Academic literature on the topic 'Painting, european – exhibitions'
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Journal articles on the topic "Painting, european – exhibitions"
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Dobrota, Snježana, Ina Reić Ercegovac, and Katija Kalebić Jakupčević. "The Relationship between Multicultural Effectiveness and Artistic Preferences." Psihologijske teme 32, no. 1 (April 21, 2023): 143–61. http://dx.doi.org/10.31820/pt.32.1.8.
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This research explored students’ artistic preferences for musical and visual arts (paintings) from different world cultures, outside the dominant Western European and Anglo-Saxon art field. The main goal of the research was to examine the possibility of predicting these preferences based on multicultural personality traits, within the concept of multicultural effectiveness. A total of 427 participants took part in the study. The following instruments were used: General Data Questionnaire, Multicultural Personality Inventory, Musical Preferences Questionnaire, and Painting Preferences Questionnaire. The results indicated a significant correlation between age and musical preferences, as well as between artistic experience (attending theatre productions and art exhibitions) and musical/painting preferences. Among the multicultural personality traits, only open-mindedness and cultural empathy positively correlated with artistic preferences. Results of regression analysis in which preferences were used as criteria showed that, after demographics of participants and their artistic experience have been controlled for, open-mindedness positively predicted musical and painting preferences, while both open-mindedness and cultural empathy proved to be significant positive predictors of painting preferences. Other significant predictor for both preferences was attending art exhibitions. Musical preferences were related with older age, while vocational high school education predicted higher preferences for paintings. Although predictors explained relatively small amount of criterion variance, the obtained results confirmed that multicultural personality dispositions have little, but significant contribution to world artistic preferences.
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Stavila, Tudor. "Teodor Buzu's extemporaries: light and singularity." Akademos, no. 2(69) (October 2023): 177–81. http://dx.doi.org/10.52673/18570461.23.2-69.21.
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A notorious representative of the contemporary Bessarabian artistic diaspora, Teodor Buzu is a well-known name in the Romanian and Central European artistic scene. Having settled for over three decades in Tabor in the Czech Republic, the artist takes part with devotion in exhibitions in the Republic of Moldova and in European countries. He is a versatile artist, working in watercolour, easel painting, graphic design, ceramics, monumental painting, and book graphics. He is a member of the Volary Group, together with his friends, the Czech painters Pavel Klima and Vit Pavlik, sharing a passion for experimentation and a common vision of creation and its role in the modern world. In July 2023, the Volary Group was hosted by the National Art Museum of Moldova with the exhibition Ex tempore/ Improvizații.
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Bakaryagin, Stepan S. "Exhibitions of Soviet fine art in 1930 in the reviews of the foreign press." Vestnik Yaroslavskogo gosudarstvennogo universiteta im. P. G. Demidova. Seriya gumanitarnye nauki 15, no. 4 (December 20, 2021): 498–505. http://dx.doi.org/10.18255/1996-5648-2021-4-498-505.
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The article examines the reviews of the German, Austrian and Swedish periodicals about some exhibitions of Soviet fine art held in 1930. On the basis of archival materials, the attitude of the foreign press to the Soviet exhibition projects in Berlin, Vienna and Stockholm is analyzed. The influence of the political orientation of periodicals on the assessment of the plots of the works of Soviet artists is emphasized. When characterizing the painting technique and compositional structure of the works, critics pointed to their continuity from the Western European tradition. Soviet graphics and sculpture made a positive impression. Critics associated the artistic successes mainly with the masters of the old Russian school.
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Siemianowski, Jordan. "Exhibitions of Polish Avant-garde Artists in Denmark, Finland, and Norway in 1967, 1985, and 1986 as an Element of the Cultural Policy of the Polish People’s Republic." Res Historica 56 (December 21, 2023): 995–1026. http://dx.doi.org/10.17951/rh.2023.56.995-1026.
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During the Cold War, the authorities of the Polish People’s Republic tried to use the native culture to maintain relations with Western European countries, trying to establish a warmer image of Poland in the international arena. An important role in this activity was played by Polish avant-garde painting, presenting a high artistic level and recognition abroad, including in the Nordic area. The aim of the article is to explain the influence of the Polish People’s Republic’s foreign policy on the exhibitions of Polish abstract painting in Denmark, Norway, and Finland in 1967, 1985, and 1986. The research postulate was implemented through the analysis of previously unused file sources from the State Archives in Łódź, as well as articles from the press of Nordic items stored in the Museum of Art in Łódź. Confronting these materials with the literature on the subject made it possible to examine the specificity of the presented exhibitions against the background of the international situation.
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Qafarova, Gunay N. "Azerbaijan National Museum of Art: On the history of foundation." Issues of Museology 13, no. 2 (2022): 214–30. http://dx.doi.org/10.21638/spbu27.2022.205.
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The article briefly gives the history of the creation of the Azerbaijan National Museum of Art, one of the largest museums in the country. The museum has a rich collection of Russian, Western European, Eastern and Azerbaijani art. The collection has been formed throughout the existence of the museum, but its foundation was laid back in the Azgosmusey. A certain part of the collection is made up of exhibits transferred to the museum during the USSR period, a cultural policy that relied on the education of the masses, regardless of nationality and region. A descriptive description of the exhibition activities of the museum is given, in which both collections of Russian and foreign museums were exhibited in different years. In various years, the museum hosted exhibitions of the fraternal republics, as well as China, India, Iran. After each exhibition, the museum’s collection was replenished with new exhibits. The museum constantly held and held personal exhibitions of representatives of various schools of painting in Azerbaijan. The country’s artists are proud that their paintings are exhibited and stored in one of the country’s major museums. In the context of the article, a special place is given to the work of the first theater artist R.Mustafayev, whose name the museum bore for many decades, and whose works are kept in his collection. Unfortunately, the name of this talented artist is little known to the younger generation, although his contribution to the development of national scenography and the protection of architectural monuments is invaluable. Thanks to his artistic flair, the performances “Koroglu” and “Arshin Mal Alan” designed by him have been successfully staged on the stage of various theaters. Тhe analysis of his work is an important thematic contribution to the history of the study of the Azerbaijan National Museum of Art.
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Hnidyk, Iryna. "ICONS OF THE MOTHER OF GOD IN THE CULTURAL HERITAGE SPACE OF ROME." Ethnic History of European Nations, no. 68 (2022): 14–21. http://dx.doi.org/10.17721/2518-1270.2022.68.02.
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The images of the Mother of God in Italy represent a significant part of the cultural heritage of European and world sacred art and icon painting of various chronological periods and stylistic features. A special place in this dimension belongs to the icons of the Mother of God in Rome. Ever since the first centuries, images of the Virgin have been represented in the paintings of the Roman catacombs. The iconographic heritage of Rome represents different periods and a unique interweaving of styles. Over the centuries, ancient icons of the Mother of God have been kept in Rome, made both in the technique of encaustic, tempera, and later in oil painting. Many images of the Mother of God in Rome represent the original samples of the Byzantine style of icon painting of various origins and the works of masters of the Italian artistic environment at the intersection of Western and Eastern artistic styles. A significant number of these icons are crowned and have the status of miraculous. Some of the most ancient and famous icons of the Mother of God in Rome are «Salus Populi Romani», «Madonna del Conforto», «Madonna Avvocata», «Madonna della Clemenza», «Madre del Perpetuo Soccorso», «Santa Maria del Popolo», «Madonna della Catena», «La Madonna dei Martiri» and others. Common iconographic types are Hodegetria, Agiosoritissa, Kyriotissa, Galaktotrofusa, etc. Often, these icons have several Italian-language names, which must be considered when choosing methodological tools for historiographical analysis. The article provides a general overview of the heritage of the icons of the Mother of God in Rome based on the most famous of them. English-language and Italian-language historiography was analyzed to model further relevant research directions in developing this topic by modern specialists in an interdisciplinary context. It is emphasized that in the churches of Rome, there are still many less-known and less-researched icons of the Mother of God, particularly in terms of stylistic features and painting techniques. Their detailed study and analysis of sources can effectively fill this niche in historiography and become an interesting topic for modern interdisciplinary research in the field of history, icon painting, art, restoration, and cultural heritage, as well as the basis of original concepts for exhibitions, photo catalogs, new excursion routes, etc.
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Gołubiew, Zofia. "THE POET OF ART – JANUSZ WAŁEK." Muzealnictwo 59 (October 5, 2018): 215–18. http://dx.doi.org/10.5604/01.3001.0012.6141.
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On the 8th of July 2018 died Janusz Wałek, art historian, museologist, pedagogue, born in 1941 in Bobowa. He graduated from the Jagiellonian University, the history of art faculty. In 1968, he started working in the Czartoryskis’ Museum – Branch of the National Museum in Krakow, where some time after he became a head of the European Painting Department for many years. He was a lecturer at the Fine Arts Academy, the National Academy of Theatre Arts and the Jagiellonian University in Krakow. He wrote two books and numerous articles about art. He was also a poet, the winner of the Main Prize in the 1997 edition of the General Polish Poetry Competition. He was a student of Marek Rostworowski, they worked together on a number of publicly acclaimed exhibitions: “Romanticism and Romanticity in Polish Art of the 19th and 20th centuries”, “The Poles’ Own Portrait”, “Jews – Polish”. Many exhibitions and artistic shows were prepared by him alone, inter alia “The Vast Theatre of Stanisław Wyspiański”, presentations of artworks by great artists: Goya, Rafael, Titian, El Greco. He also created a few scenarios of permanent exhibitions from the Czartoryskis’ Collection – in Krakow and in Niepołomice – being a great expert on this collection. “Europeum” – European Culture Centre was organised according to the programme written by him. He specialised mostly, although not exclusively, in art and culture of the Renaissance. Janusz Wałek is presented herein as a museologist who was fully devoted to art, characterised by: creativity, broad perception of art and culture, unconventional approach to museum undertakings, unusual sensitivity and imagination. What the author of the article found worth emphasising is that J. Wałek talked and wrote about art not only as a scholar, but first of all as a poet, with beauty and zest of the language he used.
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Storchai, Oksana. "Create in Me a Pure Heart, O God, And Renew a Steadfast Spirit within Me: On Some New Details of Creative Biographies of Sisters Olena and Olha Kulchytska (From Archival Materials)." Folk art and ethnology, no. 1 (2023): 80–90. http://dx.doi.org/10.15407/nte2023.01.080.
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The article’s purpose is to publish interesting and significant archival materials, introduced into scientific circulation for the first time, namely: Biographical Data, Recorded from O. L. Kulchytska in September 1–3 1947 in the Sanatorium “Syniak” in Transcarpathia; Olena Kulchytska’s Autobiography of the 1940s old and an excerpt from a S. Butnyk-Siverskyi’s archival encyclopedic entry about his participation in Olena Kulchytska’s exhibitions up to and including 1947, accompanied by an introductory article and commentary. These archival documents will be interesting and useful in further research of creative biographies of the mistresses. The materials are stored at the Department of Visual and Applied Arts of the M. Rylskyi Institute of Art Studies, Folkloristics and Ethnology (National Academy of Sciences of Ukraine) and are published with keeping to authorial style, spelling, and punctuation with minor correcting. The creation of the sisters Olena Lvivna Kulchytska (1877–1967) and Olha-Melaniia Lvivna (1873–1940) Kulchytska occupies a prominent, significant place in the history of domestic art and organically fits into the context of European art. Natural talent, intelligence, brilliant knowledge of their craft, artistic taste, ability to emanate their own refined and unique world, their attitudes to art, dignity of soul and intentions – these are the features that were inherent in both sisters. The range of Olena Kulchytska’s creative heritage is wide and well-known among specialists, educated public, and admirers of fine arts. The artist successfully worked in various kinds of art: graphic art, painting, and applied arts. A gifted draftsman, watercolourist, aquafortist, and illustrator, in particular of children’s books, it is she who is associated with the revival of woodcutting and linocutting techniques in domestic art. Olena Kulchytska worked in the portraiture, genre painting, landscape painting, as well as in the genre of religious painting (she created a unique iconostasis); she was engaged in art weaving, modelling and designing of clothes, furniture, and architectural décor. In addition, she made sketches for ceramics and carpets. Known for her wonderful enamels, the mistress also worked in the fields of metal, small-scale sculpture, and jewellery. Olena Kulchytska devoted a lot of time to teaching and ethnography. Her intense exhibition activity is also impressive. Olha Kulchytska is a renowned mistress of decorative and applied arts, a carpet weaver; she was also engaged in pedagogical practice. Together with her sister, she created distinguished works of carpet art. Certainly, the archival materials now published should greatly complement creative biographies of the mistresses, mostly Olena Kulchytska, with new details.
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Sokolyuk, L. "Ladislav Trakal’s Art and Crafts Workshop of Decorative Painting in Kharkiv (1899–1921)." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2020, no. 3 (December 2020): 62–72. http://dx.doi.org/10.33625/visnik2020.03.062.
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The article attempts to outline the activities of Kharkiv art and craft workshop of decorative painting, headed by a Czech creator Ladislav Trakal in 1899. The introduction of some new archival documents into scientific circulation showed that there was a close connection between the pedagogical system of Rayevska‑Ivanova’s school, founded in 1869, and Trakal’s decorative‑handicraft workshop. The 4‑year industrial art school in Prague, which Trakal graduated from in 1896, did not have the status of a higher art institution at that period of time. When Trakal arrived in Kharkiv and headed the decorative‑handicraft workshop, which was housed in an edifice that Colonel Borodaevsky devised to Kharkiv Society for the Dissemination of Literacy, Trakal got on a well‑worked ground, which was prepared by Rayevska‑Ivanova. In 1869 this outstanding person, the first woman‑artist with a European level education and a diploma from St. Petersburg Academy of Arts in Russian Empire, founded an industrial art school in Kharkiv. Later, in 1896 she was forced to leave teaching at her school due to a complete loss of vision. However, the need for specialists of this profile did not disappear. Kharkiv was experiencing a real construction boom, and decorators, one of whom Trakal was, were in great demand. Although Trakal’s workshop did not become as multidisciplinary as Raevska‑Ivanova’s school, it used a lot of the pedagogical system developed by the founder of industrial art education in Kharkiv, to its advantage. Trakal’s workshop gave its students an initial industrial art education, prepared them for the activity in decorative painting. Unlike Rayevska-Ivanova who taught free of charge in her private school for more than 27 years, trying to lay solid foundation of industrial art education in Kharkiv, Trakal turned out to be a rather enterprising person. He successfully completed highly paid orders for the decoration of buildings in Kharkiv and also opened his own private studio. Having a good command of Russian, Trakal easily entered Kharkiv’s artistic life. He actively participated in exhibitions, where he showed his paintings, made in the Art Nouveau Style with an enhanced symbolist sound. However, the question remains about how bright and original this artist was in comparison with artists from other Ukrainian cities (M. Zhuk, Yu. Mykhailiv, M. Sapozhnikov). Similarly, the contribution of other art institutions to the development of some of Trakal’s students who eventually became famous masters, also requires further studying.
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Jeep, John M. "Painting the Page in the Age of Print: Central European Manuscript Illumination of the Fifteenth Century, ed. Jeffrey F. Hamburger, Robert Suckale, and Gude Suckale-Redlefsen, trans. David Sánchez Text · Image · Context: Studies in Medieval Manuscript Illumination, 4 Studies and Texts 208. Toronto: Pontifical Institute of Mediaeval Studies, 2018, pp. XXXIII, 329." Mediaevistik 31, no. 1 (January 1, 2018): 450–52. http://dx.doi.org/10.3726/med012018_450.
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Under the somewhat different, certainly intentionally punning title, Unter Druck: Mitteleuropäische Buchmalerei im Zeitalter Gutenbergs / Under Pressure / Printing […] in the Age of Gutenberg, this volume first appeared in German (Lucerne: Quaternio, 2015) to accompany a series of twelve different exhibitions of largely fifteenth-century book illumination across Central Europe. The exhibitions in Germany, Austria, and Switzerland were held, in part overlapping, from September 2015 – March 2017. They were bookended by exhibits in Vienna and Munich (for the latter, see Bilderwelten. Buchmalerei zwischen Mittelalter und Neuzeit. Katalogband zu den Ausstellungen in der Bayerischen Staatsbibliothek vom 13. April 2016 bis 24. Februar 2017, ed. Jeffrey F. Hamburger et al. Buchmalerei des 15. Jahrhunderts in Mitteleuropa, 3 (Lucerne: Quaternio, 2016). For each of ten somewhat smaller exhibitions a catalogue of uniform size and format was produced; they are, according to the publisher, already out of print. The three editors of the more comprehensive collection, Painting the Page, penned contributions that complement Eberhard König’s study, “Colour for the Black Art,” which traces <?page nr="451"?>the development of ornamentation to the Gutenberg and following printed Bibles. Early printed Bibles, in Latin or in the vernacular, tended only to provide space for initial and marginal, as opposed to full page illumination. These admittedly limited artistic accomplishments often allow for more precise localization of incunabula than other available resources. At the same time, differences and even misunderstandings – such as failure to follow instructions to the illuminator – on occasion lead to fruitful cultural analysis. Finally, printed copies that were never adorned were sometimes in the past thought to be superior, untouched, as it were, by the artistry of the ‘old’ manuscript world. König argues that the study of early printed books, and especially the illuminations they contain, should be celebrated not only as ancillary scholarship, but also as a discipline in its own right.
Books on the topic "Painting, european – exhibitions"
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Art, Altman/Burke Fine. Recent acquisitions and future exhibitions. New York: Altman/Burke, 1990.
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Co, Algranti &. Master paintings, Autumn 1994. London: Algranti & Co., 1994.
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Algranti & Co. Master paintings, Autumn 1994. London: Algranti & Co., 1994.
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1939-, McKenna Stephen, and Irish Museum of Modern Art (Kilmainham, Dublin, Ireland), eds. The Pursuit of painting: An exhibition. Dublin: Irish Museum of Modern Art, 1997.
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Donald, Garstang, P. & D. Colnaghi & Co., and Colnaghi (Gallery), eds. Master paintings. London: P. & D. Colnaghi & Co., 1994.
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Gallery, Saatchi, ed. Abstract America. London: Jonathan Cape, 2008.
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Simon, Caroline. Modernism & tradition: 1986 exhibition. London: Whitford and Hughes, 1986.
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Gallery, Piero Corsini. Important old master paintings: Within the image. [New York: Piero Corsini Inc., 1990.
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Paris), Plateau (2003. Voir en peinture: Adam Adach, Isabelle Arthuis, Cécile Bart, Marc Desgrandchamps, Ann Veronica Janssens, Alix le Méléder, Guillaume Millet, Miquel Mont, Xavier Noiret-Thomé, Ida Tursic et Wilfried Mille, Walter Swennen. [Ce livre a été réalisé à l'occasion de l'exposition voir en peinture au plateau 18 septembre-24 novembre 2003]. Bruxelles: Lettre volée, 2003.
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Barry, Schwabsky, and Saatchi Gallery, eds. The triumph of painting: The Saatchi Gallery. London: Jonathan Cape, 2005.
Find full textBook chapters on the topic "Painting, european – exhibitions"
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Timonina, Alexandra. "Comparing the Cologne Sonderbund of 1912 and the Second Post-Impressionist Exhibition in London." In Taking and Denying Challenging Canons in Arts and Philosophy. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-462-2/013.
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The article examines the agendas of the International Art Exhibition of the West German Sonderbund held in Cologne in 1912 and the Second Post-Impressionist Exhibition organised in London the same year, by contrasting their historical contexts and comparing their theoretical backgrounds. While the shows varied slightly in approach, both sought to give a systematic overview of the latest trends in art, which was then marketed mainly by private dealers. They addressed similar issues, such as defining the inherited tradition and topical dilemmas about the autonomy of painting and its decorative potential. The paper will discuss the emphasis on the progressive timeline and international outlook on modern art they formulated. It will also revisit the role of these exhibitions in light of the currently expanding discussion of the mechanisms that shaped the canon of European modernism.
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Poddubtsev, Ruslan A. "The Newspaper Nov’ and the Supplement Utrennij Telefon “Novi”: List of Contents." In Russian Literature and Journalism in the Pre-revolutionary Era: Forms of Interaction and Methodology of Analysis, 562–681. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/978-5-9208-0661-1-562-681.
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This work is a list of the contents of the daily newspaper Nov’, as well as the accompanying supplement Utrennij telefon “Novi”. The objects of attention were publications that touch upon topics related to literature, music, painting, theater, architecture, sculpture and philosophy. The pages of a relatively short-lived newspaper reflected, in particular, such events as the arrival in Moscow of F. Marinetti, H. Wells, G. Kogan, the protest actions of European suffragettes, the exclusion of V. Rozanov from the Religiousphilosophical society, the centenary anniversary of T. Shevchenko, the return of M. Gorky to Russia and exhibitions of avant-garde artists. This indicates that the Nov’ newspaper can be used as a valuable source for the study of Russian culture at the beginning of the 20th century.
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Curtis, Cathy. "New York." In Alive Still, 15–30. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190908812.003.0002.
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Her first stop in New York was the Hans Hofmann School of Art. His precepts and open-minded approach would guide her work from then on. An abandoned industrial loft served as her home and studio. In 1942, the war cast a pall on New York, but exhibitions enabled her to see work by exiled European painters that would have a major influence on her own work. Painter Leland Bell—whom she introduced to his future wife, painter Louisa Matthíasdóttir—convinced her to follow the austere style of Mondrian. Her marriage to a musician, Robert Bass, was an impulsive move that would end in divorce a few years later. In 1944, she became the youngest member of American Abstract Artists. While working at part-time jobs, she would paint all night and party with friends who shared her love for jazz; her painting Lester Leaps was a tribute to Lester Young.
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Letkiewicz, Ewa. "Naga Wenus – obraz Alegoria triumfu Wenus Agnola Bronzina." In Nagość i odzienie, 59–75. Wydawnictwo Avalon Sp. z o.o., 2022. http://dx.doi.org/10.55288/9788377305812.05.
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The attention of visitors to National Gallery in London is attracted to the image of a naked woman whose unnaturally positioned body, painted in white hue of cold, metallic glow, fills up the field of the picture (photo 1). The multiplicity of props and figures in the background, including different allegorical topics, mythological allusions, so jointly it creates a complex image, which is difficult to interpret unambiguously. The author of this intriguing work is Agnolo di Cosimo di Mariano, known as Agnolo Bronzino (1503–1572). Exhibitions presenting his achievements, undertaken after the year 2010, revived the discussions on the legacy of one of the greatest Italian 16th century artists of unusually rich, unfettered imagination. Agnolo Bronzino’s successes attracted the attention of Cosimo I the Medici and his wife Eleanor of Toledo, for whom he started working in 1540. On their commission, between 1540–1545 he made a painting that has been surprising until today and one of the most famous ones in the European art, the pride of the National Gallery in London. The work was designed for a diplomatic gift for the ruler of France, king Francois I. What is surprising in the painting, except many enigmatic figures, is the nudity of the goddess Venus, her unreal, metallic color, the smooth surface of her body, resembling enamel or china. Unfortunately, the reports concerning reception of the painting on the French court are unknown, but we can suppose that the king liked it, because it became his strictly private property.
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Popenhagen, Ron J. "Facing Change and Changing Masks." In Modernist Disguise, 34–59. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474470056.003.0002.
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The primary focus of this chapter is the fixed-form mask in its many manifestations, beginning with ‘Death Masks Re-membered’. The difference between performance masks and death masks is theorised, including a discussion of photographs of the death masks of notable figures. The fascination of modernist painters with African masks in British, French and German museums is discussed with reference to the Picasso Primitif exhibition (2017) and to the history of anthropological exhibitions of the ‘savage’ during the early years of Modernism. Indigenous masquerade is further explored by commentary on photographic portraits of the ‘other’, with consideration of the rapport between subject and photographer. Painted images of the mask object and disguised individuals by Paul Cézanne, James Ensor, Émil Nolde and Pablo Picasso are contrasted with Edward Sheriff Curtis’s photos of Native American masking. Modernist innovations in masquerade, like the dance scenography of Loïe Fuller, highlight alternative methods of changing the body image, as well as transforming the human figure into a part-object form (an aspect exhibited also in a painting by Margaret Macdonald Mackinstosh). Modernist Pierrots in Berlin, Copenhagen and St Petersburg, for example, suggest that playful disguise was an almost-universal impulse in Modernism across Europe and the United Kingdom.
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Robinson, Joel. "Takiguchi, Shūzō (1903–1979)." In Routledge Encyclopedia of Modernism. London: Routledge, 2018. http://dx.doi.org/10.4324/9781135000356-rem2028-1.
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Shūzō Takiguchi was the most prominent figure in Japanese Surrealism. He penned ‘On the Poetics of Surrealism’ as early as 1928, and translated André Breton’s Surrealism and Painting in 1930. Foremost a poet, his impact on the visual arts was nonetheless vast. By the 1930s, he was supporting the growing number of artists working in a Surrealist manner in the face of hostility from the authorities. He collected art, wrote criticism, and organised exhibitions—most notably those of the Yomiuri Independents in the 1950s, and the Japanese pavilion at the 1958 Venice Biennale. He corresponded with Breton, and eventually met him as well as others, including Salvador Dalí, Henri Michaux, and Joan Miró, while in Europe in 1958.
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Shiner, Larry. "Prelude." In Art Scents, 152–57. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190089818.003.0019.
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The 2015 olfactory art exhibition Belle Haleine: The Scent of Art at Basel’s Tinguely museum included one contemporary picture: Louise Bourgeois’s 1999 drypoint, The Smell of the Feet, a work that juxtaposes a profile self-portrait with the bottom of a pair of feet under her nose. It seems that, as a child, she was made to remove her father’s shoes each evening, leaving the smell of his feet indelibly imprinted in her memory. Pictorial representations of the sense of smell are relatively infrequent in the history of the visual arts with the exception of cartoons and the older tradition of creating painting series portraying the five senses. In Western Europe, these series typically showed a female figure in a symbolic pose to suggest each scent, for example, an elegant young woman holding a flower to signify smell. In the famous ...
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Curtis, Cathy. "Love and Work." In Alive Still, 89–98. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190908812.003.0007.
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In her new elevator-equipped apartment, Nell dedicated herself to regaining her painting skills. She was still very much a part of the art world, included in gallery exhibitions and in a magazine article about successful women artists. However, decades before the passage of the Americans with Disabilities Act, it was extremely difficult for her to travel around New York to see art and visit friends. An invitation to Yaddo for another stay involved the practical difficulties facing an artist in a wheelchair. On the bright side, Dilys Evans (considered to be an aide) was allowed to stay in her room, despite rules forbidding artists to bring intimates with them. But she had overstayed her visa extension and was obliged to leave the country. Although a well-placed friend had caused a bill to be circulated in Congress stipulating that she be granted permanent residence, the women decided to leave for Europe.
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Hopkins, Claudia, and Iain Boyd Whyte. "Dragoslav Djordjević, “The Exhibition American Vanguard Painting,” translated from Serbian by Stefana Djokic, originally published as “Izložba savremene Američke umetnosti,” in Borba (October 1, 1961): 8." In Hot Art, Cold War – Southern and Eastern European Writing on American Art 1945–1990, 251–52. Routledge, 2020. http://dx.doi.org/10.4324/9781003009979-6050.
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Kramer, Hilton. "Fairfield Porter." In Invisible Giants, 224–29. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780195168839.003.0040.
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Abstract Fai,field Porter’s was one of the most unusual careers in the American art of his time, for it was a career haunted by a sense of belatedness. The advantages he enjoyed in his early life-an elite education in the best schools, European travel, a family that supported his vocation, and a wide acquaintanceship with men of talent and accomplishment in many fields-had the paradoxical effect of postponing the development of his own artistic gifts. When he first emerged as a painter whose work commanded attention and criticism in the 19Sos, he was a generation older than most of the painters he exhibited with at the TI’bor de Nagy Gallery in New York and the poets who then formed the principle circle of his admirers. Beyond that circle, he still found himself an odd man out on the art scene as a painter who was too traditional for the modernists and too modern for the traditionalists. It would be another twenty years before he began to receive the critical and public acclaim that were his due. Even as late as the 1970s, a curator at the Whitney Museum of American Art characterized his work as “too tame” to be of interest to the museum. It wasn’t until 1984, nearly a decade after hz’s death, that he began to attain the status of an American classic with a retrospective exhibition at the Museum of Fine Arts in Boston, “Fai, field Porter (1907-1975): Realist Painter in an Age of Abstraction.” By that time, I had been writing about and praising Porter’s paintings for nearly a quarter of a century, mainly in the New York Times.
Conference papers on the topic "Painting, european – exhibitions"
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Plastova, T. "PROBLEMS OF THE EXPOSITION OF PAINTINGS OF THE XXTH C. EXHIBITION EXPERIENCE OF A. PLASTOV'S PAINTINGS." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2543.978-5-317-06726-7/48-50.
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The article is devoted tothe problems of XX century art exposition. The experience of A. Plastov exhibitions and the analysis of principles of European museums expositions allowed us to formulate some principles of XX century painting representation.
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Ferguson, Eric, Toby Dunne, Lloyd Windrim, Suchet Bargoti, Nasir Ahsan, and Waleed Altamimi. "Automated Painting Survey, Degree of Rusting Classification, and Mapping with Machine Learning." In Abu Dhabi International Petroleum Exhibition & Conference. SPE, 2021. http://dx.doi.org/10.2118/208119-ms.
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Abstract Objective Continuous fabric maintenance (FM) is crucial for uninterrupted operations on offshore oil and gas platforms. A primary FM goal is managing the onset of coating degradation across the surfaces of offshore platforms. Physical field inspection programs are required to target timely detection and grading of coating conditions. These processes are costly, time-consuming, labour-intensive, and must be conducted on-site. Moreover, the inspection findings are subjective and provide incomplete asset coverage, leading to increased risk of unplanned shutdowns. Risk reduction and increased FM efficiency is achieved using machine learning and computer vision algorithms to analyze full-facility imagery for coating degradation and subsequent ‘degree-of-rusting’ classification of equipment to industry inspection standards. Methods, Procedures, Process Inspection data is collected for the entirety of an offshore facility using a terrestrial scanner. Coating degradation is detected across the facility using machine learning and computer vision algorithms. Additionally, the inspection data is tagged with unique piping line numbers per design, fixed equipment tags, or unique asset identification numbers. Computer vision algorithms and the detected coating degradation are subsequently used as input to determine the ‘degree-of-rusting’ throughout the facility, and coating condition status is tagged to specific piping or equipment. The degree-of-rusting condition rating follows common industry standards used by inspection engineers (e.g., ISO 4628-3, ASTM D610-01, or European Rust Scale). Results, Observations, Conclusions Atmospheric corrosion is the number one asset integrity threat to offshore platforms. Utilizing this automatic coating condition technology, a comprehensive and objective analysis of a facility's health is provided. Coating condition results are overlaid on inspection imagery for rapid visualisation. Coating condition is associated with individual instances of equipment. This allows for rapid filtering of equipment by coating condition severity, process type, equipment type, etc. Fabric maintenance efficiencies are realized by targeting decks, blocks, or areas with the highest aggregate coating degradation (on process equipment or structurally, as selected by the user) and concentrating remediation efforts on at-risk equipment. With the automated classification of degree-of-rusting, mitigation strategies that extend the life of the asset can be optimised, resulting in efficiency gains and cost savings for the facility. Conventional manual inspections and reporting of coating conditions has low objectivity and increased risk and cost when compared to the proposed method. Novel/Additive Information Drawing on machine learning and computer vision techniques, this work proposes a novel workflow for automatically identifying the degree-of-rusting on assets using industry inspection standards. This contributes directly to greater risk awareness, targeted remediation strategies, improving the overall efficiency of the asset management process, and reducing the down-time of offshore facilities.
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Klokočovnik, Jure, and Deja Muck. "3D printed lithophane." In 11th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design, 2022. http://dx.doi.org/10.24867/grid-2022-p44.
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Lithophane is a transparent plate on which, with the help of the different thickness of this plate, an image is formed. Light that passes through the plate from the back side of the plate shows a clear gray image on the front side of this plate. The strength of the transparency is determined by the material of the plate and the light source coming from behind. Without backlighting, the subject on the lithophane cannot be seen. Lithophanes in the form of porcelain vases were discovered in China long before the technique made its way to Europe. In Europe the origins of lithophanes date back to the early 19th century in France. Europeans perfected the technique and also used it to reproduce famous portraits and paintings. Today, the production of lithophanes is experiencing a renaissance with the advent of 3D printing technologies. In the research paper, the process of making lithophane using 3D printing is presented. First, 3D printing technologies are presented, more specifically the technology of extrusion of materials or thermoplastics modelled by joining layers. Then, the materials used for 3D printing with the mentioned technology are presented. Next, the procedures for 3D acquisition and reproduction of reliefs are described, and at the end, the lithophane itself is presented. In the practical part, the whole process of making lithophane is presented. For the creation of the lithophane model, the 3D modelling program Blender was used, and the lithophanes in physical form were made with the Creality Ender 3 3D printer using PLA filament. Droplet and electrophotographic printers were also used to produce colour lithophanes. The influence of LED and halogen lamps on the final impression of lithophane reproduction was also compared. Lithophanes produced with different print settings and different colour reproductions were compared. The results showed that the best wall thickness is one millimetre, and the layer thickness is the smallest value allowed by the printer. The orientation of the lithophane during printing has a great influence on the final image of the design. The best orientation is upright. Color reproduction is best when using electrophotographic printing in combination with acrylic varnish. Lighting research showed that LED is better than halogen lamps. The finished lithophane was of satisfactory quality and could be used as a decoration for the home or to organize an art exhibition with a large number of coloured lithophanes reproducing various artworks and motifs.