Littérature scientifique sur le sujet « Figurative painting, British – 20th century »
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Articles de revues sur le sujet "Figurative painting, British – 20th century"
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Cramer, Florian. « Hiding in Plain Sight. Amy Suo Wu’s The Kandinsky ». INMATERIAL. Diseño, Arte y Sociedad 2, no 4 (20 décembre 2017) : 104–16. http://dx.doi.org/10.46516/inmaterial.v2.40.
Texte intégralRésumé :
The history of 20th century painting conventionally identifies abstraction with modernism and the return of figuration with postmodernism. But abstraction ended much earlier, in a spy operation during World War II, when a British intelligence officer, in a stroke of genius, found abstract paintings to be the perfect carriers for secret messages transported across the ocean. For this purpose, he commissioned a painting to Wassily Kandinsky that included a secret message encoded – in the manner of flag signs or Morse code – into its seemingly abstract visual shapes. This anecdote explains steganography: the clever hiding of messages
in other messages. Steganographic messages do not need to appear innocuous. At some point,
militant jihadists were reported to run pornographic websites as a cover, using porn images for hidden communication. [...]
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Abdokova, Marina B. « Portrait and landscape in Boris Zaitsev’s publicistic writings : style and ethos ». RUDN Journal of Studies in Literature and Journalism 25, no 1 (15 décembre 2020) : 17–32. http://dx.doi.org/10.22363/2312-9220-2020-25-1-17-32.
Texte intégralRésumé :
The article represents genre-style etymology of Boris Konstantinovich Zaitsev (1881-1972) publicistic legacy (that includes essays, profiles and critical notes). Style-forming expressions of this outstanding representative of 20th century Russian literary abroad are analyzed within the context of his ethical and philosophical principles. Zaitsev’s portrait and landscape sketches are considered for the first time as figurative-poetic and genre-compositional components of the artist's “visual palette”. One of the effective methods of comprehending the style and ethos of the writer is the disclosure of multi-genre subtexts that reflects the creative worldview of B. Zaitsev, in which aesthetics is closely intertwined with metaphysics, and this, in turn, determines the adjacent disciplinary tools for the study of “literary painting”, actualizes parallels with non-verbal art forms (painting, music). The intertextual phenomenology of B. Zaitsev's publicistic texts is not limited to the artful, masterly and technical depiction. The nature of refined subject-figurative “painting”, as follows from the analysis, is based on the spiritual contemplation of the writer and reflects a rare for the art of the 20th century harmony of the artistic and transcendent.
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Gracheva, Svetlana M. « Portrait in Contemporary Russian Painting in the Context of World Art : A Typology of the Genre ». Vestnik of Saint Petersburg University. Arts 11, no 4 (2021) : 636–48. http://dx.doi.org/10.21638/spbu15.2021.404.
Texte intégralRésumé :
In Russian fine art, portrait painting has been traditionally distinguished by extraordinary variety and depth, reflecting the figurative and stylistic searches of artists of different periods. Russian art historians have comprehensively studied the portrait genre in the history of art. At the same time, the well-established classification of genres does not allow to take into account completely the variety of trends and approaches to the depiction of a person in contemporary art. The understanding of the portrait genre’s boundaries in contemporary art is extremely blurred. Sometimes it means either any image of a person, or even the absence of one at all. It appears essential and important to consider the work of Russian artists in the context of international visual art practices to compose a more holistic picture connected with general cultural development. The article proposes to expand the established typology of the portrait genre adopted in Russian art. The already well-known typology of portrait painting can be updated with other types of portrait based on the semantic and semiotic analysis of artistic works of the late 20th — 21st century. It is important to study contemporary Russian portrait painting from the perspective of a variety of typological models, and to use the new language of contemporary art history to understand the processes taking place in Russian painting of the late 20th — 21st century, in order to facilitate the entry of Russian art into the international cultural context. An idea has been matured to create a National Portrait Gallery in Russia which would collect portraits and self-portraits of the greatest personalities of our era in a real and virtual space.
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Portnova, Irina V. « Russian Animalistic Art of the 20th Century as a Special Kind of Fine Art ». Observatory of Culture 18, no 5 (29 octobre 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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Kuznetsova, E. Yu, et 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.
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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.
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Sokolyuk, Lyudmyla, et Serhii Steshenko. « Monumental and Decorative Painting in the Temples of Kharkiv Region of the Modern Era (Features of the Figurative and Plastic Language). » Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2022, no 1 (15 janvier 2022) : 73–86. http://dx.doi.org/10.33625/visnik2022.01.073.
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The article describes the features of the figurative and plastic language of monumental and decorative painting preserved to our time in the churches of Kharkiv region of the modern era. Created by the selfless work of many outstanding artists at the turn of the 19th — 20th centuries, in the wave of the inclusion of Ukrainian art in the European cultural context, paintings of churches in Kharkiv region have come down to us in small numbers: most of them were lost due to the destruction of religious buildings under the Soviet regime; some were considerably mutilated or whitewashed by new owners of the buildings when the latter were not used for their intended purpose; the other ones suffered due to non-professional “restorations” of the second half of the 20th — beginning of the 21st century, when modern artists have made their corrective even in the plot iconographic compositions, relentlessly redefining the work of their predecessors. It is shown that the period of the end of the 19th — the first quarter of the 20th century. Was very fruitful for the development of the architectural industry in the region. Both public, residential and sacred buildings were erected at a very rapid pace. The number of the temples doubled (60 instead of 30). The newest style trends spreading across Europe did not bypass Kharkiv either. It is no coincidence that this is where the style, called Ukrainian Modern, was born. However, during this period, the East of Ukraine, including Kharkiv, was part of the Russian Empire, the state ideology of which was built on the basis of the theory of “Orthodoxy, Autocracy, Nationality” as the antithesis of the motto of the Great French Revolution “Liberty, Equality, Fraternity”. The artistic life of the Empire was regulated by the actions of the St. Petersburg Academy of Arts, which was part of the royal court and the only higher educational art institution in the entire vast state. In such conditions, the creators of the projects of outstanding sacral buildings in the East of Ukraine and interior design were most often graduates of the St. Petersburg Academy of Arts. The canonicity of the sacred Orthodox architecture in the East of Ukraine and the need to adhere to the Byzantine cross-domed scheme, however, did not prevent the penetration of the latest trends into the temple architecture of Kharkiv region thanks to the participation of talented
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Rosado-García, María Jesús, Renata Kubus et María Jesús García-García. « The Artistic Vanguards and the Bridges : Innovation and Transversality of Engineering and Other Arts ». Pertanika Journal of Social Sciences and Humanities 30, no 4 (15 décembre 2022) : 2037–58. http://dx.doi.org/10.47836/pjssh.30.4.29.
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This article critically reviews the development of painting art and the engineering of bridges in the first half of the 20th century. It shows that the expression of thought is directed towards innovation at a certain historical moment and non-imitation as a professional ethos. The vision is articulated through a multilevel perspective, including the social shaping of technology. The different milestones are chronologically compared following the Artistic Vanguards. It is shown that there was an accumulation of radical, disruptive innovation in the period between the World Wars. New tools to develop creativity were sought, and new figurative solutions and materials, such as concrete for bridge construction, began to be employed. The impressionist Monet and Eiffel and the cubist Picasso and Ribera deeply comprehended the previous techniques and dared to challenge them. The transversality of art and engineering is key to the innovation process.
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RYBALKO, Svitlana, et Zhe ZHANG. « REPRESENTATIONS OF STILL LIFE IN CHINESE PAINTING OF THE FIRST HALF OF THE 20TH CENTURY : THE SHANGHAI SCHOOL ». HUDPROM : The Ukrainian Art and Design Journal 2023, no 2 (15 octobre 2023) : 66–77. http://dx.doi.org/10.33625/hudprom2023.02.066.
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The purpose of the article is to determine the ways of formation of still life as a genre in the first half of the 20th century and the features of its conceptualization; highlighting the creative output of representatives of the Shanghai school in the field of depicting the objective world. A wide range of visual materials is considered, and a circle of representatives of the Shanghai school who participated in the development of still life as an independent genre of painting is identified. Wu Changshu and Qi Baishi are among the most significant creators of still life. Representative samples and leading approaches to the development of the figurative structure of still life, its understanding as a complete symbolic and artistically expressive composition, as a gift and expression of an individual creative principle are identified. The connection of the Shanghai still life with the previous tradition is shown, and the decisive influence of wenrenhua aesthetics is highlighted; the significance of Shanghai as an artistic center and a cosmopolitan environment for the development of the artistic process is pointed out. It is emphasized that the still life of the Shanghai school became a transitional link to the still life of the Western style. The cultural status of still life as a result of the activity of scientists determined its perception by Japanese artists, the representatives of the Nanga school and ensured its further spread in the art of China, Japan and Korea. The main approaches to the interpretation of pictorial motifs close to still life are determined. Traditional and modern aspects in the depiction of the objective world by representatives of the Shanghai school in the first half of the 20th century are identified. The practical significance of the research results lies in the possibility of their use in the development of the conceptual framework for educational courses, textbooks, as well as in artistic and museum practices.
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Kumar, Suresh. « Kaleidoscopic Portrayal of Early Twentieth-Century British India : A Study of Mulk Raj Anand’s Untouchable ». SMART MOVES JOURNAL IJELLH 9, no 7 (29 juillet 2021) : 21–29. http://dx.doi.org/10.24113/ijellh.v9i7.11115.
Texte intégralRésumé :
Mulk Raj Anand (1905-2004) is considered one of the pioneering Indian writers in English of Anglo-Indian fiction who gained international acclaim. Along with R.K. Narayana, and Raja Rao, he is popularly known as the trio of Indian English novelists. He marked his revolutionary appearance by giving voice to the oppressed section of the society with his novel, Untouchable in 1935. In this novel, he takes a day from the life of Bakha, a young sweeper who is an untouchable because of his work of cleaning latrines in the early 20th century British India. Discrimination based on caste and poverty are the two focal points of this novel. This paper aims at portraying a kaleidoscope of socio-cultural, economic and political spheres of life. It aims at painting the unexplored, and less talked vistas of life. Hence while revisiting untouchability and poverty, this paper offers an analysis to a variety of colours or a collage of varied aspects of human life.
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Kumar, Suresh. « Kaleidoscopic Portrayal of Early Twentieth-Century British India : A Study of Mulk Raj Anand’s Untouchable ». SMART MOVES JOURNAL IJELLH 9, no 6 (3 juillet 2021) : 45–53. http://dx.doi.org/10.24113/ijellh.v9i6.11100.
Texte intégralRésumé :
Mulk Raj Anand (1905-2004) is considered one of the pioneering Indian writers in English of Anglo-Indian fiction who gained international acclaim. Along with R.K. Narayana, and Raja Rao, he is popularly known as the trio of Indian English novelists. He marked his revolutionary appearance by giving voice to the oppressed section of the society with his novel, Untouchable in 1935. In this novel, he takes a day from the life of Bakha, a young sweeper who is an untouchable because of his work of cleaning latrines in the early 20th century British India. Discrimination based on caste and poverty are the two focal points of this novel. This paper aims at portraying a kaleidoscope of socio-cultural, economic and political spheres of life. It aims at painting the unexplored, and less talked vistas of life. Hence while revisiting untouchability and poverty, this paper offers an analysis to a variety of colours or a collage of varied aspects of human life.
Thèses sur le sujet "Figurative painting, British – 20th century"
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Huang, Michelle Ying Ling. « The reception of Chinese painting in Britain, circa 1880-1920 : with special reference to Laurence Binyon ». Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1020.
Texte intégralRésumé :
The British understanding of Chinese painting owed much to Laurence Binyon (1869-1943) who enriched the British Museum’s collections of Oriental painting, and for almost forty years, published widely and delivered lectures in Britain and abroad. Binyon’s legacy is to be found in several archival resources scattered in Britain, America, Japan and China. This dissertation is a study of the reception of Chinese painting in early twentieth century Britain, and examines Binyon’s contribution to its appreciation and criticism in the West. By examining the William Anderson collection of Japanese and Chinese paintings (1881), I illuminate Anderson’s way of seeing Chinese pictorial art and his influence on Binyon’s early study of Oriental painting. I argue that the early scroll, The Admonitions of the Court Instructress, which Binyon encountered in 1903, ignited his interest in the study of traditional Chinese painting, yet his conception of Chinese pictorial art was influenced by Japanese and Western expertise. To reveal the British taste and growing interest in Chinese painting around 1910, Binyon’s involvements in major acquisitions and exhibitions of Chinese paintings at the British Museum, including the Sir Aurel Stein collection (1909) and the Frau Olga-Julia Wegener collection (1910), as well as his visits to Western collections of Chinese art in America and Germany, will be investigated. In order to understand the relevance and values of Chinese painting for the development of early twentieth-century British art, I also scrutinize how the principle of “rhythmic vitality” or qiyun shengdong, as well as the Daoist-and Zen-inspired aesthetic ideas were assiduously promoted in Binyon’s writings on Chinese painting, and how Chinese art and thought kindled British modernists to fuse art with life in order to re-vitalize the spirit of modern European art with non-scientific conceptions.
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Robb, Charles. « The Self as Subject and Sculpture ». Thesis, Monash University, 2008. https://eprints.qut.edu.au/16903/1/16903.pdf.
Texte intégralRésumé :
This paper analyses and contextualises the artist’s exploration of self-portraiture through the sculptural bust format.
Conventionally, the portrait bust epitomises an antiquated view of the human subject as fixed, finite and knowable. The classicistic allusion of the form seems the perfect embodiment of a pre-modern and hopelessly idealised view of subjectivity and its capacity to be represented. This paper will show how, despite these impressions, the portrait bust is in fact a highly volatile sculptural form in which presence and absence are brought into question. When used as a vehicle for self-portraiture the bust yields a spectrum of instability, both literal and metaphoric, that calls into question the clarity of notions of subject and object and challenges the ideas of authority and representation more broadly.
By providing an historical overview of the role of the portrait bust, this paper will map the field of content inherent to the portrait bust and discuss its application in contemporary self-portraiture. As the work of Mike Parr, Janine Antoni and Marc Quinn demonstrates, the classical certainty that permeates the bust format can indeed heighten the capacity of the form to represent uncertainty: an ambiguity that makes it a highly potent form for sustained studio investigation and experimentation.
This paper will provide an overview of this experimental scope and application, by discussing the author’s process of sculptural self-portraiture in relation to aspects of ‘likeness’, expression, truncation and reproduction that occur in the form.
Livres sur le sujet "Figurative painting, British – 20th century"
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Zalmona, Yigal. British figurative painting of the 20th century. Israel : Isreal Museum, 1992.
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Michael, Walton, dir. Victoria Crowe : Painted insights. 2e éd. Woodbridge , Suffolk : Antique Collectors' Club, 2009.
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London), 20th Century British Art Fair (Exhibition) (1991. The 20th century British Art Fair. London : Royal College of Art, 1991.
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McConkey, Kenneth. British impressionism. Oxford : Phaidon, 1989.
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McConkey, Kenneth. British impressionism. London : Phaidon, 1998.
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McConkey, Kenneth. British impressionism. New York : Abrams, 1989.
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Edward, Lucie-Smith. The new British painting. Oxford : Phaidon, 1988.
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Edward, Lucie-Smith. The new British painting. London : Phaidon, 1988.
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Cowling, Mary. Victorian figurative painting : Domestic life and the contemporary social scene. Windsor : Andreas Papadakis, 2000.
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Paulson, Ronald. Figure and abstraction in contemporary painting. New Brunswick : Rutgers University Press, 1990.
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