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1
Allen, Nancy S. "History of Western sources on Japanese art." Art Libraries Journal 11, no. 4 (1986): 8–13. http://dx.doi.org/10.1017/s0307472200004867.
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Learning about Japanese art has been difficult for Westerners. Limited access, language barriers, and cultural misunderstanding have been almost insurmountable obstacles. Knowledge of Japanese art in the West began over 150 years before the arrival of Commodore Perry in 1853. Englebert Kaempfer (1657-1716), sent to Japan as a physician for the Dutch East India Company, befriended a young assistant who provided information for a book on Japanese life and history published in 1727. By 1850, more ethnographic information had been published in Europe. Catalogs of sales of Japanese art in Europe exist prior to 1850 and collection catalogs from major museums follow in the second half of that century. After the Meiji Restoration (1867) cultural exchange was possible and organizations for that purpose were formed. Diaries of 19th century travellers and important international fairs further expanded cross-cultural information. Okakura Kakuzo, a native of Japan, published in English about Japanese art and ultimately became Curator of the important collections of the Boston Museum of Fine Arts. The advent of photography made visual images easily accessible to Westerners. Great collectors built up the holdings of major American museums. In the 20th century, materials written and published in Japan in English language have furthered understanding of Japanese culture. During the past twenty years, travelling exhibitions and scholarly catalogs have circulated in the West. Presently monographs, dissertations and translated scholarly texts are available. Unfortunately, there is little understanding in the West of the organization of Japanese art libraries and archives which contain primary source material of interest to art historians.
2
Vavroušková, Stanislava. "Ways to understand India: The Czech experience." Acta Orientalia Vilnensia 9, no. 2 (January 1, 2008): 125–32. http://dx.doi.org/10.15388/aov.2008.2.3705.
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Oriental Institute of the Czech Academy of SciencesTo promote and further the understanding of India in the Czech Republic, Czech Indologists (in addition to their academic activities) publish articles, analyses and books on Indian history, culture and politics in the Czech language and deliver lectures intended for the general public. They continue in the tradition of the founders of Czech Indian studies (e.g. Vincenc Lesný, Moritz Winternitz), who were active in the first half of the 20th century. The Indian Association, founded in 1934 and affiliated with the Oriental Institute in Prague, promoted mutual contacts between India and Czechoslovakia and organised visits of prominent Indians (e.g. R. Tagore, J. Nehru, S. Ch. Bose) to Czechoslovakia in the years prior to World War II. The Friends of India Association (founded 1990) offers public lectures and organises exhibitions of Indian art, performances of Indian artists, and occasionally, courses of Indian languages. In close cooperation with the academic community, the association tries to provide unbiased, balanced information on India which is based on academic research, personal experience, and very often, life-long dedication to the country and its people.
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Nikitin, Yury, Vasiliy Goryunov, Vera Murgul, and Nikolay Vatin. "Research on Industrial Exhibitions Architecture." Applied Mechanics and Materials 680 (October 2014): 504–9. http://dx.doi.org/10.4028/www.scientific.net/amm.680.504.
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All-Russian and regional exhibition architecture in the second half of the 19th century through the early 20th century had varied distinct differences in style and design. Temporality of exhibition architecture in those days contributed to a variety of experiments made for pavilions in the context of styles and structures. There was a high demand for the Russian style to be applied for pavilions both in Russia and abroad. First search and application experience in respect to the modern art principles are connected with exhibition architecture. These experiments in the national architecture and art are of a high interest. Neo-classicism was applied in exhibition architecture in the early 20th century to a large extent. The exhibitions of the early 20th century appeared to be special ‘style workshops’. Organizers of certain exhibitions tried to keep uniformity of style of basic constructions. The major merit of exhibition architecture is that it contributed to the transition from eclecticism to a new style on the cusp of the 19th and beginning of the 20th centuries.
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Šeparović, Ana. "Feministički iskazi u kritičkoj recepciji skupnih izložbi hrvatskih umjetnica." Ars Adriatica 8, no. 1 (December 28, 2018): 195–210. http://dx.doi.org/10.15291/ars.2762.
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This paper discusses the reception discourse related to three waves of group exhibitions by Croatian women artists in the 20th century, with a focus on feminist strategies used in advocating and empowering women’s art. The considered body of texts includes reviews of the first exhibition – the Intimate Exhibition at the Spring Salon of 1916 – the exhibitions of the Club of Women Artists held in 1928-1940, and the exhibitions celebrating Women’s Day from 1960 until 1991. Although taking place in different circumstances and socio-political contexts, all these exhibitions generated public debates on art produced by women, and although they provoked misogynous and anti-feminist statements, they also resulted in openly feminist voices of authors such as Roksana Cuvaj, Zdenka Marković, Marija Hanževački, Verena Han, Nasta Rojc, Zofka Kveder, and others. Based on historiographical sources and texts from the field of feminist theory, this analysis of the art-critical corpus has identified the main strongholds of feminist discourse: disclosure of misogyny and its sources in public opinion and prejudice, critique of the social construction of female inferiority, research on women’s art history, endorsement and praise of female art, and so on. It was these feminist statements that enhanced creative self-awareness in women artists and also slowly tamed the society by getting it used to their presence, leading to the gradual suppression of stereotypes and slow dissolution of the dominant patriarchal matrix in Croatian art during the 20th century.
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Beck, Mirja. "A Lived Experience—Immersive Multi-Sensorial Art Exhibitions as a New Kind of (Not That) ‘Cheap Images’." Arts 12, no. 1 (January 17, 2023): 16. http://dx.doi.org/10.3390/arts12010016.
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This article analyzes the phenomenon of multi-sensorial, digital, and immersive art exhibitions of popular artists, which has been widely neglected in academic research, from a historical perspective. Reflecting the significance of lived experience in art consumption, this 21st-century phenomenon can be confronted productively with early-20th-century art reproductions. The article focuses on the characteristics of both popular phenomena and on their advertisement, as well as on the discourse around them, documenting reactions from resistance to persistence and accommodation. The analysis shows noticeable similarities between the two types of popularization of high art, positioning the new immersive exhibitions in a traditional line of technical innovative art popularization. Whereas photomechanical art reproduction had an immense influence on the popular art canon, being also dependent on ‘photogenic’ conditions of artworks and thus focusing predominantly on painting, the contemporary canon is predisposed by the immersible characteristics of artists’ oeuvres.
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Pasitska, Oksana. "«TRADE LOCAL, BUY LOCAL, BE LOCAL»: AGRICULTURAL EXHIBITIONS AND FAIRS IN HALYCHYNA IN THE 20-30S OF THE 20TH CENTURY." Contemporary era 8 (2020): 19–27. http://dx.doi.org/10.33402/nd.2020-8-19-27.
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The article focuses on the exhibition activities of the Ukrainians, which were reflected upon in periodicals. In particular, it analyzes the organizational aspects and features of fairs and exhibitions of the agricultural products that were held upon the initiative of economic institutions and public organizations such as «Silskyi Hospodar» («The Farmer»), «Maslosoiuz», «Tsentrosoiuz», RSUK («The Auditing Union of Ukrainian Cooperatives»), «Soiuz ukrainok» («The Union of Ukrainian Women»), «The Ukrainian Folk Art» («Ukrainske narodne mystetstvo»), «The Hutsul Art» («Hutsulske mystetstvo»), «The Beekeeping Union» («Pasichnycha spilka»), «Rii» («The Swarm»), «Prosvita» («The Education») county unions, cooperatives, etc. Economic educational institutions also took part in the exhibitions. The first Ukrainian agrotechnical exhibitions were held in Stryi in 1909 and 1907, and later they took place in various Halychyna towns and villages, including Staryi Sambir, Dashava, and Sokal. Cooperative figures, such as D. Sembratovych, E. Olesnytskyi, O. Nyzhankivskyi, O. Lutskyi, A. Zhuk, M. Khronoviat, etc., played an important role in the organization of the given exhibitions. The article outlines the main functions performed by the exhibitions and fairs and the range of goods in demand among the visitors. Each exhibition was divided into separate sections, where the passers-by and the buyers could get acquainted with the results of work of the Ukrainian entrepreneurs and farmers in crop production, horticulture, vegetable growing, animal husbandry, beekeeping, crafts, and agricultural equipment. «Maslosoiuz» products, folk art products, and a wide range of medical products were especially popular at agro-technical exhibitions. Exhibitions and fairs were the manifestation of competitiveness in the local market, a factor of the region's economic and cultural development, as they were accompanied by entertainment and educational activities, including lectures, speeches, and presentations of new economic publications. Keywords: exhibitions, fairs, Halychyna, agricultural exhibitions and fairs
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Krzysztofowicz-Kozakowska, Stefania. "„Raumkunst” autorstwa Teodora Axentowicza." Lehahayer 8 (December 19, 2021): 185–90. http://dx.doi.org/10.12797/lh.08.2021.08.06.
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Raumkunst by Teodor Axentowicz
Three exhibition arrangements analysed in the article – the halls of Polish artists on the exhibitions in St. Louis (1904), London (1906) and XI International Biennial of Art in Venice (1914) – allow us to consider Teodor Axentowicz as a precursor of the new form of organisation of the exhibition space within the Polish culture. This form was a pattern for the subsequent architects of exhibitions belonging to the Society of Polish Artists “Art”. Projects of Axentowicz perfectly fitted to the modern style of exhibition interior arrangement, which was promoted by the Viennese environment of “Secession” at the turn of the 20th century.
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Rosso, Aluminé. "The cinefication of museums: from exhibitions to films. The case of Tate Modern." Digital Age in Semiotics & Communication 5 (December 30, 2022): 35–61. http://dx.doi.org/10.33919/dasc.22.5.3.
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Since the end of the 20th century, museum institutions have been adopting the logic of communication, promotion, and administration typical of cultural industries, mainly Cinema. In 1994, Andreas Huyssen argued that the museum, as an elitist place of preservation of canon and high culture, gave way to the museum as a mass medium. Cinema became the paradigm of contemporary cultural activities whose new exhibition practices respond to the changing expectations of the public and their constant search for stellar events.Since the end of the 20th century, museum institutions have been adopting the logic of communication, promotion, and administration typical of cultural industries, mainly Cinema. In 1994, Andreas Huyssen argued that the museum, as an elitist place of preservation of canon and high culture, gave way to the museum as a mass medium. Cinema became the paradigm of contemporary cultural activities whose new exhibition practices respond to the changing expectations of the public and their constant search for stellar events. This process is evident in the increasing use of banners, marquees, and all manner of resources aimed at promoting the temporary exhibitions gaining their place as the main attractions of art museums. Moreover, with the advent of social media, the phenomenon of cinefication of the museum has accelerated. Exhibitions are now titled, conceived, promoted, and distributed as films, while artists, adorned by the figure of the genius, are presented as parts of the art history star system. In order to highlight this phenomenon, we present an analysis of the programming and promotion of temporary exhibitions at Tate Modern, the paradigm of 21st-century museums. This institution not only titles its exhibitions in a cinematographic manner but also produces trailers and posts them on its website and social media. Our work focuses on one exhibition in particular: Picasso 1932, Love, Fame, Tragedy. To this end we observed both the curatorial discourse and the communication strategies applied by Tate. This paper is part of a research project that includes MoMA, Malba, Centre Pompidou, and Reina Sofia. The study of this phenomenon will provide an overview of the epochal style of modern art museums in the conception and communication of modern and contemporary art exhibitions.
This process is evident in the increasing use of banners, marquees, and all manner of resources aimed at promoting the temporary exhibitions gaining their place as the main attractions of art museums. Moreover, with the advent of social media, the phenomenon of cinefication of the museum has accelerated. Exhibitions are now titled, conceived, promoted, and distributed as films, while artists, adorned by the figure of the genius, are presented as parts of the art history star system.
In order to highlight this phenomenon, we present an analysis of the programming and promotion of temporary exhibitions at Tate Modern, the paradigm of 21st-century museums. This institution not only titles its exhibitions in a cinematographic manner but also produces trailers and posts them on its website and social media. Our work focuses on one exhibition in particular: Picasso 1932, Love, Fame, Tragedy. To this end we observed both the curatorial discourse and the communication strategies applied by Tate.
This paper is part of a research project that includes MoMA, Malba, Centre Pompidou, and Reina Sofia. The study of this phenomenon will provide an overview of the epochal style of modern art museums in the conception and communication of modern and contemporary art exhibitions.
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Gerasimova, Natalia V. "Exhibitions of Art Works from Private Collections of Kazan in the Second Half of 19th — Beginning of 20th Century." Observatory of Culture 21, no. 2 (April 19, 2024): 214–23. http://dx.doi.org/10.25281/2072-3156-2024-21-2-214-223.
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The article uses the example of Kazan to reveal the process of organizing and holding exhibitions of artworks from private collections in the Russian pre-revolutionary province. Addressing this topic, which has not been sufficiently studied in the history of Russian art, is relevant because it expands the understanding of the phenomenon of exhibition activity, which is one of the most important aspects of artistic life in Russia. The source base of the present study is the catalogues of four exhibitions of paintings from private collections held from 1873 to 1916, as well as publications in the Kazan press of this period. The peculiarities of the organizational process, selection and exposition of works, and the owners of the works are revealed. It is established that the exhibitions were of charitable nature: their proceeds were directed either in favour of the starving or poor, or in favour of Russian soldiers. The main collectors of art works in Kazan in the second half of the 19th century were predominantly landed gentry and university professors (who came from the families of personal nobles and officials). By the early 20th century, representatives of individual merchant families also had significant art collections. The exhibited works represented the whole variety of genres, but they were dominated by landscapes and portraits, primarily family portraits, suitable for decorating mansions. Catalogues allow us to conclude that local collectors of the second half of the 19th century were primarily interested in foreign art (masters of the Italian, Flemish, Dutch, Belgian, German and French schools, mainly of the 17—18 centuries), as well as (to a lesser extent) Russian academic painting (from V.L. Borovikovsky and D.G. Levitsky to D. Zakharov) and itinerant painters (I.I. Shishkin, N.A. Yaroshenko). By the end of the 19th century, the vector of collectors’ preferences shifted towards contemporary Russian art (works by Makovskys, I.E. Repin, etc. were collected), and collecting works by local artists (K.V. Bardou, L.D. Kryukov, R.A. Stupin, N.I. Zeblov, etc.) began to develop as a special direction.
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Ittu, Gudrun-Liane. "Siebenbürgisch-deutsche Künstlerinnen vom Ende des 19. und Anfang des 20. Jahrhunderts." Studia Universitatis Babeș-Bolyai Historia Artium 65, no. 1 (December 31, 2020): 127–55. http://dx.doi.org/10.24193/subbhistart.2020.07.
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"Transylvanian German women artists from the end of the 19th and beginning of the 20th century. The paper is aiming at analyzing the life and art of a group of six German women artists from Transylvania, the first ones who studied abroad, real forerunners for the next generation of female plastic artists. Emancipated ladies, determined to become artists and earn their own money, the gifted women studied in Budapest, Vienna, Munich or Paris. Only Molly Marlin did not come back home, while the others had a prodigious artistic and pedagogical activity, being present at the annual exhibitions, together with well-known male colleagues. Keywords: art academies, women artists, painters, graphic artists, art teachers, exhibitions, Sibiu, Betty Schuller, Hermine Hufnagel, Molly Marlin Horn, Anna Dörschlag, Lotte Goldschmidt, Mathilde Berner Roth "
11
Bennett, Theodore. "Tortured genius: The legality of injurious performance art." Alternative Law Journal 42, no. 1 (March 2017): 24–28. http://dx.doi.org/10.1177/1037969x17694791.
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In the 20th century, a distinct subset of performance art emerged in which the artist is deliberately physically injured as part of their performance. While such performances are now a settled type of artistic expression their legal status is unclear. This article examines the legality of such performances under the Australian criminal law. Focusing on common law principles, it compares injurious performance art to the legally recognised category of ‘dangerous exhibitions’ and ultimately argues that such performances will only be lawful if it can be clearly demonstrated that they have public utility.
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Weibel, Peter. "Music, Machines, Media and the Museum." Organised Sound 14, no. 3 (December 2009): 231–35. http://dx.doi.org/10.1017/s1355771809990197.
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The ZKM|Center for Art and Media in Karlsruhe is called Center because it is a museum and more than a museum. As a museum it has a classical museological function as a support and distribution system: Collection and archive, exhibitions and events. But in addition to it, the ZKM has two institutes for research, development and production (Institute for Music and Acoustics and Institute for Visual Media). The ZKM is a center for all media and for all art forms created in the 20th century. The machine based moving image has shifted the image from the classical position as space based art to time based art. Therefore the ZKM is the only museum of the world that integrated the mother of time based art, namely music, in his permanent collection and in its temporary exhibitions. This article describes the logic in the evolution of modern art, which is followed by the mission statement of the ZKM.
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Calo, Mary Ann. "A Community Art Center for Harlem: The Cultural Politics of “Negro Art” Initiatives in the Early 20th Century." Prospects 29 (October 2005): 155–83. http://dx.doi.org/10.1017/s0361233300001721.
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During the interwar decades, African American artists grew in number and visibility, and a wide range of publications featured stories on so-called Negro art. Notices on Negro art exhibitions and educational initiatives appeared in the black press and the mainstream mass media, as well as in special interest publications ranging from Art News to the Club Candle (the newsletter of the New Rochelle Women's Club). Though small in number, collectively these events served as opportunities to measure the overall progress or pulse of the African American artist.
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Dane, William J. "Public art libraries and artists and designers: a symbiotic scheme for success." Art Libraries Journal 12, no. 3 (1987): 29–34. http://dx.doi.org/10.1017/s0307472200005277.
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The inter-relationship between art librarians and artists/designers in the public library sector in America has been a reality since the early 20th century when libraries were organized into subject departments. This specialized clientele is eclectic and ranges from novices to the most accomplished artists and includes architects, art directors, illustrators, calligraphers, craftspeople and photographers in addition to painters, sculptors and graphic artists. Materials and services in public art libraries are highly diversified and the literature of other disciplines is also readily available. The increase in art exhibitions and special collections is noted in addition to a new focus on information for career opportunities, art law and the handicapped. Current developments set the stage for the continuing symbiotic relationship between public art librarians and artists/designers into the 21st century.
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Linden, Diana L. "Modern? American? Jew? Museums and Exhibitions of Ben Shahn's Late Paintings." Prospects 30 (October 2005): 665–84. http://dx.doi.org/10.1017/s0361233300002222.
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The year 1998 marked the centennial of the birth of artist Ben Shahn (1898–1969). Coupled with the approach of the millennium, which many museums celebrated by surveying the cultural production of the 20th century, the centennial offered the perfect opportunity to mount a major exhibition of Shahn's work (the last comprehensive exhibition had taken place at the Jewish Museum in New York City in 1976). The moment was also propitious because a renewed interest in narrative, figurative art, and political art encouraged scholarly and popular appreciation of Ben Shahn, whose reputation within the history of American art had been eclipsed for many decades by the attention given to the abstract expressionists. The Jewish Museum responded in 1998 with Common Man, Mythic Vision: The Paintings of Ben Shahn, organized by the Museum's curator Susan Chevlowe, with abstract expressionism scholar Stephen Polcari (Figure 1). The exhibition traveled to the Allentown Art Museum in Pennsylvania and closed at the Detroit Institute of Arts in 1999.Smaller Shahn exhibitions then in the planning stages (although not scheduled to open during the centennial year) were to focus on selected aspects of Shahn's oeuvre: the Fogg Museum was to present his little-known New York City photographs of the 1930s in relationship to his paintings, and the Jersey City Museum intended to exhibit his career-launching series, The Passion of Sacco and Vanzetti (1931–32). Knowing this, Chevlowe smartly chose to focus on the later years of Shahn's career and on his lesser-known easel paintings of the post-World War II era. In so doing, Chevlowe challenged viewers to expand their understanding both of the artist and his place in 20th-century American art.
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Mount, Sigrid Docken. "Evolutions in exhibition catalogues of African art." Art Libraries Journal 13, no. 3 (1988): 14–19. http://dx.doi.org/10.1017/s0307472200005769.
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Since their appearance in the early 20th century, catalogues prepared for exhibitions of African art have undergone a gradual transformation. Beginning as mere checklists many of these publications have, in the 1970s and 80s, evolved into major scholarly works whose significance transcends their original purpose as guides to the exhibitions. Changes occurring over the years are traced through examination of the form and content of representative catalogues and by review of the reception by art historians of many of these works into the corpus of literature of African art. The growing importance of exhibition catalogues as important art historical documents is also demonstrated by a chronological analysis of bibliographic citations in the major scholarly journal of African art in the United States. Finally, scrutiny of sources and annotations included in an important bibliographic guide to the literature of African art indicates how firmly established the exhibition catalogue has become as one of the most important publication forms for the dissemination of scholarly writing on African art.[This paper won the ARLIS/NA Gerd Muehsam Award for 1986. We hope to publish a sequel in a future issue, on exhibitions of African art in Africa and the development of catalogues written by Africans. Editor].
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Shalinskyi, Ihor, and Andrii Zabuzhko. "CONTEMPORARY ART AND ART MANAGEMENT INITIATIVES IN THE CONTEXT OF LOCAL SOCIAL TRANSFORMATIONS IN UKRAINE: THE CASE OF THE TEPLE MISTO PLATFORM." Art Research of Ukraine, no. 23 (November 28, 2023): 129–36. http://dx.doi.org/10.31500/2309-8155.23.2023.299212.
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Most of the art projects related to modern art take place in the capital. Other Ukrainian cities mostly have few powerful centers for the promotion of modern art and few active representatives of art management. However, such initiatives outside the capital can have a significant impact on social transformations. The purpose of this article is to analyze the activity of art management of the public platform of Ivano-Frankivsk Teple Misto in the field of contemporary art. In the last nine years, this platform has implemented numerous projects that are aimed at social transformations in the urban community. One of the areas of its activity is the engagement of the city’s public with modern art through exhibitions, murals, performances, educational projects, etc. These projects were implemented through a number of grants from Teple Misto. Art managers of the platform work on the Warm Art program. After 2018, this program was transformed into other projects. Contemporary visual art has been chosen as the focus of artistic initiatives for the purpose of promoting artistic processes in the city. Since 2015, the projects Residence for Artists, Open Art Lecture Hall, grants for exhibitions, etc. have served this goal. In addition, the project promotes famous art figures of the 20th century from Ivano-Frankivsk and the region through the support of exhibitions of the art by Paraska Plytka-Horytsvit, Osyp Sorokhtei, Stepan Nazarenko and others
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Khandelwal, Vishal. "On the Aspirations of Architecture and Design in 20th-Century South Asia." ARTMargins 12, no. 2 (June 1, 2023): 81–94. http://dx.doi.org/10.1162/artm_r_00352.
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Abstract This review compares The Museum of Modern Art's exhibition “The Project of Independence: Architectures of Decolonization in South Asia, 1947-1985” (2022) to Farhan Karim's Of Greater Dignity Than Riches: Austerity and Housing Design in India (2019). These two examples’ distinct approaches to architecture and design in twentieth-century South Asia are conditioned by their respective formats and scopes. Both the exhibition and the book draw attention to the ideas, ambitions, and aspirations undergirding architecture and design in the region, and as expressed by agents including architects, designers, bureaucrats, construction workers, intellectuals, and critics. They do so, however, towards variant critical ends that are juxtaposed and compared in this review. The final portion of this review discusses how questions of architectural and design production and conception, central towards understanding the intellectual contributions of architects, designers, and their collaborators, stand enhanced through a focus on issues of representation that also make their way into historical archives, and as such might be critically enfolded within historical narratives.
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Park, Hyesung. "Rethinking the 20th-Century Korean Embroidery from Gender Perspectives." Korean Journal of Art History 320 (December 31, 2023): 65–98. http://dx.doi.org/10.31065/kjah.320.202312.003.
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The rupture in the history of Korean embroidery is generally perceived as a severance from the traditional embroidery, made due to the Japanese colonial rule. However, it cannot be denied that the narrative of modern and contemporary Korean art history, mainly constructed around artistic movements and groups, also played a major part. The dispute encompasses the fundamental question of whether embroidery can be seen as a form of fine art from the perspective of modernist aesthetics, and the matter of hierarchy between different crafts. Also inherent are the tensions between contradictory values such as tradition and modernity, Western or Japanese and Eastern or Korean, abstract and figurative, and others peculiar to Korea, and the effects of such binary oppositions are closely related to gender problems. This paper re-examines, from gender perspectives, the chronological history of embroidery since the late 19th century, which had been placed on the periphery of Korean art history until now. In the traditional society, embroidery was produced and enjoyed privately, but moved into the public sphere through education and exhibitions for women during modernization. In the process, in order to be recognized as a form of pure art, embroidery gave up its unique characteristics as craft and took on the formative language of paintings. In the years immediately after liberation from Japanese colonial rule, which was the era of eradication of Japanese influences, establishment of national identity, and industrialization, embroidery was divided into abstract embroidery understood as more masculine, and traditional embroidery considered more feminine. Korean embroidery artists in the 20<sup>th</sup> century, as women experiencing particular historical contexts, worked with confidence in the artistic value of embroidery due to or despite their specific circumstances.
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Rusakov, Serhii. "Establishment of the Art Market in the Context of Ukrainian Historical and Cultural Tradition." Studia Warmińskie 59 (December 31, 2022): 111–24. http://dx.doi.org/10.31648/sw.8330.
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The origins of the art market in Ukraine are analyzed on the basis of the life of artists, art exhibitions, art salons and creative circles of the 17th - early 20th centuries. The author researches the socio-cultural processes of different periods of Ukrainian culture that influenced the phenomenon of the art market, in particular its educational and commercial aspects. The peculiarity of the art market in Ukraine is connected with the popularization of young Ukrainian artists, the creation of favorable conditions for the realization of their talent, the unification of artistic forces from different Ukrainian regions and on. The art market is considered as a value-semantic space, where works of art are circulated, thanks to which new ideas emerge in the Ukrainian cultural space. The author uses the cultural-historical method, which allows to analyze, describe and generalize the patterns of origin, formation and development of the art market as an important component of socio-cultural evolution of Ukrainian culture. The important role of patronage, which contributed to the development of the Ukrainian art market, is considered. The origin and development of art exhibitions, which gained popularity in the 19th century, despite the long-standing tradition of exhibition activities in Ukraine, are studied. Mobile art exhibitions became a unique phenomenon, which determined the main trend in the fine arts of the last third of the 19th century. The activities of the Taras Shevchenko Scientific Society, which contributed to the creation of a portrait gallery – the largest project related to the fine arts, headed by M. Hrushevsky – are reviewed separately. The author emphasizes that the activities of progressive Ukrainian of art contributed to the creation of many artistic associations, which played an important role in promoting the works of Ukrainian artists, awakening public interest in art.
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Pawłowska, Aneta. "African Art: The Journey from Ethnological Collection to the Museum of Art." Muzeológia a kultúrne dedičstvo 8, no. 4 (2020): 161–76. http://dx.doi.org/10.46284/mkd.2020.8.4.10.
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This article aims to show the transformation in the way African art is displayed in museums which has taken place over the last few decades. Over the last 70 years, from the second half of the twentieth century, the field of African Art studies, as well as the forms taken by art exhibitions, have changed considerably. Since W. Rubin’s controversial exhibition Primitivism in 20th Century Art at MoMA (1984), art originating from Africa has begun to be more widely presented in museums with a strictly artistic profile, in contrast to the previous exhibitions which were mostly located in ethnographical museums. This could be the result of the changes that have occurred in the perception of the role of museums in the vein of new museology and the concept of a “curatorial turn” within museology. But on the other hand, it seems that the recognition of the artistic values of old and contemporary art from the African continent allows art dealers to make large profits from selling such works. This article also considers the evolution of the idea of African art as a commodity and the modern form of presentations of African art objects. The current breakthrough exhibition at the Bode Museum in Berlin is thoroughly analysed. This exhibition, entitled Beyond compare, presents unexpected juxtapositions of old works of European art and African objects of worship. Thus, the major purpose of this article is to present various benefits of shifting meaning from “African artefacts” to “African objects of art,” and therefore to relocate them from ethnographic museums to art museums and galleries
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Ştefănescu, Mircea. "The Beginnings of The Modern Art." Review of Artistic Education 18, no. 1 (March 1, 2019): 255–61. http://dx.doi.org/10.2478/rae-2019-0028.
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Abstract At the beginning of the 20th century visual artists found in the art the perfect field to experiment with different materials, combinations of new shapes and proportions to create new artistic currents. But this new trend has questioned the relation of classical arts with its perennial values which can not be overlooked, however radical the desire of young artists to “break” definitively with the past. Thus, in this new artistic context, many of the old art flagship techniques have been questioned and, as is always the case for predicting the “future of art”, the new artistic tendencies are absolutized and others are considered obsolete and declared “death”. The best known example is that of Marcel Duchamp, who, along with his famous ready-made exhibitions, strongly supported the death of art. Finally, the great creators of the past century felt at one point the need to relate to established art in order to better understand the “place” occupied by the generation of new artistic revolutions.
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Sabinina, Anastasia A. "Project of The All-Slavic Art and Industry Exhibition in St. Petersburg: 1902–1912." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 71 (2024): 225–33. http://dx.doi.org/10.37816/2073-9567-2024-71-225-233.
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The paper examines the All-Slavic Art and Industry Exhibition. Preparations took 10 years: from 1902 to 1912. Using archival materials and early 20th century periodicals, the author analyses the exhibition as part of a global trend toward national and international art exhibitions and as a reflection of the St. Petersburg art scene at the turn of the 20th century, which welcomed contemporary art from various countries: from Germany to Japan. The exhibition was organized by the Petersburg Slavic Benevolent Society, which established a dedicated Exhibition Committee. The committee secured permission from the Tsar and funding from the Minister of Finance to carry out the project. The exhibition aimed to foster new trade contacts and showcase the unity and cohesion of the Slavic peoples in response to the perceived threat of cultural expansion by Hungary and Germany. As attendees showed increasing enthusiasm for the exhibition, the organizers expanded their plans, making them more ambitious and costly. However, the exhibition ultimately did not take place due to foreign policy issues. This study contextualizes the All-Slavic exhibition within the political climate of the time and explores the role of art in international diplomacy. Additionally, the research highlights other All-Slavic art exhibition projects, including those held abroad.
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Федорук, Олександр. "The Kyiv artistic life in the late 19th and early 20th centuries. Polish discourse." CONTEMPORARY ART, no. 18 (November 29, 2022): 307–20. http://dx.doi.org/10.31500/2309-8813.18.2022.273817.
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The article focuses on the problem of the local isolation of art at the turn of the 19th-20th century and the role of Ukrainian-Polish creative contacts in establishing Ukrainian artistic discourse. The works of K. Pryzhikhovskyi, A. Kendzerskyi, P. Vasylchenko, K. Ivanytska, artists who are half-forgotten today, were discerned by the importance of experience exchange and the need to find new imagery. The aforementioned artists performed together with I. Rashevskyi, M. Pymonenko, and Ya. Stanislavskyi. The connection of the latter with Ukraine is studied in particular through his pedagogical activities. Also, the characteristic features of Polish plastic arts in Poland and outside the country (Kyiv, Odesa) are traced, as well as exhibitions and events that are crucial for our understanding of the ties between Poland and Ukraine. It is proved that because of the emergence of new artistic societies, museums, and the growing role of art schools, Kyiv has become the professional platform where new generations of Polish artists have asserted themselves. The article also traces the impact of Ukrainian and Polish culture on the emergence of new phenomena in European art of the late 19th — early 20th century.
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Albano, Caterina. "The Exhibition as an Experiment: An Analogy and Its Implications." Journal of Visual Culture 17, no. 1 (April 2018): 97–116. http://dx.doi.org/10.1177/1470412918763446.
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The analogy of the exhibition as an experiment suggests innovative curatorial approaches that challenge institutional practices. This analogy has however a historical precedence in modernism when it became paradigmatic of the exhibitions at the Museum of Modern Art in New York in the 1940s, defining the curatorial approach of its founding director Alfred J Barr. This article considers this early use of the analogy of the exhibition as an experiment and further reflects on its redefinition at the turn of the 20th century by examining how both the notions of the exhibition and of the experiment have changed over time. In particular, the article examines the different meanings and practices inferred by the concepts of the exhibition and the experiment in the first decades of the 20th century and in the present. It outlines how correspondences between cultural and scientific paradigms can be deployed to tease unacknowledged synergies between two modes of knowledge production (i.e. the art exhibition and the experiment) and address questions of presentness, authority and legitimacy that they imply.
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Chernysheva, Anna Igorevna. "N. N. Zeddeler and A. P. Somova-Zeddeler: the forgotten names of early 20th century Russian art. Japonism in Russian printmaking at the beginning of 20th century." Secreta Artis 5, no. 1 (June 9, 2022): 6–23. http://dx.doi.org/10.51236/2618-7140-2022-5-1-6-23.
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The term japonism refers to a movement within 20th-century Russian art that has so far been insufficiently explored. In the meantime, its popularity at the turn of the 19th and 20th centuries coincided with the extraordinary blossoming of Russian color printmaking. N. N. Zeddeler and A. P. Somova were among those artists, who, along such revered masters like A. P. Ostroumova-Lebedeva and V. D. Falileeva, made a substantial contribution to the development of this art style. To date, their work has not received close attention from researchers. Likewise, there is no literature that would provide a systematic analysis of their legacy, save for brief mentions in the periodic press of that period or publications dedicated to exhibitions of 1900-1910s, in which the artists took part. N. N. Zeddeler and A. P. Somova-Zeddeler were well-known in the Russian and European artistic circles at the beginning of the century. Having acquired their education in Munich and Paris, they produced an oeuvre that fit perfectly into the context of early 20th century art and added essential touches to the aesthetic vision of the world emerging at that time. However, the work of these masters was not met with the appreciation it deserved and was eventually forgotten. It is worth noting that the task of mapping out the full biography of both artists appears to be extremely challenging due to a variety of reasons: their departure from artistic practice after the outbreak of the First World War, fragmentary and meager archival material, a small number of works that have survived till our time, the tragic and difficult fate of N. N. Zeddeler and A. P. Somova-Zeddeler… Thus, the purpose of the article is to fill in one of the gaps in the Russian history of art of the 20th century. The author examines the engravings by N. N. Zeddeler and A. P. Somova-Zeddeler from the collection of the Pushkin Museum created between 1900 and 1910, which were previously not studied by researchers.
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Kim, Seorim, and Kyoo Yun Cho. "Satire and Propaganda of Soviet Posters: The Artistic Representation of Laughter and Disgust in Deni’s Works." Institute for Russian and Altaic Studies Chungbuk University 25 (August 31, 2022): 99–128. http://dx.doi.org/10.24958/rh.2022.25.99.
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First appeared for commercial purposes in the early 20th century, Russian posters developed into independent art through the First World War and the Bolshevik Revolution. The early 20th century was the most productive period for Russian Art, as various experiments were conducted in the coexistence and competition of various painting trends. Amid the turbulent conditions leading to the revolution, civil war, and establishment of the Soviet Union, the integration of various artists’ experiments with the revolution is reflected in the form and content of posters produced at the time. Viktor Deni, who is called the pioneer and classic of the Soviet poster, had a profound influence on later Soviet propaganda art and posters by embodying personal laughter, social humor and satire, and disgust based on his unique political insight and artistic imagination. Nevertheless, in Soviet poster exhibitions and related studies, Deni has been introduced as a fragment of the history of Soviet art and has not drawn much attention for the artistic value of his satirical posters because of their ideological aspect. Therefore, this study examines the meaning of the creative works of Deni, which were the basis of Soviet political posters during the formation and development of Russian posters in the revolutionary period, and clarifies the social function of his satire and the essence of propaganda art through the transformation of laughter revealed in his posters.
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Metlenga, Weronika. "Sztuka performansu po "The Artist Is Present". Kontynuacja działań Mariny Abramović w twórczości jej uczniów." Panoptikum, no. 21 (December 18, 2019): 149–62. http://dx.doi.org/10.26881/pan.2019.21.09.
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Performance art, recognized in the second half of the 20th century as niche and alternative, is currently perceived as one of the most popular genres of contemporary art. The difference that has raised due to the development of performance art is evident not only in the way a performance is created, but mainly in changing the perception of the work of art. The opening of the Marina Abramović Institute and the performance The Artist Is Present, became the main turning point showing this change. The aim of this article is to present how the art of Marina Abramović, which she consistently created for more than four decades, evolves in the works of the new generations of performers. Qualitative research based on film, interviews, exhibitions and publications related to the subject is the base for these considerations.
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Barashkov, V. V. "The Formation of Artistic Competence in the Evangelical Church in Germany in the XX – Early XXI Century." Bulletin of Irkutsk State University. Series Political Science and Religion Studies 35 (2021): 115–24. http://dx.doi.org/10.26516/2073-3380.2021.35.115.
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In various Protestant denominations (particularly in the Evangelical Church in Germany) the demand for the formation of artistic competence has been growing since the mid 20th century. The celebration of the 500th anniversary of the Reformation in Germany in 2017 contributed to a new round of discussion of this issue. Luther's attitude to artistic images has been reevaluated. Interconnectedness of the word and image in the process of religious communication has been emphasized. The autonomy of art and freedom of creative expression of an artist in the dialogue with religion (in the form of exhibitions, installations in churches, etc.) has been recognized.
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Kulakova, Olga Yu. "Dutch Flower Still Life of 17th Century: Interest and Oblivion through the Centuries." Observatory of Culture 18, no. 5 (October 29, 2021): 496–505. http://dx.doi.org/10.25281/2072-3156-2021-18-5-496-505.
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Over three and a half centuries, the genre of flower still life created by Dutch artists experienced ups of interest and oblivion. There were the maximum assessment of society in the form of high fees of the 17th century artists; the criticism of connoisseurs and art theorists; the neglect in the 19th century and the rise of auction prices and close attention of art critics, manifested from the middle of the 20th century to the present day. In the middle of the 17th century, there was already a hierarchy of genres, based on both the subject and the size of the paintings, which was reflected in the price. Still lifes and landscapes were cheaper than allegorical and historical scenes, but there were exceptions, for example, in the works of Jan Brueghel the Elder and Jan Davidsz. de Heem. Art theorists Willem van Hoogstraten and Arnold Houbraken, resting upon academic tastes, downplayed the importance of still-life painting. Meanwhile, the artists themselves, determining the worth of their paintings, sought for maximum naturalism, and such paintings were sold well.In the 20th century, this genre attracted the attention of collectors in Europe and the United States. A revival of interest in Dutch still lifes in general, and in flower ones in particular, began in the 20th century, the paintings rose in price at auctions, and collecting them became almost a fashion. Art societies and art dealers of the Netherlands and Belgium organized several small exhibitions of still lifes. The course for studying symbolic messages in still lifes, presented by Ingvar Bergström, is continued by Eddie de Jong, who emphasizes the diverse nature of symbolism in Dutch painting of the 17th century. Svetlana Alpers, on the contrary, criticizes the iconological method and presents the Dutch painting of that period as an example of visual culture. Norman Bryson’s view of Dutch still lifes is formed against the background of the development of a consumer society, economic prosperity and abundance. Finally, there has been an increasing interest in the natural science aspects of flower still-life painting in the researches of the last twenty years. Curiosity, skill, and admiration for nature are the impulses that can still be felt in the images of bouquets and fruits.
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Volgusheva, Alla O., and Svetlana A. Vorobyova. "Proletarian Culture and Leftist Trends in Russia at the Beginning of the 20th Century." Observatory of Culture 20, no. 2 (May 31, 2023): 212–22. http://dx.doi.org/10.25281/2072-3156-2023-20-2-212-222.
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The low level of development of this topic in Russian historiography can be explained by the fact that, most often, this problematics is considered through the prism of general issues of culture of the Soviet period, party and state cultural policy, aspects of intelligentsia studies.This study aims at identifying the artistic concept of the leftist direction in the visual arts of the early 20th century, considering its variability, showing its origins, relations with the Soviet government and within the artistic environment, analyzing the reasons for its prohibition and exodus for many decades.The article pays special attention to the genesis of the very concept of “leftist art”, which was applied both in relation to new radical trends and in relation to the work of artists who considered themselves among the proletarian culture. The article attempts to separate the concepts of “avant-garde”, “modernism”, “futurism”. The authors focus on the art of the avant-garde, whose representatives, at the time of the Bolsheviks’ coming to power, took all the key positions and began to actively promote their creativity. The article pays attention to the reform of art education, as a result of which the Academy of Arts and the Higher Art School were abolished, and the Petrograd Art Training Workshops were created instead, where previous teaching methods were cancelled, talented masters were dismissed, and disciplines based on the principles of the avant-garde were introduced into education in the majority. The authors outline the changes in the traditions of museology, when, by the decision of the avant-gardists, museums began to be headed not by art historians, but by artists themselves, who became responsible for opening exhibitions and acquiring new works of art — at public expense and mainly of an avant-garde orientation.Based on archival materials and periodicals of the 1920s, the article analyzes the tasks of Soviet cultural policy, the art views of Soviet political leaders and art historians who were on the new government’s side. The authors consider the political views of representatives of proletarian culture (Proletkult) and the reasons for their disagreements with party leaders. The article substantiates the conclusion about the discrepancy in the understanding of the role of fine art among the government, avant-garde artists, and Proletkult representatives.
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Dyadyk, Natalia. "Art of the second half of XX — early XXI centuries as visual philosophy." Socium i vlast 4 (2021): 95–106. http://dx.doi.org/10.22394/1996-0522-2021-1-95-106.
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Introduction. The article is focused on studying the area of intersection of contemporary art and philosophy, it is a continuation of the research project on conceptual art and its intersection with philosophy, which we started earlier. By conceptual art, we mean art aimed at intellectual comprehension of what has been seen, art that appeals to thinking and generates philosophical meanings. But if earlier we explored conceptual cinema and mainly visual art of the early 20th century, then in this article we want to turn to the visual art of the second half of the 20th century — the beginning of the 21st century, which is also called contemporary art by art critics. The empirical material of the study was the works of such contemporary artists as E. Warhol, D. Koons, D. Hirst, J. Ono, F. Bacon, I. Kabakov, D. Kossuth, the movement of “new realists” and photorealists, the movement of Moscow conceptualists and etc. Contemporary art is one of the ways of understanding the world, visual philosophy, which is of interest for philosophical understanding. The purpose of the article is to conduct a philosophical analysis of visual art of the second half of the 20th — early 21st I centuries in order to identify its philosophical sources and content. Methods. The author uses the following general scientific methods: analysis and synthesis, induction, deduction, abstraction. When analyzing works of conceptual art, we use hermeneutic and phenomenological methods, a semiotic approach. We also use the symbolic-contextual method of analyzing exhibition concepts, which is based on identifying the philosophical meanings and ideas of exhibitions of contemporary art. Scientific novelty of the study. We regard contemporary art as a visual philosophy. Philosophizing, in our opinion, can exist in various forms and forms from everyday practical (the so-called naive philosophizing) to artistic-figurative, that is, visual. Philosophical ideas or concepts are born not only from professional thinkers, but also from artists. The artistic concepts of contemporary artists are similar to the concepts of philosophers, since the goal of both is to cognize the world and grasp being. We find and describe the area of intersection of modern philosophy and contemporary art, each of which is in a situation of crisis separately and continuous dialogue together. Results. In the course of our research, we identify and describe the philosophical origins of visual art in the second half of the twentieth century - early twenty-first century: postmodern philosophical consciousness, conceptualism, the idea of “death of the author” and “death of art”, simulacrum, kitsch and camp, the method of deconstruction and its application in modern art. Conclusions. Visual art of the second half of the 20th century — early 21st century is a visual form of philosophical questioning about the essence of art itself, about the existence of a person and being in general. The works of contemporary artists are based on philosophical problems: meaning, speech and meaning, the ratio of the rational and the irrational, the problem of abandonment and loneliness of a person, the problem of the “death of the author” and the alienation of the creator from his work, the idea of the impossibility of objective knowledge of reality.
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Kharitonova, Natalya Stepanovna. "Interaction of Artistic Culture of Russia and Scandinavian Countries at the turn of the 19th-20th Centuries." Journal of Flm Arts and Film Studies 7, no. 2 (June 15, 2015): 97–104. http://dx.doi.org/10.17816/vgik7297-104.
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The author examines similarity of historical and cultural development of Russia and Scandinavian countries. Cultural ties between the two domains evolved over many centuries. The most intensive period of development of Russian-Scandinavian artistic contacts stretched from mid-1880s-1890s up to the end of the first decade of the 20th century. In 1890s Russian painters considered achievements of Scandinavian colleagues as an example of a quest for progress, a creative approach to finding ones way in development of fine arts. At the same period in Russia a number of major international art exhibitions were arranged with active northern painters participation. The Russian interest in the art of Scandinavian countries in the late 19th - early 20th c. was anything but accidental. The development of artistic culture in Nordic countries was in tune with the Russian artists quest for other ways of creative expression. Northern culture attracted sympathy of Russian painters, black-and-white artists and art critics of diverse, often opposing groups and movements. For example, among the admirers of Scandinavian fine arts were V.V. Stasov and A.N. Benoit, I.E. Repin, V.A. Serov, F.A.Malyavin, the artists of the "Mir iskusstva group, and representatives of Moscow School of Painting (K. Korovin, A. Arkhipov, V. Perepletchikov etc.). By mid-1890s relations of Russian and Scandinavian art schools had become very intense and productive. This interaction coincided with significant events that influenced further development of artistic and other forms of culture on both sides. It manifested itself in publications of works of A. Strinberg and K. Hamsun in Russian, in staging of H. Ibsens plays at the Moscow Art Theater, exhibitions (especially of A.Tsorns works), and other activities that served to cross-fertilisation of cultures of Russia and Scandinavian countries.
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Vignioli, Marcela. "Lola Mora in Tucumán: Personal Costs and Benefits of Creating Public Art, 1890-1904." Ameryka Łacińska Kwartalnik analityczno-informacyjny, no. 116 (June 30, 2022): 89–104. http://dx.doi.org/10.7311/20811152.2022.116.06.
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From a traditional perspective, women who have triumphed in the arts, literature, or science have been seen as an anomaly or “exceptional women” by historians. In 1895, only a third of girls under 14 could read in the small provincial town of Tucuman, in northern Argentina. However, Lola Mora displayed her sculptures in her first exhibitions in the same year. Her career as a sculptor was legitimized and recognized in her hometown Argentina, after spending years in Europe developing her talent. Her career as an artist has historically been seen as a distinct rarity, and few people have attempted to provide an explanation or contextualization for her success as an artist at the turn of the 20th century. In this article, I propose an analysis of the methods that Lola Mora used to legitimize her art and establish herself professionally. I would like to draw attention to Lola Mora’s conscious decision to contradict the contemporary ideals of patriotism and politics as themes in her art; her sculptures were physical manifestations of her feelings on the contentious aforementioned subjects. Lola Mora realigned her focus on the intricacies of provincial and national politics during the 1890s, but she did not abandon her art. Her career has been interpreted as a radical deviation from the lives that women conducted publicly in the 20th century.
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Fedotova, E. D. "Серия акварелей «Campi Phlegraei» английского мецената и итальянского художника века Просвещения." Iskusstvo Evrazii [The Art of Eurasia], no. 1(20) (March 31, 2021): 260–69. http://dx.doi.org/10.46748/arteuras.2021.01.018.
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The article is devoted to the history of a unique collection made by famous American patron and curator Peggy Guggenheim. For several decades, she has been gathering works by European Cubists, Abstractionists and Surrealists, creating the huge collection of the 20th century art. But she made the most significant contribution to the development and popularization of modernism by organizing the «Art of this Century» gallery in New York. This gallery hosted for the first time exhibitions of artists who later became known as abstract expressionists. Their work loudly declared itself on the international art scene and won worldwide recognition. Статья посвящена серии акварелей «Campi Phlegraei», исполненной итальянским художником Пьетро Де Фабрисом (годы жизни не известны) во время научной экспедиции лорда Уильяма Гамильтона (1730–1803), посланника Великобритании, к кратеру Везувия. Оба они — художник и У. Гамильтон, меценат и коллекционер, увлеченно занимавшийся вулканологией, были яркими фигурами истории и культуры века Просвещения. Их сотрудничество является подтверждением научных и художественных достижений культуры Италии в век «просвещенного абсолютизма», когда в Королевстве обеих Сицилий правила династия испанских Бурбонов.
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Yartseva, O. A. "Коллекция Пегги Гуггенхайм." Iskusstvo Evrazii [The Art of Eurasia], no. 1(20) (March 31, 2021): 270–79. http://dx.doi.org/10.46748/arteuras.2021.01.019.
Full textAbstract:
The article is devoted to the history of a unique collection made by famous American patron and curator Peggy Guggenheim. For several decades, she has been gathering works by European Cubists, Abstractionists and Surrealists, creating the huge collection of the 20th century art. But she made the most significant contribution to the development and popularization of modernism by organizing the «Art of this Century» gallery in New York. This gallery hosted for the first time exhibitions of artists who later became known as abstract expressionists. Their work loudly declared itself on the international art scene and won worldwide recognition. В фокусе внимания автора статьи — история создания уникального собрания произведений искусства ХХ века, принадлежавшего известной американской меценатке и куратору Пегги Гуггенхайм. На протяжении нескольких десятилетий она коллекционировала картины европейских кубистов, абстракционистов и сюрреалистов. Но самый значительный вклад в развитие и популяризацию модернизма она внесла, организовав в Нью-Йорке галерею «Искусство этого века», в которой впервые были проведены выставки художников, позже ставших классиками абстрактного экспрессионизма США, магистрального направления, громко заявившего о себе на международной художественной сцене и завоевавшего всемирное признание.
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Ponamarchuk, Igor. "Kyiv Association of Artists in the context of consolidation of the artistic forces of Kyiv in turn of the 19-20th cc." Text and Image: Essential Problems in Art History, no. 2 (2018): 68–83. http://dx.doi.org/10.17721/2519-4801.2018.2.04.
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The article is based on the statutory materials and catalogs of the exhibitions of artistic works which were held in Kyiv in the late nineteenth and early twentieth centuries. It reveals the basic principles of activity of the Kyiv artistic associations. The author focuses his attention on the main trends in the development of the exhibition activities in Kyiv during the specified period. In this article we can see the preconditions of the unifying processes in the local artistic environment, the role of the Peredvizhniki (“The Wanderers”) as well as exhibition events of the Kyiv Drawing School M. Muraskho in the public presentation of works of art by Kyiv’s artists. The author reconsiders the peculiarities of exhibition activity in Kyiv from the seldom events of the late 1870's to the exhibitions systematically led in the early 20th century. The statutes of Kyiv artistic intelligentsia associations from the 1890s-1900s ("Bakhtins", the Association of Artists of Kyiv, the Kyiv Union of Artists), the frequency and membership of their exhibitions were revealed. The author highlights the role of O. Murashko in the consolidation of artistic milieu of Kyiv, his initiative in the emergence of the Kyiv Association of Artists (KAA). Also the author carries out a comparative analysis of the Statute of the KAA and similar materials of the associations of Kyiv artists from the late nineteenth and early twentieth centuries. The author shows the key aspects of the art and exhibition activity of KAA during 1916-1918 and determines the role of the KAA in the cultural and artistic life of Kyiv with the advent of Soviet occupation (1917-1918) as well as the participation of KAA members in the establishment of the Council of United organizations, the Professional Union of Artists, the All-Ukrainian Congress of Artistic Organizations, the First Congress of People Ukrainian plastic art.
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Kharitonova, Natalya Stepanovna. "Silver Age. Interference of the Russian and German Cultures." Journal of Flm Arts and Film Studies 6, no. 4 (December 15, 2014): 86–95. http://dx.doi.org/10.17816/vgik6486-95.
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The author explores the specific interaction of Russian and German art, their differences, forces of attraction and direct contact. Only conscious and meaningful differences could have reveal the strength and true value of each culture and, most importantly, become a pretext for new and creative quest for ones own way in art. Two-sided interest of Russian and German cultures implies a two-way process mutually contributed and enriched on both parts. The fact that Russian and German art at the turn of the 19th-20th centuries was developing under different conditions does not mean that the exchange of spiritual values was proceeding in only one direction. The facts indicate to intensive relationships and mutual enrichment between the two cultures. Despite restrained relation towards Russian fine art until the mid-1890s, the preconditions for closer attention to it were gradually evolving in Germany. A very important role was played in this province by Russian literature, which since the mid-80s had started to agitate the minds both in Germany and Europe in general. Tolstoy and Dostoevsky became well-known in Germany in 1880s, when the first translations of their works appeared. The next two decades showed an uninterrupted flow of reprints. But the point is not merely in the fact, that the achievements of Russian literature suggested the existence of fine arts of the same quality. Rather, as many critics state, Russian literature became a special key to the 19th century arts. The exhibitions of the Russian artists, including solo exhibitions of Ivan K. Aivazovsky and Vasily Vereshchagin, used to be arranged more and more often in German cities. Relations between Russian and German culture in the late 19th - early 20th were fairly stable and fruitful, enriching and inspiring art in both countries. By late 1910s the European public had accepted Russian art as an equal and very significant phenomenon in world culture, with much spiritual and creative potential deserving an elaborate study.
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Majewski, Piotr. "Constructing the canon: exhibiting contemporary Polish art abroad in the Cold War era." Ikonotheka, no. 30 (May 28, 2021): 135–53. http://dx.doi.org/10.31338/2657-6015ik.30.7.
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The article focuses on the attempts of constructing and presenting the canon of Polish modern and contemporary art in the West after World War II. Initially, the leading role was played by Colourists – painters representing the tradition of Post-Impressionism. After 1956 the focus shifted towards artists who drew in their practice on tachisme and informel. However, the most enduring effects brought the consistent promotion of the interwar Polish Constructivism and its postwar followers. The article discusses the subsequent stages of this process, from the famous exhibition at the Paris Galerie Denise René in 1957, through exhibitions such as Peinture moderne polonaise. Sources et recherches (Modern Polish Painting. Sources and Experiments) from the late 1960s, up to the monumental Présences polonaises (Polish Presences) from 1983 (both in Paris), showing that these efforts contributed to securing a permanent position of Polish Constructivism within the global heritage of 20th-century art.
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Matějová, Judita. "Muzejní časopis Mittheilugen des Mährischen Gewerbe-Museums in Brünn (1883–1918) v kontextu časopisů uměleckoprůmyslových muzeí v českých zemích." Acta Musei Nationalis Pragae – Historia litterarum 67, no. 3-4 (2023): 131–37. http://dx.doi.org/10.37520/amnpsc.2022.031.
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The article focuses on the museum journal Mittheilungen des Mährischen Gewerbe-Museums in Brünn, one of the important source materials for research on the arts and crafts of the last third of the 19th century and the early 20th century not only in Moravia but also in the cultural areas of the Austrian monarchy. The journal was published in the Moravian Industrial Museum in Brno in 1883–1918, when the museum was headed by two important directors – August Prokop (1883–1893) and Julius Leisching (1893–1922). Under the influence of the latter, the museum became the press authority of the Association of Austrian Museums of Applied Arts, the Association of Austro-Moravian Local Museums and the German-Moravian Association of Heritage Preservation. The journal contained articles on art history and information on current exhibitions, museum collections and activities as well as on the museum library.
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Manucharova, D. A. "Portrait Works by Olga Della-Vos-Kardovskaya in the Context of the Russian Art of the 1900s-1930s." Art & Culture Studies, no. 2 (June 2024): 220–49. http://dx.doi.org/10.51678/2226-0072-2024-2-220-249.
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The article focuses on portrait works by Olga Della‐Vos‐Kardovskaya — from her first significant paintings in this genre (e.g. Portrait of Nikolay Gumilev, 1908, State Tretyakov Gallery) to the last ones dating back to the late 1930s. This aspect of the master’s activity has not yet been the subject of a comprehensive research. Meanwhile, there has been a growing interest in the creative work of Olga Della‐Vos‐Kardovskaya, which is evidenced by the fact that her paintings are presented at many major exhibitions in Russia. First of all, these include her portraits, which reflect various trends in the Russian fine art of the early 20th century and the Soviet art of the 1920s‐1930s. The author of this article suggests dividing Olga DellaVos‐Kardovskaya’s portraits into three main types: representative, chamber, and typified portraits. The last group includes a subtype — children’s portraits. The artist created portraits of the three types throughout her entire creative biography. This division allows defining the features of the master’s portraiture and considering her paintings and drawings in the context of art development in the first three decades of the 20th century. As a result, it is possible to draw a conclusion that despite radical changes in the country and in the artist’s life, her portraiture remained almost unchanged during the 1900s‐1930s. In comparison with the pre‐revolutionary period, in her later works there appeared new character types, but the representation principles and artistic techniques remain the same. The most striking differences are found in her children’s portraits, which in the pre‐revolutionary work of Della‐Vos‐Kardovskaya were associated with idealistic retrospective tasks (children were depicted in 19th‐century interiors, wearing old‐fashioned costumes) and became ideologically loaded in Soviet times.
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Логдачева, Н. В. "The study of sculpture at the beginning of the 20th century: E.P. Tarkhanova- Antokolskaya." Terra artis. Art and Design, no. 4 (January 31, 2024): 32–39. http://dx.doi.org/10.53273/27128768_2023_4_32.
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В статье впервые представлены материалы о жизни и творчестве скульптора Е.П. Тархановой-Антокольской. Она не получила профессионального художественного образования, ваянием начала заниматься под руководством родного дяди, известного скульптора Марка Антокольского. Елена Павловна принимала активное участие в художественной жизни Петербурга, с успехом экспонировала произведения на выставках в Императорской Академии художеств. Ее натурные зарисовки «Читающая старуха», «Вышивальщица», «Краковский тип», «На балконе» и другие нередко получали положительные отзывы критиков. Единственной известной монументальной работой Тархановой остается надгробный памятник мужу, профессору И.Р. Тарханову, находящийся в Некрополе мастеров искусств (Государственный музей городской скульптуры, Санкт-Петербург). В статье рассматривается история его создания в соавторстве с архитектором Е.Е. Баумгартеном. В 1920–1930 гг. Тарханова-Антокольская продолжала работать в портретном жанре, а также по заказу Института по изучению мозга и психической деятельности создала необычную серию детских бюстов с различными патологическими медицинскими изменениями. The article presents for the first time materials about the life and work of the sculptor E.P. Tarkhanova- Antokolskaya. She did not receive a professional art education, she began sculpting under the guidance of her uncle, the famous sculptor Mark Antokolsky. Elena Pavlovna took an active part in the artistic life of St. Petersburg, successfully exhibited works at exhibitions at the Imperial Academy of Arts. Her full- scale sketches «The Old Woman Reading», «The Embroiderer», «The Krakow type», «On the Balcony», etc., often received positive reviews from critics. The only known monumental work of Tarkhanova remains the tombstone monument to her husband, Professor I.R. Tarkhanov in the Necropolis of Art Masters (The State Museum of Urban Sculpture, St. Petersburg). The article discusses the history of its creation in collaboration with architect E.E. Baumgarten. In the 1920s and 1930s, Tarkhanova-Antokolskaya continued to work in the portrait genre, and also created, by order of the Institute for the Study of the Brain and Mental Activity, an unusual series of children’s busts with various pathological medical changes.
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Кобер, О. И. "About the features of the avant-garde art of Orenburg of the second half of the 20th century: axiological context." Iskusstvo Evrazii [The Art of Eurasia], no. 3(26) (September 30, 2022): 128–41. http://dx.doi.org/10.46748/arteuras.2022.03.011.
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Региональный авангард «второй волны» относится к малоизученным темам современного российского искусствоведения. Актуальность данного исследования обусловлена тем, что впервые оренбургский авангард рассматривается в контексте отечественной культуры. На основе анализа творчества художников, отвергавших догматы официального искусства и отстаивавших право на свое видение художественного мира, научных статей, альбомов и каталогов выставок, статей в прессе указываются основные особенности авангардного искусства Оренбурга. Значительным явлением в культурной жизни города стало создание в начале 1970-х годов творческого объединения художников «Академия Садки», оказавшего большое влияние на становление оренбургского авангарда. Первое большое признание пришло к авангардистам в 1991 году, когда на аукционе «Отель Друо» в Париже были представлены «работы художников Урала» с подзаголовком «Подпольное искусство». При рассмотрении данной темы автор указывает и на некооперированных художников, каждый из которых в результате творческих поисков пришел к авангардному искусству. В статье делается акцент на том, что авангардисты трудно пробивали себе дорогу к зрителю, долго не получали признания своего творчества, чаще выставлялись за границей, чем в России. На сегодня творчество оренбургских авангардистов признано всеми, и их персональные выставки проходят на всех экспозиционных площадках города. На основе проделанной работы делается вывод об особенностях второго авангарда в Оренбурге: местные авангардисты были далеки как от соцреалистического, так и от постмодернистского искусства, в своем творчестве не затрагивали современных остросоциальных и политических проблем, для них были важны общечеловеческие и художественные ценности, а в решении живописных задач они опирались на традиции авангардного искусства начала XX века. The regional avant-garde of the “second wave” belongs to the little-studied topics of contemporary Russian art history. The relevance of this study is because for the first time the Orenburg avant-garde is considered in the context of Russian culture. The author indicates the main features of the avant-garde art of Orenburg based on the analysis of the work of artists who rejected the dogmas of official art and defended the right to their vision of the artistic world, scientific articles, albums and catalogs of exhibitions, articles in the press. A significant event in the cultural life of the city was the creation in the early 1970s of the creative association of artists called Sadki Academy, which had a great influence on the formation of the Orenburg avant-garde. The first great recognition came to the avant-garde in 1991, when the Hotel Drouot Auction in Paris presented works of artists of the Urals with the subtitle “Underground Art”. When considering this problem, the author also points to uncooperative artists, each of whom, because of creative searches, came to avant-garde art. The article focuses on the fact that avant-garde artists had a hard time making their way to the viewer, for a long time they did not receive recognition for their work, they were more often exhibited abroad than in Russia. Today, everyone recognizes the work of the Orenburg avant-garde artists, and all exposition sites of the city show their personal exhibitions. Based on the work done, the author of the research makes a conclusion about the features of the second avant-garde in Orenburg. Local avant-garde artists were far from both socialist realist and postmodern art; they did not touch on contemporary acute social and political issues in their work. Universal and artistic values were important for them, and in solving painting tasks, artists relied on the traditions of avant-garde art of the early 20th century.
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Otdelnova, V. A. "SOVIET ART OF THE SECOND HALF OF THE 20TH CENTURY AS PART OF THE WORLD ART PROCESS: METHODOLOGICAL APPROACHES AND PERSPECTIVES FOR FUTHER STUDIES." Вестник Пермского университета. История, no. 2 (2022): 55–71. http://dx.doi.org/10.17072/2219-3111-2022-2-55-71.
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The article examines writings on the history of art, in which artworks by Soviet artists are described not as a local phenomenon but in a global cultural context. These writings are combined into four blocks. The first block – “Socialist Internationalism” – explores papers by Soviet art historians written in the 1950s and 1960s and developed a conception of world “progressive art.” The second block – “Soviet Non-official art and Western art critic” – starts with analyzing the texts created in the 1970s – 1990s by European, American, and Soviet – émigré authors and ends with the writings by Russian curators of the 2000s. All the articles from this block represent a common idea of the universality of Western modernist and postmodern art theory. Thus, these authors selected only those artworks which could be described within this theory. In the context of contemporary European and American art trends, Soviet non-official art looks like a peripheral phenomenon. The third block – “Cold War and Global History of Art” – investigates the texts and exhibitions made during the last two decades and influenced by the ideas of global turn and critical research of the Cold War cultural policy. It is shown how art historians seek to develop new approaches and universal criteria to describe the 20th century world art. The last block – “Critical geography” – talks about the theoretical approach elaborated by Piotr Piotrowski. Within the framework of critical geography, the phenomena that have long been considered marginal come to the fore. Attention is paid to the international contacts of artists. The boundaries of art centers are shown to be different from the borders of states. Thus, the art of the Soviet artists is represented as part of the new geographic conglomerations.
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Dmitry, Soloviev. "Inkwell and Dates: Labor in Exhibitions “Objects of Pride and Shame” and “Gastev. How to Work”." TECHNOLOGOS, no. 3 (2022): 7–16. http://dx.doi.org/10.15593/perm.kipf/2022.3.01.
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This article investigates labor through the interpretation of modern artistic practices. Two exhibitions have been chosen as examples. The first one is the exhibition of Vladimir Arkhipov's collection of folk things; the second one is “Gastev. How to Work'' dedicated to Alexey Gastev. The exhibitions were held at the PERMM Museum of Contemporary Art in 2021. The author conducts a comparative cross-temporal study of the results of labor and the labor process focusing on the phenomenon of a folk thing investigated by artist Vladimir Arkhipov for more than two decades and idealistic reference ideas of scientifically regulated labor norms and standards developed by Alexei Gastev and the Central Institute of Labor in the 1920s. The comparative study will rely on the paradigms of re-thinking the labor in the mid-20th and early 21st centuries by scientists such as A. Honneth, Z. Bauman, M. Heidegger, G. Standing, and H. Arendt and the contemporary philosophical research on the issue of ontologies, namely the flat ones, undertaken by B. Latour and T. Morton. The methods designed during the evolution of the theoretical representation and understanding of labor in the second half of the 19th century and at the end of the 20th century allow for tracing and exploring the path from the forced labor to the free one focusing on artistic practices. This comparison will refer to the analysis of labor as a process. Contemporary approaches in the field of ontology, namely the flat ontology, have been used as a methodology for analyzing the transformation of perceiving the labor outcomes. Both the labor process and its results have been analyzed along the trajectory of the subject-object relations. The paper proposes a definition of the perception and product of labor under the modern socio-economic and sociopolitical conditions through the prism of artistic ideas.
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Yur, Maryna. "Ukrainian painting of the first third of the 20th century in scientific discourse: National aspect." МISТ: Art, history, modernity, theory 18 (November 29, 2022): 98–105. http://dx.doi.org/10.31500/2309-7752.18.2022.271060.
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The article explores scientific works in which the concept of “national” was studied through the prism of the creative intentions of Ukrainian painters. Based on the analysis of literary sources, it is shown that the formation of the national context of Ukrainian painting in the first third of the 20th century is determined by a number of factors — historical and cultural features of the time, values and artist’s worldview. The actualization of scientific discourse of national art contributed to the in-depth study of the development and functioning of Ukrainian painting of the specified period, creative visions of artists. The research methodology is based on the principles of historicism, the cultural-historical method is applied to clarify the prerequisites, cause-and-effect relationships, reconstruction of the development of Ukrainian painting in a diachronic and synchronous dimension, hermeneutics — to substantiate the progress of Ukrainian painting and its significance for culture. Understanding the vision of Ukrainian painting of the first third of the 20th century in the publications of scientists is based on a review of exhibitions, analysis of works, study of biographies and stages of artists’ creativity. It is argued that in the creative intentions of artists who professed realism or formed the foundations of Ukrainian modernism and avant-garde, the concept of «national» determined the development strategy of Ukrainian painting
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Adamska, Katarzyna. "An Apartment as a National Issue: On the Exhibitions of the Polish Applied Art Society at the Zachęta Gallery in 1902 and 1908." Ikonotheka 26 (June 26, 2017): 7–29. http://dx.doi.org/10.5604/01.3001.0010.1671.
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Towarzystwo Polska Sztuka Stosowana (TPSS) organised two exhibitions at the Zachęta Gallery. Their aim was to shape the national culture of living and to propagate ornamental design inspired by indigenous motifs. The 1902 exposition was arranged in accordance with the traditional perception of arts and crafts, which disregarded their function and construction in favour of the external form. New critical categories, borrowed from the language of functionalism and from ideas regarding living space as developed by the German Kunstgewerbe circles, induced the members of the TPSS to arrange their 1908 exhibition differently – as fully designed interiors rather than groups of independent items. Similar changes were then observed in the of shop-window design and in commercial expositions. The fact that they were explicated in terms of ethics reveals a combination of consumerism, aesthetics and morality characteristic of the early 20th century.
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Karpenko, Vladimir E., and Nikolay I. Shchepetkov. "Light Forms in Urban Environment." Light & Engineering, no. 04-2021 (August 2021): 6–15. http://dx.doi.org/10.33383/2021-033.
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The paper proposes a method for generalizing and understanding the achievements of modern lighting design by means of classifying light forms and their main features are specified. The variety of types and complexity of light forms are due to avant-garde experiments in the art of the early and mid 20th century and is consistent with the successive change in artistic styles. Advances in computer technology and programming have made it possible to combine lighting elements, visual, colour and optical effects in one form. The new lighting techniques were developed for illuminating the architectural environment, various buildings, structures and forms in the spaces of world exhibitions. In this paper, the following light forms of the urban environment are investigated: projection mapping, light-graphic, light-painting and installation, sculptural, media surfaces and media facades, structural and vertical, energy-saving and virtual. The classification of light forms makes it possible to identify their structure and image, their correspondence to different eras in art, to predict the possibility of their transformation in the perspective of modern visual creativity.
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Hussak, Pedro, and Marta D'Angelo. "Maria Martins: Singular and Plural." AM Journal of Art and Media Studies, no. 26 (October 15, 2021): 21–29. http://dx.doi.org/10.25038/am.v0i26.466.
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This article analyses two approaches to the work of Brazilian artist Maria Martins on the basis of texts by Brazilian art critic Mário Pedrosa and French surrealist poet Benjamin Péret dealing specifically with her production. The context of this two different approaches is the artist’s return to Brazil and her first exhibitions in the country in the early 1950s. While Pedrosa, from a reading based on the conceptions of modernism at the time, takes a critical stance towards Maria Martins, Péret defends surrealist principles, adopting a stance favorable to the artist’s work. The analysis of this two different approaches points out the relationship of the artist with Brazilian popular culture and the artistic avant-gardes of the first half of the 20th century, especially Martins’ approach to the surrealist movement.
Article received: April 24, 2021; Article accepted: July 30, 2021; Published online: October 15, 2021; Original scholarly paper
How to cite this article: Hussak, Pedro & Marta D'Angelo. "Maria Martins: Singular and Plural." AM Journal of Art and Media Studies 26 (October 2021): 21-29. doi: 10.25038/am.v0i26.466
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Brenni, Paolo. "Prizes, Medals and Honourable Mentions." Nuncius 34, no. 2 (June 12, 2019): 392–420. http://dx.doi.org/10.1163/18253911-03402010.
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Abstract Ever since antiquity, medals that were often also remarkable works of art were used to mark the achievements and testify to the glory of a person or his bravery on the battlefield, or to celebrate or commemorate a particular event. Sovereigns and nobles wore medals as symbols of their power, wealth and achievements or distributed them as exceptional gifts in order to maintain or garner support. In the 19th century the use of medals increased dramatically. In fact, with the machine age a new class of heroes was born. These were the engineers, the technicians and the manufacturers who were industrializing the Western world. And these pioneers of technological progress became the new recipients of a tide of medals, diplomas and awards which were primarily distributed at the national, international and universal exhibitions and fairs which abounded during the last decades of the 19th and the first decades of the 20th centuries. This essay will focus on instrument makers, whose activities bridged science and industry. Their products represented the high technology of their day in the sector of precision instruments, and the most outstanding ones, judged to be deserving of an award, were selected following examination by a jury composed of specialists. But what were the criteria adopted by the jurors? Did political considerations influence their judgments? What were the importance and the significance of these awards? Did they have an impact on the instrument maker’s trade or were they just attractive souvenirs to be taken home from the exhibitions? Based on an analysis of many documents (reports, lists of medallists, catalogues, specialized articles, etc.) relating to industrial exhibitions held in Europe and the United States during the 19th century, the present essay provides an answer to these questions.