Journal articles: 'Sculpture, Australian 20th century'

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Steklova, Irina A., and Olesya I. Raguzhina. "SCULPTURE PARKS OF THE XX CENTURY LAST THIRD – THE XXI CENTURY BEGINNING: TYPOLOGY EXPERIENCE." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 41 (2021): 80–94. http://dx.doi.org/10.17223/22220836/41/7.

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The purpose of this article is to present sculpture parks at the modern stage of development, from the last third of the 20th century to our day. The relevance of this purpose is due to the relevance of these parks, which meets, firstly, on the challenges of culture, reproducing itself in the synthesis of landscape and monumental-decorative arts; secondly, on the demands of the population in artistically interpreted natural spaces; thirdly, on the life-building claims of modern art, which is looking for optimal ways of self-presentation. The representation of the sculpture parks is implied their systematization, which, in the course of the factual and visual material analysis, exhibits the most typical trends of formal and informative diversity and takes the form of a typology. To start building a typology, it was necessary to draw up a rather broad and spacious representative sample of objects and to select reference criteria in the trends of the manifold. Thus, a representative sample was made up of 90 Europe, Asia, Africa, Australia, and North and South America brightest objects, and following criteria were put forward: environmental involvement, authorship, the nature of specific forms and links between them. Typology showed that approximately two thirds of the sculpture parks are a product of the natural environment and one third of the architectural environment. In the natural environment, in authentic natural spaces, these are co-author full (independent and contextual) and special (by place, material, style, theme) formats, as well as mono-author formats. In an architectural environment, in integrated or interpreted natural spaces, these are, first of all, city formats that can be both co-authors and mono-authors: destinations, stops, transit zones. The implementation of the typology was facilitated by the attraction of a new material for the national art history. In the scientific circulation were introduced information about objects that were not mentioned before and unknown artists. Accounting for this information, along with known realities, allowed us to reach a higher understanding level of sculpture parks as a modern hypostasis of artistic synthesis.

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Portnova, Tatiana. "Dance in Sculpture of the Early 20th Century." Sculpture Review 68, no. 4 (December 2019): 22–34. http://dx.doi.org/10.1177/0747528420901915.

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This article is concerned with the ratio of plastic arts as exemplified by sculptural works depicting dances of the early 20th century. Special attention is paid to the Greek motives in the Russian art of this period, which became the subject of inexhaustible aesthetic and artistic interest. The representation of ancient dance motifs, their figurative image and the nature of antiquity in sculptural plastics, various approaches to the interpretation of ancient plots and themes, the role and significance of the “antique” component in their artistic structure are considered in the article. The study of multi-level interactions between sculpture and dance in the context of antiquity calls for a comprehensive approach, including historical-cultural, theoretical-analytical and comparative-typological methods. Relating to ancient Greek images, ballet images of S. Konenkov, M. Ryndzyunskaya, N. Andreev, V. Vatagin, V. Beklimishev and S. Erzya provide a purely individual, unique and peculiar vision of dance corresponding to the ancient era. The categories and expressive means of dance were simultaneously analyzed close to the sculptural style of the masters because they are difficult to be divided methodologically and exist as an established artistic system. The concepts of “plastic expressiveness” in relation to the dancers imprinted in sculptures were interpreted. Analyzing the museum materials and sculptures depicting the dancing process, it was concluded that the ancient influence of plastic images on structural and genre determinants may vary.

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Odrekhivskyi, Volodymyr, Vasyl Odrekhivskyi, and Roman Odrekhivskyi. "Ukrainian sculpture of the 20th century: main ideological and plastic transformations." LAPLAGE EM REVISTA 7, no. 3B (September 20, 2021): 187–94. http://dx.doi.org/10.24115/s2446-6220202173b1534p.187-194.

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In this article we attempt at demonstrating the inseparability of Ukrainian sculpture from global culture creating process despite cultural and political isolation as a component republic of the Soviet Union for over 70 years of the 20th century. There is a considerable difference in the character of creativity of Ukrainian sculptors, who lived and worked within the borders of the Soviet Union, and those, who migrated to Western Europe or America and had an opportunity to freely experiment with shape and ideas. In this article, particular attention is dedicated to those personalities that have made the most significant ideological and plastic transformations in the 20th-century sculpture with respect to the previous epochs, i.e., to the sculpture of avant-garde and modernism. The last decade of the 20th century was marked by the end of the Soviet-era cultural isolation from the democratic world, when a powerful stream of information penetrated the artistic arena of already independent and open Ukraine, and simultaneously the examples of various conceptual trends and styles appeared – from pop art and installation to performance art, which influenced the development of sculpture.

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Steklova, Irina A., and Olesya I. Raguzhina. "THE SCULPTURE PARKS OF THE MID-20TH CENTURY: UNDERLYING ARTISTIC CONCEPTS." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 38 (2020): 107–24. http://dx.doi.org/10.17223/22220836/38/11.

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Betz, Dorothy M. "Australian Divagations: Mallarme & the 20th Century (review)." Nineteenth Century French Studies 32, no. 3 (2004): 413–14. http://dx.doi.org/10.1353/ncf.2004.0004.

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Armitage, Marc. "Antipodean traditions: Australian Folklore in the 20th century." International Journal of Play 2, no. 2 (September 2013): 150–52. http://dx.doi.org/10.1080/21594937.2013.823812.

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Dzwonkowska, Paulina. "Photography and sculpture:The multifaceted relation of sculpture to photography and new media in the light of the evolving concept of sculpture." Journal of Education Culture and Society 1, no. 1 (January 17, 2020): 26–36. http://dx.doi.org/10.15503/jecs20101.26.36.

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The relationship between photography and sculpture, unlike the dialogue between the latter and painting, was long treated as a peripheral issue. Yet as early as the mid-20th century photography began to show potential that sculpture seemed to be lack. Aware of a large degree of overlap between the two forms of artistic expression, (e.g. with respect to materiality, spatiality, or accentuating frozen gestures) sculptors did not leave sculpture for photography, but attempted to create works that were interdisciplinary in structure. The rise of interest in photography displayed by Polish sculptors was closely connected with the evolution of the concept of sculpture. In the mid-20th century artists creating traditional sculptures (understood as a solid or as a visually rendered spatial form) began to experiment and cross the boundaries of well-established artistic tradition. The changes introduced enabled sculptors to interweave their field with other artistic disciplines, especially photography, even more closely. More and more frequently, sculpture started to establish multi-faceted relations with the new medium. At the beginning the potential of photography as a documentation tool was exploited. Then sculptors began to appreciate photography’s core values, using it to capture and preserve a given moment in time. Finally, they applied it in works that can be classified as close to hyperrealism. The employment of still newer materials and tools made the link between sculpture and photography inextricable, as can be shown through works of Polish artists.

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Choi, Sun il. "Flow of Buddhist Sculpture in the First Half of the 20th Century." Dongak Art History 24 (December 31, 2018): 91–109. http://dx.doi.org/10.17300/dah.2018.24.4.

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Villegas-Broncano, Maria A., and J. Alberto Durán-Suárez. "Historical and technical insight into the human motifs in the glass sculpture." Arte, Individuo y Sociedad 33, no. 2 (February 4, 2021): 589–604. http://dx.doi.org/10.5209/aris.69159.

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Although glass proto-sculptures were made with deep artistic value since the most remote times, in the late 19th century the glass sculpture was developed, and during the 20th century the Studio Glass Movement reached the maximum level of technical perfection and aesthetic variety. The scientific and technical glass knowledge contributed to achieve appropriate hot and cold working procedures, and the artists improved their designs and creations. This paper focuses on the binomial glass sculpture and human motifs. The historic evolution of the glass sculpture with human motifs is analyzed, taking into account the production techniques and the relationships between the glass work and the expression of the finished artwork. A set of sculptures and sculptors are shown as representative examples of the main historical periods in which the glass plays an important role in the sculpture scene. The human representation in the glass sculpture can be considered as a constant throughout centuries, even though it is not the most frequent creative or ornamental motif. Either figurative or abstract human references can be found, although the former are the majority. This tendency is also present in the contemporary Studio Glass Movement sculptures.

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Hotsaliuk, Alla. "Art of Sculpture and Its Development in Ukraine (Late 20th – Early 21st Century)." Ukrainian Studies, no. 1(70) (March 7, 2019): 67–75. http://dx.doi.org/10.30840/2413-7065.1(70).2019.164745.

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Portnova, Irina V. "MODEL OF “WILD NATURE” IN THE PATRIOTIC ANIMALISTIC SCULPTURE OF THE 20th CENTURY." Historical and social-educational ideas 9, no. 5/1 (January 1, 2017): 173–79. http://dx.doi.org/10.17748/2075-9908-2017-9-5/1-173-179.

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Wang, Jun Xiao. "Study on Sculpture Based on New Materials." Applied Mechanics and Materials 340 (July 2013): 335–38. http://dx.doi.org/10.4028/www.scientific.net/amm.340.335.

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In the field of sculpture, the material is a sculptor's medium for the expression of aesthetic ideas, presenting a visual image. In a strict sense, all of the sculptures in the world are reflected through the material. It is recorded in the history of Western civilization development that ancient man started the sculpture very early and they also learned to take advantage of them during the creation of the material. As time goes on, the material has been an extremely important role to play in the sculpture development. In China, traditional sculpture materials have thousands of years of development, and our predecessors have already been familiar with heat and use it freely. After the beginning of the 20th century, the traditional Chinese culture triggered major changes in the concept under the influence of Western culture shock, the traditional realist sculpture in the West spread in China for more than half a century. During this period, Western art experienced the evolution of modernism and post-modernism, and the Western modernist sculpture broaden people's understanding of the "material", they were no longer the four materials of clay, wood, stone and copper of the traditional sense. And the use of the material is very extensive. In view of this, the article analyzes and discusses the application of a new type of material in sculpture.

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Frederiksen, Jorgen S., and Stacey L. Osbrough. "Tipping Points and Changes in Australian Climate and Extremes." Climate 10, no. 5 (May 19, 2022): 73. http://dx.doi.org/10.3390/cli10050073.

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Systematic changes, since the beginning of the 20th century, in average and extreme Australian rainfall and temperatures indicate that Southern Australian climate has undergone regime transitions into a drier and warmer state. South-west Western Australia (SWWA) experienced the most dramatic drying trend with average streamflow into Perth dams, in the last decade, just 20% of that before the 1960s and extreme, decile 10, rainfall reduced to near zero. In south-eastern Australia (SEA) systematic decreases in average and extreme cool season rainfall became evident in the late 1990s with a halving of the area experiencing average decile 10 rainfall in the early 21st century compared with that for the 20th century. The shift in annual surface temperatures over SWWA and SEA, and indeed for Australia as a whole, has occurred primarily over the last 20 years with the percentage area experiencing extreme maximum temperatures in decile 10 increasing to an average of more than 45% since the start of the 21st century compared with less than 3% for the 20th century mean. Average maximum temperatures have also increased by circa 1 °C for SWWA and SEA over the last 20 years. The climate changes in rainfall an d temperatures are associated with atmospheric circulation shifts.

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Manso, Marta, Ana Bidarra, Stéphane Longelin, Sofia Pessanha, Adriana Ferreira, Mauro Guerra, João Coroado, and Luísa Carvalho. "Micro-Analytical Study of a Rare Papier-Mâché Sculpture." Microscopy and Microanalysis 21, no. 1 (September 15, 2014): 56–62. http://dx.doi.org/10.1017/s1431927614013129.

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AbstractThe analysis of a Portuguese “papier-mâché” sculpture depicting Saint Anthony is presented in this case study. Several questions were addressed such as the characteristics of the support, pigments used, and artistic technique in order to establish a possible timeline for its production. Qualitative analyses of the cross-sections and of the paper support were performed by optical microscopy using reflected light. Two polychrome layers from different periods and a rag pulped support were identified on the sculpture. The use of micro X-ray fluorescence and Raman microscopy techniques enabled the differentiation of coloring materials used in both polychromies. Semi-quantitative analyses of the gilded samples were also performed by scanning electron microscopy in combination with energy-dispersive spectroscopy allowing the determination of a common Au–Ag–Cu alloy with differences in the purity of the gold. The identified coloring materials lead us to believe that the sculpture was produced in the 19th century, being overpainted in the first half of the 20th century.

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Fitch, Kate. "Rethinking Australian public relations history in the mid-20th century." Media International Australia 160, no. 1 (August 2016): 9–19. http://dx.doi.org/10.1177/1329878x16651135.

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This article investigates the development of public relations in Australia and addresses calls to reconceptualise Australian public relations history. It presents the findings from an analysis of newspaper articles and industry newsletters in the 1940s and 1950s. These findings confirm the term public relations was in common use in Australia earlier than is widely accepted and not confined to either military information campaigns during the war or the corporate sector in the post-war period, but was used by government and public institutions and had increasing prominence through industry associations in the manufacturing sector and in social justice and advocacy campaigns. The study highlights four themes – war and post-war work, non-profit public relations, gender, and media and related industries – that enable new perspectives on Australian public relations history and historiography to be developed.

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Pouyet, Emeline, Monica Ganio, Aisha Motlani, Abhinav Saboo, Francesca Casadio, and Marc Walton. "Casting Light on 20th-Century Parisian Artistic Bronze: Insights from Compositional Studies of Sculptures Using Hand-Held X-ray Fluorescence Spectroscopy." Heritage 2, no. 1 (February 21, 2019): 732–48. http://dx.doi.org/10.3390/heritage2010047.

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In the 19th and early 20th centuries, Paris was home to scores of bronze foundries making it the primary European center for the production of artistic bronzes, or bronzes d’art. These foundries were competitive, employing different casting methods—either lost-wax or sand casting—as well as closely guarded alloy and patina recipes. Recent studies have demonstrated that accurate measurements of the metal composition of these casts can provide art historians of early 20th-century bronze sculpture with a richer understanding of an object’s biography, and help answer questions about provenance and authenticity. In this paper, data from 171 20th-century bronzes from Parisian foundries are presented revealing diachronic aspects of foundry production, such as varying compositional ranges for sand casting and lost-wax casting. This new detailed knowledge of alloy composition is most illuminating when the interpretation of the data focuses on casts by a single artist and is embedded within a specific historical context. As a case study, compositional analyses were undertaken on a group of 20th-century posthumous bronze casts of painted, unbaked clay caricature portrait busts by Honoré-Victorin Daumier (1808–1879).

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Ridgway, Brunilde Sismondo, and Luigi Todisco. "Review Article: The Study of Classical Sculpture at the End of the 20th Century." American Journal of Archaeology 98, no. 4 (October 1994): 759. http://dx.doi.org/10.2307/506553.

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Honcharuk, V. "Artistic explorations of Lviv artists of decorative and applied arts in small-scale plastics of the second half of the 20th century: image of a human being." Science and Education a New Dimension IX(258), no. 47 (September 25, 2021): 10–14. http://dx.doi.org/10.31174/send-hs2021-258ix47-02.

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The present article examines the special characteristics of the development of small-scale sculpture as an independent phenomenon in Lviv fine arts of the second half of the 20th century within the framework of the interpretation of a human being image, since the following problem has not been sufficiently studied in Ukrainian art criticism. In particular, the research focuses on the specific features of artistic experiments of the representatives of decorative and applied art in the field of anthropomorphic sculpture; traces characteristic features of conceptual and modelling solutions; identifies artistic and stylistic features and peculiarities of the representation of a human being image. The author stresses upon the role of Lviv Ceramic and Sculpture Factory that largely set trends in the development of small-scale sculpture. In addition, as based on works of famous representatives of Lviv school of decorative arts, the author identifies the variety of interpretations and wide range of modelling means as well as traces the most vivid anthropomorphic designs.

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Smyth, Russell, and Vinod Mishra. "The Prestige of Australian State Supreme Courts Over the 20th Century." Australian Journal of Political Science 45, no. 3 (August 17, 2010): 323–36. http://dx.doi.org/10.1080/10361146.2010.499160.

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Griswold, Erik. "The Piano Mill: Nostalgic Music and Architecture in the Australian Bush." Leonardo Music Journal 27 (December 2017): 53–54. http://dx.doi.org/10.1162/lmj_a_01014.

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The Piano Mill is a tower in the forest of New South Wales designed and purpose-built to house 16 reclaimed pianos. Architect Bruce Wolfe conceived it as a massive sound sculpture incorporating a steampunk look and nineteenth-century acoustical devices. To launch The Mill the author composed a new work, All’s grist that comes to the mill, that responds to the architecture, the natural environment and Australian colonial heritage.

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Xu, Min. "Chinese art: A survey of collections and research materials in the United States." Art Libraries Journal 39, no. 2 (2014): 43–47. http://dx.doi.org/10.1017/s0307472200018319.

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During the 20th century a range of museums in the United States were engaged in acquiring Chinese art objects, developing major collections of painting and calligraphy, ancient bronze, Buddhist sculpture, ceramics and other decorative arts. Research materials on Chinese art have been collected by art libraries in major museums and the East Asian libraries of the main research universities. The author surveys significant Chinese art collections in museums and research libraries in the United States today.

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Portnova, Irina V. "Russian Animalistic Art of the 20th Century as a Special Kind of Fine Art." Observatory of Culture 18, no. 5 (October 29, 2021): 486–95. http://dx.doi.org/10.25281/2072-3156-2021-18-5-486-495.

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This article aims at analyzing the genre features of the 20th century animalistic art as a special, original phenomenon of Russian artistic culture. There are highlighted the aspects that make up its content basis. The author considers the issues of human perception of an animal, attitude to it, the system of views on the world of flora and fauna, the methods of interpretation of animals and birds. Together, they form the specific characteristics of animalistic art, which appeared in their organized and integral form in the 20th century. The article is relevant because the relationship between human and nature is being more and more re-evaluated, which is why the ideological features and the system of views of the 20th century artists are getting increasingly important (in particular, in the historical and artistic aspect).Animalistic art, having become noticeable as a genre already in the 18th century, passed through the entire 19th century, and crystallized in the 20th century in the most characteristic, typical features in various types of fine arts (graphics, painting, sculpture and their varieties). There is no doubt that among other genres of fine art, animalistic art is an original visual and plastic phenomenon that is fundamentally different from the art that depicts a person. The article notes that the complexity of animalistic art lies in the properties of human perception, which is prone to subjective evaluation and, accordingly, gives an animal human traits. The principle of “imitation” of nature, the study of nature, being constantly followed by artists, pointed to the overcoming of the subjective moment and became the leading one in composing the figurative concept of an animal.

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ÖZDEMİR, Soner. "ARTIFICIAL LIGHT SOURCE AS A COMPONENT CONSTITUTING THE SCULPTURE." IEDSR Association 6, no. 15 (September 20, 2021): 235–45. http://dx.doi.org/10.46872/pj.351.

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Light, which is the main source in which plastic arts produce meaning by processing it, indirectly takes place in all works of art with its different colors and tones throughout the history of art. With the use of new materials and techniques in art with the modern period, it is seen that the light itself, that is, the light source, is also included in art works as a medium. This situation allowed the artists to create brand new perceptions and effects. With the second half of the 20th century, the use of artificial light source in sculpture as an element belonging to the sculpture is encountered. Some of the artists selected as examples in this study were chosen in terms of being the first example in terms of the material they used, the way they used the light source and the diversity of the content they produced with these materials. Light, which is one of the primary conditions for perception in sculpture; In this study, the material forming the sculpture, such as transparency and reflection, is not based on its interaction with its structure, but as an element that forms a part or whole of the sculpture. It is aimed to show the effect of using artificial light source in sculpture on expression and perception through selected examples.

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Pepler, Acacia S., Josephine Fong, and Lisa V. Alexander. "Australian east coast mid-latitude cyclones in the 20th Century Reanalysis ensemble." International Journal of Climatology 37, no. 4 (June 28, 2016): 2187–92. http://dx.doi.org/10.1002/joc.4812.

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Alfakih, E. "Genres of urban sculpture in context of metropolis, Moscow, Tsvetnoy Boulevard." Vestnik of Saint Petersburg State University of Culture, no. 1 (30) (March 2017): 165–68. http://dx.doi.org/10.30725/2619-0303-2020-3-165-168.

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The article examines multivariate saturation of limited locations (Tsvetnoy Boulevard) executed at different times and diff erent in the image and style of the sculptural works. Due to this Boulevard space takes the value exhibition area for the testing, presents not only free conglomeration of forms, but also time-varying ideas about the place of sculpture in the urban environment and its communication capabilities. A description and analysis of selected monuments of the second half of 20th – beginning of 21st century («Song», «Yuri Nikulin», «Circus Clown») in terms of their own aesthetic value, as well as interaction with the surrounding environmental context, enables create panoramic deployed in time and space idea of some aspects of the general problem.

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Kim, Suk. "A Study of Expressive Feature of Facial Sculpture after 20th Century -to post-modernism art 1980s-." Journal of Basic Design & Art 19, no. 1 (February 28, 2018): 81–100. http://dx.doi.org/10.47294/ksbda.19.1.7.

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Mellby, Julie. "AMERICAN ART IN THE 20TH CENTURY, PAINTING AND SCULPTURE 1913–1993. Christos M. Joachimides , Norman Rosenthal." Art Documentation: Journal of the Art Libraries Society of North America 13, no. 1 (April 1994): 40. http://dx.doi.org/10.1086/adx.13.1.27948624.

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Laïïdi, Adila. "Liberation Art of Palestine: Palestinian Painting and Sculpture in the Second Half of the 20th Century." Journal of Palestine Studies 34, no. 4 (January 1, 2005): 110–12. http://dx.doi.org/10.1525/jps.2005.34.4.110.

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Freak-Poli, Rosanne, Peng Bi, and Janet E. Hiller. "Trends in cancer mortality during the 20th century in Australia." Australian Health Review 31, no. 4 (2007): 557. http://dx.doi.org/10.1071/ah070557.

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An epidemiological study was conducted, using annual cancer mortality data over the period 1907 to 1998, to explore change in Australian cancer mortality. A 3-year moving average mortality was calculated to minimise the annual fluctuations over the study period. The results suggested that overall cancer mortality rose slightly over the past century, with a small decrease in more recent years. The male and female cancer mortality rates diverged over time. Younger age groups had low and stable death rates, 35?59 years age groups demonstrated decreased rates, and older age groups had increased rates over the study period. Modifiable lifestyle factors and other possible reasons for the changes were explored.

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Rovira, Sergi Cortiñas. "Metaphors of DNA: a review of the popularisation processes." Journal of Science Communication 07, no. 01 (March 21, 2008): A02. http://dx.doi.org/10.22323/2.07010202.

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This article offers a 1953-present day review of the models that have popularised DNA, one of the fundamental molecules of biochemistry. DNA has become an iconic concept over the 20th century, overcoming the boundaries of science and spreading into literature, painting, sculpture or religion. This work analyses the reasons why DNA has penetrated society so effectively and examines some of the main metaphors used by the scientists and scientific popularisers. Furthermore, this article, taken from the author's PhD thesis, describes some recent popularisation models for this molecule.

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Fleischmann, Andreas. "The huge scientific footprint of Allen James Lowrie (1948 – 2021)." Carnivorous Plant Newsletter 51, no. 1 (March 1, 2022): 22–39. http://dx.doi.org/10.55360/cpn511.af192.

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Allen Lowrie was a not a university trained botanist. He was a botanist by passion. His studies and observations of Australian carnivorous plants and triggerplants for about a half-century will inevitably impact every person with an interest in those plants from the Australian flora. It is not an exaggeration to claim that he was probably the most influential person regarding our recent understanding and knowledge of the carnivorous plant flora of Australia. No other botanist – neither 20th or 21st Century nor before – discovered and described to science more new carnivorous plant species or triggerplants.

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Shkolna, Olha, and Alla Buigasheva. "Life and Work of Anhelina Zhdanova - Master of Porcelain Painting of the Second Half of the 20th Century." Demiurge: Ideas, Technologies, Perspectives of Design 5, no. 1 (May 27, 2022): 131–42. http://dx.doi.org/10.31866/2617-7951.5.1.2022.257488.

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The aim is to identify the key porcelain works painted by the Honored Artist of Ukraine Angelina Zhdanova during the second half of the 20th century, to reveal the artistic features of her decoration of sculptures, utensils and vases. Research methods – ontological, axiological, hermeneutic, historical-chronological, historical-comparative, cultural, typological, art analysis. Their combination allows us to reveal the specifics of the creative method of Anhelina Zhdanova concerning the design of sculptures of small forms and design development of decors for fine ceramic ware and vases. Novelty comprises the analysis of the artist’s appeals to the Ukrainian in the decoration of the best examples of domestic porcelain sculpture of the third quarter of the 20th century. (first of all, according to the designs of V. and M. Trehubov’s forms) and the use of exquisite Petrykivka painting in the design of vases, dishes, tableware of the second half of the twentieth century, created at Korosten and Svitlovodsk porcelain factories. Conclusions. The milestones of the work of the outstanding Ukrainian artist-designer in the field of porcelain Anhelina Leonidivna Zhdanova are traced. The list of main works in sculpture, vases and utensils, decor projects which she created at Korosten and Svitlovodsk porcelain factories in the 1950s – 1990s is outlined. It is determined that A. Zhdanova is the author of the original painting of the famous sculptures ‘Ukrainian Dance’ and ‘Shoes’, the forms for which were developed by V. Trehubova in the mid – second half of the 1950s. Portraits of Soviet figures on plates and vases, such as party executives, astronauts, foreign ambassadors or the UN Secretary General, are important in the artist’s work. A separate segment of Korosten products by A. Zhdanova consists of paintings with skillfully executed floral ornaments for framing portraits. The paintings are made in a delicate brush technique ‘cat’, the type of Petrykivka paintings.

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Rzeczycka, Monika. "Biblical Symbols in the Works of Rudolf Steiner’s Followers: Initiation/Archangel Michael by Amalia Luna Drexler as an Example of an Anthroposophical Interpretation of the Spiritual Mission of the Slavs." Studia Religiologica 53, no. 1 (2020): 1–14. http://dx.doi.org/10.4467/20844077sr.20.001.12504.

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At the beginning of the 20th century, national mythologies inscribed in the Christian tradition were held in high regard within the milieu of Polish and Russian followers of esotericism. The international anthroposophical movement initiated by the Austrian philosopher Rudolf Steiner is a special case. Among his Russian and Polish devotees sprang the common idea of the Slavic spiritual mission in the service of Archangel Michael. The author of this article explores this idea using the example of a sculpture entitled Initiation/Archangel Michael made in 1927 by the Polish artist Amalia Luna Drexler, who belonged to the group of “first generation”anthroposophists.

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Anisimov, K. V. "The “Living Statues” at Times of Mausoleums and Unknown Soldiers: New Commemorative Practices in the Mirror of Russian 20th Century Poetry." Critique and Semiotics 38, no. 1 (2020): 186–206. http://dx.doi.org/10.25205/2307-1737-2020-1-186-206.

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The article traces the alterations of the “harmful statue” motif as it was conceptualized by Roman Jakobson. In the present research the author draws upon a number of representative verses by Russian 20 th century poets – V. Bryusov, I. Selvinsky, B. Slutsky. The theoretical juxtaposition of the metaphoric nature of a monument and strategies of overcoming this nature has been put in focus of this work. These strategies are represented in the convergence of sculpture and body (the reinforcement of iconicity), in implicating the metonymic, substitutional character in new monuments. The author shows how the practice of establishing the new “political” tombs (unknown soldiers, mausoleums) proliferating since 1920s was reflected in verses’ rhetoric and affected these texts’ genre poetics. As a first collection of examples the “Pompeian” plots of Russian “ekphrastic” poetry are studied. Here Russian poets rethink the technology invented by mid-nineteenth century Italian archaeologists who were the first to introduce the sculptural reconstruction of human bodies preserved by volcanic soil in area of 79 a.d. Vesuvius eruption. The first step on this way of rethinking the “living statue” motif was the intrinsic to modernism and openly exposed problematizing of the relationships between body and its representations in stone or metal. Having begun its “own” life, the sculpture is currently observed as a direct, “drawn on a contour” replica of an organism, unprecedented in unicity of its physical existence. This semiotic discovery has formed the receptive “niches” of expectations – prior to the emergence of the next commemorative practice, the creation in 1924 Vladimir Lenin’s “living sculpture” (A. Yurchak) or “self-icon” (J. B. Platt). However one difference here was of specific significance: the “Pompeian” plaster reconstructions were anonymous whereas the Bolshevik leader’s name was in contrast not just commonly known but also as strongly mythologized as his remains kept in mausoleum were. The semiosis taking place within a triangle body – monument – name had formed a perspective for the forthcoming of a new social commemorative practice, memory place and poetic image – the tomb of an Unknown Soldier. The author illustrates the interaction of the two political and memory cults on the level of official rhetoric and in the sphere of literary motifs.

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Čebron Lipovec, Neža. "Homage to a New Town in an Old One: Dequel’s Bust of Pier Paolo Vergerio il Giovane." Ars & Humanitas 13, no. 1 (August 20, 2019): 248–63. http://dx.doi.org/10.4312/ah.13.1.248-263.

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The concept of collective memory raises fundamental questions regarding the assessment of heritage, especially of built heritage in contested spaces. The simultaneous presence of different groups in conflict introduces into the space parallel memory discourses that can be recognised both in the built environment as well as in public sculpture, and both can be read as a symbolic marking of space (Veschambre, 2008). The urban space of northern Istria, where the Italian and Slovene communities have become intertwined throughout history, were drastically marked by the political and historic events of the mid-20th century. Post-war conflict-solving processes lead and an ongoing process of “ethnic metamorphosis” (Purini, 2010) in the region came to a peak when the majoritarian Italian-speaking population of the urban area emigrated, while the space was settled by newcomers from inner Slovenian regions and other Yugoslav republics. Tensions between Slovenes and Italians arose in the early 20th century, especially from the period of Fascist oppression and violence against the Slovene population. Nevertheless, the antifascist struggle united the two ethnic groups, specifically within the Communist ideology, so after WWII the area of the so-called Zona B of the Free Territory of Trieste was marked by the ideal of fratellanza, the brotherhood between Italians and Slovenes in Istria. A monument to this ideal was created by a sculptor from Capodistria, Oreste Dequel, who is unknown in the Slovene context. The sculpture represented the Protestant Bishop of Capodistria, Pier Paolo Vergerio il Giovane, a friend of the key Slovene Protestant Primož Trubar. Despite the then leading Socialist Realist aesthetics, the artist managed to intertwine in the artwork, using a subversive approach, several collective memories.

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Čebron Lipovec, Neža. "Homage to a New Town in an Old One: Dequel’s Bust of Pier Paolo Vergerio il Giovane." Ars & Humanitas 13, no. 1 (August 20, 2019): 248–63. http://dx.doi.org/10.4312/ars.13.1.248-263.

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The concept of collective memory raises fundamental questions regarding the assessment of heritage, especially of built heritage in contested spaces. The simultaneous presence of different groups in conflict introduces into the space parallel memory discourses that can be recognised both in the built environment as well as in public sculpture, and both can be read as a symbolic marking of space (Veschambre, 2008). The urban space of northern Istria, where the Italian and Slovene communities have become intertwined throughout history, were drastically marked by the political and historic events of the mid-20th century. Post-war conflict-solving processes lead and an ongoing process of “ethnic metamorphosis” (Purini, 2010) in the region came to a peak when the majoritarian Italian-speaking population of the urban area emigrated, while the space was settled by newcomers from inner Slovenian regions and other Yugoslav republics. Tensions between Slovenes and Italians arose in the early 20th century, especially from the period of Fascist oppression and violence against the Slovene population. Nevertheless, the antifascist struggle united the two ethnic groups, specifically within the Communist ideology, so after WWII the area of the so-called Zona B of the Free Territory of Trieste was marked by the ideal of fratellanza, the brotherhood between Italians and Slovenes in Istria. A monument to this ideal was created by a sculptor from Capodistria, Oreste Dequel, who is unknown in the Slovene context. The sculpture represented the Protestant Bishop of Capodistria, Pier Paolo Vergerio il Giovane, a friend of the key Slovene Protestant Primož Trubar. Despite the then leading Socialist Realist aesthetics, the artist managed to intertwine in the artwork, using a subversive approach, several collective memories.

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Dodson, Giles. "REVIEW: 'Digger' media out-manoeuvred by military." Pacific Journalism Review 18, no. 1 (May 31, 2012): 238. http://dx.doi.org/10.24135/pjr.v18i1.303.

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Review of: Witnesses to War: The History of Australian Conflict Reporting, by Fay Anderson and Richard Trembath. Melbourne: Melbourne University Press, 2011, 501 pp, ISBN 978-0522856446 (pbk)Witnesses to War: The History of Australian Conflict Reporting provides a thorough-going account of the developments and, importantly, of continuities which have characterised Australian reporting of foreign wars since the 19th century. It is a welcome addition to the growing body of conflict reporting literature, in particular to that which concerns the local experience. It is clear the forces which structure Australian war journalism have remained relatively constant throughout the 20th and 21st centuries.

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Hudson, Martyn. "Schwitters’s Ursonate and the Merz Barn Wall." Leonardo Music Journal 25 (December 2015): 89–92. http://dx.doi.org/10.1162/lmj_a_00942.

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This paper notes the importance of Kurt Schwitters’s Merz project to the modernist politics and poetics of exile of the 20th century. Placing the sound work of Schwitters within his full Merz project, the author assesses the relations between the Ursonate and the final Merzbau. He discusses three of these relations—collage, found objects and the structures of building materiality in language and sculpture—and presents Schwitters’s work as culminating in a vision of sound and building structures in what Brandon Taylor has called “intrusive new entities” of collage and assemblage that are themselves analogous to the “intrusive new entities” of human material itself.

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Darian-Smith, Kate, Catriona Elder, and Fiona Paisley. "“Are We Internationally Minded?” Everyday Cultures of Australian Internationalism in the mid-20th Century." Journal of Australian Studies 43, no. 4 (October 2, 2019): 405–11. http://dx.doi.org/10.1080/14443058.2019.1704171.

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Kazimova, Roya Elkhan. "Lexical features of the Australian version of the English language." Scientific Bulletin 2 (2021): 14–20. http://dx.doi.org/10.54414/ezxe6476.

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The article deals with the origin of the Australian English variant, whichwas exposed to a wide range of different dialects from all over England, but mainly in the South-East, especially from London. Early Australian English, based on audio recordings of speech by people who were born in the 19th century, from written sources and from historical recordings of the dialect mix present in the colony. During the second half or 20th century, Australian English became more and more accepted as the standard form of English used in that country. The following lists the many lexical units distinguishing features of the Australian version of the English language in comparison with the British and American version. In conclusion, Australian English takes features of both British and American English, so it is sometimes considered a combination of the two. However, it is important to understand that there are a number of unique features, including exclusive vocabulary.

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Lavrentiev, Alexander N. "AVANT-GARDE DIALOGUES." Scientific and analytical journal Burganov House. The space of culture 17, no. 5 (December 10, 2021): 104–8. http://dx.doi.org/10.36340/2071-6818-2021-17-5-104-108.

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The article is dedicated to comparative analysis of spatial constructions created by the Russian Avant-Garde Artist Alexander Rodchenko and the famous kinetic European and American artist Alexander Calder in the first half of the 20-th century. For both artists technology played the decisive role in constructing spatial objects, both of them used line as a basic expressive element. Still there is a certain difference stressed by the author: Rodchenko used linear elements to express structural and constructive qualities of spatial objects, while Calder was more intending to represent emotion and movement. Rodchenko and Calder belong to the common abstract artistic trend in 20th century sculpture. But their works served as the basis for the two different traditions: minimalist conceptual and geometric art of Donuld Judd on one side and spontaneous mechanisms of Jean Tinguely on the other.

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Rychkov, A. V., and A. V. Vodyanitskaya. "Attribution and restoration of the monument of O. M. Manizer «1905»." Vestnik of Saint Petersburg State University of Culture, no. 4 (45) (December 2020): 98–103. http://dx.doi.org/10.30725/2619-0303-2020-4-98-103.

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The article discusses issues related to the application of a comprehensive and comprehensive analysis of the main trends in the development of the national sculpture of the 20th century, which makes it possible to attribute and identify the nearest analogues of the sculptural monumental work, from the St. Petersburg military Institute of the national guard of the Russian Federation. During the research, the degree of preservation of the monument, the presence of defects, destruction, loss, possible changes in the works that were previously admitted during the implementation of restoration measures were revealed. As a result, methods and models of restoration work were considered. The text also describes the restoration methodology used to preserve the work.

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Becker, Karin, and Geska Helena Brečević. "More Than a Portrait: Framing the Photograph as Sculpture and Video Animation." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 48–55. http://dx.doi.org/10.47659/m5.048.art.

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This essay traces the resurrection of the fotoescultura, a three-dimensional photographic portrait popular in rural Mexico in the early 20th century, as interpreted in recent works by Performing Pictures, a contemporary Swedish artist duo. The early fotoesculturas were an augmented form of portraiture, commissioned by family members who supplied photographs that artisans in Mexico City converted into framed sculptural portraits for display on family altars. We compare these »traditional« photographic objects with “new” digital forms of video animation on screen and in the public space that characterize Performing Pictures work, and explore how the fotoescultura inspired new incarnations of their series Men that Fall. At the intersection between the material aspects of a “traditional” vernacular art form and “new” media art, we identify a photographic aesthetic that shifts from seeing and perceiving to physical engagement, and discuss how the frame and its parergon augment the photographic gaze. The essay is accompanied by photos and video stills from Performing Pictures’ film poem Dreaming the Memories of Now (2018), depicting their work with the fotoesculturas. Keywords: fotoesculturas, frame, parergon, vernacular photography, videoart

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Melita, Lucia Noor, Katarzyna Węgłowska, Diego Tamburini, and Capucine Korenberg. "Investigating the Potential of the Er:YAG Laser for the Removal of Cemented Dust from Limestone and Painted Plaster." Coatings 10, no. 11 (November 17, 2020): 1099. http://dx.doi.org/10.3390/coatings10111099.

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A successful application of Er:YAG laser for the cleaning of a restored Assyrian relief sculpture from the British Museum collection is presented. Displayed in the gallery, the sculpture has darkened over time due to the natural deposition of dirt, in particular on restored parts. Since traditional cleaning methods have demonstrated to be unsuccessful, a scientific investigation was performed to identify the composition of the soiling and the materials used for the restoration. The analysis suggested the presence of gypsum, calcium oxalate, carbonates and alumino-silicates on the encrustation. The molded plaster, composed of lime and gypsum and pigmented aggregates, was likely prepared at the end of the 19th century to mimic the stone color. It was repainted with what was identified as a modern oil-based overpaint, applied to cover darkening during a second conservation treatment in the 20th century. Laser trials were first performed on small areas of the objects and on mock-ups to determine the critical fluence thresholds of the surface, investigated through visual examination and analyses using Fourier transform infrared spectroscopy (FTIR) and Pyrolysis-gas chromatography-mass spectrometry (Py–GC–MS). The right parameters and conditions to be used during the cleaning process were, therefore, determined. The chemical selectivity of the cleaning process allowed us to complete the treatment safely while preserving the restoration.

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Mosz, Jakub. "Ancient Patterns of the Sporting Body." Physical Culture and Sport. Studies and Research 47, no. 1 (December 1, 2009): 137–43. http://dx.doi.org/10.2478/v10141-009-0041-x.

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Ancient Patterns of the Sporting BodyIn the world of ancient culture you can find images of corporeality which may be recognised as patterns of the sporting body. They come from Greek sculpture and vase painting. Among the preserved Greek cultural artefacts there can be pointed out three examples of patterns of male corporeality and one example of female corporeality connected with the world of sport. These are Polyclitus's sculptures "Doryphorus" and "Diadoumenos", Myron's sculpture "Discus Thrower", Lysippus's sculpture of "Heracles Farnese" and painting presenting Atalanta. They constitute ancient patterns of the sporting body, which are recognisable in the world of the European culture from the age of Renaissance to the 20th century. Each of those cultural artefacts points out to separate aspects of the world of sport: Polyclitus's sculptures are pictures of beauty of the body, Myron's sculpture expresses sporting movement, Lysippus's sculpture symbolises power and the figure of Atalanta is the first gender pattern in the world of sport. Ancient patterns of the sporting body perform functions of cultural archetypes in the contemporary world of sport. The contemporary sporting body is a corporeal form which is perceived and interpreted through the prism of the symbolic layer of ancient images of corporeal forms. A part of those corporeal patters has lost in European culture their sporting references, which were visible for Greek civilization. It refers to Polyclitus's sculptures and the figure of Atalanta, which was provided by Renaissance and Baroque art with a different semantic context. Research into cultural aspects of sport requires reconstruction of their sporting genealogy making it possible to construct wider interpretative contexts of contemporary corporeality. The notion of the "archetype of the sporting body" in European culture is enriched with a differentiated objective layer, which is composed of ancient patters of the sporting body encountered in social consciousness of the world of European art.

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Rozenberg, Nataliya Abramovna. "The Concept of a Romantic Hero in the Sculpture of Argentina in the 20–40s of the 20th Century." Общество: философия, история, культура, no. 12 (December 11, 2020): 140–45. http://dx.doi.org/10.24158/fik.2020.12.24.

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The interest in the history and culture of Argentina in the Russian Federation today has a special char-acter. It is believed that the presence of a huge number of immigrants from Europe, including from Russia, distinguishes Argentina culturally from oth-er countries of the New World, makes its culture more understandable. There is a perception that this is the most Europeanized country in South America. To a large extent, this ideologeme is the result of foreign policy pursued by Argentina itself. At the same time, the process of the formation of national identity in here was complicated and did not end until the 40s of the 20th century. The relevance of the study is to reveal the inconsistency of this process on the material of sculpture as a document of the era, to show the rejection by masters from a remote region of the country, the province of Chaco, the prevailing ideas about the barbarity and savagery of the Indians and Gauchos, the original population of this province and part of other territories of the state. The novelty lies in the comparative compari-son of the positions of the academic art history of Argentina and academic art in the understanding of Indian themes and in how it was interpreted by re-gional masters – K. Dominguez (died in 1969), C. Schenone (1907–1963), J. de la Mena (1897–1954), as well as in the art history analysis of significant works of the considered problematic and the roman-tic tendencies manifested in them. It is advisable to correlate the process of “Europeanization” of Indi-ans, bloody and long-term hostilities in order to expel the gaucho and Indians from their ancestral lands with the understanding of who was the true hero of history in the creations of their descendants. The works of the sculptors Chaco, romantic in spirit, are related to the great J. Hernandez’s poem “Martin Fierro”. Today they are kept not only in the capital of Chaco, Resistencia, but also in museums in Buenos Aires and foreign collections

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Smyth, Russell. "The Business of the Australian State Supreme Courts Over the Course of the 20th Century." Journal of Empirical Legal Studies 7, no. 1 (March 2010): 141–63. http://dx.doi.org/10.1111/j.1740-1461.2009.01173.x.

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Cook, Garry D., and Lesley Dias. "It was no accident: deliberate plant introductions by Australian government agencies during the 20th century." Australian Journal of Botany 54, no. 7 (2006): 601. http://dx.doi.org/10.1071/bt05157.

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The weedy potential of deliberately introduced plants has been a growing concern in Australia since the late 1980s. Although introduced plants are critical to Australia’s agricultural and livestock production, many species that were praised in the past are now declared agricultural and environmental weeds. Nevertheless, weeds researchers appear largely ignorant of the magnitude and intent of plant introductions for agricultural purposes as well as the legacy of unwanted plants. Across more than 70 years, Commonwealth Plant Introductions comprised 145 000 accessions of more than 8200 species. These species include more than 2200 grass (Poaceae) and 2200 legume species (Fabaceae sensu stricto), representing about twice the indigenous flora in those families and about 22 and 18%, respectively, of the global flora of grasses and legumes. For most of the 20th century, these and other introductions supported research into continental-scale transformation of Australian landscapes to support greatly increased pastoral productivity in order to achieve policy goals of maximum density of human population. This paper documents some of the scientific developments and debates that affected the plant-introduction program. We argue that recent developments in weed science and policy need to be informed by a better understanding of plant-introduction history.

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Svetlov, Igor. "Hungarian Sculpture of the Late Twentieth Century. At the Intersection of Romanticism and Pop Art." Scientific and analytical journal Burganov House. The space of culture 15, no. 4 (December 10, 2019): 108–35. http://dx.doi.org/10.36340/2071-6818-2019-15-4-108-135.

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Developing intensively and in its own way throughout the 20th century, Hungarian sculpture has gained recognition as one of the leading European schools. Much in its creative image was determined between the two world wars when romantic tonality, combining dynamic activity and plastic flexibility, became a high priority. Romantic pantheism made itself felt in the artistic works of the Hungarians, successfullyshown at the All-Union Art Exhibition in Moscow in 1957-1958. The appeal to the motives and forms of nature enriched the human modulus of Hungarian sculpture.The period between 1960-1970 is its most fruitful time. The combination of romantic concepts and themes with object textures and aesthetics of simplicity, inherent in pop art, among the masters of the older generation, Imre Varga and Erzsébet Schaár who were recognized in Europe, was the biggest event among the variants of its creative movement. Imre Varga’s evolution in this direction, from grotesque-naturalistic publicism to the use of pop art techniques as a means of the dramatic theatricalization of human life and history, is illustrated in the article. Varga developed a synthesis of the pop art-inspired landscape and romantic portrait in the best monuments of these decades. In Erzsébet Schaár’s art, the objective world more than once turned into an artistic metaphor of independent significance. However, for her, the most important meeting of romanticism and pop art happened, the same as for Varga, in the search for synthesis and the creation of an ensemble. Her Street, which is exhibited in the city of Pecs, is perceived as a combination of symbolic figures and environmental objects, imbued with the idea of infinity of the world.

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Collins, Peter, and Xinyue Yao. "Colloquialisation and the evolution of Australian English." English World-Wide 39, no. 3 (November 2, 2018): 253–77. http://dx.doi.org/10.1075/eww.00014.col.

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Abstract This paper investigates whether colloquialisation – a stylistic shift by which written genres come to be more similar to spoken genres – has played a role in the endonormativisation of the grammar of Australian English, a variety which has long been noted for its penchant for colloquialism. The study tracks changes in grammatical colloquialism from the early 20th century against the historical backdrop of the progressive decline in Britishness in Australia and the pervasive effects of “Americanisation”. The data are derived from a suite of parallel Brown-family corpora representing British, American, and Australian English of the 1930s, 1960s, 1990s and 2006. Multivariate techniques are used to delimit 26 “colloquial” and “anti-colloquial” grammatical features from a set of 83 potentially relevant features, and to examine changes in their frequencies between 1931 and 2006, in the three varieties, and across the three major genres of fiction, learned writing and press reportage.

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Journal articles on the topic 'Sculpture, Australian 20th century'

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