Academic literature on the topic 'Artistic reputation'
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Journal articles on the topic "Artistic reputation"
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Zirpolo, Lilian H., and Maryvelma Smith O'Neil. "Giovanni Baglione: Artistic Reputation in Baroque Rome." Sixteenth Century Journal 34, no. 4 (December 1, 2003): 1165. http://dx.doi.org/10.2307/20061684.
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Ostrow, Steven F., and Maryvelma Smith O'Neil. "Giovanni Baglione: Artistic Reputation in Baroque Rome." Art Bulletin 85, no. 3 (September 2003): 608. http://dx.doi.org/10.2307/3177390.
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Ibrahim, Zakyi. "Sayyid Qutb on the Qur’an’s Artistic and Activist Dimensions." American Journal of Islam and Society 29, no. 4 (October 1, 2012): i—vi. http://dx.doi.org/10.35632/ajis.v29i4.1177.
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Sayyid Qutb’s reputation as one of the finest Muslim writers of all time isbased on the quality of his writings in terms of their eloquence and ideas. Forexample, his F¥ ~ilOEl al-Qur’OEn is one of the best, captivating, and most widelyread Qur’anic commentaries in the Middle East. But in the West his reputationas a writer has been effectively eclipsed mainly because of political considerations.Here, he is generally portrayed as the leading ideologue for the MuslimBrotherhood or al-Qaeda. Rather than perpetuate this negative impression,this editorial seeks to highlight the literary and artistic dimensions of his ~ilOEl.
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Lang, Gladys Engel, and Kurt Lang. "Recognition and Renown: The Survival of Artistic Reputation." American Journal of Sociology 94, no. 1 (July 1988): 79–109. http://dx.doi.org/10.1086/228952.
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ZARHY-LEVO, YAEL. "The Making of Artistic Reputation: Dennis Potter, Television Dramatist." Theatre Research International 34, no. 1 (March 2009): 37–49. http://dx.doi.org/10.1017/s0307883308004227.
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Within the context of canonization processes, the career course of the British television dramatist Dennis Potter presents a unique case. Potter's career illustrates an instance of a dramatist also acting as a multifunctional media figure, who superseded the ‘typical’ primary makers of reputation (e.g. critics and academics) in shaping the perceptions of his work and in promoting his dramatic standing. Potter's authoritative power was facilitated by the infancy of television reviewing and television drama in the early 1960s. Given the innovative nature of his dramas, often extremely controversial, the reputation he achieved was largely the effect of his acquired fame as a media figure and, particularly, the evaluative criteria he himself established as a pioneering television critic: an expertise he further exploited as major commentator on his own work, all of which not only conditioned the reception of his works, but also influenced their eventual critical acclaim.
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Dubin, Steven C., Gladys Engel Lang, and Kurt Lang. "Etched in Memory: The Building and Survival of Artistic Reputation." Social Forces 72, no. 2 (December 1993): 594. http://dx.doi.org/10.2307/2579873.
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Colby, Robert. "Dosso's early artistic reputation and the origins of landscape painting." Papers of the British School at Rome 76 (November 2008): 201–31. http://dx.doi.org/10.1017/s0068246200000477.
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Nei loro rispettivi resoconti biografici di Dosso Dossi (1487?—1542), Paolo Giovio e Giorgio Vasari descrissero l'artista della corte ferrarese con una buona reputazione per la pittura dei paesaggi. Con questo articolo si esamineranno le reazioni critiche alla luce del programma storiografico di ciascun autore, considerando come si evolvevano gli approcci di Dosso alla pittura dei paesaggi nel corso della sua carriera. I dipinti di Dosso sono stati a lungo visti come primi esempi di un ‘paesaggio indipendente’, costrutto che deve essere esaminato di nuovo al fine di comprendere pienamente lo scopo, il contesto e il significato delle inusuali scene di paesaggio della pittura di Dosso.
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Lorcin, Patricia M. E. "Politics, Artistic Merit, and the Posthumous Reputation of Albert Camus." South Central Review 31, no. 3 (2014): 9–26. http://dx.doi.org/10.1353/scr.2014.0018.
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Bogucki, Michael. "George Moore's Genres." Victoriographies 6, no. 3 (November 2016): 200–218. http://dx.doi.org/10.3366/vic.2016.0238.
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This essay examines George Moore's autobiographical writing, prose fiction, and criticism for new ways of understanding shared tensions between narrative and theatre conventions in the 1880s and 1890s. Defiantly experimenting with speculative and fictionalised reminiscence, inter-arts comparisons, and consideration of an artist's care for their own reputation, Moore offers a rich field for explorations of the longevity and obsolescence of textual forms. Moore's reminiscences of British and French Impressionist painters focus more intently on the emergence of their reputations than their actual technical innovations, extending a habit developed in his novels of the 1880s of treating artistic production as small cells of a much wider network of affiliated entertainment industries. Likewise, his alternately gossipy and prescient art and theatre criticism maps surprising relations between the reception of Japanese prints, naturalism in England, changing theatrical conventions, and the influence of print journalism in ways that defy the usual periodising histories of Victorian and Edwardian fiction.
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Braden, L. E. A., and Thomas Teekens. "Reputation, Status Networks, and the Art Market." Arts 8, no. 3 (July 3, 2019): 81. http://dx.doi.org/10.3390/arts8030081.
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The effect of an artist’s prestige on the price of artwork is a well-known, central tenant in art market research. In considering how an artist’s prestige proliferates, much research examines networks, where certain artistic groupings and associations promote individual member’s artistic standing (i.e., “associative status networks”). When considering the role of associative status networks, there are two models by which status may increase. First, the confirmation model suggests that actors of similar status are associated with each other. Second, the increase model suggests that a halo effect occurs, whereby an individual’s status increases by association with higher-status artists. In this research, we examine the association of artists through museum exhibition to test confirmation versus increase models, ascertaining whether prestige acquisition is a selection or influence process. This research capitalizes on the retrospective digitization of exhibition catalogues, allowing for large-scale longitudinal analysis heretofore unviable for researchers. We use the exhibition history of 1148 artists from the digitized archives of three major Dutch museums (Stedelijk, Boijmans-Van Beuningen, Van Abbe) from 1930 to 1989, as well as data on artists’ market performance from artprice.com and bibliographic data from the WorldCat database. We then employ network analysis to examine the 60-year interplay of associative status networks and determine how different networks predict subsequent auction performance. We find that status connections may have a point of diminishing returns by which comparison to high prestige peers increases one’s own prestige to a point, after which a high-status comparison network becomes a liability.
Dissertations / Theses on the topic "Artistic reputation"
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Smart, Graeme. "The recovery of Frederic Leighton : the social and historical construction of an artistic reputation." Thesis, Keele University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.443612.
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Provansal, Mathilde. "Artistes mais femmes : formation, carrière et réputation dans l'art contemporain." Electronic Thesis or Diss., Paris 1, 2019. http://www.theses.fr/2019PA01E051.
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Les plasticiennes sont sous-représentées aux plus hauts niveaux de la réputation artistique, symbolique et économique alors même qu’elles sont majoritaires au sein des écoles d’art et de la population des plasticien.ne.s. Située au croisement de la sociologie du travail, du genre, de l’art et de l’éducation, cette thèse explique ce paradoxe. Elle analyse la fabrique des inégalités de genre au sein d’une école d’art très prestigieuse et ses effets sur l’entrée, le maintien et l’accès à la réputation de ses diplômé.e.s dans l’art contemporain. La construction genrée des carrières artistiques est mise en évidence grâce à l’articulation de données quantitatives issues d’un palmarès d’artistes (ArtFacts), d’entretiens biographiques et d’observations. Qu’il s’agisse du recrutement dans l’école, de la sélection dans un atelier, des « petits boulots » exercés, d’être invité.e à exposer et d’être représenté.e par une galerie, la disparition progressive des femmes se joue autour de jeux de cooptation. À différents moments de la carrière, des stéréotypes sexués pèsent sur l’évaluation de la qualité artistique des femmes et de leurs œuvres, le stigmate de la maternité restreint leur employabilité et leur hétérosexualisation limite les possibilités d’autopromotion. L’accès aux conventions du monde de l’art contemporain et l’insertion dans des réseaux professionnels, en particulier sur le marché de l’art, sont sexuellement différenciés. Néanmoins, diverses ressources sociales, économiques, scolaires ou institutionnelles permettent à certaines femmes de contourner les contraintes qui pèsent sur les carrières artistiques féminines et d’accéder à la réputationWomen artists are underrepresented at the highest levels of artistic, symbolic and economic reputation, although they make up the majority of art school students as well as artists. Drawing on sociology of work, gender, art and education, this PhD dissertation explains this paradox. It analyses the making of gender inequalities within a very prestigious French art school and how these affect the entrance into an artistic career, survival in the profession and access to reputation of its graduates in contemporary art. The joint analysis of quantitative data from an artist ranking (ArtFacts), biographical interviews and ethnographic observations sheds light on the gendered construction of artistic careers. Whether it is during the recruitment by the art school, the selection in a studio, student jobs, the invitation to exhibit one’s work or being represented by a gallery, women’s gradual disappearance plays out in co-optation processes. At different stages in the career, the stigma of motherhood restricts their employability and their heterosexualization limits opportunities for self-promotion. Access to the conventions of the contemporary art world and integration into professional networks, particularly in the art market, are sexually differentiated. Nevertheless, different social, economic, educational or institutional resources allow some women to bypass the constraints weighing on women’s artistic careers, and to gain reputation
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Dolan, Andrew P. "A Case for Emile Bernard: A Reconsideration of the Artist's Reputation." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1437468129.
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Sinisi, Sarah. "Irma Stern (1894-1966) : the creation of an artist's reputation in her lifetime and posthumously, 1920-2013." Master's thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/20626.
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This dissertation examines the reception of the artist, Irma Stern, from 1920 until 2013. Irma Stern has, since her lifetime, been one of South Africa's most celebrated artists. She has received a great deal of scholarly attention, attention in the popular press and on-going recognition in the market place. Through an evaluation of press clippings, literature, archival material (photographs, the minutes of meetings and letters) and market results, this study questions how Stern has come to assume such a privileged position, why she is of such scholarly interest and how she is valued in the market. The impact of different variables on Stern's reception - including social, political and intellectual factors - is investigated. It is proposed that, initially, the artist actively promoted herself, thus playing an important role in establishing her fame. However, her reputation has been built over time and what emerges as important is that audiences have approached and interpreted Stern differently at different times. During the artist's lifetime she was admired for her perceived ability to capture the 'spirit of Africa', apparently evident in her paintings of those culturally different from her. These paintings - of black African, Indian, coloured and Arab subjects - have remained an integral aspect of the artist's reputation and they are at the centre of much of the scholarly debate on the artist in the 1990s and 2000s. Stern has provided rich material for writers at different times and of different ideological positions - from colonial to postcolonial discourse and feminist studies. Also relevant to Stern's sustained reputation is the international recognition the artist has received. Stern's links to German Expressionism and recognition from foreign scholars and institutions served to legitimate the artist to a South African audience in her lifetime and posthumously. Moreover, the market has had an impact on Stern's reputation. While she was commercially successful in her lifetime, in the early 2000s her market values exceeded those of earlier periods and surpassed those of other twentieth-century South African artists. As a result, Stern's reputation in the 2000s is linked to her high market values; this dissertation closely investigates some of the factors that have influenced this market value. In conclusion, this dissertation fills a gap in the literature because it 1) analyses the artist's market and 2) provides an in-depth investigation of the development of the artist's reputation. A study in reception, it does not add to the already plentiful appraisals of the artist's work but considers instead how this work has fared within the context of the academic, popular and commercial art world.
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Schönfeld, Susanne, and Andreas Reinstaller. "The effects of gallery and artist reputation on prices in the primary market for art: a note." Inst. für Volkswirtschaftstheorie und -politik, WU Vienna University of Economics and Business, 2005. http://epub.wu.ac.at/342/1/document.pdf.
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This paper advances a decision theoretical foundation for pricing scripts by means of a simple model of product differentiation implementing the undercut-proof equilibrium concept. We argue that while sociological factors play undoubtedly an important role, economic analysis can complement the insights from economic sociology on pricing in the primary art market. Our model analyzes the effects of the gallery's and the artist's reputation on the price the gallery charges. The results suggest that prices positively correlate with an artist's reputation and negatively correlate with a gallery's reputation. The model may therefore explain the results of recent empirical studies that have led to similar results. (author's abstract)Series: Department of Economics Working Paper Series
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Kaliner, Matthew Erik. "Art, Crime, and the Image of the City." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11306.
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This dissertation explores the symbolic structure of the metropolis, probing how neutral spaces may be imbued with meaning to become places, and tracing the processes through which the image of the city can come to be - and carry real consequences. The centrality of the image of the city to a broad array of urban research is established by injecting the question of image into two different research areas: crime and real estate in Washington, DC and the spatial structure of grassroots visual art production in Boston, Massachusetts. By pursuing such widely diverging areas of research, I seek to show the essential linkage between art and crime as they related to the image of the city and general urban processes of definition, distinction, and change. And yet, the research pursued here offers a mixed appraisal of strategies that pin urban prospects to image and image manipulation, from the great crime decline of the past two decades to the rise of the creative economy and application of urban branding campaigns. Across the analyses, I highlight tension between expectations of change and the essentially conservative forces of image. Far from rebranding the city, culture is shown to play a key role in locking in inequalities, undermining revitalization efforts, and generally explaining the reproduction and persistence of place over time, following the logic of the "looking glass neighborhood." Thus, culture is not nearly the tool to revalorize, relabel, and transform place so well depicted in studies nor do the buzz of cultural events shape markets and communities as effectively in "offcenter" cities. Place is not fixed for good, and can be "re-accomplished," albeit through decades-long demographic, cultural, and political processes.Sociology
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Lin, Yen, and 林晏. "Roman Vanity Fair: A Study on Giovanni Baglione’s Artistic Reputation and Defamation Images." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/48yte3.
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碩士國立中央大學
藝術學研究所
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In 17th century Rome, Giovanni Baglione (1566-1543) was one of the most successful painters. But now, he is among the most disparaged artists in art history, still remembered mainly due to a defamation lawsuit he brought against Caravaggio (1571-1610) in 1603. However, in the social context of the 17th century, Baglione was better at managing his own artistic reputation than other painters. This dissertation discusses changes in Baglione’s artistic reputation from the 16th to the 21st century, and explores how he used painting as a medium to control his fame. Moreover, the significance and function of Baglione’s famous defamatory paintings will also be considered. Chapter one mainly discusses how Baglione achieved the purpose of establishing his own artistic prestige by various means in the early years. Chapter two focuses on analyzing Caravaggesque in Baglione’s art, Baglione’s conflict with Caravaggio, and how Baglione used defamatory paintings to destroy the reputation of competitors and to defend his own. Chapter three will look at art-historical literature, prints, and exhibitions to discuss changes in Baglione’s artistic fame from the 17th to the 21st century from an objective view.
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Body, Ralph Mark. "Behind the Scenes: Hans Heysen’s Art World Networks." Thesis, 2019. http://hdl.handle.net/2440/120159.
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The artist Hans Heysen is closely associated with the South Australian regional environment, which featured as the subject matter of his most celebrated works. At the same time, however, he also rapidly established a national reputation, achieving critical and commercial success in the interstate art worlds of Melbourne and Sydney. This dissertation investigates the significant role of Heysen’s art world networks in establishing, shaping and maintaining his career and reputation. Most of the existing scholarship on Heysen has either been biographical or concerned with analysing the style and subject matter of his paintings. While previous authors have alluded to the importance of his networks, these have not been their central focus of study. Similarly, Heysen’s ties to the urban Australian art worlds where his works were exhibited, reviewed and sold have been little researched. Heysen’s networks encompassed fellow artists, art critics, publishers, dealers, collectors and museum trustees and directors. Due to his geographical isolation written correspondence played an essential role in his long-distance career management, with the letters he exchanged providing valuable insights into the importance of his networks. Consequently, this dissertation has involved intensive archival research, cross-referencing the archives of Heysen and his correspondents, together with studying historic exhibition catalogues, art magazines and published reviews. The interpretation of this material has been informed by two complementary conceptual frameworks. The first is Howard Becker’s conceptualisation of art (and art world success) as the product of collaborative activity. This has been utilised when analysing the specific operations of Heysen’s networks. The second is Pierre Bourdieu’s notion of a ‘Field of Cultural Production,’ a metaphorical, changing space in which cultural agents compete for symbolic capital. These ideas have been employed to examine the structure of the Australian art world and the construction of reputation. This research demonstrates the essential role of Heysen’s art world networks in representing and advancing his interests. The support of key associates enabled Heysen to withstand the threats to his career presented by anti-German sentiments during the First World War, the impact of the Depression on the art market and the ascendency of modernism. While he generally benefited from his networks, the entrenched conservatism or overt commercial concerns of some of Heysen’s associates proved detrimental to his reputation. This dissertation shows that while Heysen’s traditionalist style and subject matter did not change dramatically over the course of his lengthy career, there were considerable shifts in the way in which he displayed, promoted and sold his works which reflected broader changes in the Australian art world. Similarly, perceptions of Heysen progressed from regarding him as an innovator in the Edwardian period, to an establishment figure during the interwar decades and finally as the last representative of a past generation. Heysen is shown to have been a strategically-minded professional who closely monitored both his own critical fortunes and those of other Australian artists.Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2019
Books on the topic "Artistic reputation"
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Lang, Gladys Engel. Etched in memory: The building and survival of artistic reputation. Chapel Hill: University of North Carolina Press, 1990.
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Kurt, Lang, ed. Etched in memory: The building and survival of artistic reputation. Urbana: University of Illinois Press, 2001.
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Nierop, Henk. The Life of Romeyn de Hooghe 1645-1708. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462981386.
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Romeyn de Hooghe was the most inventive and prolific etcher of the later Dutch Golden Age. The producer of wide-ranging book illustrations, newsprints, allegories, and satire, he is best known as the chief propaganda artist working for stadtholder and king William III. This study, the first book-length biography of de Hooghe, narrates how his reputation became badly tarnished when he was accused of pornography, fraud, larceny, and atheism. Traditionally regarded as a godless rogue, and more recently as an exponent of the Radical Enlightenment, de Hooghe emerges in this study as a successful entrepreneur, a social climber, and an Orangist spin doctor. A study in seventeenth-century political culture and patronage, focusing on spin and slander, this book explores how artists, politicians, and hacks employed literature and the visual arts in political discourse, and tried to capture their readership with satire, mockery, fun, and laughter.
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Nierop, Henk. The Life of Romeyn de Hooghe 1645-1708. NL Amsterdam: Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789463725101.
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Romeyn de Hooghe was the most inventive and prolific etcher of the later Dutch Golden Age. The producer of wide-ranging book illustrations, newsprints, allegories, and satire, he is best known as the chief propaganda artist working for stadtholder and king William III. This study, the first book-length biography of de Hooghe, narrates how his reputation became badly tarnished when he was accused of pornography, fraud, larceny, and atheism. Traditionally regarded as a godless rogue, and more recently as an exponent of the Radical Enlightenment, de Hooghe emerges in this study as a successful entrepreneur, a social climber, and an Orangist spin doctor. A study in seventeenth-century political culture and patronage, focusing on spin and slander, this book explores how artists, politicians, and hacks employed literature and the visual arts in political discourse, and tried to capture their readership with satire, mockery, fun, and laughter.
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Dickey, Stephanie, ed. Rembrandt and his Circle. NL Amsterdam: Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789462984004.
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This collection brings together art historians, museum professionals, conservators, and conservation scientists whose work involves Rembrandt van Rijn and associated artists such as Gerrit Dou, Jan Lievens, and Ferdinand Bol. The range of subjects considered is wide: from the presentation of convincing evidence that Rembrandt and his contemporary Frans Hals rubbed elbows in the Amsterdam workshop of Hendrick Uylenburgh to critical reassessments of the role of printmaking in Rembrandt's studio, his competition with Lievens as a landscape painter, his reputation as a collector, and much more. Developed from a series of international conferences devoted to charting new directions in Rembrandt research, these essays illuminate the current state of Rembrandt studies and suggest avenues for future inquiry.
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Noorman, Judith. Art, Honor and Success in The Dutch Republic. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462987982.
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Focusing on the interrelationship between Jacob van Loo's art, honor, and career, this book argues that Van Loo's lifelong success and unblemished reputation were by no means incompatible, as art historians have long assumed, with his specialization in painting nudes and his conviction for manslaughter. Van Loo's iconographic specialty - the nude - allowed his clientele to present themselves as judges of beauty and display their mastery of decorum, while his portraiture perfectly expressed his clients' social and political ambitions. Van Loo's honor explains why his success lasted a lifetime, whereas that of Rembrandt, Frans Hals, and Vermeer did not. Taking an interdisciplinary approach, this book reinterprets the manslaughter case as a sign that Van Loo's elite patrons recognized him as a gentleman and highly-esteemed artist.
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O'Neil, Maryvelma Smith. Giovanni Baglione: Artistic Reputation in Baroque Rome. Cambridge University Press, 2002.
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Wheeldon, Marianne. Debussy's Legacy and the Construction of Reputation. Oxford University Press, 2018. http://dx.doi.org/10.1093/acprof:oso/9780190631222.001.0001.
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This book examines the vicissitudes of Debussy’s posthumous reception in the 1920s and early 1930s and analyzes the confluence of factors that helped to overturn the initial backlash against his musical aesthetic. In tracing this overarching narrative, this study enters into dialogue with research in the sociology of reputation and commemoration, examining the collective nature of the processes of artistic consecration. Key in this regard is identifying the networks of influence that had to come together and act in several spheres—textual, performative, material—to safeguard the composer’s legacy. Today, Debussy’s position as a central figure in twentieth-century concert music is secure: this book examines how and why this seemingly inevitable state of affairs came about. Although this study focuses on one particular instance of reputation building, its scope is also broader in that it addresses the more general processes by which reputations are constructed, contested, and consolidated. And by analyzing the forces that came to bear on the formation of Debussy's legacy, this book contributes to a greater understanding of the interwar period—the cultural politics, debates, and issues that confronted musicians in 1920s and 1930s Paris.
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Wheeldon, Marianne. The Construction of Reputation and the Case of Debussy. Oxford University Press, 2018. http://dx.doi.org/10.1093/acprof:oso/9780190631222.003.0001.
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This chapter considers some of the general mechanisms by which artistic figures are consecrated and weighs their relative contribution to the construction of Debussy’s reputation. Drawing on Gladys Engel Lang and Kurt Lang’s analysis of the survival of reputation in the fine arts, four areas emerge that would seem to be particularly relevant to Debussy: (1) the initiatives undertaken by the composer to establish his own legacy; (2) the posthumous reception of the corpus of works left behind; (3) the actions of heirs and family members on behalf of the deceased: and (4) the efforts of the composer’s close friends and collaborators. Yet, as Chapter 1 demonstrates, the first two were rendered less effective because of the particularities of Debussy’s case—namely, his protracted illness and his death during the First World War.
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Smiles, Sam. Ruins and Reputations. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198826477.003.0016.
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This chapter explores how poetic inspiration, centred around the tombs of ancient poets, can be expressed through the material idiom of painting. It approaches the ‘tomb of Virgil’ through the eyes of artists working in the later eighteenth and early nineteenth centuries, when the vogue for travel and the growth of a market for topographical and antiquarian images produced the circumstances that gave new life to representations of the tombs of the Greek and Roman poets. It focuses specifically on the work of two artists who visited the spot: Joseph Wright of Derby, who produced a number of variants of a highly poetical approach to the tomb, and J. M. W. Turner, who thought about the tomb of the poet in relation to the social role of the artist.
Book chapters on the topic "Artistic reputation"
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Brovadan, Carlotta Paola. "La «gita di Fiandra»: globi, libri e carte geografiche per Ferdinando II de’ Medici nella corrispondenza diplomatica di Giovan Battista Gondi." In Studi e saggi, 69–95. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-181-5.06.
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In the summer of 1634 the grand-ducal ambassador resident in France Giovan Battista Gondi made an undercover journey to Spanish Netherlands to meet Maria de’ Medici and tried to persuade her to leave the Habsburg territories for Florence. Despite the failure of the negotiations, a series of unpublished letters exchanged between Gondi and the first secretary of the Grand Duchy Andrea Cioli will serve as an opportunity to analyze which cultural and artistic affairs involved the Tuscan agent alongside the political events he primarily dealt with. In his letters Gondi described different artefacts that could have been acquired for the Medici collection, and publications that could have contributed to the reputation of the Grand Duke or, on the contrary, jeopardized it.
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Evans, Dorinda. "7. The Death and Legacy of a Maverick Artist." In William Rimmer, 197–208. Cambridge, UK: Open Book Publishers, 2022. http://dx.doi.org/10.11647/obp.0304.07.
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The concluding chapter weighs Rimmer's recognition or historical status at the time of his death and now. His first biography, written by someone who did not know him –Truman H. Bartlett – has had a disproportionate impact on how he is seen, even today. That is, his sheer originality – attested to by students as well as contemporaries – has been largely overlooked or misunderstood. The fact that he critiqued neoclassicism has been lost. So has his strong spiritual orientation and his emphasis, in teaching and in his own work, on imagination and self-expression. Despite his attachment to subject matter as a Romantic, he can be seen as a forerunner of modernism – in purely formal terms – in his fragmented statues. These precede, by a decade, similar work by Auguste Rodin. His personal symbolism is also prescient in being evocative of the production of the later Symbolists. Fortunately, Rimmer had loyal students and friends who tried to keep his memory alive after his death. Their efforts resulted in three of his plaster-cast sculptures being cast in bronze, and a selection of his drawings exhibited at the famous 1913 International Exhibition of Modern Art (the Armory Show) in New York. He also had two paintings in the 1915 Panama-Pacific International Exposition.But the fact that Rimmer did not explain his seemingly aberrant creations, and Bartlett did not understand him, has had a detrimental impact on his reputation. His importance for the period and today lies in his insistence on working solely from imagination which was a radical idea at the time. According to his thinking, the artist’s contribution in creating a work of art should be self-expression.
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Evans, Dorinda. "1. A Secret Inheritance." In William Rimmer, 1–22. Cambridge, UK: Open Book Publishers, 2022. http://dx.doi.org/10.11647/obp.0304.01.
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Chapter one gives an overall view of William Rimmer's life, how he was perceived, and the impact of family mental illness on his life and reputation. Not only was Rimmer a bipolar artist but also his father mistakenly claimed to be the heir to the French throne, the missing Dauphin. Rimmer tried to make a living as a printmaker, a painter, and a sculptor. He also became a physician and an instructor in art anatomy. This last occupation provided his chief source of income. Self-taught and a Bostonian, he strayed outside of New England only to teach in New York at the Cooper Union School of Design for Women of which he became director. Although he achieved fame internationally as a sculptor and author of two books on art anatomy, he exhibited rarely and created most of his artwork for family and friends.
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Woods, Naurice Frank, and George Dimock. "Robert Seldon Duncanson (1821–1872)." In Race and Racism in Nineteenth-Century Art, 9–74. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496834348.003.0002.
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Robert Seldon Duncanson was America’s first great painter of African descent. His accomplishments placed him in the first rank of nineteenth-century American landscape artists, but his race created challenging societal impediments in the way he pursued his artistic muse—in his social interactions with whites, in the way he produced his art, in the clientele that patronized him, and on deeply personal levels. This chapter demonstrates how Duncanson not only survived as an artist of color living in antebellum times, but also managed to establish a solid reputation as one of America’s finest representatives of the immensely popular Hudson River School of painting. It also helps resolve the longstanding question as to whether Duncanson crossed racial lines to attain success.
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Garafola, Lynn. "Resurrection." In La Nijinska, 460–98. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197603901.003.0016.
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In 1964, Frederick Ashton, now artistic director of Britain’s Royal Ballet, invites Nijinska to stage Les Biches, followed two years later by an invitation to set Les Noces, revivals that re-establish her reputation as a major modernist artist. A flurry of revivals follows. At the same time, Nijinska meets the Bolshoi ballerina Galina Ulanova and tries to interest the Bolshoi’s artistic director Yury Grigorovich in staging Les Noces in Moscow. She corresponds with Soviet dance scholars, including Vera Krasovskaya, and reconnects with several of her former Kiev students, now artists living in Moscow. She begins rehearsals of Nijinsky’s L’Après-midi d’un Faune with the Kirov Ballet, but Natalia Makarova’s defection and the end of the “Thaw” dooms the project. A heavy smoker, Nijinska develops heart and other problems that cause her to be hospitalized, and not long afterward her husband passes away. With her daughter Irina’s assistance, she remains active, staging several ballets for Kathleen Crofton’s Central Ballet of Buffalo and working on her book, now titled “My Brother Vatza,” which she never finishes. Nijinska dies at home in Pacific Palisades in 1972.
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Cohen, Richard I., and Mirjam Rajner. "Success In Łódź." In Samuel Hirszenberg, 1865-1908, 116–62. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781789621938.003.0006.
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This chapter looks at the decade that Samuel Hirszenberg spent in his hometown. It examines how he found individuals who began to show interest in the arts, were eager to purchase paintings, his and those of others, and were turning to cultural and artistic projects to bolster Łódź's reputation and, no doubt, their own self-image. Hirszenberg continued to create pleasing genre scenes as well as programmatic works rooted in the Jewish experience upon resettling in Łódź. As the chapter displays, he also painted several works that highlighted the diversity of his art and its goals and the complexity of his artistic persona. The chapter emphasizes that Hirszenberg immediately became involved in Łódź's cultural life, a move occasioned by a growing interest in his art. It explores Hirszenberg's public involvement and association with Teresa Silberstein, a Jewish art collector and one of his various supporters. In conclusion, the chapter elaborates on the 1898 exhibition in Łódź which illuminates Hirszenberg's artistic persona at the time. It presented the image of an artist who was able to simultaneously inhabit different worlds and juggle separate identities.
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Osumare, Halifu. "Dancing Back into the San Francisco–Oakland Bay Area, 1973–1976." In Dancing in Blackness. University Press of Florida, 2018. http://dx.doi.org/10.5744/florida/9780813056616.003.0005.
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Chapter 4 chronicles the author’s return to her home area after five years, now as a professional dancer-choreographer. She establishes her professional reputation in the Bay Area, one that will serve as the foundation of her future work as a regional dance catalyst and cultural activist. As an artist, she develops the artistic theme central to her developing career in The Evolution of Black Dance. She creates and produces several evening-length productions during this three-year period, begins to learn arts administration, and forms Halifu Productions, a company that helped catalyse the mid-70s black dance scene in the Bay Area. She also meets the poet Ntozake Shange and artistically collaborates with her and her poems on a project that will become the famous production of For Colored Girls Who Have Considered Suicide When the Rainbow Is Enough. Ntozake Shange gives her an African name, and the author becomes Halifu Osumare.
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Robinson, Harlow. "Fallen Arch." In Lewis Milestone, 167–91. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813178332.003.0010.
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This chapter treats Milestone’s life and work from 1945 to 1949. The highly publicized failure of the expensive feature Arch of Triumph, produced by new Enterprise Studios, starring Ingrid Bergman and Charles Boyer in an adaptation of Remarque’s novel about refugees in Paris before the Nazi invasion, damaged Milestone’s artistic reputation. This coincided with Milestone being named by the HUAC as one of The Hollywood Nineteen and accused of pro-Communist sympathies. Although not called to testify, he supported those who were and attended HUAC hearings. A discussion of No Minor Vices and The Red Pony, another Steinbeck adaption starring Robert Mitchum and Copland’s score, concludes the chapter.
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Ghattas, Mary. "Toward the Localization of the Hennaton Monastic Complex." In Christianity and Monasticism in Northern Egypt. American University in Cairo Press, 2017. http://dx.doi.org/10.5743/cairo/9789774167775.003.0005.
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This chapter describes the most prominent of the Pachomian monasteries, the Hennaton monastery or Dayr al-Zujaj (as it is designated today), and the debates about its exact location. The Hennaton was a monastic center of Byzantine and medieval Egypt, one that attracted pilgrims and believers from Egypt and the whole world. However, the only surviving traces of its existence today are artistic depictions vouching for what once was a grand existence. Its prestigious reputation inspired kings to leave behind their earthly kingdoms, attracted pilgrims from all over the world, drew native Egyptians into the ascetic life, and finally, produced both patriarchs and saints whose memory is immortalized in the history of the Coptic Orthodox Church.
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Bonds, Mark Evan. "8. Composing." In Ludwig van Beethoven: A Very Short Introduction, 69–81. Oxford University Press, 2022. http://dx.doi.org/10.1093/actrade/9780190051730.003.0009.
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‘Composing’ argues that the act of artistic creation of any kind is a process shrouded in mystery, and perhaps nowhere more so than in the realm of purely instrumental music, the kind on which Beethoven’s reputation has always rested. We nevertheless have a good sense of how Beethoven went about composing, thanks to the many sketchbooks he left behind. They document in fascinating detail the progression of a brief idea, sometimes little more than a simple interval, into a full-fledged theme which in turn undergoes multiple transformations of its own. The principal large-scale forms in which Beethoven and his contemporaries worked include sonata form, variation, and rondo. The fantasia, which follows no conventional outline, reflects Beethoven’s storied ability to improvise on the spot.
Conference papers on the topic "Artistic reputation"
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De la Poza, Elena, Daniel Castelló, and Natividad Guadalajara. "The impact of Internet on the artist reputation." In CARMA 2016 - 1st International Conference on Advanced Research Methods and Analytics. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/carma2016.2016.3643.
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This work analyzes the relationship between the digital information provided by search engines on the Internet and the volume of sales or revenues in the art market in order to quantify the variable artist's reputation. In particular, the usefulness of digital media information is analyzed to interpret past sales in the art market or, conversely, to estimate future sales in the short term. Finally, we study the ability of digital information to explain the volume of activity (number of lots sold) or what is the same the degree of liquidity of the secondary market of artworks.
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YURTBEKLER, Hasan. "TWO AUTHORS IN THE CONTEXT OF SOCIALIST-REALISTIC LITERATURE: JOHN STEINBECK AND ORHAN KEMAL." In 3. International Congress of Language and Literature. Rimar Academy, 2021. http://dx.doi.org/10.47832/lan.con3-6.
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Increasing mechanization since the Industrial Revolution has affected many societies of the world, especially Western societies. Increasing mechanization with the revolution has brought with it migration movements due to economic origin. Increasing migration from rural areas to cities with the dream of a better life has resulted in worse socio-economic results rather than individuals leading a better life. The surplus of workers resulting from the ever-increasing population in the cities has provided the capital owners with the opportunity to employ workers at a lower cost. As a result, working hours increased and wages decreased. Workers are compelled to lead an inhuman life in the cities. Increasing mechanization has begun to show its effect in rural areas as well, with the mechanization in agriculture, the workforce of the villagers has decreased, and their lands have been taken away from them by means of banks and they have been forced to migrate. Some artists could not remain indifferent to these difficult life conditions experienced by the workers, and they dealt with this subject in their works. This situation brought with it a new understanding of literature. This understanding is the "Socialist Realist" understanding of art, the foundation of which was laid in Soviet Russia in 1934. With this understanding, a number of duties and ideologies have been imposed on the artist and the artist. In this study, in addition to the universality and literary similarity of the subjects of John Steinbeck and Orhan Kemal, two writers from different geographies in the context of SocialistRealistic Literature understanding, the social and political reasons why Orhan Kemal could not achieve such a great reputation as Steinbeck despite this literary success are both sociological and sociological. and will be examined from the perspective of comparative literature. Key words: Socialist Literature, Orhan Kemal, John Steinbeck.
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Yasuko, Kawahata, Genda Etsuo, and Ishii Akira. "Possibility predict Japanese artist's reputation in the world using the mathematical model of hit phenomena." In 2014 Joint 7th International Conference on Soft Computing and Intelligent Systems (SCIS) and 15th International Symposium on Advanced Intelligent Systems (ISIS). IEEE, 2014. http://dx.doi.org/10.1109/scis-isis.2014.7044835.
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Gutierrez-Aguilar, Olger, Dina Torres-Palomino, Alejandra Gomez-Zanabria, Carlos Garcia-Begazo, Angela Arguelles-Florez, Felipa Silvestre-Almeron, and Victor Zeta-Cruz. "Personality and creative thinking in artists and the idea of their reputation on Social media." In 2022 17th Iberian Conference on Information Systems and Technologies (CISTI). IEEE, 2022. http://dx.doi.org/10.23919/cisti54924.2022.9820283.
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