Journal articles on the topic 'Glass sculpture 20th century'
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Villegas-Broncano, Maria A., and J. Alberto Durán-Suárez. "Historical and technical insight into the human motifs in the glass sculpture." Arte, Individuo y Sociedad 33, no. 2 (February 4, 2021): 589–604. http://dx.doi.org/10.5209/aris.69159.
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Although glass proto-sculptures were made with deep artistic value since the most remote times, in the late 19th century the glass sculpture was developed, and during the 20th century the Studio Glass Movement reached the maximum level of technical perfection and aesthetic variety. The scientific and technical glass knowledge contributed to achieve appropriate hot and cold working procedures, and the artists improved their designs and creations. This paper focuses on the binomial glass sculpture and human motifs. The historic evolution of the glass sculpture with human motifs is analyzed, taking into account the production techniques and the relationships between the glass work and the expression of the finished artwork. A set of sculptures and sculptors are shown as representative examples of the main historical periods in which the glass plays an important role in the sculpture scene. The human representation in the glass sculpture can be considered as a constant throughout centuries, even though it is not the most frequent creative or ornamental motif. Either figurative or abstract human references can be found, although the former are the majority. This tendency is also present in the contemporary Studio Glass Movement sculptures.
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Duda, Vasile. "Armonia spațialității pozitive și negative în sculptura artistului Ingo Glass." Studia Universitatis Babeș-Bolyai Historia Artium 65, no. 1 (December 31, 2020): 185–220. http://dx.doi.org/10.24193/subbhistart.2020.10.
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"Harmony of Positive and Negative Spaciousness in Ingo Glass sculpture. The aim of this article is to discuss issues regarding the ways spaciousness and harmony of positive and negative surfaces in Inglo Glass sculpture are valorized. The artist was born in 1941 in Timișoara, he studied at the Traditional School of Arts from Lugoj and then he attended the university in Cluj. Between 1967-71 he worked as curator at the Museum of Contemporary Arts from Galați and he established connections with visual artists from all over the country. Later on, between 1972-73 he worked as teaching assistant at the Architecture University from Bucharest and then he became cultural consultant at the German Culture House Friedrich Schiller. During this period, Ingo Glass created a Constructivist Art with metal structures developed vertically following the spatial pattern specific to the great Gothic cathedrals– the most famous work Septenarius was built in 1976 on the Danube boardwalk from Galați. Being forced by the political circumstances from the Socialist Republic of Romania, he emigrated to the Federal Republic of Germany in 1979, he moved to München where he worked for the Municipal Art Gallery and where he was integrated in the group of Concrete-Constuctivist Art artists. After 1989 he came back to Romania with different exhibitions and he created public monuments in Galați, Timișoara, Moinești and Lugoj. Then, in 1992 he presented his PhD thesis about the influence of Constantin Brâncuși Art over the 20th century sculpture. Between 1989-1998 the artist crystallized an original visual concept based on the usage of the basic geometric shapes in conjunction with the primary colours. Ingo Glass upgraded Bauhaus theory and he associated the square with blue, the triangle with yellow and the circle with red. By using shapes and primary colours the artists creates Concrete Art, a new symbolic universe, purely geometrical, the harmony of his entire work being given by the proportion and link between full and empty spaces. Expanded spaciousness specific to the Constructivst Art phase experiments the architecture-sculpture link and the monumentality of the metallic structures encourages the entrance to the central core of works. The open, non-material dimension forms the main volume of the sculpture, the empty space dominates the full shape and it outlines the effects of an unrated and irrational spaciousness. Balanced spaciousness specific to the Concrete Art phase experiments geometrical combinations, based on the basic shapes in positive and negative intersections, by the spaciousness and non-spaciousness link, the pace between full and empty spaces. The usage of the three basic geometrical shapes also influenced the combining vocabulary of these elements, and it even ensured the ordering and deduction of the empty space. The utopia of basic forms expresses tendencies towards positive irreductible forms of energy or negative forms through non-materiality, where the concepts of mass, weight, space and time are added. In each of his works, the artist used a proportion between the elements of the composition through a rational interpretation stimulated by the achievement of a geometrical order as the essential basis of tasks. The relation between positive and negative spaciousness appears constantly in the sculpture of the last century and the rhytm and sequence of its spatial effects are determined by a sense of proportion that involves an aesthetic of proportion. Thus, we can definitely say that the work of the artist Ingo Glass originally captures all these aspects of Contemporary Art. Keywords: sculpture, spaciousness, Ingo Glass, constructivism, Concrete Art. "
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Ilkosz, Jerzy, Ryszard Wójtowicz, and Jadwiga Urbanik. "New Form, New Material and Color Scheme, the Exposed Concrete Phenomenon—The Centennial Hall in Wrocław." Arts 11, no. 1 (January 12, 2022): 17. http://dx.doi.org/10.3390/arts11010017.
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The aim of the article is to present the remarkable changes in architecture that took place in the 20th century. They can easily be called a revolution regarding the architectural form and the color scheme. Progress was being made through the development of reinforced concrete production methods. In the German Empire (Deutsches Kaiserreich), this material quickly found applications in more and more interesting solutions in architectural structures. In Wrocław (formerly Breslau), then located in the eastern German Empire, exceptional architectural works were realized before and after the First World War using new technology. In 1913, an unusual building was erected—the Centennial Hall, designed by Max Berg (inscribed on the UNESCO World Heritage List in 2006). Berg’s work was inspired by the works of both Hans Poelzig and Bruno Taut. On the one hand, it was a delight with the new material (the Upper Silesian Tower at the exhibition in Poznań, designed by H. Poelzig) and, on the other hand, with the colorful architecture of light and glass by B. Taut (a glass pavilion at the Werkbund exhibition in Cologne). Max Berg left the concrete in an almost “pure” form, not hiding the texture of the formwork under the plaster layer. However, stratigraphic studies of paint coatings and archival inquiries reveal a new face of this building. The research was carried out as part of the CMP (Conservation Management Plan—prepared by the authors of the article, among others) grant from The Getty Foundation Keeping It Modern program. According to the source materials, the architect intended to leave the exposed concrete outside of the building, while the interior was to be decorated with painting, stained glass, and sculpture. The stratigraphic tests showed that the external walls were covered with a translucent yellowish color coating. Thus, the Centennial Hall shows a different face of reinforced concrete architecture.
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Jagla, Jowita. "From a Noble Substance to an Imitative Body. The Image and Meaning of Wax Figures in a Votive Offering." Roczniki Humanistyczne 67, no. 4 SELECTED PAPERS IN ENGLISH (October 30, 2019): 59–79. http://dx.doi.org/10.18290/rh.2019.68.4-3en.
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The Polish version of the article was published in Roczniki Humanistyczne vol. 62, issue 4 (2014).
In a wealth of votive gifts, the wax ones undoubtedly deserve special attention. They were common as early as in the Middle Ages, and they were used until the 20th century. There was a variety of such votive offerings, starting with candles, through lumps of wax, and ending with full-scale wax figures that started being used as a votive gesture at the break of the 13th and 14th centuries in the north of Europe. In the 15th and 16th centuries this custom became popular among the wealthy German, Austrian and Italian noblemen. Making wax votive figures took a lot of skill so they were made by specially qualified artists (in Italy wax figures called Boti were produced by sculptors called Cerajuoli or Fallimagini). Religious orders collaborated with the artists-artisans, undertaking to supply wax, whereas the artisans prepared wooden frames, natural hair, glass eyes, paints, textiles and brocade. In the following centuries, the production of wax figures developed ever more dynamically, especially in the north of Europe, with less skilled wax modellers, artisans and gingerbread makers often being their producers. The latter ones mainly made smaller wax figures, cast or squeezed from two-part concave models (this type of items in their form and type reminded of figures made of gingerbread).
Wax votive figures (especially of children aged three to 12) funded in the area of Upper and Lower Franconia (the Bamberg and Würzburg dioceses) from the mid-19th to the mid-20th century are a separate and rather unusual phenomenon. Popularity of this votive offering became stable about 1880, in the years 1900–1910 it reached its climax; and in the 1950s it came to an end. Franconian offerings were always constructed in a similar way: they had wax faces and hands (more rarely feet), and the other members were made of wood, metal and some other padding materials. Dolls were a dominating model for the production of these votes, and that is why, like dolls, they had wigs made of natural hair on their heads, glass eyes and open mouths. A very important role was played by clothing, in which figures were willingly dressed; they were children’s natural, real clothes (girls were often dressed in the First Communion dresses); moreover, the effigies had complete clothing, which means they had genuine underwear, tights, leather shoes. The figures were supplied with rosaries and bouquets held in their hands, and on the heads of girls there were garlands. The figures were put in cabinets and glass cases, sometimes with wallpaper on the back wall, and they had a longer text on the front glass with the name of the child, or possibly of its parents, and the time when the figure was offered.
Despite the many features making the Franconian offering deposits different from votive figures from other regions, all these items are joined by a timeless and universal idea, in which—to quote H. Belting—“an artificial body has assumed the religious representation of a living body…”
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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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Odrekhivskyi, Volodymyr, Vasyl Odrekhivskyi, and Roman Odrekhivskyi. "Ukrainian sculpture of the 20th century: main ideological and plastic transformations." LAPLAGE EM REVISTA 7, no. 3B (September 20, 2021): 187–94. http://dx.doi.org/10.24115/s2446-6220202173b1534p.187-194.
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In this article we attempt at demonstrating the inseparability of Ukrainian sculpture from global culture creating process despite cultural and political isolation as a component republic of the Soviet Union for over 70 years of the 20th century. There is a considerable difference in the character of creativity of Ukrainian sculptors, who lived and worked within the borders of the Soviet Union, and those, who migrated to Western Europe or America and had an opportunity to freely experiment with shape and ideas. In this article, particular attention is dedicated to those personalities that have made the most significant ideological and plastic transformations in the 20th-century sculpture with respect to the previous epochs, i.e., to the sculpture of avant-garde and modernism. The last decade of the 20th century was marked by the end of the Soviet-era cultural isolation from the democratic world, when a powerful stream of information penetrated the artistic arena of already independent and open Ukraine, and simultaneously the examples of various conceptual trends and styles appeared – from pop art and installation to performance art, which influenced the development of sculpture.
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Steklova, Irina A., and Olesya I. Raguzhina. "THE SCULPTURE PARKS OF THE MID-20TH CENTURY: UNDERLYING ARTISTIC CONCEPTS." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 38 (2020): 107–24. http://dx.doi.org/10.17223/22220836/38/11.
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Dzwonkowska, Paulina. "Photography and sculpture:The multifaceted relation of sculpture to photography and new media in the light of the evolving concept of sculpture." Journal of Education Culture and Society 1, no. 1 (January 17, 2020): 26–36. http://dx.doi.org/10.15503/jecs20101.26.36.
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The relationship between photography and sculpture, unlike the dialogue between the latter and painting, was long treated as a peripheral issue. Yet as early as the mid-20th century photography began to show potential that sculpture seemed to be lack. Aware of a large degree of overlap between the two forms of artistic expression, (e.g. with respect to materiality, spatiality, or accentuating frozen gestures) sculptors did not leave sculpture for photography, but attempted to create works that were interdisciplinary in structure. The rise of interest in photography displayed by Polish sculptors was closely connected with the evolution of the concept of sculpture. In the mid-20th century artists creating traditional sculptures (understood as a solid or as a visually rendered spatial form) began to experiment and cross the boundaries of well-established artistic tradition. The changes introduced enabled sculptors to interweave their field with other artistic disciplines, especially photography, even more closely. More and more frequently, sculpture started to establish multi-faceted relations with the new medium. At the beginning the potential of photography as a documentation tool was exploited. Then sculptors began to appreciate photography’s core values, using it to capture and preserve a given moment in time. Finally, they applied it in works that can be classified as close to hyperrealism. The employment of still newer materials and tools made the link between sculpture and photography inextricable, as can be shown through works of Polish artists.
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Weintraub, David A. "Breaking the glass ceiling of 20th-century astronomy." Physics Today 73, no. 4 (April 1, 2020): 46–47. http://dx.doi.org/10.1063/pt.3.4454.
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Choi, Sun il. "Flow of Buddhist Sculpture in the First Half of the 20th Century." Dongak Art History 24 (December 31, 2018): 91–109. http://dx.doi.org/10.17300/dah.2018.24.4.
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Hotsaliuk, Alla. "Art of Sculpture and Its Development in Ukraine (Late 20th – Early 21st Century)." Ukrainian Studies, no. 1(70) (March 7, 2019): 67–75. http://dx.doi.org/10.30840/2413-7065.1(70).2019.164745.
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Portnova, Irina V. "MODEL OF “WILD NATURE” IN THE PATRIOTIC ANIMALISTIC SCULPTURE OF THE 20th CENTURY." Historical and social-educational ideas 9, no. 5/1 (January 1, 2017): 173–79. http://dx.doi.org/10.17748/2075-9908-2017-9-5/1-173-179.
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Wang, Jun Xiao. "Study on Sculpture Based on New Materials." Applied Mechanics and Materials 340 (July 2013): 335–38. http://dx.doi.org/10.4028/www.scientific.net/amm.340.335.
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In the field of sculpture, the material is a sculptor's medium for the expression of aesthetic ideas, presenting a visual image. In a strict sense, all of the sculptures in the world are reflected through the material. It is recorded in the history of Western civilization development that ancient man started the sculpture very early and they also learned to take advantage of them during the creation of the material. As time goes on, the material has been an extremely important role to play in the sculpture development. In China, traditional sculpture materials have thousands of years of development, and our predecessors have already been familiar with heat and use it freely. After the beginning of the 20th century, the traditional Chinese culture triggered major changes in the concept under the influence of Western culture shock, the traditional realist sculpture in the West spread in China for more than half a century. During this period, Western art experienced the evolution of modernism and post-modernism, and the Western modernist sculpture broaden people's understanding of the "material", they were no longer the four materials of clay, wood, stone and copper of the traditional sense. And the use of the material is very extensive. In view of this, the article analyzes and discusses the application of a new type of material in sculpture.
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Steklova, Irina A., and Olesya I. Raguzhina. "SCULPTURE PARKS OF THE XX CENTURY LAST THIRD – THE XXI CENTURY BEGINNING: TYPOLOGY EXPERIENCE." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 41 (2021): 80–94. http://dx.doi.org/10.17223/22220836/41/7.
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The purpose of this article is to present sculpture parks at the modern stage of development, from the last third of the 20th century to our day. The relevance of this purpose is due to the relevance of these parks, which meets, firstly, on the challenges of culture, reproducing itself in the synthesis of landscape and monumental-decorative arts; secondly, on the demands of the population in artistically interpreted natural spaces; thirdly, on the life-building claims of modern art, which is looking for optimal ways of self-presentation. The representation of the sculpture parks is implied their systematization, which, in the course of the factual and visual material analysis, exhibits the most typical trends of formal and informative diversity and takes the form of a typology. To start building a typology, it was necessary to draw up a rather broad and spacious representative sample of objects and to select reference criteria in the trends of the manifold. Thus, a representative sample was made up of 90 Europe, Asia, Africa, Australia, and North and South America brightest objects, and following criteria were put forward: environmental involvement, authorship, the nature of specific forms and links between them. Typology showed that approximately two thirds of the sculpture parks are a product of the natural environment and one third of the architectural environment. In the natural environment, in authentic natural spaces, these are co-author full (independent and contextual) and special (by place, material, style, theme) formats, as well as mono-author formats. In an architectural environment, in integrated or interpreted natural spaces, these are, first of all, city formats that can be both co-authors and mono-authors: destinations, stops, transit zones. The implementation of the typology was facilitated by the attraction of a new material for the national art history. In the scientific circulation were introduced information about objects that were not mentioned before and unknown artists. Accounting for this information, along with known realities, allowed us to reach a higher understanding level of sculpture parks as a modern hypostasis of artistic synthesis.
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Manso, Marta, Ana Bidarra, Stéphane Longelin, Sofia Pessanha, Adriana Ferreira, Mauro Guerra, João Coroado, and Luísa Carvalho. "Micro-Analytical Study of a Rare Papier-Mâché Sculpture." Microscopy and Microanalysis 21, no. 1 (September 15, 2014): 56–62. http://dx.doi.org/10.1017/s1431927614013129.
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AbstractThe analysis of a Portuguese “papier-mâché” sculpture depicting Saint Anthony is presented in this case study. Several questions were addressed such as the characteristics of the support, pigments used, and artistic technique in order to establish a possible timeline for its production. Qualitative analyses of the cross-sections and of the paper support were performed by optical microscopy using reflected light. Two polychrome layers from different periods and a rag pulped support were identified on the sculpture. The use of micro X-ray fluorescence and Raman microscopy techniques enabled the differentiation of coloring materials used in both polychromies. Semi-quantitative analyses of the gilded samples were also performed by scanning electron microscopy in combination with energy-dispersive spectroscopy allowing the determination of a common Au–Ag–Cu alloy with differences in the purity of the gold. The identified coloring materials lead us to believe that the sculpture was produced in the 19th century, being overpainted in the first half of the 20th century.
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Górka, Monika. "Use of aluminium and glass facades in urban architecture." Budownictwo i Architektura 18, no. 3 (January 24, 2020): 029–40. http://dx.doi.org/10.35784/bud-arch.586.
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As an element of structural and material solutions, aluminium and glass façades are the mainstay of urban architecture; they are especially used in public utility buildings. The article provides a review of architectural styles and trends of the 20th century, when exterior elevations began to take the form of aluminium and glass façades. It illustrates the main architectural trends of urban architecture in the 20th century and their evolution throughout the years. Furthermore, it specifies and refers to the architecture of the 20th and 21st centuries in Kraków and presents selected public utility buildings which have become an integral part of architecture in this city.
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Pouyet, Emeline, Monica Ganio, Aisha Motlani, Abhinav Saboo, Francesca Casadio, and Marc Walton. "Casting Light on 20th-Century Parisian Artistic Bronze: Insights from Compositional Studies of Sculptures Using Hand-Held X-ray Fluorescence Spectroscopy." Heritage 2, no. 1 (February 21, 2019): 732–48. http://dx.doi.org/10.3390/heritage2010047.
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In the 19th and early 20th centuries, Paris was home to scores of bronze foundries making it the primary European center for the production of artistic bronzes, or bronzes d’art. These foundries were competitive, employing different casting methods—either lost-wax or sand casting—as well as closely guarded alloy and patina recipes. Recent studies have demonstrated that accurate measurements of the metal composition of these casts can provide art historians of early 20th-century bronze sculpture with a richer understanding of an object’s biography, and help answer questions about provenance and authenticity. In this paper, data from 171 20th-century bronzes from Parisian foundries are presented revealing diachronic aspects of foundry production, such as varying compositional ranges for sand casting and lost-wax casting. This new detailed knowledge of alloy composition is most illuminating when the interpretation of the data focuses on casts by a single artist and is embedded within a specific historical context. As a case study, compositional analyses were undertaken on a group of 20th-century posthumous bronze casts of painted, unbaked clay caricature portrait busts by Honoré-Victorin Daumier (1808–1879).
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Ridgway, Brunilde Sismondo, and Luigi Todisco. "Review Article: The Study of Classical Sculpture at the End of the 20th Century." American Journal of Archaeology 98, no. 4 (October 1994): 759. http://dx.doi.org/10.2307/506553.
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Honcharuk, V. "Artistic explorations of Lviv artists of decorative and applied arts in small-scale plastics of the second half of the 20th century: image of a human being." Science and Education a New Dimension IX(258), no. 47 (September 25, 2021): 10–14. http://dx.doi.org/10.31174/send-hs2021-258ix47-02.
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The present article examines the special characteristics of the development of small-scale sculpture as an independent phenomenon in Lviv fine arts of the second half of the 20th century within the framework of the interpretation of a human being image, since the following problem has not been sufficiently studied in Ukrainian art criticism. In particular, the research focuses on the specific features of artistic experiments of the representatives of decorative and applied art in the field of anthropomorphic sculpture; traces characteristic features of conceptual and modelling solutions; identifies artistic and stylistic features and peculiarities of the representation of a human being image. The author stresses upon the role of Lviv Ceramic and Sculpture Factory that largely set trends in the development of small-scale sculpture. In addition, as based on works of famous representatives of Lviv school of decorative arts, the author identifies the variety of interpretations and wide range of modelling means as well as traces the most vivid anthropomorphic designs.
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Xu, Min. "Chinese art: A survey of collections and research materials in the United States." Art Libraries Journal 39, no. 2 (2014): 43–47. http://dx.doi.org/10.1017/s0307472200018319.
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During the 20th century a range of museums in the United States were engaged in acquiring Chinese art objects, developing major collections of painting and calligraphy, ancient bronze, Buddhist sculpture, ceramics and other decorative arts. Research materials on Chinese art have been collected by art libraries in major museums and the East Asian libraries of the main research universities. The author surveys significant Chinese art collections in museums and research libraries in the United States today.
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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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ÖZDEMİR, Soner. "ARTIFICIAL LIGHT SOURCE AS A COMPONENT CONSTITUTING THE SCULPTURE." IEDSR Association 6, no. 15 (September 20, 2021): 235–45. http://dx.doi.org/10.46872/pj.351.
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Light, which is the main source in which plastic arts produce meaning by processing it, indirectly takes place in all works of art with its different colors and tones throughout the history of art. With the use of new materials and techniques in art with the modern period, it is seen that the light itself, that is, the light source, is also included in art works as a medium. This situation allowed the artists to create brand new perceptions and effects. With the second half of the 20th century, the use of artificial light source in sculpture as an element belonging to the sculpture is encountered. Some of the artists selected as examples in this study were chosen in terms of being the first example in terms of the material they used, the way they used the light source and the diversity of the content they produced with these materials. Light, which is one of the primary conditions for perception in sculpture; In this study, the material forming the sculpture, such as transparency and reflection, is not based on its interaction with its structure, but as an element that forms a part or whole of the sculpture. It is aimed to show the effect of using artificial light source in sculpture on expression and perception through selected examples.
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Alfakih, E. "Genres of urban sculpture in context of metropolis, Moscow, Tsvetnoy Boulevard." Vestnik of Saint Petersburg State University of Culture, no. 1 (30) (March 2017): 165–68. http://dx.doi.org/10.30725/2619-0303-2020-3-165-168.
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The article examines multivariate saturation of limited locations (Tsvetnoy Boulevard) executed at different times and diff erent in the image and style of the sculptural works. Due to this Boulevard space takes the value exhibition area for the testing, presents not only free conglomeration of forms, but also time-varying ideas about the place of sculpture in the urban environment and its communication capabilities. A description and analysis of selected monuments of the second half of 20th – beginning of 21st century («Song», «Yuri Nikulin», «Circus Clown») in terms of their own aesthetic value, as well as interaction with the surrounding environmental context, enables create panoramic deployed in time and space idea of some aspects of the general problem.
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Kim, Suk. "A Study of Expressive Feature of Facial Sculpture after 20th Century -to post-modernism art 1980s-." Journal of Basic Design & Art 19, no. 1 (February 28, 2018): 81–100. http://dx.doi.org/10.47294/ksbda.19.1.7.
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Mellby, Julie. "AMERICAN ART IN THE 20TH CENTURY, PAINTING AND SCULPTURE 1913–1993. Christos M. Joachimides , Norman Rosenthal." Art Documentation: Journal of the Art Libraries Society of North America 13, no. 1 (April 1994): 40. http://dx.doi.org/10.1086/adx.13.1.27948624.
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Laïïdi, Adila. "Liberation Art of Palestine: Palestinian Painting and Sculpture in the Second Half of the 20th Century." Journal of Palestine Studies 34, no. 4 (January 1, 2005): 110–12. http://dx.doi.org/10.1525/jps.2005.34.4.110.
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Rovira, Sergi Cortiñas. "Metaphors of DNA: a review of the popularisation processes." Journal of Science Communication 07, no. 01 (March 21, 2008): A02. http://dx.doi.org/10.22323/2.07010202.
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This article offers a 1953-present day review of the models that have popularised DNA, one of the fundamental molecules of biochemistry. DNA has become an iconic concept over the 20th century, overcoming the boundaries of science and spreading into literature, painting, sculpture or religion. This work analyses the reasons why DNA has penetrated society so effectively and examines some of the main metaphors used by the scientists and scientific popularisers. Furthermore, this article, taken from the author's PhD thesis, describes some recent popularisation models for this molecule.
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Shkolna, Olha, and Alla Buigasheva. "Life and Work of Anhelina Zhdanova - Master of Porcelain Painting of the Second Half of the 20th Century." Demiurge: Ideas, Technologies, Perspectives of Design 5, no. 1 (May 27, 2022): 131–42. http://dx.doi.org/10.31866/2617-7951.5.1.2022.257488.
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The aim is to identify the key porcelain works painted by the Honored Artist of Ukraine Angelina Zhdanova during the second half of the 20th century, to reveal the artistic features of her decoration of sculptures, utensils and vases. Research methods – ontological, axiological, hermeneutic, historical-chronological, historical-comparative, cultural, typological, art analysis. Their combination allows us to reveal the specifics of the creative method of Anhelina Zhdanova concerning the design of sculptures of small forms and design development of decors for fine ceramic ware and vases. Novelty comprises the analysis of the artist’s appeals to the Ukrainian in the decoration of the best examples of domestic porcelain sculpture of the third quarter of the 20th century. (first of all, according to the designs of V. and M. Trehubov’s forms) and the use of exquisite Petrykivka painting in the design of vases, dishes, tableware of the second half of the twentieth century, created at Korosten and Svitlovodsk porcelain factories. Conclusions. The milestones of the work of the outstanding Ukrainian artist-designer in the field of porcelain Anhelina Leonidivna Zhdanova are traced. The list of main works in sculpture, vases and utensils, decor projects which she created at Korosten and Svitlovodsk porcelain factories in the 1950s – 1990s is outlined. It is determined that A. Zhdanova is the author of the original painting of the famous sculptures ‘Ukrainian Dance’ and ‘Shoes’, the forms for which were developed by V. Trehubova in the mid – second half of the 1950s. Portraits of Soviet figures on plates and vases, such as party executives, astronauts, foreign ambassadors or the UN Secretary General, are important in the artist’s work. A separate segment of Korosten products by A. Zhdanova consists of paintings with skillfully executed floral ornaments for framing portraits. The paintings are made in a delicate brush technique ‘cat’, the type of Petrykivka paintings.
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Rzeczycka, Monika. "Biblical Symbols in the Works of Rudolf Steiner’s Followers: Initiation/Archangel Michael by Amalia Luna Drexler as an Example of an Anthroposophical Interpretation of the Spiritual Mission of the Slavs." Studia Religiologica 53, no. 1 (2020): 1–14. http://dx.doi.org/10.4467/20844077sr.20.001.12504.
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At the beginning of the 20th century, national mythologies inscribed in the Christian tradition were held in high regard within the milieu of Polish and Russian followers of esotericism. The international anthroposophical movement initiated by the Austrian philosopher Rudolf Steiner is a special case. Among his Russian and Polish devotees sprang the common idea of the Slavic spiritual mission in the service of Archangel Michael. The author of this article explores this idea using the example of a sculpture entitled Initiation/Archangel Michael made in 1927 by the Polish artist Amalia Luna Drexler, who belonged to the group of “first generation”anthroposophists.
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Anisimov, K. V. "The “Living Statues” at Times of Mausoleums and Unknown Soldiers: New Commemorative Practices in the Mirror of Russian 20th Century Poetry." Critique and Semiotics 38, no. 1 (2020): 186–206. http://dx.doi.org/10.25205/2307-1737-2020-1-186-206.
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The article traces the alterations of the “harmful statue” motif as it was conceptualized by Roman Jakobson. In the present research the author draws upon a number of representative verses by Russian 20 th century poets – V. Bryusov, I. Selvinsky, B. Slutsky. The theoretical juxtaposition of the metaphoric nature of a monument and strategies of overcoming this nature has been put in focus of this work. These strategies are represented in the convergence of sculpture and body (the reinforcement of iconicity), in implicating the metonymic, substitutional character in new monuments. The author shows how the practice of establishing the new “political” tombs (unknown soldiers, mausoleums) proliferating since 1920s was reflected in verses’ rhetoric and affected these texts’ genre poetics. As a first collection of examples the “Pompeian” plots of Russian “ekphrastic” poetry are studied. Here Russian poets rethink the technology invented by mid-nineteenth century Italian archaeologists who were the first to introduce the sculptural reconstruction of human bodies preserved by volcanic soil in area of 79 a.d. Vesuvius eruption. The first step on this way of rethinking the “living statue” motif was the intrinsic to modernism and openly exposed problematizing of the relationships between body and its representations in stone or metal. Having begun its “own” life, the sculpture is currently observed as a direct, “drawn on a contour” replica of an organism, unprecedented in unicity of its physical existence. This semiotic discovery has formed the receptive “niches” of expectations – prior to the emergence of the next commemorative practice, the creation in 1924 Vladimir Lenin’s “living sculpture” (A. Yurchak) or “self-icon” (J. B. Platt). However one difference here was of specific significance: the “Pompeian” plaster reconstructions were anonymous whereas the Bolshevik leader’s name was in contrast not just commonly known but also as strongly mythologized as his remains kept in mausoleum were. The semiosis taking place within a triangle body – monument – name had formed a perspective for the forthcoming of a new social commemorative practice, memory place and poetic image – the tomb of an Unknown Soldier. The author illustrates the interaction of the two political and memory cults on the level of official rhetoric and in the sphere of literary motifs.
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Čebron Lipovec, Neža. "Homage to a New Town in an Old One: Dequel’s Bust of Pier Paolo Vergerio il Giovane." Ars & Humanitas 13, no. 1 (August 20, 2019): 248–63. http://dx.doi.org/10.4312/ah.13.1.248-263.
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The concept of collective memory raises fundamental questions regarding the assessment of heritage, especially of built heritage in contested spaces. The simultaneous presence of different groups in conflict introduces into the space parallel memory discourses that can be recognised both in the built environment as well as in public sculpture, and both can be read as a symbolic marking of space (Veschambre, 2008). The urban space of northern Istria, where the Italian and Slovene communities have become intertwined throughout history, were drastically marked by the political and historic events of the mid-20th century. Post-war conflict-solving processes lead and an ongoing process of “ethnic metamorphosis” (Purini, 2010) in the region came to a peak when the majoritarian Italian-speaking population of the urban area emigrated, while the space was settled by newcomers from inner Slovenian regions and other Yugoslav republics. Tensions between Slovenes and Italians arose in the early 20th century, especially from the period of Fascist oppression and violence against the Slovene population. Nevertheless, the antifascist struggle united the two ethnic groups, specifically within the Communist ideology, so after WWII the area of the so-called Zona B of the Free Territory of Trieste was marked by the ideal of fratellanza, the brotherhood between Italians and Slovenes in Istria. A monument to this ideal was created by a sculptor from Capodistria, Oreste Dequel, who is unknown in the Slovene context. The sculpture represented the Protestant Bishop of Capodistria, Pier Paolo Vergerio il Giovane, a friend of the key Slovene Protestant Primož Trubar. Despite the then leading Socialist Realist aesthetics, the artist managed to intertwine in the artwork, using a subversive approach, several collective memories.
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Čebron Lipovec, Neža. "Homage to a New Town in an Old One: Dequel’s Bust of Pier Paolo Vergerio il Giovane." Ars & Humanitas 13, no. 1 (August 20, 2019): 248–63. http://dx.doi.org/10.4312/ars.13.1.248-263.
Full textAbstract:
The concept of collective memory raises fundamental questions regarding the assessment of heritage, especially of built heritage in contested spaces. The simultaneous presence of different groups in conflict introduces into the space parallel memory discourses that can be recognised both in the built environment as well as in public sculpture, and both can be read as a symbolic marking of space (Veschambre, 2008). The urban space of northern Istria, where the Italian and Slovene communities have become intertwined throughout history, were drastically marked by the political and historic events of the mid-20th century. Post-war conflict-solving processes lead and an ongoing process of “ethnic metamorphosis” (Purini, 2010) in the region came to a peak when the majoritarian Italian-speaking population of the urban area emigrated, while the space was settled by newcomers from inner Slovenian regions and other Yugoslav republics. Tensions between Slovenes and Italians arose in the early 20th century, especially from the period of Fascist oppression and violence against the Slovene population. Nevertheless, the antifascist struggle united the two ethnic groups, specifically within the Communist ideology, so after WWII the area of the so-called Zona B of the Free Territory of Trieste was marked by the ideal of fratellanza, the brotherhood between Italians and Slovenes in Istria. A monument to this ideal was created by a sculptor from Capodistria, Oreste Dequel, who is unknown in the Slovene context. The sculpture represented the Protestant Bishop of Capodistria, Pier Paolo Vergerio il Giovane, a friend of the key Slovene Protestant Primož Trubar. Despite the then leading Socialist Realist aesthetics, the artist managed to intertwine in the artwork, using a subversive approach, several collective memories.
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Hudson, Martyn. "Schwitters’s Ursonate and the Merz Barn Wall." Leonardo Music Journal 25 (December 2015): 89–92. http://dx.doi.org/10.1162/lmj_a_00942.
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This paper notes the importance of Kurt Schwitters’s Merz project to the modernist politics and poetics of exile of the 20th century. Placing the sound work of Schwitters within his full Merz project, the author assesses the relations between the Ursonate and the final Merzbau. He discusses three of these relations—collage, found objects and the structures of building materiality in language and sculpture—and presents Schwitters’s work as culminating in a vision of sound and building structures in what Brandon Taylor has called “intrusive new entities” of collage and assemblage that are themselves analogous to the “intrusive new entities” of human material itself.
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Sinchuk, I. I. "THE RESULTS OF A STUDY OF ARCHAEOLOGICAL GLASS FROM THE EXCAVATION 1989 IN THE HISTORICAL CENTER OF MOGILEV (optical spectral analysis)." Archaeology and Early History of Ukraine 29, no. 4 (December 22, 2018): 342–60. http://dx.doi.org/10.37445/adiu.2018.04.20.
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180 fragments of glassware from the historical part of Mogilev at the end of the 16th and early 20th centuries were studied.
Technological excursus is devoted to raw materials for glass production and introduces glassmaking literature of the 18th — early 20th centuries.
The method of semiquantitative optical spectral analysis based on the atlas of spectral lines is used. For the transfer of results, the conventional general technical method is used.
A few examples of ash glass date back to the late of the 16th — early 17th century. Most of the samples analyzed from the 17th to the 19th centuries are made of potassium-calcium silicate glass; about 1/3 part of the products, there are manganese impurities, which makes the glass colorless.
The result of the work is a catalog of analyzes of an archaeological glass from the Belarusian city of Mogilev, which presented in the appendix.
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Porter, Keith R. "Electron Microscopy and cell biology in the 20th century." Proceedings, annual meeting, Electron Microscopy Society of America 50, no. 1 (August 1992): 8–9. http://dx.doi.org/10.1017/s0424820100120448.
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The recent history of cell biology cannot be recorded without generous reference to electron microscopy. After all, it was this instrument and the enormous increase in resolution it provided that gave cell biologists access to information that even the most imaginative of investigators had not submitted to the printed page. This paper will record highlights that a few investigators introduced into specimen preparation. This pursuit has contributed more to the progress, i.e. history, of the field than is generally recognized. The first images of cells that can be said to reveal something new were published in 1945. They were micrographs of thinly spread cells grown in tissue culture on surfaces coated with formvar and thence with evaporated carbon. After the suitability of a cell or group of cells had been established by light microscopy, they were freed of culture medium with balanced salt solution and fixed with OsO4. Thereafter, and before drying, the selected cells were washed in distilled water, and to get the cells onto a grid, a small flap of the formvar film was separated from the glass surface and floated over the grid. Subsequently, the preparation was drained of H2O on filter paper and allowed to dry. Cells that resided in open areas between the wires of the grid were available for examination.
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Lavrentiev, Alexander N. "AVANT-GARDE DIALOGUES." Scientific and analytical journal Burganov House. The space of culture 17, no. 5 (December 10, 2021): 104–8. http://dx.doi.org/10.36340/2071-6818-2021-17-5-104-108.
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The article is dedicated to comparative analysis of spatial constructions created by the Russian Avant-Garde Artist Alexander Rodchenko and the famous kinetic European and American artist Alexander Calder in the first half of the 20-th century. For both artists technology played the decisive role in constructing spatial objects, both of them used line as a basic expressive element. Still there is a certain difference stressed by the author: Rodchenko used linear elements to express structural and constructive qualities of spatial objects, while Calder was more intending to represent emotion and movement. Rodchenko and Calder belong to the common abstract artistic trend in 20th century sculpture. But their works served as the basis for the two different traditions: minimalist conceptual and geometric art of Donuld Judd on one side and spontaneous mechanisms of Jean Tinguely on the other.
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Rychkov, A. V., and A. V. Vodyanitskaya. "Attribution and restoration of the monument of O. M. Manizer «1905»." Vestnik of Saint Petersburg State University of Culture, no. 4 (45) (December 2020): 98–103. http://dx.doi.org/10.30725/2619-0303-2020-4-98-103.
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The article discusses issues related to the application of a comprehensive and comprehensive analysis of the main trends in the development of the national sculpture of the 20th century, which makes it possible to attribute and identify the nearest analogues of the sculptural monumental work, from the St. Petersburg military Institute of the national guard of the Russian Federation. During the research, the degree of preservation of the monument, the presence of defects, destruction, loss, possible changes in the works that were previously admitted during the implementation of restoration measures were revealed. As a result, methods and models of restoration work were considered. The text also describes the restoration methodology used to preserve the work.
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Becker, Karin, and Geska Helena Brečević. "More Than a Portrait: Framing the Photograph as Sculpture and Video Animation." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 48–55. http://dx.doi.org/10.47659/m5.048.art.
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This essay traces the resurrection of the fotoescultura, a three-dimensional photographic portrait popular in rural Mexico in the early 20th century, as interpreted in recent works by Performing Pictures, a contemporary Swedish artist duo. The early fotoesculturas were an augmented form of portraiture, commissioned by family members who supplied photographs that artisans in Mexico City converted into framed sculptural portraits for display on family altars. We compare these »traditional« photographic objects with “new” digital forms of video animation on screen and in the public space that characterize Performing Pictures work, and explore how the fotoescultura inspired new incarnations of their series Men that Fall. At the intersection between the material aspects of a “traditional” vernacular art form and “new” media art, we identify a photographic aesthetic that shifts from seeing and perceiving to physical engagement, and discuss how the frame and its parergon augment the photographic gaze. The essay is accompanied by photos and video stills from Performing Pictures’ film poem Dreaming the Memories of Now (2018), depicting their work with the fotoesculturas. Keywords: fotoesculturas, frame, parergon, vernacular photography, videoart
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Melita, Lucia Noor, Katarzyna Węgłowska, Diego Tamburini, and Capucine Korenberg. "Investigating the Potential of the Er:YAG Laser for the Removal of Cemented Dust from Limestone and Painted Plaster." Coatings 10, no. 11 (November 17, 2020): 1099. http://dx.doi.org/10.3390/coatings10111099.
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A successful application of Er:YAG laser for the cleaning of a restored Assyrian relief sculpture from the British Museum collection is presented. Displayed in the gallery, the sculpture has darkened over time due to the natural deposition of dirt, in particular on restored parts. Since traditional cleaning methods have demonstrated to be unsuccessful, a scientific investigation was performed to identify the composition of the soiling and the materials used for the restoration. The analysis suggested the presence of gypsum, calcium oxalate, carbonates and alumino-silicates on the encrustation. The molded plaster, composed of lime and gypsum and pigmented aggregates, was likely prepared at the end of the 19th century to mimic the stone color. It was repainted with what was identified as a modern oil-based overpaint, applied to cover darkening during a second conservation treatment in the 20th century. Laser trials were first performed on small areas of the objects and on mock-ups to determine the critical fluence thresholds of the surface, investigated through visual examination and analyses using Fourier transform infrared spectroscopy (FTIR) and Pyrolysis-gas chromatography-mass spectrometry (Py–GC–MS). The right parameters and conditions to be used during the cleaning process were, therefore, determined. The chemical selectivity of the cleaning process allowed us to complete the treatment safely while preserving the restoration.
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Mosz, Jakub. "Ancient Patterns of the Sporting Body." Physical Culture and Sport. Studies and Research 47, no. 1 (December 1, 2009): 137–43. http://dx.doi.org/10.2478/v10141-009-0041-x.
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Ancient Patterns of the Sporting BodyIn the world of ancient culture you can find images of corporeality which may be recognised as patterns of the sporting body. They come from Greek sculpture and vase painting. Among the preserved Greek cultural artefacts there can be pointed out three examples of patterns of male corporeality and one example of female corporeality connected with the world of sport. These are Polyclitus's sculptures "Doryphorus" and "Diadoumenos", Myron's sculpture "Discus Thrower", Lysippus's sculpture of "Heracles Farnese" and painting presenting Atalanta. They constitute ancient patterns of the sporting body, which are recognisable in the world of the European culture from the age of Renaissance to the 20th century. Each of those cultural artefacts points out to separate aspects of the world of sport: Polyclitus's sculptures are pictures of beauty of the body, Myron's sculpture expresses sporting movement, Lysippus's sculpture symbolises power and the figure of Atalanta is the first gender pattern in the world of sport. Ancient patterns of the sporting body perform functions of cultural archetypes in the contemporary world of sport. The contemporary sporting body is a corporeal form which is perceived and interpreted through the prism of the symbolic layer of ancient images of corporeal forms. A part of those corporeal patters has lost in European culture their sporting references, which were visible for Greek civilization. It refers to Polyclitus's sculptures and the figure of Atalanta, which was provided by Renaissance and Baroque art with a different semantic context. Research into cultural aspects of sport requires reconstruction of their sporting genealogy making it possible to construct wider interpretative contexts of contemporary corporeality. The notion of the "archetype of the sporting body" in European culture is enriched with a differentiated objective layer, which is composed of ancient patters of the sporting body encountered in social consciousness of the world of European art.
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Rozenberg, Nataliya Abramovna. "The Concept of a Romantic Hero in the Sculpture of Argentina in the 20–40s of the 20th Century." Общество: философия, история, культура, no. 12 (December 11, 2020): 140–45. http://dx.doi.org/10.24158/fik.2020.12.24.
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The interest in the history and culture of Argentina in the Russian Federation today has a special char-acter. It is believed that the presence of a huge number of immigrants from Europe, including from Russia, distinguishes Argentina culturally from oth-er countries of the New World, makes its culture more understandable. There is a perception that this is the most Europeanized country in South America. To a large extent, this ideologeme is the result of foreign policy pursued by Argentina itself. At the same time, the process of the formation of national identity in here was complicated and did not end until the 40s of the 20th century. The relevance of the study is to reveal the inconsistency of this process on the material of sculpture as a document of the era, to show the rejection by masters from a remote region of the country, the province of Chaco, the prevailing ideas about the barbarity and savagery of the Indians and Gauchos, the original population of this province and part of other territories of the state. The novelty lies in the comparative compari-son of the positions of the academic art history of Argentina and academic art in the understanding of Indian themes and in how it was interpreted by re-gional masters – K. Dominguez (died in 1969), C. Schenone (1907–1963), J. de la Mena (1897–1954), as well as in the art history analysis of significant works of the considered problematic and the roman-tic tendencies manifested in them. It is advisable to correlate the process of “Europeanization” of Indi-ans, bloody and long-term hostilities in order to expel the gaucho and Indians from their ancestral lands with the understanding of who was the true hero of history in the creations of their descendants. The works of the sculptors Chaco, romantic in spirit, are related to the great J. Hernandez’s poem “Martin Fierro”. Today they are kept not only in the capital of Chaco, Resistencia, but also in museums in Buenos Aires and foreign collections
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Svetlov, Igor. "Hungarian Sculpture of the Late Twentieth Century. At the Intersection of Romanticism and Pop Art." Scientific and analytical journal Burganov House. The space of culture 15, no. 4 (December 10, 2019): 108–35. http://dx.doi.org/10.36340/2071-6818-2019-15-4-108-135.
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Developing intensively and in its own way throughout the 20th century, Hungarian sculpture has gained recognition as one of the leading European schools. Much in its creative image was determined between the two world wars when romantic tonality, combining dynamic activity and plastic flexibility, became a high priority. Romantic pantheism made itself felt in the artistic works of the Hungarians, successfullyshown at the All-Union Art Exhibition in Moscow in 1957-1958. The appeal to the motives and forms of nature enriched the human modulus of Hungarian sculpture.The period between 1960-1970 is its most fruitful time. The combination of romantic concepts and themes with object textures and aesthetics of simplicity, inherent in pop art, among the masters of the older generation, Imre Varga and Erzsébet Schaár who were recognized in Europe, was the biggest event among the variants of its creative movement. Imre Varga’s evolution in this direction, from grotesque-naturalistic publicism to the use of pop art techniques as a means of the dramatic theatricalization of human life and history, is illustrated in the article. Varga developed a synthesis of the pop art-inspired landscape and romantic portrait in the best monuments of these decades. In Erzsébet Schaár’s art, the objective world more than once turned into an artistic metaphor of independent significance. However, for her, the most important meeting of romanticism and pop art happened, the same as for Varga, in the search for synthesis and the creation of an ensemble. Her Street, which is exhibited in the city of Pecs, is perceived as a combination of symbolic figures and environmental objects, imbued with the idea of infinity of the world.
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Minghui, Qiu. "Through Psychological Analysis of The Glass Menagerie -- Laura's Unsound Personality Causes." International Journal of English Literature and Social Sciences 7, no. 6 (2022): 235–41. http://dx.doi.org/10.22161/ijels.76.34.
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Tennessee Williams was one of the three great American dramatists of the 20th century. The Glass Menagerie, which was produced in Chicago in 1994, took him from obscurity to fame. There are many ways to interpret the characters in The Glass Menagerie. This paper analyzes the personality structure of Laura from Jung's persona theory, and deeply reveals the reasons for the formation of the characters, so that readers can deepen their understanding of the text and the characters and reveal the complexity of the human spiritual world.
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Spalva, Rita. "Dance in Ancient Greek Culture." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 2 (May 9, 2015): 451. http://dx.doi.org/10.17770/sie2012vol2.523.
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The greatness and harmony of ancient Greece has had an impact upon the development of the Western European culture to this day. The ancient Greek culture has influenced contemporary literature genres and systems of philosophy, principles of architecture, sculpture and drama and has formed basis for such sciences as astronomy and mathematics. The art of ancient Greece with its penchant for beauty and clarity has been the example of the humanity’s search for an aesthetic ideal. Despite only being preserved in its fragments, the dance of ancient Greece has become an example worthy of imitation in the development of classical dance as well as the 20th century modern dance, inspired by the notions of antique dance by Isadora Duncan. Research in antique dance helps sunderstand the historical relationships in dance ontology, axiology and anthropology.
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Wais-Wolf, Christina, Petra Weiss, and Christoph Tinzl. "Austrian Stained Glass in the Interplay of Research and Conservation: Reflections on How to Preserve an Endangered Art Genre." Heritage 5, no. 1 (March 10, 2022): 509–25. http://dx.doi.org/10.3390/heritage5010029.
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In 2021, two projects for the protection and preservation of Austrian stained glass were performed in close cooperation between the Federal Monuments Authority Austria and active members of the Corpus Vitrearum Austria. Both projects are dedicated to difficult topics that will increasingly challenge how we tackle the preservation of monuments in the coming decades. There are questions regarding the correct conservation and restoration treatment of stained glass from the late 19th and early 20th century (stained glass from the so-called art period of Historicism), which, despite all the Guidelines for the Conservation and Restoration of this endangered genre of art, is still far from being treated with the necessary care throughout the country. The protection and preservation of the original substance—the glass, the leading and the painting—are the primary focus of interest here. Using the example of the restoration campaign currently being conducted on the windows of St. Mary’s Cathedral, Linz, a cultural monument of particular importance for Austria, work is being undertaken to elaborate the feasibility of a concept that can be easily implemented in the future at other construction sites and by all the stakeholders involved. The second monitoring project presented concerns the equally important area of “preventive conservation” of medieval and modern stained glass. The focus of the work that took place here was on checking the condition of stained glass from the Middle Ages to the 20th century (with and without exterior protective glazing) and the general identification of damage and determination of the urgency of measures for conservation (using a “traffic light system” developed for this purpose).
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Heavers, Nathan. "Marking Sacred Ground through Imported Trees and Medieval European Sculpture at the Washington National Cathedral." Acta Horticulturae et Regiotecturae 22, no. 1 (May 1, 2019): 19–22. http://dx.doi.org/10.2478/ahr-2019-0004.
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Abstract The landscape of the Washington National Cathedral contains a variety of sacred objects imported from Europe and Asia. They include stone sculptures and living flora. Many of the stone objects came from the collection of George Grey Barnard, an American sculptor, trained in Paris, who travelled Europe in the early 20th century purchasing medieval antiquities (Weinberger, 1941). How do we understand these displaced pieces incorporated into this new context? On the one hand, their use in the landscape brings it significance, a physical and tangible connection to the roots of Christianity. On the other hand, they remind us of the relative youth of this sacred landscape and the question of what makes places sacred. Is a place sacred because of something inherent to it or do we mark ordinary ground with significant objects to sanctify it? Largely, the Washington National Cathedral landscape seems to demonstrate the latter approach. Imported objects mark and validate the sacredness of the site from medieval stone archways to significant pairs of trees.
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Афанасьева, Анна Николаевна, and Сергей Евгеньевич Винокуров. "Meissen‘s porcelain sculpture «Flower-girl» of the xix century in the context of migration of models." Академический вестник УралНИИпроект РААСН, no. 1(52) (March 30, 2021): 65–71. http://dx.doi.org/10.25628/uniip.2022.52.1.011.
Full textAbstract:
В статье представлен опыт атрибуции произведения фарфоровой пластики Мейсенской мануфактуры середины XIX века из собрания Екатеринбургского музея изобразительных искусств. Приводятся сведения об источнике модели рассматриваемого произведения и его художественных особенностях, раскрывается контекст практически одновременного появления в ассортименте как немецких, так и отечественных фарфоровых предприятий произведений, созданных по одной модели. Рассмотренный кейс позволяет сделать вывод о достаточно высокой степени условности художественных границ в европейском искусстве XVIII-XIX веков и активизации процессов миграции художественных моделей в европейском декоративно-прикладном искусстве эпохи историзма. Статья подготовлена на основе доклада, озвученного на VII Всероссийской научно-практической конференции «Проблемы атрибуции памятников декоративно-прикладного искусства XVI-XX вв.», которая состоялась 19-21 октября 2021 г. в Государственном историческом музее (Москва). The article presents the experience of attribution of a work of porcelain sculpture by the Meissen manufactory of the middle of the 19th century from the collection of the Yekaterinburg Museum of Fine Arts. The article provides information about the source of the model of the work in question and its artistic features. The context of the almost simultaneous appearance in the assortment of both German and Russian porcelain factories of sculptures created according to the same model is revealed. The considered case allows us to conclude that there is a high degree of conventionality of artistic boundaries in European art of the 18th - 19th centuries, and the intensification of the migration of models and samples in European decorative art of the period of historicism The article provides information voiced in the framework of report of VII All-Russian scientific and practical conference “Problems of attribution of artworks of decorative arts of the 18th-20th centuries”, which took place on October 19-21, 2021, at the State Historical Museum (Moscow).
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Burganova, Maria A. "Glasstress. A Transparent Border Between Mimicry and Mimesis." Scientific and analytical journal Burganov House. The space of culture 18, no. 1 (March 10, 2022): 16–36. http://dx.doi.org/10.36340/2071-6818-2022-18-1-16-36.
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The article analyses the modern artistic process that began in the middle of the 20th century within the framework of the "craft + art" concept on the example of glassworks. The author covers two periods in the development of Murano glass. The first period is associated with the names of O.Kokoschka, P.Picasso, M.Chagall, M.Ernst, Le Corbusier, A.Calder, F.Leger, L.Fontana, H.Arp, G.Braque. At that time, an attempt to master the new plastic language of modern art space was undertaken by E.Costantini, the founder of one of the Venetian glass workshops. In the late 1940s, Costantini formulated the concept of joining a new artistic idea and technology, refined over the centuries, in Venetian glass. The new image of Murano glass of the late 20th - early 21st century is associated with the Berengo Studio, founded by Adriano Berengo in 1989. He practically adopted Costantini’s concept and invited outstanding contemporary artists: Ai Weiwei, Thomas Schütte, Jaume Plensa, the Kabakovs, Cesar, and others to work in the Murano workshops. The author analyses the “glass as an object of high art” concept on the example of the Glasstress. A Window to the Future exhibition, held at the State Hermitage Museum in St. Petersburg. The author believes that some artists formally exploit Venetian glass technologies and a high presentation platform, presenting works devoid of artistic significance. In this regard, the author draws on the philosophical concepts of mimicry and mimesis, believing that mimicry, in this case, is aimed at the space of high art. It reflects innovations in the artistic image and the search for a new creative method associated with the use of new material. In turn, the author believes that in the same context, a number of works can be described as mimesis - a kind of pretence, a certain result of imitation without artistic transformation.
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Кукіль, Л. Л. "АНТРОПОМОРФНІ ОБРАЗИ МАСКАРОНІВ У ЛЬВІВСЬКІЙ АРХІТЕКТУРНО-ДЕКОРАТИВНІЙ ПЛАСТИЦІ ХІХ – ПОЧАТКУ ХХ СТОЛІТТЯ." Art and Design, no. 3 (November 13, 2020): 78–88. http://dx.doi.org/10.30857/2617-0272.2020.3.6.
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The purpose of the study is to analyze the information load and plastic solutions of the anthropomorphic mascarons on the facades of Lviv buildings of the XIX – early XX centuries. Methodology. The article uses general scientific research methods: the historical and comparative method; the method of synthesis and the art history analysis. Research results. The Lviv architectural and decorative plastics of the 19th and early 20th century is characterized by a widespread typology of the mascarons on the facades of the buildings. Various types of faces of old Lviv street, paired male and female images, which represent the unity and the harmony of two beginnings (portraits of married couples), as well as the generalized artistic images, belong to the number of the anthropomorphic maskarons of Lviv of the specified period. The article analyzes the information load and the plastic-stylistic features of various anthropomorphic maskarons of the typological group under study. The authors of the various types of old Lviv street emphasized the efforts to convey the character of the depicted faces. Their artistic expression is enhanced by some personal attributes. This applies to the paired and the generic Lviv maskarons to a lesser extent. On the basis of an art historical analysis of a number of specific samples of the anthropomorphic mascarons of Lviv of the 19th and early 20th century, a species classification of the given typological group has been developed. Scientific novelty. Detected and analyzed the information load and plastic characteristics peculiarities of the mascarons in Lviv architectural and decorative sculpture of the XIX – early XX centuries. Practical ignificance. The proposed article is part of a comprehensive study of the broad typology of the Lviv maskarons of the 19th and early 20th century. The results of the work open up some opportunities for a further research of the groups and the subgroups of the Lviv mascarons and for a detailed art historical analysis of some individual original samples of relief faces of Lviv of the studied period.
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Субботина, Е. В. "Riza-covered icons of the late 18th – early 20th century in the collection of the Primorye State Art Gallery." Iskusstvo Evrazii [The Art of Eurasia], no. 2(25) (June 30, 2022): 150–65. http://dx.doi.org/10.46748/arteuras.2022.02.015.
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Иконная живопись и оклад составляют общий комплекс, нередко единовременный с живописью. В утилитарном смысле оклад служит чехлом, сохраняющим живопись от повреждений. Статья обозревает темперные окладные иконы конца XVIII – начала XX века в собрании Приморской картинной галереи. Предложена их группировка по особенностям оформления окладов, которая имеет существенное значение в экспозиционной работе музеев. Рассмотрены особенности икон с басменными, шитыми, выполненными под влиянием стилей барокко и классицизма окладами, иконы-«подокладницы» и иконы с врезным крестом. Поднят вопрос об эстетическом взаимодействии элементов скульптуры, графики, живописи иконы и ее оклада. Icon painting and oklad (“covered” or “a riza”) forms the overall appearance, often simultaneous with painting. In a utilitarian sense, the covered preserves the painting from mechanical and corrosive damage. The article presents the covered icons of the late 18th – early 20th centuries in the collection of the Primorye State Art Gallery. The author proposed their grouping according to the peculiarities of riza’s design, which is of significant importance in the exposition work of museums. The features of icons with basma rizas, embroidered rizas, rizas made under the influence of Baroque and Classicism styles, riza-covered icons and icons with a mortise cross are considered. The study also raises the question of the aesthetic interaction of the elements of sculpture, graphics, painting of the icon and its setting.