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Academic literature on the topic 'Realism in art'

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Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Realism in art"

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Boardman, Frank. "Realism about Film and Realism in Films." Film and Philosophy 24 (2020): 43–62. http://dx.doi.org/10.5840/filmphil2020244.

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Realism has a significant place in the history of film theory. The claim that film is essentially a realistic art form has been employed to justify the art-status of films as well as the distinctness of film as a form. André Bazin and others once used realist ontologies of film to try to establish realist teleologies and universal critical standards. I briefly sketch this history before considering the prospects for various versions of realism: Bazin’s, as well as Kendall Walton’s and Gregory Currie’s less ambitious but more plausible accounts. I argue that these theories, though they are the best cases we have for realism, are not adequate ontologies of film. However, while prior realist philosophers and critics were wrong to think that realism can provide a critical standard for all films, realism is nonetheless a praiseworthy filmic achievement - one that the opponent of ontological realism should not dismiss.
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Simashenkov, P. D. "REALISM IN ART AND REALISM OF ART." Topical Issues of Culture, Art, Education 40, no. 2 (2024): 75–82. http://dx.doi.org/10.32340/2949-2912-2024-2-75-82.

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The article analyzes the aesthetic content of the concept of realism in stylistic, genre and ideological aspects. Guided by the comparative method and a comprehensive approach to the study of the problem, the author declares the a priori avant-garde nature of art and, as a result, the groundlessness of confrontation between realists and avant-gardists. The catharsis achieved by the realism of expressive means should be real. Thus, the author's vision of realism presupposes not so much the harmony of art with the displayed epoch, but rather participation, confession of enduring values, which elevates art above the historical and social context.
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FROLOVA-WALKER, MARINA. "Stalin and the Art of Boredom." Twentieth-Century Music 1, no. 1 (March 2004): 101–24. http://dx.doi.org/10.1017/s1478572204000088.

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Socialist Realist ceremonial art has generally been viewed in the West as a form of high art, because of its air of monumentality and references to classics. Judged by high-art standards, such works are invariably failures, and Western commentators have accordingly treated Socialist Realism as something exotic or inexplicable. This approach is inadequate: firstly, because it does not examine Stalin-era art on its own terms, and secondly, because it refuses to acknowledge any similarities in Western culture.Socialist Realism was a discipline placed upon artists to provide a suitably dignified backdrop to state ritual. In this sense, it was a species of religious art, in which blandness, anonymity and tedium were by no means vices. This article compares the relatively smooth passage of Myaskovsky into Socialist Realism with the troubled homecoming of Prokofiev, who only mastered the discipline just before the end of his life.
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WILLSON, FLORA. "Listening for Realism in Charpentier’s Louise." Journal of the Royal Musical Association 146, no. 2 (November 2021): 397–424. http://dx.doi.org/10.1017/rma.2020.13.

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AbstractOn 2 February 1900, Gustave Charpentier’s opera Louise premièred at Paris’s Opéra-Comique. Set in contemporary Montmartre, the work was discussed ubiquitously by its earliest critics as réaliste (translatable as both ‘realistic’ and ‘realist’) – a tendency that has continued in more recent musicological writing. In this article, I focus on Louise and discourse around it in order to re-examine the complex relationship between opera and realism. After sketching the terms of the opera’s reception to assess the case for understanding it as a ‘realist’ work, I position the opera in relation to theoretical conceptualizations of realism in other art forms. I then present two music examples to explore how Louise might not only resonate with existing understandings of late nineteenth-century French realism, but also expand or disrupt them. Ultimately, this article ponders the possibility that the act of listening might shape its own distinct form of realism.
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Syromiatnikov, Oleg. "DOSTOEVSKY’S REALISM: CONTINUATION OF THE DISPUTE." Проблемы исторической поэтики 21, no. 1 (February 2023): 140–61. http://dx.doi.org/10.15393/j9.art.2023.12042.

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The aim of the article is to determine the connection between F. M. Dostoevsky’s creative work with the phenomenon denoted in the modern literary studies by the terms of “spiritual realism,” “Christian realism,” “religious realism,” “symbolic realism,” etc. The writer worked in the genre of realism, he called himself a realist, and it is easy to notice the features of social, psychological, philosophical and even political realism in his works. However, at the same time, there was always something else in them that was more significant and added unique originality to the writer’s works. Many modern researchers believe that the foundations of this phenomenon lie in the common cultural European Christian tradition. Having studied various research approaches with the method of comparative analysis, author of the article comes to the conclusion that the most accurate term denoting the features of Dostoevsky’s artistic method is “Orthodox realism.” The writer himself called his method “complete realism,” “realism in the highest sense,” absolutely rejecting the label of a writer-psychologist. This circumstance has attracted the attention of researchers more than once. While studying their points of view and analyzing Dostoevsky’s own views on the goals and objectives of artistic creativity, the author of the article concludes that “realism in the highest sense” is based on the principle of transforming the Orthodox view of the world into artistic imagery. Many features of this principle can be seen throughout Russian literature, but it was Dostoevsky who brought those features together, developed and strengthened the most productive of them, removed certain incidental and unsuccessful ones and created Orthodox realism as a full-fledged artistic method. Based on it, the novels of 1866–1890s and “The Writer’s Diary” were written.
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Abror, Robby Habiba. "Diskursus Estetika Realisme Sosialis: Kajian Filsafat Pendidikan Moral atas Sastrawan Kreatif di Bandung." Refleksi Jurnal Filsafat dan Pemikiran Islam 18, no. 1 (January 30, 2018): 17–26. http://dx.doi.org/10.14421/ref.v18i1.1854.

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Culture and art attached to the city of Bandung. The dialectical process in the realm of aesthetics becomes an integral part of the discourse of literaryists and literary connoisseurs in the flower city. Although it is debatable whether Bandung poets purely ideological socialist, realist, or religious maybe even a combination of socialist socialist or socialist realism, did not reduce the passion of creativity of creative writers in Bandung to give birth to various forms of literary artwork needed by its citizens to build a city with a moral breath and heed the elements of nature in harmonizing modernity and local culture. The digital age makes the media a locus of creative literary education and praxis to build the aesthetic of socialist realism based on morality.[Kebudayaan dan kesenian melekat pada Kota Bandung. Proses dialektik dalam ranah estetika menjadi bagian integral dalam diskursus para sastrawan dan penikmat sastra di kota kembang itu. Kendati masih diperdebatkan apakah para sastrawan Bandung murni berideologikan sosialis, realis, ataukah religius bahkan mungkin juga kombinasi realisme sosialis atau sosialis religius, tak mengurangi gairah kreativitas para sastrawan kreatif di Bandung untuk melahirkan berbagai bentuk karya seni sastra yang dibutuhkan warganya untuk membangun kota dengan nafas moral dan mengindahkan unsur alam dalam mengharmoniskan modernitas dan budaya lokal. Era digital menjadikan media sebagai lokus pendidikan sastra kreatif dan praksis untuk membangun estetika realisme sosialis berdasarkan moralitas.]
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Videkanić, Bojana. "Yugoslav Postwar Art and Socialist Realism: An Uncomfortable Relationship." ARTMargins 5, no. 2 (June 2016): 3–26. http://dx.doi.org/10.1162/artm_a_00145.

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This text examines the first official exhibition of the Yugoslav Association of Fine Artists, and the theoretical, socio-political, and institutional contexts of the Socialist Realist period in Yugoslav art (spanning roughly the years between1945 and 1954). Post-war artistic and cultural environment, the first exhibition, and critical aesthetic debates around Socialist Realism exemplify Yugoslavia's struggle to make sense of, and implement, Socialist Realism as an official artistic, cultural, and political category. Its development paralleled the state's own wrestling with notions of socialist governance and its proper implementation. Difficulties with Socialist Realist aesthetic and the ensuing paradoxes in its adaptation in Yugoslav art are at the core of the dialogs, theoretical discourses, and critical responses to the first exhibition. My analysis uses accounts and reviews of the exhibition, as well as official writings and arguments presented by the state and cultural officials to argue that Yugoslav art of the time was in fact transgressive, a hybrid of modernism and Socialist Realism. Rather than reading its hybridity as a failure, as some have argued, I read the hybridity of Yugoslav art as a space of possibilities that would have opened a new art praxis in Yugoslavia of the time.
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Huang, Weiwei. "REALIST SCULPTURE IN CHINA - DISCOVERY AND FORMATION OF ART METHOD." Scientific and analytical journal Burganov House. The space of culture 19, no. 3 (June 10, 2023): 39–48. http://dx.doi.org/10.36340/2071-6818-2023-19-3-39-48.

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Chinese sculpture has a long history and is a world-renowned art treasure and cultural heritage. With the changes in the global political structure and China's internal social system in the past two hundred years, they have directly affected the development direction of Chinese sculpture. The traditional Chinese sculpture system has gradually weakened. In line with the trend of 'learning from the West' at the end of the Qing Dynasty, students, policymakers, and practitioners of sculpture-related industries began to reach a tacit agreement, with many factors contributing to a new choice for Chinese sculpture, which had long been closed to the outside world and self-development. During the Republic of China period, the popularization of Western theories of sculpture and the cultivation of Westernized talents made Chinese sculpture present the budding trend of realism in this period. These include the enlightenment of European sculpture, the establishment of art schools and the self-cultivation of talents, and the staged upsurge of studying abroad. This article explores the origin and development of realism art in China by describing the history of modern Chinese sculpture art in the context of a specific historical period from the end of the 19th century to the beginning of the 20th century. Of course, Chinese realism has its special presentation and historical significance. There is no necessary connection between the birth of realism consciousness and the germination of Chinese realist sculpture. The realist sculpture from the late Qing Dynasty to the Republic of China was the natural choice of artists who learned from the West and met the needs of society. Therefore, this article will not cover a broader discussion of the origins of realism.
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Potolsky, Matthew. "Decadence and Realism." Victorian Literature and Culture 49, no. 4 (2021): 563–82. http://dx.doi.org/10.1017/s1060150320000248.

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This essay proposes a new understanding of the widely recognized disdain for realism and the realist novel among decadent writers, a disdain most critics have interpreted as a protomodernist celebration of artifice. Focusing on Oscar Wilde's dialogue “The Decay of Lying,” the essay argues instead that decadent antirealism is antimodern, embodying a repudiation of contemporary society. Decadent writers regard realism not as hidebound and traditional, as twentieth-century theorists would have it, but as terrifyingly modern. Wilde looks back to neoclassical theories of mimesis and classical Republican political theory to imagine a different, older world, one in which art improves upon brute reality and in which the artist stands apart from the social forces that realist novels make central to their literary universes.
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Faris, Jaimey Hamilton. "Introduction to Special Issue." ARTMargins 4, no. 3 (October 2015): 3–16. http://dx.doi.org/10.1162/artm_e_00120.

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This introduction charts the emergence of the term Capitalist Realism at the intersection of the international postwar art movements of Pop, Fluxus, Nouveau Réalisme, happenings, and Anti-Art. It relates the independent coinage of Capitalist Realism by artists Gerhard Richter, Konrad Lueg, Sigmar Polke, and Manfred Kuttner in Germany in May 1963 with that of artist Akasegawa Genpei Japan in February 1964 and argues that they were both part of a broader interest in developing new strategies of artistic realism during the Cold War. The artists' sly and ironic appropriations of consumer objects and advertisements sought to capture the operations of capitalism, not only as an economy, but as an ideology that materially and systemically reproduces itself within everyday life. Relating the Cold War moment to the development of capitalism after the fall of the communist bloc, the introduction ends by addressing the strategic applicability of Capitalist Realist modes to contemporary art in the neoliberal era.
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Dissertations / Theses on the topic "Realism in art"

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Forrest, David. "Social Realism : a British art cinema." Thesis, University of Sheffield, 2009. http://etheses.whiterose.ac.uk/10351/.

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Since the 1930s, realist cinema has maintained a consistent but ever-diversifying presence within the heart of British film culture. The broad term of social realism has come to represent numerous examples of films that reflect a range of social environments and issues, in a manner that rejects the artifice and escapism of more classically-oriented narrative models. Yet, there has been a tendency to view such films in the context of what they have to tell us about the issues and themes they invoke, rather than what they say about their art. When we think of the New Wave in France, or Neo-Realism in Italy we think of film movements which reflected their subjects with veracity and conviction, but we also see their products as cultural entities which encourage interpretation on the terms of their authorship, and which demand readings on the basis of their form. We are invited to read the films as we would approach a poem or a painting, as artefacts of social and artistic worth. Despite the continued prevalence of social realism in British cinema, there is no comparable compulsion in our own critical culture. This study seeks to address this imbalance. Beginning with the documentary movement of the 1930s and the realist cinema of wartime, I chart the history and progression of social realism in Britain, covering a wide range of directors such as Ken Loach, Mike Leigh, Alan Clarke and Shane Meadows and a number of film cycles, such as Free Cinema and the British New Wave. The key focus of my analysis lies on the aesthetic and formal constitution of the mode. I seek to highlight hitherto unrealised depths within the textual parameters of British social realism in order to propose its deserved status as a genuine and progressive national art cinema.
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Darley, Andrew David. "The computer and contemporary visual culture : realism, post-realism and postmodernist aesthetics." Thesis, University of Sussex, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.259729.

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Maines, Lauren Ann. "The nature of realism /." Online version of thesis, 1988. http://hdl.handle.net/1850/11541.

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Esteba, López Joaquin. "La sindicació de les arts plàstiques a Catalunya durant la Guerra Civil (1936-1939). Institucions d’operacions ideològiques i polarització entre l’art d’avantguarda i el realisme." Doctoral thesis, Universitat de Girona, 2019. http://hdl.handle.net/10803/667199.

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This thesis is focused on conceptions of the avant-garde and realism during the Spanish Civil War in Catalonia from two main mainstays: the conception of the nationalism implicit into the conflict itself, and the mandatory unionisation artists had to follow, from the summer of the 1936. The need of alphabetizing the current civil society had was met by those two mainstays. How did them allow the artist to create from freedom? Since the widening of aesthetics in fields such as politics based on the dichotomy: committed art/ commitment of art, the position of the artist in front of realism, neo romanticism, "wided aesthetics", and the Avant-garde is analysed. In which way the political question is related with the anti-fascist Popular Front and the Spanish revolution is synchronized on the theoretical basis of realism and avant-garde?
El focus de la present tesi el posem en la concepció del realisme i de l'avantguarda durant la Guerra Civil espanyola a Catalunya des de dos grans pilars: la concepció del nacionalisme implícit en el conflicte i la sindicació obligatòria dels artistes plàstics des de l’estiu de l’any 1936, que van suposar la institucionalització de la cultura en la seva necessitat d’alfabetització de la societat civil del moment. De quina manera aquests pilars van permetre una llibertat estètica per part de l’artista? Des de l’eixamplament de l’estètica en àmbits com la política en base la dicotomia art compromès / compromís de l’art, analitzem la posició dels artistes davant del realisme, el neoromanticisme, l’art d’avançada, les Avantguardes. De quina manera la qüestió política relacionada amb el Front Popular antifeixista i la revolució espanyola es sincronitza en la fonamentació teòrica del realisme i de l'avantguarda?
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Wang, Shu-Chin. "Realist agency in the art field of twentieth-century China : realism in the art and writing of Xu Beihong (1895-1953)." Thesis, SOAS, University of London, 2009. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.547458.

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Reason, Akela M. "Beyond realism history in the art of Thomas Eakins /." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/2195.

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Thesis (Ph. D.) -- University of Maryland, College Park, 2005.
Thesis research directed by: Art History and Archaeology. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Zhu-Nowell, Xiaorui. "Capitalist realism : making art for sale in Shanghai, 1999." Thesis, Massachusetts Institute of Technology, 2017. http://hdl.handle.net/1721.1/111501.

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Thesis: S.M. in Architecture Studies, Massachusetts Institute of Technology, Department of Architecture, 2017.
Cataloged from PDF version of thesis.
Includes bibliographical references (pages 103-105).
The artist-instigated exhibition Art for Sale (1999), which partially operated as a fully functioning 'art supermarket' inside a large shopping mall, was one of the most important exhibitions that took place during the development of Shanghai's experimental art-scene in the 1990s, a time when the influx of consumer capitalism was becoming a key mechanism of life in the city. Organized by the artist-curators Xu Zhen, Yang Zhenzhong and Alexander Brandt, the exhibition was divided into two sections, a supermarket and an exhibition space, and included 33 artists who were prompted to create a pair of works, one for each section. The supermarket section consisted of works that were at once art objects and commercial goods, many of them bizarre amalgamations of familiar household items, and visitors were able to self-select "merchandise" to purchase; therefore, becoming "art consumers" for the first time in post-revolutionary China. Post-1989 China was a uniquely volatile social and political environment; the failure of the 1989 democracy movement incentivized the rise of state-directed capitalism, and Deng Xiaoping was championing a new official ideology of the Communist Party of China- "Socialism with Chinese characteristics", which doubled as a strategy to thwart the democratic movement of the time. Necessarily, the Shanghai art scene of the 1990s must be seen in the context of these pro-consumerist state policies, as almost overnight, the state attempted to turn a nation of workers into a nation of consumers. This transition was rife with tension. An emerging ideology of consumerism had to be cleverly negotiated with and against a strong residual ideology of Mao-era policies and values. It was a historical moment of incredible flux and ideological hybridity in which the necessary contradiction of "socialist capitalism" could take root. The Art for Sale exhibition was deftly self-reflexive about these permutable conditions of the late 1990s, and this thesis argues that it functioned as a way to worry the question of consumerism in China through making consumption into an aesthetic act; considering, challenging and often subverting the contingent future of capitalism that the state was trying to enact. Through the introduction of Capitalist Realism, an art historical movement begun by East German artists in 1960s West Germany, this thesis links Art for Sale with previous examples of artists using consumerism as an aesthetic strategy, arguing that Capitalist Realism can be used as an interpretive heuristic for understanding how conceptual art practices emerged in 1990s China as a critique of Western consumerism.
by Xiaorui Zhu-Nowell.
S.M. in Architecture Studies
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Qian, Zifan. "Enhanced realism in the development of my painting." PDXScholar, 1989. https://pdxscholar.library.pdx.edu/open_access_etds/3919.

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It is a basic truth that the artist must have independent experience and personality in order to create art from life. Combining a traditional realistic style with some elements of abstract composition fits my personality. My paintings represent a pursuit of this idea that is the enhanced realism in the development of my painting.
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Graham, Jennifer Frances. "Van Eyck's realism and the British art world 1760-1880." Thesis, University of Reading, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.408988.

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Martinac, Krunoslav. "Red flags flying: Elements of socialist realism in Australian art." Thesis, Martinac, Krunoslav (2002) Red flags flying: Elements of socialist realism in Australian art. PhD thesis, Murdoch University, 2002. https://researchrepository.murdoch.edu.au/id/eprint/52755/.

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This thesis examines the emergence and development of Socialist Realism in Australia. Among twentieth century cultural narratives a significant position is occupied by the theme of realism in the visual arts as related to the social and particularly to the political or ideological context. The issue of reality transformed into a visual representation of social relations plays an especially important role in Eastern European artistic practices, dominated by the Soviet model of Socialist Realism. Socialist Realism is a worldwide artistic and cultural phenomenon that arose under the influences of the social changes in Russia at the end of the nineteenth and the beginning of the twentieth century. This already defined aesthetic influenced thereafter the other European communist and non-communist countries, the United States of America and Australia. Historical approaches to the problem of Socialist Realist doctrine have established a number of cliches which should be thoroughly challenged by new interpretations, questioning the fixed definition of historical avant-gardes as supposedly positive and progressive while traditional realistic practices are seen as regressive and totalitarian. This thesis provides an insight into the artistic practice of Australian painters Noel Counihan. Yosl Bergner and Victor O’Connor, whose work embodies most of the contradictions and conflicts of the early Australian modernist scene. Modem art in Australia reflected the social and cultural situation in Europe in the 1930s and 1940s which shaped the emergence of Modernism in general in Australia. Australian artists in the Contemporary Art Society (1938) drew on European ideas in their attempts to develop a modem artistic practice that was both international and at the same time recognisably Australian. Important amongst these were a number of Socialist Realist artists whose artistic activity was strongly concerned about contemporary social issues, nationalism, national identity, economic depression and war, and the future of Australian society. This study grows out of some recent interdisciplinary initiatives in language theory and new directions in the study of visual art. The analytical model of systemic-functional semiotics of art, as developed in the work of Michael Halliday and Michael O’Toole is applied to an interpretation of a selection of key works by Australian Socialist Realists. Through a close semiotic analysis internal visual facts and the historical and social context of their work are integrated into a complex structure of signs and their meanings in an endeavour to interpret the appearance and development of the doctrine as a significant practice in Australia in the period of the 1930s and 1940s. This thesis is written in the conviction that visual representations are realisations of the social semiotic out of which they have grown, but at the same time they are a contribution to that social semiotic, participating in changing the context. My analysis of the Socialist Realist method which attempts to locate the picture within a rational system of perceptual codes suggests that works of art can be a starting point from which most of the aesthetic and social-political concerns of the period can be deduced.
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Books on the topic "Realism in art"

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Málaga, Centre Pompidou, ed. El nuevo realismo: New realism. Madrid]: Turner, 2016.

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Malpas, James. Realism. Cambridge: Cambridge Univ. Press, 1997.

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Gunderson, Jessica Sarah. Realism: Odysseys. Mankato, MN: Creative Education and Creative Paperbacks, 2016.

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Museum, Meadows, and American Museum in Britain, eds. Texas realism. Dallas, Tex: Meadows Museum, Meadows School of the Arts, Southern Methodist University, 1991.

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Modern, Museu Europeu d'Art. Realismo Japonés contemporáneo: Contemporary Japanese realism. [Barcelona]: Edicions de la Fundació de les Arts i els Artistes, 2018.

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Karlen, Roy. Expressionism and realism. New York, N.Y: Lafayette Park Gallery, 1990.

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Sarje, Kimmo. Realismi ja utopiat: Yhteiskunnallinen realismi Suomen 1970-luvun kuvataiteessa : Harkonmäki-kokoelma = Realism and utopias : social realism in 1970s Finnish art : Harkonmäki collection. Helsinki: Harkonmäki Oy, 1991.

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Gosudarstvennyĭ russkiĭ muzeĭ (Saint Petersburg, Russia) and Galerei͡a "Viktorii͡a" (Samara Russia), eds. Bespredmetnostʹ kak novyĭ realizm: Nonfigurativeness as New Realism. Sankt-Peterburg: Palace Editions, 2011.

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Muhn, BG. North Korean Art: Paradoxical Realism. Irvine, CA: Seoul Selection USA, Inc., 2018.

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Habánová, Anna, Julia Dijkstra, and Ivo Habán. Nové realismy: Tsjecho-Slowaaks realisme 1918-1945. Zwolle: Waanders & De Kunst, 2022.

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Book chapters on the topic "Realism in art"

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Arandelovic, Biljana. "Socialist Realism in Art." In Public Art and Urban Memorials in Berlin, 257–77. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-73494-1_6.

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Rosebury, Brian. "Objections from Historical Realism." In Art and Desire, 22–61. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-19496-4_2.

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Rosebury, Brian. "Objections from Moral Realism." In Art and Desire, 62–91. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-19496-4_3.

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Rioux, Jean W. "Objects, Freedom, and Art." In Thomas Aquinas’ Mathematical Realism, 81–108. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-33128-2_6.

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Shklovskii, Viktor. "Art as Technique." In From Symbolism to Socialist Realism, edited by Irene Masing-Delic, 64–81. Boston, USA: Academic Studies Press, 2019. http://dx.doi.org/10.1515/9781618111449-008.

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Sillars, Stuart. "Romantic Realism." In British Romantic Art and the Second World War, 51–77. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-09918-4_3.

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Crouch, Christopher. "Realism and Objectivity." In Modernism in Art, Design and Architecture, 112–38. London: Macmillan Education UK, 1999. http://dx.doi.org/10.1007/978-1-349-27058-3_7.

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Yin, Yanfei. "Realism or Modernism?" In Art and Modernism in Socialist China, 25–39. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003450535-4.

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Brown, Neil C. M. "Aesthetic Description, Realism and Art Education." In Studies in Philosophical Realism in Art, Design and Education, 43–56. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-42906-9_4.

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Brown, Neil C. M. "Constraints on Art in Education: Realism and Art Education." In Studies in Philosophical Realism in Art, Design and Education, 17–23. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-42906-9_2.

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Conference papers on the topic "Realism in art"

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Gavrilov, D. M. "Traditions of Realism in the Contemporary Art." In Судьбы национальных культур в условиях глобализации: между традицией и новой реальностью. Челябинск: Челябинский государственный университет, 2022. http://dx.doi.org/10.47475/9785727118559-28.

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Meng, Xiangxue. "REALISM IS THE MAIN DRIVING FORCE BEHIND THE SPREAD OF RUSSIAN ART IN NORTHEAST CHINA." In 4th International Conference Modern Culture and Communication. Institute for Peace and Conflict Research, 2024. http://dx.doi.org/10.31312/978-5-6048848-7-4-13.

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This thesis examines the process of dissemination and development of Russian realist art in Northeast China. It analyzes the origins and development of realism in China and the reasons for China's adoption of Russian realist art in certain historical periods.
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Rashtian, Hamed, and Gabriela Aceves-Sepulveda. "Same Old Story: Agential Realism in the Study of Colonial Histories." In 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-78-full-rashtian-et-al-same-old-story.

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What are the possibilities of accessing the reality of history? How can we read history, and what can we learn from it? In this paper, we contemplate these questions by putting our ongoing research-creation project, Same Old Story (2020-present), in conversation with feminist critiques of objectivity and current discussions on the construction of historical narratives by historians, philosophers and artists, including Antoinette Burton, Andreas Huyssen, Walter Benjamin Walid Raad and Forensic Architecture. Specifically, we elaborate on how Karen Barad's "agential realism" ¹ informs our engagement with colonial histories in Same Old Story and speculate on its broader relevance in research-projects that engage with historical narratives. To do so, we describe the process of creating the current iteration of our project and offer a theoretical framework based on a discussion of three main themes, Archive/ Memory, Architecture and Monument/Counter-Monument. Building from this discussion, we elaborate on how to expand our work further, focusing on the possibilities and limits of revitalizing embodied realities in historical events and learning from them.
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Liedtke, Walter. "Optical instruments and realism in European art ca. 1400-1800." In Frontiers in Optics. Washington, D.C.: OSA, 2004. http://dx.doi.org/10.1364/fio.2004.fww2.

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Wei, Pang. "The Transformation of Contemporary Photography Expression--Beyond Realism." In 2022 International Conference on Comprehensive Art and Cultural Communication (CACC 2022). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220502.073.

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Rum, Maftuhah Rahimah, Ardha Ardea Prisilla, Yori Pusparani, Wen-Hung Chao, and Chi-Wen Lung. "Using Machine Learning to Classify Art Style in Naturalism and Realism." In The Kyoto Conference on Arts, Media & Culture 2023. The International Academic Forum(IAFOR), 2023. http://dx.doi.org/10.22492/issn.2436-0503.2023.34.

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Kera, Denisa. "From Data Realism to Dada Aggregations: Visualizations in Digital Art, Humanities and Popular Culture." In 2010 14th International Conference Information Visualisation (IV). IEEE, 2010. http://dx.doi.org/10.1109/iv.2010.99.

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Xuemin, Heng. "Aboriginality Construction of the Magic Realism in Mo Yan’s Novels." In Proceedings of the 5th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icelaic-18.2018.90.

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Dimitrakopoulou, Georgia. "THE CONFLICT BETWEEN ENERGY AND URIZEN. BLAKE�S ALIENATED REASON AS THE SOURCE OF OPPRESSION IN THE HUMAN MIND AND IDENTITY." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/fs10.17.

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In my paper, the version of Urizen�s creation and existence particularly refers to/concerns the contrast/conflict between energy and reason. In Blake�s mythological system, Urizen is a false God which represents the distortion of truth and concerns the pragmatic, unspiritual apprehension, and appreciation of the mundane world as a creation of falsity which must be accepted by humans in order to survive, to secure life and multiply. Urizen creates and lives in an alienated and enslaving realm, a distorted mental state which is detached from God�s truth. Personified in Urizen, the human reason is false consciousness and derives from impure energy. Urizen is an abstraction of the human self. It is the �holy� God of pragmatism in real life. The [First] Book of Urizen presents Blake�s ideas about human error, false consciousness and its aftermaths. The book is an exposition of man�s slavery to a false God and miscommunication with divinity. Miscommunication is the result of reason�s interpolation, suppressed desires and illusory delight. Los, the universal man, the eternal prophet is a false prophet who must acquire true consciousness and humane identity. The estranged, isolated, and false human self must realize his self-delusion and renounce this false God, so as to embrace truth and authenticity. Consequently, believing in this false God man is not an artist and his mundane work has no quality and value. Art, which is communication, is distorted by the human urizenic, false identity. Reason, the reasoning power, rationalization is unable to shape life artistically because Urizen, as a false God hinders genuine creation. Art is an internal discourse of active communication which is based on pure energy and intellectual beauty. Urizen has no position in this discourse because it disrupts the artistic vision and produces false art. Urizen represents inartistic ugliness. It is the representation of error, the devourer and degraded intellect. Urizen is considered Blake�s negative aesthetic and represents the aesthetic category of the ugly. It is also Blake�s aesthetic realism, the �negative sublime� of his aesthetic vision and stands in juxtaposition with his aesthetic idealism. Thus, in Blake�s aesthetics there are two different aspects of the sublime, its negative and positive forms. Urizen being Blake�s negative aesthetic, is a separate category which juxtaposes with the �Sublime of Imagination� and completes his aesthetic vision. Although aesthetic realism is necessary to offer a complete depiction of Blake�s sublime, it is not the vision of beauty and spirituality. Nevertheless, it is essential to supplement Blake�s aesthetics.
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Ни, Ш., and М. А. Сорокина. "ANIMAL SCULPTURE IN RUSSIAN ACADEMIC ART OF THE XIX — FIRST QUARTER OF THE XXI CENTURIES." In Месмахеровские чтения — 2024 : материалы междунар. науч.-практ. конф., 21– 22 марта 2024 г. : сб. науч. ст. / ФГБОУ ВО «Санкт-Петербургская государственная художественно-промышленная академия имени А. Л. Штиглица». Crossref, 2024. http://dx.doi.org/10.54874/9785605162926.2024.10.44.

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Анималистическая скульптура в русском искусстве отражает изменения в обществе, сочетает реализм с модернизмом. Мастера XIX в. создавали реалистичные образы животных, показывая их эмоциональную выразительность. В XX в. советские художники продолжили традицию анималистической скульптуры, применяя новаторские методы и материалы. Современные скульпторы продолжают развивать этот жанр, выражая уникальный взгляд на мир природы. В статье рассмотрены работы авторов, связанных с петербургской школой. The animalistic sculpture of Russian art reflects changes in society, combines realism with modernism. The masters of the XX century created realistic images of animals, showing their emotional expressiveness. In the XX century, Soviet artists continued the tradition of animalistic sculpture, using innovative methods and materials. Modern sculptors continue to develop this genre, expressing a unique view of the natural world. The article examines the artists of the St. Petersburg school.
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Reports on the topic "Realism in art"

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Kolomiiets, Viacheslav. Ballet Art of Soviet Ukraine from the Late 1910s to the Early 1930s: Classical Performances, Modern Intentions, Socialist Realism Canon. Intellectual Archive, April 2024. http://dx.doi.org/10.32370/ia_2024_03_11.

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The article conceptualizes the development of ballet art in Soviet Ukraine from the late 1910s to the early 1930s. The active use of ballets of classical heritage (Corsair, Futile Warning, Swan Lake, etc.) in the repertoire of opera theaters of Kyiv, Kharkiv, Odesa and the penetration of modern features into the ballet stage (Flying Ballet) were demonstrated. It is noted that elements of modern dance were cultivated in the activities of private choreographic and theater studios. The collapse of modernism with the introduction of the method of socialist realism in art with a focus on ideology, nationalism, and partisanship is noted. It was concluded that the state of ballet art in Soviet Ukraine from the late 1910s to the early 1930s can be qualified as a transition from modernization intentions, which were not realized, to the gradual introduction of the socialist realist method of artistic creation as the only one officially recognized by the Soviet authorities.
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Kolomiiets, Viacheslav. Ballet Art of Soviet Ukraine from the Late 1910s to the Early 1930s: Classical Performances, Modern Intentions, Socialist Realism Canon. Intellectual Archive, April 2024. http://dx.doi.org/10.32370/ia_2024_01_11.

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The article conceptualizes the development of ballet art in Soviet Ukraine from the late 1910s to the early 1930s. The active use of ballets of classical heritage (Corsair, Futile Warning, Swan Lake, etc.) in the repertoire of opera theaters of Kyiv, Kharkiv, Odesa and the penetration of modern features into the ballet stage (Flying Ballet) were demonstrated. It is noted that elements of modern dance were cultivated in the activities of private choreographic and theater studios. The collapse of modernism with the introduction of the method of socialist realism in art with a focus on ideology, nationalism, and partisanship is noted. It was concluded that the state of ballet art in Soviet Ukraine from the late 1910s to the early 1930s can be qualified as a transition from modernization intentions, which were not realized, to the gradual introduction of the socialist realist method of artistic creation as the only one officially recognized by the Soviet authorities.
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Ervin, Kelly, Karl Smink, Bryan Vu, and Jonathan Boone. Ship Simulator of the Future in virtual reality. Engineer Research and Development Center (U.S.), September 2022. http://dx.doi.org/10.21079/11681/45502.

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The Army’s modernization priorities include the development of augmented reality and virtual reality (AR/VR) simulations for enabling the regiment and increasing soldier readiness. The use of AR/VR technology at the U.S. Army Engineer Research and Development Center (ERDC) is also growing in the realm of military and civil works program missions. The ERDC Coastal and Hydraulics Laboratory (CHL) has developed a ship simulator to evaluate bay channels across the world; however, the current simulator has little to no physical realism in nearshore coastal regions (Figure 1). Thus, the ERDC team is researching opportunities to advance ship simulation to deliver the Ship Simulator of the Future (SSoF). The SSoF will be equipped with a VR mode and will more accurately resolve nearshore wave phenomena by ingesting precalculated output from a Boussinesq-type wave model. This initial prototype of the SSoF application is intended for research and development purposes; however, the technologies employed will be applicable to other disciplines and project scopes, including the Synthetic Training Environment (STE) and ship and coastal structure design in future versions.
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Oleksiuk, Vasyl P., and Olesia R. Oleksiuk. Exploring the potential of augmented reality for teaching school computer science. [б. в.], November 2020. http://dx.doi.org/10.31812/123456789/4404.

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The article analyzes the phenomenon of augmented reality (AR) in education. AR is a new technology that complements the real world with the help of computer data. Such content is tied to specific locations or activities. Over the last few years, AR applications have become available on mobile devices. AR becomes available in the media (news, entertainment, sports). It is starting to enter other areas of life (such as e-commerce, travel, marketing). But education has the biggest impact on AR. Based on the analysis of scientific publications, the authors explored the possibilities of using augmented reality in education. They identified means of augmented reality for teaching computer science at school. Such programs and services allow students to observe the operation of computer systems when changing their parameters. Students can also modify computer hardware for augmented reality objects and visualize algorithms and data processes. The article describes the content of author training for practicing teachers. At this event, some applications for training in AR technology were considered. The possibilities of working with augmented reality objects in computer science training are singled out. It is shown that the use of augmented reality provides an opportunity to increase the realism of research; provides emotional and cognitive experience. This all contributes to engaging students in systematic learning; creates new opportunities for collaborative learning, develops new representations of real objects.
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Holloway, Richard L. Art-Related Virtual Reality Applications at the University of North Carolina at Chapel Hill. Fort Belvoir, VA: Defense Technical Information Center, November 1990. http://dx.doi.org/10.21236/ada236628.

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Adhikari, Kamal, Bharat Adhikari, Sue Cavill, Santosh Mehrotra, Vijeta Rao Bejjanki, and Matteus Van Der Velden. Monitoring Sanitation Campaigns: Targets, Reporting and Realism. Institute of Development Studies (IDS), June 2021. http://dx.doi.org/10.19088/slh.2021.009.

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Many governments in Asia and Africa have set ambitious target dates for their countries becoming open defecation free (ODF). Some have recently concluded national sanitation campaigns; a number of countries have campaigns underway; while others are in the conceptualising and planning process. Monitoring and reporting results is one of the key challenges associated with these campaigns. This Frontiers of Sanitation presents lessons learnt to date to inform ongoing and future government campaigns intended to end open defecation and improve access to safely managed sanitation. Firstly, we discuss campaigns, targets, monitoring, reporting, and verification arrangements, showing how these processes can be used to increase the credibility of national declarations and strengthen campaigns to respond to challenges. Secondly, we present case studies from India and Nepal, providing campaign-specific details from two recently declared ODF countries.
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Adhikari, Kamal, Bharat Adhikari, Sue Cavill, Santosh Mehrotra, Vijeta Rao Bejjanki, and Matteus Van Der Velden. Monitoring Sanitation Campaigns: Targets, Reporting and Realism. Institute of Development Studies (IDS), June 2021. http://dx.doi.org/10.19088/slh.2021.023.

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Many governments in Asia and Africa have set ambitious target dates for their countries becoming open defecation free (ODF). Some have recently concluded national sanitation campaigns; a number of countries have campaigns underway; while others are in the conceptualising and planning process. Monitoring and reporting results is one of the key challenges associated with these campaigns. This Frontiers of Sanitation presents lessons learnt to date to inform ongoing and future government campaigns intended to end open defecation and improve access to safely managed sanitation. Firstly, we discuss campaigns, targets, monitoring, reporting, and verification arrangements, showing how these processes can be used to increase the credibility of national declarations and strengthen campaigns to respond to challenges. Secondly, we present case studies from India and Nepal, providing campaign-specific details from two recently declared ODF countries.
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Seidametova, Zarema S., Zinnur S. Abduramanov, and Girey S. Seydametov. Using augmented reality for architecture artifacts visualizations. [б. в.], July 2021. http://dx.doi.org/10.31812/123456789/4626.

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Nowadays one of the most popular trends in software development is Augmented Reality (AR). AR applications offer an interactive user experience and engagement through a real-world environment. AR application areas include archaeology, architecture, business, entertainment, medicine, education and etc. In the paper we compared the main SDKs for the development of a marker-based AR apps and 3D modeling freeware computer programs used for developing 3D-objects. We presented a concept, design and development of AR application “Art-Heritage’’ with historical monuments and buildings of Crimean Tatars architecture (XIII-XX centuries). It uses a smartphone or tablet to alter the existing picture, via an app. Using “Art-Heritage’’ users stand in front of an area where the monuments used to be and hold up mobile device in order to see an altered version of reality.
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Osborne, Olivia, Cath Mulholland, Tim Gant, Phil Botham, Alan Boobis, and Sophy Wells. Opportunities and outlook for UK Food and Chemicals regulation post EU Exit Workshop Report 2022. Food Standards Agency, September 2023. http://dx.doi.org/10.46756/sci.fsa.ebr546.

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1. In 2019, the Royal Society of Chemistry held a workshop: Royal Society of Chemistry (RSC) Workshop of 2019 : Drivers and scope for a UK chemicals framework. Presentations and discussions at this event examined chemical regulation in the United Kingdom (UK) post European Union (EU) exit and the opportunities that might be realised. 2. Since then, several global events have impacted the economy and regulation in the UK, including EU exit. Following these events, the Committee on the Toxicity of Chemicals in Food, Consumer Products and the Environment (COT) decided it would be timely to have a second workshop to build on the successful 2019 workshop by reviewing what has been achieved and what still needs to be done to realise the full potential of EU exit in the area of food and chemical regulation. The purpose of the workshop was to review the food and chemical regulatory landscape; its transfer to the UK; future UK development of Registration, Evaluation, Authorisation and Restriction of Chemicals (REACH) and divergence (drivers and supporting science); identify the challenges and opportunities to consider where new structures as well as investment are required to realise and address these.
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Butyrina, Maria, and Valentina Ryvlina. MEDIATIZATION OF ART: VIRTUAL MUSEUM AS MASS MEDIA. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11075.

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The research is devoted to the study of the phenomenon of mediatization of art on the example of virtual museums. Main objective of the study is to give communication characteristics of the mediatized socio-cultural institutions. The subject of the research is forms, directions and communication features of virtual museums. Methodology. In the process of study, the method of communication analysis, which allowed to identify and characterize the main factors of the museum’s functioning as a communication system, was used. Among them, special emphasis is put on receptive and metalinguistic functions. Results / findings and conclusions. The need to be competitive in the information space determines the gradual transformation of socio-cultural institutions into mass media, which is reflected in the content and forms of dialogue with recipients. When cultural institutions begin to function as media, they take on the features of media structures that create a communication environment localized by the functions of communicators and audience expectations. Museums function in such a way that along with the real art space they form a virtual space, which puts the recipients into the reality of the exhibitions based on the principle of immersion. Mediaization of art on the example of virtual museum institutions allows us to talk about: expanding of the perceptual capabilities of the audience; improvement of the exposition function of mediatized museums with the help of Internet technologies; interactivity of museum expositions; providing broad contextual background knowledge necessary for a deep understanding of the content of works of art; the possibility to have a delayed viewing of works of art; absence of thematic, time and space restrictions; possibility of communication between visitors; a huge target audience. Significance. The study of the mediatized forms of communication between museums and visitors as well as the directions of their transformation into media are certainly of interest to the scientific field of “Social Communications”.
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