Relevant bibliographies by topics / Painting, Modern 20th century Indonesia

Academic literature on the topic 'Painting, Modern 20th century Indonesia'

Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

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Journal articles on the topic "Painting, Modern 20th century Indonesia"

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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Dissertations / Theses on the topic "Painting, Modern 20th century Indonesia"

Hennig, Sybille. "The machine and painting: an investigation into the interrelationship(s) between technology and painting since 1945." Thesis, Rhodes University, 1986. http://hdl.handle.net/10962/d1009435.

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Introduction: We, i.e. contemporary Western man, live in a society which has increasingly embraced Science and Technology as the ultimum bonum. The Machine, i.e. Science and Technology, has come to be seen as an impersonal force, a New God - omniscient, omnipotent: to be worshipped and, alas, also to be feared. This mythologem has come to pervade almost every sphere of our lives in a paradigmatic way to the extent where it is hardly ever recognized for what it is and hence fails to arouse the concern it merits. While some of the more perceptive minds - such as Erich Fromm, Rufino Tamayo, Carl Gustav Jung, Konrad Lorenz and Arthur Koestler, to mention but a few - have started ringing the alarm bells, the vast majority of our species seem to plunge ahead with their blinkers firmly in place (more or less contented as long as they can persude themselves that these blinkers were manufactured according to latest technological and scientific specifications). Man’s uniquely human powers - his creative intuition, his feelings, his moral and ethical potential, have become sadly neglected and mistrusted. Homo sapiens – “homo maniacus” as Koestler suggests? - is now at a crossroads: he has reached a point where the next step could be the last step and result in the annihilation of man as a species. Alternately, avoiding that, there is the outwardly less drastic but essentially equally alarming possibility of men becoming robots, while a third alternative has yet to be found. While it does appear as if a lot of young people, noticeably among students, have started reacting against the over mechanization of life, these reactions often tend to follow the swing-of-the-pendulum principle and veer towards the other extreme, throwing out the baby with the bathwater and falling prey to freak-out cults in a kind of mass-irrationalism, rejecting science and technology altogether. Artists who by their very nature perhaps are particularly sensitive - in a kind of seismographic way - to the currents and undercurrents of their age, have become aware of the effects of science and technology on our way of living, and many of them have in one way or another taken a stand in relation to the position of man in our highly technological world. Looking at the art produced over the last four decades, it is truly astonishing to what extent our changed world reflects in our art - a world and a Weltbild very different from that of our ancestors even just a few generations ago. The purpose of the present study is to survey some of the observations and commentaries that painters and certain kindred spirits from the sciences over the last few decades have offered, in the hope of, if not answering, at least defining and posing anew some of the questions that confront us with ever-increasing urgency.

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Loayza-Lauffs, Mariana. "The art of Guillermo Kuitca." Thesis, Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21021508.

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Archer, Carol. "Frames, flows, feminist aesthetics: paintingsby Judy Watson, Cai Jin and Marlene Dumas." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B3690787X.

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Wang, Xuning. "Realist painting and its relationship to my creative practice." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2010. https://ro.ecu.edu.au/theses/122.

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This thesis examines the realist art movement from its origins in France in the 1840s to its development in China in the 20th century and its impact on the author as an artist. The thesis reviews the development of realism in France, and traces its impact on Chinese conceptions of realism in the 20th century. The contemporary debates surrounding realism in China are examined and contextualised within the recent history of realism in China. Finally the thesis looks at the impact of realism on the author’s creative practice and a case is argued for the development of realist ideas in a globalised culture and its value as a cross- cultural visual language.

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Draguet, Michel. "Genèse et naissance de l'abstraction de Kandinsky à Malevitch: essai de définition de la notion de Permière abstraction, 1911-1918." Doctoral thesis, Universite Libre de Bruxelles, 1990. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/213179.

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Miller, Jennifer Anne. "The Politics of Nazi Art: The Portrayal of Women in Nazi Painting." PDXScholar, 1996. https://pdxscholar.library.pdx.edu/open_access_etds/5157.

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The study of Nazi art as an historical document provided an effective measure of Nazi political platform and social policy. Because the ideology of the Third Reich is represented within Nazi art itself, it is useful to have a good understanding of the politics and ideology, surrounding the German art world at the time. Women were used in this study as an exemplification of Nazi art. This study uses the subject of women in Nazi painting, to show how the ideology is represented within the art work itself. It was first necessary to understand the fervorent "cleansing" of the German art world initiated by the Nazis. The Nazis too effectively stamped out all forms of professional art criticism, and virtually changed the function of the art critic to art editor. The nazification of the German artist was "necessary" in order for the Nazis to enjoy total control over the creation of German art. With these three steps taken in the "cleansing" of the German art world, the Nazis made sure that the creation of a "true" Germanic art would go forth completely unhindered. In order to comprehend the subject of Nazi art regarding women, the inherent ideology must be studied. The "new" German woman under National Socialism, was to be the mother, the model of Aryan characteristics, healthy and lean. Nazi political doctrine stated that women were inherently connected with the blood and soil of the nation, as well as nature itself. Women were to be innocent and pure, the bearers of the future Volk and the sustenance of that Volk. Once this political ideology is understood, the depiction of the German woman as mother, as nature, as sexual object, can be placed within Nazi historical context. Political art provided the Nazi state, the historical legitimization the government needed. It provided the means by which the state could be visually validated, politically, and historically.

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Robins, Amanda School of Arts UNSW. "Slow art : meditative process in painting and drawing." Awarded by:University of New South Wales. School of Arts, 2006. http://handle.unsw.edu.au/1959.4/31214.

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This exegesis is an exploration of meditative process in painting and drawing and accompanies an exhibition of paintings and large drawings called What Lies Beneath. The text contains several passages, called "meditations," which accompany the themes approached in the chapters and give insight into the thoughts and practices of the artist. The methodology involves the examination of the evidence of the work produced by selected artists, looking at the words of artists in notebooks, diaries and interviews and surveying a small number of local contemporary artists. The text opens up the possibilities of drapery and garments and of still life as paths to meditative practice in painting and drawing. The qualities that characterize meditative process/practice, derived from my observations, are categorized. Some of the strengths of these processes are revealed through the examination of the work of artists, both contemporary and historical. The work of Vermeer, Sanchez Cotan, Francisco Zurbaran and contemporary artists Anne Judell, Simon Cooper, Jude Rae, Alison Watt and Eva Hesse highlight different aspects of the meditative process in painting and drawing. The art works in the exhibition are documented and bring out the meditative processes that have contributed to their creation, including the use and meaning of the subject (drapery and the garment as a form of still life).

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Czujack, Corinna. "An economic analysis of price behaviour in the market for paintings and prints." Doctoral thesis, Universite Libre de Bruxelles, 1997. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212155.

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Seraphim, Mirian N. (Miriam Nogueira). "A catalogação das pinturas a óleo de Eliseu d'Angelo Visconti = o estado da questão." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280443.

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Orientador: Jorge Coli
Acompanha no v. 1 1 CD-ROM
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-16T10:33:17Z (GMT). No. of bitstreams: 1 Seraphim_MirianN.(MiriamNogueira)_D.pdf: 12638976 bytes, checksum: e9c65ea2af43869cc442737e0ffb85ac (MD5) Previous issue date: 2010
Resumo: O pintor Eliseu d'Angelo Visconti (Salerno, Itália, 1866 - Rio de Janeiro, 1944), apesar de ser precursor do modernismo brasileiro, pioneiro do design no Brasil, e ainda decorador de diversos edifícios importantes do Rio de Janeiro, não tem sua obra conhecida nem valorizada na justa medida, como também grande parte dos artistas brasileiros. A catalogação sistemática da obra de um artista é o procedimento que visa sanar essas faltas e também prevenir e combater a falsificação, que progride na medida em que o mercado de artes plásticas no Brasil é insipiente e o conhecimento do seu objeto é precário. Foi feito, então, um levantamento das pinturas a óleo e de cavalete atribuídas a Visconti, num recorte que exclui toda a sua produção de desenho, pinturas em outras técnicas, projetos para as indústrias artísticas e os grandes painéis decorativos. Para definir o estágio de autenticação de cada pintura e ordená-las cronologicamente, foi realizada uma grande coleta de documentos e críticas publicadas por ocasião das muitas exposições que Visconti participou. Além disso, as características individuais do autor - em termos de cor, fatura, desenho e composição - observadas em suas obras de autoria comprovada, quando estão evidentes em outras pinturas, servem de base para a sua aprovação. Assim, foram destacadas 501 pinturas a óleo, em sua grande maioria comprovadas e aprovadas, num Elenco Cronológico e Iconográfico; acompanhadas de seus dados essenciais e históricos, e de um símbolo de caracterização da obra, que as define em cinco variáveis: autoria, título, imagem, data e coleção. Em separado, são apresentadas mais 115 pinturas, ainda em estudos ou não aprovadas, e acompanhadas dos mesmos elementos. Visconti alcançou uma linguagem plástica pessoal harmonizando elementos de sua formação acadêmica com as tendências do final do século XIX: pré-rafaelismo, impressionismo, simbolismo, artnouveau. Assim, foi inovador e ousado, sem ser contestador ou revoltado
Abstract: The painter Eliseu d'Angelo Visconti (Salerno, Italy, 1866 - Rio de Janeiro, 1944), despite being a precursor of modernism in Brazil, and a pioneer of design in Brazil, and decorator of several important buildings in Rio de Janeiro, his work is neither known nor appreciated in full measure, as happens to most Brazilian artists. The systematic cataloguing of the work of an artist is the procedure that aims to remedy those deficiencies and prevent and combat counterfeiting, which progresses to the extent that the market for visual arts in Brazil is incipient and knowledge of its object is poor. Then it was made a survey of oil paintings attributed to Visconti, a clipping that excludes all of its production design, paintings in other techniques, artistic projects for industries and large decorative panels. To set the stage for authentication of each painting and arrange them chronologically, we performed a large collection of documents and reviews published during the many exhibitions that Visconti participated. In addition, the author's individual characteristics - in terms of color, making, design and composition - seen in his works of authorship verified, once evident in other paintings, are the basis for its approval. Thus, there were 501 outstanding oil paintings, mostly verified and approved, in an Iconographic and Chronological List and, accompanied by their essential data and history; a symbol of characterization of the work, that sets in five variables: author, title, image, date and collection. Separately, more than 115 paintings are displayed, still in studies or non approved and accompanied by the same elements. Visconti reached a personal visual language harmonizing elements of their academic training with the trends of the late nineteenth century: pre-Raphaelitism, impressionism, symbolism, art nouveau. Thus, it was innovative and daring, without being disruptive or revolted
Doutorado
Historia da Arte
Doutor em História

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Andrieu, Mélanie. "Une spécificité Cobra, les oeuvres collectives: émergence d'une pratique et exemplarité de Christian Dotremont." Doctoral thesis, Universite Libre de Bruxelles, 2011. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209838.

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Cette thèse est une étude du mouvement Cobra à travers les œuvres collectives, une de ses composantes caractéristiques. Il s’agit tout d’abord de comprendre le mouvement, ses origines et influences, ainsi que sa visée d’un art libre, ouvert, expérimental, partie prenante de la vie. Dans un contexte social d’après-guerre, souvent politisé, Cobra défend l’action collective, définie notamment dans les notions d’antispécialisme et d’interspécialisme. Il convient de mettre en exergue les origines de cette pratique, et saisir les divers aspects qu’elle arbore, notamment au travers de revues, d’expositions ou de créations partagées. Le poète Christian Dotremont, animateur et âme de Cobra, favorise le travail de collaboration et contribue à son développement en stimulant les rencontres artistiques. Il se fait le passeur et le permanent "agitateur"» de cette notion. Les peintures-mots qu’il crée avec d’autres artistes participent à sa réflexion majeure sur l’écriture et la peinture. Ce lien interpelle quelques artistes belges comme Pierre Alechinsky, mais il passionne Christian Dotremont qui ne cesse de multiplier les expériences à ce propos, pour aboutir à ce qu’il nomme les logogrammes, remarquable fusion de la peinture et de la poésie, et aboutissement de toute une vie de recherche.

Ce travail est structuré en trois points. Le premier établit une étude du contexte artistique et social des années précédent Cobra puis la mise en place du groupe. Le second aborde les années d’intense activité "officielle" du groupe, au service du collectif. Enfin, le troisième propose de suivre l’évolution post-Cobra des œuvres collectives et des recherches sur l’écriture et la peinture. / This thesis is a study of the Cobra movement through one of its characteristic components: the collective works. First of all it's about understanding the movement, its origins (three countries), its influences and its purpose of a free art, open, experimental, involvement with life. In a social after-war context, often politicized, Cobra defends collective action, notably defined in concepts of anti-specialism and inter-specialism. We should therefore underline the origins of this practice and undestand different aspects that it shows, in particular through publications, exhibitions or shared creations. The poet Christian Dotremont, leader and soul of Cobra, promotes cooperative work by collaboration and contributes to its development by stimulating artistic meetings. He is the purveyor and permanent "agitator" of this concept. The words-paintings that he creates with other artists, take part of his major thinking about writing and painting. This link interpellates a few Belgian artists like Pierre Alechinsky, but it fascinates Christian Dotremont who keeps experimenting on it, in order to reach what he calls the logograms, a remarkable fusion of painting and poetry, and a culmination of a life-time of research.

This work is structured in three parts. The first one draws a study of the artistic and social context of the years preceding Cobra and the setting up of the group. The second one talks about years of intense "official" activity of the group serving collective way of work. Finally, the third one offers to follow the post-Cobra evolution of collective works and researches about writing and painting.
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished

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Books on the topic "Painting, Modern 20th century Indonesia"

Indonesian eye: Contemporary Indonesian art. Milano, Italy: Skira, 2011.

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Galleries, Salander-O'Reilly. A selection of 20th-century American paintings. New York: Salander-O'Reilly Galleries, 2000.

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Sam, Hunter. Modern art: Painting, sculpture, architecture. 3rd ed. New York: Harry N. Abrams, 2000.

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M, Jacobus John, and Hunter Sam 1923-, eds. Modern art: Painting, sculpture, architecture. 2nd ed. New York: H.N. Abrams, 1985.

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Hunter, Sam. Modern art: Painting, sculpture, architecture. 3rd ed. Upper Saddle River, NJ: Prentice Hall and Harry N. Abrams, 2000.

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Sam, Hunter. Modern art: Painting, sculpture, architecture. 3rd ed. Englewood Cliffs, N.J: Prentice Hall, 1992.

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M, Jacobus John, and Hunter Sam 1923-, eds. Modern art: Painting, sculpture, architecture. 2nd ed. Englewood Cliffs, N.J: Prentice-Hall, 1985.

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British figurative painting of the 20th century. Israel: Isreal Museum, 1992.

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Painting today. London: Phaidon Press, 2009.

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Till, Barry. Tradition and innovation in 20th century Chinese painting. Victoria, B.C: Art Gallery of Greater Victoria, 1998.

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Book chapters on the topic "Painting, Modern 20th century Indonesia"

Méndez Baiges, Maite. "“We are all Demoiselles d’Avignon” or the Breaching of the Dominant Gaze." In Les Demoiselles d'Avignon and Modernism, 67–101. Florence: Firenze University Press, 2022. http://dx.doi.org/10.36253/978-88-5518-656-8.07.

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In his thesis on Les Demoiselles d'Avignon, Steinberg postulated the fundamental role of the spectator (object of the appealing gazes of the five young nudes in the painting) as the catalyst of the meanings in the painting. From then on new critical perspectives would speculate about this subject, targeted by the personages in the painting, who bears so much responsibility in articulating the interpretation of the scene. Doubts were raised about the universal character of the gaze, the universal character of the receptor of the work of art and of Modern Art. From the end of the 20th century and activated by the most recent methodological approaches such as feminism and post-colonialism, new critical voices provoked the breaching of the dominating gaze. This chapter broaches the interpretations of this paradigmatic work of Modern Art made by feminist and post-colonial and subaltern theories, questioning the very proposals of Modernism. Feminism shows how gender conditioning affects the reception of a work of art. And allied with this, post-colonialism and subaltern theory begin to seriously question the way historiography has considered, or not, the relevance of Art négre in the avant-guard eclosion.

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Gigante, Lorenzo. "Incontri, scontri, confronti Appunti sulla ricezione della xilografia nordica in Italia tra XV e XX secolo." In Taking and Denying Challenging Canons in Arts and Philosophy. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-462-2/007.

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Germany, France, Italy: the attribution of the first woodcut images has long been debated between several countries, to gain the technological primacy of the invention of reproductive printmaking, before Gutenberg’s movable type printing. Today we know how difficult it is, if not impossible, to establish a place and a date of origin of image printing in Europe. Impossible and probably unimportant. Printing was a European phenomenon in the 15th century, and we may ask ourselves whether a northern woodcut beyond the Italian borders was intended as something different than an Italian one. The contrast between northern and southern prints, which has been claimed by art historians from Vasari until the half of the 20th century, seems to be denied by early modern Italian sources. For example, a German woodcut from the first decades of the 15th century and a Florentine painting from the end of the 14th century can coexist as models for the illumination of the same manuscript. This unpublished case study of two Florentine 15th-century illuminations shows how a European cultural horizon was more common than we think today, and how much woodcut has been a fundamental tool for this broadening of horizons, since its very beginning.

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Bobilewicz, Grażyna. "Obraz Afryki w malarstwie rosyjskim XX i początku XXI wieku." In Afryka i (post)kolonializm. Wydawnictwo Uniwersytetu Łódzkiego, 2016. http://dx.doi.org/10.18778/8088-260-7.07.

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The research on Russian painting of the 20th and the beginning of the 21st century in the context of early and modern African culture/art belongs to the realm of theoretical reflection within such disciplines as cultural geography, anthropology of place and space, cultural and existential experience, geocriticism (painterly depictions of natural and urban space), geopoetics (painterly topography), and is interdisciplinary in nature. The analysis of Russian-African interdisciplinary dialogue in visual representations of Africa, as an aspect of the Russians’ awareness and idea of this continent, requires an answer to the following questions: what attracted Russian artists to Africa and how did it influence Russian culture/art? And the other way round – what did Russians, especially those travelling through Africa, bring to African culture? In Russian painting, which is diverse in terms of genres (landscape, portrait, still life), Africa functions as a nationally, culturally and socially heterogeneous continent. The early and modern African aesthetics/ art is the source of inspiration for iconographic and formal innovations. In iconic texts, visual translation, representation and interpretation of Africa manifests itself at the imagination-related levels: at thematic and motivic, narrative and compositional levels, at the level of a painterly code and in the conceptualization of artistic language. The painterly depiction of Africa, to which each of the Russian artists contributes their own representation types, artefacts, poetics and semantics, is usually created on the basis of the observation of real space, which, transformed in the iconic text, functions in an artistic, aesthetic, ideological and emotional projection. The reflection focuses on the painterly depictions and various representations of Africa which include motifs referring to African culture/art – the effect of ethnographic and artistic travels to various regions of the Dark Continent. The exemplary material selected from albums, Internet exhibitions of Russian paintings and artists’ professional websites has been analysed in terms of iconography (identification of the elements of the represented world and the relations between them), the connection between the title of the work and the visual representation, the formal determinants of the painterly depiction of Africa, and the poetics of reception.

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Conference papers on the topic "Painting, Modern 20th century Indonesia"

Zhu, Haixuan, Sai Liu, Xiaoyu Jia, and Jiang Chang. "Urbanization mechanism study under the dynamic of state capital. A Case Study about Northeast China with the Construction of the Chinese Eastern Railway in the Early of 20th Century." In 55th ISOCARP World Planning Congress, Beyond Metropolis, Jakarta-Bogor, Indonesia. ISOCARP, 2019. http://dx.doi.org/10.47472/lqzu4940.

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Since the industrial revolution of the 18th century, the modern economic system gradually matured and rapidly expanded in the world, especially the state capital investment relying on the railway, which drastically changed the urbanization process and city agglomeration pattern around the world. At the end of the 19th century, due to the important strategic value of the Far East, Russia raised state capital, built the Siberian Railway directly to Vladivostok, especially the C.E.R. across Northeast China, induced capital competition among China, Japan and Russia around the port and railway construction right and management right, formed the SMR system centered on Dalian, the C.E.R. system centered on Vladivostok, and the Chinese railway system centered on Huludao, laid the city structure of the “hub-railway network-hinterland” model centered on the port city in Northeast China, which promoted the development of commercial cities, hub cities and industrial and mining cities. Under the special tariff system, China, Japan and Russia relied on port-railway capital competition, forming the city development dynamic mechanism oriented by the export-oriented economy, that has the important theory value for how to effectively use the state capital advantage to promote the development of the macro-regional city system in the context of economic globalization.

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