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Journal articles on the topic 'Artists and patrons – Fiction'

Author: Grafiati

Published: 26 July 2024

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1

Rabizo-Birek, Magdalena. "Schulz poetów „ośmielonej wyobraźni” (preliminaria)." Schulz/Forum, no. 13 (October 28, 2019): 63–85. http://dx.doi.org/10.26881/sf.2019.13.05.

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The paper addresses the popularity of the person and work of Bruno Schulz in one of the trends in Polish poetry, represented by the generation born in the 1970s, placing it in the context of the writer’s earlier reception (e.g., in the works of the poets of older generations, such as Marian Jachimowicz, Tadeusz Różewicz, Jerzy Ficowski, Anna Frajlich, and Jarosław Gawlik). This trend has been usually referred to with a metaphorical term “bold imagination” and called “imiaginativism”, and its main representatives are Roman Honet, Tomasz Różycki, Radosław Kobierski, and Bartłomiej Majzel. Close

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2

Ratcliff, Carter. "Artists and Patrons." Woman's Art Journal 23, no. 2 (2002): 52. http://dx.doi.org/10.2307/1358718.

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3

Relich, Mario. "Russian Artists and Patrons." Slavonica 25, no. 2 (2020): 170–73. http://dx.doi.org/10.1080/13617427.2020.1834518.

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Spotts, K. "Black American History and Culture: Untold, Reframed, Stigmatized and Fetishized to the Point of Global Ethnocide." European Journal of Philosophy, Culture and Religion 7, no. 1 (2023): 1–41. http://dx.doi.org/10.47672/ejpcr.1423.

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Purpose: A poetic work of fiction haunts the base of the Statue of Liberty. The act overshadowed the original tribute to the Civil War victory and the Emancipation Proclamation. Abraham Lincoln's praises of the Black American military fell silent. Eurocentrists shrouded centuries of genius and scaled-down Black American mastery. Sagas of barrier-breaking Olympians, military heroes, Wild West pioneers, and inventors ended as forgotten footnotes. Today, countries around the world fetishize Black American history and culture to the point of ethnocide. The real-time case study of Woni Spotts explo

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5

Ditchfield, Simon. "Cardinals Reclaimed: Patrons and Artists Revisited." Art History 34, no. 1 (2011): 195–99. http://dx.doi.org/10.1111/j.1467-8365.2010.00806.x.

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6

Saricks, Joyce. "Providing the Fiction Your Patrons Want." Journal of Electronic Resources Librarianship 10, no. 19 (1998): 11–28. http://dx.doi.org/10.1300/j101v10n19_02.

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Szívόs, Erika. "Fin-De-Siècle Budapest as a Center of Art." East Central Europe 33, no. 1-2 (2006): 141–69. http://dx.doi.org/10.1163/187633006x00097.

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AbstractThis article discusses the emergence of Budapest as an art center as an integral part of the greater project of the making of the Hungarian capital after the Compromise of 1867. In the political setup of the Dual Monarchy, major cultural institutions were founded and a distinct urban culture, centered around cafés, was born in Budapest. It was there that actual or potential patrons, as well as receptive audiences, of the arts were to be found, which in turn led the city to also become a magnet for artists. "Artists' tables," subject to great public attention and the source of coffeehou

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Raven, Arlene. "Artists and Patrons Ita Aber: 55 Year Retrospective." Woman's Art Journal 22, no. 2 (2001): 58. http://dx.doi.org/10.2307/1358911.

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9

Segger, Martin. "Artists, patrons and the public: why culture changes." Museum Management and Curatorship 28, no. 1 (2013): 125–27. http://dx.doi.org/10.1080/09647775.2012.754629.

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Martis, Susan. "Artists, Patrons and the Public: Why Culture Changes." Collections 7, no. 1 (2011): 47–48. http://dx.doi.org/10.1177/155019061100700116.

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Campbell, Laura. "Worshipping Beauty in the South Seas." Back Story Journal of New Zealand Art, Media & Design History, no. 6 (July 1, 2019): 75–90. http://dx.doi.org/10.24135/backstory.vi6.46.

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This article analyses the wave of avant garde art movements that arrived on our shores in the late nineteenth century and its impact on applied art and the general lifestyles of artists and patrons in New Zealand. With particular reference to Kennett Watkins’ speech given at a meeting of the New Zealand Art Students’ Association’ in 1883, this account looks at the display of Māori objects in both public settings and in the privacy of the artist’s studio. It also acknowledges the role of illustrated magazines in promoting the public profile of professional artists working in Auckland at the tur

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12

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 (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 medic

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Prelipceanu, Raluca. "The Mobility of Iconographers and their Quest for Social Status Art and Signatures of Transylvanian Pre-Modern Greek-Orthodox Iconographers." Review of Ecumenical Studies Sibiu 13, no. 3 (2021): 496–515. http://dx.doi.org/10.2478/ress-2021-0046.

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Abstract The change in the status of Orthodox iconographers from Transylvania brought forward a change in their art during the eighteenth and early nineteenth centuries. During this period the condition of Orthodox painters changes from that of mere craftsmen to artists. Based on the work of several Transylvanian painters active during the eighteenth and early nineteenth centuries, an analysis of the signatures of the artists, visitation records and contracts between the artists and the patrons of the church, this article wishes to explore the changes in the status of these individuals who evo

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Sandle, Doug. "Axis: broadening the constituency and extending the sphere of influence of visual art." Art Libraries Journal 23, no. 2 (1998): 8–11. http://dx.doi.org/10.1017/s0307472200010890.

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The Axis database is the only national information resource on British artists and craftmakers. It contains visual-text data on over 2,500 contemporary British practitioners and is a rapidly growing source of data for researchers, students, curators, commissioning agents, architects, planners and patrons and purchasers of visual arts. Axis also has an important national role in promoting contemporary art and artists and widening access to visual culture.

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Hansen, Bert, and Richard E. Weisberg. "Louis Pasteur's three artist compatriots—Henner, Pointelin, and Perraud: A story of friendship, science, and art in the 1870s and 1880s." Journal of Medical Biography 25, no. 1 (2016): 18–27. http://dx.doi.org/10.1177/0967772015575887.

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Biographers have largely ignored Louis Pasteur's many and varied connections with art and artists. This article is the second 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 medi

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Tolstad, Ingrid M. "Singing Wives and Oligarch Patrons." Journal of Extreme Anthropology 6, no. 2 (2023): 63–83. http://dx.doi.org/10.5617/jea.9853.

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Based on extensive ethnographic fieldwork on Swedo-Russian musical collaborations, this article explores the link between popular music and the conspicuous consumption of Russia’s wealthy elite. Presenting two specific cases, one following a Russian millionaire’s wife’s efforts to become a pop star and the other exploring a wealthy Russian’s pursuit of patronage for emerging pop artists, the article describes how popular music became a means for Russia’s rich elite not only to show off their wealth and luxurious lifestyles but also to exchange monetary means for other forms of (cultural) capit

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Michael, M. A. "The Ormesby Psalter. Patrons and Artists in Medieval East Anglia." Journal of the British Archaeological Association 171, no. 1 (2018): 189–92. http://dx.doi.org/10.1080/00681288.2018.1542841.

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18

Constantin, Zamfir. "Florența ȋn timpul lui Lorenzo Magnificul." Hiperboreea A1, no. 12 (2012): 40–47. http://dx.doi.org/10.5325/hiperboreea.1.12.0040.

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Abstract The ancient city of Firenze is, for more people, the most beautiful place from Italy. A active political life, a splendid architecture and great artists marks the history of this city. In Middle Ages, Firenze was conducted by the Medici's family. Bankers, politicians and patrons of artists they played a significant role in the history of the city, of Italy and even of the Europe. In this short article we do a little voyage in the Firenze ruled by Lorenzo the Magnificient.

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19

Gilbert, Creighton E. "What did the Renaissance Patron Buy?" Renaissance Quarterly 51, no. 2 (1998): 392–450. http://dx.doi.org/10.2307/2901572.

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AbstractThis paper is generated by the widespread opinion that Renaissance patrons usually kept creative control over works they commissioned. It analyzes two of the few instances usually cited and adds many more, some involving single works and some implicating a wide spectrum. A considerable range emerges. At one end artists, not only famous ones, can be deferred to as better experts on how themes are shown. At the other, patrons retain tight control of such unique themes as their family histories. A conclusion speculates on possible reasons for the strength of this opinion, in view of its f

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Stoddard, James, Dinesh Davé, Mike Evans, and Stephen W. Clopton. "Economic Impact of the Arts in a Small US County." Tourism Economics 12, no. 1 (2006): 101–21. http://dx.doi.org/10.5367/000000006776387123.

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This paper presents an assessment of the economic influence of the arts in a small county in the USA. The arts in this community consist of university, non-profit and private-sector employers and individual artists. A discussion of the methodology used to estimate the impact is provided. Over one thousand arts patrons and 62 artists and arts organizations responded to the survey. The direct and indirect economic impact of the arts in the community was estimated to be US$24 million. Normative prescriptions are offered for arts and county administrators.

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21

Silver, Larry. ":Women Artists and Patrons in the Netherlands, 1500–1700." Sixteenth Century Journal 52, no. 3 (2021): 712–15. http://dx.doi.org/10.1086/scj5203105.

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22

ETRO, FEDERICO, and LAURA PAGANI. "The Market for Paintings in Italy During the Seventeenth Century." Journal of Economic History 72, no. 2 (2012): 423–47. http://dx.doi.org/10.1017/s0022050712000083.

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We study the seventeenth-century market for figurative paintings in Italy analyzing original contracts between patrons and artists. We show that a number of supply and demand factors affected prices. We find a positive and concave relation between prices and size of paintings reflecting economies of scale. We show evidence of a positive relationship between prices and the number of figures depicted. Trade in paintings was sufficient to equalize prices between different destinations. Finally, we provide support for the Galenson hypothesis of a positive relation between age of experimental artis

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23

Poleshchuk, A. A. "Smart Book is not a Fiction." Bibliotekovedenie [Library and Information Science (Russia)], no. 1 (February 28, 2014): 128–29. http://dx.doi.org/10.25281/0869-608x-2014-0-1-128-129.

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24

Hughes-Johnson, Samantha. "“I Buonomini di San Martino: Patrons and Facilitators of the Visual Arts in Quattrocento Florence”." Confraternitas 25, no. 1 (2014): 5–31. http://dx.doi.org/10.33137/confrat.v25i1.21864.

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The charitable activities carried out by the Buonomini di San Martino during the Quattrocento have been reasonably well documented by modern historians. Nevertheless, the patronage and financial aid bestowed on fifteenth-century Florentine artists and artisans by this lay confraternity remains unexplored. Accordingly, this article, by employing previously unpublished archival data, will demonstrate how the Buonomini used social networks to procure art- works for the confraternity. Furthermore, the investigation will estab- lish that the confraternity also provided financial aid to artists both

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25

Bolgia, Claudia. "PATRONS AND ARTISTS ON THE MOVE: NEW LIGHT ON MATTEO GIOVANNETTI BETWEEN AVIGNON AND ROME." Papers of the British School at Rome 88 (January 9, 2020): 185–213. http://dx.doi.org/10.1017/s0068246219000370.

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This article reassesses artistic production in Rome at the time of the temporary return of Pope Urban V, between 1367 and 1370, after a lengthy period of absence of the papacy in Avignon, and offers new insights into the long-term impact of this production. It does so by starting from a thoroughly neglected artwork now in the Museo Storico Artistico del Tesoro di S. Pietro, a victim of the traditional interpretative dichotomy as either a work by Giotto or not. By taking a different methodological approach, which is to think in terms of movement of patrons and artists, and on the basis of combi

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26

Anthoni, Ellen, Khushboo Balwani, Jessica Schoffelen, and Karin Hannes. "20:30 BRUXSELS TALKS." Art/Research International: A Transdisciplinary Journal 6, no. 1 (2021): 151–86. http://dx.doi.org/10.18432/ari29607.

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On the 23rd of January 2020, a radio talk show of the future, 20:30 Bruxsels Talks, took place in Brussels. With fictional guests and artists from the year 2030, it discussed how the transition to a climate-proof city had happened since 2019. The body of this article is the script of this fiction piece, produced by BrusselAVenir and BNA-BBOT. In the introduction we explain the relationship between the field of futures studies and fiction, we frame 20:30 Bruxsels Talks within futures studies, and highlight the potential of fiction for knowledge creation and dissemination. By publishing the scri

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BOKOWIEC, MARK ALEXANDER, and JULIE WILSON-BOKOWIEC. "Spiral Fiction." Organised Sound 8, no. 3 (2003): 279–87. http://dx.doi.org/10.1017/s1355771803000256.

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Spiral Fiction is a piece of interactive performance staged by the authors in 2002. The paper provides detailed information about the technology used, the nature of the interactivity employed, the artists use of the Bodycoder System© and the aesthetic and theoretical issues arising out of the work. The paper addresses the problematic nature of the audience gaze, the seductive qualities of new technology, creative balance in the presence of new technologies and the problem of placing interactive performance along side analogue and single art form disciplines. The paper also explores the psychop

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Adamiak, Włodzimierz. "The meaning of activities in Okolice Sztuki – much went on at Strych." Acta Universitatis Lodziensis. Folia Litteraria Polonica 58, no. 3 (2020): 261–86. http://dx.doi.org/10.18778/1505-9057.58.15.

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The text is a commentary to the phenomena in Polish modern art in the final years of the 20th century. It constitutes a “first-hand” account by a participant of the events and the host of the location. The location was the author’s private workshop in the attic of a Łódź tenement house in the very centre of the city, in the circles of artists creating situations, meetings, events and objects, which established Kultura Zrzuty [the Whip-round Culture], a phenomenon which described the activities of artists independent of state institutions and officials patrons in the 1980s. The analysis of the

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29

Athanassaki, Lucia. "Sponsoring the Arts: Melic Perspectives." Classica - Revista Brasileira de Estudos Clássicos 31, no. 2 (2018): 9–29. http://dx.doi.org/10.24277/classica.v31i2.740.

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This paper explores the melic poets’ take on art and its sponsors. Since much has been written on the relationship of epinician poets with their patrons, this paper broadens the focus of enquiry to include other melic genres and, in addition to the verbal, to look at the visual arts as well, i.e. melic representations of communities that sponsor songs and of communities or individuals that sponsor other art-forms such as sculpture, architecture, and precious objects. Taking as starting point Xenophon’s depiction of Simonides in Hiero, I discuss epigrams XXVII and XXVIII Page and relevant testi

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30

Rose, Eliza. "Giving Back the Gift: Predicaments of Patronage and an Offering from Włodzimierz Borowski." Slavic Review 82, no. 1 (2023): 112–36. http://dx.doi.org/10.1017/slr.2023.102.

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At a 1966 Symposium hosted by a nitrogen plant in socialist Poland, artist Włodzimierz Borowski staged a performance. He declared the plant's urea furnaces to be works of art and returned them to plant management. With this “gift,” he reversed the Symposium's patronage model, which had put the plant's resources at his disposal: he gave back the gift of patronage. This article uses the device of returning the gift of state support to explore ambivalent engagements with the official art system. This formula is applied to two later actions giving back (or away) resources granted to artists by pub

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31

Honey, Maureen. "Women and Art in the Fiction of Edith Wharton." Prospects 19 (October 1994): 419–50. http://dx.doi.org/10.1017/s0361233300005172.

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Edith Wharton's treatment of the artist has received considerable critical attention, particularly in light of her focus on male artists and the disparity between her early short stories that are dominated by tales about artists and her novels that center on other subjects. Some of these studies have looked at the writer as artist and Wharton's views on the art of writing. While such a focus can be justified by the numerous writers who people Wharton's fiction, it is instructive to examine other dimensions of her reference to art and artists, especially painting, as a way of illuminating the c

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Țapu, Mihai. "Travelling Theory-Fiction. A Romanian Case Study." Metacritic Journal for Comparative Studies and Theory 9, no. 1 (2023): 214–33. http://dx.doi.org/10.24193/mjcst.2023.15.12.

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This paper discusses the import of “theory-fiction” in contemporary Romanian culture, by analysing the textual and artistic output of the performance artists Alina Popa and Florin Flueraș. The first part introduces the key methodological concepts used in

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33

Isakovic, Smiljka. "Classical music in the new millennium: Return of philantropy." Zbornik Matice srpske za drustvene nauke, no. 147 (2014): 323–36. http://dx.doi.org/10.2298/zmsdn1447323i.

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Artists need economic base and financial support, either by individuals, corporations, non-profit organizations or government institutions. Investing in culture implies the provision of natural and human resources for artists and cultural institutions, in order to achieve, in return, certain counter services - generally improving the image. Those who want to influence the world must offer to the society something healing and positive, such as culture and art. These contribute to the vitality and mental health of society in finding the sense of identity and the meaning of life in turbulent time

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Waryanti, Dessy Rachma. "KLASIFIKASI PRIORITAS KETERTARIKAN PERILAKU PENGUNJUNG PAMERAN TERHADAP KARYA SENI RUPA KONTEMPORER." INVENSI 1, no. 2 (2017): 1–12. http://dx.doi.org/10.24821/invensi.v1i2.1611.

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Many elements are presented to visitors during an exhibition of contemporary art. These elements include the overaching concept of the exhibit (Ko), issues raised in the exhibition (Is), the name of the artist whose popularity attracts patrons (Na), and visual forms of the art itself (Vi). Using these four elements I compiled questions and interviewed patrons with various backgrounds in the arts. The goal was to find out these patron’s interest priorities; in other words, which aspects of the exhibit were of most interest to them as an observer. Previous literature on visitor behavior and soci

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35

RICO, MONICA. "Sir William Drummond Stewart: Aristocratic Masculinity in the American West." Pacific Historical Review 76, no. 2 (2007): 163–91. http://dx.doi.org/10.1525/phr.2007.76.2.163.

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Sir William Drummond Stewart is known mostly as the patron of artist Alfred Jacob Miller, but he is worth examining in his own right for the ways in which his travels,collecting, and fiction reveal how western myths could resonate in contexts other than the familiar project of American nationalism. This article explores how the West served as an imaginative and literal site on which Stewart constructed his masculinity. Yet the more that Stewart tried to stabilize his identity through real and textual encounters with the West, the more this ground shifted under him. For instance, Stewart's nove

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36

Piątkowska, Renata. "Artystki i miłośniczki sztuki – kobiety w żydowskim życiu artystycznym międzywojennej Warszawy. W kręgu Żydowskiego Towarzystwa Krzewienia Sztuk Pięknych." Studia Judaica, no. 1 (47) (2021): 175–211. http://dx.doi.org/10.4467/24500100stj.21.007.14609.

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Artists and Art Lovers: Women in the Jewish Artistic Life of Interwar Warsaw. In the Circle of The Jewish Society for the Encouragement of Fine Arts Research on Jewish artistic life in interwar Warsaw, especially in the context of the activities of the Jewish Society for the Encouragement of Fine Arts (Żydowskie Towarzystwo Krzewienia Sztuk Pięknych), reveals active and numerousparticipation of women, both artists and art lovers (by and large a group of professionals, bourgeois, political and social activists, Jewish art collectors). In the article, special attention is paid to Tea Arciszewska

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37

Musacchio, Jacqueline Marie. "Bohn, Babette. Women Artists, Their Patrons, and Their Publics in Early Modern Bologna." Renaissance and Reformation 44, no. 2 (2021): 235–37. http://dx.doi.org/10.33137/rr.v44i2.37541.

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Musacchio, Jacqueline Marie. "Bohn, Babette. Women Artists, Their Patrons, and Their Publics in Early Modern Bologna." Renaissance and Reformation 44, no. 2 (2021): 235–37. http://dx.doi.org/10.33137/rr.v44i2.37541.

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Carroll Joynes, D. "Artists, Patrons and the Public: Why Culture Changes: What Good are the Arts?" Curator: The Museum Journal 54, no. 2 (2011): 235–38. http://dx.doi.org/10.1111/j.2151-6952.2011.00087.x.

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Jones, Tanja L. ":Women Artists, Their Patrons, and Their Publics in Early Modern Bologna." Sixteenth Century Journal 53, no. 3 (2022): 846–48. http://dx.doi.org/10.1086/scj5303135.

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Barker, Sheila. ":Women Artists, Their Patrons, and Their Publics in Early Modern Bologna." Early Modern Women: An Interdisciplinary Journal 18, no. 2 (2024): 370–73. http://dx.doi.org/10.1086/728606.

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42

Brasó, Emma. "Exhibiting Parafictional Artists: Curatorial Approaches to Fiction and Authorship." Journal of Curatorial Studies 10, no. 1 (2021): 50–71. http://dx.doi.org/10.1386/jcs_00031_1.

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This article identifies and analyses parafictional strategies in artistic and curatorial practice. By examining exhibitions that have included artists working under fictitious identities from the mid-1990s to the present, I argue that they emerged in response to the conflictual demands of the art world. These case studies have been organized into three categories according to their main curatorial approach: projects in which artists remained anonymous or were asked to produce work under a purposely invented personality; exhibitions that turned the intersection of fiction and authorship into a

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Opdahl, Ørnulf. "Artists on Libraries 3:." Art Libraries Journal 11, no. 3 (1986): 13. http://dx.doi.org/10.1017/s0307472200004727.

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Which libraries do you use and how do your use them? Having lived rather isolated I have felt the need to build up my own library. In younger days I used the local public library quite a lot. Their collection of art books was rather meagre, but it was still a strong inspiration. They had got several current art magazines as well, both Norwegian and international. I still use’ public libraries, especially their collection of fiction, poetry, philosophy, etc., which is quite good. They provide the information they have not got themselves through inter-library lending, and the services have been

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Elias-Bursać, Ellen. "The backstories of Cold War translations." Translation and Interpreting Studies 15, no. 3 (2020): 399–418. http://dx.doi.org/10.1075/tis.20073.eli.

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Abstract Ideological expectations coupled with opportunism, personal advancement, friendship, and the political and ideological loyalties held by those who served as patrons for publishing translations were the factors that informed decisions about what would be translated in the Cold War years between 1945 and 1989. This article considers the choices made by publishers Frederick A. Praeger, Harcourt Brace Jovanovich, and Vanguard Press when publishing the fiction and non-fiction of Milovan Djilas and Miroslav Krleža, writers from Yugoslavia. The backstories behind the publishing of the transl

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Moeller, Robin A., and Kim E. Becnel. "“Why On Earth Would We Not Genrefy the Books?”: A Study of Reader-Interest Classification In School Libraries." KNOWLEDGE ORGANIZATION 46, no. 3 (2019): 199–208. http://dx.doi.org/10.5771/0943-7444-2019-3-199.

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Through their work as instructors in a master of library science program, the authors observed a sharp increase in students’ desire to adopt the reader-interest classification approach of genrefication for their school libraries’ fiction collections. In order to better understand this trend, the researchers interviewed seven school librarians regarding their motivations for genrefying their libraries’ fiction collections; the challenges they encountered during or after the genrefication process; and any benefits they perceived as having resulted in the implementation of genrefication. The data

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Modena, Luisa Levi D’Ancona. "Italian-Jewish Patrons of Modern Art in Nineteenth- and Twentieth-Century Italy." Ars Judaica: The Bar Ilan Journal of Jewish Art 16, no. 1 (2020): 3–29. http://dx.doi.org/10.3828/aj.2020.16.3.

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With a focus on art donations, this article explores several case studies of Jewish Italian patrons such as Sforni, Uzielli, Sarfatti, Castelfranco, Vitali, and others who supported artists of movements that were considered modern at their time: the Macchiaioli (1850-1870), the Futurists (1910s), the Metaphysical painters (1920s), the Novecento group (1920-1930s), and several post WWII cases. It reflects on differences in art donations by Jews in Italy and other European countries, modes of reception, taste, meanings and strategy of donations, thus contributing to the social history of Italian

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Joyce, Lillian B. "Dirce Disrobed." Classical Antiquity 20, no. 2 (2001): 221–38. http://dx.doi.org/10.1525/ca.2001.20.2.221.

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The Punishment of Dirce was a theme that intrigued both artists and patrons of the Roman period. It appeared in diverse locations and media, notably as a wall painting in the House of the Vettii in Pompeii and the Toro Farnese once displayed in the Baths of Caracalla in Rome. In all representations, Dirce struggles with the bull that will trample her to death. Traditional studies of this imagery have focused on the formal characteristics of these representations, studying issues of workshop practice and the relationship between originals and copies. Scholars seldom analyze the meaning of the m

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Powell, Robert. "Taking Pieces of Rand with Them: Ayn Rand's Literary Influence." Journal of Ayn Rand Studies 12, no. 2 (2012): 207–35. http://dx.doi.org/10.2307/41717248.

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Abstract Despite the fact that Ayn Rand did not influence the best artists, she did leave an important legacy for the American imagination and literary establishment. Rand's influence is arguably more multi-genre than any other author. Some multi-genre authors who were possibly influenced by Rand include: John Steinbeck (literature), Mickey Spillane and Ian Fleming (detective fiction), Ira Levin, Cameron Hawley, Erika Holzer and Kay Nolte Smith (popular fiction) and Terry Goodkind (science fiction). Her influence represents an important balance between many various types of American Literature

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49

Powell, Robert. "Taking Pieces of Rand with Them: Ayn Rand's Literary Influence." Journal of Ayn Rand Studies 12, no. 2 (2012): 207–35. http://dx.doi.org/10.5325/jaynrandstud.12.2.0207.

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Abstract Despite the fact that Ayn Rand did not influence the best artists, she did leave an important legacy for the American imagination and literary establishment. Rand's influence is arguably more multi-genre than any other author. Some multi-genre authors who were possibly influenced by Rand include: John Steinbeck (literature), Mickey Spillane and Ian Fleming (detective fiction), Ira Levin, Cameron Hawley, Erika Holzer and Kay Nolte Smith (popular fiction) and Terry Goodkind (science fiction). Her influence represents an important balance between many various types of American Literature

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50

Nemoto, Chôbei. "L’an III du mécénat au Japon." Revue française d'administration publique 65, no. 1 (1993): 115–18. http://dx.doi.org/10.3406/rfap.1993.2677.

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Year III of Private Sponsoring in Japan. Since February 1990, private sponsoring has developed with the création of «Kigyô - Mécénat - Kyôgikai», in a country where it appears as a challenge to the commercialization of culture. After a short period in the middle ages where there have been examples of big art patrons, Japan quickly drifted into exagerated westemizing in industry. Yet Japanese soul lived further behind the curtains. The development of this new partnership should enable to bridge the gap between artists and industry, even if the economie context is a difficult one.

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