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1
Asanuma, Keiji. "20th Century-End of Modern Art?" TRENDS IN THE SCIENCES 6, no. 2 (2001): 56–58. http://dx.doi.org/10.5363/tits.6.2_56.
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Selber, Kimberly A. "Influence of Modern Art on Early 20th-Century Advertising Art." International Journal of the Arts in Society: Annual Review 2, no. 1 (2007): 183–92. http://dx.doi.org/10.18848/1833-1866/cgp/v02i01/35350.
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Chen, Ziyuan. "Chinese Calligraphy: An Ancient Art in the Modern Era." SHS Web of Conferences 159 (2023): 02003. http://dx.doi.org/10.1051/shsconf/202315902003.
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Chinese calligraphy is an ancient character writing art. It germinated in the Shang Dynasty, reached its peak in the Tang Dynasty, and did not form a new calligraphy style for more than one thousand years. There are many similarities between Chinese calligraphy and western painting, including similarities in abstraction and symbolism. When the country went through the modernization of the 20th century, the western influence gradually increased, and the Chinese calligraphy art gradually formed new art forms such as hard pen calligraphy. At the same time, calligraphy art has also inspired and influenced the formation and development of western modern art in varying degrees since the 20th century. In the future, Chinese calligraphy will fully absorb the essence of western art, making this ancient art full of new vitality.
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CIRLOT, L. "THE KEY TO MODERN ART OF THE EARLY 20TH CENTURY." Art Book 1, no. 3 (June 1994): 16f. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00130.x.
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Demchenko, Aleksandr Ivanovich. "The Russian musical art of the early 20th century: Dissonances." Manuscript 17, no. 2 (March 4, 2024): 49–57. http://dx.doi.org/10.30853/mns20240008.
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Over an extended period spanning more than four decades (from the late 1880s to the early 1930s), a transition from the Classical era to Modern took place. This essay examines distinct shifts in the interaction between classical and modern styles within the specific historical contexts of the late classical era (as the culmination of the classical evolution) and the early modern era (as the emergence of Modern), focusing on a range of 1910s musical works: Alexander Taneyev’s Piano Quintet, the ballets “The Firebird” and “Petrushka” by Igor Stravinsky, Nikolai Myaskovsky’s Symphony No. 5, and Sergei Rachmaninoff’s cantata “The Bells”. Additionally, attention is given to the development of this issue in the 1920s: including the ballets “Flames of Paris” by Boris Asafiev, “Carmagnola” by Vladimir Femelidi, “The Red Poppy” by Reinhold Glière, “Pulcinella” by Igor Stravinsky, and N. Myaskovsky’s Symphony No. 6, where the confrontation between the old and the new world reached its peak. In conclusion, it is argued that the stark divergence into two contrasting types of worldviews inherent in the old and the new world was aimed at a sharp reorientation of values, leading to a fundamental transformation across all aspects of existence.
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Heusser, Hans-Jörg. "AICARC and the Archives of Modern Art." Art Libraries Journal 11, no. 2 (1986): 4–8. http://dx.doi.org/10.1017/s0307472200004582.
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Since the 1960s AICA, the Association Internationale des Critiques d’Art, has been increasingly concerned with the primary resources on which research depends. In particular, access to archival material was felt to be necessary in order to counter a dominant, highly selective, ‘modernist’ interpretation of 20th century art, with a more objective, comprehensive, and thoroughly researched history of the period covering all countries. The AICARC-Bulletin, founded in 1974, is devoted to primary sources, archives and documentation centres, archival techniques, and the ‘documentary’ approach to art, in relation to the art of this century.
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Liao, Lei. "Background of Western Modern Art in the 20th Century." SHS Web of Conferences 167 (2023): 01008. http://dx.doi.org/10.1051/shsconf/202316701008.
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In the 20th century, many major events were represented by the two world wars. They not only changed people’s living environment, but also affected people’s mental state. In the field of arts, modern industrial science and technology have opened up the expressive techniques of arts. War trauma has affected the creative mood of artists, and the inheritance of art value from the previous generation have also profoundly affected the inner spirit of arts. From the perspective of social and cultural contexts, the analysis of the time motivation of the development of western modern art in the 20th century can further understand its influence on art expression techniques, and also assist people better understand the connotation of art works, and better appreciate art works.
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Kholodynska, Svitlana. "THE CREATIVE WORK OF BORIS VIAN WITHIN FRENCH HUMANITIES OF THE 1940s–1960s." UKRAINIAN CULTURAL STUDIES, no. 1(12) (2023): 29–33. http://dx.doi.org/10.17721/ucs.2023.1(12).07.
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In the second half of the 20th century, discussions around the understanding of crisis phenomena that permeated all spheres of human life became more frequent, in particular, the spheres of art and aesthetics were also touched upon. The crisis in the artistic sphere was connected with the general cultural crisis of the late 19th and early 20th centuries, the decline of spirituality, and the relativization of values, primarily moral and aesthetic. Analysis of the crisis in the sphere of artistic practice and aesthetics of the 20th century was the subject of scientific research by several representatives of Polish aesthetics of the second half of the 20th century: R. Ingarden, S. Morawski, B. Dziemidok, and others. The primary attention of these thinkers was devoted to the understanding of transformational processes in modern artistic creativity and the analysis of its influence on aesthetics with a clear emphasis on the importance of the axiological perspective. A thorough analysis of the problems of the crisis in artistic creativity and aesthetics of the 20th century can be found in the works of S. Morawski. He studied the causes and consequences of transformations in artistic creativity since the beginning of the 20th century, in particular, the consequences for the formation of the modern axiosphere, and its role in changing modern aesthetic consciousness. However, S. Morawski's prediction regarding the replacement of aesthetics with anti-aesthetics was not confirmed. On the contrary, art that implements aesthetic values has survived, although the range of aesthetic values has increased significantly. Modern philosophy of art is open to the most controversial artistic proposals. This is because it breaks with those normative principles that limit freedom. The most important thing, however, is that normative and descriptive aesthetics always have an axiological character, which all representatives of Polish aesthetics emphasized in the second half of the 20th century.
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Shevchuk, Kateryna. ""CRISIS OF ART" AND "CRISIS OF AESTHETICS" IN RESEARCH OF POLISH HUMANITIES OF THE SECOND HALF OF THE 20th CENTURY." UKRAINIAN CULTURAL STUDIES, no. 1(12) (2023): 25–28. http://dx.doi.org/10.17721/ucs.2023.1(12).06.
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In the second half of the 20th century, discussions around the understanding of crisis phenomena that permeated all spheres of human life became more frequent, in particular, the spheres of art and aesthetics were also touched upon. The crisis in the artistic sphere was connected with the general cultural crisis of the late 19th and early 20th centuries, the decline of spirituality, and the relativization of values, primarily moral and aesthetic. Analysis of the crisis in the sphere of artistic practice and aesthetics of the 20th century was the subject of scientific research by several representatives of Polish aesthetics of the second half of the 20th century: R. Ingarden, S. Morawski, B. Dziemidok, and others. The primary attention of these thinkers was devoted to the understanding of transformational processes in modern artistic creativity and the analysis of its influence on aesthetics with a clear emphasis on the importance of the axiological perspective. A thorough analysis of the problems of the crisis in artistic creativity and aesthetics of the 20th century can be found in the works of S. Morawski. He studied the causes and consequences of transformations in artistic creativity since the beginning of the 20th century, in particular, the consequences for the formation of the modern axiosphere, and its role in changing modern aesthetic consciousness. However, S. Morawski's prediction regarding the replacement of aesthetics with anti-aesthetics was not confirmed. On the contrary, art that implements aesthetic values has survived, although the range of aesthetic values has increased significantly. Modern philosophy of art is open to the most controversial artistic proposals. This is because it breaks with those normative principles that limit freedom. The most important thing, however, is that normative and descriptive aesthetics always have an axiological character, which all representatives of Polish aesthetics emphasized in the second half of the 20th century.
10
Keser, Sezer Cihaner. "20th Century quest for new art and interdisciplinary approach." Global Journal of Arts Education 7, no. 2 (June 12, 2017): 61–65. http://dx.doi.org/10.18844/gjae.v7i2.1835.
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AbstractArt; when setting up the combined connection of feelings and thoughts, it is a very effective helper of learning and development. It developes one's source of explanation better, form of expression and other disciplines. That is why, in modern eductaion systems science and art should be nested together. Collaboration of different disciplines in art education started to gain importance towards the end of the 20th century. Because both fields are aimed for service development and discovery of the new, when feelings are educated, mental abilities, thoughts and intelligence have been seen to be developed. In this study, the key actions of the art education in the 20th century education has been briefly noted and towards the end of the 20th century with the importance gained from different disciplines with art the new created discipline based art education and approach to interdisciplinary art has been investigated.
Keywords: art, education, interdisciplinary art, mental abilities, learning, development.
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Huaijie, Wang. "Visual Subversion: The Purism Strategy of Western Modern Art." Communications in Humanities Research 16, no. 1 (November 28, 2023): 89–95. http://dx.doi.org/10.54254/2753-7064/16/20230465.
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In the early 20th century, the modernist revolution in the Western world had reached its peak, along with twice world-war, the world capital of art has been moved from Europe to America. In such a complex and unpredictable period, many artistic strategies were taken up, the purism strategy is one of the most radical and influential strategies, it marked the impeccable achievement of Western idealism. The practice of such a strategy initially happened in Europe and later was developed in the United States. However, in these two places, the strategy was practiced with different approaches, within the construction of Panofskys mechanism of vision, one focuses on visual identification and another focuses on visual perception. The two approaches not only mean different ways of seeing art but also imply different sensible orders, which need to be reflected and reexamined in a political dimension that has been settled between the United States and Europe after the 20th century.
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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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Demchenko, Aleksandr Ivanovich. "The Russian musical art of the early 20th century: Antitheses." Manuscript 17, no. 1 (January 11, 2024): 1–10. http://dx.doi.org/10.30853/mns20240001.
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The essay examines the transition from the Classical era to the Modern (the turn and the beginning of the XX century, 1890s-1920s) in Russian musical art. It is noted that for this period, the key driving contradiction was embodied in the opposition “the old world – the new world”, based on the dialogue of the ending and the ascending era. The paper gives a brief description of the trends inherent in the Russian musical art of the Classical era, its final phase, which received various expressions (this was reflected in such antitheses as “degradation, degeneracy – the great petrification”, “the golden sunset – the black twilight”). Special attention is paid to the phenomena of the emerging era, i.e., the Modern. As a result, the author comes to the conclusion that the prevailing trend in the formation of the new world, in addition to the retention and consistent development of established norms, turned out to be a cardinal renewal of the entire system of life views, including the artistic and aesthetic sphere: as for musical technology, qualities such as rigidity, contradiction were put forward; within the framework of semantic aspects, fullness of strength and increased vitality, as well as an optimistic mood were manifested, which would be later associated with the elaboration of heroic imagery and the development of revolutionary heroics.
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Penney, David W., and William Rubin. ""Primitivism" in 20th Century Art: Affinity of the Tribal and the Modern." African Arts 18, no. 4 (August 1985): 27. http://dx.doi.org/10.2307/3336253.
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Karpova, Elena A. "TEXTILE ART AS PART OF CITY'S ARCHITECTURAL SPACE." Architecton: Proceedings of Higher Education, no. 2(70) (June 29, 2020): 20. http://dx.doi.org/10.47055/1990-4126-2020-2(70)-20.
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The article is devoted to the interaction of textile art with architecture. The prototypes of tent architecture were temporary and mobile structures and ancient tent shelters. Decorative fabrics were used to decorate city streets during festivals and processions. They served as an essential color dominant emotionally affecting the viewers. The textile art of the 20th – early 21st century has seen the emergence of three-dimensional forms named "new tapisserie" and "environment". In the 20th century, architectural tent structures received extensive engineering and technical development, which influenced the form and plasticity in modern textile art, existing in synthesis with the architectural space of the city.
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Inshakov, A. N. "Mikhail Vrubel’s Exhibition as a Subject of Art Criticism Reflection." Art & Culture Studies, no. 2 (June 2024): 250–85. http://dx.doi.org/10.51678/2226-0072-2024-2-250-285.
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In this article, written after visiting the exhibition of works by M.A. Vrubel at the State Tretyakov Gallery in Moscow in the winter of 2021–2022, the author shares some of his impressions of the event. Vrubel appears as an innovator who predicted and anticipated in his work many phenomena in the art of the coming 20th century. The author examines the influence of Vrubel’s creative work on the artists of the Russian avant‐garde and the perception of his works by the masters of new trends in art. The purpose of the study is to analyse various connections between the young Russian artists of the 1900s‐1910s and the art and searches of Vrubel. The novelty of the work lies in the fact that this topic has not been fully studied to date. The significant exposition of Vrubel’s works at the Tretyakov Gallery provided a lot of new material for studying the influence of the artist’s work on the masters of the Russian art of the 20th century. In the article special emphasis is placed on the consideration of the last period of the master’s work associated with his illness. From the point of view of a modern researcher this period is a significant and completely independent phenomenon that completed his work of the 19th century and opened up new opportunities for the art of the 20th century. Research material for this article is presented by the works of Vrubel shown at the exhibition in the Tretyakov Gallery in 2021–2022, the memoirs and testimonies of the artists of the early 20th century, and subsequent works of the art historians of the 20th century.
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Eskilson, Stephen. "Thomas Wilfred and Intermedia: Seeking a Framework for Lumia." Leonardo 36, no. 1 (February 2003): 65–68. http://dx.doi.org/10.1162/002409403321152347.
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The most successful early-20th-century artist of colored light in the United States was undoubtedly Thomas Wilfred (1889–1968). In the 1920s, his “Lumia” compositions were praised by art critics and performed throughout the U.S. After initially embracing a musical analogy to explain Lumia, in the early 1930s he shifted to an analogy based on painting. In pursuit of this new context, Wilfred sought to legitimize Lumia through a relationship with the Museum of Modern Art in New York. His career is emblematic of the difficulties inherent in the creation of art using technology early in the 20th century, years before the postmodern embrace of pluralism.
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Khrenov, Nicolai A. "Modern art history as a human science in a situation of cultural turn." Journal of Flm Arts and Film Studies 11, no. 1 (March 15, 2019): 82–98. http://dx.doi.org/10.17816/vgik11182-98.
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Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts self-protection against deviations from the established methodology.
However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requires a deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism.
The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.
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Khrenov, Nicolai A. "Modern art history as a human science in a situation of cultural turn." Journal of Flm Arts and Film Studies 11, no. 2 (June 15, 2019): 102–15. http://dx.doi.org/10.17816/vgik112102-115.
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Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts self-protection against deviations from the established methodology.
However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requires a deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism.
The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.
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Khrenov, Nikolai A. "Modern art history as a human science in a situation of cultural turn." Journal of Flm Arts and Film Studies 11, no. 3 (November 13, 2019): 94–106. http://dx.doi.org/10.17816/vgik11394-106.
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Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts self-protection against deviations from the established methodology.
However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requires a deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism.
The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.
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Khrenov, Nikolay. "Modern Art History As a Human Science in a Situation of Cultural Turn." Journal of Flm Arts and Film Studies 11, no. 4 (December 30, 2019): 98–113. http://dx.doi.org/10.17816/vgik11498-113.
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Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts selfprotection against deviations from the established methodology.
However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requiresa deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism.
The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.
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Zhang, Xiaotong. "On Chinese Aesthetics of Abstract Expressionism Art." Highlights in Art and Design 3, no. 2 (June 26, 2023): 76–79. http://dx.doi.org/10.54097/hiaad.v3i2.10495.
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In the development trend of modern and contemporary art, abstract expressionism has occupied a decisive position in the history of art since its birth. As a representative art school in the 20th century in the West, it unexpectedly has a very distinctive artistic characteristic of China. In terms of objective environment, the artistic dialogue between China and the West in the 20th century was promoted to the field of metaphysical philosophy. Western artists' interest in oriental art surpassed their superficial understanding of their unique brushwork, and abstract art became the best cultural bridge to communicate between the East and the West. This paper compares the characteristics of Chinese and western artistic thoughts and the characteristics of abstract expressionism art, and explains how it has oriental artistic thoughts on the basis of world outlook.
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Umarova, Zarrina. "Characteristics of development of Tajik jewelry art at the turn of the 21st century." SHS Web of Conferences 50 (2018): 01226. http://dx.doi.org/10.1051/shsconf/20185001226.
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The paper identifies and analyzes the characteristic features of the development of Tajikjewelry art in the late 20th - early 21st centuries. The author believes that at this time, after a long period of oblivion, there is a marked way to restoration of many lost and nearly forgotten folk traditions in Tajik jewelry art. This period of time can be distinguished as a transitional period in the history of Tajik jewelry art development. This issue carries a significant value in the history of Tajikistan because the jewelry art in the period from the 80ies ofthe 20th century to the early 20th century was previously not subjected to a dedicated study, which results in certain gaps in the research of modern Tajik jewelry art. Studying the characteristics of the development of jewelry art at the turn of the 21st century and of the problems faced by master jewelers (zargars) at that time will aid in the future to identify the most efficient ways of developing this industry and facilitate its becoming one of the export-oriented areas, taking into account that the Republic of Tajikistan possesses all the necessary natural resources.
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Kuhutiak, Mykola, Ihor Raikivskyi, and Oleh Yehreshii. "Halychyna. Journal of Regional Studies: Science, Culture, and Education. Twenty Years of Publishing Activity." Journal of Vasyl Stefanyk Precarpathian National University 4, no. 2 (October 30, 2017): 134–38. http://dx.doi.org/10.15330/jpnu.4.2.134-138.
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This is a review of the twenty-year-long publishing activity of Halychyna. Journal of Regional Studies: Science, Culture and Education, one of the first Ukrainian journals for historians, philologists, art critics that appeared in the independent Ukraine. In Halychyna, there has been published the works by well-known scholars of Vasyl Stefanyk Precarpathian National University and many other higher educational establishments of Ukraine. The Journal can boast an array of sections – archaeology, history, ethnology, political science, historiography, source studies, documents and materials, culturology, art criticism, historical biography studies, and others. Most of the studies published in Halychyna focus on the issues of the modern and contemporary history of Ukraine, ethnology. A special attention is given to the issues of the Ukrainian national liberation movement in the 20th century, the Ukrainian national revival in the 19th–20th century, the activity of the political parties in Galicia in the late 19th–early 20th century, source studies and historiography in Ukraine, historical regional studies, the problems of modern state formation in Ukraine, and others
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RADU-GIURGIU, Cristina-Ioana. "Opera Agents in 20th Century (1). Opera business and singers’ careers." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 14(63), Special Issue (January 27, 2022): 147–54. http://dx.doi.org/10.31926/but.pa.2021.14.63.3.14.
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The key point in promoting singers’ careers in the 20th century was the Agent (known also as impresario, the art manager, the promoter). The business of opera is quite old, starting in the mid-17th century together with the newborn genre of lyric show, but in the 20th century, it has developed in more advanced forms, as a real institution. The “Opera Agents in 20th Century” is built in 2 parts. This first article presents the impresario throughout history, focusing on the development and the notable transformations of the opera business in the 20th century. The second part will consist of a related article, focusing on the role of the agent in developing and promoting the singers’ careers, different models of business contracts, agents’ fees (Compensation), and the modern agencies.
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Liu, Ting. "Singing (vocal) as a component of ballet: the experience of interpreting the phenomenon in the context of artistic trends of the early 20th century." Culture of Ukraine, no. 75 (March 21, 2022): 93–102. http://dx.doi.org/10.31516/2410-5325.075.12.
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The article is devoted to one of the forms of creative synthesis of types of art, which is being actualized in the modern space-time of musical and stage compositions, including through its own historical and genetic code. Singing in ballet appears in the context of art of the early 20th century as a common aesthetic phenomenon. However, music criticism and academic science have not yet provided the explanation of its mechanisms (image-aesthetic, psychological, form-creating, communicative), its overriding tasks in the concepts of modern musical theatre. The experience of problem statement in the field of interpretology provides the relevance of the topic of the article and determines the novelty of the obtained results.
The purpose of the article is to reveal the preconditions and content of the functional unity of the art of singing and dance against the background of artistic trends of the early 20th century (starting with “Pulcinella” by I. Stravinsky).
The creative tandem of dance and singing has its roots in ancient Greek culture, on which the creators of the French tradition of ballets du court (J.-B. Llully focused. In the realm of «mixed genres» of baroque music, the «golden age» of homo musicus began. The latest history of singing in ballet begins with I. Stravinsky, his «Pulchinelli». The obtained results of the research of the problem “What is singing in ballet — a tribute to history or an invention of modern culture”? First, the presence of the “genetic code” of this phenomenon in the art of Western Europe of the Modern times; secondly, the regularity of the tendency to synthesize singing in the art of ballet as a manifestation of neoclassicism, closely related to the historicism of compositional thinking of I. Stravinsky.
The conclusions outline the preconditions and content of the functional unity of singing and dance in the format of artistic trends of the early 20th century: 1) the historical and cultural code of French art (singing — dramatic play — dance); 2) personal self-reflection of I. Stravinsky (his relations on the basis of creative cooperation in the early 20th century later formed a wide range of communication for artists: O. Rodin, A. Modigliani, K. Monet, P. Picasso, V. Kandinsky); 3) imitation of pre-classical, pre-baroque, and ancient folk traditions. In general, the revival of the function of singing in ballet of the 20th century took place on the basis of musical historicism and serves as a mental sign of the birth of neoclassicism.
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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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Petrov, Vladislav O. "Synthetic Ideas of Giovanni Lorenzo Bernini in the 20th Century: to the History and Theory of Performance." Observatory of Culture, no. 5 (October 28, 2015): 66–71. http://dx.doi.org/10.25281/2072-3156-2015-0-5-66-71.
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The article demonstrates relevance of the synthetic ideas of the Italian architect, sculptor and artist Giovanni Lorenzo Bernini (1598-1680) in the modern performance art, which has become a landmark in the 20th century in terms of the Actionism manifestation. The chosen subjects (the absurdist situation and the actual event), as well as the methods for their dramatic composition and the applied means of their expression, characterize the performance of the 20th century, which gives us a reason to examine the position of Bernini and the position of one of the most actual genres in the modern world more closely.
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Demchenko, Aleksandr Ivanovich. "The Russian musical art of the early 20th century: Evolution." Manuscript 17, no. 3 (May 6, 2024): 139–47. http://dx.doi.org/10.30853/mns20240020.
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The essay is dedicated to the study of the development of Russian musical art during the transitional period (1890s-1920s). The content of each stage (decade) is examined in detail, taking into account the interpretation, semantic content and stylistic expression of the problems under consideration. In particular, the first stage (1890s) shows a movement towards new horizons, and the inertia of the established ethical and aesthetic principles of the 19th century is overcome. The key ideas of the second stage (1900s) are the emergence of a heroic-lyrical concept and the long-felt end of the Classical era. The third stage (1910s) was marked by radical and irreversible shifts in the entire structure of Russian musical art, which essentially meant the birth of the Modern. Within the framework of the final, fourth stage (1920s), the features and properties characteristic of musical art in the 1910s were brought to their conceivable limit, often receiving a hyperbolic expression; nevertheless, subsequent development was directed towards gradual stabilization, balancing, and rejection of excesses and extremes, thus outlining a movement towards an optimal rhythm of life. As a result, the principles of the next historical period began to form.
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Nikitina, Irina Petrovna. "Artistic Space as a Modern Aesthetical Category." Journal of Flm Arts and Film Studies 5, no. 2 (May 15, 2013): 66–80. http://dx.doi.org/10.17816/vgik5266-80.
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The article describes the process of transforming the concept of “artistic space” into a category of modern aesthetics due to the work of various 20th century philosophers (O. Spengler, M. Heidegger, P. Florensky, etc.) The author argues that unlike the chronotope, which is a local notion relevant only for temporal arts, the notion of “artistic space” is universal and valid for all art-forms.
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Tamang, Nem Bahadur. "Distortion of Forms and Subjects in Paul Cezanne’s Paintings." Journal of Fine Arts Campus 3, no. 1 (December 31, 2021): 31–34. http://dx.doi.org/10.3126/jfac.v3i1.42493.
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Paul Cezanne is the 19th century painter born in France who was a very important figure in the history of modern art. He had painted so many paintings like landscapes, portraits and still life. The figures and forms in his artwork do resemble the real world but the distortion is the most significant feature. The subject matters reveal the changes and gives emphasis upon forms. Subjects lack likeness and negate imitation as art followed by predecessors. The flatness and geometric forms are amplified along with expression in the paintings. The formal distortion played a vital role to give birth to Modernism in 20th century Western Art. So, he is called “Father of Modern Art”.
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Sernelj, Téa. "Different Approaches to Modern Art and Society: Li Zehou versus Xu Fuguan." Asian Studies 8, no. 1 (January 10, 2020): 77–98. http://dx.doi.org/10.4312/as.2020.8.1.77-98.
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Proceeding from the inseparable relation between ethics and aesthetics in traditional (and often also modern) Chinese thought, this article aims to illuminate two important approaches to the aesthetic foundations of Chinese modernity. The relation between the individual and society, which is a core question of modern ethics, is reflected in most of the ethical theories of 20th century China. In this context, the article first presents Li Zehou’s theory of aesthetics and his definition of aesthetic experience. In this way, it aims to illuminate Li’s interpretation of modern art and society, and to posit it into a contrastive position to Xu Fuguan’s ethico-aesthetic theories, especially the ones regarding modernity and Western culture. The basic approaches applied by these two important modern Chinese scholars reveal great differences in attitude towards the spiritual and material development of humanity in the 20th century, which is especially interesting since they are both rooted in the abovementioned belief that ethics cannot be separated from aesthetics. Besides, Li Zehou sincerely admired Xu Fuguan’s work on traditional Chinese aesthetics and referred to his comprehension of general concepts of traditional Chinese aesthetics in many of his own works dealing with aesthetics.
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Lyu, Liang. "Modern Approaches to the Study of Music of the Twentieth Century." Contemporary problems of social work 7, no. 1 (March 31, 2021): 76–82. http://dx.doi.org/10.17922/2412-5466-2021-7-1-76-82.
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the subject of research – modern academic music of the 20th century is a special kind of art, the effective development of which by students of art departments and universities requires appropriate methods. The purpose of the work is to consider problematic teaching methods that ensure the effective mastery of complex artistic material by university students who do not have sympathy for 20th century music. To verify the effectiveness of the application of problem learning techniques when students mastered avantgarde music, a pedagogical experiment was conducted to introduce problem problems, the case method and the design method into the process of mastering musical and historical disciplines. The study carried out a theoretical justification and introduced into creative practice the methods considered, which made it possible to involve the student in the development of discipline in the process of creative activity, which significantly increases the level of cognitive activity and contributes to the formation of students; to solve the problem of modern musical skill, students of the musical and pedagogical profile of education were presented with problem problems, and the task requiring brainstorming – to practically “guess” the alleged image of the author – had the necessary didactic effect. Methodological recommendations related to the use of problematic methods in music education are formulated.
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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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Stalmaszczyk, Piotr. "Celtic Studies in Poland in the 20th century: a bibliography." ZCPH 54, no. 1 (April 30, 2004): 170–84. http://dx.doi.org/10.1515/zcph.2005.170.
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Introduction Celtic Studies are concerned with the languages, literature, culture, mythology, religion, art, history, and archaeology of historical and contemporary Celtic countries and traces of Celtic influences elsewhere. The historical Celtic countries include ancient Gaul, Galatia, Celtiberia, Italy, Britain and Ireland, whereas the modern Celtic territories are limited to Ireland, Scotland, Wales, Isle of Man, Cornwall and Brittany. It has to be stressed that Celtic Studies are not identical with Irish (or Scottish, Welsh, or Breton) Studies, though they are, for obvious reasons, closely connected.
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Давиденко, І. В., and К. Л. Пашкевич. "АНАЛІЗ ХУДОЖНЬО-КОМПОЗИЦІЙНИХ ЗАСОБІВ ФОРМОУТВОРЕННЯ МОДЕЛЕЙ ДИЗАЙНЕРА МАДЛЕН ВІОНЕ." Art and Design, no. 1 (June 14, 2018): 55–66. http://dx.doi.org/10.30857/2617-0272.2018.1.5.
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Study of art-compositional means for shaping the models of clothes of the famous couturier of the 20th century Madeleine Vionnet and her design techniques with the purpose of developing a classification for use in the design of modern clothing
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PANYOK, Tetyana Volodymyrivna. "ART EDUCATION IN UKRAINE IN EARLY 20TH CENTURY: EDUCATIONAL TECHNIQUES FOR NEW FORMATION ARTISTS." International Journal of Conservation Science 14, no. 1 (March 15, 2023): 217–30. http://dx.doi.org/10.36868/ijcs.2023.01.14.
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The development of artistic education was carried out on the basis of Ukrainian culture and art, the personal significance of the traditions of art for students’ art and the artistic and pedagogical approaches of teachers. The training was based on the national and cultural consciousness of the students, the complex system of artistic training of the specialist was applied, the main principles of which were systematicity, consistency, structure, clear definition of the artistic purpose, connection with social life, development of creative individuality. Following the study of the art education historic experience, the paper confirms the significance and specifics of pedagogical approaches of the 20th century art teachers (М. Boichuk, V. Krychevsky, F. Krychevsky, H. Narbut), whose figures made up a bright and unique page in the modern Ukrainian art. The essential problems covered in the paper also include the analysis of historical and philosophical issues related to the development of higher art education.
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Plakhotnyuk, Oleksandr. "PERCEPTION OF THE WORLD OF JAZZ DANCE IN THE ARTISTIC SPACE OF THE 20TH CENTURY." Baltic Journal of Legal and Social Sciences, no. 2 (October 26, 2022): 157–62. http://dx.doi.org/10.30525/2592-8813-2022-2-26.
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In the provisions of the scientific article, the author substantiates the worldview and philosophical perception of jazz dance in the cultural and artistic space of the historical period of the 20th century – early 21st century in the context of the development of modern choreographic art. As a result of the study, an expansion of ideas about the philosophy of choreographic art is formed, which is reflected in the formation of the perception of modern dance in modern science. Also, in defining the worldview of jazz dance in the artistic space, which manifests itself at all stages of its development and becomes relevant in the art criticism discourse of the late 20th - early 21st centuries, it is a logical conclusion that jazz dance has a meaningful philosophical content and tries to give answers to eternal questions. , as well as everyday problems: how not to lose everything, and if this happened, then restore strength, and restore yourself anew, how to find love, and when found, how not to get rid of it, solve all the problems of a domestic nature and the spiritual life of everyone person. Jazz dance has always been a mirror image of a person's existence, his worldview and manifestation of will, striving for originality and revealing his own individuality. The dance movement of jazz dance is always a hymn in honor of human life in its manifestations and depths of all aspects of human existence, which is clearly manifested in the dance art. One of the main philosophical properties of jazz dance is the ability to quickly and thoroughly respond to all socio-political and historical processes of society development. Reflection of cataclysms, crises and pertrubation of economic development filigree reflects the tragedy of wars and emotions, its completion from victory to defeat. It is constantly developing, forming new samples, directions and whole self-sufficient types and directions of modern dance art.
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Rybačiauskaitė, Karolina. "Ranciere’s Challenge for the Lithuanian Modern Art Histories: The Possibility of New Sensible Structures." Problemos 97 (April 21, 2020): 198–208. http://dx.doi.org/10.15388/problemos.97.16.
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By analysing Jacques Rancière’s conception of art regimes and taking the practical example of paintings by Lithuanian artist Vincas Kisarauskas, it is demonstrated that by thinking about the modern art in the 20th century as the intersection of the three art regimes by Rancière, we might escape from the binary oppositions still prevailing in the interpretations of modern art in post-soviet and post-socialist countries, and also escape the current narratives of late and silent modernisms implying the belatedness and disability of modern art created in Soviet Lithuania. By writing histories of modern art with Rancière, it is possible to claim that at least a part of Lithuanian modern art is neither late nor silent. On the contrary, the part operating in the aesthetic regime of art becomes a space of search for the new tropes of expression and of the common sensual fabric of life.
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Kondakov, I. V. "Art on Both Sides of Reality. (Article I)." Art & Culture Studies, no. 4 (December 2021): 16–39. http://dx.doi.org/10.51678/2226-0072-2021-4-16-39.
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In a broad cultural and philosophical discourse, the comparison and differentiation of two layers of artistic reality in the 20th century, defining “the position of postmodern” (J.-F. Lyotard), are considered. It should be noted that in the 20th century art, without completely excluding the narrative-type artistic reality, was increasingly mastering the post-narrative artistic reality, but most often combined both artistic realities — modern and postmodern. The comprehension of art on both sides of reality presupposes the combination of narrative and post-narrative artistic realities as two layers of meaning covering the “vital reality” displayed and simultaneously overcome by them from both sides. The combination of “one’s own” text as the author’s narrative of life reality and the interweaving of “others” texts, ironically or creatively reflected in the form of a post-narrative texture, are put together as a two-layer text that contrasts “the life reality” in two ways. These provisions are confirmed by a number of literary examples.
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KARAKOVA, T. V., and E. V. RYZhIKOVA. "INFLUENCE OF THE SOVIET VANGUARD OF THE DEVELOPMENT OF MODERN ARCHITECTURE." Urban construction and architecture 2, no. 4 (December 15, 2012): 22–24. http://dx.doi.org/10.17673/vestnik.2012.04.4.
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Vanguard are typical for all the transition stages in the history of art culture, certain types of art. In the 20th century. notion of the avant-garde has become the term to refer to a powerful phenomenon of artistic culture that has enveloped her significant events, which have much in common. Vanguard is the reaction of the artistic and aesthetic consciousness on a global, not yet encountered in the history of mankind change in cultural and civilizational process caused by scientific and technological progress (STP) of the last century. The nature and importance to humanity of this process in culture have not yet received adequate scientific and philosophical understanding, but with sufficient detail expressed in the artistic culture in the phenomenon of the avant-garde, modernism, postmodernism.
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Taranda, G. L. "Modern Dance As an American Alternative to Classical Ballet." Contemporary problems of social work 6, no. 4 (December 30, 2020): 45–51. http://dx.doi.org/10.17922/2412-5466-2020-6-4-45-51.
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the article analyzes the features of the American modern dance, which formed in the first half of the 20th century as an alternative to the classical ballet of the United States, which had Russian roots. In the article there were formulated both the artistic and aesthetic principles of modern dance and the historical and cultural prerequisites for the formation of the US national choreographic school. The work uses theoretical methods: visual and text analysis of choreographic works and music for performances, comparison of the means of plastic expressiveness, movements and figures of classical ballet and modern dance, the principles of stage development of artistic images of performances. The basis of the empirical study was a generalization of the practical experience of staging performances by leading American dancers of the 20th century. According to the results of the study, it is noted that the features of modern dance are opposite to the classical ballet of the United States, testify to the desire of Americans to illuminate the problems of modern time and convey the unique national features of US culture, using elements of African or Indian dances, as well as movements that are not characteristic of classical ballet, but reflect the spirit of our time. The materials of the article have theoretical and practical value for specialists dealing with the problems of culture and art of the 20th century, including modern choreography
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Shmeleva, Natalia V. "About criteria of modern art: cultural approach." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 45 (2022): 172–83. http://dx.doi.org/10.17223/22220836/45/16.
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XX century introduced significant adjustments in the understanding of art. Art lost its special “aura” (V. Benjamin) with the development of visual practices, the growing role of science and the recipient in the design of artistic reality, which led to a change in the notion of the criteria of art up to the denial of its existence. The scientific novelty is determined by the change in the status of art in modern culture. The changes that took place in the art of the 19th century expanded the range of artistic value by recognizing new values and involving the figure of the recipient in the process of creating art. The acceleration of the development of culture in the 20th century led to a further change in the perception of art, which began to rely more on a rethinking of a tradition that had been enriched by the discovery of previously little-known cultures. In this regard, the criteria of art, representing the artwork as a cultural text aimed at understanding the experience of previous cultural eras, are changed. Purpose of the study describe the changes in the role of art in human life, which were reflected primarily in the rethinking of art criteria. In the twentieth century, there is a large number of contradictory phenomena called to be called culture and going beyond the framework of art, which requires their mastering. Visual mass culture, which does not have the signs of a new one, has trained the viewer to pay attention to the already realized reality, presented in a new shell from a different angle. Herewith the recipient ascribes traditional values and meanings to the mastered reality. Thus, the replicability and reproducibility of works of art change the person's idea of the subject of art. Methods: The analysis of art, through the lens of its criteria, took a cultural approach, which allowed to consider art in the context of the cultural text. To represent the specificities of contemporary art, descriptive and comparative methods were used to fit contemporary art into the cultural context and to identify its main criteria. The concepts of “art” and “culture” become largely synonymous in the consciousness of modern man. Peculiarities of the perception of a work of art are associated with the fusion of the concepts “work of art” and “cultural text”, when culture began to substitute for itself art, so people in the assessments of art are guided by the same concepts that apply to culture. Recognition of the conscious, as the main criterion of the art of mass consciousness, translates the work of art into the rank of a cultural text, for which other values and aesthetic criteria already act. We can draw a conclusion on the basis of the perception of the cultural text, that the toolkit for evaluating the cultural text passes to art, and therefore the main criteria are not the aesthetic, but the anthropological, associated with the creative activity of the recipient and his participation in the creation of a work of art.
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Hoffmann, Frank. "20th Century Korean Art, and: Modern Korean Ink Painting (review)." Journal of Korean Studies 13, no. 1 (2008): 118–23. http://dx.doi.org/10.1353/jks.2008.0000.
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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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Demeschenko, Violeta. "Peculiarities of genre formation in 21st century cinematography." Culturology Ideas, no. 23 (1'2023) (2023): 55–67. http://dx.doi.org/10.37627/2311-9489-23-2023-1.55-67.
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This scientific exploration is an attempt to consider the theoretical problems of genre development in modern cinema. Even today in the 21st century, modern cinematography remains one of the art forms that continues to develop dynamically. It is this development that continues to transform its genre classification rather quickly. This process occurs because the large number of modern films does not fit into the traditional genre classification and creates the need to search for new principles regarding the formation of the genre as such. The process of genre creation takes place permanently, both in cinematography and in art in general. In relation to this process it is important to highlight the clarification and understanding of the specifics of existing film genres, the classification of which must be constantly reviewed in order to understand the directions of the development of modern film art and to realize its specifics. Solving such a task requires taking into consideration the evolution of the genre system, which has turned into a continuous process that lasts throughout the 20th-21st centuries. Moreover, with regard to this process it is crucial to define the main trends related to the tradition of genre creation, which is influenced by artistic and socio-cultural factors.
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Lyashenko, Ekaterina S. "Transbaikal Painting of the 18th — the Early 20th Centuries: Periodization Problems." Vestnik of Saint Petersburg University. Arts 13, no. 3 (2023): 467–88. http://dx.doi.org/10.21638/spbu15.2023.305.
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The article is devoted to the research of Transbaikal painting history in the context of regional fine arts formation, artistic direction development. The Transbaikal art features are connected with region’s distance from cultural centers. Transbaikal painting has formed as result of penetration Russian art traditions and influence of regional national cultures. It’s possible to conditionally distinguish several stages in the history of Transbaikal painting. The first stage of formation (18th–19th centuries) was associated with creativity of visiting artists and with emergence of self-educated artists. The drawings were being made during the ethnographic expeditions in Siberia, also the Decemberists made their contribution. Besides, the icon painting was presented. The Transbaikal visual art heyday (the 2nd stage, 20th century) was presented with period of creativity and exhibition activities activation of the 20th century beginning, period of war years’ poster art, and period of realistic painting heyday. A lot of various in colorit landscapes were made in period of realistic painting heyday (the middle and second half of the 20th century). These are open spaces, steppes, roads, lyrical overcast landscapes, majestic north Transbaikalia and Buryatia mountains, landscapes of the Lake Baikal. The plot and historical paintings were being depicted scenes of Soviet reality, events of the region history and culture. Socialist realism was reflected in portraits and in subject painting, works of “austere style” were created. Individual artists with a pronounced style, manner stood out. Paintings were created with decorative, symbolic, ethnic motifs, impressionistic. At the present stage (beginning of the 21st century) artists of Transbaikalia create in the traditional and modernist direction, in the direction of ethnofuturism. Globalization processes, digitalization stimulate the penetration of creativity various forms into the region, and modern art projects begin to be implemented. System of art education traditions are emerging.
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Stolyarova, Elena G., and Andrey Ev Berezin. "Aesthetic principles of expressionism in modern architecture." Urban construction and architecture 14, no. 1 (April 25, 2024): 150–56. http://dx.doi.org/10.17673/vestnik.2024.01.17.
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The purpose of the article is to study the aesthetic principles of expressionism that influenced the development of modern architecture. An analysis of the concepts and means of artistic expression of the direction under study is proposed. The conditions for the emergence and formation of expressionism, its artistic methods of expression from conventionally realistic to abstract, as well as the manifestation of this direction of art in architectural design are considered. A brief analysis of the connection between expressionism and other parallel trends or movements of art of the twentieth century is given. Variations of expressionism from the standpoint of abstract art are identified, where the search for interactivity between the artist and the viewer in the process of visual perception of the painting is indicated. It is concluded that imagination is one of the main ways of artistic thinking in the process of author’s artistic design. The manifestation of the aesthetic principles of expressionism in the architecture of individual countries is considered. It has been revealed that expressionism in architecture is characterized by a departure from traditional forms in order to achieve the maximum emotional impact on the recipient. The study of the stated topic allows us to draw a conclusion about the relevance of expressionism at the beginning of the 21st century, which, with its traditions, continues the achievements of expressionism of the 20th century. and at the same time gives a new impetus to artistic expressions of the personal views of artists and architects on the ongoing processes in society. Parallels of the beginning of the 20th – beginning of the 21st centuries. revealed similarities in the aesthetic principles of the formation of the subject-spatial architectural environment. Expressionist techniques, means and methods of working on a painting or object are most accurately able to express the feelings of artists and architects, their psychological stress, the conviction that the viewer must go through a new experience while looking at an architectural or artistic work.
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Petrova, Olga. "Open Form, Its Psychological, Civilizational, and Aesthetic Foundations in the Works of Modern Ukrainian Artists." ARTISTIC CULTURE. TOPICAL ISSUES, no. 20(1) (April 22, 2024): 156–60. http://dx.doi.org/10.31500/1992-5514.20(1).2024.306925.
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The paper presents the concept of an “open work” (according to the idea of Umberto Eco) as a meaningfully undefined, and even non-finito work, which appeared in the artistic practice of the 20th century, at the time of revolutionary and military disasters. The events of the early 20th century in the social, psychological, and artistic consciousness of the leading avant-garde figures caused emotional and psychological shifts and contributed to the emergence of new ways of artistic expression. In art, works with different vector characteristics emerged: palimpsest, simulacrum, deconstruction, etc. Since then, the nature of general development of art became that of a rhizome. Similar principles of artistic thinking were predicted by H. Wölfflin in art (19th century) and in the aesthetics by A. Schopenhauer, F. Nietzsche, A. Bergson, and other philosophers of the early 20th century. The aesthetic concept of an “open work” and its special poetics reoriented the European art critics’ opinions regarding the analysis of modern artistic practice. Art studies focused on the artistic form in the very process of its formation (incompleteness). The process of forming an artistic work became the subject of meticulous analysis as something that is interesting to the modern viewer, who is a “synergistic person.” In the context of the poetics of an “open work,” the paper highlights the significance of the avant-garde discoveries of Oleksandr Arkhipenko as a pioneer of world modern sculpture. The connection of his philosophical and plastic thinking with dynamic social and scientific shifts in the life of mankind, with the “physics of space” of Albert Einstein, is visualized. The revolutionary role of caesuras (voids) in the volumes of Archipenko sculpture is defined. Under the angle of the concept of an “open work,” the article visualizes new forms of dialogue between modernists of the 21st century, in particular, Ukrainian artists and their recipients. The analysis of the works of modern Ukrainian artists (O. Zhyvotkov, O. Dzhuraeva, I. Grechanyk) illustrates the practical use of an “open form” as a modern practice in the time of psychological tension and uncertainty, in the state of stressful situations of the 2022–2024 war in Ukraine. “Staying before nothingness” (K. Jaspers’s expression), life on the threshold of existence caused irrationalism and “poetics of incompleteness” in the works of the mentioned artists. It was important to determine such a substantial characteristic of the work as ambiguity in its perception and reading. The paper reveals the psychological and plastic foundations of the authors’ artistic thinking when producing an “open work.” The productivity of a certain artistic paradigm is proven.
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Gultyaeva, Galina S. "Realistic Painting of the 20th Century China in the Context of Cultural Visualization." Observatory of Culture 18, no. 1 (May 24, 2021): 32–43. http://dx.doi.org/10.25281/2072-3156-2021-18-1-32-43.
Full textAbstract:
This article examines the phenomenon of Chinese realism, as well as the prerequisites and factors that influenced the processes of reception in modern Chinese art. At the beginning of the 20th century, under the influence of Western academic realism and the artistic system of social realism, a new direction and artistic method was formed — realism, which became mainstream in the art of China of the mid-20th century. According to its aesthetic and ideological motifs, Chinese realism is an object of social realism reception, which was determined by cultural and historical factors, and the development of political, economic and cultural ties with the USSR. Studying the realistic painting, which reflects the atmosphere of the era, the worldview, and the dialogue of cultures, is relevant for both Chinese and Russian contemporary art studies. The article examines the role of realism in the development of Chinese art culture of the 20th century, including its socio-political components, as well as the dynamics of artistic and expressive means and the iconographic system in the context of the historical and cultural situation. In the 1980s and 1990s, as a result of the liberalization of economic and political life, the artistic consciousness formed new concepts of realistic painting — neorealism and cynical realism, associated with a critical rethinking of the historical heritage. The neorealism and cynical realism, which would significantly enrich realistic painting with new forms and content, adopted Western postmodern concepts of pop art, and debunked, in a grotesque and satirical form, the political stereotypes of the past. The analysis of realistic painting of the 1990s demonstrates how the transformation of past painting canons reflects the desire of society to free itself from the pressure of totalitarian ideology and to rethink the value orientations of the previous era.The novelty of this study lies in the fact that it applies a systematic and holistic approach to the analysis of realism in Chinese painting, reveals the diversity of its forms and directions, and gives ground for the specifics of its evolution in the context of the artistic culture of the 20th century China. There are almost no comprehensive studies of this issue in modern art history, so this work is an attempt to create a scientific approach to the study of this artistic phenomenon and the formation of ideas about how the artistic consciousness of an entire epoch was changing.