Journal articles on the topic 'Women artists – history – 20th century'
To see the other types of publications on this topic, follow the link: Women artists – history – 20th century.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Women artists – history – 20th century.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Bell, Janis C., and Wendy Slatkin. "Women Artists in History: From Antiquity to the 20th Century." Woman's Art Journal 7, no. 2 (1986): 50. http://dx.doi.org/10.2307/1358308.
Full text
2
Park, Hyesung. "Rethinking the 20th-Century Korean Embroidery from Gender Perspectives." Korean Journal of Art History 320 (December 31, 2023): 65–98. http://dx.doi.org/10.31065/kjah.320.202312.003.
Full textAbstract:
The rupture in the history of Korean embroidery is generally perceived as a severance from the traditional embroidery, made due to the Japanese colonial rule. However, it cannot be denied that the narrative of modern and contemporary Korean art history, mainly constructed around artistic movements and groups, also played a major part. The dispute encompasses the fundamental question of whether embroidery can be seen as a form of fine art from the perspective of modernist aesthetics, and the matter of hierarchy between different crafts. Also inherent are the tensions between contradictory values such as tradition and modernity, Western or Japanese and Eastern or Korean, abstract and figurative, and others peculiar to Korea, and the effects of such binary oppositions are closely related to gender problems. This paper re-examines, from gender perspectives, the chronological history of embroidery since the late 19th century, which had been placed on the periphery of Korean art history until now. In the traditional society, embroidery was produced and enjoyed privately, but moved into the public sphere through education and exhibitions for women during modernization. In the process, in order to be recognized as a form of pure art, embroidery gave up its unique characteristics as craft and took on the formative language of paintings. In the years immediately after liberation from Japanese colonial rule, which was the era of eradication of Japanese influences, establishment of national identity, and industrialization, embroidery was divided into abstract embroidery understood as more masculine, and traditional embroidery considered more feminine. Korean embroidery artists in the 20<sup>th</sup> century, as women experiencing particular historical contexts, worked with confidence in the artistic value of embroidery due to or despite their specific circumstances.
3
Šeparović, Ana. "Feministički iskazi u kritičkoj recepciji skupnih izložbi hrvatskih umjetnica." Ars Adriatica 8, no. 1 (December 28, 2018): 195–210. http://dx.doi.org/10.15291/ars.2762.
Full textAbstract:
This paper discusses the reception discourse related to three waves of group exhibitions by Croatian women artists in the 20th century, with a focus on feminist strategies used in advocating and empowering women’s art. The considered body of texts includes reviews of the first exhibition – the Intimate Exhibition at the Spring Salon of 1916 – the exhibitions of the Club of Women Artists held in 1928-1940, and the exhibitions celebrating Women’s Day from 1960 until 1991. Although taking place in different circumstances and socio-political contexts, all these exhibitions generated public debates on art produced by women, and although they provoked misogynous and anti-feminist statements, they also resulted in openly feminist voices of authors such as Roksana Cuvaj, Zdenka Marković, Marija Hanževački, Verena Han, Nasta Rojc, Zofka Kveder, and others. Based on historiographical sources and texts from the field of feminist theory, this analysis of the art-critical corpus has identified the main strongholds of feminist discourse: disclosure of misogyny and its sources in public opinion and prejudice, critique of the social construction of female inferiority, research on women’s art history, endorsement and praise of female art, and so on. It was these feminist statements that enhanced creative self-awareness in women artists and also slowly tamed the society by getting it used to their presence, leading to the gradual suppression of stereotypes and slow dissolution of the dominant patriarchal matrix in Croatian art during the 20th century.
4
Sirica, Inese. "Art Academy of Latvia Graphic Arts Alumnae Who Established the Principles of Latvian National Textile Art, 1931–1943." Acta Academiae Artium Vilnensis, no. 112 (January 9, 2024): 314–49. http://dx.doi.org/10.37522/aaav.112.2024.206.
Full textAbstract:
In the 1920s and 1930s, Latvian magazines featured original textile compositions by renowned male artists. Through my research of textile compositions of the famous Latvian artist and designer Jūlijs Madernieks, it became apparent that during this period, Latvian magazines also showcased textiles by lesser-known artists, particularly graduates of the Graphic Arts Workshop of the Art Academy of Latvia. Despite the significant role played by graphic artists in the formation and promotion of Latvian national textile art, their contributions remain largely unexplored. This research focuses on the popular women’s magazine Zeltene, which presented numerous original textile designs by Elza Druja, Marija Muceniece, Otomija Freiberga, and Kristine Pāvulina. Another focal point of this study is the state of textile crafts education in the third decade of the 20th century and its role in encouraging women to engage in textile art or crafts. The contributions of women to Latvian textile art during the 1920s and 1930s have not received adequate scholarly attention due to the occupation of Latvia by the Soviet Union and Nazi Germany in the 1940s, as well as subsequent constraints imposed on Latvian art historians by the Soviet regime. This paper marks an initial stage in the development of Latvian textile art history, with a particular emphasis on female textile artists.
5
Sun, Dian. "The Awakening of Feminist Artistic Expression: A Comparative Study of the Self-Portrait of Frida Kahlo and the Self-Portrait of Élisabeth Vigée Le Brun." Journal of Education, Humanities and Social Sciences 27 (March 5, 2024): 337–42. http://dx.doi.org/10.54097/fgmhf957.
Full textAbstract:
The topic of feminism was not discussed by scholars until the 20th century, but it has become a highly debated issue in today's society. Female portrait artists have been historically marginalized due to the origins of portraiture being intended to please male viewers. In the past, women were predominantly viewed as mothers and housewives within the social context. However, the research has revealed that numerous female artists defied the societal norms of the time and made unique efforts to achieve independence as professional women. In the long history of painting, there have been many female painters who have expressed feminist ideas through their art. This article compares the self-portraits of two portrait painters, Frida Kahlo and Élisabeth Vigée Le Brun, in terms of painting themes, methods, and the representation of women. This study explores how female artists' paintings were influenced by the rise of female consciousness in different periods. The final result concludes that feminist awakening is depicted in female-themed paintings across different social periods by female artists.
6
Acsády, Judit. "Construction of the Modern Woman Thinker’s Identity: Valéria Dienes (1879-1987), the Philosopher and Founder of the Art of Movement School and her Contribution to Women’s Emancipation." Radovi Zavoda za hrvatsku povijest Filozofskoga fakulteta Sveučilišta u Zagrebu 55, no. 1 (December 20, 2023): 199–221. http://dx.doi.org/10.17234/radovizhp.55.12.
Full textAbstract:
New spaces had opened for women as intellectuals, artists and thinkers in European societies by the first decades of the 20th century. Women became involved in social modernization. The earlier endeavours of women, both as individuals and as members of organizations, contributed to structural changes and new laws regulating their possible intervention in public life. One of the most significant changes concerned education. Women and young girls could attend secondary school and higher education. The personal history of philosopher Valéria Dines, a multi-faceted intellectual of her time, serves as a unique example of a modern woman thinker. Her work was embodied in the activities and network of progressive thinkers of that era in the Austro-Hungarian Monarchy and later in Hungary after World War I.. The paper focuses on two aspects of her oeuvre that were directly connected to women’s emancipation, her writings – both correspondence with feminist activists and her journal entries – and the establishment of the school of orchestrics. The study is based on archival sources and her writings.
7
Labi, Kanni. "Muuseumikogudes ja suulises ajaloos säilib ajalik looming / Transient treasures are kept in museums and memories." Studia Vernacula 13 (November 18, 2021): 198–209. http://dx.doi.org/10.12697/sv.2021.13.198-209.
Full textAbstract:
Vanda Juhansoo. Artist or Eccentric Woman?Estonian Museum of Applied Art and Design18.01.–01.03.2020, Tartu City Museum 19.06.–26.09.2021.Exhibition curated by: Andreas Kalkun (Estonian Literary Museum)and Rebeka Põldsam, graphic design: Stuudio Stuudio.
Vanda Juhansoo (1889–1966) was by education a porcelain painter and furniture designer; she was, however, known as a textile and craft artist, traveller, polyglot, notable art teacher, interior decorator, advocate of women’s craft, soroptimist and gardener. Sometimes she was also known as the ‘Witch of Valgemetsa’. She graduated from the Central School of Applied Arts Ateneum in Finland, which makes her one of the first Estonian women artists with a higher education at the beginning of the 20th century.
Even though Vanda Juhansoo specialised in ceramics and furniture design, as a student she received the most recognition (as well as travel grants) for her embroidery. From then on, Vanda spent her next thirty summers travelling in Europe. Between 1912 and 1945, she exhibited her ceramics, embroidered doilies and curtains in various places, including the first ever Estonian women artists’ show in 1939. Vanda Juhansoo worked with the Kodukäsitöö limited company, that had been established in 1927 with the aim of reducing unemployment among women. Alongside craft and women’s magazines, the Kodukäsitöö was the most significant promoter of women’s craft in Estonia, regularly organising exhibition-sales and taking Estonian craft to international shows. Unfortunately, most of Vanda Juhansoo’s oeuvre was so ephemeral that there is very little trace of it now. The Karilatsi Open Air Museum near Vanda’s home in Valgemetsa and the collection of the Estonian National Museum hold items given to the museum by Vanda’s cousin’s family, which Vanda herself most likely wore – these are made to fit her petite size and there are photos of Vanda wearing these garments. Her signature style used floral motifs embroidered onto the thin textiles she wove herself. Like a painter, she spent hours embroidering, casting ethnographic patterns aside when creating her original designs. Even though the Estonian National Museum has exhibited Vanda Juhansoo’s embroidered cardigans as examples of Estonian folk art, these are, in fact, clearly original artistic designs.
After World War II, Vanda stopped exhibiting and publishing her patterns in craft magazines. Instead, she committed herself to teaching drawing and supervised a number of children’s art classes in Tartu that produced many wellknown artists. The memory of Vanda has largely been kept alive by her students, who remember her as a particularly bright and optimistic person. In addition to her embroidery, Vanda’s original style remained visible as she expressed it in her memorable multicoloured hair nets and abundant jewellery, as well as in the striking Valgemetsa summer house and garden.
The curators tried to trace back and recreate some of the wonderful world that Vanda created all around herself with her designs, handicraft, paintings, photos and memories from museums, archives, and from people who knew her. Looking at the life, work and legacy of Vanda Juhansoo, the exhibition asked: What were the choices for women artists in Estonia at the beginning of the 20th century? Why are Vanda’s works found mainly in the collections of ethnographic memory institutions rather than in art museums? Why did Vanda become the so-called ‘Witch of Valgemetsa’ and not a recognised applied artist?
In the present review, the reception of the exhibition is summarised and juxtaposed with the few studies on Vanda Juhansoo’s textile work from the perspective of craft studies and the history of applied art.
8
Labi, Kanni. "Muuseumikogudes ja suulises ajaloos säilib ajalik looming / Transient treasures are kept in museums and memories." Studia Vernacula 13 (November 18, 2021): 198–209. http://dx.doi.org/10.12697/sv.2021.13.198-209.
Full textAbstract:
Vanda Juhansoo. Artist or Eccentric Woman?Estonian Museum of Applied Art and Design18.01.–01.03.2020, Tartu City Museum 19.06.–26.09.2021.Exhibition curated by: Andreas Kalkun (Estonian Literary Museum)and Rebeka Põldsam, graphic design: Stuudio Stuudio.
Vanda Juhansoo (1889–1966) was by education a porcelain painter and furniture designer; she was, however, known as a textile and craft artist, traveller, polyglot, notable art teacher, interior decorator, advocate of women’s craft, soroptimist and gardener. Sometimes she was also known as the ‘Witch of Valgemetsa’. She graduated from the Central School of Applied Arts Ateneum in Finland, which makes her one of the first Estonian women artists with a higher education at the beginning of the 20th century.
Even though Vanda Juhansoo specialised in ceramics and furniture design, as a student she received the most recognition (as well as travel grants) for her embroidery. From then on, Vanda spent her next thirty summers travelling in Europe. Between 1912 and 1945, she exhibited her ceramics, embroidered doilies and curtains in various places, including the first ever Estonian women artists’ show in 1939. Vanda Juhansoo worked with the Kodukäsitöö limited company, that had been established in 1927 with the aim of reducing unemployment among women. Alongside craft and women’s magazines, the Kodukäsitöö was the most significant promoter of women’s craft in Estonia, regularly organising exhibition-sales and taking Estonian craft to international shows. Unfortunately, most of Vanda Juhansoo’s oeuvre was so ephemeral that there is very little trace of it now. The Karilatsi Open Air Museum near Vanda’s home in Valgemetsa and the collection of the Estonian National Museum hold items given to the museum by Vanda’s cousin’s family, which Vanda herself most likely wore – these are made to fit her petite size and there are photos of Vanda wearing these garments. Her signature style used floral motifs embroidered onto the thin textiles she wove herself. Like a painter, she spent hours embroidering, casting ethnographic patterns aside when creating her original designs. Even though the Estonian National Museum has exhibited Vanda Juhansoo’s embroidered cardigans as examples of Estonian folk art, these are, in fact, clearly original artistic designs.
After World War II, Vanda stopped exhibiting and publishing her patterns in craft magazines. Instead, she committed herself to teaching drawing and supervised a number of children’s art classes in Tartu that produced many wellknown artists. The memory of Vanda has largely been kept alive by her students, who remember her as a particularly bright and optimistic person. In addition to her embroidery, Vanda’s original style remained visible as she expressed it in her memorable multicoloured hair nets and abundant jewellery, as well as in the striking Valgemetsa summer house and garden.
The curators tried to trace back and recreate some of the wonderful world that Vanda created all around herself with her designs, handicraft, paintings, photos and memories from museums, archives, and from people who knew her. Looking at the life, work and legacy of Vanda Juhansoo, the exhibition asked: What were the choices for women artists in Estonia at the beginning of the 20th century? Why are Vanda’s works found mainly in the collections of ethnographic memory institutions rather than in art museums? Why did Vanda become the so-called ‘Witch of Valgemetsa’ and not a recognised applied artist?
In the present review, the reception of the exhibition is summarised and juxtaposed with the few studies on Vanda Juhansoo’s textile work from the perspective of craft studies and the history of applied art.
9
Vincent, Aude. "Reclaiming the memory of pioneer female geologists 1800–1929." Advances in Geosciences 53 (August 4, 2020): 129–54. http://dx.doi.org/10.5194/adgeo-53-129-2020.
Full textAbstract:
Abstract. Female earth scientists existed in the 19th century and the beginning of the 20th century in a number exceeding what we generally imagine. In this paper I present information on 210 of them who were active from 1800 to 1929. These women often overcame great challenges to achieve their positions, sometimes only to have their work attributed to men they worked with or for. Gender discrimination made access to university difficult and access to scientific careers even harder. They found several ways to overcome these difficulties thanks to the support of their parents or to the more ambiguous support of husbands or academic male mentors, through staying single, and through teamwork and mentorship with other women. In the same way many past female artists have been recently rediscovered, women scientists are progressively being saved from the dustbin of history, a huge task that has already been undertaken by several researchers. In addition to the review of their research, a fresh contribution to this collective work in progress is made with the presentation of hydrogeologist Norah Dowell Stearns. Finally, some reflections and suggestions are included on how we could fight this oblivion to which their work, their personalities and modern research on them are subject to.
10
Martynova, Daria O. "Formation and Development of the Iconography of the Mesmeric Seance in the Second Half of the 18th — Late 19th Centuries." Vestnik of Saint Petersburg University. Arts 11, no. 2 (2021): 224–42. http://dx.doi.org/10.21638/spbu15.2021.204.
Full textAbstract:
Analyzing the evolution of the iconography of such a phenomenon as mesmerism in the second half of the 18th — mid-19th centuries, the author shows that the scenario of modern hypnotic representation and its gestures were established by mesmerists in the second half of the 18th century, followers of the parascientific theory that caused discussions and intrigued doctors and artists for centuries. Analyzing the development of the iconography of mesmeric seance, the author identifies two waves of popularity of this subject: the first wave in the 70–80s of the 18th century and the second wave during the first decade of the 19th century and beginning of the 20th century. Such a duration is due to the fascination with the supernatural and inexplicable, reflected in various styles and trends. In this article, the author tries to show how the development of the iconography of the mesmeric seance provoked the appearance of the hypnotist or magician trickster, who became integrated into popular culture that later began to mark the majority of hypnotic actions, spiritualistic sessions or miracle shows. The author also illustrates how the image of a “controller” in the face of a man formed and confirmed the paradigm of a powerless, mysterious and controlled woman. As a result, it is concluded that hypnosis and mesmerism became common theatrical spectacles in the 20th century, cultivating the power of men (patriarchal society) over an exhausted woman, which is reflected in the works of Georges Méliès, Alfred Hitchcock, and even in the comic book Wonder woman.
11
Aslan qızı Məmmədova, Ləman. "Portrait treasury of great Azerbaijan female artists." SCIENTIFIC WORK 78, no. 5 (May 17, 2022): 31–37. http://dx.doi.org/10.36719/2663-4619/78/31-37.
Full textAbstract:
Məqalədə Maral Rəhmanzadə, Vəcihə Səmədova, Elmira Şahtaxstinskaya kimi görkəmli Azərbaycan rəssamlarının bəzi əsərləri təhlil edilmişdir. Maral Rəhmanzadənin, mahir fırça ustasının portret əsərləri incəsənətimizin tarixinə boyakarlığın qiymətli nümunələri kimi daxil olmuşdur. Böyük rəssamın portret janrında yüksək sənətkarlıq nümunəsi sayılan əsərləri son dərəcə özünəməxsusluğu ilə səciyyələnir. Maral Rəhmanzadənin yaradıcılığında başlıca xüsusiyyətlərdən biri Azərbaycan qadınına xas gözəlliyin, zərifliyin, məğrurluğun və zəngin mənəvi aləmin parlaq vəhdətidir. Azərbaycanın görkəmli rəssamı Vəcihə Səmədovanın tablolarında isə biz maraqlı rəng çalarları, milli kolorit, kompozisiyanın dinamikliyini və böyük ustalıq görürük. Görkəmli rəssamın belə xüsusiyyətləri ilə seçilən tabloları dünya muzeylərində layiqli yer tutur. Elmira Şaxtaxtinskaya isə daha çox plakat və dəzgah rəsmlərinin müəllifi kimi şöhrət tapmışdır. Rəssamın Azərbaycanın elm, ədəbiyyat və incəsənət xadimlərinin portretlər qalereyası yüksək sənətkarlığı ilə fərqlənir: Üzeyir Hacıbəyovun portreti, Hüseyn Cavidin portreti, Qara Qarayevin portreti, Əcəmi Naxçıvaninin portreti, Sultan Məhəmmədin portreti, Məhəmməd Füzulinin portreti, Məhsəti Gəncəvinin portreti və b. Açar sözlər: qadın rəssam, portret, XX əsr təsviri sənəti, rəssam, rəngkarlıq, bədii obraz, rəsm qalereyası Leman Aslan Mamedova Portrait treasury of great Azerbaijan female artists Abstract The article analyzes some of the works of such outstanding Azerbaijan artists as Maral Rahmanzade, Vajiha Samadova, Elmira Shahtakhstinskaya. The portraits of the great master of the brush Maral Rahmanzade entered the history of our art as valuable examples of painting. The works of the great artis, considered an example of high skill in the genre of portraiture, are distinguished by high originality. One of the main features of Maral Rahmanzade’s creativity is a bright unity of beauty, fragility, pride and rich spiritual world of Azerbaijan women. In the paintings of the outstanding Azerbaijan artist Vajiha Samadova, we see interesting shades of colour, national color, dynamism of composition and great skill. The painting s of the famous artist, characterized by such features, a worthy place in museums around the world. Elmira Shahtakhstinskaya is best known as the author of posters and picturesque paintings. Elmira Shahtakhstinskaya has created a portrait gallery of Azerbaijan culture and science figures, which is distinguished by high skill of execution: portrait of Uzeyir Hajibeyov, portrait of Huseyn Javid, portrait of Gara Garayev, portrait of Ajami Nakhchivani, portrait of Sultan Muhammad, portrait of Muhammad Fizuli, portrait of Mehseti Ganjavi, etc. Key words: artist, portrait, 20th century fine art, artist, painting, artistic image, art gallery
12
Кryvoruchko, Svitlana. "Lost Future. Mykola Khvylovyi "Tram Letter"." Balkanistic Forum, SOCIAL ANXIETY AND SOURCES OF MOBILISATION 31, no. 3 (September 15, 2022): 130–45. http://dx.doi.org/10.37708/bf.swu.v31i3.9.
Full textAbstract:
Postcolonial landmarks of the early 21st century create the conditions for the revival and emergence of oppressed cultures, languages, and literatures in the recent past. These issues are especially acute during the war between Ukraine and Russia in 2022. The source should be sought in past historical conflicts, including the early 20th century. One of the powerful and talented artists who tried to revive, develop and rehabilitate the "Ukrainian" in the beginning 20-th century contrary to the official Russian system, there was a prominent Ukrainian writer Mykola Khvylovy (1893-1933), who literally gave his life for it. The scientific problem is to identify the aesthetic modernist dominants of Mykola Khvylovy's work. In addition to European principles, the formation of Ukrainian national identity at the language level traces in poetic works of art. The purpose is to study women's artistic images, consciousness and character of the heroine, conflicts between men and women, their attitude to family and child on the level of modernist principles in Mykola Khvylov's poetry "Tram Letter" in terms of poetic analysis. This reveals the ideas: the doom of person in the bloodshed and death of wars and revolutions; denial of humanity, love itself; Ukrainian national idea.
13
Moltrup, Megan. "Herstory of Graphic Design: Elaine Lustig Cohen." Collections: A Journal for Museum and Archives Professionals 15, no. 2-3 (June 2019): 167–77. http://dx.doi.org/10.1177/1550190619866179.
Full textAbstract:
The Cary Graphic Arts Collection in Rochester, New York, manages the Graphic Design Archive of the Rochester Institute of Technology which features more than 35 collections documenting the work of many 20th-century Modernist graphic designers. Among these is the work of Elaine Lustig Cohen (1927–2016), a relatively unknown designer from New York City. Upon her marriage to the well-known designer Alvin Lustig, Elaine unknowingly started out on her path as a designer. She seamlessly transitioned from office manager to artist, but it took decades for her to receive recognition for her work. In an attempt to situate Elaine Lustig Cohen and her body of work within graphic design history and to give her body of work greater attention, I researched, handled, and disseminated knowledge of her work and her collection. Specifically, I examined and organized her collection at the Cary Graphic Arts Collection and went on to co-curate an exhibition chronicling her career as part of my capstone of my undergraduate degree in museum studies. I wanted to look at this collection in relation to the bigger picture of women in design and to the relationship between the representation of women in the history of graphic design textbooks and the availability of their work in archives.
14
Anokhina, Evgeniia. "Ancient Egyptian Painted Textile from the collection of R. de Rustafjaell." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 1 (2023): 228. http://dx.doi.org/10.31857/s086919080023083-8.
Full textAbstract:
The paper represents the first detailed publication of the Ancient Egyptian painted textile of the New Kingdom from the Pushkin State Museum of Fine Arts, Moscow (I,1а 6113). Formerly it belonged to the R. de Rustafjaell Collection. The purpose of the paper is to introduce a museum object, which was previously known only from a brief description and an early 20th-century black-and-white photograph, into scholarly discourse. The textile belongs to a group of painted cloths (about 30 in total) of the late 18th and early 19th Dynasty (14–13 centuries B.C.). They all have scenes of worship of the goddess Hathor. These cloths were brought as votive offerings to Hathor into her shrine in Deir el-Bahri. On the Pushkin Museum textile, the goddess is depicted as a sacred cow. Seven donators face her: three men and four women. These persons were most likely the members of a single family (parents and their children). Technological analysis shows that the painted textiles from Deir el-Bahri were both of professional and domestic production. The rather low quality of the threads as well as poor workmanship (the tension of the warp and weft threads was poorly regulated, the end of the right edge was not even, the density of the cloth was not uniform, there were other weaving errors as well) suggest that the manufacture of the Pushkin Museum textile was not the work of a professional weaver. The painting, on the other hand, was obviously done in a workshop by professional artists.
15
Komlenić, Miroslav. "ROCK MUSIC, SUICIDE AND MEDIA INFLUENCE." MEDIA STUDIES AND APPLIED ETHICS 3, no. 1 (March 11, 2021): 23–33. http://dx.doi.org/10.46630/msae.1.2021.02.
Full textAbstract:
Suicide risk factors usually include: previous attempts, depression, comorbidity of alcohol consumption and drug abuse, gender (three to four times more suicides in men than in women), family history of psychiatric disorders, environmental and social factors such as periods of major social changes or movements: revolution, industrialization, secularization, migration, wars and the like. In this paper we should try to approach the problem by looking into the hypothesis of some researchers that rock music, or rock and hippie movements from the 60s to the end of the 80s of the 20th century, are included in these social risk factors, directly or indirectly. The arguments that the authors refer to are mainly: numerous suicides among both performers and listeners of rock music, many cases of emulated suicides of rock stars by fans, a large number of songs whose content speaks of suicide, evidence on the spot of suicide related to listening to such songs at the time of committing suicide, many lawsuits and trials against rock composers and performers by grieving relatives, etc. The aim of this paper is to analyze critically these facts as problematic for stating them as causes of suicide. Additionally, the paper aims to explain that for already predisposed, latent suicidal people, this type of music is only a mediator towards more intense socializing with similar listeners, indulging in latent suicide activities such as alcohol consumption and drug abuse and only subsequently to depression and suicide. Since suicide does not have to be associated with depression and the death drive, but on the contrary with the urge to live and the desire to be prominent, loved and remembered, the thesis that suicides of rock artists and supporters belong to this category should not be removed.
16
Burganova, Maria A. "LETTER FROM THE EDITOR." Scientific and analytical journal Burganov House. The space of culture 17, no. 5 (December 10, 2021): 8–9. http://dx.doi.org/10.36340/2071-6818-2021-17-5-8-9.
Full textAbstract:
Dear readers, We are pleased to present to you Issue 5, 2021, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research areas concern topical problems in multiple areas of culture, art, philology, and linguistics. This versatility of the review reveals the main specificity of the journal, which represents the current state of the cultural space. The journal traditionally opens with the Academic Interview rubric. In this issue, we present an interview with Alexander Burganov, Academician of the Russian Academy of Arts, an outstanding Russian sculptor, National Artist of Russia, Doctor of Art History, Professor, Director of the Burganov House Moscow State Museum, interviewed by Irina Sedova, the Head of the 20th Century Sculpture Department of the State Tretyakov Gallery. This dialogue became part of the sculptor’s creative evening at the State Tretyakov Gallery, which included a personal exhibition, donation of the sculptural work Letter, screening of a special film and a dialogue with the audience in the format of an interactive interview. In the article “The Apocalypse Icon from the Kremlin’s Assumption Cathedral. Dating and Historical Context”, T. Samoilova points out the similarities between some motifs of the Apocalypse iconography and the motifs of Botticelli’s illustrations to the Divine Comedy, as well as the role of a line in both artworks which testifies to the influence of the Renaissance art on icon painting of the late 15th — early 16th centuries. Studying palaeography and stylistic features of the icon, the author clarifies the dates and believes that the icon was most likely painted after 1500, in the first decade of the 16th century. P. Tsvetkova researches the features of the development of the Palladian architectural system in Italy, in the homeland of Andrea Palladio. On the examples of specific monuments, drawings and projects created during two and a half centuries, the author analyses the peculiarities of the style transformation in the work of Palladio’s followers, the continuity of tradition, deviations from canonical rules. In the article “Artistic Features of the Northern White Night Motif in the Landscapes of Alexander Borisov and Louis Apol”, I. Yenina conducts art analysis and compares the works of the Russian “artist of eternal ice”, A. Borisov, and the Dutch “winter artist”, L. Apol. They were the first to depict such a phenomenon as a white night in the Far North. V. Slepukhin studies the artworks of the first decades of the Soviet era in the article “Formation of the Image of a New Hero in Russian Art of 1920- 1930”. The author concludes that the New Hero in the plastic arts of the 1920s–1930s was formed as a reflection of social ideals. The avant-garde artists searched for the Hero’s originality in the images of aviators, peasants, women. The artists of socialist realism began to form the images of the “typical” heroes of the time — warriors, athletes, rural workers, scientists, as new “people of the Renaissance”. In the article “Dialogues of the Avant-garde”, A. N. Lavrentyev presents a 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 20th century. Wei Xiao continues his analysis of contemporary art in the article “Chinese Sculpture in the New Era”. The author notes that the art of sculpture is in many ways a reflection of social change, both in terms of cultural content and practice. The author emphasises the need for cultural identity to preserve national traditions and spirituality. Xu Yanping’s article “The Dynamics of the Choral Culture Development in China in the 1930s on the Example of Huang Tzi’s Oratorio Eternal Regret” is a scientific study of a particular phase of the active entry of Chinese choral music into the sphere of the oratorio genre, directly related to the name of the great Chinese composer, Huang Tzi. It also highlights the issues of the country’s political life in the 1930s, which actively influenced the creation of nationwide singing movements and new choral works in the country. The author believes that the oratorio Eternal Regret presented in the article is a unique creation that organically combines ethnic musical material and Western composition techniques. The publication is addressed to professionals specialising in the theory and practice of the fine arts and philology and all those interested in the arts and culture.
17
Puerto, Cecilia. "Twentieth century Latin American women artists, discovery and record - a work in progress." Art Libraries Journal 20, no. 3 (1995): 15–18. http://dx.doi.org/10.1017/s0307472200009457.
Full textAbstract:
The work of Latin American women artists is not adequately documented, nor is it sufficiently recognised in the major art reference works and bibliographies which thus fail to facilitate access even to documentation which is available in the USA. The author has been working towards a bibliographic apparatus that will bring together readily available sources on 20th century Latin American women artists. Much material has been found in the Art Exhibition Catalog collection in the Arts Library at the University of California at Santa Barbara. Two Cuban artists, Ana Mendieta and María Martínez-Cañas, are just two of some 200 artists from 20 countries represented in this project. (The revised text of a paper presented to the IFLA Section of Art Libraries at the IFLA General Conference at Havana, August 1995).
18
Ittu, Gudrun-Liane. "Siebenbürgisch-deutsche Künstlerinnen vom Ende des 19. und Anfang des 20. Jahrhunderts." Studia Universitatis Babeș-Bolyai Historia Artium 65, no. 1 (December 31, 2020): 127–55. http://dx.doi.org/10.24193/subbhistart.2020.07.
Full textAbstract:
"Transylvanian German women artists from the end of the 19th and beginning of the 20th century. The paper is aiming at analyzing the life and art of a group of six German women artists from Transylvania, the first ones who studied abroad, real forerunners for the next generation of female plastic artists. Emancipated ladies, determined to become artists and earn their own money, the gifted women studied in Budapest, Vienna, Munich or Paris. Only Molly Marlin did not come back home, while the others had a prodigious artistic and pedagogical activity, being present at the annual exhibitions, together with well-known male colleagues. Keywords: art academies, women artists, painters, graphic artists, art teachers, exhibitions, Sibiu, Betty Schuller, Hermine Hufnagel, Molly Marlin Horn, Anna Dörschlag, Lotte Goldschmidt, Mathilde Berner Roth "
19
Andrews, Julia F. "Women Artists in Twentieth-Century China." positions: asia critique 28, no. 1 (February 1, 2020): 19–64. http://dx.doi.org/10.1215/10679847-7913041.
Full textAbstract:
This article is a reflection on two intersecting themes, the rise of women as artists and as female subjects for art, in the context of the evolving status of women in twentieth-century China. Set in the context of the nascent modern education for women and the emergence of feminism, the two phenomena, like the art world itself, are primarily urban. After surveying the accelerating progress made between 1910 and 1940, it interrogates, in light of contemporary art world patterns and current definitions of feminism, the slowing and even regression in recognition of women as artists in subsequent years.
20
Разуменко, Т. О. "ИСПАНСКАЯ ТЕМА В РАССКАЗАХ Э. ХЕМИНГУЭЯ «ПОБЕДИТЕЛЬ НЕ ПОЛУЧАЕТ НИЧЕГО»." Наукові записки Харківського національного педагогічного університету ім. Г. С. Сковороди "Літературознавство" 3, no. 93 (2019): 162–79. http://dx.doi.org/10.34142/2312-1076.2019.3.93.13.
Full textAbstract:
Ernest Hemingway is a symbolic figure in the literature of the 20th century. His name and works entered the history of world literature forever. The purpose of the article is to characterize the way of opening the inner world and the emotional state of the characters, the psychology of the ‘lost generation’ in the interaction of its external and internal manifestations through the civil war inSpain. The article analyzes the stories ‘A clean, well-lighted place’, ‘A way you’ll never be’, ‘The light of the world’. The heated atmosphere of the ‘bloody decade’ introduced new themes into the writer's work.Spainbecame a ‘moment of truth’ for E. Hemingway. He feels the inevitability of the coming world war. E. Hemingway expressed himself inSpaincompletely as an artist, and as a citizen. All the characters of his stories are simple people, men and women, unemployed, traumatized by war, looking for their place in the post-war world (a cook, a lumberjack, Indians, prostitutes etc.). Endless humor, laughter, self-irony, joke, and sometimes bitter laughter help them to stand and find their place in life. The ‘code’ of light, purity, and peace are universally introduced into all writer's works. In the personality of his characters there is much in common, unifying them with all the differences in appearance and life path, and above all, hopelessness and disappointment, indifference to life in general, and the most terrible is their loneliness. The utmost frankness and genuineness of soul movements, the combination of morals, history, nature with the chronicle of only human destiny, are exceptionally bright creative personalities of E. Hemingway, who describes his characters. In our work we came to the conclusion that the characters of the stories about the war years inSpain‘A clean, well-lighted place’ (about a lonely old man), ‘A way you’ll never be’ (about the war), ‘The light of the world’ (the sad and ironic story about prostitutes who remembered the past) anyway are rejected by a prosperous society. Hopelessness, dark state of the soul of ‘lost generation’ are combined with the belief in the ‘ordinary’ life without the war for the characters of E. Hemingway’s stories. Light and dignity are the main components of a person’s peaceful life, the confession of a person who got out of the abyss and survived during the war, but who lost the sense of life in peacetime, they are distinguishing features of many characters in military conflicts.
21
Alimkulova, Dilzoda. "National Institute of Art and Design named after Kamoliddin Behzod." History Research Journal 5, no. 4 (August 29, 2019): 104–8. http://dx.doi.org/10.26643/hrj.v5i4.7134.
Full textAbstract:
The art of Uzbekistan of the first decade of 20th century (1920-30s) is worthily recognized as the brightest period in history of Uzbek national art. We may observe big interest among the artwork which was created during the years of Independence of Uzbekistan towards the art of 20th century and mainly it may be seen in form, style, idea and semantics. Despite the significant gap between the 20th century art tendencies and Independence period, there is very big influence of avant-garde style in works of such artists as Javlon Umarbekov, Akmal Ikramjanov, Alisher Mirzaev, Tokhir Karimov, Daima Rakhmanbekova and others.
22
Lyashenko, Ekaterina S. "Transbaikal Painting of the 18th — the Early 20th Centuries: Periodization Problems." Vestnik of Saint Petersburg University. Arts 13, no. 3 (2023): 467–88. http://dx.doi.org/10.21638/spbu15.2023.305.
Full textAbstract:
The article is devoted to the research of Transbaikal painting history in the context of regional fine arts formation, artistic direction development. The Transbaikal art features are connected with region’s distance from cultural centers. Transbaikal painting has formed as result of penetration Russian art traditions and influence of regional national cultures. It’s possible to conditionally distinguish several stages in the history of Transbaikal painting. The first stage of formation (18th–19th centuries) was associated with creativity of visiting artists and with emergence of self-educated artists. The drawings were being made during the ethnographic expeditions in Siberia, also the Decemberists made their contribution. Besides, the icon painting was presented. The Transbaikal visual art heyday (the 2nd stage, 20th century) was presented with period of creativity and exhibition activities activation of the 20th century beginning, period of war years’ poster art, and period of realistic painting heyday. A lot of various in colorit landscapes were made in period of realistic painting heyday (the middle and second half of the 20th century). These are open spaces, steppes, roads, lyrical overcast landscapes, majestic north Transbaikalia and Buryatia mountains, landscapes of the Lake Baikal. The plot and historical paintings were being depicted scenes of Soviet reality, events of the region history and culture. Socialist realism was reflected in portraits and in subject painting, works of “austere style” were created. Individual artists with a pronounced style, manner stood out. Paintings were created with decorative, symbolic, ethnic motifs, impressionistic. At the present stage (beginning of the 21st century) artists of Transbaikalia create in the traditional and modernist direction, in the direction of ethnofuturism. Globalization processes, digitalization stimulate the penetration of creativity various forms into the region, and modern art projects begin to be implemented. System of art education traditions are emerging.
23
Ковальова, М. М., and Цю Чжуанюй. "ІМПРЕСІОНІСТИЧНІ ТЕНДЕНЦІЇ В КИТАЙСЬКОМУ ОЛІЙНОМУ ЖИВОПИСУ ПЕРШОЇ ПОЛОВИНИ XX СТОЛІТТЯ." Art and Design, no. 3 (November 13, 2020): 55–65. http://dx.doi.org/10.30857/2617-0272.2020.3.4.
Full textAbstract:
The purpose of the article is to reveal the impressionistic trends in the fine arts of China, determining the originality of the Chinese oil painting development of the 20th century. Methodology. Historical and cultural, comparative, iconographic and iconological methods are used in the study. Results. The study examines the underinvestigated aspects of Chinese painting development in the first half of the 20th century. The retrospective analysis of the pictural art enables tracing the traditions and innovations in the formation of oil painting in China, which prevails at this historical stage of the national art school development. The desire of Chinese artists to preserve the philosophical foundation and theoretical principles of classical ink painting, and at the same time an interest in Impressionism, have become a peculiar feature of Chinese oil painting. The main trends, dominating at the beginning of the century, persist to this day, defining the development of Chinese oil painting in general. It is determined that the decorativeness and thematic repertoire of classical Chinese ink art has been transferred to oil painting, as evidenced by the booming exhibition activities. The study determined that in the first half of the 20th century, the impressionistic trend was spread in the country, which resulted from the study of Japanese and French masters by Chinese masters. The teaching methods and stylistic searches of Chinese artists of the period under study became the foundation of contemporary Chinese art. The latest trends in Chinese oil painting in the first half of the 20th century are: an artistic rethinking, reminiscences of a similar phenomenon in Western European painting of the late XIX – early XX century. The spread of impressionism contributed to the greatest development of still life and landscape genres, and also brought plein air practice to a new level. Many Chinese artists spread impressionistic ideas not only in artistic creation, but also in art history. The scientific novelty lies in the systematization and factual material analysis on this problem, determining the role of the impressionist trend in the Chinese oil painting development. Practical significance. The results of the study can be used in further studies of the history and theory of Oriental art of the 20th century.
24
Christensen, Inga. "Early 20th-Century Danish Women Artists in Light of De Beauvoir's "The Second Sex"." Woman's Art Journal 9, no. 1 (1988): 10. http://dx.doi.org/10.2307/1358357.
Full text
25
Moody, Ivan. "Mensagens: Portuguese Music in the 20th Century." Tempo, no. 198 (October 1996): 2–10. http://dx.doi.org/10.1017/s0040298200005313.
Full textAbstract:
These lines of Fernando Pessoa (1888–1935), the great poet of Portuguese modernism, may seem at first sight to invoke the principal element of fado, Portugal's national music: the element represented by that famously untranslatable word suadade, implying longing, nostalgia, homesickness … However, they hide far deeper resonances. Mensagen (Message), the poetic sequence from which they come, is a profound exploration of Portugal's history, a modern counterpart to Camoens's great 16th-century epic The Lusiads. It is connected to the nationalist Integralismo Lusitano movement, and to Sebastianism. Other poets, particularly Mario Sa-Carneiro (1890–1916), and plastic artists, notably Amadeo de Sousa Cardoso (1887–1918) and Jose de Almada Negreiros (1893–1970), similarly reflect the strength of these patriotic and mystical ideas in Portugal during the country's deepening social crisis in the early part of the century. But Pessoa, who famously split himself into several persons, each with their own name, style and poetic output, may also stand as a symbol of the different currents Portuguese composers have ridden in search of their national identity.
26
Kantor, Maxim. "The Renaissance versus the Avant-Garde." Forum Philosophicum 18, no. 2 (January 5, 2014): 139–68. http://dx.doi.org/10.35765/forphil.2013.1802.09.
Full textAbstract:
The essay contrasts two recurring phenomena of European culture: renaissance and avant-garde. The author discusses the paradigmatic Renaissance of 15th and 16th centuries and the paradigmatic Avant-Garde of early 20th century from the point of view of a practicing artist, interested in philosophical, social, religious, and political involvements of artists and their creation. The author shows the artistic and social history of 20th century as a struggle between the Avant-Garde and the Renaissance ideals, which, as he points out, found a fertile ground in in the 20 years that followed immediately the Second World War.
27
Chernysheva, Anna Igorevna. "N. N. Zeddeler and A. P. Somova-Zeddeler: the forgotten names of early 20th century Russian art. Japonism in Russian printmaking at the beginning of 20th century." Secreta Artis 5, no. 1 (June 9, 2022): 6–23. http://dx.doi.org/10.51236/2618-7140-2022-5-1-6-23.
Full textAbstract:
The term japonism refers to a movement within 20th-century Russian art that has so far been insufficiently explored. In the meantime, its popularity at the turn of the 19th and 20th centuries coincided with the extraordinary blossoming of Russian color printmaking. N. N. Zeddeler and A. P. Somova were among those artists, who, along such revered masters like A. P. Ostroumova-Lebedeva and V. D. Falileeva, made a substantial contribution to the development of this art style. To date, their work has not received close attention from researchers. Likewise, there is no literature that would provide a systematic analysis of their legacy, save for brief mentions in the periodic press of that period or publications dedicated to exhibitions of 1900-1910s, in which the artists took part. N. N. Zeddeler and A. P. Somova-Zeddeler were well-known in the Russian and European artistic circles at the beginning of the century. Having acquired their education in Munich and Paris, they produced an oeuvre that fit perfectly into the context of early 20th century art and added essential touches to the aesthetic vision of the world emerging at that time. However, the work of these masters was not met with the appreciation it deserved and was eventually forgotten. It is worth noting that the task of mapping out the full biography of both artists appears to be extremely challenging due to a variety of reasons: their departure from artistic practice after the outbreak of the First World War, fragmentary and meager archival material, a small number of works that have survived till our time, the tragic and difficult fate of N. N. Zeddeler and A. P. Somova-Zeddeler… Thus, the purpose of the article is to fill in one of the gaps in the Russian history of art of the 20th century. The author examines the engravings by N. N. Zeddeler and A. P. Somova-Zeddeler from the collection of the Pushkin Museum created between 1900 and 1910, which were previously not studied by researchers.
28
Núñez Valdés, Juan, Fernando de Pablos Pons, and Antonio Ramos Carrillo. "Pioneering Black African American Women Chemists and Pharmacists." Foundations 2, no. 3 (August 2, 2022): 624–38. http://dx.doi.org/10.3390/foundations2030043.
Full text
29
Savenkova, Inna I. "Reminiscence as a Technique for Creating a Work of Art in Creativity of Women Artists of Russia in the Late 19th and Early 20th Centuries." Университетский научный журнал, no. 79 (April 24, 2024): 91–99. http://dx.doi.org/10.25807/22225064_2024_79_91.
Full textAbstract:
The article is devoted to the formation of female professionalism in artistic creativity, which demonstrates a direct connection with socio-cultural changes in Russia at the turn of the 20th century. The author analyses one of the most important characteristics of women’s artistic creativity — the stylistic features of brushwork based on the combination of the individual and the imitative. It is traced how various artistic infl uences in Russia and Western Europe are manifested in the work of women artists.
30
Martin Castillejos, Ana M., Sofia Melero Tur, and Isabel Morales Jareño. "Challenging Domesticity." International Journal of English Studies 24, no. 1 (June 28, 2024): 153–70. http://dx.doi.org/10.6018/ijes.532881.
Full textAbstract:
This article aims to reflect on how the current changes in the context of domesticity are the result of multiple contributions from women working in different fields. It is a collective effort that began to bear fruit in the second half of the 20th century, when an open war against former traditional standards already existed. In that respect, there is a reference to female artists, writers and architects from the last two centuries which calls that notion into question: from artists present at the Women House exhibition celebrated in 2018 at the National Museum of Women in the Arts (Washington D.C., USA), where many described the domestic realm as a trap to female writers and architects who equally defy and revise previous conceptions of domesticity. All in all, it seems clear that the theoretical approach that supports the need to reshape old domesticity standards works in conjunction with many hands-on efforts, some of which will be shown below.
31
Schleicher, Alexander. "Museum of Contemporary Art by Artists." Advanced Engineering Forum 12 (November 2014): 79–87. http://dx.doi.org/10.4028/www.scientific.net/aef.12.79.
Full textAbstract:
Museum is type of building which among architectural work occupies a special place by its distinct function of documenting existence and progress of humankind, society and their environment. This is reflected in the outstanding architecture of these buildings. 95% of museum buildings arose after World War II. This authorizes us to talk about the museum as a “20th century phenomenon“ especially of the second half of it. The unprecedented growth of museums after World War II – most of them are museums of art, especially contemporary art – entitles a question which is often discussed: What is an ideal museum like as an object serving for exhibiting art and what does an ideal exhibition space for contemporary art look like? This question had only been discussed among architects and museologists for a long time. According to the nature of contemporary art and because of the fact that alongside these two determinants the exhibiting artists who actively influence exhibition space and form the final spirit of the exhibition became an important element in creation of the museum; the question what is the artists’ vision of the ideal museum is poignant. Answer to that question can be given by concepts of the ideal museum of contemporary art from the end of the 20th century created by artists. The “Bilderbude” concept by Georg Baselitz, two projects “Ideales Museum” by Gottfried Honegger, “A Place Apart” by Marcia Hafif and also concepts of museums or opinions on a museum of contemporary art by other artists provide an idea of how the artists deal with and look on this problematic. The issue of museum of contemporary art perceived by the optics of artists definitely represents an interesting example of connecting functionality demanded by the artists, significant author’s approach and philosophical ideas concerning the ideal museum of contemporary art. Museum Concepts – Thinking about Museum Museum concepts from the beginning of existence of museum buildings (in some cases even before considering a museum an individual specialized object or an institution) provide us the notice about the main themes which the actors of this problematic were dealing with at that time. While at the beginning in the museum concepts we can trace the effort to define an individual type of a museum building, an ideal museum; then we can see searching for a form which would be adequate to the building expression. Later especially in the 20th century until nowadays there have been solved more specific problems concerning the growth of the museum collections, expanding the functional structure of the museum, shape and form of the exhibition space etc. The museum topic such important personalities as for example Étienne-Louis Boullée, Le Corbusier or Ludwig Mies van der Rohe brought their contribution. The 20th century especially the 2nd half of it, if we do not only consider the narrow present scope, brought an unseen growth of museum architecture. 95% of museums arose after the World War II. [1] A great part of museums which were built in this period are museums of art, often presenting modern or contemporary art. This fact - emerging of such an amount of museums of contemporary art together with the changed form of visual art in the 20th century – the importance of depicting and documenting function of art, which until then visual art besides the aesthetical function was satisfying started to decrease, the artist were engaged in new themes, they experimented with new methods etc. – brings increasing effort of the artists to influence the final form of the exhibition spaces in the means of their specific demands and also to influence the form of the general form of the museum building. The artists more and more actively participate at creating the museum, they influence the form of the exhibition space and the exhibition itself – unlike in the past, when the museologist, curator was creating the exhibition by choosing from the collection, which he had at disposal and the exhibition was formed by them relatively independently from the artists – authors of the exhibits. The first artistic experiments, which balance on the edge of visual art and museum, have been occurring since the 20-ties of the 20th century – let’s mention for example El Lissitzky (Proun room, 1923), Kurt Schwitters (Merbau, 1923-37) or Marcel Duchamp (Boîte-en-valise, 1935-41), and they persist until nowadays. In the 70-ties Brian O`Doherty analyses from the point of view of an art theoretician but also an active artist the key exhibition space of the 2nd half of the 20th century, which he characteristically identifies as White Cube. Donald Judd – artist and at the same time a hostile critic of contemporary museum architecture (70-ties-80-ties) formulated his uncompromising point of view to the museum architecture as follows: “Forms’ for their own sake, despite function, are ridiculous. One reason art museums are so popular with architects and so bizarre, is that they must think there is no function, the clients too, since to them art is meaningless. Museums have become an exaggerated, distorted and idle expression for their architects, most of whom are incapable of expression.“ In another text he posed the question: “Why are artists and sculptors not asked how to construct this type of building?“ [2] As we can see the artists’ opinion who seem to stay unheard in the museum and their needs stay unnoticed has full legitimacy and is very interesting for the problematic of museum and exhibition space. Beginning in the 70-ties of the 20th century these opinions are given more and more precise contours. While O’Doherty only comes with a theoretical essay on exhibition space (1976), D. Judd already presents his own idea of a museum even realised through the Marfa complex in Texas (1979/1986). Let’s mention some other artists who form their ideas of an ideal museum in form of unrealised concepts. Some authors name their proposals after a bearing idea of their concept; others call them directly ideal, in the same way as it was in the beginning of the history of museum. Contemporary Art Museum Concepts by Artists Georg Baselitz: Bilderbude.
32
Nash, Margaret A. "A Means of Honorable Support: Art and Music in Women's Education in the Mid-Nineteenth Century." History of Education Quarterly 53, no. 1 (February 2013): 45–63. http://dx.doi.org/10.1111/hoeq.12002.
Full textAbstract:
“The value of the Art Education becomes more and more apparent as a means of honorable support and of high culture and enjoyment,” stated the catalog of Ingham University in western New York State in 1863. The Art Department there would prepare “pupils for Teachers and Practical Artists.” This statement reveals some of the vocational options for women that were concomitant with the increased popularity of music and art education in the middle decades of the nineteenth century in the United States. Practical vocational concerns, along with notions of refinement and respectable entertainment, all were aspects of the impetus for music and art education. Preparing young women for occupations, whether as teachers of art and music or as commercial artists or musicians, was a particularly prominent component of education for women in the mid-nineteenth-century United States.
33
Modreanu, Roxana. "Romanian Art History During the 1950s as a Form of Social History of Art." Art History & Criticism 19, no. 1 (November 30, 2023): 81–94. http://dx.doi.org/10.2478/mik-2023-0007.
Full textAbstract:
Summary The Romanian Workers’ Party – the political party that led Romania from 1947 until 1965 – need for legitimisation led to the rewriting of history in a way that the history of Romania was presented as a linear progression finally leading to communism. In art history, art also became a linear phenomenon, progressively advancing towards Socialist Realism. The tactics of constructing the new narrative in art history during the 1950s and the beginning of the 1960s can be read as a form of the social history of art. Although the methodology could have led to remarkable results, ethical boundaries were violated: only some historical episodes and moments from artists’ biographies were selected. Within this context, this study investigates whether papers and monographs about Romanian painters active in the second half of the 19th century and the beginning of the 20th century can be read as a form of social history of art.
34
Kuznetsova, E. Yu, and S. V. Peshkov. "INDUSTRIAL GENRE IN THE VISUAL ARTS: KUYBYSHEV HYDROELECTRIC STATION IN PAINTINGS AND GRAPHICS." Topical Issues of Culture, Art, Education 40, no. 2 (2024): 25–36. http://dx.doi.org/10.32340/2949-2912-2024-2-25-36.
Full textAbstract:
The article examines the development and features of the industrial genre in Russian fine art in the context of the work of artists on the construction of the Kuybyshev hydroelectric station. The general features of the industrial genre of the mid-20th century are given, the works of painting and graphics dedicated to the construction of the Kuybyshev hydroelectric station are analyzed, reflecting and preserving the history for the younger generation of the following artists: A.K. Vingorsky, V.G. Gremitskikh, G.V. Filatov. In addition to the artistic analysis of the works, the article briefly presents the biography of the above-mentioned artists, reviews the features of their work, highlights the features of the figurative solution of the industrial genre of the 50s.
35
Rivera Gómez, Elva. "Knowledge transgressors: the incursion of women to science in Mexico, 19th-20th centuries." Culture & History Digital Journal 8, no. 1 (July 17, 2019): 004. http://dx.doi.org/10.3989/chdj.2019.004.
Full textAbstract:
The influence of feminist thought has been very important in the field of history, as it has revealed the invisibility of women in this disciplinary field, besides of studying power relations and their effects on the daily, private and public life in which both women and men are involved. Access to education, first primary, then secondary and later higher in Mexico, spanned for a period of more than a century. In some of the regions, the presence of women in higher education was in the last third of the nineteenth century in areas considered feminine, such as midwifery, nursing and others. Careers are recorded in the 20th century. In this paper we propose to review the historiography and history of women who entered the different fields of knowledge at the end of the 19th century and in the first half of the 20th century, as well as to present a panorama of the educational spaces to which the Mexican women had access.
36
Misiak, Małgorzata. "Vilnius Alma Mater – Cultural and Scientific Link of Polish-Lithuanian History." Slavistica Vilnensis 66, no. 1 (November 18, 2021): 142–49. http://dx.doi.org/10.15388/slavviln.2021.66(1).66.
Full textAbstract:
The discussed monograph is an attempt to present Vilnius Alma Mater as a cultural and scientific link of Polish-Lithuanian history. The texts that make up the volume concern thematically Polish-Lithuanian relations from the 16th century to the present day, perceived in several aspects: historical and cultural, literary, linguistic and educational. The articles collected in the volume are arranged into specific five themes. These are: the heritage of the Polish–Lithuanian Commonwealth, the Grand Duchy of Lithuania in the works of 19th-century artists, The History of Stefan Batory University (1919–1939), The interpretation of the space of Vilnius and the Grand Duchy of Lithuania from the perspective of the 20th and 21st centuries, the study of phenomena belonging to the cultural and cultural borderland linguistic.
37
Bigoni, Francesca, and Fausto Barbagli. "Objects from voyages of Exploration: the James Cook Collection in Florence." Archivio per l'Antropologia e la Etnologia 152 (November 1, 2022): 3–16. http://dx.doi.org/10.36253/aae-2195.
Full textAbstract:
The Cook collection of the Museum of Anthropology and Ethnology in Florence includes objects belonging to the cultures of Polynesia, Melanesia and the North-West Coast of North America. The importance of these artifacts is increasingly recognized not only by curators, ethnologists and artists, but also by historians. In this contribution we retrace the history of its rediscovery in the 19th century, and the studies of the 20th century which confirmed its attribution and expanded knowledge. Finally, we reflect on the contents, methods of communication and the future potential of this collection.
38
Niyazova, Khafiza Khakimovna. "Eternal Heroes Of Uzbek Cinema." American Journal of Social Science and Education Innovations 02, no. 11 (November 30, 2020): 614–22. http://dx.doi.org/10.37547/tajssei/volume02issue11-107.
Full textAbstract:
This article examines such films as “Tahir and Zuhra”, “Nasriddin in Bukhara”, “Alisher Nava’i”, which are some of the brightest samples of Uzbek cinema of the 20th century. We will talk about the history of these films, their creators - screenwriters, directors, cameramen, composers, artists, ensemble of actors and their performance skills. These films are analyzed from the point of view of cinematography, and their success and shortcomings are clearly stated.
39
Gerschultz, Jessica. "Mutable Form and Materiality: Toward a Critical History of New Tapestry Networks." ARTMargins 5, no. 1 (February 2016): 3–29. http://dx.doi.org/10.1162/artm_a_00130.
Full textAbstract:
This article raises two concerns underpinning the need for a critical history of fiber art in the 20th century. The first is a critique of aesthetic formalism predominant in the Lausanne Biennale during the 1960s and 70s, which overlooks artistic, ideological, and political milieus that drew together textile artists from localities formerly treated as peripheral in art history. The second holds to account Euro-American institutions and related historiographies for their curatorial exclusion of Arab and African fiber artists. Such inclusion, I argue, would have conjured tapestry's deeper incongruities, which emanated from unresolved questions at the core of modernism: the assigning and appropriating of artistic identities, the evaded issue of state patronage, and the persistent ideological and aesthetic problem of craft and its framing within economies. By comparing three artists: Magdalena Abakanowicz, Jagoda Buic, and Safia Farhat, I reassess New Tapestry networks, myths, and systems of state and institutional support. The circulation of Abakanowicz, Buic, and Farhat around a conflux of dimensions signals a new pathway for recovering and writing a history of fiber art, and perhaps a reflection on modernism at large.
40
Kuzina, Nataliya. "Russian-Catalan Relations of the Second Half of the 19th and Early 20th Century." ISTORIYA 13, no. 10 (120) (2022): 0. http://dx.doi.org/10.18254/s207987840023314-4.
Full textAbstract:
This article is devoted to contacts and connections between Catalan and Russian intellectuals, artists in the period from the second half of the 19th century to the beginning of the 20th century. These interactions were largely fragmentary, the connections were personal and few, but they significantly influenced the literary and artistic life of Russia and Catalonia. Questions of culture, science and art were the main subjects of conversation between Russians and Catalans. The article highlights such episodes as the correspondence between I. Pavlovsky and N. Ollier, the influence of the Catalan artist M. Fortuny on domestic painters, joint projects of S. Diaghilev and H. Sert, etc.
41
Skliarenko, Halyna. "Interpretation Peculiarities of the Impressionistic Trends in Ukrainian Ar." Folk art and ethnology, no. 1 (February 28, 2022): 30–45. http://dx.doi.org/10.15407/nte2022.01.030.
Full textAbstract:
The article is dedicated to the interpretation peculiarities of the impressionistic trends in Ukrainian art. Impressionism as the first modernist style has a huge impact on world art, been marked in it both by new purely formal, plastic and also world-view features. Ukrainian art hasn’t also avoided it and attracts its experience to the search for a new artistic language of the turning point in the artistic development of the period of the late 19th – early 20th century in its own way. Although impressionism hasn’t formed a definite exact trend in Ukrainian art, its ideas, in particular, the individualization of artistic vision, subjectivity of perception, colour expressiveness mark a new stage of its development and keep their relevance for a long time. The sources of impressionistic influences in Ukrainian painting at the turn of the 19th – early 20th century, the contradictions of its interpretation by critics and artists, the peculiarities of impressionism significance in the works of avant-garde artists (D. Burliuk, O. Bohomazov, K. Malevich) are considered in the article. A great importance of a large exhibition Impressionism in Ukraine in the phenomenon representation is emphasized. The event has been held on December, 2009 – March, 2010 at the National Museum of Modern Art in Kyiv. A range of impressionistic interpretations in Ukrainian painting of the late 19th – early 20th century is submitted for the first time. An attitude to the trend during the next periods of the history of Ukrainian art, namely in the post-revolutionary 1920s, 1930s – 1950s, 1960s – 1970s, is analyzed in the article. These are the periods, when impressionism as a bourgeois artistic trend has been “deleted” from the Soviet art because of the establishment of socialist realist doctrine. It has been returned gradually into the artists’ creative practices in the following years. Impressionism has preserved its attractiveness until the 1970s due to the peculiarities of the art development in the Soviet conditions (isolation from the world experience, shortage of extensive information about Ukrainian art of the pre-Soviet times) despite its historicity and close connection with art of the turn of the 19th – 20th century.
42
Zhang, Xiaotong. "On Chinese Aesthetics of Abstract Expressionism Art." Highlights in Art and Design 3, no. 2 (June 26, 2023): 76–79. http://dx.doi.org/10.54097/hiaad.v3i2.10495.
Full textAbstract:
In the development trend of modern and contemporary art, abstract expressionism has occupied a decisive position in the history of art since its birth. As a representative art school in the 20th century in the West, it unexpectedly has a very distinctive artistic characteristic of China. In terms of objective environment, the artistic dialogue between China and the West in the 20th century was promoted to the field of metaphysical philosophy. Western artists' interest in oriental art surpassed their superficial understanding of their unique brushwork, and abstract art became the best cultural bridge to communicate between the East and the West. This paper compares the characteristics of Chinese and western artistic thoughts and the characteristics of abstract expressionism art, and explains how it has oriental artistic thoughts on the basis of world outlook.
43
Pardoe, Heather, and Maureen Lazarus. "Images of Botany: Celebrating the Contribution of Women to the History of Botanical Illustration." Collections: A Journal for Museum and Archives Professionals 14, no. 4 (December 2018): 547–67. http://dx.doi.org/10.1177/155019061801400409.
Full textAbstract:
The superb botanical illustration collection of Amgueddfa Cymru– National Museum Wales in Cardiff, Wales, has developed through bequests, donations, and selective purchases. Numbering more than 7,000 works, 15% of these are by women, including the work of well-known Victorian artists and leading contemporary artists such as Gillian Griffiths, Pauline Dean, and Dale Evans. In particular, the Cymmrodorion Collection is the most prestigious collection, containing illustrations dating from the 18th century and featuring works by Elizabeth Blackwell, Jane Loudon, and Sarah Drake. Using this and other collections from the museum, this article examines the contribution that women artists have made to the field of botanical illustration by referring to the lives of these women and considering their motives, whether they pursued botanical illustration out of financial necessity, out of scientific curiosity, or to allay boredom. The article further examines the social restrictions and prejudice that many of these women had to overcome.
44
B. Dhanalakshmi, S. Pavithra, D. Daniel Sebastian, K. Vishnu, and K. Swarna. "The Rise of Expressionism: When Literature Meets Art in History." International Journal of Research Publication and Reviews 04, no. 01 (2023): 846–48. http://dx.doi.org/10.55248/gengpi.2023.4127.
Full textAbstract:
Expressionism was a literary and artistic avant-garde movement that originated in Germany at the turn of the 20th century. The expressionist writers and artists wanted to create and bring to life their reality, as well as their inner idea or vision of what they saw. Their approach to their subject matter was more creative. They thought it was completely pointless to make just an imitation of the world. Expressionism could be seen as the revival and development of the Romantic tradition because of this attitude turning away from physical reality. The expressionist drama introduced a novel method of directing, designing scenes, and staging. This study highlighted the journey of literature in terms of sharing knowledge and amazed the audience with greater visualization. The study of art's evolution and stylistic shifts over time in art history. Western art history, or the progression of art from the Renaissance to modern art, is the primary topic of this page. Many writers shared their thoughts, the truth behind the artwork, and the social and economic condition of the artist in the racing time of the 20th century
45
Lekmanovr, Oleg. "Акмеизм и «Цех поэтов» в оценках критики начала 1910-х годов: цитаты с комментариями." Modernités Russes 10, no. 1 (2010): 15–25. http://dx.doi.org/10.3406/modru.2010.897.
Full textAbstract:
The paper proposes an analysis of the contrasted reception of the Corporation of the poets and acmeism by readers and literary circles of the beginning of the 20th century. The author used discussions in the press, critical notes, correspondence and fragments from the memories of artists and critics of this time. The contemporaries’ debate makes it possible to determine the place of acmeism in literary history at the time of its birth.
46
Kashkova, Alisa I. "The Archetype of Ideal City in the Naive Painting of Russian Artists of the 20th Century." Observatory of Culture 19, no. 3 (July 5, 2022): 327–35. http://dx.doi.org/10.25281/2072-3156-2022-19-3-327-335.
Full textAbstract:
The archetype of ideal city is one of the most significant in the development of world culture due to the fact that the idea of perfect world order, embodied in a spatial image, has reflected from ancient times the most important value orientations of the cultures of the Middle Ages and the Modern Times, both of the West and of the East. In Russian culture, the archetype of ideal city is embodied in the images of the Heavenly Jerusalem and the City of Kitezh. We have chosen as an object of research the works of Russian naive artists of the 20th century, which allows us to trace the development dynamics of this archetype in modern Russian culture. The subject of the research is the embodiment and peculiar interpretation of the archetype of ideal city in the works of naive artists Pavel Petrovich Leonov (1920—2011), Vagan Yerevandovich Sakiyan (1926—2002), Yury Dmitryevich Deev (1944—1998). The aim is to identify culturally conditioned interpretations of the national archetypes of ideal city in the naive art of the twentieth century. The article also conducts a multi-level cultural research of the creative world of the naive artists P.P. Leonov, V.E. Sakiyan and Yu.D. Deev, revealing the most characteristic features of this art phenomenon. The study of national Russian culture involves referring to a number of works on cultural studies, philosophy, mythology, history, philology, folklore studies, etc., devoted to the issues of national archetypes. The analysis of the naive painting works by Russian artists is carried out on the basis of cultural-philosophical, comparative-historical, typological, and analytical approaches. The naive art as a cultural phenomenon of Russian culture is very little studied in modern science; meanwhile, it combines many different cultural-psychological, cultural-historical and socio-cultural phenomena.
47
Mancebo Roca, Juan Agustin. "Recepción y legado de Gustav Klimt en el norte de Italia." Norba. Revista de Arte, no. 43 (January 11, 2024): 371–87. http://dx.doi.org/10.17398/2660-714x.43.371.
Full textAbstract:
No European country devoted to Klimt the attention he received in Italy. Widely represented at the 1910 Biennale and at the International Exhibition in Rome in 1911, his work influenced artists in the north of the country and in the irredentist territories that transcribed his laboratory of experiences both in painting and in other artistic disciplines. The reception of Klimt, through design, furniture, fashion and interior decoration perpetuated, in a more moderate way than at his starting years, modernism and symbolism until the mid-20th century in the transalpine country through Venetian decorative models, the reception in Felice Casorati and the "rebellious" artists of Ca'Pesaro, the Italian-speaking Austrian subjects in Trento and Trieste and the sculpture and graphics of Adolfo Wildt.
48
Yueyue, Xie. "Historical ages in the image of St. Petersburg as a source of inspiration for Russian watercolor artists in the late 20th – beginning of the 21st century." OOO "Zhurnal "Voprosy Istorii" 2023, no. 1-1 (January 1, 2023): 166–71. http://dx.doi.org/10.31166/voprosyistorii202212statyi111.
Full textAbstract:
The image of St. Petersburgfor many Russian watercolor artists is especially attractive precisely because of its historical and cultural connotations. Historical epochs, which are manifested in the appearance of the city, become the subject of study, creative search and embodiment in painting. This article is devoted to the analysis of how modern Russian watercolor artists read and personify historical eras in the image of St. Petersburg.
49
Neugebauer, Wibke, Clarimma Sessa, Christoph Steuer, Thorsten Allscher, and Heike Stege. "Naphthol Green – a forgotten artists’ pigment of the early 20th century. History, chemistry and analytical identification." Journal of Cultural Heritage 36 (March 2019): 153–65. http://dx.doi.org/10.1016/j.culher.2018.08.008.
Full text
50
Dix, Steffen. "Vom bleibenden Recht der Antike in der künstlerischen Moderne Europas: Fernando Pessoa und Giorgio de Chirico." Zeitschrift für Religions- und Geistesgeschichte 74, no. 3 (July 25, 2022): 251–72. http://dx.doi.org/10.1163/15700739-07403005.
Full textAbstract:
Modernism in the early 20th century has usually been viewed as a radical break with the past and tradition. Nevertheless, there are a great deal of direct references to classical antiquity in many works of modernist artists. This apparent contradiction forces us to rethink the notion of a radical break between the new and the past. It is with this in mind that the present article focuses on one of the most exiting periods in European cultural history. In particular, the article refers to two attempts to revitalize classical antiquity during the first decades of the 20th century. These two attempts are illustrated by the Portuguese writer, Fernando Pessoa, and the Italian painter, Giorgio de Chirico. Their works are not only characteristic of the marked revival of classical antiquity in the first years of Modernism, but they also reveal that this revival is more than a simple “new classicism”. Insofar as this new/ past dualism, the work of Pessoa and de Chirico should be better described as an updated mythological thinking.