Academic literature on the topic 'Artists' responses to Paris'
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Journal articles on the topic "Artists' responses to Paris"
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Winestein, Anna. "Artists at Play." Experiment 25, no. 1 (September 30, 2019): 328–45. http://dx.doi.org/10.1163/2211730x-12341346.
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Abstract The exhibition of Russian folk art at the Paris “Salon d’Automne” of 1913 has been generally overlooked in scholarship on folk art, overshadowed by the “All-Russian Kustar Exhibitions” and the Moscow avant-garde gallery shows of the same year. This article examines the contributions of its curator, Natalia Erenburg, and the project’s instigator, Iakov Tugendkhold, who wrote the catalogue essay and headed the committee—both of whom were artists who became critics, historians, and collectors. The article elucidates the show’s rationale and selection of exhibits, the critical response to it and its legacy. It also discusses the artistic circles of Russian Paris in which the project originated, particularly the Académie russe. Finally, it examines the project in the context of earlier efforts to present Russian folk art in Paris, and shows how it—and Russian folk art as a source and object of collecting and display—brought together artists, collectors, and scholars from the ranks of the Mir iskusstva [World of Art] group, as well as the younger avant-gardists, and allowed them to engage Parisian and European audiences with their own ideas and artworks.
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Stewart-Kroeker, Sarah. "‘What Do We Do with the Art of Monstrous Men?’ Betrayal and the Feminist Ethics of Aesthetic Involvement." De Ethica 6, no. 1 (June 30, 2020): 51–74. http://dx.doi.org/10.3384/de-ethica.2001-8819.19062502.
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The #MeToo movement has put a spotlight on sexual harassment and abuse in a number of industries, notably the arts. It has raised a set of questions about how to receive the artistic works of the accused, particularly when such work has been beloved or formative for an individual, and collectively when it has cultural significance and influence. Claire Dederer, writing in The Paris Review, posed the question bluntly in her piece, “What Do We Do with the Art of Monstrous Men?” This question, and the range of (often perplexed) responses to it, reveal the lack of adequate resources to evaluate responses to an artist’s actions that may bear on our aesthetic valuations of the artist’s work and that may be experienced as quite intimately personal. What do we do with the sense of betrayal that may follow on the discovery of an artist’s bad behavior? What are the implications of consuming of such art? What concepts and norms might help to guide reflection? These questions bear on the ethical significance of love and appreciation for artworks and artists, and, more broadly, the ethical consumption of artworks. This paper responds to these questions in two ways: first, it develops an account of “aesthetic involvement” to elaborate the sense of betrayal that may follow accusations or revelations of sexual harassment and abuse. Second, it proposes a feminist ethics of aesthetic involvement in response to such betrayals and to dilemmas about the individual and collective ethical consumption of artworks.
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Wells, Monique Y., and Kathleen Stein-Smith. "Classes Duo Paris/Knoxville, an Integrative Learning Experience: A Case Study." Theory and Practice in Language Studies 9, no. 9 (September 1, 2019): 1065. http://dx.doi.org/10.17507/tpls.0909.01.
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This case study examines the role of integration of the arts into learning within the framework of interdisciplinarity and integrative learning. Specifically, it describes and discusses the Classes Duo Paris/Knoxville program, which brings together students from Paris and Knoxville through the life and art of Knoxville-born, Paris-expatriate artist Beauford Delaney. The integration of the arts, languages (French and English), and travel abroad is the basis for a survey distributed to the adult participants in the program by the organizer, who is one of the authors of this study. Responses to the survey have been described and discussed in terms of arts education and international experiential learning, with implications for similar future initiatives and the current and potential role of philanthropy in educational programming.
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Darisman, Aris. "Karya Graffiti sebagai Representasi Persoalan Sosial di Kota Bandung." Humaniora 5, no. 2 (October 30, 2014): 749. http://dx.doi.org/10.21512/humaniora.v5i2.3130.
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Graffiti works are often found in urban area, so it becomes culture expression of a city represented through art (urban art). At this stage, graffiti is classified in the genre of street art. There is high enough desire for graffiti artists to interact and convey their message through their works with public. Thus, public spaces, such streets, become a choice for space and inspiration to them to work as well as exhibitions. Everyday issues, which according to Charles Baudelaire (1863), become inspiration for impressionist painters to paint modern subjects. Modern subjects in the form of everyday problems occur along the way in Paris, bridges, and roadside cafes. What was disclosed by Baudelaire is still factual at present, that the road becomes the source of inspiration collection. This study used field research, literature studies, and interview. Meanwhile, research object was graffiti works in Bandung. Research showed street art, in this case graffiti, was a symbol of resistance and response to actual political conditions. Walls and other objects commonly found in the street or public space were a stretch of ideas and canvas for graffiti artists.
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Luba, Iwona. "Kobro and Strzemiński: Łódź – Warsaw – Paris (1956–1957)." Ikonotheka 26 (June 26, 2017): 137–66. http://dx.doi.org/10.5604/01.3001.0010.1676.
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From December 1956 to December 1957, no fewer than four exhibitions presenting the oeuvre of Katarzyna Kobro and Władysław Strzemiński were organised: the Posthumous Exhibition of Władysław Strzemiński’s and Katarzyna Kobro’s Oeuvre, shown fi rst in Łódź (16 December 1956 – 14 January 1957) and then in Warsaw (18 January – 10 February 1957), and two exhibitions in Paris: 50 ans de peinture abstraite at Galerie Raymond Creuze (9 May – 12 June 1957) and Précurseurs de l’art abstrait en Pologne: Malewicz, Kobro, Strzemiński, Berlewi, Stażewski at Galerie Denise René (22 November 1957 – 10 January 1958). All received a strong response, both in Poland and abroad. Research focused on these exhibitions has brought some surprising results. None of them had been planned until 1956, and only after the events of October 1956 was it possible to show the works of Kobro and Strzemiński in Warsaw in 1957. The exhibition at the Łódź Division of the Central Bureau of Art Exhibitions was prepared with exceptional care and is immensely important, as it occasioned the fi rst attempt at preparing a catalogue of both Kobro’s and Strzemiński’s works, of Strzemiński’s biography and a bibliography of texts authored by Strzemiński and Kobro. In addition, it was there that Strzemiński’s treatise Teoria widzenia fi rst came to public attention; it was published only two years later. The exhibition was transferred, quite unexpectedly, to the Central Bureau of Art Exhibitions in Warsaw, which was the chief institution involved in exhibiting modern art in Poland; this gave offi cial sanction and a considerable status to the oeuvre of both avant-garde artists. The exhibition entitled Précurseurs de l’art abstrait en Pologne became, paradoxically, the fi rst-ever offi cial exhibition of Polish avant-garde art to be held abroad and organised by a state agency, i.e. the Central Bureau of Art Exhibitions, under the aegis of the ambassador of the People’s Republic of Poland in France. It was also the only exhibition in which Kazimierz Malewicz was regarded as a Pole and presented as belonging to the history of art in Poland; the mission initiated by Strzemiński in 1922 was thus completed. The institutions involved in arranging the loans of Malewicz’s works for this exhibition were the Ministry of Culture and Art, the Ministry of Foreign Affairs and its subordinate Polish embassies in Paris and Moscow. This was the fi rst time that the works of Kazimierz Malewicz were presented in the West, thanks to the efforts and under the aegis of the Polish Ministry of Foreign Affairs during the period of the post-Stalinist thaw; notably, this happened before their presentation at the Stedelijk Museum in Amsterdam (29 December 1957).
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Sukma Winarya Prabawa, I. Wayan, and I. Wayan Winaja. "Balinese Art and Tourism Promotion: From the 1931 ‘Paris Colonial Exposition’ to the Contemporary ‘Paris Tropical Carnival’." Jurnal Kajian Bali (Journal of Bali Studies) 8, no. 1 (April 29, 2018): 17. http://dx.doi.org/10.24843/jkb.2018.v08.i01.p02.
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The development of tourism in Bali cannot be separated from the role of artists and the community in preserving Balinese culture and tradition. This paper aims to analyze the role of artists in the preservation of Balinese culture that is associated with the promotion of Bali tourism in overseas through cultural performances which is currently known as marketing 3.0 models. Through research literatures, interviews to sample of participants and qualitative descriptive approach, this paper suggests that artists and society since the colonial era to the present day have taken an important role as tourism promotion ambassador of Bali and Indonesia, where the artists and the community have successfully presented the emotion or the spirit of Bali’s tourism a ractions.
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Chuchvaha, Hanna. "Vita Susak. Ukrainian Artists in Paris: 1900–1939." East/West: Journal of Ukrainian Studies 5, no. 1 (March 23, 2018): 181–83. http://dx.doi.org/10.21226/ewjus376.
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Book review of Vita Susak. Ukrainian Artists in Paris: 1900–1939. Translated by Serhiy Synhayivsky (main text and notes) and Anna Susak (“A Dictionary of Ukrainian Artists in Paris”), edited by Romana Labrosse, foreword by Jean-Claude Marcadé, Rodovid Press, 2010. 408 pp. Illustrations. Endnotes. Selected Bibliography. Appendix. Index. $75.00, cloth.
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WILLIAMS, HANNAH. "Artists and the city: mapping the art worlds of eighteenth-century Paris." Urban History 46, no. 1 (April 15, 2018): 106–31. http://dx.doi.org/10.1017/s0963926818000251.
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ABSTRACT:Paris is renowned for artistic neighbourhoods like Montmartre and Montparnasse in the nineteenth and twentieth centuries. But for earlier periods, the art-historical picture is much vaguer. Where did artists live and work in the eighteenth century? Which neighbourhoods formed the cultural geography of the early modern art world? Drawing on data from a large-scale digital mapping project locating the addresses of hundreds of eighteenth-century artists, this article answers these crucial questions of urban art history. Following an overview of the digital project, the article explores three different mappings of the city's art worlds: a century long survey of the neighbourhoods inhabited by the Academy's artists; a comparison of where the Guild's artists were living in a single year and a wider world view of Parisian artists abroad. Through its new cartographic models of Paris's art worlds, this article brings the city to the foreground of eighteenth-century French art.
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Warren, Kate, Anthea Gunn, and Mikala Tai. "Artists, Institutions, Publics: Contemporary Responses to Conflict." Australian and New Zealand Journal of Art 20, no. 1 (January 2, 2020): 23–39. http://dx.doi.org/10.1080/14434318.2020.1764227.
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Yim, Denise. "A British Child's Music Education, 1801–1810: G.B. Viotti, Caroline Chinnery and the French Influence." Nineteenth-Century Music Review 5, no. 1 (June 2008): 25–45. http://dx.doi.org/10.1017/s1479409800002573.
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Broadly speaking, the British reception of foreign musicians appearing in London at the end of the eighteenth century was one of adulation. Most of these artists had arrived via Paris, where some had acquired a mantle of sophistication unknown in London. Paris was a city of fashion, which, if it could not rival London in economic clout, was the acknowledged European capital of culture, of refined taste and manners. British amateurs were therefore happy to admit these foreign artists into their homes both for private concerts, and in the capacity of music teachers for themselves and their children. One of the most alluring – not to mention gifted – of the performing artists to arrive in London from Paris was Giovanni Battista Viotti, whose public concerts in the last decade of the eighteenth century were among the most popular of the many that were on offer.
Dissertations / Theses on the topic "Artists' responses to Paris"
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Waellisch, Ulrike. "Geographies of creative production : the perspective of visual artists in Paris." Thesis, Loughborough University, 2010. https://dspace.lboro.ac.uk/2134/14546.
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Nelson-Kavajecz, Carolyn Melissa. "Midwestern Artists' Responses to the Demands of Entrepreneurial Management." ScholarWorks, 2019. https://scholarworks.waldenu.edu/dissertations/7412.
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Artists have the potential to achieve higher levels of success in business management, leadership roles, and entrepreneurial endeavors if equipped with the proper knowledge. Although artists may have a creative perspective and could possess many of the attributes sought after by organizations and communities in need of innovative leaders, their approaches to entrepreneurial management differ from traditional business managers or community leaders. The problem was poor understanding of how artists in Midwestern regions of the United States respond to the demands of entrepreneurial management. The purpose of this qualitative multiple-case study was to understand how 20 individuals who self-identified as artists and living or working in a specific county located in the Midwestern United States responded to entrepreneurial management demands. The key research question involved how these self-identified artists perceived and dealt with the demands of entrepreneurship through the lens of aesthetic leadership. Data from interviews, field notes, and observations were coded and categorized using NVivo to assist in identifying patterns and themes. Findings indicated that the self-identified artists indicated a need for entrepreneurial support, educational systems, and business development support from state and local community service programs that recognize and support their creative entrepreneurial endeavors. Understanding the intrinsic motivations that influence artists can help educators and contribute to business development that incorporates their unique circumstances. Art is transformational on many levels and benefits individuals, communities, organizations, and societies by promoting a more humanistic vision of the world.
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Johnson, Julie Anne. "Conflicted Selves: Women, Art, & Paris 1880-1914." Thesis, Kingston, Ont. : [s.n.], 2008. http://hdl.handle.net/1974/1591.
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Barnas, Adam J. "Emotional Responses Evoked by Paintings and Classical Music in Artists, Musicians, and Non-Experts." University of Dayton / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1417794794.
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Franck, Christoph Daniel. "The 1660 entry of Louis XIV into Paris as an artistic event : new documents concerning the decorations and their artists /." London : Courtauld institute of art, 1987. http://catalogue.bnf.fr/ark:/12148/cb35855070v.
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Mészáros, Flóra. "Hungarian Artists in Abstraction-Creation." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040088.
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Cette thèse se focalise sur le groupe artistique international Abstraction-Création, créé pour servir de forum à l’art non figuratif à Paris entre 1931-1936. Au fil des années, il a eu une centaine de membres, y compris certains artistes hongrois, notamment Étienne Béothy, Alfred Reth, Lajos Tihanyi et Ferenc Martyn, tandis que László Moholy-Nagy était membre sans vivre à Paris. Ce n’est que dans les années 1970 que les premières recherches approfondies ont été menées sur Abstraction-Création. Depuis, l’activité d’Abstraction-Création n’a été que rarement étudiée, sa structure, ses objectifs ou son histoire ont été largement négligés. Le constat est le même pour l’état de la recherche relative à chacun des membres hongrois : jusqu’à présent, seule la participation de Béothy et de Martyn a été analysée en détail. Outre l’objectif principal de cette thèse, notamment la mise en perspective des artistes hongrois dans le groupe, la réévaluation et l’interprétation de l’ensemble de l’activité d’Abstraction-Création sont également mises en lumière. A la base d’une analyse théorique et historique, ce travail compare Abstraction-Création avec deux groupes parisiens non figuratifs. Cette thèse vise à clarifier les différences qui les séparent en soulignant qu’Abstraction-Création ne peut pas être considéré comme une combinaison des deux. Grâce à des documents jusqu’alors non analysés, l'auteur donne un aperçu de la structure organisationnelle de ce forum et discute, à partir d’une perspective entièrement nouvelle, le rôle du comité, leurs débats, leur formation, cessation et leurs plateformes, y compris les réunions, la galerie et le cahier. La thèse démontre la relation entre Abstraction-Création et Surréalisme au moyen d'une analyse stylistique et théorique. Elle prétend que, grâce aux activités des membres hongrois, toutes les facettes du groupe peuvent être présentées. L'auteur révèle quels ont été les objectifs initiaux de l'adhésion des membres hongrois et comment ils ont tiré profit de leur participation. La thèse décrit la période abstraite parisienne des artistes hongrois dans les années 1930, et ce, dans un contexte artistique international et dans un contexte historique plus largeThis dissertation focuses on the international artistic group, called Abstraction-Création (1931-1936. Out of the approximately 100 members joining the association a few were Hungarian artists, namely Étienne Béothy, Alfred Reth, Lajos Tihanyi and Ferenc Martyn, whereas László Moholy-Nagy received an external membership. A deeper research into the Parisian non-figurative formations of the 1930s, including Abstraction-Création, only took shape in the 1970s. Since then, Abstraction-Création has been discussed only occasionally, and a deeper discussion concerning the structure, the goals, or the history of the group is still missing. The same applies to the research on individual Hungarian artists; while for each of them the participation in the forum was presented as an important stage of their lives, so far only the participation of Béothy and Martyn has been examined in detail. Beyond the basic goal of the study to concentrate on Hungarian artists in the group, the re-evaluation and a new examination of Abstraction-Création are also placed in the focus. Based on a theoretical and historical analysis, the study compares Abstraction-Création with two non-figurative Parisian groups, clarifying the differences between them and pointing out that Abstraction-Création could not be viewed as a combination of the two of them. Drawing on hitherto unanalyzed documents, the author gives an overview of the organizational structure of the forum, and discusses, from an entirely new perspective, the role of the committee, their debates, their formation and cessation and their platforms, including their meetings, gallery and journal. The dissertation demonstrates the relation between Abstraction-Création and Surrealism by means of a stylistic and theoretical analysis. It claims that through the activities of the Hungarian members, all the facets of the group can be shown, particularly because of the fact that they did not form a special group within the association, but had their different individual roles and routes. The author presents what the original aims behind the admission of the Hungarian members were and how they benefited from the participation. The dissertation depicts the Parisian abstract period of Hungarian artists in the 1930s in an international artistic context and against a broader historical background
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Drapac, Vesna M. "Community responses to international crisis : Catholics in Paris from the late 1930s to 1944." Thesis, University of Oxford, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315866.
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Melville, Ruth. "The logic of evaluation in the arts : exploring artists' responses to measurement within a publicly funded arts organisation." Thesis, University of Essex, 2017. http://repository.essex.ac.uk/22408/.
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Measurement and evaluation in the publicly funded arts sector is a contested area. On the one hand measurement is constantly demanded by funders to justify the value of art projects, on the other hand, there is a lack of consensus on how it should be done and whether effective evaluation is even possible in the arts. In this context, there is widespread resistance to practices of evaluation within the sector. Previous Cultural Policy research has focussed on what cultural value is, and whether it is desirable, or even possible, to measure value at all in the arts. In contrast, there is relatively little research into the experience of those at the heart of the measurement: the arts practitioners working in settings where evaluation is required and how evaluation regimes affect their practices. There is a similar lack of research into the role of the organisation as an intermediary within the interpretation of value and measurement. Using a longitudinal, ethnographic case study research, the thesis examines how artists and other workers in a cultural organization, respond to expectations of evaluation and shape their practices as a result of those expectations. The thesis adapts the institutional logics perspective frame, creating a sector specific frame to explore how logics of the family, state, corporation, community, religion, profession and market all operate within evaluation. Seen through this lens, the artists’ responses to evaluation are shown to be a response to intersecting and clashing logics. This approach gives a richer understanding of artists’ responses, and also offers a new frame for considering other challenges within the sector. Using this understanding, I develop an alternative approach to arts evaluation, based on evaluation as a practice, not an output, and taking into account the multiple logics in action and arising from artists’ own valuation practices.
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Guilois, Bruno. "La communauté des peintres et sculpteurs parisiens : de la corporation à l’Académie de Saint-Luc." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL098.
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La communauté des maîtres peintres et sculpteurs parisiens a connu une importante évolution entre les XVIIe et XVIIIe siècles. La création de l’Académie royale en 1648 correspond à un temps de bouleversement : l’ancien et le nouveau corps se joignent alors, et tentent de cohabiter dans une même structure. La fin du XVIIe siècle correspond à l’essor de la population de la maîtrise, à la publication des listes de ses membres, ainsi que des statuts, dans une remise en ordre globale de la communauté. C’est donc une corporation forte d’une nombreuse population et bien organisée qui obtient en 1705 une déclaration de Louis XIV lui permettant d’ouvrir une école de dessin fondée sur le modèle vivant. La toute nouvelle Académie de Saint-Luc peut s’installer durablement dans le paysage artistique de la première moitié du XVIIIe siècle. Installée dans des nouveaux locaux dont elle se porte acquéreuse, rue du Haut-Moulin en la Cité, elle transforme considérablement ses statuts, en accordant une place importante en son sein à un corps d’artistes, chargés d’assurer l’enseignement de l’école. Les années 1750 à 1775 sont des années où les évènements se précipitent, pour l’Académie de Saint-Luc. Des expositions, suivies du public, permettent de faire connaître nombre de ses membres, et d’inscrire la petite académie dans les débats artistiques du milieu du XVIIIe siècle. Le perfectionnement de l’école d’après le modèle, permet dans les années 1765-1775 de reconnaître davantage encore un statut propre pour les artistes, au sein de la communauté. L’évolution est donc spectaculaire sur plus d’un siècle, et témoigne d’une adaptation remarquable de la vieille corporation, qui a su assimiler ainsi un fonctionnement académique à l’organisation hiérarchique d’une communauté de métierThe community of Parisian master painters and sculptors went through important evolutions between the 17th and 18th centuries. The creation of the Royal Academy in 1648 corresponds to a time of upheaval: the old and the new profession then came together and tried to coexist within the same structure. In the late 17th century, the population of the maîtrise increased and the list of its members as well as its statutes were published, in an overall re-ordering of the community. Thus, in 1705, the guild was strong in numbers and well-organised when it obtained a declaration from Louis XIV allowing it to open a drawing school based on live models : the brand-new Academy of St Luke became established in the artistic landscape of the early 18th century. It purchased new premises on rue du Haut-Moulin-en-la-Cité. From there, it significantly altered its statutes, giving an important role to a body of artists who was put in charge of teaching within its school. In the years 1750 to 1775, things moved faster for the Academy of St Luke. Several well-attended exhibitions put members of the Academy of St Luke on the map and involved the small academy in mid-18th century artistic debates. The improvement in the life-drawing school in the years 1765-1775 led to an even better recognized status for artists within the community. Over more than a century, this spectacular evolution shows the remarkable adaptation of the old guild, which thus managed to integrate its academic functioning to the hierarchical organization of a professional community
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Knels, Eva Maria. "Le Salon et la scène artistique à Paris sous Napoléon I. Politique artistique – Stratégies d’artistes – Échos internationaux." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040065.
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Cette thèse de doctorat se propose d’étudier les Salons sous l’ère napoléonienne, connus surtout pour le rôle important qu’ils jouèrent dans le cadre de l’instrumentalisation politique de l’art contemporain. Ainsi, après 1799, le Salon devint rapidement un important outil de la vaste politique culturelle du Consulat et de l’Empire, qui servit à représenter de manière symbolique le système politique. Face à ce changement radical du Salon et de sa politique artistique, les artistes, eux aussi, ont dû se positionner et s’adapter aux nouvelles structures politiques et administratives, tout en réagissant aux nouvelles tendances artistiques et à l’évolution du milieu artistique, afin de s’imposer au Salon. Le succès rencontré par les Salons en ces années-là ne se manifeste pas seulement par le chiffre croissant des exposants et des visiteurs : les diverses formes de la réception du Salon – journaux, brochures, récits de voyage, lettres et œuvres graphiques - témoignent également de l’écho rencontré par l’exposition, et ceci bien au-delà des frontières nationales. Jouxtant les salles du fameux Musée Napoléon qui regroupe les chefs-d’œuvre artistiques les plus importants, saisis par les armées françaises dans des collections de l’Europe, le Salon profite de la forte fréquentation du Louvre entre 1800 et 1815, de la part de visiteurs aussi bien français qu’étrangers. L’objectif de cette thèse est d’analyser l’organisation de l’exposition, le paysage des artistes exposants ainsi que l’écho rencontré par cet évènement sur la scène internationale en tenant compte de cette mutation complexe de la vie artistique parisienne au début du XIXème siècle. Dans cette perspective, le présent travail s’interroge sur les rapports entre la politique artistique, les pratiques artistiques et culturelles ainsi que leur réceptionThis doctoral thesis examines the Salons of living artists under the reign of Napoleon I, which are primarily known for the prominent role they played in the context of cultural politics of that time. After 1799, the Salon rapidly became an important instrument of art and cultural politics used by the ruling government to symbolically legitimise and support the political system. Given the major changes to the exhibition in these years, artists had also had to adapt to the new political and administrative structures whilst, at the same time, reacting to new artistic trends in order to stand up to the strong competition at the Salon. The exhibition's success in these years is not only reflected by the rising numbers of exhibiting artists and visitors. Also its wide-ranging coverage in the media, such as newspaper articles, letters, travelogues and graphic anthologies, is further proof of the exhibition's relevance and reach, sometimes even beyond national frontiers. Indeed, the exhibition's close locality to the famous Musée Napoléon, with its large collection of master pieces confiscated from European collections by the French armies, added further attention paid by European travellers to the Salon and the French contemporary art on display there. The aim of this doctoral thesis is to analyse the organisation of the exhibition, the range of participating artists as well as the international response it created whilst taking into consideration the complex transformation of art and the French art scene at the beginning of 19th century. By doing so, the dissertation focuses on the reciprocal relationship between art politics, artistic production and their reception
Books on the topic "Artists' responses to Paris"
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Paris, Paris, Paris: 20 artistas españoles en la Escuela de Paris. La Coruña?]: Fundación Pedro Barrié de la Maza, Conde de Fenosa, 2001.
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Velo, Maks. Paris. Tirana: "Emal", 2011.
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Museum, Bruce, ed. Paris portraits: Artists, friends, and lovers. New Haven: Yale University Press, 2008.
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American artists in Paris, 1919-1929. Ann Arbor, Mich: UMI Research Press, 1988.
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Ukrainian artists in Paris, 1900-1939. Kiev: RODOVID, 2010.
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Paris in August. London: Peter Owen, 1994.
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Paris never leaves you. New York: Forge, 2000.
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Paris never leaves you. New York: Forge, 1999.
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Catherine, Valabrègue, and Lambert Catherine photographer, eds. Guide des ateliers d'artistes à Paris. Paris: Editions alternatives, 1998.
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Nieszawer, Nadine. Peintres juifs à Paris: 1905-1939, École de Paris. Paris: Denoël, 2000.
Find full textBook chapters on the topic "Artists' responses to Paris"
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Whiting, Robert. "Artists, Craftsmen." In Local Responses to the English Reformation, 188–93. London: Macmillan Education UK, 1998. http://dx.doi.org/10.1007/978-1-349-26487-2_27.
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Wilson, Jenny. "Improving Institutional Responses to Artistic Research." In Artists in the University, 169–84. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-5774-8_9.
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Kullmann, Clotilde. "Street Art Events and Their Impact on Urban Redevelopment. Case Study of Paris 13 Tower Exhibition in the Paris Rive Gauche Mixed Development Zone." In The Impact of Artists on Contemporary Urban Development in Europe, 225–40. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-53217-2_10.
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Messham-Muir, Kit. "Conflict and Compromise: Australia’s Official War Artists and the “War on Terror”." In The Palgrave Handbook of Artistic and Cultural Responses to War since 1914, 467–83. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-96986-2_26.
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Green, Charles, and Lyndell Brown. "No Agency: Iraq and Afghanistan at War—The Perspective of Commissioned War Artists." In The Palgrave Handbook of Artistic and Cultural Responses to War since 1914, 23–43. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-96986-2_2.
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Falomir, Miguel. "8. Artists’ Responses to the Emergence of Markets for Paintings in Spain, c. 1600." In Studies in European Urban History (1100-1800), 135–63. Turnhout: Brepols Publishers, 2006. http://dx.doi.org/10.1484/m.seuh-eb.4.00065.
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Lesteven, Gaele. "Behavioral Responses to Traffic Congestion - Findings from Paris, São Paulo and Mumbai." In Traffic Management, 121–38. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2016. http://dx.doi.org/10.1002/9781119307822.ch9.
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Frank, Patrick. "First Group Show and Journey to France, 1961–1962." In Painting in a State of Exception. University Press of Florida, 2016. http://dx.doi.org/10.5744/florida/9780813062228.003.0003.
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In chapter 2, Frank considers the group's first show, its critical reception, and the artists’ journey to France shortly after the show closed. He compares Nueva Figuración with European engaged styles of figural painting, such as Un art autre, which influenced the group, at first, to name itself “Otra Figuración.” Discussing the political and sociocultural context of Nueva Figuración, Frank closely examines Ernesto Deira's artistic response to anti-Semitism and the trial of Nazi fugitive Adolph Eichmann and goes on to consider Rómulo Macció's response to the State of Siege in his painting Cárcel = Hombre (Prison = Man). He then compares the politically engaged New Figurationists with other contemporaneous Argentine artists, such as Emilio Renart and Ruben Santantonín, whose works make little reference to contemporary life and with Antonio Berni, whose social references are more explicit than those of Nueva Figuración. The chapter closes on discussion of how the group's trip to Paris pushed their styles toward greater expressive freedom.
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Frank, Patrick. "International Recognition, 1964." In Painting in a State of Exception. University Press of Florida, 2016. http://dx.doi.org/10.5744/florida/9780813062228.003.0005.
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In chapter 4, Frank traces the changing styles of Noé and Macció. These two won travel awards from the Di Tella Foundation that took them to New York and Paris. Perhaps because of their absence from the disorder of Buenos Aires, the paintings of both artists evolved toward consideration of formal issues, such as the potential of flat color planes and the integrity of the surface of the work. Jorge de la Vega created the important Anamorphic Conflict series, influenced by Italian artist Enrico Baj and a response to conflicts between Argentine military factions. Frank rebuts critic Clement Greenberg’s comments about the provincialism of the Argentinian art world in 1964. (Greenberg had made a trip to Buenos Aires to judge an art competition.) Frank also discusses solo shows by Noé, de la Vega, Macció, and Deira and their participation in important exhibitions in the United States at the Guggenheim Museum and the Walker Art Center.
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"TWO ARTISTS IN PARIS." In Portrait of the Manager as a Young Author. The MIT Press, 2018. http://dx.doi.org/10.7551/mitpress/11343.003.0005.
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Rumież, Agnieszka, and Witold Oleszak. "Corbu’s Hands." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.948.
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Abstract: The aim of presented paper is to grasp a sense in which Le Corbusier influenced his professional partners within ATBAT at 35 rue de Sèvres in Paris. On the example of Iannis Xenakis (Greek) and Jerzy Sołtan (Pole), which curriculum and experience will be superposed, authors wish to analyse a means in which the formation of Le Corbusier’s Collaborators induced a profoundly individualistic paths of both apprentices. Moreover it enabled both artists to develop autonomous views on creative activities, which still stayed in mutual compliance. That allows to speculate upon the forcefulness of approach towards passing skills that Le Corbusier applied in his Studio. With a parallel example of two pavilions for the World’s Fare Expo’58 in Brussels, it is presented how compatible, despite of being completely different in form, those two projects are. Resumen: El objetivo del articulo es comprender cómo Le Corbusier influenciado sus socios profesionales en ATBAT a los 35 rue de Sèvres en Paris. Con un ejemplo de Iannis Xenakis (griego) y Jerzy Sołtan (polaco), autores desean analizar un medio en el que la formacion de Colaboradores de Le Corbusier indujo a profunda indualistas sendas de los dos aprendices. Con un ejemplo paralelo de dos pabellones para Expo'58 Fare del Mundo en Bruselas, se presenta el grado de compatibilidad, a pesar de ser completamente diferente en la forma, son los dos proyectos. Keywords: Le Corbusier; Xenakis; Sołtan, post-war architecture, ATBAT, composition. Palabras clave: Le Corbusier; Xenakis; Sołtan, arquitectura de la posguerra, ATBAT, composición. DOI: http://dx.doi.org/10.4995/LC2015.2015.948
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Alan, Ilemin N. "AN EVALUATION OF CLIMATE CHANGE FROM A LEGAL PERSPECTIVE OF TURKEY IN THE SCOPE OF INTERNATIONAL LAW." In The 5th International Conference on Climate Change 2021 – (ICCC 2021). The International Institute of Knowledge Management, 2021. http://dx.doi.org/10.17501/2513258x.2021.5106.
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Climate change is a global emergency. Each country's efforts and responses to climate change are of significance individually. The dynamics behind their attitudes are needed to be understood to harmonize global response. Turkey is of a different legal approach than the international community generally. For instance, it is the only G20 country that is not a party to the Paris Agreement. Also, the legal perspective of Turkey is of particular significance for the European Union to achieve its targets. Thus, the question of international legal steps taken and the next steps by Turkey arises. To evaluate this situation, the legal frameworks are analyzed with specific reference to Turkey. It was found that Turkey has been demanding to be recognized as a developing country in the international climate instruments. Although Turkey put some afford to act against climate change, it was not seen as adequate by scientific reports. Also, international and regional human rights instruments have been invoked by individuals for the current policies of Turkey and legal proceedings were started. For an efficient response to climate change, key points regarding common but differentiated responsibilities, the relationships between international and national laws, and the importance of laws with comparing regulations and political instruments are addressed to see how these points can inform recommendations. It is concluded that the ratification of the Paris Agreement is required in the first place. Then, enriched legal perspective in international law, and new specific climate laws in national laws are a necessity to provide a meaningful legal response to this global threat. It is hoped that other legal systems may benefit from analyzing its legal perspective. Every country needs to contribute to the shared enterprise of combatting climate change if the future of humanity and the natural world is to be assured. Keywords: Climate Change, Turkey, International Law, the Paris Agreement
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Polido, Ariela Fernanda. "OS DESAFIOS DA APRENDIZAGEM SIGNIFICATIVA NA EDUCAÇÃO PROFISSIONAL." In I Congresso Brasileiro de Educação a Distância On-line. Revista Multidisciplinar de Educação e Meio Ambiente, 2021. http://dx.doi.org/10.51189/rema/1694.
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Introdução: O presente artigo aborda o desafio para uma aprendizagem significativa na educação profissional com o objetivo de descrever como a prática pedagógica do professor pode contribuir para o desenvolvimento das competências profissionais e pessoais na educação profissional possibilitando uma aprendizagem significativa. Objetivo: A realização desta pesquisa se deve a necessidade de estabelecer uma relação entre a prática pedagógica do professor e a forma pela qual acontece o processo de aprendizagem, que possibilita o desenvolvimento e a formação do aluno. Material e métodos: Para tanto foi realizada uma pesquisa bibliográfica em livros e artigos científicos para definir os termos abordados e responder aos objetivos estabelecidos. Resultados: Sabemos que toda aprendizagem é influenciada por tudo aquilo que o aprendiz já sabe, ou seja, que traz de bagagem consigo, mas como mediadores, devemos fazer com que as novas informações apresentadas sobre determinado assunto, quando relacionadas as preexistentes tenham um real significado. Neste sentido, toda aprendizagem deve ser entendida como uma mudança de comportamento provocada pelo outro, que estimula através de experiências próprias, a busca pela construção e transformação do conhecimento, não nos esquecendo de que todo conhecimento é uma construção única e pessoal, e só é efetivo quando resulta de um esforço do aluno, sujeito do processo de ensino aprendizagem, buscando de todas as maneiras processar as informações em interação com seus pares e com o mundo ao seu redor. Conclusão: A prática docente na educação profissional é complexa e deve estar em sintonia com as novas demandas que tange a formação do professor para esta modalidade de ensino e no que se refere ao mercado de trabalho para a formação profissional e pessoal do aluno a partir de uma aprendizagem significativa.
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Kehl, Caroline. "Ferramentas BIM como apoio ao EaD em Arquitetura." In ENCONTRO NACIONAL SOBRE O ENSINO DE BIM. Antac, 2021. http://dx.doi.org/10.46421/enebim.v3i00.287.
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Atualmente, duas importantes transformações que afetam o processo de ensino-aprendizagem estão em curso no campo da Arquitetura. O primeiro diz respeito à metodologia EaD (Ensino a Distância). A outra mudança é mais abrangente: a substituição do processo de projeto baseado em CAD (Computer Aided Design) para BIM (Building Information Modeling) pela Indústria da Construção. O BIM permite a construção de modelos virtuais a partir de objetos paramétricos aos quais são atreladas tantas informações quanto necessárias para a compreensão do projeto. Seu desenvolvimento vem provocando o surgimento de inúmeras ferramentas de comunicação entre os diversos envolvidos no processo de projeto. Existem inúmeras ferramentas que foram desenvolvidas pelo mercado com a intenção de proporcionar a interação entre os diferentes projetistas (GOMES et al., 2018; RUSCHEL et al., 2013; BRODESCHI, 2011; FERREIRA, 2007). Muitas outras sequer são registradas em artigos acadêmicos. Enquanto o ensino passa por dificuldades no desenvolvimento de instrumentos especiais para qualificar as suas práticas, o mercado conta com uma variedade de soluções para cada função. Um olhar atento pode descortinar oportunidades de adaptação e compartilhamento. Por isso, o objetivo deste trabalho é propor a aplicação de ferramentas para comunicação criadas em empresas da Construção Civil como apoio no ensino-aprendizagem de projeto na graduação EaD em Arquitetura com base em BIM. Metodologicamente, expõe-se um exemplo de ferramenta que pode ser explorada no ensino. Ela representa um exemplo de outras que podem ser adaptadas do mercado para uso na academia. Então, explica-se o passo a passo de como seria aplicada a plataforma em disciplinas de projeto arquitetônico a distância. A ferramenta identificada como potencial para um primeiro estudo de caso (ainda não conduzido) consiste em um portal online desenvolvido pela Empresa A para a visualização dos seus relatórios de compatibilização de projetos com base no modelo BIM. Seu objetivo é concentrar informações, facilitar a comunicação e documentar as tomadas de decisão de projeto. A plataforma contém visualizador e espaço para interação mediante comentários. O acesso é via navegadores de internet, portanto não é necessário instalar qualquer software específico. Na graduação, especialmente na modalidade a distância, ela funcionaria como ponte entre professor e estudante. Sua implementação seguiria as seguintes etapas: (I) O antes: Sugere-se que seja feito um levantamento junto ao colegiado do curso sobre ferramentas BIM que podem ser adaptadas do mercado de trabalho para o ensino de projeto. (II) O durante: Escolhida a ferramenta, seguem-se os cinco passos apresentados a seguir. Aconselha-se que se aplique em turmas a partir da metade do curso. Passo 1: Formalização de convênio da instituição de ensino com a empresa; Passo 2: Empresa apresenta a ferramenta para os alunos e demonstra como ela é utilizada no processo de projeto real; Passo 3: Demonstração do professor sobre como a ferramenta será utilizada no exercício de projeto acadêmico; Passo 4: Projeto é desenvolvido ao longo do período mediado pelo professor através da ferramenta. Proposta de uso da ferramenta no ensino de projeto (em ciclos): 4.1 Alunos inserem suas propostas de projeto na plataforma usando formato BIM compatível; 4.2 Professor acessa o modelo via plataforma e faz os apontamentos necessários. É gerado automaticamente um relatório de apontamentos que é enviado para o aluno; 4.3 Alunos verificam os apontamentos e respondem com modificações e/ou dúvidas, argumentos ou comentários; Passo 5: Apresentação da Universidade para a Empresa com feedback sobre a ferramenta. (III) O depois: É primordial que seja descrita a experiência por meio de artigos científicos, reportagens, vídeos e outras mídias e que um novo ciclo seja retroalimentado pelas conclusões. A crescente adoção de BIM em currículos de Arquitetura e Urbanismo é discutida por autores como Santos (2015) e Batistello et al. (2019). Analisando o perfil dos estudantes nativos digitais, o aumento do uso de BIM, as políticas nacionais para sua disseminação e a demanda por profissionais competentes, a inserção de BIM nos currículos encontra contexto favorável para promover discussões. No entanto, a sincronia entre o que se aprende na academia com aquilo que o mundo corporativo exige é inexistente. No âmbito da literatura em Educação, formas eficientes de provocar essa aproximação dos polos mesmo quando é inviável conciliar o trabalho técnico com a prática discente encontram-se no escopo das Metodologias Ativas (LOVATO et al., 2018), como a Aprendizagem por Experiência e a Educação Corporativa (BAYMA, 2004). Nóvoa (apud BOTO, 2018) defende que os percursos se deem em comunidades práticas de aprendizagem. Extrapolando essa recomendação, nesta proposta de projeto de ensino propõe-se o compartilhamento entre pares para além dos muros das universidades: que os professores e estudantes dos cursos superiores estejam lado a lado dos colegas que ocupam as mais variadas formas de atuação profissional no mercado de trabalho. Apresentação no YouTube: https://youtu.be/kBek23J6AK8