Relevant bibliographies by topics / Figurative art 20th century

Academic literature on the topic 'Figurative art 20th century'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Figurative art 20th century"

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Rycroft, Simon. "Art and micro-cosmos: kinetic art and mid-20th-century cosmology." cultural geographies 19, no. 4 (August 16, 2012): 447–67. http://dx.doi.org/10.1177/1474474012447538.

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Recent work by cultural geographers on visual art has emphasized performative and participatory aspects focusing upon the embodied and multi-sensory experience of encountering and being part of a work of art. Research on non-figurative art has much to offer in elucidating the relationships and distinctions between representation, non-representation and abstraction. Non figurative artists were representing or enacting a new kind of materiality, one that was putative, in process and ever changing. That materiality was based upon the adoption of a mid-20th-century cosmology and inspired by recent advances in the understanding of matter and the universe. Kinetic art, which is characterized by a set of abstract aesthetics that represent or reproduce real or illusory movement, was, especially in the post-war period, inspired by this new cosmology. Mid-century kinetic artists created non-figurative abstract models of the latest understandings to bring their associated energies, forces and motions to the senses of the viewer-participant. The models that kinetic artists produced in a variety of media were designed to be experienced in an embodied manner rather than simply viewed. These and other models of a mid-century cosmology signify a period in which the practices of representation were shifting significantly and consequently demand our attention.
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Portnova, Irina V. "Russian Animalistic Art of the 20th Century as a Special Kind of Fine Art." Observatory of Culture 18, no. 5 (October 29, 2021): 486–95. http://dx.doi.org/10.25281/2072-3156-2021-18-5-486-495.

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This article aims at analyzing the genre features of the 20th century animalistic art as a special, original phenomenon of Russian artistic culture. There are highlighted the aspects that make up its content basis. The author considers the issues of human perception of an animal, attitude to it, the system of views on the world of flora and fauna, the methods of interpretation of animals and birds. Together, they form the specific characteristics of animalistic art, which appeared in their organized and integral form in the 20th century. The article is relevant because the relationship between human and nature is being more and more re-evaluated, which is why the ideological features and the system of views of the 20th century artists are getting increasingly important (in particular, in the historical and artistic aspect).Animalistic art, having become noticeable as a genre already in the 18th century, passed through the entire 19th century, and crystallized in the 20th century in the most characteristic, typical features in various types of fine arts (graphics, painting, sculpture and their varieties). There is no doubt that among other genres of fine art, animalistic art is an original visual and plastic phenomenon that is fundamentally different from the art that depicts a person. The article notes that the complexity of animalistic art lies in the properties of human perception, which is prone to subjective evaluation and, accordingly, gives an animal human traits. The principle of “imitation” of nature, the study of nature, being constantly followed by artists, pointed to the overcoming of the subjective moment and became the leading one in composing the figurative concept of an animal.
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Abdokova, Marina B. "Portrait and landscape in Boris Zaitsev’s publicistic writings: style and ethos." RUDN Journal of Studies in Literature and Journalism 25, no. 1 (December 15, 2020): 17–32. http://dx.doi.org/10.22363/2312-9220-2020-25-1-17-32.

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The article represents genre-style etymology of Boris Konstantinovich Zaitsev (1881-1972) publicistic legacy (that includes essays, profiles and critical notes). Style-forming expressions of this outstanding representative of 20th century Russian literary abroad are analyzed within the context of his ethical and philosophical principles. Zaitsev’s portrait and landscape sketches are considered for the first time as figurative-poetic and genre-compositional components of the artist's “visual palette”. One of the effective methods of comprehending the style and ethos of the writer is the disclosure of multi-genre subtexts that reflects the creative worldview of B. Zaitsev, in which aesthetics is closely intertwined with metaphysics, and this, in turn, determines the adjacent disciplinary tools for the study of “literary painting”, actualizes parallels with non-verbal art forms (painting, music). The intertextual phenomenology of B. Zaitsev's publicistic texts is not limited to the artful, masterly and technical depiction. The nature of refined subject-figurative “painting”, as follows from the analysis, is based on the spiritual contemplation of the writer and reflects a rare for the art of the 20th century harmony of the artistic and transcendent.
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Braun, Ingmar. "The Swiss Magdalenian portable art and supra-regional parallels." Camera Praehistorica 5, no. 2 (December 24, 2020): 42–57. http://dx.doi.org/10.31250/2658-3828-2020-2-42-57.

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There are about fifty Magdalenian sites known in Switzerland. Most of these sites were discovered and excavated at the end of the 19th and in the first half of the 20th century. Consequently, it is not always possible today to establish clear research contexts and dating is often based on typo-chronological statements. The Swiss Magdalenian portable art can be divided into two main groups: engravings and figurative sculptures. Engravings mostly appear on reindeer antlers, bones, and rarely on stone or jet. They are more common than figurative sculptures. The majority of engravings are on everyday objects such as perforated batons and projectile points. They are mainly signs and other ornamental motifs. In addition, there are also figurative subjects such as animals and a animal-human representation. The term “figurative sculptures” refers to partially sculptured objects, such as decorated spear thrower ends and stylized female figurines. With the exception of a musk ox head no other evident animal sculptures have been found in Switzerland. Some of the Magdalenian portable art objects found in Switzerland show supra-regional parallels with finds from other parts of Europe. The aim of this article is to present the most important Swiss finds in a broader European geographical context.
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Bragina, Natalia, and Vladislav Stepanov. "PHILOSOPHICAL INTERPRETATION OF SYMBOLISM OF ČIURLIONIS’ PAINTINGS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 25, 2018): 360–71. http://dx.doi.org/10.17770/sie2018vol1.3196.

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The art of M.-K. Čiurlionis is unique and at the same time emblematic of the culture of the art nouveau period. A deep connection of his art to Lithuanian folklore was combined with his fascination with European philosophical trends of the turn of the 19th - 20th centuries. The aim of this article is to identify the cross-cutting themes (leitmotifs) in the artist’s works and, with the help of this, to reveal the philosophical basis of his works. The methods of research are the study and analysis of both individual Čiurlionis’ paintings and his artistic production in general, as well as the analysis of the literature devoted to his works. As the result, two groups of leitmotifs were identified in the Čiurlionis’ paintings: a) figurative themes; and b) non-figurative themes (up to complete abstraction). Analysis of the meanings of these themes and of their influence on the content of the paintings shows that concrete figurative images (themes of kings, bird, hand, and castle) are associated with Lithuanian folklore. Semi-abstract and abstract images (chaos, glance, gesture, and beauty) reveal the connection between the art of Čiurlionis and European philosophy, from Plato's ideas to Nietzscheism and mystic-visionary movements of the early 20th century. Revealing the philosophical basis of his paintings makes it possible to simultaneously review the artist’s entire work in the context of culture of art nouveau, understand this culture more deeply, and thus get a better understanding of some important phenomena of our time.
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Portnova, Tatiana V. "ARCHITECTURAL SPACE IN DANCE AS AN ARTISTIC AND FIGURATIVE SYSTEM." Scientific and analytical journal Burganov House. The space of culture 17, no. 4 (November 10, 2021): 79–90. http://dx.doi.org/10.36340/2071-6818-2021-17-4-79-90.

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The study examines the expressive means of dance and architecture, establishes common and specific areas in the nature of their artistic language, identifies the extent of interaction between architectural principles with dance dramaturgy and choreographic composition, and analyzes examples of interpretation of dance production solutions in the architectural space. Through a simultaneous review, the author examines the expressive means of dance and architecture, establishing the common and the specific in the expressive and pictorial nature of their artistic language. The focus is on identifying the degree of influence of architectural principles on the dance drama, choreographic composition, and the reverse impact. The analysis provides examples of the interpretation of dance staging solutions in the architectural space, including innovative modern practices of the 20th‑21st centuries. The artistic and imaginative metamorphoses of staged choreographic solutions occurring in different kinds of architectural spaces are considered. Starting with the perspectivism of the scenery on the stage and the light architecture of the 18th century, the author moves on to the monumental construction of the large stage performance of the 19th century and concludes with the choreographic experiments of the early 20th century. The article points out that modern times offer the most curious design solutions. There are examples of bold, original methods of interaction between choreography and architecture: dances are staged directly in the interiors of buildings, bypassing the traditional stage platform. The implied idea of human movement in space, encompassing the viewer, appears here because of successively changing impressions. Finally, the author explores the directorial approach, where the choreography itself masters and constructs the architecture, helping the viewer to perceive themselves as if within its own spatial structure. This peculiar artistic and visual synthesis appears in the dynamics of genre and style of the author’s stage context. The study of the specifics of ballet as a dramatic phenomenon seems to be a fundamental research task, because, more than any other theatrics genre, it is the ballet that provided extremely diversified artistic samples of space and stage creativity in the heritage of the 20th century, and probably, will continue to do so in the 21st. The question of dance interpretation in the architectural space is a significant independent subject of research in connection with the structure and evolution of the artistic image in contemporary choreographic art. Against the background of postmodernist modern style trends as a global creative principle of post-culture, this topic includes broad general aesthetic associations. It is vital to the understanding of the artistic process in contemporary art in general.
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Portnova, Tatiana. "Dance in Sculpture of the Early 20th Century." Sculpture Review 68, no. 4 (December 2019): 22–34. http://dx.doi.org/10.1177/0747528420901915.

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This article is concerned with the ratio of plastic arts as exemplified by sculptural works depicting dances of the early 20th century. Special attention is paid to the Greek motives in the Russian art of this period, which became the subject of inexhaustible aesthetic and artistic interest. The representation of ancient dance motifs, their figurative image and the nature of antiquity in sculptural plastics, various approaches to the interpretation of ancient plots and themes, the role and significance of the “antique” component in their artistic structure are considered in the article. The study of multi-level interactions between sculpture and dance in the context of antiquity calls for a comprehensive approach, including historical-cultural, theoretical-analytical and comparative-typological methods. Relating to ancient Greek images, ballet images of S. Konenkov, M. Ryndzyunskaya, N. Andreev, V. Vatagin, V. Beklimishev and S. Erzya provide a purely individual, unique and peculiar vision of dance corresponding to the ancient era. The categories and expressive means of dance were simultaneously analyzed close to the sculptural style of the masters because they are difficult to be divided methodologically and exist as an established artistic system. The concepts of “plastic expressiveness” in relation to the dancers imprinted in sculptures were interpreted. Analyzing the museum materials and sculptures depicting the dancing process, it was concluded that the ancient influence of plastic images on structural and genre determinants may vary.
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Zotkina, L. V., B. S. Bobomulloev, A. K. Solodeynikov, I. V. Abolonkova, S. V. Shnayder, and N. N. Sayfuloev. "New Data on the Rock Paintings of Eastern Pamir." Vestnik NSU. Series: History and Philology 21, no. 3 (March 21, 2022): 60–72. http://dx.doi.org/10.25205/1818-7919-2022-21-3-60-72.

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Purpose. Until recently, it was thought that colonization of the highlands of Pamir by humans had started in the early Holocene. But some recent investigations, especially dating of well-stratified archeological sites such as Istyk cave, demonstrate that humans appeared in the region in the late Pleistocene period. One of the important pieces of evidence of humankind's presence in an area all around the world is the rock art. Despite that there are no direct comparisons to rock art of East Pamir, V. A. Ranov considered rock art sites of Shakhty, Kurteke and Nayzatash belonging to the Stone Age.Results. We started redocumenting known rock art sites, using our experience and new technological approaches, which was beyond reach for V. A. Ranov and other investigators of 20th century. Also, some new rock art locations were found in the same area, and they gave us quite different graphical representations than those that were discovered in the middle of 20th century. One of the most urgent problems to solve for us is finding parallels to zoomorphic depictions and to the non-figurative ones in nearby regions and in other areas of rock art distribution. And still, we obviously know just a few samples of rock art varieties that existed in the East Pamir. Some of them were ruined due to natural factors, some of them could still be waiting to be discovered.Conclusion. So far, we are just in the beginning of the next stage of investigation of the East Pamir rock art and archeological remains as evidence of human presence in the region.
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Morozova, Ekaterina V., and Аnzhela V. Shcherbakova. "Evolution of folk art motifs in domestic printed textiles of the 40–60s of the 20th century." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 63 (2022): 332–47. http://dx.doi.org/10.37816/2073-9567-2022-63-332-347.

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The paper deals with design features of drawings using motifs of folk art at domestic enterprises producing printed textiles. Domestic textiles of the post-war years may be roughly divided into three periods. The patterns of the first post-war years and the beginning of the 1950s keep a stylistic unity with the pre-war period. Most of the drawings associated from our perspective with the image of the 60s were created in a rather short period of 1956–1965 and expressed themselves in bright rich ornaments. In the last four years, there has been a gradual evolution of textile patterns towards the organic plastics of Art Nouveau and “refinement” of forms, which create uniform filling of the fabric`s plane. The restoration of the textile industry began even before the end of the war. Since 1944, the unaffected enterprises resumed producing printed textiles for the population. In the first post-war years, drawings with the use of folk motifs most often represented an imitation of embroidery and weaving. The end of the 1950s and the beginning of the 1960s came to be a time of radical changes in a social and political life of the USSR. The artistic design of textiles comes under the influence of ideas of “international style”, the experimental search for unofficial art of the time, and international contacts. The motifs of folk art receive a figurative and emotional interpretation.
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Dyadyk, Natalia. "Art of the second half of XX — early XXI centuries as visual philosophy." Socium i vlast 4 (2021): 95–106. http://dx.doi.org/10.22394/1996-0522-2021-1-95-106.

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Introduction. The article is focused on studying the area of intersection of contemporary art and philosophy, it is a continuation of the research project on conceptual art and its intersection with philosophy, which we started earlier. By conceptual art, we mean art aimed at intellectual comprehension of what has been seen, art that appeals to thinking and generates philosophical meanings. But if earlier we explored conceptual cinema and mainly visual art of the early 20th century, then in this article we want to turn to the visual art of the second half of the 20th century — the beginning of the 21st century, which is also called contemporary art by art critics. The empirical material of the study was the works of such contemporary artists as E. Warhol, D. Koons, D. Hirst, J. Ono, F. Bacon, I. Kabakov, D. Kossuth, the movement of “new realists” and photorealists, the movement of Moscow conceptualists and etc. Contemporary art is one of the ways of understanding the world, visual philosophy, which is of interest for philosophical understanding. The purpose of the article is to conduct a philosophical analysis of visual art of the second half of the 20th — early 21st I centuries in order to identify its philosophical sources and content. Methods. The author uses the following general scientific methods: analysis and synthesis, induction, deduction, abstraction. When analyzing works of conceptual art, we use hermeneutic and phenomenological methods, a semiotic approach. We also use the symbolic-contextual method of analyzing exhibition concepts, which is based on identifying the philosophical meanings and ideas of exhibitions of contemporary art. Scientific novelty of the study. We regard contemporary art as a visual philosophy. Philosophizing, in our opinion, can exist in various forms and forms from everyday practical (the so-called naive philosophizing) to artistic-figurative, that is, visual. Philosophical ideas or concepts are born not only from professional thinkers, but also from artists. The artistic concepts of contemporary artists are similar to the concepts of philosophers, since the goal of both is to cognize the world and grasp being. We find and describe the area of intersection of modern philosophy and contemporary art, each of which is in a situation of crisis separately and continuous dialogue together. Results. In the course of our research, we identify and describe the philosophical origins of visual art in the second half of the twentieth century - early twenty-first century: postmodern philosophical consciousness, conceptualism, the idea of “death of the author” and “death of art”, simulacrum, kitsch and camp, the method of deconstruction and its application in modern art. Conclusions. Visual art of the second half of the 20th century — early 21st century is a visual form of philosophical questioning about the essence of art itself, about the existence of a person and being in general. The works of contemporary artists are based on philosophical problems: meaning, speech and meaning, the ratio of the rational and the irrational, the problem of abandonment and loneliness of a person, the problem of the “death of the author” and the alienation of the creator from his work, the idea of the impossibility of objective knowledge of reality.
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Dissertations / Theses on the topic "Figurative art 20th century"

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Sassu, Suarez Ferri Natalia. "Carlos Cruz-Diez : from figuration to kineticism." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/11817.

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The Venezuelan artist Carlos Cruz-Diez (b.1923) is an exemplar of modernism both in Europe and in Latin America. This thesis offers a broader understanding of his work by discussing his early paintings as a precedent to his more recognized production. Cruz-Diez's chief aim as an artist is the liberation of colour, a process undertaken with the motivation of being part of art history, in an avant-garde quest for what his original contribution to art could be. Transition, interaction, colour, space and time: these are the crucial concepts of the work of Cruz-Diez investigated in this thesis and positioned in the Latin American/European and Kinetic/Optical context. Today, Cruz-Diez's works from his first Physichromie (1959) onwards have been extensively explored both by him in numerous commentaries and by scholars. In contrast, only few works of the 1950s have been displayed and discussed. The key aspect of my argument is that 1959 is not an abrupt beginning to Cruz-Diez's work but the conclusive stage of a ten-year process of transition from figuration to abstraction. I demonstrate that there is indeed a drawn-out “passage” made of readings and experiments, of “successes” and" “failures”. I argue that this “passage” is articulated along three parallel paths: 1) the detachment from naturalistic or figurative representation; 2) the detachment from the concept of colour as a synonym of pigment on a support; and 3) the shift in emphasis from a “passive” to an “active” spectator.
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Bishop, Daniel. "Conceptual and practical considerations inherent in the production of figurative bronze sculpture." Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1266031.

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This creative project identifies major conceptual and practical considerations inherent in the production of bronze figurative sculpture. What is considered and how, those considerations are weighted will vary among individuals. Many of these considerations affected my selection of subjects for the studio portion of the project. The paper touches upon considerations which both inhibit and advance a career in art, and have affected both aesthetic and procedural choices.A brief account of foundry procedures is presented. The studio portion of the creative project consists of four sculpted female dancers. The paper addresses a historical context with which each piece may be associated. Two figures exhibit the strong influence of Greek sculpture of the Classical period. The third figure is Impressionist in style. The forth figure has a Cubist influence.
Department of Art
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Kyeyune, George William. "Art in Uganda in the 20th century." Thesis, SOAS, University of London, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.408702.

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Wei, Linna, and Xichan Zhao. "Investment Study on Christie’ Chinese 20th Century Art." Thesis, Högskolan i Jönköping, Internationella Handelshögskolan, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-13812.

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This thesis focuses on the blooming market of Chinese 20th Century Art. The study object is one category of Christie’s Auction house, Chinese 20th Century Art, before 2009. Eight artists’ auction results are selected to the dataset for the research. We find that the previous researches based on the collection of Western arts cannot explain the whole situation of Chinese 20th Century Art. It has speculative character as an invest option in global art market. And some factors would affect the price changing in the auction activities. The Capital Asset Pricing Model is applied to study the investment condition of Chinese 20th Century Art as a capital asset. The result we get from our dataset presents that Chinese 20th Century Art is with high risks and high returns, which is quite different from the previous studies based on Western Artworks. Regression analysis reveals that some factors do affect the rate of price changes. We find that young Chinese artists who born after 1950 achieve better sale results than older ones. Their artworks are always sold on high realized prices. In addition, the high price sale more often happened in the auction house of Hong Kong and the market of Chinese 20th Century Art is enlarging these years. The rate of price change is increasing by the sale year growing. The prices of the artworks are growing higher and higher recently. However, the findings above just explain parts of the price increasing. All the reasons for the price increasing are not clear in this thesis.
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Jeffery, Celina. "Leon Underwood and primitivism in 20th century British art." Thesis, University of Essex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.394120.

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Ahn, En Young. "Translatability and 20th century Korean art (1930s to 1990s)." Phd thesis, Canberra, ACT : The Australian National University, 2003. http://hdl.handle.net/1885/9520.

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This PhD thesis is a critical inquiry into the (un) translatability of the 'difference' of an art produced in a non-'Western' context. My inquiries into the translatability of cultural differences do not deal with 'the incommensurability' of these differences, but explore the possibilities of their significant translations. This has been carried out in terms of case studies of four major Korean artists, their representative works, and the artistic developments of the 1930s-1990s in Korea. The artists in order are OH Chi Ho, PARK Seo Bo, SUH Se Ok and Kim Sooja. Each of Chapters 3 to 6 focuses on one of these artists whose work represents the most significant developments of colonial and 'postcolonial' Korean art, in reference to my theoretical arguments grounded in Chapters I and 2: the ideological and political discourses of cultural identity of a colonial and postcolonial nation's art; a marginalized nation's discourse of 'double translation' in cross-cultural transactions; and the postmodern and postcolonial concept of a 'peripheral' nation's hybridity. The term 'translation' in this thesis covers all kinds of translation: from translating the figurative to the literal, translating between different cultures and translating the past into the present. I will also use the term 'translate' as a metaphor for certain kinds of transference and dependence-linking it to Hegel's philosophy of self-consciousness and aspects of Lacan's psychoanalytic theory in order to illuminate and analyze problems involved in theorizing cultural identity and cross cultural transactions within the context of the current globalization in which geographical, economical, cultural and conceptual spaces are becoming increasingly hybrid. Throughout the thesis, Iuse the case studies of particular Korean artists as the basis of a critique of the nationalist Korean analysis of colonial and postcolonial Korean art, a postcolonial theory-inspired notion of the hybridity of an assumed peripheral culture/country (for example Korea), totalizing generalizations of 'Asianness' or 'Koreanness' of contemporary Korean art, and the Euro-centric concepts of 'cross­ cultural influence'. These studies focus on how certain Korean appropriations of 'otherness' of the 'exotic Western' imports within specific historical contexts have played an integral role in the ongoing process of conceptualizing and formulating forms of national and cultural identity.
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Gaunt, Pamela Mary School of Art History/Theory UNSW. "The decorative in twentieth century art: a story of decline and resurgence." Awarded by:University of New South Wales. School of Art History/Theory, 2005. http://handle.unsw.edu.au/1959.4/25983.

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This thesis tracks the complex relationship between visual art and the decorative in the Twentieth Century. In doing so, it makes a claim for the ongoing interest and viability of decorative practices within visual art, in the wake of their marginalisation within Modernist art and theory. The study is divided into three main sections. First, it demonstrates and questions the exclusion of the decorative within the central currents of modernism. Second, it examines the resurgence of the decorative in postmodern art and theory. This section is based on case studies of a number of postmodern artists whose work gained notice in the 1980s, and which evidences a sustained engagement with a decorative or ornamental aesthetic. The artists include Rosemarie Trockel, Lucas Samaras, Philip Taaffe, and several artists from the Pattern and Decoration Painting Movement of the 1970s. The final component of the study investigates the function and significance of the decorative in the work of a selection of Australian and international contemporary artists. The art of Louise Paramor, Simon Periton and Do-Ho Suh is examined in detail. In addition, the significance of the late work of Henri Matisse is analysed for its relevance to contemporary art practice that employs decorative procedures. The thesis put forward is that an historical reversal has occurred in recent decades, where the decorative has once again become a significant force in experimental visual art.
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Manasseh, Cyrus. "The problematic of video art in the museum (1968-1990)." University of Western Australia. Faculty of Architecture, Landscape and Visual Arts, 2008. http://theses.library.uwa.edu.au/adt-WU2009.0004.

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This thesis discusses how museum structures were redefined over a twenty-two year period in specific relation to the impetus of Video Art. It contends that Video Art would be instrumental in the evolution of the contemporary art museum. The thesis will analyse, discuss and evaluate the problematic nature and form of Video Art within four major contemporary art museums - the Museum of Modern Art (MoMA) in New York, the Georges Pompidou National Centre of Art and Culture in Paris, the Tate Gallery in London and the Art Gallery of New South Wales (AGNSW) in Sydney. By addressing some of the problems that Video Art would present to those museums under discussion, the thesis will reveal how Video Art would challenge institutional structures and demand more flexible viewing environments. As a result, the modern museum would need to constantly modify their policies and internal spaces in order to cope with the dynamism of Video Art. This thesis first defines the classical museum structure established by the Louvre during the 19th century. It examines the transformation from the classical to the modern model through the initiatives of the New York Metropolitan Museum to MoMA in New York. MoMA would be the first major museum to exhibit Video Art in a concerted fashion and this would establish a pattern of acquisition and exhibition that became influential for other global institutions to replicate. MoMA's exhibition and acquisition activities are analysed and contrasted with the Centre Pompidou, the Tate Gallery and the AGNSW in order to define a lineage of development in relation to Video Art. This thesis provides an historical explanation for the museum/gallery's relationship to Video Art from its emergence in the gallery to the beginnings of its acceptance as a global art phenomenon. Curatorial strategies, the influx of corporate patronage and the reconstruction of spectatorship within the gallery are analysed in relation to the unique problematic of Video Art. Several prominent video artists are examined in relation to the challenges they would present to the institutionalised framework of the modern art museum and the discursive field surrounding their practice. In addition, the thesis contains a theoretical discussion of the problems related to Video Art imagery with the period of High Modernism; examines the patterns of acquisition and exhibition, and presents an analysis of global exchange between four distinct contemporary art institutions.
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Zabecki, D. T. "Operational Art and the German 1918 Offensives." Thesis, Department of Defence Management and Security Analysis, 2009. http://hdl.handle.net/1826/3897.

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At the tactical level of war the Germans are widely regarded as having had the most innovative and proficient army of World War I. Likewise, many historians would agree that the Germans suffered from serious, if not fatal, shortcomings at the strategic level of war. It is at the middle level of warfare, the operational level, that the Germans seem to be the most difficult to evaluate. Although the operational was only fully accepted in the 1980s by many Western militaries as a distinct level of warfare, German military thinking well before the start of World War I clearly recognized the Operativ, as a realm of warfighting activity between the tactical and the strategic. But the German concept of the operational art was flawed at best, and actually came closer to tactics on a grand scale. The flaws in their approach to operations cost the Germans dearly in both World Wars. Through a thorough review of the surviving original operational plans and orders, this study evaluates the German approach to the operational art by analyzing the Ludendorff Offensives of 1918. Taken as a whole, the five actually executed and two planned but never executed major attacks produced stunning tactical results, but ultimately left Germany in a far worse strategic position by August 1918. Among the most serious operational errors made by the German planners were their blindness to the power of sequential operations and cumulative effects, and their insistence in mounting force-on-force attacks. The Allies, and especially the British, were exceptionally vulnerable in certain elements of their warfighting system. By attacking those vulnerabilities the Germans might well have achieved far better results than by attacking directly into the Allied strength. Specifically, the British logistics system was extremely fragile, and their rail system had two key choke points, Amiens and Hazebrouck. During Operations MICHAEL and GEORGETTE, the Germans came close to capturing both rail centers, but never seemed to grasp fully their operational significance. The British and French certainly did. After the Germans attacked south to the Marne during Operation BLUCHER, they fell victims themselves to an inadequate rail network behind their newly acquired lines. At the operational level, then, the respective enemy and friendly rail networks had a decisive influence on the campaign of March-August 1918.
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Cappitelli, Francesca. "The chemical characterisation of binding media in 20th century art." Thesis, Royal College of Art, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.444980.

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This dissertation describes the application and optimisation of an analytical technique, named thermally assisted hydrolysis and methylation - gas chromatography / mass spectrometry [THM.-GCMS]. THM.-GCMS is a modification of pyrolysis - gas chromatography / mass spectrometry [Py-GCMS] which involves an on-line derivatisation process known as thermally assisted hydrolysis and methylation. The method is based on the high temperature reaction of tetramethylammonium hydroxide with macromolecular materials containing functional groups susceptible to hydrolysis and methylation. During this research THM.-GCMS was used for the chemical characterisation of the most frequently-used binding media in 20th century art: oils, acrylics, alkyds and poly(vinylacetates). The major classes of binding media used in 20th century paints have been previously studied in conservation using a range of techniques, the most important being GCMS, Py-GCMS and Fourier transform infrared spectroscopy [FTIR]. However, this project was novel in that it demonstrated the possibility of chemically characterising a wide variety of both natural and synthetic binders found in modem works of art using a single technique, THM.-GCMS. Standard samples of oils, egg yolk, acrylics, poly(vinylacetates) and alkyds as well as samples containing these materials from nine painted works of art were successfully studied using THM.-GCMS. Among the art works studied, those by Marcel Duchamp and Pablo Picasso were investigated for the first time.
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Books on the topic "Figurative art 20th century"

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Charles and Emma Frye Art Museum., ed. Representing LA: Pictorial currents in Southern California art. Seattle: Frye Art Museum, 2000.

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Masters of American sculpture: The figurative tradition from the American renaissance to the millennium. New York: Abbeville Press, 1993.

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Reynolds, Donald M. Masters of American sculpture: The figurative tradition from the American renaissance to the millennium. New York: Abbeville Press, 1993.

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Jerome, Witkin, ed. Life lessons: The art of Jerome Witkin. Syracuse, N.Y: Syracuse University Press, 1994.

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Life lessons: The art of Jerome Witkin. 2nd ed. Syracuse, NY: Syracuse University Press, 2005.

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Paulson, Ronald. Figure and abstraction in contemporary painting. New Brunswick: Rutgers University Press, 1990.

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Adams, Doug. Transcendence with the human body in art: George Segal, Stephen De Staebler, Jasper Johns, and Christo. New York: Crossroad, 1991.

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Nancy, Tieken, and Grinstead Steve, eds. Companion to Focus, the figure: Art from the Logan collection. Denver: Denver Art Museum, 2011.

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Paul, Schimmel, Stein Judith E, and Newport Harbor Art Museum, eds. The Figurative fifties: New York figurative expressionism organized by Paul Schimmel and Judith Stein ; essayists, Klaus Kertess ... [et al.]. Newport Beach, Calif: Newport Harbor Art Museum, 1988.

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Gallery, Sidney Janis, Haags Gemeentemuseum, and Seibu Bijutsukan, eds. Mondrian: From figuration to abstraction. London: Thames and Hudson, 1988.

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Book chapters on the topic "Figurative art 20th century"

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Birbragher-Rozencwaig, Francine. "Contemporary Cuban Art." In Essays on 20th Century Latin American Art, 79–101. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003037507-4.

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Birbragher-Rozencwaig, Francine. "Modern Latin American Art." In Essays on 20th Century Latin American Art, 1–34. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003037507-1.

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Webster, Peter. "New Visual Art for Chichester." In Church and Patronage in 20th Century Britain, 147–86. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-36910-9_6.

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Webster, Peter. "Music, Art and Poetry: 1944–1955." In Church and Patronage in 20th Century Britain, 85–118. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-36910-9_4.

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Körner, Hans. "Speared Heads. Portraits as Things in 20th-Century Sculpture." In Art History and Fetishism Abroad, 57–70. Bielefeld, Germany: transcript Verlag, 2014. http://dx.doi.org/10.14361/9783839424117-003.

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Birbragher-Rozencwaig, Francine. "Carnival in Latin America and the Caribbean." In Essays on 20th Century Latin American Art, 123–45. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003037507-6.

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Birbragher-Rozencwaig, Francine. "Abstraction in Latin America." In Essays on 20th Century Latin American Art, 35–58. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003037507-2.

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Birbragher-Rozencwaig, Francine. "Conclusion." In Essays on 20th Century Latin American Art, 146–49. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003037507-7.

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Birbragher-Rozencwaig, Francine. "Politics in Latin American Art from the 1960s to the 1980s." In Essays on 20th Century Latin American Art, 59–78. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003037507-3.

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Birbragher-Rozencwaig, Francine. "Art in Central America and the Caribbean since the 1990s." In Essays on 20th Century Latin American Art, 102–22. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003037507-5.

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Conference papers on the topic "Figurative art 20th century"

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Tyler, Christopher W., and Amy Ione. "Concept of space in 20th century art." In Photonics West 2001 - Electronic Imaging, edited by Bernice E. Rogowitz and Thrasyvoulos N. Pappas. SPIE, 2001. http://dx.doi.org/10.1117/12.429529.

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Gamble, Susan, and Michael M. Wenyon. "17th-century optics in 20th-century art: artists working in Britain's oldest scientific institution." In OE/LASE '90, 14-19 Jan., Los Angeles, CA, edited by Stephen A. Benton. SPIE, 1990. http://dx.doi.org/10.1117/12.17978.

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Csikota, Josef. "Development of Musical Culture in Hungary in the 20th Century." In 2017 International Conference on Art Studies: Science, Experience, Education (ICASSEE 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-17.2018.6.

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Kaname, Mariko. "Considering the Drawing Education for Children during the 19th Century to the 20th Century in England." In 2nd International Conference of Art, Illustration and Visual Culture in Infant and Primary Education. São Paulo: Editora Edgard Blücher, 2012. http://dx.doi.org/10.5151/edupro-aivcipe-30.

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Andreeva, Olga. "Cinematography as an Unique Phenomenon of the 20th Century Culture." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.80.

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Malinovskaya, Elizaveta. "National Schools of the 20th Century: Cultural Identity or Conceptual Choice." In 4th International Conference on Education, Language, Art and Intercultural Communication (ICELAIC 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-17.2017.128.

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Sheng, Yinghong, and Xiaowen Lin. "The Aesthetic Embodiment of Modernity in Chinese Literature in the 20th Century." In 8th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220306.052.

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Sayahdikumullah, Dikdik. "Japanese Painter on Mooi Indie Period: Case Study of Kojyo Kokan in Indonesia Early 20th Century." In International Conference on Aesthetics and the Sciences of Art. Bandung, Indonesia: Bandung Institute of Technology, 2020. http://dx.doi.org/10.51555/338631.

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Mishchenko, I. I. "The image of the city in the art of Chernivtsi of the 20th – early 21st century." In CULTURAL STUDIES AND ART CRITICISM: THINGS IN COMMON AND DEVELOPMENT PROSPECTS. Baltija Publishing, 2020. http://dx.doi.org/10.30525/978-9934-26-004-9-52.

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Wang, Qi. "The Promotion of Russian Music Culture on Harbin Music Education in the 20th Century." In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.185.

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Reports on the topic "Figurative art 20th century"

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Biria, Ensieh. Figurative Language in the Immigration Debate: Comparing Early 20th Century and Current U.S. Debate with the Contemporary European Debate. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.234.

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