Journal articles on the topic 'Painting, Australian 20th century'
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Babaev, Kirill V. "From the Stone Age to Post-Vanguard: On the Transformation of Aboriginal Australian Painting in the Late 20th and Early 21st Century." Actual Problems of Theory and History of Art 12 (2022): 554–62. http://dx.doi.org/10.18688/aa2212-05-43.
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Jones, Mark. "20th century composers." Psychiatric Bulletin 15, no. 7 (July 1991): 442–45. http://dx.doi.org/10.1192/pb.15.7.442.
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At the turn of the century, opera was leaderless after the heady days of Verdi and Wagner. Puccini emerged as the new voice of Italian opera, where realism, or verismo, was the way forward. But verismo could never be the answer to the operatic dilemma that faced the latest composers, since it only gave a musical dimension to a stage painting of ‘life as it is’, without reference to underlying psychodynamics — I personally have never thought Puccini much of an intellectual. Beautiful his music may be, but as thinking pieces of theatre they are devoid of real challenges. Their appeal and potency lies, to a great extent, in Puccini's obsession with needless suffering.
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Ковальова, М. М., and Цю Чжуанюй. "ІМПРЕСІОНІСТИЧНІ ТЕНДЕНЦІЇ В КИТАЙСЬКОМУ ОЛІЙНОМУ ЖИВОПИСУ ПЕРШОЇ ПОЛОВИНИ XX СТОЛІТТЯ." Art and Design, no. 3 (November 13, 2020): 55–65. http://dx.doi.org/10.30857/2617-0272.2020.3.4.
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The purpose of the article is to reveal the impressionistic trends in the fine arts of China, determining the originality of the Chinese oil painting development of the 20th century. Methodology. Historical and cultural, comparative, iconographic and iconological methods are used in the study. Results. The study examines the underinvestigated aspects of Chinese painting development in the first half of the 20th century. The retrospective analysis of the pictural art enables tracing the traditions and innovations in the formation of oil painting in China, which prevails at this historical stage of the national art school development. The desire of Chinese artists to preserve the philosophical foundation and theoretical principles of classical ink painting, and at the same time an interest in Impressionism, have become a peculiar feature of Chinese oil painting. The main trends, dominating at the beginning of the century, persist to this day, defining the development of Chinese oil painting in general. It is determined that the decorativeness and thematic repertoire of classical Chinese ink art has been transferred to oil painting, as evidenced by the booming exhibition activities. The study determined that in the first half of the 20th century, the impressionistic trend was spread in the country, which resulted from the study of Japanese and French masters by Chinese masters. The teaching methods and stylistic searches of Chinese artists of the period under study became the foundation of contemporary Chinese art. The latest trends in Chinese oil painting in the first half of the 20th century are: an artistic rethinking, reminiscences of a similar phenomenon in Western European painting of the late XIX – early XX century. The spread of impressionism contributed to the greatest development of still life and landscape genres, and also brought plein air practice to a new level. Many Chinese artists spread impressionistic ideas not only in artistic creation, but also in art history. The scientific novelty lies in the systematization and factual material analysis on this problem, determining the role of the impressionist trend in the Chinese oil painting development. Practical significance. The results of the study can be used in further studies of the history and theory of Oriental art of the 20th century.
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Šeparović, Ana. "Icons and Croatian Painting in the Early 20th Century." IKON 9 (January 2016): 299–310. http://dx.doi.org/10.1484/j.ikon.4.00026.
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Koltsova, Tatiana Mikhailovna. "Icon-Painting Workshop of the Solovetsky Monastery. 17th - Early 20th Century." Secreta Artis, no. 3 (November 20, 2020): 50–75. http://dx.doi.org/10.51236/2618-7140-2020-3-3-50-75.
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Founded in 1429, the Solovetsky Monastery has throughout several centuries preserved and maintained the traditions of Russian icon painting in the North. In its iconpainting chamber (the building was constructed in 1615), new iconostases were created and icons from the churches of the monastery and patrimonial lands in Pomorie were repaired. In the 17th century, 45 icon painters worked on Solovki in different years, among them were monks, monastery servants, and “trudniks” (lay workers). In the 18th century, the artists of the Pomor patrimonial lands underwent their initial training at the monastery school of icon painting. Families of hereditary icon painters Chalkovs and Savins from Sumsky Posad are particularly well-known. The monastery sent the most gifted students to St. Petersburg and Moscow to improve their art. In 1880, the Solovetsky painting school was inaugurated, where many northern icon painters acquired basic painting skills. Copying and painting from life formed the basis of the educational process; students were offered paintings from the Academy of Arts as samples. The icons and paintings made in the workshop are distinguished by their characteristic stylistic, technical and technological features. The most prominent graduates of the school (A. A. Borisov, N. G. Bekryashev) contributed significantly to the history of Russian art. The article contains new archival documents and rare photographs.
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Song, Yicai. "The development of 20th century realistic oil painting in China." Vestnik of St Petersburg University. Series 15. Arts, no. 2 (June 2016): 36–43. http://dx.doi.org/10.21638/11701/spbu15.2016.203.
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Kayapinar, Umut. "EXPRESSIVE INTERACTIONS IN THE 20TH CENTURY THE ART of PAINTING." Idil Journal of Art and Language 6, no. 32 (May 20, 2017): 1253–67. http://dx.doi.org/10.7816/idil-06-32-06.
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Fan, Liu. "Lijiang river image in painting of Chinese 20TH century artists." Humanities science current issues 2, no. 39 (2021): 33–41. http://dx.doi.org/10.24919/2308-4863/39-2-6.
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Betz, Dorothy M. "Australian Divagations: Mallarme & the 20th Century (review)." Nineteenth Century French Studies 32, no. 3 (2004): 413–14. http://dx.doi.org/10.1353/ncf.2004.0004.
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Armitage, Marc. "Antipodean traditions: Australian Folklore in the 20th century." International Journal of Play 2, no. 2 (September 2013): 150–52. http://dx.doi.org/10.1080/21594937.2013.823812.
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Bragina, Natalia, and Jelena Jermolajeva. "THE DOLL IN THE PAINTINGS OF THE LATE 19TH – EARLY 20TH CENTURIES: HERMENEUTIC ANALYSIS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 20, 2020): 616. http://dx.doi.org/10.17770/sie2020vol5.4859.
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The semantics of the doll in painting is not sufficiently investigated in art history and culture studies. The doll is never an accidental or unimportant component of a painting; it reveals deep psychological and symbolic undertones, complicates and concretizes the content of the painting. Each art style deals with this topic in its own way. The aim of the article is to analyse the interpretation of the image of the doll in various styles of painting of the second half of the XIX century – beginning of the XX century: in realistic painting, in symbolism, impressionism, and modernism. The research methods are the analysis of literature, the descriptive method, the hermeneutic method, and the comparative analysis method. The article may be useful for researchers in art and cultural studies, and can be used at school and university courses in the History of Art and Culture.
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Medvedev, Alexander. "Modernistskiy ekfrasis v esse Mariny Tsvetayevoy „Natal'ya Goncharova. Zhizn' i tvorchestvo”." Studia Interkulturowe Europy Środkowo-Wschodniej, no. 14 (November 22, 2021): 196–223. http://dx.doi.org/10.31338/2544-3143.si.2021-14.10.
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This article examines Marina Tsvetaeva’s modernist perception of the personality and paintings of the greatest representative of the Russian avant-garde of the 20th century in the essay “Natalia Goncharova. Life and Work” (“Наталья Гончарова. Жизнь и творчество”, 1929). Goncharova’s paintings that Tsvetaeva describes in her essay are indicated. The principles of modernist poetics and ekphrasis are revealed (lyrical subjectivism, ontology, consonance, anagrammatic disclosure of the inner form of a word, mythologization, reader co-creation, dialogism). The similarity between Tsvetaeva’s understanding of painting and poetry is compared to the ontological understanding of art by Martin Heidegger. This can be explained by the tradition of ontological poetry (Friedrich Hölderlin and Rainer Maria Rilke), which is important for both. The ontology of Goncharova’s painting is also considered in the context of the ontology of animals in Russian philosophy at the beginning of the 20th century (Vasily Rozanov) and in the Tahitian Painting of Paul Gauguin. Special attention is paid to ekphrastic poetics (style, tropes, consonance), with the help of which Tsvetaeva authentically transfers the ontologism of Goncharov’s painting in its stylistic diversity (cubism, neo-primitivism, rayonism) to the verbal level. Tsvetaeva and Goncharova in the respective Russian and European context (Gauguin, Rozanov, Heidegger, Rilke) appear as exponents of the ontological turn in the culture of the first half of the 20th century.
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Géger, Melinda. "Az elveszett paradicsom. A vidéki táj és vidéki élet ábrázolása a somogyi képzőművészetben a 20. század első felében I." Kaposvári Rippl-Rónai Múzeum Közleményei, no. 7 (2020): 337–50. http://dx.doi.org/10.26080/krrmkozl.2020.7.337.
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The depiction of Hungarian village and rural life ap-peared as a motif of outstanding significance in 20th-century painting. The representation of the hungarian village and ru-ral life appeared as an outstanding motif in the 20th century painting. The variations in the appearance of the topic are closely related to the transformations of Hungarian society in the 20th century (vagy 20th century helyett:era). The focus is on each in artistic oeuvres to depict the rural sites of civic life and to the myth of a peasant living in harmony with nature and folklorization, elsewhere a new, pantheistic one falls to cre-ate a picture of nature. In the artistic oeuvres the focus was on the representation of the civil life’s rural locations, on the myth of peasants who live in harmony with nature, more on their folklrisation and elsewhere on a new, pantheistic nature-picture creation. In the first half of the 20th century, this idyll dominates in pictorial expressions describing the concept of rurality. In the first part of the study, different variations of the depictions of the rural idyll appearing in the art of Somogy are reviewed, especially focusing on the art of József Rippl-Rónai. In the first half of the study, the different variations of rural idyll’s depictions in Somogy’s art are reviewed, espe-cially focused on József Rippl-Rónai’s works.
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Gultyaeva, Galina S. "Realistic Painting of the 20th Century China in the Context of Cultural Visualization." Observatory of Culture 18, no. 1 (May 24, 2021): 32–43. http://dx.doi.org/10.25281/2072-3156-2021-18-1-32-43.
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This article examines the phenomenon of Chinese realism, as well as the prerequisites and factors that influenced the processes of reception in modern Chinese art. At the beginning of the 20th century, under the influence of Western academic realism and the artistic system of social realism, a new direction and artistic method was formed — realism, which became mainstream in the art of China of the mid-20th century. According to its aesthetic and ideological motifs, Chinese realism is an object of social realism reception, which was determined by cultural and historical factors, and the development of political, economic and cultural ties with the USSR. Studying the realistic painting, which reflects the atmosphere of the era, the worldview, and the dialogue of cultures, is relevant for both Chinese and Russian contemporary art studies. The article examines the role of realism in the development of Chinese art culture of the 20th century, including its socio-political components, as well as the dynamics of artistic and expressive means and the iconographic system in the context of the historical and cultural situation. In the 1980s and 1990s, as a result of the liberalization of economic and political life, the artistic consciousness formed new concepts of realistic painting — neorealism and cynical realism, associated with a critical rethinking of the historical heritage. The neorealism and cynical realism, which would significantly enrich realistic painting with new forms and content, adopted Western postmodern concepts of pop art, and debunked, in a grotesque and satirical form, the political stereotypes of the past. The analysis of realistic painting of the 1990s demonstrates how the transformation of past painting canons reflects the desire of society to free itself from the pressure of totalitarian ideology and to rethink the value orientations of the previous era.The novelty of this study lies in the fact that it applies a systematic and holistic approach to the analysis of realism in Chinese painting, reveals the diversity of its forms and directions, and gives ground for the specifics of its evolution in the context of the artistic culture of the 20th century China. There are almost no comprehensive studies of this issue in modern art history, so this work is an attempt to create a scientific approach to the study of this artistic phenomenon and the formation of ideas about how the artistic consciousness of an entire epoch was changing.
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Sharaeva, Tatyana I. "Особенности иконографии в калмыцкой вышивке: традиционные и современные практики." Oriental Studies 14, no. 2 (July 20, 2021): 314–36. http://dx.doi.org/10.22162/2619-0990-2021-54-2-314-336.
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Introduction. The Kalmyks are a Mongolic Buddhist people that arrived in the Volga region in the 17th century. The specific ethnic features of Buddhism professed by the Kalmyks took shape over centuries of Russian suzerainty and were determined by various historical factors, including prolonged remoteness from Buddhist centers, the total eradication of Buddhist monasteries and centuries-long ban on spiritual guidance experienced in the 20th century, and the official Buddhist restoration by the early 21st century. Goals. The work aims at identifying and comparing traditional and contemporary Buddhist thangka patterns as elements to mirror particular features of Kalmyk iconography, as essential objects of religious cult and cultural heritage at large. Results. The paper shows that in the pre-20th century period Kalmyks used different techniques for producing thangkas — painting, embroidery, and applique ones. In the late 18th century onwards, imports of religious attributes from Tibet and Mongolia were restricted, and the role of art workshops affiliated to local Buddhist temples increased. That resulted in further development of thangka painting schools and the shaping of somewhat ethnic style in depicting Buddhist deities characterized by certain differences from canonical images. The old thangkas from private and public collections have served a basis for the restoration of ethnic painting traditions integral to Kalmykia’s Buddhism proper. The contemporary practices of producing divine images are closely related to stages in the regional development of Buddhism from the late 20th century to the present, lay Buddhist experiences, women’s leisure-time activities, and ethnic entrepreneurship. The study concludes contemporary Kalmyk needlewomen are guided by traditional rules of religious craftsmanship.
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Ryder, Nicole. "Acidity in canvas painting supports: Deacidification of two 20th century paintings." Conservator 10, no. 1 (January 1986): 31–36. http://dx.doi.org/10.1080/01410096.1986.9995015.
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Schweik, Robert. "Painting as "EXPLORING" and Related Metaphors in 20th-Century Art Commentary." Metaphor and Symbolic Activity 11, no. 4 (December 1996): 285–96. http://dx.doi.org/10.1207/s15327868ms1104_4.
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Burganov, Aleksandr A. "ICONOGRAPHY OF LITURGICAL COMPOSITIONS IN THE PAINTING PROGRAM OF THE КRONSTADT ST. NICHOLAS NAVAL CATHEDRAL." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 1 (2021): 124–36. http://dx.doi.org/10.28995/2073-6401-2021-1-124-136.
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The painting of the Kronstadt St. Nicholas Naval Cathedral is one of the largest and little-studied monuments of Russian church painting of the early 20th century. Тhe study of the iconographic program of the painting of the cathedral will fill in the gaps in our understanding of the development of Russian art of that period. The article undertakes an iconographic analysis of some compositions united by liturgical symbolism, which brings us closer to a more complete understanding of the artistic method of the authors of the painting.
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Demchenko, Alexander I. "The Great Saratov Triad of the Early 20th Century." ICONI, no. 3 (2019): 52–64. http://dx.doi.org/10.33779/2658-4824.2019.3.052-064.
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Saratov is justifiably called one of the most significant centers of the artistic culture of the Russian Near-Volga Region. When analyzing the condition of that domain of the plastic arts represented by painting and graphics, it is necessary to state that during the course of the entire 19th century (not to mention the previous century) the figures of the artists were merely episodic: Jean Baptiste Savin, a Frenchman in his origin (famous for his portraits and watercolors), watercolor painter Maria Zhukova, Andrei Godin (who was the first teacher of Mikhail Vrubel) and Feodor Vassiliev (the first instructor of Victor Borisov-Musatov), portraitists and church painters Lev Igorev and Nikolai Rossov. For the most part, the artists who worked beyond the confines of Saratov were its natives, who were veritably well-known artists – Vassily Zhuravlev and Alexei Kharlamov. The high flourishing of painting in Saratov at the end of the 19th and the beginning of the 20th century was prepared by the activities of Hector Baracchi, originally from Italy, and graduate from the St. Petersburg Academy of the Arts Vassily Konovalov. They exerted a decisive influence on the local artistic school, the main representatives of which were Victor Borisov-Musatov, Pavel Kuznetsov, Piotr Utkin, Alexander Savinov, Kuzma Petrov-Vodkin (a native of Khvalynsk), as well as sculptor Alexander Matveyev. However, there were three names which have become the most “celebrated” for Saratov, which led the brilliant assemblage of remarkable artists pertaining to the visual arts and were in the vanguard of the so-called era of “cultural boom,” as the high artistic accomplishments of the late 19th and early 20th century are sometimes referred to. They are Victor Borisov-Musatov, Pavel Kuznetsov and Kuzma Petrov-Vodkin. The present essay is devoted to them.
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Sinem Kucuk, Kamile. "The Sociocultural Aspects of Merchant Class in the Light of Russian Painting Art." European Journal of Multidisciplinary Studies 2, no. 1 (August 30, 2016): 81. http://dx.doi.org/10.26417/ejms.v2i1.p81-85.
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The merchant class, which contributed to the improvement of Russia, evolved due to politicial reforms. Especially in 1861 the emancipation reform of the Russian serfs caused social and culturel changes in the life of merchants. In 19th and early 20th century, the works of Russian genre painters P.A. Fedetov, A.P. Ryabushkin, V.G. Perov, F. Juravlev and B.M. Kustodiyev not only reflected the social situation and stereotypes of merchants, but also revealed cultural history of the mentioned class. In this paper it is aimed to disclose the evolution of merchant class in 19th and the early 20th century, observing and analysing the art of Russian painting in sociocultural perspective.
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Hryhorov, V. "Monumental and decorative art of the second half of the 20th century in specialized literature." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 99–104. http://dx.doi.org/10.33838/naoma.27.2018.99-104.
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The article deals with a number of issues highlighted in the research of monumental painting during the 1960–2000s, and follows the development of art studies literature during the specified period. Ukrainian monumental painting during the second half of the 20th century evolved rather unequally, which affecte the art criticism reflections. In the 1960's and 80's the active and dynamic development of monumental art took place. Research in this area also reached the peak of its popularity. For example, the article of I. Pronina contains a review of publications from 1973–1974, and the author brought the statistics indicating more than 200 works. (180) Since the mid-1960's, academics have been increasingly focusing on monumental art. The attitude to monumental painting in the art history literature of the 1960's is ambiguous. However, most researchers are still critical of post-war practice and consider monumental works of the late 1950`s and 1960`s as a step forward. The distinctive differences between the 1960's and 1970's – 1980's lie in various attitudes towards themes and scenes of the monumental painting. In the 1960's the monumentality was associated with the laconic content, using a set of all understandable associative attributes. The expansion of the range of themes in monumental painting in the professional literature occured in the 1970's. Since the research problem stands at the crossroads of various branches of art, important scientific advancements were reflected in such prominent professional publications as: "Architecture of the USSR", "Decorative art of the USSR" and "Fine Arts". In the 1970's the publishing house "Soviet artist" released a series of articles compilations called "Soviet monumental art." The state of monumentalism significantly changes in 1990's as there was a significant decline in the activity of this artistic direction. At this time the monumental painting fell into the field of wide-scale artistic studies. In the professional literature of the last decade the scope of art study themes has changed to a certain extent as the art historians more often address the issues previously tabooed in Soviet times, and some of them partially or fully relate to the monumental painting. To such themes belong the Sixties and Boichukizm. Today the problem of the preservation of Soviet monumental works sharply appears. Many authors turn to the theme of monumental art in order to attract the attention of society to the rapid destruction of mosaics and wall murals, and to prove their value for Ukrainian fine arts.
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Frederiksen, Jorgen S., and Stacey L. Osbrough. "Tipping Points and Changes in Australian Climate and Extremes." Climate 10, no. 5 (May 19, 2022): 73. http://dx.doi.org/10.3390/cli10050073.
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Systematic changes, since the beginning of the 20th century, in average and extreme Australian rainfall and temperatures indicate that Southern Australian climate has undergone regime transitions into a drier and warmer state. South-west Western Australia (SWWA) experienced the most dramatic drying trend with average streamflow into Perth dams, in the last decade, just 20% of that before the 1960s and extreme, decile 10, rainfall reduced to near zero. In south-eastern Australia (SEA) systematic decreases in average and extreme cool season rainfall became evident in the late 1990s with a halving of the area experiencing average decile 10 rainfall in the early 21st century compared with that for the 20th century. The shift in annual surface temperatures over SWWA and SEA, and indeed for Australia as a whole, has occurred primarily over the last 20 years with the percentage area experiencing extreme maximum temperatures in decile 10 increasing to an average of more than 45% since the start of the 21st century compared with less than 3% for the 20th century mean. Average maximum temperatures have also increased by circa 1 °C for SWWA and SEA over the last 20 years. The climate changes in rainfall an d temperatures are associated with atmospheric circulation shifts.
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Kulakova, Olga Yu. "Dutch Flower Still Life of 17th Century: Interest and Oblivion through the Centuries." Observatory of Culture 18, no. 5 (October 29, 2021): 496–505. http://dx.doi.org/10.25281/2072-3156-2021-18-5-496-505.
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Over three and a half centuries, the genre of flower still life created by Dutch artists experienced ups of interest and oblivion. There were the maximum assessment of society in the form of high fees of the 17th century artists; the criticism of connoisseurs and art theorists; the neglect in the 19th century and the rise of auction prices and close attention of art critics, manifested from the middle of the 20th century to the present day. In the middle of the 17th century, there was already a hierarchy of genres, based on both the subject and the size of the paintings, which was reflected in the price. Still lifes and landscapes were cheaper than allegorical and historical scenes, but there were exceptions, for example, in the works of Jan Brueghel the Elder and Jan Davidsz. de Heem. Art theorists Willem van Hoogstraten and Arnold Houbraken, resting upon academic tastes, downplayed the importance of still-life painting. Meanwhile, the artists themselves, determining the worth of their paintings, sought for maximum naturalism, and such paintings were sold well.In the 20th century, this genre attracted the attention of collectors in Europe and the United States. A revival of interest in Dutch still lifes in general, and in flower ones in particular, began in the 20th century, the paintings rose in price at auctions, and collecting them became almost a fashion. Art societies and art dealers of the Netherlands and Belgium organized several small exhibitions of still lifes. The course for studying symbolic messages in still lifes, presented by Ingvar Bergström, is continued by Eddie de Jong, who emphasizes the diverse nature of symbolism in Dutch painting of the 17th century. Svetlana Alpers, on the contrary, criticizes the iconological method and presents the Dutch painting of that period as an example of visual culture. Norman Bryson’s view of Dutch still lifes is formed against the background of the development of a consumer society, economic prosperity and abundance. Finally, there has been an increasing interest in the natural science aspects of flower still-life painting in the researches of the last twenty years. Curiosity, skill, and admiration for nature are the impulses that can still be felt in the images of bouquets and fruits.
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Jun, Min-Kyung, and Kyung-Chul Jeong. "A Correlation between Expressionism and Neo Expressionism in 20th Century Modern Painting." Journal of the Korea Contents Association 11, no. 2 (February 28, 2011): 259–67. http://dx.doi.org/10.5392/jkca.2011.11.2.259.
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Radonjic, Ana, and Slobodan Markovic. "Judgement of paintings belonging to different tendencies in the 20th century painting." Psihologija 37, no. 4 (2004): 549–69. http://dx.doi.org/10.2298/psi0404549r.
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In this study Trifunovic? hypothesis that there are three objective lines in the development of modern art was psychologically evaluated. According to Trifunovic, in the first line (C?zanne - cubism - neoplasticism - suprematism) the geometrization of form prevails, in the second (Van Gogh - expressionism - abstract expressionism) the use of color is dominant, whereas the main features of the third line (Gauguin - fauvism) are symbolic use of color and reduction of perspective. Fifteen reproductions of paintings that represent the three developmental lines were used as stimuli. The subjects were asked to judge the stimuli on nine bipolar 7-step scales. These scales constitute the three factors of instrument SDF 9: Evaluation, Arousal and Regularity (3 scales x 3 factors = 9 scales). Four clusters of paintings were obtained: Abstract-expressionistic (moderate Evaluation, high Arousal and low Regularity), Figural-expressionistic (very low Evaluation, low Arousal and high Regularity), Constructivistic (moderate Evaluation, low Arousal and high Regularity) and Realistic (high Evaluation, high Arousal and high Regularity). The results partially confirm Trifunovic? hypothesis indicating that, besides the formal features, the content (abstract vs. figural) is also significant factor of subjective clustering of paintings.
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Kultasheva, Nigorakhon Daniyarovna. "THE GENRE SYSTEM FORMATION (EVOLUTION) IN PAINTING OF UZBEKISTAN IN 20TH CENTURY." Theoretical & Applied Science 62, no. 06 (June 30, 2018): 28–30. http://dx.doi.org/10.15863/tas.2018.06.62.6.
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Lacina, Jan, and Petr Halas. "Landscape Painting in Evaluation of Changes in Landscape." Journal of Landscape Ecology 8, no. 2 (November 1, 2015): 60–68. http://dx.doi.org/10.1515/jlecol-2015-0009.
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Abstract One of common methods of determining landscape change usually is to compare maps and photographic images of the same places in different time horizons. Landscape painting, which has a long and rich tradition in the Czech Republic, can be used similarly. Landscape-ecological interpretation of selected works by painters of the 19th century - Julius Mařák, František Kaván and Antonín Slavíček was done in this paper. Some pictures of the Českomoravská vrchovina (Bohemian-Moravian highlands) by Josef Jambor from the mid-20th century were used for detailed comparative analysis to the level of habitats. We compared 80 landscape paintings and found that most of the painted sceneries have changed for worse.
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Chen, Jiajun. "The Style and Characteristics of Flower-and-Bird Painting in The Western Fujian Province in Modern Times." Scientific and Social Research 3, no. 6 (December 29, 2021): 157–63. http://dx.doi.org/10.36922/ssr.v3i6.1293.
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The 20th century was a period of change in the development of Chinese flower-and-bird painting. Traditional brush and ink painting blended with Western painting colors and concepts to present new forms of painting. Following the peak of Ming and Qing Dynasties’ development in Minxi (the western of Fujian) painting, a group of freehand flower-and-bird painters represented by the “four Masters of Shanghang” Li Shaoqi, Luo Xiaofan, Qiu Tian, and Song Shengyu, who inherited the Minxi painting style of the Ming and Qing Dynasties, learned the new painting language combines the styles of Paintings of Shanghai school, Lingnanism, and Lingdongism. The unique new style of painting highlights the posture of Minxi flower-and-bird paintings, thus influencing the modern times changes of flower-and-bird paintings of Fujian.
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Fitch, Kate. "Rethinking Australian public relations history in the mid-20th century." Media International Australia 160, no. 1 (August 2016): 9–19. http://dx.doi.org/10.1177/1329878x16651135.
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This article investigates the development of public relations in Australia and addresses calls to reconceptualise Australian public relations history. It presents the findings from an analysis of newspaper articles and industry newsletters in the 1940s and 1950s. These findings confirm the term public relations was in common use in Australia earlier than is widely accepted and not confined to either military information campaigns during the war or the corporate sector in the post-war period, but was used by government and public institutions and had increasing prominence through industry associations in the manufacturing sector and in social justice and advocacy campaigns. The study highlights four themes – war and post-war work, non-profit public relations, gender, and media and related industries – that enable new perspectives on Australian public relations history and historiography to be developed.
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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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Jaiswal, Abhilasha. "DIGITAL TECHNIQUES OF PAINTING." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 150–53. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3727.
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As technology is evolving gradually from the ages, the human way of living and different types of arts have also influenced. In these days the old energy consuming process has got extent and a creative fusion of the two worlds of art and technology is prevailing. Inspiringly, the background medium of this force which is fast developing into an indispensable asset is the digital age of computer. It’s effect on the human life can be said to have secured unusual style in past 20th century, where the computer as a machine which uses codes and binary digits computerized to keep and achieve facts provided, were used in various ways to process easier the functions of particular absolutely necessary machines in human attempts to achieve a goal, until then it was done manually or by some other means.
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Song, Hee-kyung. "Early 20th Century Korean Literary Painting - Kim Young-ki (1911-2003)’s theory of painting and his works." Korean Literature and Arts 27 (September 30, 2018): 323–57. http://dx.doi.org/10.21208/kla.2018.09.27.323.
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Mishchenko, Iryna. "Gennady Gorbaty's painting: crypto-realism as overcoming imitation of reality." Almanac "Culture and Contemporaneity", no. 1 (August 31, 2021): 176–80. http://dx.doi.org/10.32461/2226-0285.1.2021.238616.
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The purpose of this article: analysis of Gennady Gorbaty's painting, in the work of which the transition from a realistic reflection of the world to the art of postmodernism, characteristic of Ukrainian art of the late 20th century, was reflected in a peculiar way. The methodology is the application of art analysis, methods of comparison and generalization, biographical and historical approach. The scientific novelty lies in the discovery of the peculiarities of the transformation of the traditional for Soviet art reflection of reality into visual practices of the late 20th – early 21st centuries on the example of the work of a particular artist. Conclusions. Gennady Gorbaty studied at the Kyiv State Art Institute (1981–1987), so his formation was significantly influenced by the traditional school of painting with a mostly realistic reproduction of the world around it and a purely academic hierarchy of genres. The socio-political situation in Ukraine in the late 1980s and early 1990s not only contributed to the liberation from such a view of art, but also intensified attention to the development of both contemporary world art and modernist manifestations that existed in the culture of the first half of the 20th century. At the same time, many artists became interested in the history of Ukraine, especially in its tragic or dramatic pages, which led to the emergence of numerous compositions with a complex system of symbols and associations, elements borrowed from the paintings of past eras. In the work of Gennady Gorbaty can be consistently traced a variety of influences, which demonstrate his search for his own plastic language, the gradual departure from the conditionally realistic art of the Soviet era and the formation of a peculiar manner of performance. This was facilitated by an acquaintance with Western European art of the late 20th century, as the artist has been working in Germany since the early 1990s. It was one of the German art critics G. Beck who defined the stylistics of G. Gorbaty's works as crypto-realism, in which the emotional beginning, reflected in the color scheme and expression of picturesque textures, is combined with supposedly hidden motives of visible reality. In the works of this author, the blurring of genres, the synthesis in one picture of elements of different artistic epochs – from the Middle Ages to postmodernism – is also noticeable.
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Junge, Maxine Borowsky. "The perception of doors: A sociodynamic investigation of doors in 20th century painting." Arts in Psychotherapy 21, no. 5 (January 1994): 343–57. http://dx.doi.org/10.1016/0197-4556(94)90062-0.
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Eskilson, Stephen. "Thomas Wilfred and Intermedia: Seeking a Framework for Lumia." Leonardo 36, no. 1 (February 2003): 65–68. http://dx.doi.org/10.1162/002409403321152347.
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The most successful early-20th-century artist of colored light in the United States was undoubtedly Thomas Wilfred (1889–1968). In the 1920s, his “Lumia” compositions were praised by art critics and performed throughout the U.S. After initially embracing a musical analogy to explain Lumia, in the early 1930s he shifted to an analogy based on painting. In pursuit of this new context, Wilfred sought to legitimize Lumia through a relationship with the Museum of Modern Art in New York. His career is emblematic of the difficulties inherent in the creation of art using technology early in the 20th century, years before the postmodern embrace of pluralism.
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Flores-Sasso, Virginia, Gloria Pérez, Letzai Ruiz-Valero, Sagrario Martínez-Ramírez, Ana Guerrero, and Esteban Prieto-Vicioso. "Physical and Chemical Characterisation of the Pigments of a 17th-Century Mural Painting in the Spanish Caribbean." Materials 14, no. 22 (November 14, 2021): 6866. http://dx.doi.org/10.3390/ma14226866.
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The arrival of Spaniards in the Caribbean islands introduced to the region the practice of applying pigments onto buildings. The pigments that remain on these buildings may provide data on their historical evolution and essential information for tackling restoration tasks. In this study, a 17th-century mural painting located in the Cathedral of Santo Domingo on the Hispaniola island of the Caribbean is characterised via UV–VIS–NIR, Raman and FTIR spectroscopy, XRD and SEM/EDX. The pigments are found in the older Chapel of Our Lady of Candelaria, currently Chapel of Our Lady of Mercy. The chapel was built in the 17th century by black slave brotherhood and extended by Spaniards. During a recent restoration process of the chapel, remains of mural painting appeared, which were covered by several layers of lime. Five colours were identified: ochre, green, red, blue and white. Moreover, it was determined that this mural painting was made before the end of the 18th century, because many of the materials used were no longer used after the industrialisation of painting. However, since both rutile and anatase appear as a white pigment, a restoration may have been carried out in the 20th century, and it has been painted white.
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Лиманская, Л. Ю. "Avant-garde trends in Ukrainian painting from the beginning to the second half of the 20th century." Iskusstvo Evrazii [The Art of Eurasia], no. 3(26) (September 30, 2022): 180–89. http://dx.doi.org/10.46748/arteuras.2022.03.015.
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Статья посвящена истории украинского авангарда, связи его истоков с живописью середины и второй половины XX века. В статье сделан акцент на популяризаторской роли В. Кандинского и В. Издебского во время организации салонов, знакомство публики благодаря их деятельности с лучшими образцами европейского авангарда того времени. Рассматривается роль Т. Фраермана, А. Нюренберга в закреплении, благодаря их учебе во Франции, постимпрессионистических влияний французской школы в живописи Одессы. Рассматривается творчество лидера одесской школы живописи, ученика Фраермана, Ю. Егорова и его учеников, членов группы «Мамай», и прослеживаются традиции раннего авангарда в их искусстве. Затрагивается киевская и львовская школы живописи, их индивидуальные особенности, программная специфика произведений их лидеров, творчество Т. Сильваши и Л. Медведя. The article is devoted to the history of the Ukrainian avant-garde, the connection of its origins with the painting of the middle in the second half of the 20th century. The article focuses on the popularizing role of V. Kandinsky and V. Izdebsky during the organization of salons, acquaintance thanks to their activities to the public with the best examples of the European avant-garde of that time. The traditions of the early avant-garde were alive in the work of the leader of the Odessa school of painting Y. Egorov and his students, members of the Mamai group. The article examines the influence of tradition on painting in the middle and second half of the twentieth century. The Kyiv and Lvov schools of painting and their individual features, the conceptual features of their creativity of the leaders T. Silvashi and L. Medved will be touched upon.
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Wenji, Zhao, Cui Rongrong, and Niu Li. "Design and Cultural Aspects of 20th Century Chinese Xiangjin Brocade." Fibres & Textiles in Eastern Europe 151, no. 3 (September 28, 2022): 116–29. http://dx.doi.org/10.2478/ftee-2022-0030.
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Abstract As one of the representative silk-woven artworks of the 20th century in China, Chinese Xiangjin brocade, well-known as “the flower of Oriental art”, draws on the essence of Sichuan brocade, Yun brocade, Song brocade, so as to form its own unique artistic style. It also takes the lead in the innovation of traditional brocade in key processes such as craftsmanship, design and jacquard, whose drawing technique is the exact core skill making it intangible cultural heritage. So far, there have been few studies on crafts and textile design in China before the 20th century or even after the reform and opening up, and rather fewer studies on the structure of Xiangjin brocade in the 20th century. This paper attempts to record and classify 1008 pieces of Xiangjin brocade in the Suzhou Silk Archive, China, as well as to find out their design features, oriental flavour, and unique weaving techniques. In addition, the cultural connotation of Xiangjin brocade as the painting medium was also put forward by analysing those brocades' historical texts, images, and style.
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Voskresenskaya, V. V. "Symbolism in Russian Painting of the Early 20th Century: the Vitality of Plastic Expressiveness." Art & Culture Studies, no. 4 (December 2022): 108–39. http://dx.doi.org/10.51678/2226-0072-2022-4-108-139.
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The purpose of the article is to reveal the understanding of vitality as the intensity of innovative plastic expressiveness in Russian painting of the early 20th century. It was in that period, since the turn of the 20th century, that the means of artistic expression and the tasks of art were changing fundamentally, which had a great impact on the future development of art. This study, based on the relevant theoretical and methodological perspective of the material already explored, allows identifying the conceptual aspects of Russian artistic culture of the indicated period and outline further area of scientific research. The author proceeds from the belief that vitality is an innovative vital capacity of art that is expressed in the strain of the artist’s creative energy embodied in the plastic expressiveness of the work. The appeal of a number of Russian painters of the early 20th century in line with symbolism to the innovative aspects of the plastic thinking and the consistent fixation of plastic innovations reveal this provision, demonstrating the uniqueness of Russian art in the world artistic culture of the epoch. In this context, it is important to foreground both the recognized achievements of such masters as M. Vrubel or V. BorisovMusatov and the early period of creativity of N. Roerich, K. Bogaevsky, p. Kuznetsov, M. Saryan or K. Malevich. The research problem determines a complex approach, which involves the combination of historical, cultural, chronological, and comparative methods and the formal-stylistic analysis. One of the most important results of the study is the identification of the significance of vitality as innovative plastic expressiveness for the evolution of art of the Modern times.
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Smyth, Russell, and Vinod Mishra. "The Prestige of Australian State Supreme Courts Over the 20th Century." Australian Journal of Political Science 45, no. 3 (August 17, 2010): 323–36. http://dx.doi.org/10.1080/10361146.2010.499160.
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Abdullina, Darina Aleksandrovna. "Сhildin the Image or Image of Achild : Russian Child Portrait in Painting and Photography of the Late 19 th − Early 20 th Century." Secreta Artis, no. 2 (August 12, 2021): 68–83. http://dx.doi.org/10.51236/2618-7140-2021-4-2-68-83.
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The stylistics of the child portrait in Russia in the 1850s – early 20th century underwent significant changes due to the emergence of photography (light painting). From the very beginning of its era, the 1850s, early photography borrowed composition, means of expression, and attributes from painting. Towards the end of the century, artists began to pay attention to the achievements of portrait photography, striving to depict children not in a staged way, but rather in moments of play, studies and rest, taking heed of photographic effects, in particular, cropped and “blurred” compositions. Many Russian artists used photo sketches, rethinking and re-creating the image of a child in their works. At the turn of the 19th and 20th centuries, the child portrait turned into an expressive medium of the artist’s self. By contrast, child photography focused on a specific child, with an emphasis on the continued documentation of the stages of his or her growth and development. The art form experienced further technical improvement, which led to the flourishing of the child photo portrait in the subsequent periods.
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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.
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Vostrikova, Ekaterina. "THE НWAJOHWA GENRE (BIRD-AND-FLOWER PAINTING)IN KOREAN TRADITIONAL PAINTING OF THE LATE CHOSŎN PERIOD (18th - EARLY 20th CENTURIES)." Scientific and analytical journal Burganov House. The space of culture 17, no. 3 (September 10, 2021): 31–49. http://dx.doi.org/10.36340/2071-6818-2021-17-3-31-49.
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This article is devoted to the hwajohwa artistic genre (bird-and-flower painting) of the late Chosŏn period (18th - early 20th centuries). The study identifies the historical and cultural context and traces the stylistic evolution of the bird-andflower genre. The national features inherent in Korean hwajohwa painting, as well as the influence of traditional Chinese styles and Western European painting techniques on the bird-and-flower genre, are noted. The author outlines the leading artists working in this genre. In the 18th century, the bird-and-flower painting in Korea underwent a significant transformation. The work of professional artists Chŏng Sŏn and Pyŏn Sangbyŏk presents a new realistic approach to hwajohwa painting. Artists began to carefully observe the structural characteristics of the depicted objects of wildlife. Also, artist Sim Sajŏng was a recognised master of the bird-and-flower genre. His work was based on the Chinese “southern school” pictorial principles and aesthetics, the influence of which was strong in Korea. Kim Hondo, the leading artist of the late Chosŏn period, actively used traditional landscape as a background for his works with flowers and birds. However, in depicting living creatures, he did not use formal templates, painting birds in realistic nature scenes. Kim Hondo contributed significantly to the development of Korean traditional painting and the hwajohwa genre. The popularity of the bird-and-flower genre in the late Chosŏn period is mainly due to economic growth and the improvement in the welfare of ordinary people. Most of the works of this genre were created by artists from the people. The works were examples of the so-called minhwa folk painting, which developed in accordance with the requests of a new customer, a native of the lower and middle classes. Such works combined auspicious symbols and were the embodiment of the highest harmony of nature. However, they also began to be used simply to decorate the house. In the hwajohwa painting of the 19th century, a new approach to the depiction of an artist’s personal experiences was reflected; such trends were mixed with the traditional “painting of ideas”. The birdand-flower genre acquired a free style and conveyed fresh aesthetic feelings under the influence of the work of artist Chang Sŭngŏp, whose pictorial approaches were continued and developed by masters at the very end of the Chosŏn era.
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Paz-Agras, Luz. "Creative processes in the Avant-Garde Movements." Estoa, no. 15 (2019): 21–30. http://dx.doi.org/10.18537/est.v008.n015.a02.
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The 20th Century Avant-Garde Movements broke with the traditional distinction of artistic disciplines in favour to an ambiguous space where limits are diffuse. Exhibition space played a relevant role in this sense as a laboratory where art object and spectator are together in interaction, getting to experiences that, in many cases, transcend from the exhibition to disciplinary Architecture. Through the analysis of the Proun Space of El Lissitzky, constructed in 1923, and some of the most relevant proposals of Neplasticist authors, focusing on the creative and experimental process, contributions from Painting to Architecture are established. Some of them, partially shaded by the hegemony of Modern Movement, have been incorporated to 20th Century architectural projects and they are a significant chapter about interdisciplinary creative processes.
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Hoffmann, Frank. "20th Century Korean Art, and: Modern Korean Ink Painting (review)." Journal of Korean Studies 13, no. 1 (2008): 118–23. http://dx.doi.org/10.1353/jks.2008.0000.
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Rodríguez Gómez, Gonzalo. "Estudi de l´Obra de Miquel Mont i Xavier Escribà en Relació a la Novel-la de Ficció d´Edwin Abbott, Planilàndia." Barcelona Investigación Arte Creación 8, no. 3 (October 3, 2020): 265. http://dx.doi.org/10.17583/brac.2020.3952.
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Although some art critics and historians predicted the end of painting during the 20th century, the evidence of the good state in which the medium is found has served to increase the meaning of painting and its expressive possibilities, expanding the limits of this field and combining it with different disciplines without any prejudice. In this article we approach the work of two artists who maintain close ties with the cities of Barcelona and Paris, Xavier Escribà and Miquel Mont. Our spirit is not to reflect the coincidences between the two artists but to claim the innovation of their own professional career.
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Gultyaeva, Galina S. "CHINESE NATIONAL PICTURE NIANHUA – A PHENOMENON OF CULTURE OF THE XX CENTURE." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 41 (2021): 127–38. http://dx.doi.org/10.17223/22220836/41/10.
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Chinese folk painting nianhua (literal translation, “New Year’s picture”) is a kind of Chinese graphic art, which received a wide popularity in the late XIX – early XX centuries. On the eve of the New Year in China everywhere decorated interiors of living rooms with colorful pictures containing New Year’s greetings, they were pasted on windows, doors, gates. Decorative pictures had a utilitarian and cultic purpose: images of mythological characters and gods symbolized happiness, longevity, prosperity, protected from disasters and misfortunes. At the beginning of the 20th century, nianhua was produced in the woodcutting shops in a woodcut way, since the middle of the 20th century have been used modern technologies, including printing. New Year’s paintings significantly different from national academic painting. The philosophical concept of New Year’s painting was to reflect the spiritual life of the people, moral values, and artistic tastes. The images were built on the basis of folklore motifs, a rhythmic combination of bright colors created a decorative effect, so nianhua is a valuable material that demonstrates the aesthetic representations of the Chinese people, their folk traditions and symbols. The themes of the New Year’s paintings are extremely diverse and includes the following: scenes from classical literature, religious and symbolic and benevolent drawings, genre art painting, calendars depicting 12 cyclic signs of animals, agricultural calendars and advertising pictures. During the history of its existence, the New Year’s picture plays an important political and ideological role. Traditional paintings propagated the foundations of the orthodox Confucian ideology about social and ethical relationships, including hierarchy in the family and society: “Wu lun – the five principles of relationships”, “Xiao – filial piety”, “Ren – patience”. In the second half of the XX century, the New Year's picture is developing as an agitational poster. Under the influence of European painting and modern political processes in Chinese society, artists began to use a new artistic method - revolutionary realism on purpose to illuminate sociopolitical events, propagandize government tasks and resolutions. The basic principles of painting the New Year’s picture are the decorative character (the brightness of colors, the rhythmic combination of color spots), the hyperbolism and idealization of images, the folklore basis of plots and the conventional symbolic-metaphoric language.
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Brock, Fiona, Nicholas Eastaugh, Thierry Ford, and Joyce H. Townsend. "Bomb-pulse Radiocarbon Dating of Modern Paintings on Canvas." Radiocarbon 61, no. 1 (July 11, 2018): 39–49. http://dx.doi.org/10.1017/rdc.2018.55.
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ABSTRACTRadiocarbon (14C) dating has previously been applied to modern paintings on canvas from the 20th century to identify potential modern forgeries, and dates indicate a time lag of several years between the harvesting of plant fibers for making canvas, and completion of a painting. This study investigated both the length of this time lag and the potential of 14C dating to inform about an individual artist’s mode of working (for example long-term storage or reuse of canvases, or extended reworking on a single canvas) and/or to establish a chronology for a corpus of work. Two pre-bomb and 16 post-bomb artworks by 17 mid-20th-century Scandinavian artists were 14C dated. The majority of post-bomb samples indicated a time lag of 2–5 years between the harvesting of the plants and completion of a painting, but some samples recorded lags of up to 10 years, and others produced much earlier results, potentially indicating the use of much older canvases or challenges removing contamination prior to dating. The importance of thorough pre-screening of canvas samples for both synthetic fibers and contaminants prior to dating, and selection of the most suitable calibration curve, are highlighted.
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Bulgaeva, Galina D. "The creative heritage of icon-painting workshops of women`s Orthodox monasteries of the turn of the 20th century." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 62 (2021): 297–309. http://dx.doi.org/10.37816/2073-9567-2021-62-297-309.
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The relevance of the study of icons and the activities of icon-painting workshops of the 19th–20th centuries is due to a significant number of scientific works published on this topic. Dated icons with captions are of special interest for research, being a reference point in the time space of art history. Due to this, it is possible to attribute a number of works that don’t have captions. The most capacious texts give grounds to determine the exact origin of the monument. The purpose of this work is to identify and introduce into scientific circulation dated works of iconography in the territory of the Altai Krai and the Altai Republic, belonging to the workshops of women's Orthodox monasteries of the turn of the 20th century. This aspect reveals one of the parts of the activity of Orthodox monasteries at the turn of the century, which is reflected in archival documents and preserved monuments. The location of such centers in different regions determines the presence of stylistic differences in the works of iconography. The identified icons have a significant difference in the implementation of technical techniques. The issue of continuity of traditions, preservation of the iconography of the original production and their technological features of execution is presented ambiguously. However, these works are united by an internal mood, a certain rhythm and regularity. The work on identifying the inscriptions confirmed the presence of several monastic images in Orthodox churches, private collections, and Museum collections in Altai krai and the Altai Republic. The presented icons were painted in different monasteries of the country, which are located at a considerable distance from each other, but are identified on the same territory, as a result of their active movement throughout the 20th century. It is important for the region to identify the monuments created in the icon-painting workshops of local monasteries, as the restoration of these monasteries confirms a keen interest in the study of local icon-painting traditions.
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Kovalchuk, Igor. "Galician painters of the end of the 19th - the first third of the twentieth century - the creators of the latest page of Ukrainian sacred art." Ukrainian Religious Studies, no. 74-75 (September 8, 2015): 176–86. http://dx.doi.org/10.32420/2015.74-75.573.
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The article deals with the development of sacred art in Galicia at the turn of the 19th and 20th centuries. Masters of Ukrainian icon painting K. Ustinovich, Y. Pankevich, M. Sosenko, P. Kholodny and others. continued the creative process through which the Ukrainian icon for a long historical period of development did not lose its viable direction, did not degenerate into the picture. They have not crossed that limit, when the departure from the fundamental theological foundations of iconoclasm threatens to transform it into a painting of dry religious content.