Journal articles on the topic 'Painting, Modern 20th century Australia'
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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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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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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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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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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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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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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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Melessanaki, K., C. Stringari, C. Fotakis, and D. Anglos. "Laser Cleaning and Spectroscopy: A Synergistic Approach in the Conservation of a Modern Painting." Laser Chemistry 2006 (December 25, 2006): 1–5. http://dx.doi.org/10.1155/2006/42709.
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We present results from preliminary laser cleaning studies performed on a 20th century modern painting, in which laser-induced breakdown spectroscopy (LIBS) was employed for monitoring the progress of material removal. This synergistic approach, that combines laser ablation cleaning with spectroscopic control, is of obvious importance as it offers a reliable means of ensuring proper conservation and could be the basis of a standard protocol for laser-based restoration procedures.
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Nikolovskaya, Yulia Vasilievna, and Galina Olegovna Semeyskaya. "Image and Style in a Modern Landscape Painting." Человек и культура, no. 6 (June 2022): 78–89. http://dx.doi.org/10.25136/2409-8744.2022.6.39496.
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The subject of research in this article is a description of a number of creative formalist approaches to modern landscape painting, which are born under the influence of rethinking the leading stylistic trends of the 20th century by artists. Approaches in the landscape genre are analyzed, which are based on the study of world experience and the artistic heritage of different countries, as well as the principles of academicism. Particular attention is paid to analyzing specific examples of modern landscape practice. Also, it is extremely important to characterize the plots and images of paintings, variations of the artistic language that are used in visualization. The main conclusions of the study of the topic is a detailed disclosure of the concept of "image" of landscape painting. There is also a distinction between the concept of style in art into a stylistic direction, considered in a narrow sense, and a historical style, considered more broadly. The author's special contribution to the study of the topic is that in modern landscape painting the formalistic approach can become one of the structural components of a new style in art, if this is accompanied by appropriate factors. The form in this perspective is precisely the link that the creator lacks to create a full-fledged creative image that has developed in his imagination.
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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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Aguilar-Rodríguez, Pablo, Sandra Zetina, Adrián Mejía-González, and Nuria Esturau-Escofet. "Microanalytical Characterization of an Innovative Modern Mural Painting Technique by SEM-EDS, NMR and Micro-ATR-FTIR among Others." Molecules 28, no. 2 (January 5, 2023): 564. http://dx.doi.org/10.3390/molecules28020564.
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During the 20th century, modern painters experimented with different mediums and painting techniques, one of them was Rafael Coronel in his mural painting, Paisaje Abstracto (Abstract landscape). The painting was created with a peculiar pouring technique and an unknown binding medium; ageing produced fractures and severe conservation problems. Therefore, the characterization of the painting medium became an urgent matter in order to understand the current condition of the painting and to develop a proper treatment. The aim of this research was to characterize the chemical composition and painting technique of Paisaje Abstracto. To approach this goal two microsamples were taken and analyzed by optical microscopy (OM), scanning electron microscopy (SEM) with energy dispersive spectroscopy (EDS), nuclear magnetic resonance (NMR) spectroscopy, attenuated total reflection Fourier transform infrared spectroscopy (ATR-FTIR), micro attenuated total reflection Fourier transform infrared spectroscopy (micro-ATR-FTIR) and gas chromatography/mass spectrometry (GC/MS). The analysis allowed for the identification of cadmium sulfide (CdS) and titanium dioxide (TiO2) as inorganic pigments; aluminosilicate fillers; poly(methyl methacrylate) (pMMA) as a binder; MMA monomer, red organic pigment PR181; benzoyl peroxide, dibutyl phthalate and 1-octadecanol as organic additives. This study presents an innovative painting technique with pMMA, a medium not commonly used by artists, which was probably polymerized onto the painting support.
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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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Kashkova, Alisa I. "The Archetype of Ideal City in the Naive Painting of Russian Artists of the 20th Century." Observatory of Culture 19, no. 3 (July 5, 2022): 327–35. http://dx.doi.org/10.25281/2072-3156-2022-19-3-327-335.
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The archetype of ideal city is one of the most significant in the development of world culture due to the fact that the idea of perfect world order, embodied in a spatial image, has reflected from ancient times the most important value orientations of the cultures of the Middle Ages and the Modern Times, both of the West and of the East. In Russian culture, the archetype of ideal city is embodied in the images of the Heavenly Jerusalem and the City of Kitezh. We have chosen as an object of research the works of Russian naive artists of the 20th century, which allows us to trace the development dynamics of this archetype in modern Russian culture. The subject of the research is the embodiment and peculiar interpretation of the archetype of ideal city in the works of naive artists Pavel Petrovich Leonov (1920—2011), Vagan Yerevandovich Sakiyan (1926—2002), Yury Dmitryevich Deev (1944—1998). The aim is to identify culturally conditioned interpretations of the national archetypes of ideal city in the naive art of the twentieth century. The article also conducts a multi-level cultural research of the creative world of the naive artists P.P. Leonov, V.E. Sakiyan and Yu.D. Deev, revealing the most characteristic features of this art phenomenon. The study of national Russian culture involves referring to a number of works on cultural studies, philosophy, mythology, history, philology, folklore studies, etc., devoted to the issues of national archetypes. The analysis of the naive painting works by Russian artists is carried out on the basis of cultural-philosophical, comparative-historical, typological, and analytical approaches. The naive art as a cultural phenomenon of Russian culture is very little studied in modern science; meanwhile, it combines many different cultural-psychological, cultural-historical and socio-cultural phenomena.
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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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Zalaffi, Maria Sole, Ines Agostinelli, Najmeh Karimian, and Paolo Ugo. "Ag-Nanostars for the Sensitive SERS Detection of Dyes in Artistic Cross-Sections—Madonna della Misericordia of the National Gallery of Parma: A Case Study." Heritage 3, no. 4 (November 12, 2020): 1344–59. http://dx.doi.org/10.3390/heritage3040074.
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In historical paintings, the detection of low amounts of pigments and dyes by Raman spectroscopy can sometimes be challenging, in particular for fluorescent dyes. This issue can be overcome by using SERS (surface-enhanced Raman spectroscopy) which takes advantage of the properties of nanostructured metal surfaces to quench fluorescence and enhance Raman signals. In this work, silver nanostars (AgNSs) are applied for the first time to real art samples, in particular to painting cross-sections, exploiting their effective SERS properties for pigment identification. The case study is the Madonna della Misericordia of the National Gallery of Parma (Italy). Cross-sections were analyzed at first by optical microscopy, SEM-EDS, and micro-Raman spectroscopy. Unfortunately, in some cross-sections, the application of conventional Raman spectroscopy was hindered by an intense background fluorescence. Therefore, AgNSs were deposited and used as SERS-active agent. The experimentation was successful, allowing us to identify a modern dye, namely copper phthalocyanine. This result, together with the detection of other modern pigments (titanium white) and expert visual examination, allowed to reconstruct the painting history, postdating its realization from the 15th century (according to the Gallery inventory) to 19th century with a heavy role of recent (middle 20th century) restoration interventions.
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Kravetsky, Alexandr. "АЛЕКСАНДР КРАВЕЦКИЙ Изобретая церковную традицию: некоторые особенности церковной практики в ХХ веке." Fontes Slaviae Orthodoxae 2, no. 2 (February 12, 2020): 35–49. http://dx.doi.org/10.31648/fso.5109.
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The article attempts to analyze some aspects of the life of the Russian Church in the second half of the 20th century as an experience of inventing a tradition. Methodologically, the work is based on the materials of the well-known collection The Invention of Tradition. The present work considers some issues related to icon painting, spiritual practices, the behavior of those praying during worship, features of female believers' clothing, etc. and concludes that the phenomena which appeared in church life 20-30 years ago are perceived as a deep antiquity by modern believers.
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Åžener, Fatma, and Meltem Erdogan. "Neo-Geo and Fashion Interaction." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (February 19, 2016): 595–601. http://dx.doi.org/10.18844/prosoc.v2i1.909.
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Neo-geo, which appeared as an abstract and modern art movement towards the end of 20th century, has had its impact in 21st century as well. New geometry painting perception known as neo-geo is the works where materials and geometric forms are used in any environment. The effects of geometric forms are observed in fashion as in architecture and painting. Fashion designers are the people with an open perception who are able to manage to develop their artistic experience and knowledge using the current time and their abilities in a correct way. The purpose of the current study was to investigate the new geometry as an abstract and modern art movement and fashion interaction and determine its effect on fashion. In this research, the related literature was reviewed and the collections of the fashion designers who were impressed by this art movement was examined and some samples were given. Due to the fact that the art movement of neo-geo appeared towards late 1980s, clothing styles of 80s and its relation with the fashion in those days were given.Keywords: Fashion, neo-geo (new geometry), art.Â
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Cheng, Christopher. "Beacons of modern learning: Diaspora-funded schools in the China-Australia corridor." Asian and Pacific Migration Journal 29, no. 2 (June 2020): 139–62. http://dx.doi.org/10.1177/0117196820930309.
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In the early 20th century, modern school curricula and new-style schools mushroomed in the Chinese remittance landscape of southern China. Breaking away from the two-and-a-half millennia of Confucian tradition, their creation marked a pivotal point of departure between the nation’s past and future. Since overseas migration and modern education both provide a fruitful context for the circulation of new objects and a cross-fertilization of ideas, new schools serve as barometers of social-material change. Research in the present-day cities of Zhongshan and Zhuhai (formerly Heung San County) suggests that diaspora-funded schools were beacons of modern learning within the China–Australia corridor. Both their physical structures and material manifestations invited a new engagement with the modern world.
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Tyagi, Namita. "A SIGNIFICANT REPRESENTATIVE OF FOLK STYLE HARIPURA POSTERS BY NANDLAL BASU." ShodhKosh: Journal of Visual and Performing Arts 3, no. 1 (June 3, 2022): 389–96. http://dx.doi.org/10.29121/shodhkosh.v3.i1.2022.92.
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Folklife has always been inspiring the artist. As a result of this inspiration, the folk painting style has descended at its highest level in the world. The artists have expressed themselves through their art whether it is struggling moments of folklife or the day-to-day lifestyle. The heritage of folk art has always remained between us. In the modern era of painting in the 20th century, artist Nandlal Basu was also inspired by folklife and folk forms. Post that, his new creations had elements of folk forms. The intervention of this inspiration led him to portray the intact heritage of Indian culture and traditions in his art in the form of Haripura posters.In these posters, Nandlal Basu showcased the significance of the integration of folk art along with social public consciousness and excellently exemplified it in the art world. Moreover, Basu has established coordination between modern and ancient art, and through the Haripura posters, he served the country with his meaningful work. Due to the successful efforts of Basu, he will always be remembered as a national artist
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Scheid, Kirsten. "NECESSARY NUDES: ḤADĀTHA AND MUʿĀṢIRA IN THE LIVES OF MODERN LEBANESE." International Journal of Middle East Studies 42, no. 2 (April 13, 2010): 203–30. http://dx.doi.org/10.1017/s0020743810000024.
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In his studio in Beirut in 1929, the young artist Moustapha Farroukh (1901–57) envisioned a composition to change his society. He hoped his oil painting would incite broad support among his fellow Lebanese for a revolution in conventional gender relations and women's participation in the urban social order. He titled the picture The Two Prisoners and based it on a European convention for representing the East: the Nude odalisque (Figure 1). The resulting painting exemplifies the complex role Arab intellectuals of the early 20th century played in the formation of modern art and universal modernity. Leading artists in Mandate-era Beirut felt compelled to paint Nudes and display them as part of a culturing process they called tathqīf (disciplining or enculturing). To a large extent, tathqīf consisted of recategorizing norms for interaction and self-scrutiny. Joseph Massad has revealed that one crucial component of tathqīf was the repudiation of behaviors and desires associated with the Arab Past, such as male homosexuality. An equally important component was the cultivation of “modern,” “masculine” heterosexual eroticism and a dutiful feminine compliance associated with ḥadātha (novelty) and muʿāṣira (contemporaneity). This was accomplished through the use of a genre that was deliberately new and alien in both its material media and its impact on makers and viewers.
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Skliarenko, Halyna. "Interpretation Peculiarities of the Impressionistic Trends in Ukrainian Ar." Folk art and ethnology, no. 1 (February 28, 2022): 30–45. http://dx.doi.org/10.15407/nte2022.01.030.
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The article is dedicated to the interpretation peculiarities of the impressionistic trends in Ukrainian art. Impressionism as the first modernist style has a huge impact on world art, been marked in it both by new purely formal, plastic and also world-view features. Ukrainian art hasn’t also avoided it and attracts its experience to the search for a new artistic language of the turning point in the artistic development of the period of the late 19th – early 20th century in its own way. Although impressionism hasn’t formed a definite exact trend in Ukrainian art, its ideas, in particular, the individualization of artistic vision, subjectivity of perception, colour expressiveness mark a new stage of its development and keep their relevance for a long time. The sources of impressionistic influences in Ukrainian painting at the turn of the 19th – early 20th century, the contradictions of its interpretation by critics and artists, the peculiarities of impressionism significance in the works of avant-garde artists (D. Burliuk, O. Bohomazov, K. Malevich) are considered in the article. A great importance of a large exhibition Impressionism in Ukraine in the phenomenon representation is emphasized. The event has been held on December, 2009 – March, 2010 at the National Museum of Modern Art in Kyiv. A range of impressionistic interpretations in Ukrainian painting of the late 19th – early 20th century is submitted for the first time. An attitude to the trend during the next periods of the history of Ukrainian art, namely in the post-revolutionary 1920s, 1930s – 1950s, 1960s – 1970s, is analyzed in the article. These are the periods, when impressionism as a bourgeois artistic trend has been “deleted” from the Soviet art because of the establishment of socialist realist doctrine. It has been returned gradually into the artists’ creative practices in the following years. Impressionism has preserved its attractiveness until the 1970s due to the peculiarities of the art development in the Soviet conditions (isolation from the world experience, shortage of extensive information about Ukrainian art of the pre-Soviet times) despite its historicity and close connection with art of the turn of the 19th – 20th century.
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Xiaotao, Li, and Yan Qing. "The influence of the Itinerants' creative ideas on Chinese realistic painting." World of Russian-speaking countries 2, no. 8 (2021): 87–104. http://dx.doi.org/10.20323/2658-7866-2021-2-8-87-104.
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The article analyzes the influence of the Itinerants' creative ideas on Chinese realistic painting, the development of which is inseparable from the study of the Itinerants. The article examines how the painting technique and ideology of the Association of Itinerant Art Exhibitions founded in the late 19th century are relevant to many 20th-century Chinese artists. The authors identify the ideological principles of the Itinerant movement that have influenced different generations of Chinese artists (rejection of the “art for art's sake” principle, emphasis on national characteristics of painting, responsibility for reflecting the life of people in the country, advocating the spirit of critical realism as the only true way to reflect life in art) and prove that without Russian Itinerants there would be no Chinese realism in painting and modern Chinese realistic painting. The article identifies and characterizes three stages of adopting the Itinerant creative ideas in China: the period of the Republic of China (acquaintance of the Chinese public with the Itinerants' paintings and understanding the Itinerant ideology at the time of the “Movement for New Culture”), the beginning of the PRC foundation (the period of comprehensive study of realist painting, training of talented Chinese artists in art educational institutions of the USSR as part of the cultural exchange and mastering the principles of Soviet realist art) and the first decade after the Cultural Revolution (a critical “painting of scars” reflecting the experiences and fates of people during the Cultural Revolution). The authors conclude that the study of the Itinerants' creative ideas from the point of view of cultural studies in the context of the Chinese realist art school development is important for understanding the Russian- Chinese cultural dialogue.
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Majewski, Piotr. "Constructing the canon: exhibiting contemporary Polish art abroad in the Cold War era." Ikonotheka, no. 30 (May 28, 2021): 135–53. http://dx.doi.org/10.31338/2657-6015ik.30.7.
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The article focuses on the attempts of constructing and presenting the canon of Polish modern and contemporary art in the West after World War II. Initially, the leading role was played by Colourists – painters representing the tradition of Post-Impressionism. After 1956 the focus shifted towards artists who drew in their practice on tachisme and informel. However, the most enduring effects brought the consistent promotion of the interwar Polish Constructivism and its postwar followers. The article discusses the subsequent stages of this process, from the famous exhibition at the Paris Galerie Denise René in 1957, through exhibitions such as Peinture moderne polonaise. Sources et recherches (Modern Polish Painting. Sources and Experiments) from the late 1960s, up to the monumental Présences polonaises (Polish Presences) from 1983 (both in Paris), showing that these efforts contributed to securing a permanent position of Polish Constructivism within the global heritage of 20th-century art.
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Stratulat, Lacramioara, Maria Geba, and Daniela Salajan. "Village from Muscel by Ion Marinescu Valsan State of Conservation and the Chromatic Palette." Revista de Chimie 69, no. 12 (January 15, 2019): 3464–68. http://dx.doi.org/10.37358/rc.18.12.6770.
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Ion Marinescu V�lsan (1865 - 1936) was a Romanian painter belonging to the modern Romanian art from the beginning of the 20th century. Many of the paintings painted by him have picturesque landscapes in his native town, Malureni, Arges County. He was influencedby Nicolae Grigorescu. Village from Muscel painting, by Ion Marinescu V�lsan, was examined by several non-invasive techniques (Vis, UV &grazing light examination, IR reflectography, optical microscopy and X-rays fluorescence spectrometry) to obtain information on its chromatic palette and state of conservation. Zinc white, Lead white, Prussian blue, Cinnabar, Chrome yellow, Yellow ochre, Red ochre, Viridian and Burnt umber were used as the pigments, while the preparation layer is from Chalk, Zinc white, Lead white, identified by XRF analysis.
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Georgieva, Tsvetana. "Pan in the Bulgarian literature of Fin de siècle." Bulgarski Ezik i Literatura-Bulgarian Language and Literature 64, no. 1 (February 9, 2022): 17–28. http://dx.doi.org/10.53656/bel2022-2-tg.
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In the age of the Fin de siècle, the mythological Pan was the subject of numerous interpretations in painting, literature, and the performing arts. The article examines for the first time how the image of Pan fits into the modern Bulgarian literature of the early 20th century - in the works of Emanuil Popdimitrov, Trifon Kunev, Hristo Yassenov and Lyudmil Stoyanov. As an expression of the ideas of the epoch (in the Jugendstil and Secession currents), both in Europe and in Bulgaria, Pan and pantheism apologize for nature, the vegetative principle, youth and childhood, love fire, music and intoxication. The original in the Bulgarian interpretation is the sentimental, sensitive autumn Pan, the parodied Pan / Faun and the old wise man, master of music, and devoid of passion Pan.
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Morales Toledo, Erik Guillermo, Teodora Raicu, Laura Falchi, Elisabetta Barisoni, Matteo Piccolo, and Francesca Caterina Izzo. "Critical Analysis of the Materials Used by the Venetian Artist Guido Cadorin (1892–1976) during the Mid-20th Century, Using a Multi-Analytical Approach." Heritage 6, no. 1 (January 11, 2023): 600–627. http://dx.doi.org/10.3390/heritage6010032.
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The present study sought to expand on and confirm the already available information on the painting materials used by the Venetian artist Guido Cadorin (1892–1976). A multi-analytical approach was employed in the study of six tempera grassa easel paintings and one casein tempera on a panel signed by the artist and belonging to the International Gallery of Modern Art Ca’ Pesaro in Venice, Italy, which dated from 1921 to 1951. The aim of the research was to identify the painting materials, observe the evolution of the color palette through time and assess the state of conservation. Non-invasive imaging and/or spectroscopic techniques were employed, such as hyperspectral imaging spectroscopy (HSI) and Raman spectroscopy. Microsamples were also collected from the edges and detached areas of the canvases that were studied through three non-destructive techniques, namely optical microscopy (OM), energy dispersive x-ray fluorescence spectrometry (EDXRF) and attenuated total reflection fourier transform infrared spectroscopy (ATR-FTIR), and one destructive technique, namely gas chromatography-mass spectrometry (GC/MS). The results allowed the inference of the color palette used to render the artist’s paints, composition of the preparation layer, and characterization of the binding media and varnish layers. Moreover, the state of conservation of the artworks was determined. Thus, the outcome of this research enriches the painter’s profile and might aid the International Gallery of Modern Art Ca’ Pesaro in Venice, Italy in the planning of future conservation treatments in accordance with the guidelines of good practices in art conservation.
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Tarasova, M. V., A. A. Sitnikova, and M. G. Smolina. "Laszlo Moholy-Nagy: the directions of creative work and the influence on the development of art of the 20th century." Siberian Journal of Anthropology 4, no. 4 (2020): 248–68. http://dx.doi.org/10.31804/2542-1816-2020-4-4-248-268.
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The creative work of the Hungarian theoretician and artist Laszlo Moholy-Nagy has recently become an object of reevaluation and scrutinous investigation. Laszlo Moholy-Nagy is also considered one of the forerunners of conceptual art. In a way, he also foresaw the "visual turn" of culture, which she made at the beginning of the 21st century, and he viewed his works in part as "exercises" in vision for a person of the future. Although today it is obvious that the art of L. Moholy-Nagy had a significant impact on the work of contemporary artists, a detailed analysis and understanding of the essence of this influence still remains insufficiently studied. In the development of his artistic method, L. Moholy-Nagy constantly evolved, moving from painting to photography and further to film works. The research explores the representatives of certain types of art in the work of Mohoy-Nagy. A detailed philosophical and art history analysis of the artist's photograms – works created in painting with light (light painting) is carried out in the research. Although the connection between Moholy-Nagy’s art and the artistic practice of the present day has been acknowledged the detailed analysis of the influence of Moholy-Nagy’s ideas on contemporary artists is still in great demand. The aim of our research is to understand the intermedial concept of Moholy-Nagy’s creative activities by means of the analysis of paintings, photographs, photograms and films produced by the artist. Our research is based on the modern theory of art as a mode of communication. The methods of our research include the conceptual, hermeneutic and comparative analysis. The methodological foundations of the research include the conception of the philosophical and art historical analysis, developed and proposed by V. I. Zhukovsky and N. P. Koptseva, which involves the appication of general scientific methods (measurement, analysis, synthesis, interpretation, analogy, etc.) to understanding the meanings of art works. As a result of our research we have revealed the meanings of Moholy-Nagy’s works of art and described their influence on the American, Hungarian and Russian artists of the twentieth and the twenty-first centuries.
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Day, Cheryl. "Does my bum look big in this? Reconsidering anorexia nervosa within the culture context of 20th century Australia." Surveillance & Society 6, no. 2 (February 27, 2009): 142–50. http://dx.doi.org/10.24908/ss.v6i2.3254.
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Anorexia Nervosa is a mental health issue that has a history over many centuries, but has relatively recently been identified as a ‘real’ mental illness. A condition that predominantly afflicts young, middle class women it had long been subsumed among the ‘natural weaknesses’ of women, not unlike the manner in which ‘Hysteria’ was diagnosed within the Freudian understanding of women’s health. However, since the 1970s, and especially with the deaths of some high profile young women it has undergone a reassessment. While clinical understandings of Anorexia Nervosa remain contentious, there is an increasing recognition that the condition is also grounded within specific cultural understandings. The article presents a brief historical overview of the construction of ‘self-starvation’ as applied to ‘fasting saints’ and to modern anorexic women. However, the major focus of the paper is an examination of the cultural situation as exemplified in contemporary Australia. Drawing on the Foucaudian notions of self surveillance the article suggests that TV programs can be used as a vehicle for modern day ‘self surveillance ’and as guidelines for the construction of self. Briefly, TV programs, especially so called ‘reality TV,’ portray a mirror image of how we as consumers should behave. The programs I have chosen to highlight are the phenomenally popular cooking shows that are aired daily on Australian TV screens. Through an examination of the social meanings constructed around food with the TV programs as a primary carrier of these cultural references, the article seeks to address some of the contradictions with other images presented in different but contemporaneous media. While this can never be a definitive explanation of all anorectic behavior, the paper examines the images of womanhood as presented by these programs. These ‘competent and enthusiastic cooks’ are contrasted with the slim, athletic ideal as portrayed in the fashion magazines and many other ‘lifestyle’ TV programs such as holiday shows.
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BAYRAK, Tekin, and Tolga ŞENOL. "TÜRK KÜLTÜRÜNE AİT BİRER KÜLTÜREL MİRAS OLAN SEMBOLLERİN TÜRKİYE’DE MODERN SANAT VE SONRASI DÖNEMDE RESİM SANATINDA KULLANILMASI." SOCIAL SCIENCE DEVELOPMENT JOURNAL 7, no. 33 (September 15, 2022): 57–69. http://dx.doi.org/10.31567/ssd.725.
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It is thought that in the 20th century and later period, the paintings in which the symbols of Turkish culture are used do not take place sufficiently in the literature. In this context, it is important to support the production of works within the relevant framework and to increase the recognition of existing ones. The aim of this study; To explore, understand and interpret the use of symbols, which have an important place in Turkish culture, in modern art and post-painting art in Turkey in terms of form-meaning relationship. The study was carried out according to the hermeneutic pattern in line with the purpose. Three works by Bedri Rahmi Eyüboğlu, Erol Akyavaş, Rauf Tuncer, Hüsamettin Koçan and Süleyman Saim Tekcan, one of the pioneers of Turkish painting art, formed the study group. The document method was used as a data collection tool, and the data were analyzed by concept analysis and artifact review method. It has been determined that the symbols, which are the dominant elements in the related works, are presented to the audience in different styles. The fact that the symbols of Turkish culture were successfully synthesized with the universal plastic expression in the examples of works discussed in terms of form and meaning relationship was considered important in the context of the possibility of reaching wider masses. Keywords: Bedri Rahmi Eyüboğlu, Erol Akyavaş, Rauf Tuncer, Hüsamettin Koçan, Süleyman Saim Tekcan
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Spanier, Ehud, Kari L. Lavalli, Jason S. Goldstein, Johan C. Groeneveld, Gareth L. Jordaan, Clive M. Jones, Bruce F. Phillips, et al. "A concise review of lobster utilization by worldwide human populations from prehistory to the modern era." ICES Journal of Marine Science 72, suppl_1 (May 7, 2015): i7—i21. http://dx.doi.org/10.1093/icesjms/fsv066.
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Abstract Lobsters are important resources throughout the world's oceans, providing food security, employment, and a trading commodity. Whereas marine biologists generally focus on modern impacts of fisheries, here we explore the deep history of lobster exploitation by prehistorical humans and ancient civilizations, through the first half of the 20th century. Evidence of lobster use comprises midden remains, artwork, artefacts, writings about lobsters, and written sources describing the fishing practices of indigenous peoples. Evidence from archaeological dig sites is potentially biased because lobster shells are relatively thin and easily degraded in most midden soils; in some cases, they may have been used as fertilizer for crops instead of being dumped in middens. Lobsters were a valuable food and economic resource for early coastal peoples, and ancient Greek and Roman Mediterranean civilizations amassed considerable knowledge of their biology and fisheries. Before European contact, lobsters were utilized by indigenous societies in the Americas, southern Africa, Australia, and New Zealand at seemingly sustainable levels, even while other fish and molluscan species may have been overfished. All written records suggest that coastal lobster populations were dense, even in the presence of abundant and large groundfish predators, and that lobsters were much larger than at present. Lobsters gained a reputation as “food for the poor” in 17th and 18th century Europe and parts of North America, but became a fashionable seafood commodity during the mid-19th century. High demand led to intensified fishing effort with improved fishing gear and boats, and advances in preservation and long-distance transport. By the early 20th century, coastal stocks were overfished in many places and average lobster size was significantly reduced. With overfishing came attempts to regulate fisheries, which have varied over time and have met with limited success.
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Chitrakar, Madan. "Purna Man Chitrakar (1864 - 1939 AD): A Pioneer - Least Celebrated." SIRJANĀ – A Journal on Arts and Art Education 5, no. 1 (December 1, 2018): 16–27. http://dx.doi.org/10.3126/sirjana.v5i1.39738.
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A frequent debate or an issue favorite amongst the art-history buffs is usually found around when and who first used oil paints as a medium of painting and introduced photography in Nepal. On many occasions, the credits were attributed to a legendary name – Bhaju Man Chitrakar or Bhaju-macha. But it appears now many of those narratives were made more based on the popular hearsays rather than actual study of his oeuvre of works or a credible analysis of the circumstances then.
The essay here seeks to analyze the roles of the prominent artists then – spanning late 80s of the 19th century to the late 30s of the 20th century. It is found the role played by a least celebrated artist Purna Man Chitrakar, seemed more credible – in ushering a new era, described as ‘Pre-modern’, with the irrefutable accounts of his workings in oil colors and photography.
Moreover, his mentorship of many of the junior artists later proved momentous – leading to create different new streams in the evolution of Nepali Art – later.
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Karpenko, Vladimir E., and Nikolay I. Shchepetkov. "Light Forms in Urban Environment." Light & Engineering, no. 04-2021 (August 2021): 6–15. http://dx.doi.org/10.33383/2021-033.
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The paper proposes a method for generalizing and understanding the achievements of modern lighting design by means of classifying light forms and their main features are specified. The variety of types and complexity of light forms are due to avant-garde experiments in the art of the early and mid 20th century and is consistent with the successive change in artistic styles. Advances in computer technology and programming have made it possible to combine lighting elements, visual, colour and optical effects in one form. The new lighting techniques were developed for illuminating the architectural environment, various buildings, structures and forms in the spaces of world exhibitions. In this paper, the following light forms of the urban environment are investigated: projection mapping, light-graphic, light-painting and installation, sculptural, media surfaces and media facades, structural and vertical, energy-saving and virtual. The classification of light forms makes it possible to identify their structure and image, their correspondence to different eras in art, to predict the possibility of their transformation in the perspective of modern visual creativity.
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Steklova, Irina A., and Olesya I. Raguzhina. "SCULPTURE PARKS OF THE XX CENTURY LAST THIRD – THE XXI CENTURY BEGINNING: TYPOLOGY EXPERIENCE." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 41 (2021): 80–94. http://dx.doi.org/10.17223/22220836/41/7.
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The purpose of this article is to present sculpture parks at the modern stage of development, from the last third of the 20th century to our day. The relevance of this purpose is due to the relevance of these parks, which meets, firstly, on the challenges of culture, reproducing itself in the synthesis of landscape and monumental-decorative arts; secondly, on the demands of the population in artistically interpreted natural spaces; thirdly, on the life-building claims of modern art, which is looking for optimal ways of self-presentation. The representation of the sculpture parks is implied their systematization, which, in the course of the factual and visual material analysis, exhibits the most typical trends of formal and informative diversity and takes the form of a typology. To start building a typology, it was necessary to draw up a rather broad and spacious representative sample of objects and to select reference criteria in the trends of the manifold. Thus, a representative sample was made up of 90 Europe, Asia, Africa, Australia, and North and South America brightest objects, and following criteria were put forward: environmental involvement, authorship, the nature of specific forms and links between them. Typology showed that approximately two thirds of the sculpture parks are a product of the natural environment and one third of the architectural environment. In the natural environment, in authentic natural spaces, these are co-author full (independent and contextual) and special (by place, material, style, theme) formats, as well as mono-author formats. In an architectural environment, in integrated or interpreted natural spaces, these are, first of all, city formats that can be both co-authors and mono-authors: destinations, stops, transit zones. The implementation of the typology was facilitated by the attraction of a new material for the national art history. In the scientific circulation were introduced information about objects that were not mentioned before and unknown artists. Accounting for this information, along with known realities, allowed us to reach a higher understanding level of sculpture parks as a modern hypostasis of artistic synthesis.
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Patina, Tatiana E., and Ol’ga V. Kovaleva. "Formation and Evolvement of the Russian Avant-Garde during 1910–1930. Ideas of the Russian Textile Avant-Garde." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 65 (2022): 315–24. http://dx.doi.org/10.37816/2073-9567-2022-65-315-324.
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The paper presents an analytical review of the studied and processed information on the fundamental role of the education of artists in the system of the avant-garde institutes and art schools in the first quarter of the twentieth century. The study explores the main theoretical aspects related tothe development and formation of the Russian textile avant-garde. For a deeper and more objective understanding of the development of innovative ideas in the art of post-revolutionary Russia in the 20th century it focused on the activities of the main ideologists of the Russian avant-garde in the art of painting: M. F. Larionov, N. S. Goncharova, K. S. Malevich, and V. V. Kandinsky. In the textile art there were studied the activities of V. F. Stepanova, L. S. Popova, and O. V. Rozanova, as well as other personalities who influenced the formation of avant-garde schools. The authors provide an insight into how the ideas of the avant-garde were kept in the ideas of suprematism, constructivism and propaganda textile. The paper allowed conclusion that the study and research of the ideas of the Russian avant-garde opens up fresh opportunities for thedevelopment of modern Russian design.
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Gusev, Nikita S. "Medieval Architectural Monuments of Macedonia in the Descriptions of Russian Travelers (Mid-19th – Early 20th Сenturies)." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 65 (2022): 26–43. http://dx.doi.org/10.37816/2073-9567-2022-65-26-43.
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The study shows the process of “discovery” of medieval monuments of architecture and monumental painting on the territory of modern Northern Macedonia by Russian travelers. The work is based on materials that introduced the Russian reader to the objects of cultural heritage — book, magazine and newspaper publications. Chronologically, the article covers the period from the first half of the 19th century, when the first fragmentary mentions of monasteries and temples appeared, to 1909 — the publication of N. P. Kondakov's book on the results of his expedition to the region. The paper traces route of travelers, addresses their information about the state of monuments and considers reliability of the information published by them. Before the Russian-Turkish War of 1877–1878, there was little interest in these territories. Only travelogues by V. I. Grigorovich, M. A. Khitrovo and M. F. Karlova were published on the topic of the study. In the wake of the fascination with the Balkans in the late 1870s, V. I. Grigorovich's book was republished and the notes of Archimandrite Antonin (Kapustin) about his journey, written earlier in 1865, were published. Then, until the end of the century, this part of the peninsula sank into oblivion, and only in connection with the aggravation of the Macedonian issue, it began to attract new wanderers. However, they paid attention to the ethno-religious situation, mostly ignoring cultural monuments. As a result, despite a fairly wide range of authors of travel essays on Macedonia at the turn of the 20th century, only P. N. Milyukov, A. A. Bashmakov and P. A. Rittikh mentioned medieval temples. The reason for this is that the Macedonian lands were presented to the Russian society as a kind of exotic part of the East, and therefore the medieval cultural heritage gave rise to unjustifiably disdainful attitude.
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Lysen, Flora. "What to do with the “Most Modern” Artworks? Erwin Panofsky and the Art History of Contemporary Art." Contemporaneity: Historical Presence in Visual Culture 3 (June 5, 2014): 38–49. http://dx.doi.org/10.5195/contemp.2014.81.
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In the 1930s, when the world-renowned Medieval and Renaissance art scholar Erwin Panofsky became acquainted with the New York contemporary art scene, he was challenged with the most difficult dilemma for art historians. How could Panofsky, who was firmly entrenched in the kunstwissenschaftliche study of art, use his historical methods for the scholarly research of contemporary art? Can art historians deal with the art objects of their own time? This urgent and still current question of how to think about “contemporaneity” in relation to art history is the main topic of this paper, which departs from Panofsky’s 1934 review of a book on modern art. In his review of James Johnson Sweeny’s book Plastic Redirections in 20th Century Painting, Panofsky’s praise for Sweeney’s scholarly “distance” from contemporary art developments in Europe is backed by a claim for America’s cultural distance, rather than a (historical) removal in time. Taking a closer look at Panofsky’s conflation of historical/temporal distance with geographical/cultural distance, this paper demonstrates a politically situated discourse on contemporaneity, in which Panofsky proposes the act of writing about the contemporary as a redemptive act, albeit, as this paper will demonstrate, without being able to follow his own scientific method.
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Zagidullina, Marina. "Mediaesthetics of blank forms: the material basis of cultural nomadism in the era of panmediatization." Przegląd Wschodnioeuropejski 9, no. 2 (November 30, 2018): 293–307. http://dx.doi.org/10.31648/pw.3215.
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The article is devoted to the concept of the “empty form”. This concept is considered from philosophical, communicative, sociological, artistic and cultural points of view. The author follows Aristotle’s philosophy of hylomorphism and “eidos” and its transformation into the 20th century theory of “new materiality” with the “emptiness of the center” and “assemblage of things” concepts, in the modern linguistic approaches and in art and creative industries (i.e. painting, architecture, literature). The metaphor “frame without painting” (G. Zimmel) helps us understand the social potential of the “empty form” concept (as a functional stimulus and condition of perception). The modern communication situation, characterized by a panmediatization of all sides of societal life and a penetration of media in all forms of sociality, provides a number of conditions leading to an increase of the role of “empty forms” (including creativity based on “ready-to-use” empty forms considered as “vacuums waiting to be filled”). Panmediatization makes possible “the cultural nomadism” as a rambling from one empty form to another one. Panmediatization creates a “cultural nomadism” that consists of rambling from one empty form to another. One can see how the panmediatized communication field organizes this rambling: any “cultural nomad”, or rambler, is provided an opportunity to create new senses and new objects in the virtually endless and timeless space of this field. The technical aspect nature of this field generates the phenomenon of media aesthetics – the process of never-ending creative activity and consumption and evaluation of its results, where the aesthetic judgement is embodied in the technical procedures of the panmediatized communication field (i.e. “likes” or “sharing” of social media).
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Bode, Andrey В., and Tatiana V. Zhigaltsova. "History and Architecture of the Sretenskaya Church in Maloshuyka Village, Onega District of the Arkhangelsk Province." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 66 (2022): 353–67. http://dx.doi.org/10.37816/2073-9567-2022-66-353-367.
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The paper deals with the history and architecture of the wooden architecture complex, situated in Maloshuyka (modern name — Abramovskaya village) in Onega District, Arkhangelsk Region. It describes the construction history of the Sretenskaya (Meeting of the Lord) Church (1873) and the bell tower (1807) in detail on the basis of the field research and archival data. The study of archival historical sources made it possible to reveal the architectural appearance of the preceding 18th century Sretenskaya Church. The identified features of its architecture were compared with the analogue Pomor churches. Based on the historical and typological comparison, we have come to the conclusion about the existence of a local church-building tradition. The results obtained include graphic reconstructions of the original appearance of the architectural ensemble in Maloshuyka as well as its appearance during the final stage of its development in the late 19th century. We analyzed historical data on the façade painting of the monuments under study and established that a specific color palette was characteristic of Pomor churches in the 19th – early 20th centuries. Also, the authors introduce new information into the scientific discourse about one lost object — a cemetery. The study resulted in obtaining new data on the history and architecture of Pomor wooden churches.
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Suzdaltsev, Ilya. "Modern English Historiography of the Communist International: A General Overview." Novaia i noveishaia istoriia, no. 4 (2021): 18. http://dx.doi.org/10.31857/s013038640013465-9.
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The article is devoted to the analysis of the 21st-century English-language historiography of the Communist International. Contemporary historians are showing increasing interest in the study of this international organization. Three available conceptual approaches to this topic (“traditionalist”, “revisionist”, and “post-revisionist”) are considered and characterized, the works of historians from Great Britain, the USA, Canada, Ireland, Australia, New Zealand are analyzed. The article demonstrates an increase in research interest in the Communist International. In a fairly large volume of studies, there are monographs and articles devoted to the organization both directly (the historiography of the Comintern, the activities of its sections around the world, etc.) and indirectly, i.e., to related issues such as the history of communism, in particular, and the left forces, in general, international relations of Soviet Russia, the communist movement in individual countries, etc. These studies touch on the period of the Comintern's activity from 1920 to the end of the 1930s, including several controversial issues: the impact on the policy of the national communist parties of the “The Twenty-one Conditions”, united front tactics, Bolshevization, Stalinization, and the Popular Front. The author believes that most of the studies (especially those published in the first decade of the 21st century) are based on studies published long before the 2000s, however, archival materials are being used in increasing volumes, which makes modern research more objective. This gives grounds for a conclusion about the revision of the historiographic tradition of the Comintern that existed in the 20th century: new approaches (“revisionist” and “post-revisionist”) entailed a change in emphasis and a revision of some established points of view. Authors adhering to these approaches rely mainly on modern literature (including Russian) and a wide source base represented by materials from both national archives and the Russian State Archives of Social-Political History.
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Mitrović, Slađana. "The Wound in Visual Art." Monitor ISH 17, no. 2 (November 3, 2015): 73–94. http://dx.doi.org/10.33700/1580-7118.17.2.73-94(2015).
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The fine arts abound in images of the pierced, wounded, tortured, dismembered, crippled or decapitated body in all historical periods. The iconography of the wound is of long standing, and the passion for depicting open bodies can only be compared to the enthusiasm for the nude. In the history of painting and sculpture, the wounded body is most often represented in renditions of Christ’s Passion and Christian martyrs, as well as of Biblical stories about decapitation and slaughter. The topic of the wound has proved relevant to modern and contemporary art as well. In the second half of the 20th century, around 1965, when the Viennese Actionism appeared, as well as between 1968 and 1974, the two milestone dates of body art, artists engaged in performative practices, shattering the notions of the wounded or penetrable body which dominated at the time. What they exposed was the anxious image of the artist’s body. By analysing the art photos by Rudolf Schwarzkogler, the paper shows how the wound is materialised as a topic of visual art.
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Wais-Wolf, Christina, Petra Weiss, and Christoph Tinzl. "Austrian Stained Glass in the Interplay of Research and Conservation: Reflections on How to Preserve an Endangered Art Genre." Heritage 5, no. 1 (March 10, 2022): 509–25. http://dx.doi.org/10.3390/heritage5010029.
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In 2021, two projects for the protection and preservation of Austrian stained glass were performed in close cooperation between the Federal Monuments Authority Austria and active members of the Corpus Vitrearum Austria. Both projects are dedicated to difficult topics that will increasingly challenge how we tackle the preservation of monuments in the coming decades. There are questions regarding the correct conservation and restoration treatment of stained glass from the late 19th and early 20th century (stained glass from the so-called art period of Historicism), which, despite all the Guidelines for the Conservation and Restoration of this endangered genre of art, is still far from being treated with the necessary care throughout the country. The protection and preservation of the original substance—the glass, the leading and the painting—are the primary focus of interest here. Using the example of the restoration campaign currently being conducted on the windows of St. Mary’s Cathedral, Linz, a cultural monument of particular importance for Austria, work is being undertaken to elaborate the feasibility of a concept that can be easily implemented in the future at other construction sites and by all the stakeholders involved. The second monitoring project presented concerns the equally important area of “preventive conservation” of medieval and modern stained glass. The focus of the work that took place here was on checking the condition of stained glass from the Middle Ages to the 20th century (with and without exterior protective glazing) and the general identification of damage and determination of the urgency of measures for conservation (using a “traffic light system” developed for this purpose).
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Weinberg, Robert. "The Awakening of Spirit: Artistic and Thematic Influences on the Evolution of Mark Tobey’s ‘White Writing’." Baha'i Studies Review 21, no. 1 (June 1, 2015): 87–99. http://dx.doi.org/10.1386/bsr.21.1.87_1.
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This paper is a distillation of the author’s dissertation submitted for the Degree of Master of Arts by Research in History of Art: Renaissance to Modernism to the School of Humanities at the University of Buckingham in September 2016. The dissertation sought to answer the question, ‘What were the artistic and thematic influences on the evolution of the “white writing” style of the American painter, Mark Tobey?’ Tobey’s distinctive approach to abstraction brought him great acclaim and considerable success in the middle decades of the 20th century but today barely receives a footnote or a few brief sentences in art history texts and courses. It is the intention of this author to argue for the originality and importance of Tobey’s contribution to modern painting, and explain how he arrived at this unique style.This paper is divided into three parts. The first explores the artistic figures and movements that had an impact on Mark Tobey’s early development. The second focuses on the wide and varied range of thematic sources for Tobey’s painting throughout his life. The painter cited them as ‘the Orient, the Occident, science, religion [and] cities…’ In the third part, the years Tobey spent as a teacher at Dartington Hall in Devon will be examined, including the painter’s travels to the Far East with his friend, the potter Bernard Leach, and the particular circumstances and influences that resulted in the painter’s artistic breakthrough when he produced his first so-called ‘white writing’ paintings at Dartington.
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Hama, Bakhtiar S. "Imagism and Imagery in the Selected Poems of Major Imagist Poets." Koya University Journal of Humanities and Social Sciences 3, no. 1 (June 22, 2020): 88–93. http://dx.doi.org/10.14500/kujhss.v3n1y2020.pp88-93.
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This paper explores imagism and studies the intrinsic literary features of some poems to show how the authors combine all the elements such as style, sentence structure, figures of speech and poetic diction to paint concrete and abstract images in the mind of the readers. Imagism was an early 20th century literary movement and a reaction against the Romantic and Victorian mainstreams. Imagism is known as an Anglo-American literary movement since it borrows from the English and American verse style of modern poetry. The leaders of the movement set some rules for writing imagist poems. The authors of the group believed that poets are like painters; what the painters can do with brush and dye, poets can do it with language i.e. painting pictures with words. The poems are descriptive; the poets capture the images they experience with one or more of the five senses. They believed that readers could see the realities from their eyes because the texts are like a painting. In this paper, six poems by six prominent leaders of the movement will be scrutinized according to the main principles of the formalistic approach which is the interpretation and analysis of the literary devices pertained to the concrete and abstract images drawn by the poets. The poems are: In a Station of the Metro by Ezra Pound, Autumn by T. E. Hulme, November by Amy Lowell, Oread by Hilda Doolittle (H.D.), and Bombardment by Richard Aldington
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Kuo, Mei-fen. "The Making of a Diasporic Identity: The Case of the Sydney Chinese Commercial Elite, 1890s-1900s." Journal of Chinese Overseas 5, no. 2 (2009): 336–63. http://dx.doi.org/10.1163/179303909x12489373183091.
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AbstractThis article is about a short moment in Chinese-Australian history at the turn of the 20th century when Chinese fruit and vegetable traders in Sydney were on the verge of major international success. The concerns of this new urban elite can be gleaned from their Chinese-language newspapers and civil societies which played an important role in the evolution of the diasporic identity of the Chinese in “White-Australia” — an experience involving more than merely a refinement of native kinship practices and inherited identities — in a process that invoked a distinctively modern sense of time, space, and the unfolding of history. This is an attempt to recount their experience chiefly by reference to the developments recorded in Chinese newspapers and the narratives related to the social institutions and networks associated with them in the Federation Era (1890s-1900s).
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Chibalashvili, Asmati, Polina Kharchenko, Igor Savchuk, Victor Sydorenko, and Ruslana Bezuhla. "Practices of Visual Arts in the Music of the Twentieth and Early Twenty-First Centuries." Studia Universitatis Babeş-Bolyai Musica 67, Special Issue 1 (July 8, 2022): 79–101. http://dx.doi.org/10.24193/subbmusica.2022.spiss1.06.
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"The study of transformational processes in contemporary music art under the influence of the fine arts practices is one of the important problems of musical culturology and aesthetics. The study is topical because of the new efforts aimed at understanding and arrangement of the evolution of established aesthetic systems and experiments in music and fine arts in the 20th century and at the beginning of the 21st century, as well as their influence on modern practices of introduction of meaningful elements of painting, graphics, architecture, and multimedia technologies into music creation processes. The aim of the research was to identify current trends in music visualization through the arrangement and generalization of the experience of artists of the 20th — early 21st centuries, who used expressive arts, synthesizing one art into another in their musical compositions, as well as to identify the background of those synthetic ideas and ways to implement them. The scientific research established that the development of synthetic art has its roots in the disposition towards merging arts and versatility. The fine arts practices applied in music has contributed to the expansion and enrichment of artistic means and techniques and has entailed further complication of sound and visual components in the overall concept of the work. It is concluded that the individual creative and personal traits of the artist, who seeks to fully convey the multidimensional figurativeness of the work determine a significant impact on implementing fine arts practices in music. Prospects for further research of the evolution of fine arts practices and audio-visual media in music involve the development of description techniques in the context of the dominance of the visualization factor over music one in artistic perception, as well as the study of the impact of cultural technologization on contemporary music art. Keywords: music, visualization, fine art, artist, interconnection of the arts, synthesis, intermediality "
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Andreenko, D. V. "Melancholy and Crisis Worldview as the Situation of Man “In His Time” in the First Third of the XX Century." Discourse 7, no. 4 (September 28, 2021): 33–44. http://dx.doi.org/10.32603/2412-8562-2021-7-4-33-44.
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Introduction. Shaping modernity in the first third of the twentieth century is tied to the private worldview of the person of this era in which the main metaphor of the individual perception of “their time” is melancholy. The crisis of this historical period forms the prism of melancholic worldview. The goal of this article is to substantiate the reasons for the perception of melancholy as a phenomenon caused in part by the problem of individual experience of time. The relationship between melancholy and modernity has already been noted in the literature, but this text raises a new question – what is the temporal nature of this mutual influence?Methodology and sources. A key role in the understanding of melancholy is played by the texts of authors of the early 20th century: Walter Benjamin, devoted to Charles Baudelaire and the work of Sigmund Freud “Mourning and Melancholy”. The issue of temporality in the work is interpreted through the reference to the phenomenological tradition, namely in reference to the modern phenomenological analysis of depressive disorder in the work of Domonkos Sik.Results and discussion. The author comes to the conclusion that the feeling of the interrelation of melancholy and the epoch is extremely specific for a person of the first third of the 20th century, evidence of which could be found in the philosophical and cultural reflection of this period. Crisis worldview is reflected in literature, painting, cinema, philosophy, social theory, etc. Thus, it is possible to represent melancholy as a phenomenon, partly caused by the problem of individual experience of time. Melancholy occurs when a crisis worldview is supplemented by an experience of circular temporality, the disappearance of the future, preoccupation with the past, passivity, or isolation.Conclusion. If these elements come together, a total worldview is formed in which real world events intensify melancholy. In this sense, phenomenologically speaking, melancholy is not so much a state as a dynamic process.
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Helgason, Hlynur. "Viðtökur á verkum Þórarins B. Þorlákssonar." Ritið 18, no. 3 (December 20, 2018): 187–215. http://dx.doi.org/10.33112/ritid.18.3.10.
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Þórarinn B. Þorláksson (1867–1924) has been credited with being the first Icelandic professional painter. His reception, both during his lifetime and posthumously, is therefore an interesting indication of the changes in the outlook and ideology surrounding the reception of Scandinavian findesiécle art up to the present. He was honourably mentioned by his contemporaries and then was forgotten in the upheavals surrounding the adoption of modern styles, such as abstract art, in Iceland around the Second World War. He regained attention in the sixties and has since then been revered as an important, though problematic, pioneer of Icelandic painting. This has in recent years been especially evident in the way he has been mentioned in the context of the revival of Nordic and Scandinavian late 19th and early 20th century art in NorthernEurope and America. The paper reviews and analyses the historical reception Þorláksson has received and the way his work has been inscribed into the narrative of Icelandic and Scandinavian Art History. This process is an attempt to understand and contextualise Þorláksson’s work in aesthetic terms, while at the same time function as a critical mirror of the trends and ideologies surrounding the Nordic revival in recent years.
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HAMILTON, REBECCA, and DAN PENNY. "Ecological history of Lachlan Nature Reserve, Centennial Park, Sydney, Australia: a palaeoecological approach to conservation." Environmental Conservation 42, no. 1 (April 8, 2014): 84–94. http://dx.doi.org/10.1017/s0376892914000083.
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SUMMARYReconstructing the environmental history of protected areas permits an empirically-based assessment of the conservation values ascribed to these sites. Ideally, this long-term view can contribute to evidence-based management policy that is both ecologically ‘realistic’ and pragmatically feasible. Lachlan Nature Reserve, a protected wetland in Centennial Park, Sydney, is claimed to be the final remnant of early and pre-European swamplands that were once extensive in the area, and the site is thus considered to have indigenous cultural and natural conservation significance. This study uses palynological techniques to reconstruct vegetation communities at the Reserve from the late Holocene to the present in order to assess whether these values adequately reflect the history, character and development of the site. The findings indicate that the modern site flora is a modified Melaleuca quinquenervia low forest assemblage formed in response to aggregated anthropogenic disturbance since colonial settlement. This assemblage replaces an Epacris-dominated heath-swampland community that was extirpated in the mid-20th century. These results emphasize the value of long-term studies in contributing to a realistic management policy that explicitly reflects the normative basis of conservation, and values the influence of past land-uses on contemporary protected ecosystems.
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Frolova, L. V. "Сult and Critique of Raphael in the Late Nazarene Movement." Art & Culture Studies, no. 4 (December 2021): 184–97. http://dx.doi.org/10.51678/2226-0072-2021-4-184-197.
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The cult of Raphael is an important part of German romantic culture of the beginning of the 19th century. There were the Nazarenes who developed the cult of the Renaissance genius, and Raphael’s modern reputation is based on these romantic tradition. The article reveals special features of late romantic cult of Raphael, which caused the critique of the Italian master in the second half of the 19th — 20th centuries. The article discusses the art works of the Nazarenes (Franz Pforr, Peter von Cornelius, Franz and Johann Christian Riepenhausen). Special attention was paid to the art works and texts of the founder of Nazarene movement J.F. Overbeck of the 1830–1840s. This material was compared with the German art criticism of the same years, dedicated to the Düsseldorf Academy, an art school considerably influenced by the Nazarenes (A. Fahne, H. Püttmann). Typical for the Nazarene movement is the cult of Raphael as the main Christian painter, whose art is characterized as pure and harmonious. Other features of Raphael’s works, such as dynamic and emotional expressiveness of the form, were ignored or criticized. Such approach was firstly used in the J.F. Overbeck’s comment to the program painting The Triumph of Religion in the Arts (1829–1840) and developed in his later works (The Marriage of the Virgin, 1834–1836; The Lamentation, 1840–1845). This simplified image of Raphael became the subject of criticism for the next authors’ generation who supported the realistic searches of the masters of the mid-19th century. Nevertheless, Raphael’s works continued to be used as a standard for discussing of modern religious paintings.
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BROWN, CHRISTOPHER. "The Renaissance of Museums in Britain." European Review 13, no. 4 (October 2005): 617–36. http://dx.doi.org/10.1017/s1062798705000840.
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In this paper – given as a lecture at Netherlands Institute for Advanced Study in the summer of 2003 – I survey the remarkable renaissance of museums – national and regional, public and private – in Britain in recent years, largely made possible with the financial support of the Heritage Lottery Fund. I look in detail at four non-national museum projects of particular interest: the Horniman Museum in South London, a remarkable and idiosyncratic collection of anthropological, natural history and musical material which has recently been re-housed and redisplayed; secondly, the nearby Dulwich Picture Gallery, famous for its 17th- and 18th-century Old Master paintings, a masterpiece of 19th-century architecture by Sir John Soane, which has been restored, and modern museum services provided. The third is the New Art Gallery, Walsall, where the Garman Ryan collection of early 20th-century painting and sculpture form the centrepiece of a new building with fine galleries and the forum is the Manchester Art Gallery, where the former City Art Gallery and the Athenaeum have been combined in a single building in which to display the city's rich art collections. The Ashmolean Museum in Oxford, of which I am Director, is the most important museum of art and archaeology in England outside London and the greatest University Museum in the world. Its astonishingly rich collections are introduced and the transformational plan for the museum is described. In July 2005 the Heritage Lottery Fund announced a grant of £15 million and the renovation of the Museum is now underway.