Artículos de revistas: "20th century art"

1

de Burgh, Jane. "Passionate about 20th-century art". Lancet 354, n.º 9179 (agosto de 1999): 688. http://dx.doi.org/10.1016/s0140-6736(05)77675-3.

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Wahlman, Maude S. "Africa Explores: 20th Century African Art:Africa Explores: 20th Century African Art". Museum Anthropology 15, n.º 4 (noviembre de 1991): 30–31. http://dx.doi.org/10.1525/mua.1991.15.4.30.

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3

Asanuma, Keiji. "20th Century-End of Modern Art?" TRENDS IN THE SCIENCES 6, n.º 2 (2001): 56–58. http://dx.doi.org/10.5363/tits.6.2_56.

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Flam, Jack. "Africa Explores: 20th Century African Art". African Arts 25, n.º 2 (abril de 1992): 88. http://dx.doi.org/10.2307/3337064.

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Oguibe, Olu y Susan Vogel. "Africa Explores: 20th Century African Art". African Arts 26, n.º 1 (enero de 1993): 16. http://dx.doi.org/10.2307/3337105.

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6

Pellizzi, Francesco. "Africa Explores: 20th Century African Art". African Arts 26, n.º 1 (enero de 1993): 22. http://dx.doi.org/10.2307/3337106.

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7

Küchler, Susanne. "The prototype in 20th-century art". Visual Communication 9, n.º 3 (agosto de 2010): 301–12. http://dx.doi.org/10.1177/1470357210372723.

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8

David W. Galenson. "Conceptual Revolutions in 20th-Century Art". Historically Speaking 10, n.º 5 (2009): 20–22. http://dx.doi.org/10.1353/hsp.0.0078.

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9

Dudek, Stephanie. "Written in blood: 20th century art." Canadian Psychology/Psychologie canadienne 30, n.º 2 (abril de 1989): 105–15. http://dx.doi.org/10.1037/h0079804.

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10

Kardum, Goran, Dubravka Kuščević y Marija Brajčić. "The Impacts of Different Sorts of Art Education on Pupils’ Preference for 20th-Century Art Movements". Education Sciences 10, n.º 1 (3 de enero de 2020): 15. http://dx.doi.org/10.3390/educsci10010015.

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The research presented here aims to determine how art education influences students’ preferences for the 20th-century art movements. An educational experiment that spanned through one school year was conducted on 200 primary school students. It included three types of intervention: observing works of art from the 20th century, introducing works of art using a puppet, and the students’ art activities/artwork based on the 20th-century art movements. The results show that the model of art education is an important factor in changing students’ preferences for the 20th century art movements. Students reacted positively to each kind of education, as evidenced in the wider acceptance of 20th-century art (abstract, fauvism, cubism, pop art, and surrealism). The type of education did not influence preferences (as much) when it came to classical art and visual works without artistic value. We concluded that puppets and independent creative work should be used more often in art education.

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11

Prior, Nick. "Review: Scottish Art in the 20th Century". Scottish Affairs 11 (First Serie, n.º 1 (mayo de 1995): 155–61. http://dx.doi.org/10.3366/scot.1995.0030.

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12

Dudek, Stephanie Z. "The morality of 20th‐century transgressive art". Creativity Research Journal 6, n.º 1-2 (enero de 1993): 145–52. http://dx.doi.org/10.1080/10400419309534473.

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13

Selber, Kimberly A. "Influence of Modern Art on Early 20th-Century Advertising Art". International Journal of the Arts in Society: Annual Review 2, n.º 1 (2007): 183–92. http://dx.doi.org/10.18848/1833-1866/cgp/v02i01/35350.

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Kostova-Panayotova, Magdalena. "The Socialist Art – Teaching or Rewriting". Balkanistic Forum 33, n.º 2 (1 de junio de 2024): 261–67. http://dx.doi.org/10.37708/bf.swu.v33i2.17.

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The article focuses on the phenomenon of soc-art as part of the parodic reimagining of socialist realism literature. It examines its secondary reception as part of the nostalgia of the 70s-80s of the 20th century, which is a lack, a hiatus, a non-realization, but a part of the past of thousands of people. The phenomenon is placed against the back-ground of Bulgarian literature and the story "The Anyuta Case" by the writer Alek Popov is drawn for analysis. This story shows the way in which Bulgarian literature in the 90s of the 20th century ironically and without a lack of nostalgia interprets the time of socialist realism and its values. The aesthetics of socialist realism are turned upside down, and the writer demonstrates all the insanity and idiocy of the reality he was called to reflect. Unlike the late 20th century Russian soc-art, which is perceived more nostalgically than ironically, this work from the late 20th century unambiguous-ly reveals the scars of a time that, despite the usual nostalgia of the generation, could not sound nostalgic.

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15

Alimkulova, Dilzoda. "National Institute of Art and Design named after Kamoliddin Behzod". History Research Journal 5, n.º 4 (29 de agosto de 2019): 104–8. http://dx.doi.org/10.26643/hrj.v5i4.7134.

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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.

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16

Keser, Sezer Cihaner. "20th Century quest for new art and interdisciplinary approach". Global Journal of Arts Education 7, n.º 2 (12 de junio de 2017): 61–65. http://dx.doi.org/10.18844/gjae.v7i2.1835.

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AbstractArt; when setting up the combined connection of feelings and thoughts, it is a very effective helper of learning and development. It developes one's source of explanation better, form of expression and other disciplines. That is why, in modern eductaion systems science and art should be nested together. Collaboration of different disciplines in art education started to gain importance towards the end of the 20th century. Because both fields are aimed for service development and discovery of the new, when feelings are educated, mental abilities, thoughts and intelligence have been seen to be developed. In this study, the key actions of the art education in the 20th century education has been briefly noted and towards the end of the 20th century with the importance gained from different disciplines with art the new created discipline based art education and approach to interdisciplinary art has been investigated. Keywords: art, education, interdisciplinary art, mental abilities, learning, development.

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17

Shank, Will y Miguel Angel Corzo. "Mortality Immortality? The Legacy of 20th-Century Art". Journal of the American Institute for Conservation 40, n.º 1 (2001): 80. http://dx.doi.org/10.2307/3180020.

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18

PRICE, SALLY. "“Primitivism” in 20th Century Art . WILLIAM RUBIN, ed". American Ethnologist 13, n.º 3 (agosto de 1986): 578a—580. http://dx.doi.org/10.1525/ae.1986.13.3.02a00190.

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19

Reif, Wanda. "Alfred Stieglitz and 20th-century art in America". Lancet 357, n.º 9258 (marzo de 2001): 811–12. http://dx.doi.org/10.1016/s0140-6736(00)04160-x.

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20

Martin, Colin. "Art in 1900: signposts for the 20th century". Lancet 355, n.º 9208 (marzo de 2000): 1021–22. http://dx.doi.org/10.1016/s0140-6736(00)90004-7.

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21

Harney, E. "BLACK ART AND CULTURE IN THE 20TH CENTURY". Nka Journal of Contemporary African Art 1999, n.º 10 (1 de marzo de 1999): 69. http://dx.doi.org/10.1215/10757163-10-1-69.

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22

Boyers, Robert. "The attack on value in 20th century art". History of European Ideas 11, n.º 1-6 (enero de 1989): 481–91. http://dx.doi.org/10.1016/0191-6599(89)90234-9.

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23

Portnova, Irina V. "Russian Animalistic Art of the 20th Century as a Special Kind of Fine Art". Observatory of Culture 18, n.º 5 (29 de octubre de 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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24

Rycroft, Simon. "Art and micro-cosmos: kinetic art and mid-20th-century cosmology". cultural geographies 19, n.º 4 (16 de agosto de 2012): 447–67. http://dx.doi.org/10.1177/1474474012447538.

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Recent work by cultural geographers on visual art has emphasized performative and participatory aspects focusing upon the embodied and multi-sensory experience of encountering and being part of a work of art. Research on non-figurative art has much to offer in elucidating the relationships and distinctions between representation, non-representation and abstraction. Non figurative artists were representing or enacting a new kind of materiality, one that was putative, in process and ever changing. That materiality was based upon the adoption of a mid-20th-century cosmology and inspired by recent advances in the understanding of matter and the universe. Kinetic art, which is characterized by a set of abstract aesthetics that represent or reproduce real or illusory movement, was, especially in the post-war period, inspired by this new cosmology. Mid-century kinetic artists created non-figurative abstract models of the latest understandings to bring their associated energies, forces and motions to the senses of the viewer-participant. The models that kinetic artists produced in a variety of media were designed to be experienced in an embodied manner rather than simply viewed. These and other models of a mid-century cosmology signify a period in which the practices of representation were shifting significantly and consequently demand our attention.

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25

Inshakov, A. N. "Mikhail Vrubel’s Exhibition as a Subject of Art Criticism Reflection". Art & Culture Studies, n.º 2 (junio de 2024): 250–85. http://dx.doi.org/10.51678/2226-0072-2024-2-250-285.

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In this article, written after visiting the exhibition of works by M.A. Vrubel at the State Tretyakov Gallery in Moscow in the winter of 2021–2022, the author shares some of his impressions of the event. Vrubel appears as an innovator who predicted and anticipated in his work many phenomena in the art of the coming 20th century. The author examines the influence of Vrubel’s creative work on the artists of the Russian avant‐garde and the perception of his works by the masters of new trends in art. The purpose of the study is to analyse various connections between the young Russian artists of the 1900s‐1910s and the art and searches of Vrubel. The novelty of the work lies in the fact that this topic has not been fully studied to date. The significant exposition of Vrubel’s works at the Tretyakov Gallery provided a lot of new material for studying the influence of the artist’s work on the masters of the Russian art of the 20th century. In the article special emphasis is placed on the consideration of the last period of the master’s work associated with his illness. From the point of view of a modern researcher this period is a significant and completely independent phenomenon that completed his work of the 19th century and opened up new opportunities for the art of the 20th century. Research material for this article is presented by the works of Vrubel shown at the exhibition in the Tretyakov Gallery in 2021–2022, the memoirs and testimonies of the artists of the early 20th century, and subsequent works of the art historians of the 20th century.

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26

Ritesh Ranjan, Ritesh Ranjan. "Folk Art and Nationalism in the 20th Century India". International Journal of Mechanical and Production Engineering Research and Development 10, n.º 3 (2020): 2743–48. http://dx.doi.org/10.24247/ijmperdjun2020258.

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27

Petit, David A. "The Object as Subject in 20th Century American Art". Art Education 43, n.º 2 (marzo de 1990): 36. http://dx.doi.org/10.2307/3193205.

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이주현. "Formation of Art Circles in early 20th century Beijing". KOREAN JOURNAL OF ART HISTORY 256, n.º 256 (diciembre de 2007): 161–92. http://dx.doi.org/10.31065/ahak.256.256.200712.006.

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ADLER, K. "Art Beyond the Gallery in Early 20th Century England". Oxford Art Journal 8, n.º 2 (1 de enero de 1985): 73–74. http://dx.doi.org/10.1093/oxartj/8.2.73.

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30

Forcer, S. "The Radical Use of Chance in 20th Century Art". French Studies 67, n.º 1 (21 de diciembre de 2012): 131–32. http://dx.doi.org/10.1093/fs/kns272.

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31

Kara-Vasylieva, Tetyana. "Encyclopedic Study of Ukrainian Art of the 20th Century." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2022, n.º 1 (15 de enero de 2022): 224–25. http://dx.doi.org/10.33625/visnik2022.01.224.

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Yatsiv, R. (2021). Mala khronolohiia mystetskykh podii i pamiatnykh dat XX stolittia: Ukraina — svit: Lokalno indyvidualnyi doslidnytskyi rakurs [A small chronology of artistic events and memorable dates of the XX century: Ukraine — the world: Local individual research perspective]. [Handbook]. Lviv: Apriori. [In Ukrainian].

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Demchenko, Aleksandr Ivanovich. "Russian music art of the early 20th century: Devaluation". Manuscript 16, n.º 5 (10 de noviembre de 2023): 303–11. http://dx.doi.org/10.30853/mns20230059.

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This essay is dedicated to the complexity of the position of the classical concept of humanism and harmony at the beginning of the 20th century, marked by its obvious displacement from the forefront of artistic processes and its opposition to tendencies associated with various "non-classical" manifestations. The unfolding events not only vividly symbolized the passing civilization but also foreshadowed the entry into a zone of colossal conflict and tragic sense of the world. The author identifies typical antitheses presented in the musical art of the early 20th century at the level of individual compositions, the level of the work of specific composers, and at the level of musical art as a whole. As a result, the preconditions for the emergence of dissonance are determined, including the antithesis of "objective – subjective," sometimes pushed to the brink of "objectivism – subjectivism."

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Sherbayevna, Shukurova Lobar. "Bukhara Applied Art In Middle Of XVIII - Early XX Century, During The Mangit Dynasty". American Journal of Applied sciences 02, n.º 12 (31 de diciembre de 2020): 156–59. http://dx.doi.org/10.37547/tajas/volume02issue12-24.

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In the article stressed about some features of Bukhara's applied art in the middle of the 18th - early 20th centuries. Art historians and historians have cited the scientific views of some scholars on the development of folk applied art in these periods.

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34

Bach, Clemens. "Die Kunst als Modellierungsinstanz des Körpers". Vierteljahrsschrift für wissenschaftliche Pädagogik 98, n.º 1 (2 de marzo de 2022): 92–108. http://dx.doi.org/10.30965/25890581-09703030.

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Abstract Art as Formation of the Body. Pedagogical and Aesthetic Concepts Between Monism, Tectology and Biotechnology at the Beginning of the 20th Century The article focuses on various scientific reflections at the beginning of the 20th century, which converged in László Moholy-Nagy’s pedagogical theory of art to form the idea of modelling the body through art. Aspects of monism, tectology and biotechnology formed a concept that can be understood as the pedagogical influence of art on the body and consciousness with the help of its specifically indirect mode of action.

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35

Burov, Andrey Mikhailovich. "Artistic and Aesthetical Aspects of the Systematic Change in the First Half of the 20th Century". Journal of Flm Arts and Film Studies 4, n.º 2-3 (15 de septiembre de 2012): 77–85. http://dx.doi.org/10.17816/vgik42-377-85.

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The article highlights certain artistic and aesthetical aspects of the systematic change in the art of the first half of the 20th century. Based on specific factors, the author discovers a number of basic criteria for the artistic, aesthetical and structural evaluation of post-visual phrases (relevant for both post-visual phrase of the first half of the 20th century and the postvisual phrase of the second half of the 20th century and the beginning og the 21st century).

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36

Mann, Vivian y Daniel Chazin. "Printing, Patronage and Prayer: Art Historical Issues in Three Responsa". IMAGES 1, n.º 1 (2007): 91–97. http://dx.doi.org/10.1163/187180007782347557.

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Abstract"Printing, Patronage and Prayer: Art Historical Issues in Three Responsa" presents texts from 16th-century Italy, 17th-century Bohemia, and 20th-century Russia that explore the following issues: the impact of the new technology of printing on Jewish ceremonial art and limits to the dedication and use of art in the synagogue.

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37

Géger, Melinda. "Az elveszett paradicsom. A vidéki táj és vidéki élet ábrázolása a somogyi képzőművészetben a 20. század első felében I." Kaposvári Rippl-Rónai Múzeum Közleményei, n.º 7 (2020): 337–50. http://dx.doi.org/10.26080/krrmkozl.2020.7.337.

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The depiction of Hungarian village and rural life ap-peared as a motif of outstanding significance in 20th-century painting. The representation of the hungarian village and ru-ral life appeared as an outstanding motif in the 20th century painting. The variations in the appearance of the topic are closely related to the transformations of Hungarian society in the 20th century (vagy 20th century helyett:era). The focus is on each in artistic oeuvres to depict the rural sites of civic life and to the myth of a peasant living in harmony with nature and folklorization, elsewhere a new, pantheistic one falls to cre-ate a picture of nature. In the artistic oeuvres the focus was on the representation of the civil life’s rural locations, on the myth of peasants who live in harmony with nature, more on their folklrisation and elsewhere on a new, pantheistic nature-picture creation. In the first half of the 20th century, this idyll dominates in pictorial expressions describing the concept of rurality. In the first part of the study, different variations of the depictions of the rural idyll appearing in the art of Somogy are reviewed, especially focusing on the art of József Rippl-Rónai. In the first half of the study, the different variations of rural idyll’s depictions in Somogy’s art are reviewed, espe-cially focused on József Rippl-Rónai’s works.

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38

Shalyha, O. "UKRAINIAN FINE ART IN CANADA (SECOND HALF OF THE 20th CENTURY)". Bulletin of Taras Shevchenko National University of Kyiv. History, n.º 136 (2018): 82–86. http://dx.doi.org/10.17721/1728-2640.2018.136.1.18.

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The article highlights the process of incipience of Ukrainian fine art in Canada. During the second half of the 20th century the Ukrainian diaspora created its own art and multiplied traditional Ukrainian art. Unfortunately, the achievements of the Ukrainian diaspora as a rule aren’t well-known to Ukrainian scientific community. The names of these people have filled up the treasury of spiritual values not only in Ukraine or Canada, but worldwide. Ukrainian artists from Canada have created artistic values reflecting the progress of the world’s fine art and have retained the best traditions of native schools. The article contains information about such organizations as the Ukrainian Association of visual artists of Canada, the Ukrainian-Canadian Art Foundation, the Alberta Council for Ukrainian Art. The article also highlights life and artistic journey of V. Kurilyk, M. Dmitrenko, Leo Mol, G. Novakivska, O. Lesyuk, M. Antoniv.

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39

Kholodynska, Svitlana. "THE CREATIVE WORK OF BORIS VIAN WITHIN FRENCH HUMANITIES OF THE 1940s–1960s". UKRAINIAN CULTURAL STUDIES, n.º 1(12) (2023): 29–33. http://dx.doi.org/10.17721/ucs.2023.1(12).07.

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In the second half of the 20th century, discussions around the understanding of crisis phenomena that permeated all spheres of human life became more frequent, in particular, the spheres of art and aesthetics were also touched upon. The crisis in the artistic sphere was connected with the general cultural crisis of the late 19th and early 20th centuries, the decline of spirituality, and the relativization of values, primarily moral and aesthetic. Analysis of the crisis in the sphere of artistic practice and aesthetics of the 20th century was the subject of scientific research by several representatives of Polish aesthetics of the second half of the 20th century: R. Ingarden, S. Morawski, B. Dziemidok, and others. The primary attention of these thinkers was devoted to the understanding of transformational processes in modern artistic creativity and the analysis of its influence on aesthetics with a clear emphasis on the importance of the axiological perspective. A thorough analysis of the problems of the crisis in artistic creativity and aesthetics of the 20th century can be found in the works of S. Morawski. He studied the causes and consequences of transformations in artistic creativity since the beginning of the 20th century, in particular, the consequences for the formation of the modern axiosphere, and its role in changing modern aesthetic consciousness. However, S. Morawski's prediction regarding the replacement of aesthetics with anti-aesthetics was not confirmed. On the contrary, art that implements aesthetic values has survived, although the range of aesthetic values has increased significantly. Modern philosophy of art is open to the most controversial artistic proposals. This is because it breaks with those normative principles that limit freedom. The most important thing, however, is that normative and descriptive aesthetics always have an axiological character, which all representatives of Polish aesthetics emphasized in the second half of the 20th century.

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40

Shevchuk, Kateryna. ""CRISIS OF ART" AND "CRISIS OF AESTHETICS" IN RESEARCH OF POLISH HUMANITIES OF THE SECOND HALF OF THE 20th CENTURY". UKRAINIAN CULTURAL STUDIES, n.º 1(12) (2023): 25–28. http://dx.doi.org/10.17721/ucs.2023.1(12).06.

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In the second half of the 20th century, discussions around the understanding of crisis phenomena that permeated all spheres of human life became more frequent, in particular, the spheres of art and aesthetics were also touched upon. The crisis in the artistic sphere was connected with the general cultural crisis of the late 19th and early 20th centuries, the decline of spirituality, and the relativization of values, primarily moral and aesthetic. Analysis of the crisis in the sphere of artistic practice and aesthetics of the 20th century was the subject of scientific research by several representatives of Polish aesthetics of the second half of the 20th century: R. Ingarden, S. Morawski, B. Dziemidok, and others. The primary attention of these thinkers was devoted to the understanding of transformational processes in modern artistic creativity and the analysis of its influence on aesthetics with a clear emphasis on the importance of the axiological perspective. A thorough analysis of the problems of the crisis in artistic creativity and aesthetics of the 20th century can be found in the works of S. Morawski. He studied the causes and consequences of transformations in artistic creativity since the beginning of the 20th century, in particular, the consequences for the formation of the modern axiosphere, and its role in changing modern aesthetic consciousness. However, S. Morawski's prediction regarding the replacement of aesthetics with anti-aesthetics was not confirmed. On the contrary, art that implements aesthetic values has survived, although the range of aesthetic values has increased significantly. Modern philosophy of art is open to the most controversial artistic proposals. This is because it breaks with those normative principles that limit freedom. The most important thing, however, is that normative and descriptive aesthetics always have an axiological character, which all representatives of Polish aesthetics emphasized in the second half of the 20th century.

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41

SUVOROVA, ANNA A. "Modes of Monstrosity in Visionary and Outsider Art: From divine to Machine and Back". Art and Science of Television 19, n.º 3 (2023): 177–99. http://dx.doi.org/10.30628/1994-9529-2023-19.3-177-199.

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The art of visionaries and outsiders is a space of fantastic narratives, authorial mythologies, and hybrid identities. Their personal religious doctrines and pseudohistorical epics generate monstrous bodies and entities combined with characteristics of the divine, human, and machine. The article examines the representations of monstrosity in visionary and outsider art, art brut, and art of the insane of the 20th and early 21st centuries, investigating the representations of monsters in the artworks of Karl Brendel (Karl Genzel), Bernard Schatz (L-15), and Allen Christian. The general characteristics of monstrosity in visionary and outsider art of the 20th and early 21st centuries are the visionary nature of images, multiculturalism, hybridity, the combination of the scientific, pseudoscientific and religious narratives and popular culture. In the early 20th century, religion had a significant impact, manifested in the hybridization of religious images and pseudo-anthropomorphic distortion in art. In the second half of the 20th century, space narratives had a great influence and were embodied in images of aliens, the cosmos, etc. The turn of the 20th and 21st centuries was the time for rethinking technology, and the symbiosis of human and technology, the origin of species and alternative theories of evolution became popular themes.

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42

Umarova, Zarrina. "Characteristics of development of Tajik jewelry art at the turn of the 21st century". SHS Web of Conferences 50 (2018): 01226. http://dx.doi.org/10.1051/shsconf/20185001226.

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The paper identifies and analyzes the characteristic features of the development of Tajikjewelry art in the late 20th - early 21st centuries. The author believes that at this time, after a long period of oblivion, there is a marked way to restoration of many lost and nearly forgotten folk traditions in Tajik jewelry art. This period of time can be distinguished as a transitional period in the history of Tajik jewelry art development. This issue carries a significant value in the history of Tajikistan because the jewelry art in the period from the 80ies ofthe 20th century to the early 20th century was previously not subjected to a dedicated study, which results in certain gaps in the research of modern Tajik jewelry art. Studying the characteristics of the development of jewelry art at the turn of the 21st century and of the problems faced by master jewelers (zargars) at that time will aid in the future to identify the most efficient ways of developing this industry and facilitate its becoming one of the export-oriented areas, taking into account that the Republic of Tajikistan possesses all the necessary natural resources.

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Park, Hyesung. "Rethinking the 20th-Century Korean Embroidery from Gender Perspectives". Korean Journal of Art History 320 (31 de diciembre de 2023): 65–98. http://dx.doi.org/10.31065/kjah.320.202312.003.

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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.

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Houghton, Beth. "Art book publishing in Britain". Art Libraries Journal 17, n.º 3 (1992): 38–40. http://dx.doi.org/10.1017/s0307472200007951.

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Art publishing in Britain flourished in the earlier part of the 20th century, thanks in no small part to the enterprise of European émigrés. However, a majority of art books published now are of a commercial and popular nature, neglecting many aspects of art and British art of this century in particular. Do the conservatism of British taste, or the ready availability of books in libraries, contribute to this situation?

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45

Ковальова, М. М. y Цю Чжуанюй. "ІМПРЕСІОНІСТИЧНІ ТЕНДЕНЦІЇ В КИТАЙСЬКОМУ ОЛІЙНОМУ ЖИВОПИСУ ПЕРШОЇ ПОЛОВИНИ XX СТОЛІТТЯ". Art and Design, n.º 3 (13 de noviembre de 2020): 55–65. http://dx.doi.org/10.30857/2617-0272.2020.3.4.

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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.

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Madan, Elena. "ARTISTIC ASPECTS OF TRADITIONAL BESSARABIAN FURNITURE (LATE 19TH CENTURY - MID-20TH CENTURY)". Journal of Social Sciences VI, n.º 4 (enero de 2024): 52–66. http://dx.doi.org/10.52326/jss.utm.2023.6(4).05.

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The study focuses on the artistic aspects of traditional furniture from Bessarabia, dating from the late 19th century to the mid-20th century. We emphasize the importance of materials, decorative techniques, artistic means, and decorative structure in the crafting and decorating of traditional furniture. The motivation for this research lies in analyzing how the culture and folk art of Moldova are reflected in the characteristics of traditional furniture. The specific hypothesis of this study posits that Moldovan traditional furniture represents an expression of the talent and artistic sense of the craftsmen and householders from Moldova. The research aims to conduct a detailed analysis of the materials used, including wood and others, as well as decorative techniques such as carving, sculpture, and painting. The objectives include a comprehensive description of the mentioned materials and techniques. The research methods included documentary analysis, relevant illustrations, and extensive field research in all regions of the Republic of Moldova, spanning the years 2007-2023, contributing to the scientific and applied foundation of the research. The main results consist of highlighting the role of traditional furniture in reflecting Moldovan culture and folk art, providing data and illustrative images to support these aspects.

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47

Yaxun, Li. "Chinese musical art in the early 20th century (1900s – 1930s)". OOO "Zhurnal "Voprosy Istorii" 2022, n.º 10-1 (1 de octubre de 2022): 138–49. http://dx.doi.org/10.31166/voprosyistorii202210statyi20.

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The 20th century has become a turning point in terms of genres, styles, and musical language. Wars, the openness of borders, Chinese trips abroad of their homeland influenced the penetration of Western influences and new technologies into the country, from industry to the musical art of education. The article reveals the formation of new genres and formats - music and song school, piano music, instrumental music, romantic song, symphonic work. Each of the works that gave rise to these genres has its own prerequisites for creation and historical and cultural reality, which allows us to trace the interrelationships in the formation and development of Chinese music in the early 20th century.

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Chen, Ziyuan. "Chinese Calligraphy: An Ancient Art in the Modern Era". SHS Web of Conferences 159 (2023): 02003. http://dx.doi.org/10.1051/shsconf/202315902003.

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Chinese calligraphy is an ancient character writing art. It germinated in the Shang Dynasty, reached its peak in the Tang Dynasty, and did not form a new calligraphy style for more than one thousand years. There are many similarities between Chinese calligraphy and western painting, including similarities in abstraction and symbolism. When the country went through the modernization of the 20th century, the western influence gradually increased, and the Chinese calligraphy art gradually formed new art forms such as hard pen calligraphy. At the same time, calligraphy art has also inspired and influenced the formation and development of western modern art in varying degrees since the 20th century. In the future, Chinese calligraphy will fully absorb the essence of western art, making this ancient art full of new vitality.

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49

Liao, Lei. "Background of Western Modern Art in the 20^th Century". SHS Web of Conferences 167 (2023): 01008. http://dx.doi.org/10.1051/shsconf/202316701008.

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In the 20th century, many major events were represented by the two world wars. They not only changed people’s living environment, but also affected people’s mental state. In the field of arts, modern industrial science and technology have opened up the expressive techniques of arts. War trauma has affected the creative mood of artists, and the inheritance of art value from the previous generation have also profoundly affected the inner spirit of arts. From the perspective of social and cultural contexts, the analysis of the time motivation of the development of western modern art in the 20th century can further understand its influence on art expression techniques, and also assist people better understand the connotation of art works, and better appreciate art works.

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Karpova, Elena A. "TEXTILE ART AS PART OF CITY'S ARCHITECTURAL SPACE". Architecton: Proceedings of Higher Education, n.º 2(70) (29 de junio de 2020): 20. http://dx.doi.org/10.47055/1990-4126-2020-2(70)-20.

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The article is devoted to the interaction of textile art with architecture. The prototypes of tent architecture were temporary and mobile structures and ancient tent shelters. Decorative fabrics were used to decorate city streets during festivals and processions. They served as an essential color dominant emotionally affecting the viewers. The textile art of the 20th – early 21st century has seen the emergence of three-dimensional forms named "new tapisserie" and "environment". In the 20th century, architectural tent structures received extensive engineering and technical development, which influenced the form and plasticity in modern textile art, existing in synthesis with the architectural space of the city.

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