Relevant bibliographies by topics / Painting – United States – Exhibitions

Academic literature on the topic 'Painting – United States – Exhibitions'

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Published: 26 July 2024
Last updated: 27 July 2024

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Journal articles on the topic "Painting – United States – Exhibitions"

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Matallana, Andrea. "BUILDING ART DIPLOMACY: THE CASE OF CONTEMPORARY AMERICAN ART EXHIBITION IN LATIN AMERICA, 1941." ShodhKosh: Journal of Visual and Performing Arts 3, no. 2 (October 20, 2022): 272–86. http://dx.doi.org/10.29121/shodhkosh.v3.i2.2022.172.

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This article analyzes the construction of the visual narrative expressed in the exhibition Contemporary North American Painting in 1941. During the II World War, the U.S. government recovered the initiative to build a strong tight with Latin American countries by relaunching the Good Neighbor Policy. Cultural diplomacy was an important branch of this policy. With the purpose of winning friends in the continent, the government created the Office of Inter-American Affairs, led by Nelson Rockefeller, and he sent artists, intellectuals, and exhibitions to make North America known in the other Americas. The Contemporary North American Painting projected an image of the United States as a modern and industrialized society to South Americans. This narrative was one of the devices developed by the U.S. government as part of the soft diplomacy carried out in the 1940s.In this article, we delve into the construction of the visual narrative about the U.S as part of the Good Neighbor exhibition complex, and we will analyze how the exhibition process was thought of as part of representational and ideological machinery.The article was based on reading, analysis, and cataloging of primary sources. The sources were letters, catalogs, photos, and notes from the main characters of the Office of Inter-American Affairs. Likewise, the exhibited works of art were operationalized.
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Kulakova, Olga Yu. "Dutch Flower Still Life of 17th Century: Interest and Oblivion through the Centuries." Observatory of Culture 18, no. 5 (October 29, 2021): 496–505. http://dx.doi.org/10.25281/2072-3156-2021-18-5-496-505.

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Over three and a half centuries, the genre of flower still life created by Dutch artists experienced ups of interest and oblivion. There were the maximum assessment of society in the form of high fees of the 17th century artists; the criticism of connoisseurs and art theorists; the neglect in the 19th century and the rise of auction prices and close attention of art critics, manifested from the middle of the 20th century to the present day. In the middle of the 17th century, there was already a hierarchy of genres, based on both the subject and the size of the paintings, which was reflected in the price. Still lifes and landscapes were cheaper than allegorical and historical scenes, but there were exceptions, for example, in the works of Jan Brueghel the Elder and Jan Davidsz. de Heem. Art theorists Willem van Hoogstraten and Arnold Houbraken, resting upon academic tastes, downplayed the importance of still-life painting. Meanwhile, the artists themselves, determining the worth of their paintings, sought for maximum naturalism, and such paintings were sold well.In the 20th century, this genre attracted the attention of collectors in Europe and the United States. A revival of interest in Dutch still lifes in general, and in flower ones in particular, began in the 20th century, the paintings rose in price at auctions, and collecting them became almost a fashion. Art societies and art dealers of the Netherlands and Belgium organized several small exhibitions of still lifes. The course for studying symbolic messages in still lifes, presented by Ingvar Bergström, is continued by Eddie de Jong, who emphasizes the diverse nature of symbolism in Dutch painting of the 17th century. Svetlana Alpers, on the contrary, criticizes the iconological method and presents the Dutch painting of that period as an example of visual culture. Norman Bryson’s view of Dutch still lifes is formed against the background of the development of a consumer society, economic prosperity and abundance. Finally, there has been an increasing interest in the natural science aspects of flower still-life painting in the researches of the last twenty years. Curiosity, skill, and admiration for nature are the impulses that can still be felt in the images of bouquets and fruits.
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Iswahyudi. "Towards Remediation of Indonesian New Fine Arts." Britain International of Linguistics Arts and Education (BIoLAE) Journal 2, no. 3 (November 12, 2020): 797–809. http://dx.doi.org/10.33258/biolae.v2i3.332.

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Modern Indonesian painting mainly developed from the situation of the Dutch East Indies and Mooi-Indie art that was dominant at that time. The independence of the Republic of Indonesia became a very important milestone in the development of modern Indonesian painting. This is inseparable from the occurrence of a high dynamics and change through various political regimes in power starting from the leadership of Sukarno, Suharto and subsequent presidents. Each of these political regimes also played an important role in the development of modern art that occurred so as to bring out its own characteristics. Until the early 1990s, talking about art was something that seemed synonymous with painting. Although works of art with a combination of mediums have been included in exhibitions since the 1970s, but works in the form of paintings are still very dominant, even in some writings on art the imaginary boundary between painting and other art is discussed explicitly, but the term "Painting" is usually interchangeable with the term "fine art". The development of art that has become increasingly hybrid has helped to shape the climate and new audience, affirming real ideas that are at odds with painting that has already been established. Being different from established art knowledge, hybrid art agents become newcomers who find a place in the struggle in the realm of Indonesian art. Western characters which are an important consideration for painters become subject to change in the fourth phase. This change is caused by a variety of things, including the emphasis on the use of traditional forms, symbolic and decorative, because as a reaction to the political situation. Since 1942-1965, Indonesians have produced more figurative art. The pioneers in this field are artists who when abroad are like in the United States, Europe, and Japan already acquainted with traditional non-Western art in the arena of modern and international circuits.
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Thakur, Meenakshi. "MITHILA- A GLOBALIZED ART FORM." International Journal of Research -GRANTHAALAYAH 5, no. 2 (February 28, 2017): 208–12. http://dx.doi.org/10.29121/granthaalayah.v5.i2.2017.1725.

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India has long been a focal point of art. From the traditional to the contemporary, India is fast developing itself as a key destination for those who love art. India is marked by its rich traditional heritage of Tribal/Folk Arts and Culture. Since the days of remote past, the diversified art and cultural forms generated by the tribal and rural people of India have continued to evince their creative magnificence. Apart from their outstanding brilliance from the perspective of aesthetics, the tribal/folk art and culture forms have played an instrumental role in reinforcing national integrity, crystallizing social solidarity, fortifying communal harmony, intensifying value-system and promoting the elements of humanism among the people of the country. Folk and tribal arts are relatively less exposed forms of narrative Indian art and contain within them a gamut of styles originating from various geographical regions in India. Women in the Mithila region of Bihar in north India have painted colorful auspicious images on the interior walls of their homes on the occasion of domestic rituals since at least the 14th century. This ancient tradition, especially elaborated for marriages, continues today. Madhubani painting or Mithila is a style of Indian painting, practiced in the Mithila region of Bihar state, India, and the adjoining parts of Terai in Nepal. Painting on paper for sale has changed this dramatically. Aside from generating important new family income, individual women have gained local, national, and even international recognition. Artists are being invited to exhibitions across India, and to Europe, the United States, and Japan - no longer as "folk artists," but now as "contemporary artists." Mithila's contemporary arts offer astonishingly vital -- and long overlooked -- depth and diversity, ranging from wondrous elaborations of traditional themes and styles to more experimental depictions of new, topical subject matter.
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Romanenkova, Julia V. "Archetypes of Boris Smotrov`s works as a tool for national self-identification of the individual in chaotic conditions of the turn of the 21st century." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 60 (2021): 237–48. http://dx.doi.org/10.37816/2073-9567-2021-60-237-248.

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The paper discusses the works of Moscow artist Boris Smotrov. It provides a general analysis of the tools of his artistic style as well as the data on his main vectors of creative activity (painting, poster graphics). The author dwells on the master’s works in the field of painting, focusing on national themes. The study distinguishes dominant blocks of the painter's works (landscape, thematic painting), detects specifics of the artistic language, methods of working with color, his mastering of the line and pays attention to the interaction of painting and graphics in B. Smotrov’s creative baggage and his decorative manner. The paper addressees the main archetypes in the works of Smotrov (firebird, cow, apple, spring, Maslenitsa, etc.). The propensity for allegorical language is explained by his competent use of artistic means of creating a poster. The author analyzes individual features of B. Smotrov’s work with color, the creation of his own author's “patchwork” style as a result of creative transformation and rethinking of the influence of various styles and manners of individual artists, from A. Matisse to K. Petrov-Vodkin. The art of the master acts as an effective tool for debunking myths about the cheap popular character of Russian national motifs, and for combating superficial perceptions of them. The paper highlights worldview universals in culture as well as main problems of the art of the turning periods, one of which includes the creative path of B. Smotrov. The author pays special attention to the works of B. Smotrov as a tool for national self-identification of a creative person in conditions of cultural chaos at the turn of the century since they are on display at personal and collective exhibitions not only in Russia, but also in Austria, China, Korea, the United States and stored not only in Russian museums (Moscow, Perm, Tula), but also in private collections in China, USA, Switzerland. The study comes to the conclusion that “patchwork style” by Boris Smotrov is a quintessence of the Russian in his works.
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Lesničenoka, Agnija. "Student Fraternity of the Art Academy of Latvia “Dzintarzeme”: Latvian National Art Conservation Policy in Exile (1958–1987)." Art History & Criticism 15, no. 1 (December 1, 2019): 57–70. http://dx.doi.org/10.2478/mik-2019-0004.

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Summary After the proclamation of the Republic of Latvia in 1918, Latvia experienced a rapid influx of youth into its capital city of Riga, looking to obtain education in universities. Students began to build their academic lives and student societies. In 1923, students of the Art Academy of Latvia founded the “Dzintarzeme” (“Amberland”) fraternity. The aim of “Dzintarzeme” was to unite nationally minded students of the Art Academy of Latvia and to promote the development of national art and self-education. Most “Dzintarzeme” members were faithful to the old masters and Latvian art. This phenomenon is significant, because “Dzintarzeme” members grew up with Latvian painting traditions, which are a remarkable heritage of interwar Latvia. In 1940, when Latvia was occupied by the Soviet Union, “Dzintarzeme” was banned. A part of “Dzintarzeme” members were deported, killed in war, went missing, or stayed in the Latvian SSR; the remaining chose exile. Although scattered throughout the United States of America, Canada, and Australia, some members were able to rebuild and sustain the fraternity’s life, gathering its members, organising trips and anniversary art exhibitions. The aim of this research is to reflect on “Dzintarzeme’s” activities in exile (1958–1987), focusing on the main factors of Latvian national art conservation policy: first, the ability of “Dzintarzeme’s” ideology to preserve the values of Latvian national art in an international environment, and second, the problem of generational change and the enrollment of young Latvian artists who continued to maintain “Dzintarzeme” values in exile.
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Rosellini, Anna. "Principi della didattica di Mies nei progetti di Brenner, Jansone e Lippert per un museo d’arte." Opus Incertum 9 (December 13, 2023): 86–99. http://dx.doi.org/10.36253/opus-14843.

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When Mies began teaching at the Armour Institute, he defined a programme that would make technical and industrial developments in the United States problematic and theoretical. Some of the exercises concerned the relationship between painting, sculpture and architecture, and were transformed into museum projects. In the paper, the projects for exhibition spaces drawn up by Brenner, Jansone and Lippert for the Master of Science in Architecture are analysed from archive documents. The spatial, structural and material characteristics of these projects are reconstructed, as are their relationships to the programmes of the Department of Architecture, the design processes suggested by Mies, Le Corbusier’s projects for museums, and the Museum for a Small City designed by Mies together with Danforth. The theses of Brenner, Jansone and Lippert, united by the choice of a museum system that transfigured Le Corbusier’s model in the light of Mies’s vision, appear to be decisive documents not only for understanding the Department of Architecture’s didactic orientations, but also for accessing Mies’s unspeakable art of tracing and arranging lines and planes in space.
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Neglinskaya, Marina Aleksandrovna. "“Gunpowder painting” of Cai Guo-Qiang: Chinese artistic tradition in the era of postmodernism." Культура и искусство, no. 2 (February 2020): 44–50. http://dx.doi.org/10.7256/2454-0625.2020.2.29690.

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The subject of this research is the art of Cai Guo-Qiang (born in 1957) – the modern Chinese painter who lives and works in China and the United States (New York). The object of this research is the storyline fireworks of Cai and his innovative technique of “gunpowder painting”. The first works of the painter were canvasses in oil painting, and by 1980’s he invented a new “gunpowder” technique, which was first applied in combination with oil on the canvas, and since 1990’s – with ink on the paper, as a version of modern traditional painting guo-hua. His works evolved from social realism to a distinct variation of modern expressionism, as demonstrated the first in Russia retrospective exhibition of the works of Cai Guo-Qiang that took place in the Phuskin State Museum of Fine Arts (“October”, Moscow, 2017). Authors of the exhibition catalogue justifiably note the “cosmopolitan mission” of his art, but leave out of account the traditional context. The proposed methodology, which integrates art and culturological analysis, allows seeing in the works of this prominent modern painter the version of mass art that retains mental and reverse connection with the Chinese tradition. The scientific novelty of the article is defined by the following conclusions: the art of Cai Guo-Qiang is addressed to the international audience, but concords with the traditional paradigm due to Buddhist mentality deeply rooted in the painter’s consciousness. The traditional aspect is his proclivity for harmonization of social environment. This mass art that possesses formal and substantive novelty is associated with the modern international artistic market, as well as market version of “Chinese style” (Chinoiserie) of the XVIII century.
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Milligan, Barry. "LUKE FILDES'STHE DOCTOR, NARRATIVE PAINTING, AND THE SELFLESS PROFESSIONAL IDEAL." Victorian Literature and Culture 44, no. 3 (August 30, 2016): 641–68. http://dx.doi.org/10.1017/s1060150316000097.

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Since its introductionat the Royal Academy exhibition of 1891, Luke Fildes's paintingThe Doctorhas earned that often hyperbolic adjective “iconic.” Immediately hailed as “the picture of the year” (“The Royal Academy,” “The Doctor,” “Fine Arts”), it soon toured the nation as part of a travelling exhibition, in which it “attracted most attention” (“Liverpool Autumn Exhibition”) and so affected spectators that one was even struck dead on the spot (“Sudden Death”). Over the following decades it spawned a school of imitations, supposed companion pictures, poems, parodies, tableaux vivants, an early Edison film, and a mass-produced engraving that graced middle-class homes and doctors' offices in Britain and abroad for generations to come and was reputedly the highest-grossing issue ever for the prominent printmaking firm of Agnew & Sons (Dakers 265–66). When Fildes died in 1927 after a career spanning seven decades and marked by many commercial successes and even several royal portraits, hisTimesobituary nonetheless bore “The Doctor” as its sub-headline (“Sir Luke Fildes”) and sparked a lively discussion of the painting in the letters column for several issues thereafter (“Points From Letters” 2, 4, 5 Mar. 1927). Although the animus against things Victorian in the early twentieth century shadowedThe Doctorit never eclipsed it; by the middle of the century the painting was still being held up as the quasi-Platonic ideal of medical practice (“Bedside Manner,” “98.4”), gracing postage stamps, and serving ironically as the logo for both a celebration of Britain's National Health Service and a campaign against its equivalent in the United States. Appreciation of the painting in mid-century art historical circles was echoed in the popular press (“Victorian Art”), andThe Doctorwas singled out as a highlight of the reorganized Tate Gallery in 1957 (“Tate Gallery”), after which it settled into a sort of dowager status as a cornerstone of that eminent collection, where it is still in the regular rotation for public display. Since the mid-1990s it has been a recurring focus of discussion in both Medical Humanities journals and prominent medical professional organs such as theLancetand theBritish Medical Journal, where a steady stream of articles still cite it as a sort of prelapsarian benchmark for the role and demeanor of the ideal medical practitioner.
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Romero, Ramón Espejo. "When Young Playwrights Are Kept Awake Because of History: Cultural Memory and Amnesia in Recent American Plays." Journal of Contemporary Drama in English 9, no. 2 (October 23, 2021): 263–80. http://dx.doi.org/10.1515/jcde-2021-0023.

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Abstract Borrowing from both a painting and the retrospective exhibition of David Wojnarowicz, History Keeps Me Awake at Night, this paper targets two recent American plays: Annie Baker’s The Flick (2013) and Matthew Lopez’s The Inheritance (2018). In both, the playwrights point to the neglect of history, or rather cultural memory, as I will insist on calling it, as one of the ills affecting a “historicidal” society such as that of the United States. An immersion into the present and concurrent obliteration of one’s cultural inheritance results in a populace easily manipulated in the interests of corporate control, and more importantly for the plays under consideration, into unhappiness and disconnection, an erlebnis, in sum, which proves lethal for individuals and the larger groups of which they form part. Both plays further seem to argue that the most troublesome of such a thing is how little consciousness of the problem there is, a surefire indication that induced amnesia is making alarming headway among the younger generations.
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Dissertations / Theses on the topic "Painting – United States – Exhibitions"

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Grunenberg, Christoph. "The politics of presentation : museums, galleries and exhibitions in New York, 1929-1947." Thesis, Courtauld Institute of Art (University of London), 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.283893.

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Uchill, Rebecca 1978. "Developing experience : Alexander Dorner's Exhibitions, from Weimar Republic Germany to the Cold War United States." Thesis, Massachusetts Institute of Technology, 2015. http://hdl.handle.net/1721.1/100327.

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Thesis: Ph. D. in History and Theory of Art, Massachusetts Institute of Technology, Department of Architecture, 2015.
CD-ROM contains PDF of Addenda section, quarterly report and 5 PDFs of images for thesis.
Cataloged from PDF version of thesis. Pages 237 to 428 of original thesis for Addenda section are removed and copied onto CD-ROM.
Includes bibliographical references (pages 429-446).
Following the work of German-American curator Alexander Dorner (1893-1957) from his early curatorial career in Niedersachsen to professorships in New England, this dissertation explores the intersections of Euro-American modernism and developing ideations of experience within aesthetic philosophy. Dorner's work was formulated in deep engagement with (and often intentional contradiction to) the art theory being incubated in contemporaneous art institutions, pedagogies, and practices. His written texts and museum praxis responded to emerging notions of subjectivity, restoration, and perception in the aesthetic theory of Alois Riegl and Erwin Panofsky, art restoration mandates advocated by German museum leaders such as Max Sauerlandt and Kurt Karl Eberlein, and the artistic productions of El Lissitzky and Herbert Bayer. Against shifting expressions of democracy in Weimar Germany and the mid-century United States, Dorner's polemical focus on museum experience was, in effect, an attempt to train citizens for collective but heterogeneous social life.
by Rebecca K. Uchill.
Ph. D. in History and Theory of Art
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Pena, Nicholas. "Land of the American condition." Diss., Columbia, Mo. : University of Missouri-Columbia, 2005. http://hdl.handle.net/10355/5834.

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Thesis (M.F.A.)--University of Missouri-Columbia, 2005.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (January 24, 2007) Vita. Includes bibliographical references.
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McMahon, Cliff Getty. "The sublime in Rothko, Newman and Still." Thesis, University of St Andrews, 1998. http://hdl.handle.net/10023/11002.

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An important body of literature has accumulated (both primary and secondary sources) which necessitates that Rothko, Newman and Still be placed in the tradition of the sublime. In attempting this task, a background is established by a detailed summary of classical theory of the sublime in Longinus, Burke, Kant, and Nietzsche, followed by detailed summaries of major recent sublimist theory by Weiskel, Crowther, Lyotard, and Ferguson. Also, key ideas of Sartre and Jung are treated in order to round out the proper ideational context for a sublimicist analysis of these three painters. From this foundation, a working theory of the sublime is developed. Next, the painters' crucial theoretic statement are analysed for their relevance to the sublime, and their programs and specific works are characterized in relation to theory of the sublime, and in relation to their treatments in criticism. The last two chapters treat two crucial contexts in which Rothko, Newman and Still are situated: The historically accumulated American tradition of the sublime in art and literature; and the general European context of modernism and postmodernism. Throughout the study, it is argued that various kinds of transcendence validate a set of various major modes of the sublime: The ideational, religious, moral, Burkean-Gothic, Kantian, Nietzschean, romantic, existential, Jungian-mythic, ontological, noble, and the sublime of light/color, along with negatives modes such as the comic, the ironic, the counter, the mock, and the merely rhetorical. It is argued, finally, that sublimicism will continue to be attractive for conservative, moderate, and radical points of view, that theory of the sublime has on-going power and validity into the future, and that between positive and negative modes, the positive will probably continue to dominate.
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Gordon, Alan H. "What happens to a dream deferred? /." Online version of thesis, 1993. http://hdl.handle.net/1850/11749.

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Holland, Nicole Murphy. "Worlds on view visual art exhibitions and state identity in the late Cold War /." Diss., [La Jolla] : University of California, San Diego, 2010. http://wwwlib.umi.com/cr/ucsd/fullcit?p3397171.

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Thesis (Ph. D.)--University of California, San Diego, 2010.
Title from first page of PDF file (viewed March 30, 2010). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references.
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Nesbit, G. H. H. "Current practice in the field of architectural and autonomous stained glass in Europe and the United States of America." Thesis, Rhodes University, 1987. http://hdl.handle.net/10962/d1012955.

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This prodrome sought to define through research, the material. composition, historic foundations, significance and technical development of glass as a window-glazing material for ecclesiastical, and later secular purposes, and examining thus its determining role in the development of architecture. The history and techniques of stained glass, an art-form linked more than any other to the mythology and dogma of the Roman Catholic Church, were traced; its history is thus one with that of the church, rising to its greatest glory during the twelfth and thirteenth centuries, and declining from the late fifteenth to the seventeenth centuries. The iconography of the church was examined, and the development of window and tracery types discussed through reference to pertinent examples on both sides of the English Channel. Subjects, stylistic and technical factors, sources of reference, ecclesiastical influences, were all within the context of social and political history . viewed. Intro., p. 1-2.
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Alvarez, Leticia. "The Influence of the Mexican Muralists in the United States. From the New Deal to the Abstract Expressionism." Thesis, Virginia Tech, 2001. http://hdl.handle.net/10919/32407.

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This thesis proposes to investigate the influence of the Mexican muralists in the United States, from the Depression to the Cold War. This thesis begins with the origins of the Mexican mural movement, which will provide the background to understand the artists' ideologies and their relationship and conflicts with the Mexican government. Then, I will discuss the presence of Mexican artists in the United States, their repercussions, and the interaction between censorship and freedom of expression as well as the controversies that arose from their murals. This thesis will explore the influence that the Mexican mural movement had in the United States in the creation of a government-sponsored program for the arts (The New Deal, Works Progress Administration). During the 1930s, sociological factors caused that not only the art, but also the political ideologies of the Mexican artists to spread across the United States. The Depression provided the environment for a public art of social content, as well as a context that allowed some American artists to accept and follow the Marxist ideologies of the Mexican artists. This influence of radical politics will be also described. Later, I will examine the repercussions of the Mexican artists' work on the Abstract Expressionist movement of the 1940s. Finally I will also examine the iconography of certain murals by Mexican and American artists to appreciate the reaction of their audience, their acceptance among a circle of artists, and the historical context that allowed those murals to be created.
Master of Arts
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Hoene, Katherine Anne. "Tracing the Romantic impulse in 19th-century landscape painting in the United States, Australia, and Canada." Thesis, The University of Arizona, 2000. http://hdl.handle.net/10150/278748.

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The purpose of this thesis is to identify essential characteristics of the first generation of Romantic landscape painters and painting movements in a given English-speaking country which followed the generation of Turner, Constable and Martin in England, and then trace how the second generation of Romantic-realist painters represents a different paradigm. For a paradigmatic construct of the first generation, the focus is on the lives and major works of the American arch-Romantic landscape painter Thomas Cole (1801--1848) and the Australian Romantic landscape painter Conrad Martens (1801--1878). The second generation model features the American Frederic Edwin Church (1826--1900), the Australian William Charles Piguenit (1836--1914), and the British Canadian Lucius Richard O'Brien (1832--1899). Cole and Martens, closer to their predecessors in England, created dynamic paradigm shifts in their new countries. Following them, the second generation of Romantic-realists produced a synthesis of romanticism, scientific naturalism, and nationalistic symbolism.
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Thompson, Mary E. "The furrowed face : the depiction of the elderly in painting, England and the United States, 1870-1910." Thesis, Oxford Brookes University, 2017. https://radar.brookes.ac.uk/radar/items/9c6b3ee4-80f0-44dc-a0a4-70399c36f001/1/.

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Old age has always evoked diametrically opposed opinions. On the one hand, the elderly are respected, regarded as benevolent repositories of wisdom and comfort; on the other, they are considered as decrepit vestiges of life, who pointlessly linger on, wasting the world for the vibrant and useful. These views were particularly topical in the last decades of the nineteenth/first decade of the twentieth centuries, when there was increasing concern in many countries about the aged and their vulnerability. In England and Wales this resulted in the 1908 provision by the government of an old age pension. In the United States, however, provision of support from the state was introduced significantly later, in the 1930s. How, if at all, was this variation in view reflected in the painting of the elderly in the two countries? This study addresses this question by firstly considering how the elderly are portrayed in genre painting in each country. It then moves on to the world of portraits, looking in more detail at the work of individual artists, both American and English, including Thomas Eakins, John Singer Sargent and Hubert Herkomer. In England it emerged that the elderly were often shown as happy if shabby, with a more submissive attitude to fate; there was also a significant segment of painting which recorded the poverty and difficulties which may face the old. In contrast, in the United States the elderly were shown as vibrant, assertive and materially better off, with few indications of the troubles they may undergo. In both countries, however, it became clear that the elderly were regarded in a positive way by artists, who delighted in the excellent practice of artistic skills provided by the time-ravaged faces and features of the old.
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Books on the topic "Painting – United States – Exhibitions"

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1954-, Prina Stephen, University of Chicago. Renaissance Society., and Los Angeles Municipal Art Gallery., eds. Monochrome painting. Chicago, Ill: Renaissance Society, 1989.

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Orange County Museum of Art (Calif.), ed. Richard Jackson: Ain't painting a pain. Newport Beach, California: Orange County Museum of Art, 2013.

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M, De Salvo Donna, and Biennale di Venezia (51st : 2005), eds. Course of empire: Paintings. Ostfildern-Ruit: Hatje Cantz, 2005.

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Klement, Vera. Vera Klement: Poem-paintings. Chicago: Fassbender Gallery, 1997.

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Gerdts, William H. American Impressionism: Masterworks from public and private collections in the United States : exhibition catalogue. [Lugano-Castagnola]: Thyssen-Bornemisza Foundation, 1990.

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App, Timothy. Timothy App: Homage paintings. Baltimore, Md: Goya Contemporary : Goya-Girl Press, 2009.

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Dawn, Ades, ed. Jose Clemente Orozco in the United States, 1927-1934. New York: Hood Museum of Art, 2002.

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Dawn, Ades, González Mello Renato, Miliotes Diane Helen, San Diego Museum of Art., Hood Museum of Art, and Museo de Arte Carrillo Gil., eds. José Clemente Orozco in the United States, 1927-1934. Hanover, N. H: Hood Museum of Art, Dartmouth College, in association with W. W. Norton, 2002.

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1968-, Morgan Jessica, Jones Leslie, Brugerolle Marie de, Los Angeles County Museum of Art., Tate Modern (Gallery), Museu d'Art Contemporani (Barcelona, Spain), and Metropolitan Museum of Art (New York, N.Y.), eds. John Baldessari: Pure beauty. Los Angeles: Los Angeles County Museum of Art, 2009.

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Baldessari, John. John Baldessari: Pure beauty. Los Angeles: Los Angeles County Museum of Art, 2009.

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Book chapters on the topic "Painting – United States – Exhibitions"

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Burns, Emily C. "Frontier Impressionisms in the United States and Australia." In Mapping Impressionist Painting in Transnational Contexts, 49–64. New York: Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003044239-4.

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Knapp, Danielle M. "'This New Life of Painting'." In Art History at the Crossroads of Ireland and the United States, 76–89. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003225621-7.

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Lwin, M. Myint, Alexander D. Wilson, and Vasant C. Mistry. "High-Performance Steels in the United States." In Use and Application of High-Performance Steels for Steel Structures, 11–44. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2005. http://dx.doi.org/10.2749/sed008.011.

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<p>In 1992, the U.S. Federal Highway Administration (FHWA) initiated an effort with the American Iron and Steel Institute (AISI) and the U. S. Navy (Navy) to develop new high-performance steels (HPS) for bridges. The driving force for this project was the need to develop improved higher strength, improved weldability, higher toughness steels to improve the overall quality and fabricability of steels used in bridges in the United States. It was furthermore established that such steels should be "weathering". By this is meant the ability to perform without painting under normal atmospheric conditions.</p>
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"Contested Kinship." In Earth Diplomacy, 35–79. Duke University Press, 2024. http://dx.doi.org/10.1215/9781478059493-002.

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Chapter 1 maps the ideological and geopolitical contours of Cold War Native arts activity, focusing on the international circulation of a modern painting movement headquartered in New Mexico and Oklahoma. Through a series of exhibitions sponsored by the United States government, Dorothy Dunn, the white founding director of the Studio School of the Santa Fe Indian School, exerted an outsized influence on propaganda concerning Native Americans. In tension with Dunn’s narrative, the author develops a framework of trans-Indigenous, more-than-human kinship that reconnects the paintings to customary practices of Indigenous diplomacy. Functioning as a nonnormative form of geopolitics, Native kinship systems were systematically attacked by the federal government during the Indian Termination era. They persisted as an unsettling sign of difference in the United States’ efforts to expand the frontiers of extractive capitalism throughout the majority world during the Cold War.
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Frank, Patrick. "International Recognition, 1964." In Painting in a State of Exception. University Press of Florida, 2016. http://dx.doi.org/10.5744/florida/9780813062228.003.0005.

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In chapter 4, Frank traces the changing styles of Noé and Macció. These two won travel awards from the Di Tella Foundation that took them to New York and Paris. Perhaps because of their absence from the disorder of Buenos Aires, the paintings of both artists evolved toward consideration of formal issues, such as the potential of flat color planes and the integrity of the surface of the work. Jorge de la Vega created the important Anamorphic Conflict series, influenced by Italian artist Enrico Baj and a response to conflicts between Argentine military factions. Frank rebuts critic Clement Greenberg’s comments about the provincialism of the Argentinian art world in 1964. (Greenberg had made a trip to Buenos Aires to judge an art competition.) Frank also discusses solo shows by Noé, de la Vega, Macció, and Deira and their participation in important exhibitions in the United States at the Guggenheim Museum and the Walker Art Center.
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de Silva, Nushelle. "Assembling Smallness: The United States Small Industries Exhibition in Colombo, 1961." In Exhibitions Beyond Boundaries. Bloomsbury Visual Arts, 2022. http://dx.doi.org/10.5040/9781350088511.ch-006.

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Hale, Matthew Rainbow. "For the Love of Glory." In Warring for America. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469631516.003.0006.

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Utilizing a political-cultural approach to the concept of glory, this essay offers not only a fresh account of American perceptions of Napoleon, but also a new perspective on democracy’s development in the United States. More specifically, an investigation of select Bonapartist phenomena—printed accounts of and reader responses to Napoleon; post-revolutionary soldiers’ and sailors’ actions, dress, and utterances; a John Wesley Jarvis painting; and gender roles and concepts—illuminates early American democracy’s romance with power as expressed in a new culture of war. This new culture held that martial values were superior to civilian ones and depicted warfare as a compelling forum for romantic self-expression and nationalist apotheosis. Those preoccupied with Napoleonic glory were motivated by the idea that extraordinary individuals and nations could make a spectacle of themselves and transcend even as they dramatically altered history. This self-important, exhibitionist streak induced many to indulge preposterous fantasies. Yet no matter how outlandish, no matter how implausible, these fantasies should be taken seriously. In their Napoleonic flights of fancy, a sizeable number of Americans betrayed a desire to overturn longstanding assumptions about democracy’s weakness by ruthlessly enforcing its standing at home and in the world. Dreams of incontrovertible democratic power, moreover, undergirded popular fascination with and an inclination to employ—even at the expense of genteel civility and morality—terrifying, neo-monarchical authority. Even though democracy is often seen as the antithesis of monarchy, it is in many ways its fulfilment and amplification, so that nothing is more democratic than bold, even cruel, assertions of autocratic-military power.
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Bachrach, Susan. "“Bystanders” in Exhibitions at the United States Holocaust Memorial Museum." In Probing the Limits of Categorization, 309–35. Berghahn Books, 2018. http://dx.doi.org/10.2307/j.ctvw04hm8.20.

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O’Steen, Danielle. "The Pioneers of Plasticraft: When Artists Found Plastics in the United States." In Plastics, Environment, Culture, and the Politics of Waste, 161–80. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781399511735.003.0009.

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O’Steen asserts that public presentations and exhibitions were integral tools for the growth of modern plastics in the United States, starting in the 1930s. She considers key collaborations between the arts and the plastics industry, particularly seen in the 1939–40 World’s Fair in Flushing, New York. Modern plastics had their most public debut at the fair, creating many opportunities for manufacturers to explore creative ways to sell their products to the public. O’Steen shows how the emerging plastics industry used artwork and exhibitions as part of their corporate agendas. She argues that this 1930s moment laid the groundwork for much collaboration between the arts and plastics for the following decades—particularly in the 1960s and 1970s—when artists were turning to plastics in even larger numbers and with great enthusiasm.
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Jian, Zhang. "Modeling People and Identifying the Self in History Painting:." In Complementary Modernisms in China and the United States, 424–34. Punctum Books, 2020. http://dx.doi.org/10.2307/j.ctv16zk03m.32.

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Conference papers on the topic "Painting – United States – Exhibitions"

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Koryagina, Irina O. "CREATIVE METHODOLOGIES FOR ENVIRONMENTAL GRAPHIC DESIGN PROJECTS BASED ON WORK BY IRINA KORYAGINA." In TWEET-FENTS. Новосибирский государственный университет архитектуры, дизайна и искусств им. А.Д. Крячкова, 2020. http://dx.doi.org/10.37909/978-5-89170-266-0-2020-1013.

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This article demonstrates examples of realized projects in the field of environmental graphic design developed by Irina Koryagina in collaboration with leading international design agencies, architects, and institutions.These projects, built in various locations across the United States, are open to public, and reveal how graphic design can enrich and open new opportunities for the design of public spaces, exhibitions, and signage.
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Mukhopadhyay, Sanjoy, and Johnny Grimes. "From count rates to quantifying isotopic activities: Field analysis of radiation monitoring data." In SPIE Optics + Photonics 2023, 20 - 24 August 2023 San Diego, California, United States https://spie.org/conferences-and-exhibitions/optics-and-photonics. US DOE, 2023. http://dx.doi.org/10.2172/1994925.

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Malone, Robert, Jesus Castaneda, and Morris Kaufman. "Adapting a prototype zoom lens to work outside its zoom range." In SPIE Optics + Photonics Technical Conferences - San Diego Convention Center, San Diego, California, United States, 1 - 5 August 2021 - https://spie.org/conferences-and-exhibitions/optics-and-photonics/conferences. US DOE, 2020. http://dx.doi.org/10.2172/1718903.

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Maurer, Richard J., Sanjoy Mukhopadhyay, Johnny Grimes, Paul P. Guss, and Ronald E. Guise. "High fidelity ground deposition measurement with robots after explosive radiological dispersion." In SPIE Optics + Photonics Conference, Hard X-Ray, Gamma-Ray, and Neutron Detector Physics XXV, 20–24 August 2023, San Diego, California, United States https://spie.org/conferences-and-exhibitions/optics-and-photonics. US DOE, 2023. http://dx.doi.org/10.2172/1992212.

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Zeng, Lei, and Hong Chen. "A case study of the Shanghai No. 20 tram on cultural bus service design based on the AT-ONE Rule." In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003817.

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In the new era environment, the metropolitan public transportation system is constantly evolving. The relevant administrative departments in Shanghai have proposed measures to create cultural buses and build characteristic lines in order to promote Shanghai culture and improve bus service. Using the Shanghai NO.20 tram as an example, this paper investigates how to combine Shanghai culture with tram ride service in order to make the NO.20 tram a distinctive route. The study employed participatory observation and the AT-ONE rule to investigate the entire waiting, boarding, and alighting process, as well as to analyze the passenger experience and service flow of the NO.20 tram, in combined with the urban cultural elements of Shanghai. Based on the service design concept, the corresponding design strategies and measures were proposed.Study content. 1.Service design and the AT-ONE rule The goal of service design, which establishes the service from the customer's perspective, is to ensure that the service meets the user's requirements. One of the most common methods in service design research is the AT-ONE rule. It is a method of user-centered design that connects stakeholders through various touch points.2.Analysis of Shanghai culture Shanghai culture is a unique cultural phenomenon based on the traditional culture of Jiangnan (Wu-Yue culture) and the fusion of modern industrial civilization from Europe and the United States, which had a profound impact on Shanghai after the opening of the port. 3.Analysis of No.20 tram and design elements The "Mobile Bus Museum" is the name given to the No. 20 tram, which connects Jing'an Temple Station and Zhaofeng Park Station. Passengers, ride process, primary touch points, and other design components are all examined. This section examines individual passenger characteristics, focusing primarily on the elderly, with less emphasis on the young and middle-aged populations. The ride has three stages: waiting, riding, and getting off. The main points of contact are the armrests, seats, LED screen, and so on. Analyzing numerous design features is an important part of improving passenger riding experience and creating a cultural bus.4. No.20 tram design strategy External design strategy（1）External painting artistry The purpose of exterior painting artistry is to improve the appearance of the vehicle and the passenger riding experience. It primarily mixes Shanghai's history and contemporary style, with a concentration on Art Deco, technology, Pop, and retro styles.（2）Stylized external shape The outside shape is mostly mixed with Shanghai's characteristic architectural style for local enhancement, such as Art Deco style, in order to evoke a nostalgic feeling of Shanghai culture among local passengers and increase the recognition of No. 20 tram. Internal design strategy （1）Scientific interior layout The scientific layout of the car ensures the passengers' ease, comfort, and safety during the voyage. This part is concerned with the scientific design of the interior space in order to fulfill the needs of various passengers and improve their riding experience.（2）Humanized design of interior facilities Humanized design is a growing trend and an unavoidable requirement in modern urban bus design, and humanized interior facilities can improve passenger travel quality. The intelligent facilities (LED screen, intelligent audio, etc.) and infrastructure (seats, handrails, etc.) inside the bus are designed to effectively improve the comfort and fun of passenger travel based on the results of the pre-AT-ONE rule analysis. 5. 20 cultural bus prototype test The styling elements of the No. 20 tram were taken from the old trolleybus, and the side of the body depicts the major changes of Shanghai trams over the past century, presenting an overall retro style. The interior is predominantly blue, echoing the body painting. To meet the travel needs of different passengers, the interior space is divided into love seat area, wheelchair area, and seating area; the interior facilities are also optimized based on the preliminary contact analysis, such as more beautiful and intelligent LED screen style and interactive interface, more comfortable and safe seats and handrails, etc., which not only improve the travel experience of passengers but also promote the spread of Shanghai culture. 6. Summary Creating an image of Shanghai's 'Century Bus' culture and bus service is a major goal proposed by the Shanghai government, with the goal of combining Shanghai culture with buses, improving bus service, and promoting Shanghai's cultural heritage. The AT-ONE rule guides the exploration of cultural bus service design strategies for its five dimensions of service subjects, touchpoints, service supply, user needs, and user experience, with the goal of improving the original bus service model and enhancing user experience.
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Reports on the topic "Painting – United States – Exhibitions"

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Moreno Mejía, Luis Alberto, and Iván Duque Márquez. Contemporary Uruguayan Artists: An Uruguayan Presence in the About Change Exhibition. Inter-American Development Bank, February 2012. http://dx.doi.org/10.18235/0006209.

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Contemporary Uruguayan Artists is part of About Change: Art from Latin America and the Caribbean, a project of the World Bank Art Program in cooperation with the Cultural Center of the Inter-American Development Bank and AMA | Art Museum of the Americas at the Organization of American States. The initiative comprises a series of exhibitions of art from Latin America and the Caribbean being offered in various venues in Washington during 2011-12. The exhibition is presented In honor of Uruguay and the City of Montevideo, site of the 53rd Annual Meeting of the Board of Governors of the IDB. The works selected for the exhibition offer a panorama of contemporary Uruguayan creativity. These pieces revisit history, explore memory, examine changes that have transformed culture and the environment, and rethink traditions. It includes painting, print, sculpture, mixed media, and photography, by 13 artists: Santiago Aldabalde, Ana Campanella, Muriel Cardoso, Gerardo Carella, Federico Meneses, Ernesto Rizzo, Jacqueline Lacasa, Gabriel Lema, Daniel Machado, Cecilia Mattos, Diego Velazco, Santiago Velazco, and Diego Villalba.
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Bowman, Mark D., Bryan D. Hagan, and William D. Hurdle. Steel Bridge Coating Evaluation and Rating Criteria. Purdue University, 2023. http://dx.doi.org/10.5703/1288284317386.

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The aim of the study is to gather information on three topics: (1) the evaluation and rating of steel bridge protective coatings, (2) coating systems used by various states throughout the United States, and (3) maintenance painting procedures employed by various state department of transportation agencies (DOTs). First, it was found that most state DOTs use either an Element Level type rating of the coating system or a 9–0 NBI type rating; many state DOTs use both methodologies, with one used for state bridges and the other for local bridges. Second, for coating systems, it was found that there is a great deal of uniformity of the steel bridge coating systems used in the United States, with three-coat paint systems being the most common. Third, it is believed that maintenance painting can extend the useful life of bridge coatings. However, many state DOTs report that the cost of maintenance painting has increased due to many factors that involve available personnel, proper training, and increased regulations on the removal and application of steel bridge coatings. Consequently, many DOTs no longer perform maintenance painting, other than emergency repairs, and simply wait until the entire bridge needs to be re-coated and contract the work out. Lastly, an NBI 9–0 type rating procedure for steel bridge coatings is proposed for possible consideration and implementation by INDOT.
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Selections from the IDB Art Collection: In Celebration of Hispanic Heritage Month 2006. Inter-American Development Bank, August 2006. http://dx.doi.org/10.18235/0006430.

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Celebrating the United States Hispanic Heritage Month, the exhibition presented a selection of 40 works from the Inter-American Development Bank (IDB) Art Collection that have been acquired over the last few years, including painting, drawing, sculpture, graphics, and folk art pieces from most countries of the Americas.
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3rd Inter-American Biennial of Video Art. Inter-American Development Bank, December 2006. http://dx.doi.org/10.18235/0006410.

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The call for the Third Biennial included larger cash awards, an electronic registration system in four languages and, for the first time, the inclusion of Puerto Rico as a good will gesture to the United States, and artists from the Commonwealth who are indeed members of the Latin American and Caribbean family. Artist nationals from 20 countries, including Puerto Rico, submitted a total of 211 videos. The international jury with Irma Arestizábal, Cultural Secretary of the Istituto Italo-Latinoamericano in Rome and Curator of the Latin American Pavilion for the Venice Biennial, and José Roca, Chief of Temporary Exhibitions at the Museum of Colombia¿s Central Bank, Luis Angel Arango Library, selected 19 videos from 9 countries for the 2006-07 edition of the Biennial.
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