Journal articles on the topic 'Artistic reputation'
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1
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 Potter's career illustrates an instance of a dramatist also acting as a multifunctional media figure, who superseded the ‘typical’ primary makers of reputation (e.g. critics and academics) in shaping the perceptions of his work and in promoting his dramatic standing.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.
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Mark Alvey. "From Peer to Obscurity: Julius Moessel and the Fall of an Artistic Reputation." Journal of the Illinois State Historical Society (1998-) 109, no. 4 (2016): 400. http://dx.doi.org/10.5406/jillistathistsoc.109.4.0400.
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BOHN, BABETTE. "The construction of artistic reputation in Seicento Bologna: Guido Reni and the Sirani." Renaissance Studies 25, no. 4 (November 9, 2010): 511–37. http://dx.doi.org/10.1111/j.1477-4658.2010.00700.x.
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Findlay, Leanne C., and Diane M. Ste-Marie. "A Reputation Bias in Figure Skating Judging." Journal of Sport and Exercise Psychology 26, no. 1 (March 2004): 154–66. http://dx.doi.org/10.1123/jsep.26.1.154.
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The current study examined whether expectations, assumed to be created by the positive reputation of an athlete, produced a bias in judging at either the encoding or evaluation phase of sport performance appraisal. The short programs of 14 female figure skaters were evaluated by judges to whom the athletes were either known or unknown. Ordinal rankings were found to be higher when skaters were known by the judges as compared to when they were unknown. Furthermore, skaters received significantly higher technical merit marks when known, although artistic marks did not differ. No significant differences were found for the identification of elements or associated deductions, measures which were assumed to be indicative of the encoding phase of judging. These findings suggest that a reputation bias does exist when judging figure skating, and that it is present during the evaluation phase of sport performance appraisal, as reflected by the ordinal and technical merit marks.
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Spee, Blanca T. M., Matthew Pelowski, Jozsef Arato, Jan Mikuni, Ulrich S. Tran, Christoph Eisenegger, and Helmut Leder. "Social reputation influences on liking and willingness-to-pay for artworks: A multimethod design investigating choice behavior along with physiological measures and motivational factors." PLOS ONE 17, no. 4 (April 20, 2022): e0266020. http://dx.doi.org/10.1371/journal.pone.0266020.
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Art, as a prestigious cultural commodity, concerns aesthetic and monetary values, personal tastes, and social reputation in various social contexts—all of which are reflected in choices concerning our liking, or in other contexts, our actual willingness-to-pay for artworks. But, how do these different aspects interact in regard to the concept of social reputation and our private versus social selves, which appear to be essentially intervening, and potentially conflicting, factors driving choice? In our study, we investigated liking and willingness-to-pay choices using—in art research—a novel, forced-choice paradigm. Participants (N = 123) made choices from artwork-triplets presented with opposing artistic quality and monetary value-labeling, thereby creating ambiguous choice situations. Choices were made in either private or in social/public contexts, in which participants were made to believe that either art-pricing or art-making experts were watching their selections. A multi-method design with eye-tracking, neuroendocrinology (testosterone, cortisol), and motivational factors complemented the behavioral choice analysis. Results showed that artworks, of which participants were told were of high artistic value were more often liked and those of high monetary-value received more willingness-to-pay choices. However, while willingness-to-pay was significantly affected by the presumed observation of art-pricing experts, liking selections did not differ between private/public contexts. Liking choices, compared to willingness-to-pay, were also better predicted by eye movement patterns. Whereas, hormone levels had a stronger relation with monetary aspects (willingness-to-pay/ art-pricing expert). This was further confirmed by motivational factors representative for reputation seeking behavior. Our study points to an unexplored terrain highlighting the linkage of social reputation mechanisms and its impact on choice behavior with a ubiquitous commodity, art.
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Prashcheruk, Natalia Victorovna. "SPIRITUAL MEASUREMENT OF A HUMAN LIFE: BUNIN`S ARTISTIC REPUTATION AND TEXT`S ACTUALITY." Philological Class, no. 2 (2019): 73–77. http://dx.doi.org/10.26170/fk19-02-09.
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Youmans, Charles. "The Role of Nietzsche in Richard Strauss's Artistic Development." Journal of Musicology 21, no. 3 (2004): 309–42. http://dx.doi.org/10.1525/jm.2004.21.3.309.
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Despite Richard Strauss's long-standing reputation as a Nietzschean composer, scholars traditionally have questioned his command of the philosopher's ideas and their broader context. New evidence, including an annotated personal copy of Also sprach Zarathustra (Leipzig: C. G. Naumann, 1893), discloses a set of specific concerns that Strauss hoped to address through study of this radical figure. The ideas that Strauss sought in Nietzsche-a positive theory of physicality in art; an argument for the special status of the artist in a post-metaphysical age; a rejection of free will in favor of predestination; and an affirmative conception of the Schopenhauerian will-were meant to justify a rejection of Schopenhauer and to forge a new path for German musical aesthetics. Moreover, Strauss's appreciation of the continuing cycles of optimism and doubt afflicting both Zarathustra and Nietzsche would become the central unifying concern of all six tone poems from Till Eulenspiegels lustige Streiche (1895) to Eine Alpensinfonie (1915).
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Karthas, Ilyana. "Arbiters of taste: Women, modernism and the making of Paris." French Cultural Studies 31, no. 2 (May 2020): 97–110. http://dx.doi.org/10.1177/0957155820910718.
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The years 1870–1960 were a period of vibrant innovation in France when traditional ideas about art and living were challenged. At the turn of the twentieth century, Paris became the epicentre for creative risk, innovation and originality. The city both represented and became a ‘laboratory of culture’ that attracted individuals eager to ride the waves of modernism. What forces enabled Paris to become a site of such artistic vibrancy? What cultural labour was involved in propelling avant-gardism forwards? In this article, I introduce a few examples of women who played a vital role in the modernisation of the arts in Paris, the internationalisation of French artistic tastes, and the cultivation of Paris’s reputation as the centre of avant-gardism and artistic development. In doing so, I offer a new paradigm for understanding the art worlds of Paris in this period by revealing women as important and effective arbiters of taste.
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Reaves, Wendy Wick. "Etched in Memory: The Building and Survival of Artistic Reputation. Gladys Engel Lang , Kurt Lang." Archives of American Art Journal 31, no. 1 (January 1991): 27–28. http://dx.doi.org/10.1086/aaa.31.1.1557699.
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Wright, Helena E. "Etched in Memory: The Building and Survival of Artistic Reputation. Gladys Engel Lang , Kurt Lang." Winterthur Portfolio 26, no. 1 (April 1991): 102–5. http://dx.doi.org/10.1086/496526.
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Brisman, Shira. "The Madness of Hugo van der Goes: The Troubled Search for Origins in Early Netherlandish Painting." Journal of Medieval and Early Modern Studies 51, no. 2 (May 1, 2021): 321–65. http://dx.doi.org/10.1215/10829636-8929080.
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The extant works of Hugo van der Goes frustrated attempts among early historians of Netherlandish painting to organize the artist's career according to a chronology. The survival of a biographical document attesting to his madness additionally troubled the expectation of artistic progression. Goes earned the reputation of the first modern artist whose genius was connected to his aberrant psychology. This essay critically examines the impulse in art history toward temporal sequencing, arguing that such a practice is most profitably applied in the case of Goes not to his oeuvre as a whole but to a study of his process within an individual work. The alterations over time to the surface of The Fall of Man, which has often (but not unanimously) been deemed the artist's “first work,” afford consideration of how Goes thought about revision and how historians of early Netherlandish painting might engage disciplinary change by rethinking the impulse toward prioritization.
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Baldi, Alfredo. "Il Centro Sperimentale di Cinematografia in Rome and its students (1935–2020)." Journal of Italian Cinema & Media Studies 8, no. 3 (June 1, 2020): 425–28. http://dx.doi.org/10.1386/jicms_00034_7.
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The Centro Sperimentale di Cinematografia in Rome (Centre for Experimental Cinematography) is one of the first cinema schools in the world. Funded in 1935, it has been and continues to be an artistic hub for generations of Italian and international students from all over the world. Offering courses in directing, acting, photography, scenography, costume, sound and editing the CSC has trained professionals who have become world renowned artists, have contributed to the international reputation of Italian cinema and have influenced filmmaking in their countries of origin.
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Desler, Anne. "‘The little that I have done is already gone and forgotten’:Farinelli and Burney Write Music History." Cambridge Opera Journal 27, no. 3 (November 2015): 215–38. http://dx.doi.org/10.1017/s0954586715000099.
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AbstractEighteenth-century narratives of Carlo Broschi Farinelli’s inimitability and superiority did not arise fortuitously but resulted to a large extent from artistic, professional and personal choices made by the singer in order to create a unique artistic profile and influence public perception of him. Similarly, Charles Burney created his historical writings with the aim of establishing himself as a man of letters in order to rise in social status and leave a lasting legacy. Analysis of Farinelli’s careful manipulation of his reputation in his encounters with Burney and the latter’s calculated representation of Farinelli in The Present State of Music in France and Italy and A General History of Music sheds light not only on both men’s self-promotion strategies, but also on the high degree of mediation of historical fact in writings that have long served as supposedly reliable ‘primary’ sources on eighteenth-century music.
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Simonton, Dean Keith. "Musical Aesthetics and Creativity in Beethoven: A Computer Analysis of 105 Compositions." Empirical Studies of the Arts 5, no. 2 (July 1987): 87–104. http://dx.doi.org/10.2190/b94k-cp9n-vut8-rlkh.
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A fundamental task in empirical aesthetics is to determine why some artistic creations earn the label “masterpiece” whereas others slip into oblivion. Computer content analyses can help us achieve this goal, first, by isolating connections between the differential aesthetic success of diverse works and their content attributes, and, second, by identifying the compositional, biographical, and historical correlates of those content analytical predictors. After reviewing the key findings with respect to the thousands of musical pieces defining the classical repertoire, this investigation strategy is applied to 105 compositions (containing 593 themes) by Beethoven. Two distinct measures of artistic impact, compositional popularity and aesthetic significance, were shown to be associated—often in a curvilinear fashion—with four content characteristics: melodic originality and variation and metric originality and variation. Some of these attributes are linked to such circumstances as the work's key, the instrumentation, and the number of movements, Beethoven's age and concurrent level of productivity, stress, and health, and the presence of international war in Europe. Hence, an objective, computer analysis can enhance our understanding of the aesthetic and creative processes behind a single creator's artistic reputation.
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Dianina, Katia. "The Making of an Artist as National Hero: The Great Karl Briullov and His Critical Fortunes." Slavic Review 77, no. 1 (2018): 122–50. http://dx.doi.org/10.1017/slr.2018.13.
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This article examines the uneven reception of the famous Russian artist Karl Briullov and problematizes the canonization of the classics in imperial society. Drawing on contemporary literary and artistic sources, broadly available at the time but largely forgotten in the years since, I argue that Briullov's status as a cultural icon grew out of the wide-ranging controversy that followed the artist throughout the decades. Now feted as the national genius, now dismissed as a fraud, Briullov became part of the popular imagination as a complicated character of sundry written texts, a literary figment more than a historical person. The discursive aspect of this cultural scenario was crucial in fashioning the image of the artist as national hero: Briullov's canonization was propelled by the written word more than pictorial imagery. Moreover, in a peculiar Russian twist, it was Briullov's association with the great poet Aleksandr Pushkin that advanced the artist's reputation decisively.
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Rosamond, Emily. "“All Data is Credit Data”." Paragrana 25, no. 2 (December 1, 2016): 112–24. http://dx.doi.org/10.1515/para-2016-0032.
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AbstractThis essay examines new means of measuring creditworthiness, reputation and character online and briefly considers the implications for contemporary art. New technologies for determining creditworthiness abound; for instance, companies in the so-called fintech (financial technology) industry, provide new methods for granting credit to the underbanked, using big data analytics and psychometric testing. Similarly, Rachel Botsman and others envision a future in which reputation becomes a kind of currency, following its bearers from platform to platform. Together, the world of consciously projected reputation-images online and the fintech industry’s inconspicuous measurement of creditworthiness form a conscious/ unconscious couplet of character measurement apparatuses. Character, in these data analytic worlds, acts as a lived fiction, a representation of futurity online that determines in advance one’s level of access to markets and social spheres. How might these emerging conditions change the ways in which artworks understand – and perhaps resist – the demand to be “good” characters online? Some possible artistic responses to this world of character measurement include questioning the correlative logics of measurement itself and testing the limits of creditworthy character traits, in order to demonstrate that credit must always rely on a set of locally shared assumptions as to what might be considered “desirable” behaviour.
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Трубицина, Н. А. "Artistic onyms in Bunin's poem "Jerusalem"." Актуальные вопросы современной филологии и журналистики, no. 3(46) (September 26, 2022): 51–55. http://dx.doi.org/10.36622/aqmpj.2022.61.91.008.
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Задачей настоящего исследования является рассмотрение функционально-поэтического аспекта художественного ономастикона в стихотворении И.А. Бунина «Иерусалим» (1907). Не вникая глубоко в спор признанных ученых-ономастов, для конкретного рассмотрения нашей проблемы мы обратились к теории В.М. Калинкина и его дефинициям «поэтонимология» и «поэтика онима». В работе мы будем использовать термин В.М. Калинкина - «поэтоним». Всего в стихотворении насчитывается 21 поэтоним. Помимо основныххудожественных онимов мы включили в этот ряд контекстуальные отапеллятивныеонимы-перифразы. Основную группу поэтонимов в тексте составляют топонимы, делящиеся, в свою очередь, на хоронимы, астионимы, урбанонимы иоронимы.Следующую группу представляют фитонимы и колоронимы. Однократно в произведении встречаются антропоним-библеизм Иеремия , этноним еврей , орнитоним стриж . Присутствующие в описании города и страны поэтонимы маркируют определенные онтологические первоэлементы (по Эмпедоклу) - землю, воздух, огонь и воду. Иерусалим как реальный город - уже знаковое, символическое место, как говорят, «место с репутацией». Подключение поэтонимов к репрезентации Иерусалима бесконечно множит интертекстуальное поле, где каждое слово превращается практически в символ, и особенно - имя собственное. В итоге мы можем сделать вывод, что поэтические онимы в стихотворении И.А. Бунина «Иерусалим» выступают как репрезентанты страны, делают ее узнаваемой как в реальном, так и метафизическом плане. Также поэтонимы в стихотворении «Иерусалим» концентрируют основной смысл текста за счет своей семантической емкости, базирующейся на ассоциативных связях. The objective of this study is to consider the functional and poetic aspect of the artistic onomasticon in I.A.Bunin's poem "Jerusalem" (1907). Without delving deeply into the dispute of recognized onomastic scientists, for a specific consideration of our problem, we turned to the theory of V.M.Kalinkin and his definitions of "poetonymology" and "poetics of the onym". In this paper we will use the term of V.M.Kalinkin - "poetonym". In total, there are 21 poetonyms in the poem. In addition to the main artistic onyms, we have included contextual categorical onyms-periphrases in this series. The main group of poetonyms in the text aretoponyms, which, in turn, are divided into horonyms, astyonyms, urbanonyms and oronyms, the next group is represented by phytonyms and coloronyms. Once in the work there are anthroponyms-the Biblical Jeremiah, the ethnonym Jew, the ornithonym swift. The poetonyms present in the description of the city and country mark certain ontological primary elements (according to Empedocles) - earth, air, fire and water. Jerusalem as a real city is already an iconic, symbolic place, as they say, "a place with a reputation." The connection of poetonyms to the representation of Jerusalem infinitely multiplies the intertextual field, where each word turns almost into a symbol, and especially a proper name. As a result, we can conclude that the poetic onyms in I.A. Bunin's poem "Jerusalem" act as representatives of the country, make it recognizable both in real and metaphysical terms. Also, the poetonyms in the poem "Jerusalem" concentrate the main meaning of the text due to their semantic capacity based on associative connections.
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Gevorgyan, A. V., and M. V. Stroganov. "P.I. Weinberg and «Russian Wealth» On the formation of literary reputations." Culture and Text, no. 49 (2022): 117–37. http://dx.doi.org/10.37386/2305-4077-2022-2-117-137.
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The formation of literary reputations does not always depend on the personal virtues and merits of their bearers. For example, all members of the editorial board of the magazine Russkoe Bogatstvo («Russian Wealth») and, above all, its head N.K. Mikhailovsky had an impeccable and high moral reputation. Similarly, P.I. Weinberg had a very high reputation as an honest, impartial defender of literary and artistic figures. Russian writers have consistently elected Weinberg and members of the editorial board of Russian Wealth to leadership positions in the Union of Mutual Assistance of Russian Writers at the Russian Literary Society and Literary Fund, invited them to arbitrate «domestic» conflicts and proceedings. Meanwhile, there are cases when, for reasons of not entirely conscientious polemics, the same Mikhailovsky made mistakes and blunders, for which he later had to apologize (conflict with V. Ya. Bogucharsky). And Weinberg, as is known, was distinguished by bad faith in financial settlements with the authors (F.M. Reshetnikov, A.A. Fet, A.N. Ostrovsky). It turned out that contemporaries did not notice certain blunders of their literary brethren and did not blame them for these blunders. However, in 1861 M.L. Mikhailov accused Weinberg of publicly insulting one champion of women’s equality, E.E. Tolmacheva, and recognized him as unworthy of the literary community, although there was no special blame for Weinberg in this situation. The article also examines two poems by Weinberg, marked by him in 1902, when Mikhailovsky was 60 years old. The first of these poems was published in the collection «At the Glorious Post» (1900, the real issue in 1901); the second has never been published and is being printed for the first time.
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HILAIRE-PÉREZ, LILIANE. "Diderot's views on artists' and inventors' rights: invention, imitation and reputation." British Journal for the History of Science 35, no. 2 (June 2002): 129–50. http://dx.doi.org/10.1017/s0007087402004648.
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This paper considers inventors' rights as revealing shifts in the elaboration of public trust in inventions. The two main issues, the method of invention and the credit invested, are analysed both in terms of Diderot's writings and in the economic, social and political context of invention during the eighteenth century. In a pamphlet written in 1755, Histoire et secret de la peinture en cire, Diderot criticized the Count of Caylus's attempt to keep the invention of wax painting secret and to enhance his fame thanks to this technical achievement. Diderot developed a conception of invention as an activity based upon methodical rediscoveries, imitations and translations. Although this could also concern artistic practice, imitation in art had a quite different meaning for Diderot. The main issue was the status of artists and inventors in society. Personal glory and private appropriation were denied to inventors, in contrast to artists. Secrecy, pride and exclusivity in invention were mean and ridiculous strategies. This was precisely what had been happening since the beginning of the eighteenth century, with the development of a market for inventions and exclusive titles, which also affected art. Diderot's narrative of invention as a daily, collective and historical process echoed the necessity of reassessing the value of invention by the criteria of public utility and shared evaluation.
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Clark, Marshall. "Indonesia’s Jemek Supardi: From pickpocket to mime artist." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 167, no. 2-3 (2011): 210–35. http://dx.doi.org/10.1163/22134379-90003590.
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Indonesia’s leading mime artist, Jemek Supardi, is a former pickpocket and grave-digger. Based in the key centre of Indonesian performative arts, the city of Yogyakarta, Central Java, Jemek is an active member of several artistic troupes and he is a collaborator, friend and acquaintance of many within the closely-knit arts-scene, which in terms of diversity and sheer volume of performances, is unique in Indonesia. Although mime is a niche art-form in Indonesia, Jemek’s self-taught skill as a pantomime artist is clearly evident and his reputation as a professional is second-to-none, particularly in Yogyakarta. This article examines key elements of Jemek’s performative milieu, including his use of mime and silence as a mode of cultural and political expression and his use of white face-paint as an expression of solidarity with the Javanese proletariat. The link between the personal and political elements of Jemek’s artistic practice will also be examined, simultaneously highlighting the difficulty of applying any particular theoretical template onto his life and art.
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Ahlquist, Karen. "Playing for the Big Time: Musicians, Concerts, and Reputation-Building in Cincinnati, 1872–82." Journal of the Gilded Age and Progressive Era 9, no. 2 (April 2010): 145–65. http://dx.doi.org/10.1017/s1537781400003911.
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Like many midwestern cities in the nineteenth century, Cincinnati, Ohio, was home to large numbers of German immigrant musicians, among them the founders of the Cincinnati Grand Orchestra in 1872. Their model of musician-based organization eventually ran counter to the prestige-building potential of Western art music, which made it attractive to local civic leaders determined to earn respect for their city at a national level. The successful Cincinnati May festivals beginning in 1873 under the artistic leadership of conductor Theodore Thomas brought the city the desired renown. But the musical monumentality needed for large festival performances could not be obtained locally, leaving Cincinnati's players with opportunities to perform at a high level but without a way to define their performance as a significant achievement in the world of high art. Although their orchestra was ultimately unsuccessful, however, these musicians demonstrated an agency that transcends their historical obscurity and helps incorporate aesthetic and practical aspects of institution-building into the social arguments common to discussions of Western art music in the United States.
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Gorbunova, Natalya A. "The Recycling of Igor Stravinsky in the Journal “Sovetskaya Muzyka” During the Period of 1933–1966." Music Scholarship / Problemy Muzykal'noj Nauki, no. 1 (2022): 156–66. http://dx.doi.org/10.33779/2782-3598.2022.1.156-166.
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Stravinsky’s reputation in the Stalin era was tenuous, but in the early 1960s there was a strong surge of interest connected with his visit to Moscow. This metamorphosis of opinions was prepared and formed, among other things, through the press, in particular – in the chief Soviet music journal “Sovetskaya muzyka” (“Muzykal'naya Akademiya” since 1992). This research work is based on receptive methodology; the content analysis of materials during the period of 1933- 1966 demonstrates how in the conditions of almost complete failure to examine his music the critics created the reputation for him of a “formalist” and a “traitor,” and also demonstrated the attempt to “Sovietize” his emergence during the “Khrushchev thaw”. During the Stalin period, Stravinsky’s name appears in the journal only episodically, when he is arguably viewed as a representative of “bourgeois art.” In the early 1960s he was again labelled a Russian composer, and the attempt is even made of appraisal of his music, which is so remote from the Soviet musical style. Although it was not possible to “Sovietize” Stravinsky, such extreme changes of the Soviet authorities’ attitude of him emphasize the uniqueness of his artistic personality.
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Coleman, Ellie, Rebecca Scollen, Beata Batorowicz, and David Akenson. "Artistic Freedom or Animal Cruelty? Contemporary Visual Art Practice That Involves Live and Deceased Animals." Animals 11, no. 3 (March 14, 2021): 812. http://dx.doi.org/10.3390/ani11030812.
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This paper examines a selection of 21st-century international examples of exhibited visual artworks involving live or deceased animals. It seeks to reveal the risks and benefits of unique encounters with animals through art and to consider the ethical implications of artwork deploying animals. Australian and international animal protection laws are not explicit when it comes to the sourcing of animals for art nor for the direct inclusion of animals in artworks. This lack leads to a variety of artistic practices, some considered ethical while others are viewed as controversial, bordering on animal cruelty. Artwork selection is determined by a focus on high-profile artists who intentionally use animals in their practice and whose reputation has been fostered by this intention. The study provides insight into how the intentional use of ethically sourced animals within art practice can be a method of addressing hierarchal human–animal imbalances. Further, this study identifies unethical practices that may be best avoided regardless of the pro-animal political statements the artists put forward. Recommendations of how to better determine what is an acceptable use of animals in art with a view to informing legal guidelines and artistic best practice are presented.
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Lindley, Phillip. "The Artistic Practice, Protracted Publication and Posthumous Completion of Charles Alfred Stothard's Monumental Effigies of Great Britain." Antiquaries Journal 92 (September 2012): 385–426. http://dx.doi.org/10.1017/s0003581512000649.
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This paper examines the complicated circumstances surrounding the very slow production of The Monumental Effigies of Great Britain, the great masterpiece of Charles Alfred Stothard, FSA, and the various reasons why it took twenty-one years to complete. The methods and techniques Stothard adopted to produce his celebrated etchings and the evolution of his artistic style are first analysed, as is the role played by Thomas Kerrich, FSA, in the project. Next, this paper investigates the severe problems facing Stothard's young widow, Anna Eliza, and his brother-in-law, Alfred Kempe, FSA, as they tried to bring the project to a conclusion, and the reasons why it was necessary to employ four different etchers to produce the remaining plates from Stothard's original drawings. Anna Eliza's recording of Charles Stothard's achievements, her scrupulous preservation of his drawings and her poignant publication of his life story are shown to have consolidated and enhanced his posthumous reputation as perhaps the finest antiquarian artist ever to depict medieval monumental sculpture.
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Laviosa, Flavia. "Six continents at the Centro Sperimentale di Cinematografia in Rome: Flavia Laviosa in conversation with Alfredo Baldi." Journal of Italian Cinema & Media Studies 9, no. 2 (March 1, 2021): 261–70. http://dx.doi.org/10.1386/jicms_00065_7.
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In this interview Alfredo Baldi, historian of the Centro Sperimentale di Cinematografia (CSC) in Rome, gives a detailed overview of the political, cultural and artistic reasons for the prevalent presence of students from about 100 countries and six continents in all the specializations offered at the CSC in Rome (directing, photography, set design and acting), since its foundation in 1935. More specifically, Baldi explains why the CSC was popular in the 1930s and 1940s among students from the Axis nations in pre-war Europe, mentions the fascination of world artists with Italian neorealism, attributes international interest of the CSC to the artistic reputation of the film professionals who taught at the CSC and expresses his interpretation of the reasons for the large numbers of students from Greece, the Arab nations, Latin America and the United States in the 1950s and 1960s. Since its foundation, the CSC has granted diplomas at the end of the two- or three-year cycle of studies, but starting in the 2021–24 academic cycle, it will grant university degrees. Baldi explains what led to this critical and long overdue academic and administrative shift.
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Kahr, Michael. "The Jazz Institutes in Graz." European Journal of Musicology 16, no. 1 (December 31, 2017): 45–59. http://dx.doi.org/10.5450/ejm.2017.16.5778.
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In 1965, the Institute for Jazz at the University of Music and Performing Arts (then the Academy of Music) in Graz started to build a reputation as a pioneer in jazz education in Europe. Upon the establishment of a separate Institute for Jazz Research in 1971, the institution was able to position itself as an academic centre with a focus on both artistic practice and the academic study of jazz; as such, it also inspired other jazz programmes across Central Europe. This article discusses the determining factors and socio-cultural conditions for the development of the Jazz Institutes in Graz and analyses aspects of professionalisation, internationalisation and outreach activities both local and international. The leading personalities in the institution's history are introduced, and their activities from 1965 to 1980 are described. After an overview of the Institute's current state, the article discusses internal and external conflicts and criticism of the Institute's activities, artistic orientation and status. Research for this article was compiled as part of the FWF research project ‘Jazz & the City: Identity of a Capital of Jazz', conducted at the University of Music and Performing Arts in Graz from 2011 to 2013 under Prof. Dr Franz Kerschbaumer
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Smith, David W. E. "The Great Symphony Orchestra — A Relatively Good Place to Grow Old." International Journal of Aging and Human Development 27, no. 4 (December 1988): 233–47. http://dx.doi.org/10.2190/p701-1chj-u8by-1hxk.
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The retired musicians of one of America's great symphony orchestras were interviewed. Their careers, which began in the 1930s and 1940s, were long, with retirement sometimes occurring when they were well over seventy years old. Older players were valued for their excellence and experience and were difficult to replace. Obsolescence was not a problem, and the gradual deterioration of playing with age was generally not incompatible with working to an advanced age. Players of string instruments had longer careers than players of woodwind and brass instruments. The players liked their careers and usually cited artistic reasons and the current reputation of the orchestra for their satisfaction. Although the musicians continue to love music and listen to it after retirement, few continue to play seriously.
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Delmestri, Giuseppe, Fabrizio Montanari, and Alessandro Usai. "Reputation and Strength of Ties in Predicting Commercial Success and Artistic Merit of Independents in the Italian Feature Film Industry*." Journal of Management Studies 42, no. 5 (July 2005): 975–1002. http://dx.doi.org/10.1111/j.1467-6486.2005.00529.x.
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Ouyang, Yuxin. "Warm and Realistic, Romantic Yet Cruel ——On the Master of Cinema Giuseppe Tornatore." Learning & Education 10, no. 2 (September 16, 2021): 114. http://dx.doi.org/10.18282/l-e.v10i2.2296.
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The famous director Giuseppe Tornatore was born in beautiful Sicily, Italy, and has a high reputation among international film directors as the inheritor of Italian neorealism. His Time Trilogy is the foundation of his position in the film industry, Cinema Paradiso, The Beautiful Legend of Sicily, and The Legend of 1900, all of which have a strong romantic style. With his warm and realistic approach, Tonatore’s romantic yet cruel stories have touched countless audiences. In a sense, every work of a writer or a director has autobiographical overtones in it. Many of his works are strongly biographical, and the documentary style in his films is his way of asserting himself. This article will take his films as an entry point to explore the artistic approach and ideological qualities of Tonatore’s cinema.
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Hansen, Bert, and Richard E. Weisberg. "Louis Pasteur (1822–1895), his friendships with the artists Max Claudet (1840–1893) and Paul Dubois (1829–1905), and his public image in the 1870s and 1880s." Journal of Medical Biography 25, no. 1 (July 9, 2016): 9–18. http://dx.doi.org/10.1177/0967772015575889.
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Biographers have largely ignored Louis Pasteur's many and varied connections with art and artists. This article is the third in a series of the authors' studies of Pasteur's friendships with artists. This research project has uncovered data that enlarge the great medical chemist's biography, throwing new light on a variety of topics including his work habits, his social life, his artistic sensibilities, his efforts to lobby on behalf of his artist friends, his relationships to their patrons and to his own patrons, and his use of works of art to foster his reputation as a leader in French medical science. In their first article, the authors examined his unique working relationship with the Finnish painter Albert Edelfelt and the creation of the famous portrait of Pasteur in his laboratory in the mid-1880s. A second study documented his especially warm friendship with three French artists who came from Pasteur's home region, the Jura, or from neighbouring Alsace. The present study explores Pasteur's friendships with Max Claudet and Paul Dubois, both of whom created important representations of Pasteur. These friendships and others with patrons reveal an active pursuit of patronage and reputation building from 1876 into the late 1880s. Yet, although Pasteur actively used public art to raise his status, it becomes clear in these stories that for Pasteur beauty was an ideal and art a pleasure for its own sake.
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Kucharska, Wioleta, and Piotr Mikołajczak. "Personal branding of artists and art-designers: necessity or desire?" Journal of Product & Brand Management 27, no. 3 (May 14, 2018): 249–61. http://dx.doi.org/10.1108/jpbm-01-2017-1391.
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Purpose Personal branding becomes a new in-demand skill for all professionals today. To be well-known helps to achieve success in the networked business environment. Personal relationships and a good reputation in the reality of network economy help young artists and art designers move up the career ladder. This paper aims to discuss a problem of artists who often find it difficult to define their artistic and self-distinction identities. The concept of personal brand and branding seems quite irrelevant, especially in reference to their own selves. People usually associate branding with marketing, which in our minds is usually the same as “pushy” and aggressive sales practices. Their find problematic to promote themselves. The purpose of this paper is to highlight that, based on existing theories, artistic identity creation in connection with the skill of personal branding is crucial for personal success in the profession of today’s young artists and art designers. Design/methodology/approach The study was conducted based on the data originally collected among artists, designers, architecture professionals and students. The data have been analyzed with the equal structural equation modeling method. Findings This paper presents empirical evidence that if artists view themselves as personal brands, it affects their personal performance in a positive way. Practical implications Authors claim that a teaching curriculum for young adult artists should include a personal branding program, to help them find and support their artistic identity and express their personal values and self-brand distinction, and leverage them to build their professional career. Originality/value This is one of the first studies to quantify the self-brand performance of young art designers as a benefit of being self-brand oriented.
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Antochi, Carmen. "Sorana Țopa - A destiny under the wing of time." Theatrical Colloquia 8, no. 2 (December 1, 2018): 301–19. http://dx.doi.org/10.2478/tco-2018-0023.
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Abstract During the first world war, the city of Iasi played the role of the ‘wartime capital’ of Romania. Besides the political-economic structures, The National Theatres of Bucharest and Craiova moved temporarily to Iasi, leading to Iasi being a cultural capital as well, a reputation which it has kept even to this day. In the interwar period, Romania blossomed culturally unlike ever before, a true intellectual, cultural and artistic revival under the influence of the currents travelling through European stages. In spite of the laurels earned, the name of Sorana Topa is too little known. Formed by the Iasi theatre school, noticed and hired by the national theather of iasi by Marin Sadoveanu, promoted by the previous directors of Iasi theatre, she is offered the chance to study in Paris along with her stage colleagues Aurel and Maria Ghițescu.
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Bukwalt, Miłosz. "Trauma, włóczęga, poszukiwanie sławy. Wokół predebiutu literackiego Miodraga Bulatovicia." Slavica Wratislaviensia 176 (September 1, 2022): 27–38. http://dx.doi.org/10.19195/0137-1150.176.2.
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The existence and artistic production of Miodrag Bulatović was marked with traumatic experience from his adolescence. His father’s tragic death had a lasting impact on the writer’s psyche. Therefore, the effects of trauma can be noticed in the social behaviour of the future artist. Leaving his home, deciding to wander instead of settling is an indication of neurotic anxiety and narcissistic desire to achieve fame and gain reputation. In the case of Bulatović, the act of creation had a role of saving, purifying and expression. Writing enabled the artist to express and process the traumatic events from his early youth. The work entitled My Mother (Moja Majka, 1950) should be considered as Bulatović’s writing pre-debut. A discernible absence of the masculine principle meant that the artist turned to the matriarchal and maternal element embodying light, life, shelter and safety. In the examined work, the Woman-Mother — in spite of numerous adversities — was presented as victorious and tenacious in her symbolic quest for the sunny crux of life.
It should be emphasised that the analysed text indicates the artistic strategies and solutions typical of the mature techniques used by this Serbian artist. The grotesque and uncontrollable imagination made it possible for the writer to create the image of the reality defined as hell on Earth.
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Barraclough, Rosanna. "Reassessing Joseph Bonomi the Elder: The Hawksmoor Prize Essay 2021." Architectural History 65 (2022): 195–226. http://dx.doi.org/10.1017/arh.2022.10.
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ABSTRACTIn the early nineteenth century, Joseph Bonomi the Elder (1739–1808) was one of the best-known architects in Britain — so much so that he figured in Jane Austen’s Sense and Sensibility (1811) — but his reputation subsequently declined and diminished to the extent that, in the current literature on British architecture of the late eighteenth and early nineteenth century, he is little more than a footnote. In a circular process, this excision directly contributed to the demolition of some of his most important work — above all, Rosneath House in Dunbartonshire — on the grounds that it was designed by an architect of little importance, which in turn makes it all the harder to recapture and appraise his architecture. The article explores both the reasons for the excision and the nature of Bonomi’s work. Drawing on the limited available evidence as well as hitherto unused construction drawings of Rosneath, the article repositions Bonomi as an Italian architect working in London — first for the Adam brothers and then on his own account — and examines the qualities of his designs and the factors that led to him being excluded from the inner circle of the artistic establishment, most notably the Royal Academy. In doing so, it sheds new light both on developments in neoclassicism in the period, specifically the ‘stripped down’ style that Bonomi espoused, and on the xenophobic and anti-Catholic currents in London at the time, which appear to have continued to influence his posthumous reputation.
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Panasiuk, Valerii. "“The fest of the forward culture”. Ludwig van Beethoven’s anniversary in the “Land of Soviets”." Aspects of Historical Musicology 23, no. 23 (March 26, 2021): 196–209. http://dx.doi.org/10.34064/khnum2-23.13.
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The problem field of the study. The celebration of the anniversary of a historical personality gives a meaningful assessment of this person in a particular period from the point of dominant ideological paradigm, indicates his place in a particular socio-cultural space and his significance in the artistic context. This is proved by the celebration of the 200th anniversary of the birth of L. van Beethoven in the Federal Republic of Germany. In the seventies of the 20th century, at the turn of the decade, the reputation of the classical composer as a “sacred figure of spiritual culture” became a factor that escalated the social conflict of generations in his homeland, a vivid manifestation of which were the fateful events of 1968. As a result, the reputation of the “The Great Deaf”, which had been built up over centuries, underwent a radical revision, as indicated by the general “critical pathos” of the anniversary celebration. The celebration of the 200th anniversary of the birth of L. Van Beethoven in the Soviet Union turned out to be completely different in terms of socio-political and artistic directions. Thus, the purpose of the study is to identify the mechanisms of ideological inversion in relation to the great German composer and his work, as well as the peculiarities of the organization of the country’s cultural and artistic life in connection with the anniversary. These issues are still of current interest because: – firstly, referring to the events that happened fifty years ago, we can note the transformation in the perception of the composer’s personality in the socio-cultural space; – secondly, it becomes possible to objectively, without ideological inversion, evaluate the artistic life of the USSR in general and Ukraine in particular (then the UkSSR); – thirdly, the analysis of the jubilee events of that time clearly highlights the fundamental tendencies of modern policy pursued by our state in the field of culture. Results for discussion. The Soviet Union formed an institutionalized image of L. van Beethoven, which was widely replicated by all possible scientific and artistic means in the culture of the 70s of the 20th century. As a result, the image of a mythologized character with a set of fundamentally mandatory, immutable, easily recognizable features that successfully distinguish him from other representatives of the artistic pantheon, was firmly implanted in the minds of the so-called “ordinary citizens” of the USSR: genius, “The Great Deaf” and favorite composer of Lenin. Thus, throughout practically the entire historical period of the USSR, according to the musical preferences of the “leader of the world proletariat”, the personality of L. van Beethoven and his work underwent an ideological inversion, the starting point of which was 1927 – the centenary of the death of the German composer. At that time, the priority goal was to demonstrate that “own” is different from “bourgeois” by marking the centenary of the death of the great German composer. The fact is that this oppositional paradigm of the 1920s formed a universal algorithm of “jubilee celebrations”, according to which a proper program of events (officially, ideologically and artistically approved) was designed and implemented throughout the existence of the Soviet Union. Thus, the 200th anniversary of L. van Beethoven in the Soviet Union at that time acquired all the hallmarks of a national holiday, manifested in governmental celebrations with mass media propaganda and appropriate repertoire in all cultural and artistic institutions in Moscow, Leningrad and Kiev and other cities of the country. A specially created commission headed by D. Shostakovich – the Hero of Socialist Labor, laureate of the Lenin Prize – supervised all the work on organizing the celebrations. On his behalf, the official newspaper of the Communist Party of the Soviet Union “Pravda” on December 16 published a programmatic article “Bequeathed to the Ages” on the occasion of the 200th anniversary of the birth of L. van Beethoven. The text was a concentration of propaganda clichés that fully reproduced the ideologically inverted image of the “The Great Deaf”. Thus, the celebration was carried out in the confronting opposition to bourgeois ideology, reflected in the socio-political discourse. Conclusions. As a result, the personality of L. van Beethoven underwent those transformational processes of ideological mythologization. This is evidenced by all the propaganda rhetoric associated with the anniversary celebrations, as well as the content of artistic life in the USSR, which was provided with the necessary budgetary funds. The state cultural policy of that time, focused on the broad (popular) masses, by its nature contradicts today’s trends in meeting the individual spiritual needs of a a personality.
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Lee, Christopher. "Literary Adaptation and Market Value: Encounters with the Public in the Early Career of Roger McDonald." Queensland Review 21, no. 1 (May 8, 2014): 39–48. http://dx.doi.org/10.1017/qre.2014.6.
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In The world republic of letters, Pascale Casanova suggests that an intimate relation between politics and literature is a feature of postcolonial nations because the relative lack of literary capital on the margins prevents the autonomy that is available to writers in the great national literary spaces such as France, England and the United States. The pressing imperatives of post-colonial responsibility certainly pose a particular challenge for contemporary Australian novelists aspiring not just to local distinction, but also access to international markets and a wider reputation in the world republic of letters. In Australia, the writer's aspiration to a wider market share and greater cultural capital has often been construed as a forlorn search for a reliable readership. An established following provides a foundation for the development of a consistent artistic oeuvre, which is in turn able to support the critical topoi of canonisation: promise, originality, development and genius.
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Medenica, Ivan. "BITEF Before and After 1989: Representation to Deconstruction of Social and Cultural Paradigms." New Theatre Quarterly 37, no. 3 (July 19, 2021): 273–80. http://dx.doi.org/10.1017/s0266464x21000178.
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Ivan Medenica here analyzes the cultural shift that the Belgrade International Theatre Festival (BITEF) experienced after 1989. From its beginnings in the late 1960s until the end of the1980s, BITEF was a representation of the dominant multicultural, modernist, and progressive paradigm of Yugoslavia’s cultural policy. This was not an unambiguous position. On the one hand, modernist values were imposed by Tito’s authoritarian regime and, on the other, they were confronted with the conservative tendencies both in politics and the arts. As a multicultural and progressive platform, BITEF was one of the biggest victims in the field of the arts of Slobodan Milošević’s nationalist regime in the 1990s and the wars in former Yugoslavia. After the fall of Milošević in 2000, a complex period of tension started between the ‘reborn’ urge for democratization and internationalization, on the one hand, and persistent nationalism and conservatism, on the other. Due to its tradition, reinforced artistic ambitions, and international reputation, BITEF regained its fame. Its position today, however, is quite paradoxical. It is an anti-traditionalist and multicultural festival – within a culture and society that are becoming traditional and rather claustrophobic. Ivan Medenica is a Professor of Theatre at the University of the Arts in Belgrade in Serbia and has received the national award for theatre criticism six times. His publications include The Tragedy of Initiation, or the Inconstant Prince: The Classics and Their Masks. Medenica is also the artistic director of BITEF.
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Radcliffe, Ben. "BECOMING DOMESTIC IN HESIOD'S WORKS AND DAYS." Ramus 49, no. 1-2 (December 2020): 89–110. http://dx.doi.org/10.1017/rmu.2020.6.
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The work of Gilles Deleuze is populated by literary and artistic figures who become stuck, confined, and exhausted: he has written about the characters of Samuel Beckett, for instance, who are incapacitated by a compulsion to count and sort; Sacher-Masoch's protagonists, who share their author's eponymous desire to defer endlessly the sexual act; and the notorious figures in the paintings of Francis Bacon, determined but unable to escape the confines of their own bodies. What accounts for Deleuze's interest in scenes of stasis and immobility? These figures, and others like them, seem to appeal to Deleuze precisely because their corporeal limitations coincide with intense and inscrutable affects, as if Spinoza's maxim, ‘we do not even know what the body can do’, is true especially when the body's capacities appear most restricted. This is an aspect of Deleuze's thought that complicates his reputation as a philosopher of limitless becoming, movement, and synthesis.
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Stocker, Mark. "Prophet without honour: Margaret Butler and the status of sculpture in New Zealand, 1937–40." Back Story Journal of New Zealand Art, Media & Design History, no. 2 (July 1, 2017): 73–92. http://dx.doi.org/10.24135/backstory.vi2.23.
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This article consists of two parts, an introductory text, followed by long-forgotten primary source publications from 1937 to 1940 in the Evening Post, Dominion and Art in New Zealand. Predominantly letters to the editor, they address the reputation and profile of the sculptor Margaret Butler who had returned to her native New Zealand in 1934 after a prolonged stint overseas. Their authors include the literary figures Charles Marris and Alan Mulgan. They all note the critical acclaim she achieved in Paris and Vienna, and the merits of her sculpture. The writers also ask why native artistic talent appears to be neglected by institutions such as the newly-established National Art Gallery in favour of expensive overseas art, and press for the acquisition of more of Butler’s works. No official response was recorded and in any case Butler’s sculptural career had effectively ended by the time of the last such letter, dated November 1940.
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Wootton, Sarah. "“Into her Dream he Melted”: Women Artists Remodelling Keats." Articles, no. 51 (October 31, 2008): 0. http://dx.doi.org/10.7202/019260ar.
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Abstract This essay examines the central role of women in modelling Keats’s posthumous reputation during the late nineteenth and early twentieth centuries by focusing on the visual heritage of his narrative poems. While the Pre-Raphaelite’s interest in and well-known renderings of Keats’s poems have been the subject of previous critical attention, many comparable images by women artists have been neglected. This essay analyses a wide variety of paintings, drawings and illustrations based on Keats’s “Isabella; or, the Pot of Basil” and “La Belle Dame sans Merci” by women artists at the turn-of-the-century. This examination of women artists, who were celebrated during their own lifetimes but are now virtually forgotten, culminates in a detailed discussion of Jessie Marion King. Her highly innovative illustrations for Keats’s poetry are not only indicative of the final phase of Pre-Raphaelitism and the distinctive “Glasgow Style;” they also underline the significance of women’s artistic responses to literature during this period.
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Vinitsky, Ilya. "Where Bobok Is Buried: The Theosophical Roots of Dostoevski's “Fantastic Realism”." Slavic Review 65, no. 3 (2006): 523–43. http://dx.doi.org/10.2307/4148662.
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In addition to examining the ideological and artistic origins of Fedor Dostoevskii's portrayal of the underworld in his short “cemetery story” “Bobok” (1873), Ilya Vinitsky probes the theosophical context of Dostoevskii's “fantastic realism.” Vinitsky considers this story a programmatic “theosophical menippea” that artistically “voices” and “tests” Emanuel Swedenborgs doctrine of posthumous self-exposure of the wicked souls who are no longer restrained by “fear of the law, of the loss of reputation, of honor, and of life” and laugh shamelessly “at honesty and justice.” Vinitsky argues that Dostoevskii was interested in Swedenborg's spiritual psychologism as an epistemological method and contends that Swedenborg's interpretation of devils as former humans, with their “earthly” consciousness, inner sufferings, and memories, perfectly corresponded to Dostoevskii's symbolic anthropology. Vinitsky also proposes that the comic narrator of “Bobok” can be seen as a literary mask of Dostoevskii himself, who employs philosophical irony as a means of conveying a metaphysical message in the age of positivism and disbelief.