Journal articles on the topic 'Realism in art'
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1
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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Beech, Amanda. "Realism + Its Discontents: Determinism Noir." ARTMargins 7, no. 1 (February 2018): 100–114. http://dx.doi.org/10.1162/artm_a_00202.
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This short comic based narrative depicts the challenges to and climate of an alternative form of realism in the art-world as a new project for art's politics and construction. Determinism Noir, Realism and Its Discontents calls upon the classic genre of noir narratives to situate themes of agency, mastery, rationalism and metaphysics. These ideas and images are generated in the nihilistic climate of alienation, itself borne out through the machinic, technological and capitalistic forces of the Twentieth Century. The comic presents three parts: first we see the formation of a project base to insinuate a rational determinism: A world of cause that is unpredictable but nevertheless, a pragmatic working environment; second we see a report, based on real life events, showing arguments from politics and the art-world that continue to voice the fear that it is representation itself that has blighted art's real political purchase. The comic criticizes these arguments as having left art with either a naive commitment to an abstract and essential mythology of present-ness or an antirealist self-contortion that dispossesses it of power. The third part of this narrative re-joins the work of the epistemological detective work that is the exercise for this new realist project. Beech's abstract story gels painterly construction, philosophical argument and political diatribe to extend her ongoing work. Here she argues that art must surpass the egotistic self-consciousness that have wrongly subtended claims to realism, whilst condemning those that aspire to exit realism altogether.
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Bryan-Wilson, Julia. "Occupational Realism." TDR/The Drama Review 56, no. 4 (December 2012): 32–48. http://dx.doi.org/10.1162/dram_a_00212.
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Since the 1970s, some artists have self-consciously inhabited their workaday jobs as art; this “occupational realism” invokes questions about the performance of labor and the value of art-making. What does it mean to be (emotionally, physically, mentally) “occupied” by one's work? And what does it mean to “occupy” labor as a strategic artistic operation?
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He, Yanli. "Boris Groys and the total art of Stalinism." Thesis Eleven 152, no. 1 (May 19, 2019): 38–51. http://dx.doi.org/10.1177/0725513619849651.
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This paper’s core concern is Boris Groys’ theory of the total art of Stalinism, which is devoted to rewriting Soviet art history and reinterpreting Socialist Realism from the perspective of the equal rights between political and artistic Art Power. The aim of this article is to decode Groys and the total art of Stalinism, based on answering the following three questions: 1) why did Groys want to rewrite Soviet art history? 2) How did Groys re-narrate Soviet art history? 3) What are the pros and cons of his reordering of the total art of Stalinism? Groys offers an effective paradigm that could rethink two theoretical genres: a) other Socialist Realisms inside or outside the Soviet bloc, during or after the Soviet era; b) the aesthetical rights of political artworks before, during and after the Cold War, and the historical debates about art, especially about art for art’s sake, or art for political propaganda. However, Groys’ total art of Stalinism and its core theory of the Socialist Realism frame hides some dangers of aestheticizing Stalin and Stalinism.
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Steyn, Juliet. "Realism versus Realism in British Art of the 1950s." Third Text 22, no. 2 (March 2008): 145–56. http://dx.doi.org/10.1080/09528820802012737.
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Parkhomenko, Kostyantyn. "EVOLUTION OF THE REALISTIC ARTISTIC AND AESTHETIC METHOD." Central Asian Journal of Art Studies 8, no. 4 (January 5, 2024): 196–208. http://dx.doi.org/10.47940/cajas.v8i4.792.
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This article delves into the evolution of the realist method, examining its interrelation with various artistic trends and currents. The impact of socio-political processes on the method's development is explored, emphasizing the dynamic nature of the artistic method and its continuous modifications in the expression of the author's ideas. The concept of 'realism' as a primary method in art is expounded, with an analysis of the perspectives of philosophers, art critics, and artists on its understanding throughout different epochs of cultural development. Characterizing features of realism are delineated, and a conceptual framework is presented, positing "realism" as a means of engaging with and comprehending spiritual and practical reality. The study establishes that realism serves as a conduit for unveiling the social and historical essence of humanity. Realistic painting, in particular, plays a pivotal role in transmitting the cultural code, illustrating the reciprocal interaction between individuals and their surrounding reality. This interaction contributes to a holistic representation of a specific historical period. The research paper encompasses a comprehensive examination of artistic methods, trends, and concepts, including romanticism, impressionism, symbolism, cubism, modernism, postmodernism, and metamodernism. The article underscores the significance of studying the evolution of realism in the visual arts and posits that the phenomenon in realistic art centers on the symbiotic relationship between individuals and their environment. In conclusion, the article asserts that realism not only unveils national traits but also communicates authentic facts that subsequently contribute to the shaping of historical mentality. The research interest in this exploration stems from a profound concern for understanding the nuanced evolution of realism in the visual arts.
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Kurniawan, Iwan Jaconiah. "Intercultural Interaction: Indonesia and Soviet Society in the Sphere of Art Paintings in the Second Half of the XXth Century." Contemporary problems of social work 6, no. 2 (June 29, 2020): 65–71. http://dx.doi.org/10.17922/2412-5466-2020-6-2-65-71.
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the paper studies the problem of defining an intercultural interaction. The authors analyzed scientific works to identify and classify the Indonesian social realism art painting. In the second half of the XXth century, Indonesian artists had a close relationship with the Soviet Society in the sphere of fine art. The true influence can be found in the social-realism art movement between 1950–1965s in Indonesia during the first President Soekarno era. But the social-realism art movement was no longer because of the horizontal political conflict on September 30, 1965 as well-known as revolution. During the President Soeharto regime (1965–1999), all social realism fine art was destroyed. Socialist and communist ideology was banned in Indonesia. That’s why they represented socialism and communism style not growing freely until now. However, some paintings can be saved abroad by Russian scientists and art collectors. Since 2016, more than 30 Indonesian social-realism paintings were conserved, served, and shown into a historical exhibition in the State Museum of Moscow Oriental Art. These paintings became important in Indonesian social realism art history
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Potts, Alex. "Pictorial Realism in Peter Weiss’s The Aesthetics of Resistance." New German Critique 49, no. 3 (November 1, 2022): 159–85. http://dx.doi.org/10.1215/0094033x-9965374.
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This article explores an often overlooked, broadly realist aspect of Weiss’s engagement with visual art in The Aesthetics of Resistance. Analysis of the role played in the novel by painted depiction usually focuses on dramatic stagings of figures engaged in violent struggle. The focus here is on a different kind of art depicting generic situations rather than singular events, one that closely echoes aesthetic and ideological priorities evident in the conception of Weiss’s novel. The pictorial realism that particularly drew his attention consisted both of modern social realism, where a politics of class resonated with his powerfully committed and richly articulated Marxism, and the “epic” realism of the early modern artist Pieter Brueghel the Elder. The way in which in the latter, concrete, rationally graspable realities would merge into phantasmagoria and monstrous deformations spoke perhaps more forcefully to his politically activist aesthetics of resistance.
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Botes, N., and N. Cochrane. "’n Ondersoek na die kunstenaarskap in Die swye van Mario Salviati binne die konteks van die magiese realisme." Literator 27, no. 3 (July 30, 2006): 27–50. http://dx.doi.org/10.4102/lit.v27i3.200.
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An investigation into the nature of the artist in The long silence of Mario Salviati within the context of magic realism This article investigates the nature of the artist in “The long silence of Mario Salviati” (2000) within the context of magic realism. This novel by Etienne van Heerden is particularly interesting as the theme of art is directly intertwined with magic realism. The specific relationship between artistry and magic realism in “The long silence of Mario Salviati” has not been the focus of any particular study yet. Several artists in the novel will be analysed within the context of magic realism and according to magic realist characteristics to give an integrated perspective on style and theme. This investigation largely conjoins with the viewpoints of Faris (1995), although perspectives from other theorists are also taken as a point of departure. Some important characteristics of magic realist texts which are discussed within the context of artistry in “The long silence of Mario Salviati” are inter alia the co-existence of two worlds, doubts from the reader concerning the interpretation of events as realist or magical, the questioning of conventional ideas about time, space and identity, the anti-bureaucratic viewpoint and the focus on collective rather than individual memory.
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Cass, S. "Electronic realism [art and technology]." IEEE Spectrum 38, no. 3 (March 2001): 68–73. http://dx.doi.org/10.1109/6.908875.
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Tortzen Bager, Lene. "Performative Realism." Peripeti 3, no. 6 (March 14, 2024): 102–5. http://dx.doi.org/10.7146/peri.v3i6.107595.
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ZHILENE, EKATERINA, OLGA BOGDANOVA, DMITRY BOGATYREV, and LUDMILA BOGATYREVA. "V. SOROKIN’S NOVEL “MARINA’S THIRTIETH LOVE” IN THE COORDINATES OF SOC-ART AND SOCIAL REALISM." AD ALTA: 14/01 14, no. 1 (June 30, 2024): 283–88. http://dx.doi.org/10.33543/j.1401.283288.
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The purpose of the study is to analyze V. Sorokin’s conceptualist novel “Marina’s Thirtieth Love” (1984), to identify the features of its genre-structural constructions, to trace the connection of genre features of the “Soviet novel” with the tradition of Socialist realism literature and its deconstructions in the practice of conceptual art of the 1970s–80s. The paper identifies the target settings of the conceptual novelist Sorokin to overcome the principles and techniques of Soviet socialist realist art and to establish discrediting perspectives of perception of social and ideologically stable “concepts” that developed in the post-October period. It is established that the imitation base in Sorokin’s “Marina’s Thirtieth Love” was the so-called “production novel”, a thematic subspecies of prose of socialist realism.
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Lane, Tora. "Totalitarism, realism och historisk ängslighet." Tidskrift för litteraturvetenskap 49, no. 2-3 (January 1, 2019): 8–17. http://dx.doi.org/10.54797/tfl.v49i2-3.6646.
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Totalitarianism, Realism and the Anxiety of History
This essay examines the problem of totalitarian art and totalitarianism by studying the relationship between art, society and history in realism, both as a historical literary practice and as an aesthetic doctrine that is till dominant today. Because the understanding of the development of society and art in Nazi Germany tends to dominate the understanding of totalitarianism, scholarly and popular discussions of ideology in totalitarian art has been dominated by a problematization of myth and utopia. However, this paper takes its starting point in Socialist Realism in order to trace the tendency towards a totalizing explanation of the world in terms of social and historical reality in realism. It also discusses the implications of the impact of realism on art in late modernity to further our understanding of the possible return of totalitarianism and fascism today.
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Jones, Charlotte. "‘This spasm upon canvas’: George Eliot, Gustave Courbet and Realist Aesthetics." Journal of Victorian Culture 26, no. 2 (March 9, 2021): 244–66. http://dx.doi.org/10.1093/jvcult/vcab001.
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Abstract This article offers sustained consideration for the first time of George Eliot’s entanglement with mid-nineteenth-century French art. Taking realism’s transnational nature as its point of origin, this essay probes Eliot’s claim in Adam Bede (1859) for seventeenth-century genre painting as the most conspicuous visual precedent to define, embody and vindicate her aesthetic choices – at just the moment when Gustave Courbet makes realism scandalous in the Salons of the Second Empire. Questioning Eliot’s deliberate disavowal of influence, I trace the modes of transmission through which Courbet’s art was exported to and circulated within Britain during the 1850s; while London’s official art world was unreceptive to French art in the nineteenth century, a different picture emerges if we consider the visibility afforded by independent galleries and the periodical press, and if we take account of these diverse reading, viewing and citational practices. I then offer close readings of works by Eliot and Courbet to suggest that both evidence a discomfort with representation as the primary methodology of realism, and consider the consequences for the ideological, epistemological and affective energies of realist aesthetics. Reading Eliot alongside Courbet reveals her radicalism, but this only becomes clear when we place her realism within the orbit of a broader European tradition and understand her aesthetics as a form of praxis.
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Yoon, Min-Kyung. "Visualizing History: Truthfulness in North Korean Art." Journal of Korean Studies 25, no. 1 (March 1, 2020): 175–201. http://dx.doi.org/10.1215/07311613-7932298.
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Abstract In North Korean paintings, history is mobilized to legitimate the North Korean system and its leaders. Utilizing the mode of socialist realism, North Korean paintings give visual form to a socialist world, a utopian vision full of unremitting heroism, harvest, and happiness centered on the ruling Kim family. In these paintings, positive heroes such as laborers, workers, farmers, and children are depicted in historically correct scenes that always propel the North Korean revolution forward. After adopting socialist realism from the Soviet Union, North Korea localized this creative method to meet its specific political needs through medium and content. Through this process, socialist realism came to reflect the ideals of juche, the state ideology of North Korea. Informed by North Korean theoretical writings on art and art reviews, this article examines how history is visually mobilized in three paintings created in 1985 and 2000 through the language of juche realism.
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Stork, David G. "Optics and Realism in Renaissance Art." Scientific American 291, no. 6 (December 2004): 76–83. http://dx.doi.org/10.1038/scientificamerican1204-76.
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Jorgensen, Darren. "On the realism of Aboriginal art." Journal of Australian Studies 31, no. 90 (January 2007): 99–106. http://dx.doi.org/10.1080/14443050709388113.
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Xiaotao, Li, and Yan Qing. "The influence of the Itinerants' creative ideas on Chinese realistic painting." World of Russian-speaking countries 2, no. 8 (2021): 87–104. http://dx.doi.org/10.20323/2658-7866-2021-2-8-87-104.
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The article analyzes the influence of the Itinerants' creative ideas on Chinese realistic painting, the development of which is inseparable from the study of the Itinerants. The article examines how the painting technique and ideology of the Association of Itinerant Art Exhibitions founded in the late 19th century are relevant to many 20th-century Chinese artists. The authors identify the ideological principles of the Itinerant movement that have influenced different generations of Chinese artists (rejection of the “art for art's sake” principle, emphasis on national characteristics of painting, responsibility for reflecting the life of people in the country, advocating the spirit of critical realism as the only true way to reflect life in art) and prove that without Russian Itinerants there would be no Chinese realism in painting and modern Chinese realistic painting. The article identifies and characterizes three stages of adopting the Itinerant creative ideas in China: the period of the Republic of China (acquaintance of the Chinese public with the Itinerants' paintings and understanding the Itinerant ideology at the time of the “Movement for New Culture”), the beginning of the PRC foundation (the period of comprehensive study of realist painting, training of talented Chinese artists in art educational institutions of the USSR as part of the cultural exchange and mastering the principles of Soviet realist art) and the first decade after the Cultural Revolution (a critical “painting of scars” reflecting the experiences and fates of people during the Cultural Revolution). The authors conclude that the study of the Itinerants' creative ideas from the point of view of cultural studies in the context of the Chinese realist art school development is important for understanding the Russian- Chinese cultural dialogue.
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Troy, Jodok. "The realist science of politics: the art of understanding political practice." European Journal of International Relations 27, no. 4 (October 14, 2021): 1193–217. http://dx.doi.org/10.1177/13540661211050637.
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Classical Realism represents a science of politics that is distinct from the conventional understanding of science in International Relations. The object of Realist science is the art of politics, which is the development of a sensibility based on practical knowledge to balance values and interests and to make judgments. Realism’s science and its object led to its tagging as “wisdom literature.” This article illustrates that reading Hans Morgenthau’s and Raymond Aron’s work shows how their hermeneutic form of enquiry provides insights into the character of international politics, which conventional understandings do not. Following the example of Morgenthau, the article, first, illustrates how Realism, rather than providing a theory of practice, builds on a science with the purpose to judge knowledge. Realism’s science analyzes the objective conditions of politics, theorizes them, and takes into account the requirements of political practice under contingencies and considerations of morality. The article, second, examines Aron’s take on political practice in the context of the Cold War and politics that built on knowledge without experience to judge knowledge. Morgenthau and Aron’s science helps to capture Realism’s take on politics as an art, how to explicate Realism’s epistemological foundation and value in studying international politics. Doing so, the article, third, contributes to practice theory by clarifying several aspects of Realism’s science. In particular, it shows how Realism captures the art of politics by conceptualizing practice as a form of human conduct thereby offering a more coherent notion of practice than current practice theory.
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Tan, Li Wen Jessica. "Unfinished Revolutions." Prism 18, no. 2 (October 1, 2021): 479–500. http://dx.doi.org/10.1215/25783491-9290688.
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Abstract This article examines Wei Beihua's modernist works, which have receded into the shadows of Sinophone Malayan (Mahua) literary history, in relation to Indonesian poet Chairil Anwar, to excavate a neglected route of transculturation at the height of Southeast Asia's nationalist movements during the 1950s. Unlike Anwar's modernist poems that thrive in Indonesia, Wei Beihua's works were considered outliers during a period when realist literature was deemed an effective tool for social mobilization in postwar Malaya. Nonetheless, it is critical for us to recognize that Wei Beihua did not reject realism or underestimate the role of literature in nation building. This article argues that Wei Beihua's idea of modernism is premised on an artist's affective and self-reflexive engagement with realism, which gives rise to a dialectical tension. The tension between his advocacy of an artist's individualism, which is inspired by Anwar, and the impetus of responding to nationalism manifests in his meta-fictional short stories that reflect on the varying motivations behind art creation. His works offer a productive perspective to reconsider the modernist artist's role during revolution and “the limits of realism” of revolutionary works when art was deemed integral to nation building in postwar Southeast Asia.
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Korchinsky, Anatoly V. "THE TIME OF THE REAL: PARADIGMS OF REALISM IN THE HISTORY OF “MODERNITY”." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 1 (2022): 162–77. http://dx.doi.org/10.28995/2686-7249-2022-1-162-177.
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At various times throughout the nineteenth and twentieth centuries, realism became the most important imperative of “modernity”. The real, like a ghost, keeps coming back in different conceptual guises and under different names. Reality/actuality became not only the subject of reflection but also a principle, a criterion, a value, a key argument. Hence the polemical variation of the concept: “most realistic” versus “realistic”, “real” art versus “realism”, “real” versus “reality”, etc. Today in philosophy, political thought, ethics, and aesthetics we again observe a tense reflection on the real. But this reflection often lacks historicism. And working with the real through the optics of intellectual history is highly problematic, exposing the risks of this approach itself. The task of the paper is to raise a number of questions, not obvious in the author’s view, from an integral historical perspective. What are we facing – a concept (semantic field) or an ideological complex? When we talk about the realisms of the nineteenth, twentieth and twenty-first centuries, are we talking about the development of the same paradigm? What is the identity/homology of the search for reality in different fields of thought and artistic practice? Is there a principle that allows us to construct a typology of historical forms of thinking about reality? What role does research distance play in the reflection of these forms, since often one realism acts as a theory in relation to another? Is it possible to construct a periodization of realist formations of “modernity” by declaring modernity an “age of the real”? What role in the fate of realism is played by the ruptures of historical tradition and the reinterpretation of previous legacies?
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Sinquefield-Kangas, Rachel, Antti Rajala, and Kristiina Kumpulainen. "Exploring empathy performativity in students’ video artworks." International Journal of Education Through Art 18, no. 2 (June 1, 2022): 145–60. http://dx.doi.org/10.1386/eta_00091_1.
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This article examines events of empathy as they occur during artmaking using the lens of agential realism. We do this to trouble more traditional psychological constructs of empathy and, instead, rethink it as performative and relational. Drawing on new materialisms and Karen Barad’s ‘agential realism’, we do not treat artmaking, young people and empathy in any hierarchy but want to understand how these come together as ‘things-in-phenomena’. Written recountings of a video artwork are used in mapping the entanglements of cats and dogs with three Finnish high-school girls as they answer the question ‘what is empathy?’. The study shows how objects/materials/matter(s) are agentic in co-constituting conditions invocative of empathy phenomena during artmaking. We conclude by suggesting that an agential realist account of art and empathy calls for art educators to pay close attention to objects/materials/matter(s) in their heterogenous connections.
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Gultyaeva, Galina S. "Realistic Painting of the 20th Century China in the Context of Cultural Visualization." Observatory of Culture 18, no. 1 (May 24, 2021): 32–43. http://dx.doi.org/10.25281/2072-3156-2021-18-1-32-43.
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This article examines the phenomenon of Chinese realism, as well as the prerequisites and factors that influenced the processes of reception in modern Chinese art. At the beginning of the 20th century, under the influence of Western academic realism and the artistic system of social realism, a new direction and artistic method was formed — realism, which became mainstream in the art of China of the mid-20th century. According to its aesthetic and ideological motifs, Chinese realism is an object of social realism reception, which was determined by cultural and historical factors, and the development of political, economic and cultural ties with the USSR. Studying the realistic painting, which reflects the atmosphere of the era, the worldview, and the dialogue of cultures, is relevant for both Chinese and Russian contemporary art studies. The article examines the role of realism in the development of Chinese art culture of the 20th century, including its socio-political components, as well as the dynamics of artistic and expressive means and the iconographic system in the context of the historical and cultural situation. In the 1980s and 1990s, as a result of the liberalization of economic and political life, the artistic consciousness formed new concepts of realistic painting — neorealism and cynical realism, associated with a critical rethinking of the historical heritage. The neorealism and cynical realism, which would significantly enrich realistic painting with new forms and content, adopted Western postmodern concepts of pop art, and debunked, in a grotesque and satirical form, the political stereotypes of the past. The analysis of realistic painting of the 1990s demonstrates how the transformation of past painting canons reflects the desire of society to free itself from the pressure of totalitarian ideology and to rethink the value orientations of the previous era.The novelty of this study lies in the fact that it applies a systematic and holistic approach to the analysis of realism in Chinese painting, reveals the diversity of its forms and directions, and gives ground for the specifics of its evolution in the context of the artistic culture of the 20th century China. There are almost no comprehensive studies of this issue in modern art history, so this work is an attempt to create a scientific approach to the study of this artistic phenomenon and the formation of ideas about how the artistic consciousness of an entire epoch was changing.
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Nam-See, Kim. "Issues in New-Realism Aesthetics 2: Markus Gabriel’s New Realism Art Theory." Journal of Aesthetics & Science of Art 71 (February 28, 2024): 28–48. http://dx.doi.org/10.17527/jasa.71.0.02.
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Poliakova, Maryna. "The Concept of “Innovation” in Ukrainian Art Criticism of the 1960s: On the History of the Term." ARTISTIC CULTURE. TOPICAL ISSUES, no. 20(1) (April 22, 2024): 177–82. http://dx.doi.org/10.31500/1992-5514.20(1).2024.306928.
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Within the framework of the history of concepts, the term “innovation” as it was understood by Ukrainian art critics and artists during the reign of socialist realism and at the same time the emergence of non-conformist Ukrainian art (1960s) is considered. It was revealed that the encouragement of innovation, so widespread in the art of socialist realism, did not mean giving the artist a creative freedom (which is a fundamental principle of art in general) but was a requirement to observe the stylistics and aesthetics of realism, to search for forms, albeit new, but filled only with socialist content. The terms “realistic innovation,” “formalism,” “tradition,” “modernism,” “artistic skill”, etc., which are related to the term “innovation,” are also considered. The harsh criticism of formalism (“formalistic tricks”) in Ukrainian art publications artificially restrained the innovative experiments of the artists
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Kostova-Panayotova, Magdalena. "The Socialist Art – Teaching or Rewriting." Balkanistic Forum 33, no. 2 (June 1, 2024): 261–67. http://dx.doi.org/10.37708/bf.swu.v33i2.17.
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The article focuses on the phenomenon of soc-art as part of the parodic reimagining of socialist realism literature. It examines its secondary reception as part of the nostalgia of the 70s-80s of the 20th century, which is a lack, a hiatus, a non-realization, but a part of the past of thousands of people. The phenomenon is placed against the back-ground of Bulgarian literature and the story "The Anyuta Case" by the writer Alek Popov is drawn for analysis. This story shows the way in which Bulgarian literature in the 90s of the 20th century ironically and without a lack of nostalgia interprets the time of socialist realism and its values. The aesthetics of socialist realism are turned upside down, and the writer demonstrates all the insanity and idiocy of the reality he was called to reflect. Unlike the late 20th century Russian soc-art, which is perceived more nostalgically than ironically, this work from the late 20th century unambiguous-ly reveals the scars of a time that, despite the usual nostalgia of the generation, could not sound nostalgic.
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Isto, Raino. "“I Lived without Seeing These Art Works”: (Albanian) Socialist Realism and/against Contemporary Art." ARTMargins 10, no. 2 (June 2021): 29–49. http://dx.doi.org/10.1162/artm_a_00291.
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Abstract This article looks closely at the inclusion of Albanian Socialist Realism in one of renowned Swiss curator Harald Szeemann's last exhibitions, Blood & Honey: The Future's in the Balkans (Essl Museum, Vienna, 2003). In this exhibition, Szeemann installed a group of around 40 busts created during the socialist era in Albania, which he had seen installed at the National Gallery of Arts in Tirana. This installation of sculptures was part of an exhibition entitled Homo Socialisticus, curated by Gëzim Qëndro, and Szeemann deployed it as a generalized foil for “subversive” postsocialist contemporary art included in Blood & Honey. The Homo Socialisticus sculptures occupied a prominent place in the exhibition both spatially and rhetorically, and this article examines how we might read Blood & Honey—and the socialist past in general—through Szeemann's problematic incorporation of this collection of works in one of the key Balkans-oriented exhibitions staged in the early 2000s. The article argues that understanding how Szeemann misread—and discursively oversimplified—Albanian Socialist Realism can help us see not only the continued provincialization of Albania in the contemporary global art world, but more importantly the fundamental misunderstanding of Socialist Realism as a historical phenomenon and a precursor to contemporary geopolitical cultural configurations
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Cobley, Paul. "The reactionary art of murder: Contemporary crime fiction, criticism and verisimilitude." Language and Literature: International Journal of Stylistics 21, no. 3 (July 24, 2012): 286–98. http://dx.doi.org/10.1177/0963947012444218.
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One way in which specific crime fiction texts achieve prominence is through critical discourses which promote those texts’ ‘superior’ realism, valorizing the texts and setting them apart from neighbouring generic narratives. This article goes back to the 1921 analysis by Roman Jakobson which identifies a small number of strategies by which arguments about realism proceed. Particularly important for crime fiction criticism is that approach to realism, described by Jakobson, which focuses on contiguous details in narrative. In contrast to the claims of realism is the analytic concept of verisimilitude, based on the ‘rules of the genre’ and ‘public opinion’ or doxa. Verisimilitude, it is argued, has the capacity to address the important issue of generic stagnation, an example of which in crime fiction is the increasing reliance on murder (serial, single or repeated) to propel a narrative. Amidst the conformity in the genre, the article identifies complicity in the promotion of realism and the catalytic occurrence of murder as the key constituents of crime fiction. It also points to some exceptions to this tendency.
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Langkjær, Birger. "Realism as a third film practice." MedieKultur: Journal of media and communication research 27, no. 51 (August 23, 2011): 15. http://dx.doi.org/10.7146/mediekultur.v27i51.4078.
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<p>The concept of realism may owe much of its success to its vague definition. This article suggests that it can be useful as a term that covers a central, mainstream film practice in European and other national cinemas, located somewhere in between genre films and art films. The concept refers to a serious kind of film that does not obey classical genre rules, but nevertheless tells its stories in an accessible and often engaging form that, generally speaking, creates a more popular (yet serious) film than the art film. As a film practice, it cuts across well known but often vaguely defined sub-categories, such as social realism and psychological realism. Finally, it is argued that the dichotomy between Hollywood genre films and European art cinema ignores both national variants of basic genres and a tradition of realism as a mainstream film practice.</p>
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McDonald, Melanie. "Critical Realism, Meta-Reality and Making Art." Journal of Critical Realism 7, no. 1 (May 5, 2008): 29–56. http://dx.doi.org/10.1558/jocr.v7i1.29.
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Balandin, V. S. "ESTHETIK REALISM IN ART OF V. BALANDIN." Tworshestvo i sovremennost 1, no. 14 (2021): 50–53. http://dx.doi.org/10.37909/978-5-89170-278-3-2021-1008.
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Brown, Neil C. M. "Aesthetic Description and Realism in Art Education." Studies in Art Education 30, no. 4 (1989): 212. http://dx.doi.org/10.2307/1320258.
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Childs, William A. P. "The Classic as Realism in Greek Art." Art Journal 47, no. 1 (1988): 10. http://dx.doi.org/10.2307/776899.
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Stieber, Mary. "Aeschylus' Theoroi and Realism in Greek Art." Transactions of the American Philological Association (1974-) 124 (1994): 85. http://dx.doi.org/10.2307/284287.
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Childs, William A. P. "The Classic as Realism in Greek Art." Art Journal 47, no. 1 (March 1988): 10–14. http://dx.doi.org/10.1080/00043249.1988.10792386.
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Büyükgüner, Huri Kiriş. "Realism in Art and the Artist's Truth." Journal Of Social Humanities and Administrative Sciences 66, no. 66 (2023): 3104–11. http://dx.doi.org/10.29228/joshas.71134.
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Streng, Toos. "Het 'realisme' van de oud-Nederlandse schilderschool. Opkomst en ontwikkeling van de term 'realisme' in Nederland tussen 1850 en 1875." Oud Holland - Quarterly for Dutch Art History 108, no. 4 (1994): 236–50. http://dx.doi.org/10.1163/187501794x00288.
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AbstractThe term 'realism' first cropped up in the jargon of art criticism around the mid-nineteenth century, but the course of its integration did not run smoothly. In Holland, Tobias van Westrheene Wz. is credited with having introduced the term for Netherlandish seventeenth-century painting in Jan Steen, Étude sur l'art en Hollande (1856). By 'realism' he meant a manner of painting which one might call 'the realistic method', and which consisted of two components: the naturalistic aspect, meaning that the artist painted what he saw, rejecting any form of tradition, and the individualistic aspect, meaning that he sought to express the individual, characteristic traits of a subject or situation instead of general, timeless ideals. This neutrally descriptive use of the term 'realism' did not catch on immediately. According to traditionally minded critics such as Joh. Zimmerman and J. A. Bakker, Dutch art was 'realistic' in that it depicted only the outward appearance of objects - that which could be perceived with the senses - and not their ideal quality, which could not be seen but only imagined. Other critics, too, including such pundits as C. Vosmaer, P. J. Veth and C. Busken Huet, decided that the term 'realism' expressed this negative judgment; however, because they had a higher opinion of seventeenth-century Dutch art than Bakker and Zimmerman, they did not think that 'realism' was suitable as a general epithet for it. Between 1850 and 1875, references to the 'realism' of seventeenth-century Dutch art usually meant that artists who worked in this manner regarded their own observation as important and rejected tradition. Seeking to compare the specific nature of old Dutch realism with other schools that turned away from tradition, such as the Caravaggi of the seventeenth century or the modern realists, critics preferred to speak of 'true realism'. What distinguished the old Dutch painter was that he did more than merely observe: he observed lovingly. By virtue of this 'true realism' he was held up as a model to nineteenth-century painters. Used in this manner, the term 'realism' gradually lost its negative connotations and became more widely acceptable. By and large, then, there were three reasons for speaking of 'realism' in seventeenth-century Dutch painting. For Zimmerman and Bakker it was the absence of the idealistic aspect, for Van Westrheene and others it was the importance of the artist's perception and his rejection of all traditions, religious constraints or conventions, and lastly it was the loving gaze, which enabled the Dutch painter to reveal the ideal even in daily life. In the first case a new term ('realism') was linked with an older notion rooted in a dualistic aesthetic which was in turn composed of elements going back to the sixteenth century (or even further: to Plato). In the second case the new term 'realism' was equated with 'naturalism' in the way that art critics had used the term since the seventeenth century for painters working in the Caravaggian tradition. And in the last case 'realism' was linked with a new notion of art and the nature of the ideal.
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Kamnev, Vladimir M., and Lolita S. Kamneva. "Mikhail Lifshits, György Lukács and theory of aesthetic reflection." Vestnik of Saint Petersburg University. Philosophy and Conflict Studies 36, no. 4 (2020): 721–30. http://dx.doi.org/10.21638/spbu17.2020.410.
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Mikhail Lifshits and György Lukács are known as authors of an absolutely original concept of the cognitive force power of art. The theory of reflection which had a reputation of as one of the most inert rigid and dogmatic aspects of the philosophy of Marxism in general was the cornerstone of this concept. Quite often such a negative reputation of the theory of reflection affects also the general negative relation to an attitude towards the aesthetics of Lifshits and Lukács. However, actually this theory was uniquely interpreted by received from Lifshits and Lukács very original interpretation. First, they always emphasized the fact that the theory of reflection is not a Marxist invention, and thatbut is the it represents a result of a long development of the classical tradition of philosophical and aesthetic thinking. Secondly, reflection itself cannot be understood as a photographic copying of reality at all. Of great importance is the Very important is the circumstance that the theory of aesthetic reflection is justification of the objective nature of art, justification of realism as the highest artistic method of for the knowledge of reality. At the same time, the theory of reflection acts as the methodological tool of for criticism of modernism in art. Attentive Carefully studying of the theory of aesthetic reflection by of Lifshits and Lukács allows makes it possible to reveal identify certain investigations consequences, which owing for to various reasons remained only implied in their texts. FSo, for example, the statement assertion that the realism is the highest method of art istic cognitionknowledge, allows to us to understand the negative relation attitude of Lifshits and Lukács to the art of socialist realism. The Historical and aesthetic reconstruction of the qualification of such a phenomenon of art of the 20 th century art as magical realism, and its dispositions in the opposition of realism and modernism which is key essential for an the aesthetics of Mikh Lifshits and G. Lukács, opposition of realism and modernism can appearmay turn out to be very interesting.
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Kolcheva, E. M. "100 years of Mari fine art: socialist realism (late 1930s – 1980s)." Finno-Ugric World 14, no. 1 (April 22, 2022): 100–115. http://dx.doi.org/10.15507/2076-2577.014.2022.01.100-115.
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Introduction. The article continues a series of publications dedicated to the 100th anniversary of the Mari autonomy and the emergence of professional fine art among the Mari people. It characterizes the period of socialist realism. From the point of view of the development of the national fine arts of the Mari, socialist realism needs to be comprehended using new methodological paradigms. Materials and Methods. The fine arts of the Mari Region have been analyzed using the author’s cultural and archetypal approach and the methods of historical research. The research materials include works of fine art from the museums of the Republic of Mari El, documents from the State Archives of the Republic of Mari El, media publications, newsletters and catalogs. Results and Discussion. In the history of the Mari art of socialist realism, two stages have been defined. The first one is the period of recovery after repressions and the Great Patriotic War in the late 1930s – 1950s. The second one is the heyday of the fine arts of the Mari ASSR in the 1960–1980s. Socialist realism as an artistic method is indirectly representative of the process of ethno-cultural reflection as the essence of national fine arts, it is focused on showing the achievements of ethnic cultures in the modernization of the economy and culture. V. I. Lenin is represented as a teacher close to the people (by analogy with Kugu Yumo) in the pantheon of political leaders. The cultural hero is typified through the image of a national cultural figure, a machine operator, and historical personifications. The semantics of the image of a war veteran is supplemented by the function of the world tree on the social field. The female archetype is represented by the type of a collective farmer and milkmaid, less often it is represented by a woman engaged in creative or intellectual work. Conclusion. The era of socialist realism is the most important period in the formation of professional fine arts in the Mari Region, also being a national and ethnic phenomenon. The ambivalence of socialist realist artistic practice lies in the fact that, on the one hand, reflection boils down to the use of national ethnographic signs for visual agitation for socialism, to ignoring real mental processes, and on the other hand, a real process of modernization of national culture emerges through an ideologically idealized form. The ambivalence of socialist realistic artistic practice lies in the fact that, on the one hand, reflection boils down to the use of national ethnographic signs for visual agitation for socialism, to ignoring real mental processes, and on the other hand, a real process of modernization of national culture emerges through an ideologically idealized form.
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Zagidullina, Daniya. "Tatar literature at the turn of the XX–XXI centuries: transformation of realism." Przegląd Wschodnioeuropejski 9, no. 1 (June 1, 2018): 309–20. http://dx.doi.org/10.31648/pw.3441.
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The scientific novelty of work consists in the appeal to modern Tatar literary process which remains almost not investigated. The choice for the analysis of works of the Tatar literature has been caused, first of all, by the novelty of their esthetic concept. Relevant texts of the Tatar prose writers in the development plan for national art of literature are considered, the main vectors of the movement of historico-literary process are traced. As a result of the conducted research, the art and esthetic nature of the realism in modern Tatar prose incorporating elements of other art systems is established. Content and volume of the concepts ‘literary direction’, ‘current’, ‘post-realism’, ‘post-colonial literature’, ‘classical realism’ are specified in relation to the modern national historico-literary process.
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Kiaer, Christina. "Lyrical Socialist Realism." October 147 (January 2014): 56–77. http://dx.doi.org/10.1162/octo_a_00166.
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The thirty-three-year-old artist Aleksandr Deineka was given a large piece of wall space at the exhibition 15 Years of Artists of the RSFSR at the Russian Museum in Leningrad in 1932. At the center of the wall hung his most acclaimed painting, The Defense of Petrograd of 1928, a civil-war-themed canvas showing marching Bolshevik citizens, defending against the incursions of the White armies on their city, arrayed in flattened, geometric patterns across an undifferentiated white ground. The massive 15 Years exhibition attempted to sum up the achievements of Russian Soviet art since the revolution as well as point toward the future, and Deineka, in spite of his past association with “leftist” (read: avant-garde) artistic groups such as OST (the Society of Easel Painters) and October, was among those younger artists who were anointed by exhibition organizers as leading the way forward toward Socialist Realist art—a concept that was being formulated through both the planning of and critical response to this very display of so many divergent Soviet artists. Known for his magazine illustrations and posters, Deineka had also established himself at a young age as a major practitioner of monumental painting in a severe graphic style that addressed socialist themes, such as revolutionary history (e.g., Petrograd), and, as his other works displayed at the Leningrad exhibition demonstrate, proletarian sport (Women's Cross-Country Race and Skiers, both 1931) the ills of capitalism (Unemployed in Berlin, 1932), and the construction of the new Soviet everyday life (Who Will Beat Whom?, 1932).