1–5. http://dx.doi.org/10.1155/2006/42709.

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We present results from preliminary laser cleaning studies performed on a 20th century modern painting, in which laser-induced breakdown spectroscopy (LIBS) was employed for monitoring the progress of material removal. This synergistic approach, that combines laser ablation cleaning with spectroscopic control, is of obvious importance as it offers a reliable means of ensuring proper conservation and could be the basis of a standard protocol for laser-based restoration procedures.

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Coco, Janice M. "Inscribing Boundaries in John Sloan's Hairdresser's Window: Privacy and the Politics of Vision." Prospects 24 (October 1999): 393–416. http://dx.doi.org/10.1017/s0361233300000430.

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The Public Reception Of An Image stands as a testament to its cultural 1 and social meanings. Nevertheless, the painting Hairdresser's Window (Figure 1) by the American Realist John Sloan (1871–1951) has yet to be considered in light of its contemporary criticism. The response of Sloan's early-20th-century audience was ambivalent and thus raises questions concerning the social issues embodied in this painting. Because Hairdresser's Window contains the major motifs recurring throughout Sloan's oeuvre (for example, windows, stereotyped figures, working-class women, and the inclusion of spectators within the picture), it will be used as paradigm to explore the social relevance of his personal mode of spectatorship, a practice that had its counterpart in the public sphere and was paralleled in other works of American Realist painting.

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Mellby, Julie. "AMERICAN ART IN THE 20TH CENTURY, PAINTING AND SCULPTURE 1913–1993. Christos M. Joachimides , Norman Rosenthal." Art Documentation: Journal of the Art Libraries Society of North America 13, no. 1 (April 1994): 40. http://dx.doi.org/10.1086/adx.13.1.27948624.

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Tseng, Alice Y. "Painting Circles: Tsuchida Bakusen and Nihonga Collectives in Early 20th-Century Japan by John D. Szostak." Journal of Japanese Studies 42, no. 1 (2016): 152–56. http://dx.doi.org/10.1353/jjs.2016.0015.

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Kim, Kyong-Mi. "The German Painting Circles of the Early 20th Century and Anti-Semitic Views of Emil Nolde." Journal of the Association of Western Art History 44 (February 29, 2016): 71. http://dx.doi.org/10.16901/jawah.2016.02.44.71.

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Foxwell, Chelsea. "Painting Circles: Tsuchida Bakusen and Nihonga Collectives in Early 20th-Century Japan by John D. Szostak." Monumenta Nipponica 71, no. 2 (2016): 430–33. http://dx.doi.org/10.1353/mni.2016.0052.

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Laïïdi, Adila. "Liberation Art of Palestine: Palestinian Painting and Sculpture in the Second Half of the 20th Century." Journal of Palestine Studies 34, no. 4 (January 1, 2005): 110–12. http://dx.doi.org/10.1525/jps.2005.34.4.110.

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Song, Joon Il. "The Influence of Far Eastern Culture on the Creative Work of S.M. Eisenstein." Journal of Flm Arts and Film Studies 10, no. 3 (September 15, 2018): 45–54. http://dx.doi.org/10.17816/vgik10345-54.

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The article investigates the influence of Japanese and Chinese traditional culture on Sergey Eisensteins theory of artistic thinking, his activity as a film director. The author explores the origin of Eisensteins interest for the Far East in the historical context of the late 19th - early 20th century. Special attention is paid to his reflection on the nature of Japanese and Chinese drama, painting and poetry as well as its results manifested in his montage theory.

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