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Journal articles on the topic 'Art, Australian 19th century'

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Author: Grafiati

Published: 10 December 2022

Last updated: 30 January 2023

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1

Thorner, Sabra G. "The photograph as archive: Crafting contemporary Koorie culture." Journal of Material Culture 24, no. 1 (July 9, 2018): 22–47. http://dx.doi.org/10.1177/1359183518782716.

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In 2008, an Aboriginal Australian artist based in Melbourne, Australia, created a kangaroo-teeth necklace, revivifying an art/cultural practice for the first time in over a century. She was inspired to do so after viewing an 1880 photograph of an ancestor wearing such adornment. In this article, I bring the necklace and the photograph into the same analytical frame, arguing for the photograph as an archive itself. I consider the trajectories through which the 19th-century image has been replicated and circulated in various productions of knowledge about Aboriginal people, and how a 21st-century artist is mobilizing it not just as a repository of visual information, but also as an impetus to creative production. She produces objects of value and is making culture anew, in a context in which Aboriginality has long/often been presumed absent, extinct or elsewhere.

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2

Tyquiengco, Marina. "Source to Subject: Fiona Foley’s Evolving Use of Archives." Genealogy 4, no. 3 (July 9, 2020): 76. http://dx.doi.org/10.3390/genealogy4030076.

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Since the 1980s, multidisciplinary artist Fiona Foley has created compelling art referencing her history, Aboriginal art, and her Badtjala heritage. In this brief essay, the author discusses an early series of Foley’s work in relation to ethnographic photography. This series connects to the wider trend of Indigenous artists creating art out of 19th century photographs intended for distribution to non-Indigenous audiences. By considering this earlier series of her work, this text considers Foley’s growth as a truly contemporary artist who uses the past as inspiration, invoking complicated moments of encounter between Europeans and Aboriginal Australians and their afterimages.

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3

Hayward, Philip. "Firing up the Anthropocene: Conflagration, Representation and Temporality in Modern Australia." Text Matters: A Journal of Literature, Theory and Culture, no. 12 (November 24, 2022): 143–56. http://dx.doi.org/10.18778/2083-2931.12.09.

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The European colonization of Australia introduced a new population into a continent in which Indigenous people had practiced cyclic burning as a form of ecosystem maintenance since time immemorial. The settlers’ complete disdain for Indigenous knowledge and related practices caused these customs to largely fall into disuse. One result of this was an increased vulnerability of landscapes to bush fires, a factor that has risen to the fore in the early twenty-first century. The fires that have swept across the landscape with increasing frequency and ferocity have provoked fears of a rolling, fiery apocalypse that might make living in many areas of the continent untenable. This marks a new phase of settler anxiety that has been fuelled by extensive coverage of fires on broadcast and digital media platforms. Blending discussions of Indigenous culture, 19th-21st-century European settler visual art, literature and modern communications media, this article begins by examining the nature of Anthropocene modernity and the very different worldviews and practices of Australian Indigenous peoples. Particular attention is given to senses of time and of living and working with fire. Subsequent sections open up the topic with regard to the planetary present and how we might adjust to the future.

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4

Bradford, Clare, and Kerry Mallan. "Editorial." Papers: Explorations into Children's Literature 18, no. 1 (June 1, 2008): 3–4. http://dx.doi.org/10.21153/pecl2008vol18no1art1184.

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The cover of this issue of Papers features an image which appears in the First Book of the Victorian Readers, originally published in 1928. As Jane McGennisken demonstrates in her essay on Australian mythologies of childhood in the Tasmanian and Victorian readers, the literary texts selected for these readers represent Australian children as innocent inhabitants of a young country, a conceit also proposed by Ethel Turner at the beginning of Seven Little Australians: ‘the land and the people are young-hearted together’. McGennisken argues that these imaginings of an innocent Australian childhood are analogous with mythologies of an innocent nation, which act to divert attention from the (less innocent) histories of imperialism fundamental to the nation’s foundation. Another preoccupation of the readers is the idea of the child as leader, in stories about courageous children like Grace Bussell, who in rescuing the victims of a shipwreck demonstrates the qualities of Australian girlhood by exercising a motherly concern. The readers constitute an important component of reading material for Australian children from the late 19th century until the 1940s; the online database AustLit: the Australian Literature Resource now includes a section on the Victorian Readers and the Victorian School Papers, at: http://www.austlit.edu.au/ (go to ’research Communities’, ‘Australian Children’s Literature’ and ‘the Victorian Classroom’).

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5

Dalziell, Tanya. "As Unconscious and Gay as a Trout in a Stream?: Turning the Trope of the Australian Girl." Feminist Review 74, no. 1 (July 2003): 17–34. http://dx.doi.org/10.1057/palgrave.fr.9400067.

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The instability of colonial representational economies, identities and tropes is the subject of analysis in this paper. I take as my starting point the anxieties that were generated during the late 19th century in relation to what I nominate the fictitiousness of settler subjects in colonial Australia. In order to examine these historical concerns and their explicitly gendered representations, I consider in detail one text, Rosa Campbell Praed's Fugitive Anne: A Romance of the Unexplored Bush (1902). This text was published in 1902 and was one of a number of romance novels this author produced for readerships in both colonial Australia and England. This adventure romance features the trope of the Australian Girl and also engages in varying degrees with discourses of colonial ethnography that, to my knowledge, have not been examined in relation to the ideological production and effects of this figure.

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6

Dillon, Denise. "Wilderness in 19th Century South Seas Literature: An Ecocritical Search for Seascapes." eTropic: electronic journal of studies in the Tropics 21, no. 1 (March 30, 2022): 248–372. http://dx.doi.org/10.25120/etropic.21.1.2022.3823.

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In Western thought and literature, a terrestrial bias is considered a phenomenological primacy for notions such as wilderness. This ecocritical review draws on nineteenth-century South Seas literature with its influences from frontierism and the literary movements of romanticism, realism and naturism to consider a more fluid appreciation and reconceptualisation of wilderness as non-terrestrial and an oceanic touchstone for freedom. American terrestrial frontierism, that drove colonial settlement of the North American continent, is used as both counterpoint and important embarkation point for ventures into the Pacific Ocean following ‘fulfilment’ of the ‘manifest destiny’ to overspread the continent. For American, British and Australian writers, the Pacific represented an opportunity to apply literary techniques to capture new encounters. South Seas works by Melville, Stevenson, Becke and Conrad offer glimpses of seascapes that provide perceptions of heterotopias, archetypes and depictions of dispossessed itinerants at a moral frontier and wilderness that is both sublime and liberating, liminal and phenomenological.

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7

Fine, Amy M., Robert Rosenblum, and H. W. Janson. "19th-Century Art." Woman's Art Journal 6, no. 1 (1985): 41. http://dx.doi.org/10.2307/1358064.

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8

Przyblyski, Jeannene M., and Stephen F. Eisenman. "19th-Century Art." Art Journal 54, no. 1 (1995): 102. http://dx.doi.org/10.2307/777515.

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9

Bazilevich, Mikhail E., and Anton A. Kim. "STYLISTIC FEATURES OF THE EUROPEAN ARCHITECTURE OF BANKING INSTITUTIONS IN GUANGZHOU LATE 19TH – EARLY 20TH CENTURY ON THE EXAMPLE OF SHAMYAN ISLAND." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 41 (2021): 5–17. http://dx.doi.org/10.17223/22220836/41/1.

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The article is devoted to the architecture of European banking institutions in Guangzhou, built on the territory of Shamyan island in the late 19th – early 20th century. A brief historical excursion into the history of the formation of the British and French concessions is given. This publication examines the stylistic and compositional features of the architecture of such banking institutions as: Hong Kong and Shanghai Banking Corporation; The Chartered Bank of India, Australia and China; International banking corporation (City Bank); Bank of Taiwan; Commercial Corporation of Mitsubishi; Yokogama Specie Bank; The E.D.Sassoon & Co.Ltd. и D. Sassoon Sons Co. Ltd; Bank of Indochina; China & France Industry Bank. A composite and stylistic analysis was conducted, an iconographic description of the buildings of the main banks located within the boundaries of the former European concessions on Shamyan Island is given The study reveals the general principles of the development of the architecture of banking institutions in Guangzhou. The materials and results of the research carried out by the authors of this article allowed us to formulate the following conclusions: 1. The territorial isolation of the Shamyan island from the Chinese part of Guangzhou, as well as the operation within the concessions of British and French laws, contributed to the fact that the development of the architectural ensemble of the island as a whole was carried out in line with the advanced West European architectural and urban trends. 2. Most of the banking buildings here are built in the eclectic style with the predominance of neoclassicism features, of course, this fact is connected with the desire of the owners of bank corporations to demonstrate to the clients and competitors the financial strength of their organizations. 3. In the architecture of the considered banking institutions there is an active use of tectonics and elements of the order system, colonnades, arcades, the allocation of the first floor in the form of a rustic plinth. The motifs of Renaissance architecture, Baroque and Art Nouveau are also traced. 4. The formation of the appearance of banking buildings in Shamyan was strongly influenced by local conditions. The hot and humid subtropical climate of the south of China contributed to the spread in the architecture of the structures of this type of order colonnades, forming deep open verandas, as well as the use of X-shaped creaks-elements to ensure the natural ventilation of buildings, which, in addition, became an expressive element of the facade decoration

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10

Sverakova, Slavka, and Gerald Needham. "19th Century Realist Art." Circa, no. 52 (1990): 44. http://dx.doi.org/10.2307/25557542.

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11

VIGK, MALCOLM. "Normalisation in 19th Century Australian Schooling." Discourse: Studies in the Cultural Politics of Education 18, no. 1 (April 1997): 113–25. http://dx.doi.org/10.1080/0159630970180108.

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12

Pridmore, Saxby. "Suicide in 19th-century Australian fiction." Australian & New Zealand Journal of Psychiatry 51, no. 10 (April 4, 2017): 1058–59. http://dx.doi.org/10.1177/0004867417699475.

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13

Williams, A. M. M., D. A. Donlon, C. M. Bennett, and R. Siegele. "Strontium in 19th century Australian children's teeth." Nuclear Instruments and Methods in Physics Research Section B: Beam Interactions with Materials and Atoms 190, no. 1-4 (May 2002): 453–57. http://dx.doi.org/10.1016/s0168-583x(01)01317-9.

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14

Board, Editorial. "Cover Art." Public Voices 2, no. 1 (April 11, 2017): 6. http://dx.doi.org/10.22140/pv.419.

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15

Lampela, Laurel. "Women's Art Education Institutions in 19th Century England." Art Education 46, no. 1 (January 1993): 64. http://dx.doi.org/10.2307/3193419.

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16

Weidman, Jeffrey. "19TH-CENTURY ART. Robert Rosenblum , H. W. Janson." Art Documentation: Journal of the Art Libraries Society of North America 5, no. 1 (April 1986): 34–35. http://dx.doi.org/10.1086/adx.5.1.27947562.

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17

Gao, Hui. "Oriental Elements in Cezanne’s Art." BCP Social Sciences & Humanities 18 (June 30, 2022): 266–69. http://dx.doi.org/10.54691/bcpssh.v18i.994.

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Paul Cezanne is one of the representative artists of post-impressionism in France. In the early 19th century, Japanese paintings were famous and influenced by the second industrial revolution and respected Oriental works of art. Many Western artists initially increased Oriental elements to create but superficial. In the mid-19th century, with the emergence of Oriental art stores in the streets of France, the popularity of Oriental works has been further developed. Until the late 19th century, represented by Cezanne artists, art has been dared to explore and innovate on the road. Painting, especially in the late paintings of many potential injections of Oriental elements. Cezanne did not go to the East; a visible blend of Eastern and Western art exploration seems to have a hidden fusion very early. Therefore, this paper attempts to conduct a preliminary discussion on three aspects of composition, artistic temperament, and color, which helps us further explore the early integration of Eastern and Western art.

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18

Guseva, Ksenia E. "ENGLISH ARCHITECTURAL CAPRICCIO IN THE CONTEXT OF THE DEVELOPMENT OF LEADING ART STYLES OF THE XIX CENTURY." Articult, no. 4 (2020): 65–77. http://dx.doi.org/10.28995/2227-6165-2020-4-65-77.

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Architectural capriccio in the context of the development of the landscape genre, formed in Italy in the 15th – 16th centuries, has gained currency in English art 19th-century. This was facilitated by cultural, historical, political and social reasons. The methodological features of architectural capriccio in the 19th century was influenced by various artistic and art styles in English. The article is devoted to the prerequisites for the formation and dissemination of “capriccio” in the work of English architects and artists: C. Cockerell, J. M. Gandy, T. Cole and others in the cultural and historical context of the 19th century. The article also points out the creative methods and techniques for the formation of the genre of architectural fantasies in the period of changing style canons, the development of eclecticism and romanticism in the art of the 19th century. The causes of reminiscence of Gothic architectural forms in the capriccio genre by English artists of the 19th century are also discussed in detail in that article.

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19

Haig, Bryan. "INTERNATIONAL COMPARISONS OF AUSTRALIAN GDP IN THE 19TH CENTURY." Review of Income and Wealth 35, no. 2 (June 1989): 151–62. http://dx.doi.org/10.1111/j.1475-4991.1989.tb00587.x.

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20

Bovtun, Anastasiia. "Oneiric images in artworks of 19th-century French artists." Text and Image: Essential Problems in Art History, no. 1 (2022): 152–62. http://dx.doi.org/10.17721/2519-4801.2022.1.12.

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The article reviews the artistic activity of representatives of French graphic art – Jean-Jacques Grandville (1803–1847), Victor Hugo (1802–1885), and Odilon Redon (1840–1916), who became founders of new interpretations for dreams in 19th-century art. We analyzed artists’ key works representing the world of dreams with the help of concrete images and symbols. The article outlines special features of dream depiction in French graphic art of the second half of the 19th century. In the 19th century, the increased interest in the topic of dreams in France related to French scientist Alfred Maury (1817-1892). His book “Sleep & Dreams” (1861) influenced conceptually the activity of French artists who researched the unconscious with the help of visual language. The French art of the 19th century gradually withdrew from traditional European plots of dreams depiction of previous years that can be encountered in the artworks of Henry Fuseli, Francisco Goya, and William Blake. French graphic artists focused their attention on depicting the inner nature of dreams and oneiric space. They were not interested in plots with a sleeping person – they aimed to delve into the most hidden part of human subconsciousness during sleep and embody what is happening there. They approached philosophical and medical tracts devoted to the nature of dreams, inspired by spiritualism, and studied various oneiric states – insomnia, hallucinations, somnambulism, and nightmares. Dreams became the source of inspiration and infinite fantasies for 19th-century French artists. They turned into art researchers of dreams, kept «night» diaries, and wrote down their observations. Their artworks became exceptional results of these oneiric searches. The research of 19th-century French graphic artists and their innovative approaches to the depiction of dreams also play an important role in understanding the establishment and development of surrealist art at the beginning of the 20th century.

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21

Guoyi, Qin. "COLLECTING CHINA ART OBJECTS IN ENGLAND IN THE 19TH CENTURY." Articult, no. 3 (2022): 18–24. http://dx.doi.org/10.28995/2227-6165-2022-3-18-24.

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In the article, in the form of a brief overview, the Chinese influence on European art, in particular on English art, in the 19th century is described. The history of the emergence of Chinese art in Britain is summarized, the main stages of collecting and their prominent representatives are described. The article describes such areas of art as porcelain, engravings, painting, architecture, shows a description of their influence on European art, gives the reasons for the appearance of Chinese art in Europe. This article corrects the current picture of the development of collecting, based mainly on English-language material. The relevance of the study lies in the fact that the relationship of the studied cultures, the influence of Chinese culture on English is considered in the prism of social and political factors. The novelty of this study lies in the fact that the influence of Chinese art on the art of Europe depended on their position in the respective hierarchies: the higher the status of art in China, the less influence it had in Europe; and the higher the status of art in Europe, the less susceptible it was to Chinese influence.

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22

Herucová, Marta. "Case Studies in the 19th Century History of Art." Acta Historiae Artium 49, no. 1 (December 1, 2008): 351–59. http://dx.doi.org/10.1556/ahista.49.2008.1.38.

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23

Efland, Arthur D. "Art and Education for Women in 19th Century Boston." Studies in Art Education 26, no. 3 (1985): 133. http://dx.doi.org/10.2307/1320318.

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24

Green, Nile. "Technologies of the Image: Art in 19th-Century Iran." Iranian Studies 51, no. 5 (July 2, 2018): 795–99. http://dx.doi.org/10.1080/00210862.2018.1488390.

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25

Merrill, Ross. "Special Issue: Albert Bierstadt and 19th-Century American Art." Journal of the American Institute for Conservation 38, no. 1 (January 1999): 1. http://dx.doi.org/10.1179/019713699806113592.

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26

Tawadros, Çeylan. "Foreign bodies: Art history and the discourse of 19th‐century orientalist art." Third Text 2, no. 3-4 (March 1988): 51–67. http://dx.doi.org/10.1080/09528828808576189.

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27

Murrell, Timothy G. C. "More 19th Century masters of general practice with Australian connections *." Medical Journal of Australia 160, no. 10 (May 1994): 646–49. http://dx.doi.org/10.5694/j.1326-5377.1994.tb125875.x.

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28

Pushaw, Bart. "Coloniality at Global Scales: Reframing the Nineteenth-Century Exhibition Image." Acta Academiae Artium Vilnensis 105, no. 105 (February 8, 2022): 82–104. http://dx.doi.org/10.37522/aaav.105.2022.107.

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This study advocates for the necessity of writing more lateral art histories across cultures and geographies in the global 19th century by placing two history painters, the Estonian Johann Köler (1826–1899) and the Peruvian Luis Montero (1826–1869), into conversation. Although the role of indigenous actors within local histories of colonial conquest loomed large for both artists, the enduring Eurocentrism of 19th-century art history has limited how we might understand the commensurability of coloniality in the period. This study serves as an experimental roadmap for transcending these historiographical limitations, establishing the 19th century as a significant period of cultural correspondence between Eastern Europe and Latin America.

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29

Peckhaus, Volker. "19th Century Logic Between Philosophy and Mathematics." Bulletin of Symbolic Logic 5, no. 4 (December 1999): 433–50. http://dx.doi.org/10.2307/421117.

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AbstractThe history of modern logic is usually written as the history of mathematical or, more general, symbolic logic. As such it was created by mathematicians. Not regarding its anticipations in Scholastic logic and in the rationalistic era, its continuous development began with George Boole's The Mathematical Analysis of Logic of 1847, and it became a mathematical subdiscipline in the early 20th century. This style of presentation cuts off one eminent line of development, the philosophical development of logic, although logic is evidently one of the basic disciplines of philosophy. One needs only to recall some of the standard 19th century definitions of logic as, e.g., the art and science of reasoning (Whateley) or as giving the normative rules of correct reasoning (Herbart).In the paper the relationship between the philosophical and the mathematical development of logic will be discussed. Answers to the following questions will be provided:1. What were the reasons for the philosophers' lack of interest in formal logic?2. What were the reasons for the mathematicians' interest in logic?3. What did “logic reform” mean in the 19th century? Were the systems of mathematical logic initially regarded as contributions to a reform of logic?4. Was mathematical logic regarded as art, as science or as both?

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30

Franklin, Jonathan. "Going, going, gone: art auction catalogues from 19th-century Canada." Art Libraries Journal 24, no. 4 (1999): 44–48. http://dx.doi.org/10.1017/s0307472200019817.

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The art auction trade flourished in Canada as the 19th century progressed, pitting local artists against importers of European art; yet today there are relatively few preserved catalogues to show for all this activity. The National Gallery of Canada Library has been documenting the survivors, creating records in the SCIPIO database and arranging for microfilming. Individual lots have also been indexed (some of the idiosyncracies of auction catalogue entries are described below) and a Library Occasional Paper is to be published with a bibliographical listing and historical essay on the art auction in 19th-century Canada.

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31

Karstein, Uta. "Konkurrenzbeziehungen: Allgemeine und konfessionelle Kunstvereine im Kunstfeld des 19. Jahrhunderts." Internationales Archiv für Sozialgeschichte der deutschen Literatur 45, no. 2 (November 9, 2020): 334–44. http://dx.doi.org/10.1515/iasl-2020-0019.

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AbstractThe article compares secular and faith-based art societies in the 19th century. Of special interest are the societies’ missions and purposes, as well as their activities and organizational structures. The main thesis is based on the work of German sociologist Georg Simmel and his conflict theory. I argue that the competition of these societies had invigorating effects on the field of art and its institutionalization in the course of the 19th century.

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32

Torbik, Vladimir S. "Restoration art furniture in the 19th century: ideas and methods." Vestnik of Saint Petersburg University. Arts, no. 3 (2016): 84–101. http://dx.doi.org/10.21638/11701/spbu15.2016.307.

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Elliott, Brent. "AUSTRALIAN AND SOUTH AFRICAN PLANTS CULTIVATED IN THE EARLY 19TH CENTURY." Curtis's Botanical Magazine 26, no. 1-2 (April 2009): 175–80. http://dx.doi.org/10.1111/j.1467-8748.2009.01645.x.

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34

Stratford, Elaine. "Health and nature in the 19th century Australian women's popular press1." Health & Place 4, no. 2 (June 1998): 101–12. http://dx.doi.org/10.1016/s1353-8292(98)00003-3.

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35

Veres, Bálint. "Franz Liszt and the Temple of Art." Hungarian Studies Yearbook 4, no. 1 (November 1, 2022): 10–32. http://dx.doi.org/10.2478/hsy-2022-0002.

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Abstract Is it possible or desirable at all to establish a museum for music? The question was first posed by Franz Liszt in the 19th century. This essay will not only present the background and context of the question, but also the contradictory conclusions that emerge from the idea of the musealisation of music, and which still linger in 20th-and 21st-century music culture.

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36

Vossen-Delbrück, Else. "Libraries of art museums." Art Libraries Journal 12, no. 1 (1987): 12–13. http://dx.doi.org/10.1017/s0307472200004983.

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With one exception Dutch art museum libraries date from the second half of the 19th century or later. In general, museum libraries reflect the scope of the museum they serve and exist primarily for the use of museum staff although the public are also admitted. Most now use the same cataloguing rules; manual catalogues are still commonplace but are likely to be displaced by the computer.

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37

Rubik, Margarete. "Celebrating downward mobility in selected Australian texts." Acta Neophilologica 49, no. 1-2 (December 15, 2016): 19–27. http://dx.doi.org/10.4312/an.49.1-2.19-27.

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Several critics have pointed out that the new lower class national hero from late 19th century onwards was invariably male, and that women were largely excluded from this national stereotype. Yet several recent Australian authors have portrayed female characters who correspond to this insubordinate, defiantly lower class ideal, and thereby insert women into the national myth.

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38

Pavlova, O. A. "HOFFMANANDSCHUMANN - GREAT ROMANTIES OF THE 19TH CENTURY. «KREISLERIANA»." National Association of Scientists 4, no. 26(53) (2020): 4–6. http://dx.doi.org/10.31618/nas.2413-5291.2020.4.53.182.

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This article will present the aesthetic views and worldview positions of one of the outstanding representatives of German Romanticism — E. T. A. Hoffman. The author's literary heritage will be analyzed, the views and spiritual values of the writer, his attitude to the musical art will be generalized. An important issue considered in the context of this article will be the influence of the views and ideals of E. Hoffman on the work of R. Schumann. We will study the content and idea of the cycle, its musical and stylistic features related to the expression of images of the literary heritage of E. Hofmann's.

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39

Huang, Xinyi. "The influence of Japanese Ukiyo-e on Western painting art in the 19th Century." BCP Social Sciences & Humanities 20 (October 18, 2022): 304–10. http://dx.doi.org/10.54691/bcpssh.v20i.2334.

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Ukiyo had a profound influence on western painting in the 19th century. It can be seen from the works of Artists such as Monet and Van Gogh that they extensively used, imitated and improved Japanese Ukiyo techniques such as brushwork, composition and color. In addition, under the historical background and social environment at that time, the expression of thoughts and emotions was also greatly influenced by Ukiyo. This paper, starting from the origin and characteristics of Japanese Ukiyo, explains in detail the influence of Japanese Ukiyo-e on western painting in the 19th century, explores the way of expression of Impressionist and post-Impressionist works, analyzes the process of its absorption and re-innovation of Ukiyo-e, in order to provide some reference for modern painting creation. This paper explores the influence of Japanese Ukiyo on western painting in the 19th century in two chapters. First of all, from the origin of Japanese Ukiyo, style, techniques, representatives of the detailed interpretation of Japanese Ukiyo artistic characteristics; Secondly, based on the background of the introduction and integration of Ukiyo in western painting art, the paintings of Monet and Van Gogh, the representative painters of Impressionism and post-Impressionism, are extracted respectively, so as to explore the influence of Japanese Ukiyo on western painting art in the 19th century in terms of style, techniques and ideas.

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40

Baptista, Sofia. "O Que Pode “O Médico” de Sir L. Fildes Dizer-nos Hoje." Acta Médica Portuguesa 28, no. 4 (June 25, 2015): 540. http://dx.doi.org/10.20344/amp.6743.

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41

Neset, Arne. "Rowing in Eden: Waterscapes in 19th Century American Art and Literature." American Studies in Scandinavia 30, no. 1 (March 1, 1998): 1–16. http://dx.doi.org/10.22439/asca.v30i1.1114.

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Smith, Karen Manners. "Exhibit Review: Angels and Tomboys: Girlhood in 19th-Century American Art." Public Historian 36, no. 1 (February 1, 2014): 123–27. http://dx.doi.org/10.1525/tph.2014.36.1.123.

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Tul’pe, Irina Aleksandrovna. "Islamic art in educational publications of late 19th – middle 20th century." Vestnik of Saint Petersburg State University of Culture 1 (March 2019): 45–52. http://dx.doi.org/10.30725/2619-0303-2019-1-45-52.

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Pares, Susan. "Charlotte Horlyck. Korean Art: From the 19th Century to the Present." Asian Affairs 49, no. 3 (July 3, 2018): 567–68. http://dx.doi.org/10.1080/03068374.2018.1487732.

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Kahan, Robert S., and J. B. Colson. "More than Art: P. H. Emerson as 19th Century Photojournalism Pioneer." Journalism Quarterly 63, no. 1 (March 1986): 75–82. http://dx.doi.org/10.1177/107769908606300112.

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Barbosa Ribeiro, Marta, and Joana Brites. "Rethinking the stylistic categories of Portuguese 19th century sculpture: the work of António Teixeira Lopes." Ars Longa. Cuadernos de arte, no. 26 (February 1, 2018): 157. http://dx.doi.org/10.7203/arslonga.26.10961.

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This paper aims to rethink 19th century Portuguese sculpture’s stylistic categories from the analysis of the work of António Teixeira Lopes, who is considered the major representative of naturalism in this country. First, the concept of naturalism in Portuguese art history is examined, with a critical characterization of its separation from romanticism (contrasting with mainstream literature) and demonstrating that its emergence from painting research and its adoption in sculpture is inoperative when observing a concrete art work. Secondly, with the Portuguese art reality as a backdrop, Teixeira Lopes’ academic and professional life is contextualised. Finally, based on the analysis of the sculptor’s work and the knowledge of his methods and views on art, the labelling of Lopes as a naturalist is questioned and the necessity for a less compartmentalized understanding of 19th century art is stressed.

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SENCHENKOV, NIKOLAI P., and TATIANA A. PANKOVA. "THE CONTRIBUTION OF S. A. RACHINSKY IN MUSIC AND ART EDUCATION IN SMOLENSK PROVINCE OF THE LATE XIX CENTURY." Cherepovets State University Bulletin 4, no. 109 (2022): 197–207. http://dx.doi.org/10.23859/1994-0637-2022-4-109-17.

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The article examines the organization features of music and art education in Smolensk province at the end of the 19th century based on Tatevskaya School by S. A. Rachinsky. The authors highlight the principles of musical and art education of peasant children; determine pedagogical conditions, contributing to the primary art education for talented peasant children at school of S. A. Rachinsky. The article concludes that the ideas of teaching at Tatevskaya School of S. A. Rachinsky contributed to the development of music and art education in Smolensk province of the 19th century, since it was at this school that such famous Russian artists as N. Bogdanov-Belsky, I. Peterson, T. Nikonov received an elementary art education and continued to study in professional educational institutions. The school combined the spiritual community of the Russian people and enlightenment, contributed to the spread of musical and art education among peasant children.

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Портнова, Ирина. "Russian Animalier Art in the XVIII- XIX Centuries in the Context of European Schools: The Origins and Nature of Development." Space and Culture, India 9, no. 1 (June 24, 2021): 50–65. http://dx.doi.org/10.20896/saci.v9i1.1135.

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This study delves into the process of development of Russian animal art of the 18th-19th Centuries. The primary purpose of the research was to make a review of these two historical periods, which determined the typical features of the early and mature periods of development of animal art in Russia—the time of the birth and development of the genre. According to the author, genre issues are important, and talking about it is necessary to define the image of the animalistic nature in all its specificity. In addition, it is noted that researchers do not characterise the stage of early Animalism, which first appeared in the 18th Century, sufficiently. Nevertheless, this genre has demonstrated all the love of artists for the real perception of the natural world and their sincere will to create its truthful and reliable reflection in their works. This tendency is typical for Western European Art. At the same time, it has been explicitly expressed in the works of Russian animal artists. Compared with European Animal Art of the 17th-18th Centuries, Russian ‘Kunstkammer drawing’ and how the class of ‘animal and birds’ was organised looked like a real innovation. These two factors have contributed to the creation of a full-fledged animalistic image. The author underlines that the main principle of imitation of nature was at the basis of teaching in the Russian school. It eventually led to the formation of the genre with its complex, distinctive features. These unique features was observed in the animal art of the 19th Century, mainly in the form of hippique images. Nevertheless, there was an attempt to combine two separated historical periods— the 18th and 19th Centuries, which demonstrated different images, approaches (animal naturalia of the 18th Century and horse characters of the 19th Century). The author, here, tends to talk about Russian Animalism of the 19th Century, one of the most explored ones. Doing so underlines the importance of animal art of the two periods as a historically conditioned cultural phenomenon in the relationship between genres of Fine Art and trends of the time. The historical and artistic method made it possible to identify the connection between these two eras in which Animalism was expressed significantly. Its originality is that it combined two diverse eras into one national whole. Submitted: December 20, 2020; Revised: 12 February 2021; Accepted: 8 April 2021

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Zhang, Chunyan. "The Theme of “Alien Other” and “Imagined” Landscape in Australian Literary Tradition." English Language and Literature Studies 6, no. 1 (February 26, 2016): 109. http://dx.doi.org/10.5539/ells.v6n1p109.

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<p>In Australian culture, framed by both Western conceptions of nature and Australian colonial experience, traditional aesthetics and ideologies had negative attitudes towards the “wilderness”. Therefore in the major 19th century Australian literary tradition, the antagonistic relationship between man and nature was prevalent, which is demonstrated through the theme of “wild” nature, in which the Australian “wild”landscape was constructed as “alien other” and “imagined”.</p>

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Arutynyan, A. A. "German history of art of 19th century and problems of Armenian Medieval heritage." Vestnik of Saint Petersburg State University of Culture, no. 2 (31) (June 2017): 147–50. http://dx.doi.org/10.30725/2619-0303-2017-2-147-150.

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The science of art in Germany is based on the classical tradition, associated with a focus on ancient heritage, and a romantic perception of Gothic as a manifestation of the national school. In the mid-nineteenth century the first General history of art appeared, which, along with the national art and culture examined regional schools. Armenian medieval art is systematized and concisely described in the work of Kugler, in Schnaase’s book analysis becomes more comprehensive, detailed and consistent.

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