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Letteratura scientifica selezionata sul tema "Decorative arts - 20th Century"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 9 febbraio 2022

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Articoli di riviste sul tema "Decorative arts - 20th Century"

Yegorova, Anna A. "The “Raku Ceramics:” Japanese Tradition in Western Interpretations of the 20th Century". Observatory of Culture, n. 6 (28 dicembre 2014): 136–41. http://dx.doi.org/10.25281/2072-3156-2014-0-6-136-141.

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Traces the history of the raku-ware tradition in Japan and reveals its influence on the Western decorative arts of the 20th century. The author distinguishes between technological characteristics of the Raku family ware and the meaning of the “rakuware” term coined in the West for the particular artistic style and demonstrates the contribution of the Raku ware to the development of contemporary decorative arts.

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Hotsaliuk, Alla. "Ethnic Design in Applied and Decorative Arts of the Late 20th — Early 21st Century". Ukrainian Studies, n. 1(74) (11 marzo 2020): 169–79. http://dx.doi.org/10.30840/2413-7065.1(74).2020.195744.

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Xu, Min. "Chinese art: A survey of collections and research materials in the United States". Art Libraries Journal 39, n. 2 (2014): 43–47. http://dx.doi.org/10.1017/s0307472200018319.

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

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Gerasimov, A. P., e T. V. Biryukova. "INTERIOR OF ART NOUVEAU ARCHITECTURE IN SIBERIA". Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture, n. 2 (29 aprile 2019): 102–12. http://dx.doi.org/10.31675/1607-1859-2019-21-2-102-112.

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The article discusses the development of the interior in private and public buildings in Russia late in the 19th and early 20th centuries. Romantic trends that emerged in architecture Western Europe in the 19th century turned into the new style expressed in modernity, which fundamentally differs from the historical repetition in architecture of the early period. This article is an interdisciplinary work and describes such arts as architecture, painting, and decorative and applied arts. The main feature of modernity is the internal space, subordinating the interior to the exterior, its graphic and artistic solution. The article focuses on the history of the interior and light design, furniture style and color.

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Hryhorov, V. "Monumental and decorative art of the second half of the 20th century in specialized literature". Research and methodological works of the National Academy of Visual Arts and Architecture, n. 27 (27 febbraio 2019): 99–104. http://dx.doi.org/10.33838/naoma.27.2018.99-104.

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The article deals with a number of issues highlighted in the research of monumental painting during the 1960–2000s, and follows the development of art studies literature during the specified period. Ukrainian monumental painting during the second half of the 20th century evolved rather unequally, which affecte the art criticism reflections. In the 1960's and 80's the active and dynamic development of monumental art took place. Research in this area also reached the peak of its popularity. For example, the article of I. Pronina contains a review of publications from 1973–1974, and the author brought the statistics indicating more than 200 works. (180) Since the mid-1960's, academics have been increasingly focusing on monumental art. The attitude to monumental painting in the art history literature of the 1960's is ambiguous. However, most researchers are still critical of post-war practice and consider monumental works of the late 1950`s and 1960`s as a step forward. The distinctive differences between the 1960's and 1970's – 1980's lie in various attitudes towards themes and scenes of the monumental painting. In the 1960's the monumentality was associated with the laconic content, using a set of all understandable associative attributes. The expansion of the range of themes in monumental painting in the professional literature occured in the 1970's. Since the research problem stands at the crossroads of various branches of art, important scientific advancements were reflected in such prominent professional publications as: "Architecture of the USSR", "Decorative art of the USSR" and "Fine Arts". In the 1970's the publishing house "Soviet artist" released a series of articles compilations called "Soviet monumental art." The state of monumentalism significantly changes in 1990's as there was a significant decline in the activity of this artistic direction. At this time the monumental painting fell into the field of wide-scale artistic studies. In the professional literature of the last decade the scope of art study themes has changed to a certain extent as the art historians more often address the issues previously tabooed in Soviet times, and some of them partially or fully relate to the monumental painting. To such themes belong the Sixties and Boichukizm. Today the problem of the preservation of Soviet monumental works sharply appears. Many authors turn to the theme of monumental art in order to attract the attention of society to the rapid destruction of mosaics and wall murals, and to prove their value for Ukrainian fine arts.

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Aref, Eman. "The Far Morocco Idrisid Arts and their role in enriching the plaster wall processing in the southwest Saudi Arabian kingdom in the century (14th AH/ 20th AD)". Academic Research Community publication 1, n. 1 (18 settembre 2017): 13. http://dx.doi.org/10.21625/archive.v1i1.137.

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Studying the methods of plaster wall decorations is considered one of the complementary elements of the architectural vocabulary that reflects the cultural and ideological heritage identy of the time period. Wall decoration has broken the barrier of time and place, and the political and doctrinal differences, expressing in an abstract way the truth about the beilefs of both the Far Morocco Idrisid and Sebia Idrisid in kingdom of Saudi Arabia, where they did not use any symbol or sign that demonstrates their belonging to Shi'i Muslims, so-most probably- they belong to Sunni Muslims. This study aims to track the foundation phases of Idrisid state in Far Morocco during the century (2-4THA.H/8-10TH A.D) and its extension to the east in the Tihama Asir region during the century (14THAH/20THAD). The research problem lies in trying to detect the link and the nature of the relationship between the two states despite their differences in time and place through studying the natural strategic crossings, as well as the political circumstances that contributed in the transfer of the influences of Far Morocco Arts to Sebia region in the southwest of the Kingdom of Saudi Arabia, which contributed in enriching the plaster decorative arts of the facades of the Idriss Ashraaf's palaces, and their merging with the local artistic nature of Najd, Yemen. This study has revealed- through following the analytical descriptive method- the emergence of some influnces coming from the countries of East Asia and India and the countries of the African continent due to Sebia's geographical location as a port on the Red Sea and its presence on both the coastal trade way and caravans.

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Fawcett, Trevor. "The nineteenth-century art book: Content, Style and Context". Art Libraries Journal 17, n. 3 (1992): 12–17. http://dx.doi.org/10.1017/s0307472200007902.

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Although ‘art books’ of various kinds existed before 1800, art publishing grew significantly and with increasing speed through the 19th century. Two key factors, each encouraging the other, were the growth of interest in art among a heterogeneous public, and developments in printing technology, especially in methods of reproducing illustrations. Increasing numbers of illustrated art books contributed to the dissemination of awareness of an ever-broader spectrum of works of art, and of the decorative arts, throughout society, and nourished the historicism and eclecticism practised by contemporary artists and designers. The Romantic Movement’s cult of the individual artist prepared the way for the emergence of the artist’s monograph as a significant category of art book, made possible by the capacity to reproduce an artist’s works. The growth of art historical scholarship, informed by a new rigour, brought about the publishing of scholarly works incorporating documentary research, and of previously unpublished or newly-edited source material; art reference works, of several kinds, also multiplied. By 1900 art publishing had set all the precedents it would need until well into the second half of the 20th century.

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Demchuk, Stefaniia, e Yuliia Kizyma. "Between the sacred and the decorative: Сhristian iconography in the sketches for "Lily" decorative panel by Mykhailo Zhuk". Text and Image: Essential Problems in Art History, n. 1 (2020): 102–13. http://dx.doi.org/10.17721/2519-4801.2020.1.07.

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Mykailo Zhuk was a graphic artist and a writer who is among the most famous and influential figures in the history of the early 20th century Ukrainian art. His artworks bear the mark of the in-depth reception of the Art Nouveau style. Although art historians who studied Zhuk’s early period (1904 - 1918) did mention the complex symbolism of his works (including that of the sketches for the floral panels which we shall examine), they avoided plunging deeper in the semantic interweaving he indulged himself in. Thus, this essay shall examine the two panels titled “Lilies”, which were treated mostly as ornamental works deprived of any hidden meaning. It seems that the formal and stylistic analysis should be complemented with the other methods. The iconographic analysis shall allow us to interpret Zhuk’s symbolic language and to discern different semantic layers, and the comparative historical analysis shall help to distinguish typical and individual features in Zhuk’s artworks, which, in its turn, shall allow us to put the artist's work within the pan-European artistic context.Images in Zhuk’s case were supplemented with texts. We could not avoid studying them along with the sketches for they contained the same motives as his graphic works. By means of content analysis we analysed how the artists addressed the image of lily and discovered the biblical bias of its representation in Zhuk’s texts and images. The iconography of the “Lilies”, we suggest, has no direct predecessors and is mainly based on the author’s interpretation of St. John’s Revelation or on works of his teacher at the Krakow Academy of Arts, Stanislaw Wyspiański. For Wyspiański used floral motifs on numerous occasions and experimented with the iconographic types of Virgin Mary in his monumental religious works.

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Rudenko, A. A. "DYBYNTSI’S CERAMIC CENTER ACTIVITY IN UKRAINIAN ART CULTURE OF THE 19th—20th CENTURY". Archaeology and Early History of Ukraine 29, n. 4 (22 dicembre 2018): 361–85. http://dx.doi.org/10.37445/adiu.2018.04.21.

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The article is devoted to the study of the activity of one of the largest ceramic craft center of the Central Naddnipryanschyna from the 19th and early 20th centuries which is Dybyntsi village located in Boguslav district of Kyiv region in the context of the development of folk arts crafts. The local features of the art culture of Boguslav region were illuminated; the artistic means of ceramic products decoration were analyzed; the typology of the products assortment was determined according to its functional purpose; the five stages in the existence of the Dybyntsi’s ceramic industry were distinguished and characterized; the art criticism analysis of the most revealing works was conducted; the new names of local ceramic masters were entered into scientific circulation and the place of the Dybyntsi’s Branicki’s County faience factory was outlined in the Ukrainian arts culture of the 19th century.

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Østby, Erik. "A Protocorinthian aryballos with a myth scene from Tegea". Opuscula. Annual of the Swedish Institutes at Athens and Rome 13 (2 novembre 2020): 123–38. http://dx.doi.org/10.30549/opathrom-13-05.

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During the preparation of the new exhibition in the Museum of Tegea it was discovered that one composed fragment from a Protocorinthian aryballos with a complicated, figured representation, found during the excavations of the Norwegian Institute at Athens in the Sanctuary of Athena Alea in the 1990s, joined with another fragment found by the French excavation at the same site in the early 20th century. After the join, the interpretation of the scene must be completely changed. The aryballos has two narrative scenes in a decorative frieze: a fight between two unidentified men over a large vessel, and an unidentified myth involving the killing of a horse-like monster by two heroes, with the probable presence of Athena. Possibly this is an otherwise unknown episode from the cycle of the Argonauts, involving the Dioskouroi, perhaps also Jason and Medea. The aryballos was produced by an artist closely related to and slightly earlier than the so-called Huntsmen Painter; he was active in early Middle Protocorinthian II, and demonstrates a skill astonishing for this period in creating a many-figured and sophisticated, narrative composition.

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Tesi sul tema "Decorative arts - 20th Century"

Gaunt, Pamela Mary School of Art History/Theory UNSW. "The decorative in twentieth century art: a story of decline and resurgence". Awarded by:University of New South Wales. School of Art History/Theory, 2005. http://handle.unsw.edu.au/1959.4/25983.

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This thesis tracks the complex relationship between visual art and the decorative in the Twentieth Century. In doing so, it makes a claim for the ongoing interest and viability of decorative practices within visual art, in the wake of their marginalisation within Modernist art and theory. The study is divided into three main sections. First, it demonstrates and questions the exclusion of the decorative within the central currents of modernism. Second, it examines the resurgence of the decorative in postmodern art and theory. This section is based on case studies of a number of postmodern artists whose work gained notice in the 1980s, and which evidences a sustained engagement with a decorative or ornamental aesthetic. The artists include Rosemarie Trockel, Lucas Samaras, Philip Taaffe, and several artists from the Pattern and Decoration Painting Movement of the 1970s. The final component of the study investigates the function and significance of the decorative in the work of a selection of Australian and international contemporary artists. The art of Louise Paramor, Simon Periton and Do-Ho Suh is examined in detail. In addition, the significance of the late work of Henri Matisse is analysed for its relevance to contemporary art practice that employs decorative procedures. The thesis put forward is that an historical reversal has occurred in recent decades, where the decorative has once again become a significant force in experimental visual art.

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Hardiman, Louise Ann. "The firebird's flight : Russian arts and crafts in Britain, 1870-1917". Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709085.

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MacDonald, Juliette. "Aspects of identity in the work of Douglas Strachan (1875-1950)". Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/7357.

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This thesis explores facets of Scottish identity via the decorative work of Douglas Strachan. Nations and nationalism remain extraordinarily potent phenomena in the contemporary world and this work seeks to examine aspects of Scottish nationhood and cultural identity through Strachan's evocation of history, folklore, religion and myth. It has been argued that these are the chief catalysts for enabling people to define and shape their understanding of themselves and their place within society. Cultural identity is often understood as a passive form of nationalism which is remote from its political counterpart. Yet there are strong arguments to counter this belief. This thesis addresses some of the issues raised by such arguments and adopts an ethno-symbolic approach in order to re-evaluate Strachan's work, and that of his contemporaries. The thesis also develops the theoretical and contextual debates concerning the decorative arts in general and stained glass in particular in order to raise awareness of its merits and its role within our society.

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Blin, Jean-Pierre. "Max Ingrand(1908-1969). Un atelier de vitrail dans la France du XXe siècle". Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040128.

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Max Ingrand (1908-1969) fut l'un des maîtres verriers français les plus célèbres du XXe siècle. Après ses études à l'École nationale des arts décoratifs, il entre en 1927 dans l'atelier de Jacques Gruber (1870-1936). Dès 1931, il commence une carrière personnelle de maître verrier décorateur et réalise de nombreux décors civils en glaces gravées. Il crée les vitraux de l'église Sainte-Agnès de Maisons-Alfort et participe au projet des verrières de la nef de Notre-Dame de Paris qui sont présentées au pavillon pontifical de l'Exposition de 1937. Mobilisé en 1939, il reste cinq ans prisonnier dans un Oflag en Allemagne. A son retour, il devient l'un des verriers les plus actifs des chantiers de la reconstruction où il réalise notamment l'ensemble monumental de l'église d'Yvetot. Le service des Monuments historiques lui confie des chantiers prestigieux : cathédrales de Rouen, de Beauvais, de Saint-Malo, de Strasbourg, chapelles des châteaux de Blois, d'Amboise, de Chenonceau, églises de La-Charité-sur-Loire et des Jacobins de Toulouse. Au milieu des années cinquante, sa notoriété lui vaut des commandes importantes à l'étranger, notamment aux États-Unis, au Canada et en Amérique du sud. Il poursuit parallèlement une œuvre de décorateur et de designer. Il assure pendant treize ans la direction artistique de la firme italienne Fontana-Arte pour laquelle il crée de nombreux modèles de luminaires. Il participe au décor de paquebots parmi lesquels le Normandie et le France. Il conçoit des fontaines lumineuses, notamment pour les Champs-Élysées à Paris. Dans ses dernières années, il réoriente sa carrière vers l'architecture d'intérieur et l'éclairage. Il meurt brutalement en 1969, peu après avoir confié la direction de son atelier à son collaborateur Michel Durand
Max Ingrand (1908-1969) was one of the most famous French glassmakers in the twentieth century. He studied at the National School for Decorative Arts and joined Jacques Gruber’s studio (1870-1936) in 1927. He began his own career as a glass designer in 1931 and produced many engraved glass decorations, both in public and religious buildings. He created the stained glass windows of Saint-Agnes Church at Maisons-Alfort and took part in the project of the windows executed for the nave at Notre-Dame de Paris, which were first displayed inside the papal pavilion of the 1937 Exhibition. An officer in the French armed forces in 1939, he was made a prisoner and jailed for five years in a camp in Germany. When he returned home, he became one of the most active glassmakers in the whole country, being involved in the reconstruction effort and working, in particular, to the project of a monumental church in Yvetot (Normandy). He was part of prestigious projects led by the French Heritage in cathedrals (such as Rouen, Beauvais, Saint-Malo and Strasbourg), in castles (such as the chapels of Blois, Amboise, Chenonceau), in churches (such as La Charité-sur-Loire and the Jacobins in Toulouse). Due to his fame, he won a large amount of orders abroad in the mid-fifties, especially in the United States, in Canada and in South America. He acted at the same time as a decorator and a designer. He was, for instance, an art director for thirteen years at the Fontana Arte, a big design company in Italy, and created many lighting fixtures for them. Before and after World War II, he was involved in the decoration of liners as important as the Normandy and the France. He also designed lit fountains in public spaces, the best known being along the Champs-Élysées in Paris. He had to change career dramatically in his late years and stopped glassmaking. He then specialized in architectural design and lighting fixtures. He died suddenly in 1969, a few months after he had passed his workshop on to his associate Michel Durand

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Lasic, B. "The collecting of eighteenth-century French decorative arts in Britain 1789-1914". Thesis, University of Manchester, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508798.

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Oguibe, Oluchukwu Olu. "The paintings and prints of Uzo Egonu, 20th century Nigerian artist". Thesis, SOAS, University of London, 1992. http://eprints.soas.ac.uk/29692/.

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This work is as much about ways of looking at 20th century African art as it is a study of one artist and his work. The central thesis is that 20th century African art cannot be fully comprehended using deterministic frames and rigid categories. It begins by tracing the emergence of new art forms in Africa - Nigeria in particular - especially from the turn of the 19th century, a process underlined not by a capitulation to the cultural domination of colonialism but by a nationalist determination to undermine its ideological bases by disproving the artistic superiority of the white man. It then looks briefly at the life of Uzo Egonu, the Nigerian painter and printmaker whose work is the focus of the study. To set out a theoretical frame for studying the artist's art, the dissertation posits that a successful appreciation of 20th century African art is possible not by constructing and imposing grand narratives from outside, but by observing closely, systems of reading and appreciation within African societies. It then advances an alternative theory which ciraws from the Masquerade, a central topos in most African cultures as well as a complex interpretative system. Like the Masquerade, posits this theory, 20th century African art is mutative, fundamentally eclectic, and essentially transgressive, and any tool which ignores this is ineffectual. Also, because the work of art, like the Masquerade, operates on several different levels and defies the linear perspective, no interpretation is absolute. Because art is a masquerading act, reading must remain speculative and open. The work offers an appreciation of aspects of Egonu's oeuvre, tracing his development of a personal language, his strong sense of community, and the diversity of his production and concerns, demonstrating through these the poverty of current approaches to the study of 20th century African art.

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Clarke, Jennifer. "The Effect of Digital Technology on Late 20th Century and Early 21st Century Culture". [Tampa, Fla. : s.n.], 2003. http://purl.fcla.edu/fcla/etd/SFE0000108.

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Baker, Rosemary M. "Nineteenth century synthetic textile dyes : their history and identification on fabric". Thesis, University of Southampton, 2011. https://eprints.soton.ac.uk/372624/.

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Textile dyes have been the subject of many studies from the varied perspectives of historians, conservators and scientists. Most of these have focused on natural compounds but nineteenth century synthetic dyes form the basis of this thesis. The dual areas of interest have been the social history of those dyes developed between the introduction of Mauveine in 1856 and the end of the century and the investigation of novel spectroscopic methods for their identification in situon textiles. Although the first synthetic dye was manufactured in England, the centre of the industry soon moved to Germany and Switzerland. Education an d contacts in Switzerland or Germany were important in advancement in the field as can be seen in the previously unresearched biography of J.J. Hummel who, through his Swiss step-father, was able to travel to Zurich to study and subsequently progressed from working as a cotton printer to become the first professor of textile dyeing at the Yorkshire College, later Leeds University. Evidence was found in newspapers and popular periodicals for three other factors which had an important influence on the attitude to synthetic dyes in England. One was English reluctance to invest in speculative ventures rather than the established textile industries. The second was the possession of colonial holdings and overseas trade networks which encouraged continued research into imported natural products. Thirdly the particular form of the Arts and Crafts movement in England emphasised the craft means of production in a way which the equivalent aesthetic in Germany did not. Nineteenth century dye manuals show that there was no exclusive use of either natural or synthetic dyes in the trade despite the fashion in artistic circles for ‘natural’ colours. The identification of synthetic dyes on textiles is important in textile history and conservation especially in the context supplied by the investigations described above into the usage of the dyes. It is highly desirable in the field of cultural heritage to devise analytical techniques which are non-destructive and non-sampling. Dyed wool and silk samples were prepared using 12 dye compounds. Different techniques were tested and Fourier transform Raman spectroscopy was able to provide diagnostic spectra for a variety of synthetic dyes. Clear features in the spectra could be used to identify the dye class and to distinguish between dyes of the same class. This technique allowed the detection of dyes on the textile for the first time and it was applied successfully to original samples from dye manuals. One unknown mauve sample was also analysed and a combination of infrared and Raman spectroscopy allowed a definite identification of the dye as a triphenylmethane and tentatively as Methyl violet. This study combines investigations into material culture and social history and demonstrates the use of science together with historical research to reveal new insights into the history of textile dyes.

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Park, Sungsil. "East Asian and Western perception of nature in 20th century painting". Thesis, University of Brighton, 2009. https://research.brighton.ac.uk/en/studentTheses/e1cdcb78-5148-4de7-9d84-4c701af7ad29.

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The introduction aims to investigate both my painting and exhibition practice, and the historical and theoretical issues raised by them. It also examines different views on nature by comparing and contrasting 20th Century Western ideas with those of traditional Asian art and philosophies. There are two sections to this thesis; Section A contains an historical overview of Eastern and Western philosophy and art, Section B presents observations on my studio and exhibition practice. Section A is divided into two chapters. Chapter 1 examines concepts of nature in the East and West before the eariy 20th Century. It discusses examples of different approaches to nature and cross-cultural perceptions, especially Taoism and Buddhism, which emphasize harmony within nature and the principle of universal truth. It also gives pertinent and relevant examples of attitudes to nature in the Korean. Chinese and Japanese art of the 20th Century. Chapter 2 discusses new and changing attitudes to ecology, post 20th Century, and the environmental art movements of the East and West. Their ideas have a great deal in common with traditional Eastern views on nature and the mind, so have the potential t change both our identity and our relationship with nature. Section B draws together this material to establish the main argument of the thesis, concerning a connection between modem ecological approaches and traditional Zen Buddhist ideas which emphasize the interconnection of all natural forms. The section consists mainly of observations on studio practice divided into 3 chapters and a conclusion.

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Feng, Huanian, e 馮華年. "The reception of western art history in Republican China". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31227326.

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Libri sul tema "Decorative arts - 20th Century"

Sotheby, Parke-Bernet London. 20th century decorative arts: Auction Thursday, March 11, 2004 .... New York: Sotheby's, 2004.

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Sotheby, Parke-Bernet London. 20th century decorative arts & design: ... Wednesday 3 July 2002. London: Sotheby's, 2002.

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Sotheby, Parke-Bernet London. 20th Century decorative arts: Auction Friday March 19th 1993 ... . New York: Sotheby's, 1993.

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Sotheby, Parke-Bernet London. 20th century decorative arts & design: Auction ... Monday 18 November 2002 .... Amsterdam: Sotheby's, 2002.

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Sotheby, Parke-Bernet London. 20th century decorative arts & design: Auction: Thursday 19 October, 2000 ... .. London: Sotheby's, 2000.

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Tiffany's 20th century: A portrait of American style. New York: Harry N. Abrams, 1997.

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Sotheby, Parke-Bernet, London. 20th century decorative arts: Auction Wednesday, June 8, 1988 ... Thursday, June 9, 1988 ... . New York: Sotheby's, 1988.

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Knowles, Eric. Miller's 100 years of the decorative arts: Victoriana, arts & crafts, art nouveau & art deco. London: Miller's, 1993.

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Knowles, Eric. Miller's 100 years of the decorative arts: Victoriana, arts & crafts, art nouveau & art deco. London: Miller's, 1998.

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The crafts in Britain in the 20th century. [New Haven]: Published for the Bard Graduate Center for Studies in the Decorative Arts by Yale University Press, 1999.

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Capitoli di libri sul tema "Decorative arts - 20th Century"

Webster, Peter. "The Religious Arts on a Rising Tide: People, Media, Networks". In Church and Patronage in 20th Century Britain, 119–46. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-36910-9_5.

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Wilson, Andrew. "Improvisation and Authenticity in Early 20th Century Western Music". In The Routledge Handbook of Philosophy and Improvisation in the Arts, 355–73. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003179443-29.

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Xin, Qi. "From “Modernism” to “Post-modernism”—Fission of Literature, Arts and Society". In A Brief History of Human Culture in the 20th Century, 155–86. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-9973-2_8.

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Povilionienė, Rima. "Music as National Identity Manifesto: The Musical Repertoire of Lithuanian Evenings at the Beginning of the 20th Century". In Numanities - Arts and Humanities in Progress, 75–88. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-47060-3_6.

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Peterson, William. "The Master of the Form". In Asian Self-Representation at World’s Fairs. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462985636_ch02.

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By the early 20th century, Japan was the master of the international exhibition format. With over fifty years of experience at world’s fairs in the West, Japan knew how to market its culture and products in a manner appealing to the Western consumer of both high art and decorative objects. The 1915 Panama Pacific International Exposition provided the country with a unique opportunity to create a strong and lasting imprint on American bodies in the country pavilion site with its famed gardens and exotic, kimono-clad women. As the epicenter of Asian migration, San Francisco also offered unique opportunities to further the power of Japonisme in the arts, while politicians in both countries used the event to champion Japanese-American relations.

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Edwards, Clive. "‘Exhibition of British Manufactures and Decorative Arts’". In Nineteenth-Century Design, 135–40. Routledge, 2021. http://dx.doi.org/10.4324/9780429279492-19.

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Mohanty, Sachidananda. "Cosmopolitanism through the Arts". In Cosmopolitan Modernity in Early 20th-Century India, 121–39. Routledge India, 2018. http://dx.doi.org/10.4324/9781315656267-6.

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Mohanty, Sachidananda. "Cosmopolitanism through the Arts". In Cosmopolitan Modernity in Early 20th-Century India, 121–39. Routledge India, 2018. http://dx.doi.org/10.4324/9780429506833-6.

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Edwards, Clive. "J. Scarratt Rigby, ‘Remarks on Morris’ Work and its Influence on British Decorative Arts Today’". In Nineteenth-Century Design, 417–27. Routledge, 2021. http://dx.doi.org/10.4324/9780429279485-58.

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"The Dialogue of Chance and the Arts". In The Radical Use of Chance in 20th Century Art, 71–83. Brill | Rodopi, 2012. http://dx.doi.org/10.1163/9789401207263_006.

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Atti di convegni sul tema "Decorative arts - 20th Century"

Romanovska, Alina. "20TH CENTURY HISTORY OF LATVIA IN LITERARY NARRATIVES". In 3rd Arts & Humanities Conference, Barcelona. International Institute of Social and Economic Sciences, 2018. http://dx.doi.org/10.20472/ahc.2018.003.002.

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Sevcikova, Hana. "INFLUENCE OF REGIMES ON 20TH-CENTURY ARCHITECTURE". In 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. Stef92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/hb51/s17.020.

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Vlahopol, Gabriela. "THEME ELABORATION TECHNIQUES IN 20TH-CENTURY FUGUE". In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/6.2/s25.027.

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Carnelli, Silvia. "“SPIRITUALIT(IES)” AND “CRIES” FOR “MOTHER GAIA” IN THE 20TH-CENTURY AND IN CONTEMPORARY EUROPE". In Arts & Humanities Conference, Venice. International Institute of Social and Economic Sciences, 2016. http://dx.doi.org/10.20472/ahc.2016.001.002.

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Titova, Elena. "FACTUROLOGY IN THE RUSSIAN MUSICOLOGY OF THE 20TH CENTURY". In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/6.2/s26.040.

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Wang, Y. "THE IMAGE OF TOILING WOMEN IN CHINESE ARTS OF THE 20th CENTURY". In IV International Conference ”Science and society - Methods and problems of practical application". Prague: Premier Publishing s.r.o., 2018. http://dx.doi.org/10.29013/iv-conf-canada-4-8-11.

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Mazalan, Peter. "ARCHITECTURE AS THE SCENOGRAPHY OF POLITICAL EVENTS OF THE 20TH CENTURY". In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018h/51/s17.005.

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Nezhadfard, Arsalan, e Ana Tostoes. "MONUMENTALITY IN 20TH CENTURY DEALING WITH TRADITION AND MODERNISM, COMPARING IN THREE CITIES: ISTANBUL, SARAJEVO AND LISBON". In 3rd Arts & Humanities Conference, Barcelona. International Institute of Social and Economic Sciences, 2018. http://dx.doi.org/10.20472/ahc.2018.003.001.

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Chekayeva, Rachima. "HISTORICAL FORMATION WOODEN HOUSES OF PETROPAVLOVSK FROM 19TH TO EARLY 20TH CENTURY". In 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. Stef92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/hb51/s17.017.

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Ntakolia, Konstantina. "DIAGHILEV’S RUSSIAN BALLETS AND THE 20TH CENTURY MANLY-WOMEN: TWO CONTRADICTORY NEW PROTOTYPES FOR THE CARYATIDES OF AMEDEO MODIGLIANI". In 2nd Arts & Humanities Conference, Florence. International Institute of Social and Economic Sciences, 2018. http://dx.doi.org/10.20472/ahc.2017.002.005.

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