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1
Lavrov, Dmitrii Evgen'evich. "Exhibition activity of the Palekh lacquer miniature craft (1923-1939)". Человек и культура, n. 4 (aprile 2022): 36–45. http://dx.doi.org/10.25136/2409-8744.2022.4.36873.
Testo completoAbstract (sommario):
The article is devoted to the analysis of the exhibition activity of the masters of the Palekh lacquer miniature. The author has chosen as a chronological period the first fifteen years of the existence of this fishery – from its inception in the first half of the 1920s to the beginning of the Second World War. The subject of the study, therefore, is an analysis of the exhibition practices of the Palekh art craft of the pre-war period (1923-1939). The article shows the importance of the exhibition activity of the Palekh lacquer craft at all stages of this brief, but nevertheless extremely eventful period. The purpose of the article is to show the importance that the exhibition activity had for the success and public recognition of Palekh as a new and quickly became the most famous lacquer craft in Russia. The scientific novelty of the article consists in the fact that, using historical-typological and structural research methods, as well as a historical-systematic approach, the author analyzes the most important domestic and foreign shows of the 1920s - 1930s, at which the products of the Palekh lacquer miniature were exhibited. The author emphasizes an important circumstance: the very formation and strengthening of the Palekh lacquer miniature craft in the first half and mid-1920s was caused precisely by the success of the prototypes exhibited at the largest exhibitions of that time, such as the All-Russian Exhibition of 1923 in Moscow, as well as the International Exhibition in Paris of 1925. At the same time, it is shown that Palekh's products continued to be successful at the shows (the exhibition "10 years of October" in 1927, the Soviet Exhibition in New York in 1928, the International Exhibition in Paris in 1937 and many other exhibitions analyzed in the article). Thus, it is the justification of the success of the exhibition activity of the Palekh lacquer miniature craft as an important factor of its public recognition that is the main conclusion of the article.
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Sidorova, Oksana. "CLASSICAL GRAPHIC ARTISTS OF ALTAI IN COLLECTIONS OF THE STATE ART MUSEUM OF THE ALTAI KRAI (BARNAUL, RUSSIA)". Proceedings of Altai State Academy of Culture and Arts, n. 3 (2021): 52–59. http://dx.doi.org/10.32340/2414-9101-2021-3-52-59.
Testo completoAbstract (sommario):
The reported study was funded by Russian Fund of Basic Research according to the research project no. 19-412-220003 r_a. The paper outlines basic biographic information that reflects creative way of professional graphic artists from Altai, Russia: Fyodor Filonov (1919–2007), Andrei Vagin (1923–2006), Alexei Yugatkin (1926–2001), and Aleksandr Deriavsky (1927–2017), whose works will be in exhibition “Classical Works of Altai's Graphis Artists” of The State Art Museum of the Altai Krai (Barnaul, Russia) that will be held in 2022, after reconstruction of the institution's building. Individual artistic and aesthetic achievements of masters that followed stylistic traditions left by the first professional painters of Altai (Grigory Choros-Gurkin (1870–1923) and Andrei Nikulin (1878–1945), defined main vectors for development of professional graphics in Altai in the 2nd half of 20th century and the beginning of the 21st century. The author describes a contribution made by Vladimir Ramensky and Aleksandr Deriavsky in development of professional book graphics in Altai Krai, Vladimir Ramensky's work in developing professional artistic education in the territory.
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Ionescu, Adrian-Silvan. "Second Crusader Occupation in Constantinople, 1918-1923". Dialogica. Revistă de studii culturale și literatură, n. 3 (novembre 2023): 112–18. http://dx.doi.org/10.59295/dia.2023.3.15.
Testo completoAbstract (sommario):
The article presents an exhibition organized by the Istanbul Research Institute to commemorate the centenary since the Allied Occupation Forces left the city on the Bosporus. Titled “Meşgul Şehir: İşgal İstanbul’unda Siyaset ve Günlük Hayat 1918-1923” (Occupied City: Politics and Daily Life in Istanbul), the exhibition will be open from January 11, 2023, to December 26, 2023. The exhibited materials bring to light that historical moment through archival documents, most of them forgotten or unpublished, coming from several countries, some neighbors, others distant.The subsequent period is characterized by an unprecedented cultural vitality. Remarkably, a plethora of talented visual artists, many of whom came from other countries, including Russia, emerged during this time. After a century, the exhibition lifts a heavy veil from the tumultuous history of the Ottoman Empire’s capital, revealing unique aspects of a traumatic yet transformative era for both ordinary inhabitants and the elites in the final days of the sultanate and the dawn of the republic.
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Windisch e Tieber. ""Silent" Films, Singing Voices: Vocal Accompaniment in Viennese Moving Picture Exhibition, 1913-1923". Music and the Moving Image 8, n. 1 (2015): 19. http://dx.doi.org/10.5406/musimoviimag.8.1.0019.
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Yu Elina, O. "Exhibiting nature, modernising agriculture: ecology and technology at the All-Russian Agricultural Exhibition, 1923". IOP Conference Series: Earth and Environmental Science 350 (15 novembre 2019): 012001. http://dx.doi.org/10.1088/1755-1315/350/1/012001.
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Pasarello, Clerice, e Sabaté Sentís. "The origins of rugby in Catalonia". Fizicko vaspitanje i sport kroz vekove 8, n. 2 (2021): 42–72. http://dx.doi.org/10.5937/spes2102042p.
Testo completoAbstract (sommario):
Catalan rugby reached the high point of its young and successful history when became one of the founding nations of the International Amateur Rugby Federation (FIRA) and started competing at international level as an autonomous rugby nation. Towards the end 1921 rugby settled in Catalonia penetrating through sports such as football, athletics, boxing and swimming and owing much to French expatriates residing in Barcelona or Catalan citizens who had lived in France. In 1923 the Catalan Football Rugby Union was created due to the aroused need for organized competitions. With this institutionalisation and organisational structure began a flourishing period for the clubs, culminating in 1929 at the Barcelona International Exhibition where rugby was played in front of 60.000 spectators. In spite of this achievement, rugby remained a minority sport with restricted geographical appeal, with a group faithful and loyal followers.
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CHECHIK, Valentina. "VADIM MELLER’S ART: ON THE WAY TOWARDS CONSTRUCTIVIST ABSTRACTION". HUDPROM: The Ukrainian Art and Design Journal 2023, n. 1 (30 giugno 2023): 128–39. http://dx.doi.org/10.33625/hudprom2023.01.128.
Testo completoAbstract (sommario):
This article discusses the features of the refraction of the techniques and principles of abstract art in V. Meller’s early works. The research field comprised both widely known and completely unknown artist’s easel works and theatrical projects from the late 1910s to the early 1920s. The stylistic vocabulary of Meller’s works of this period in art history literature is rightly associated with CuboFuturism. At the same time, it is easy to see how the artist reaches the borders of Cubo-Futurist thinking – to abstract compositions. In the painting Futuristic Composition (1919–1920), and in the theatre sheets for B. Nijinska’s ballets (1918–1921), and for the plays (Maitre Patlin (1919) and Mazepa (1922)), the revealing of the rhythmic architecture of structural elements (color geometry such as circles, arcs, pointed triangles, and trapezoids), and means of their dynamic development are directly linked to the plastic laws of abstract art. Each of these works is a compositional experience. The artist builds the composition on the dominance of color and form, their plastic, rhythmic and semantic potential. At the same time, by “deobjectifying” a pictorial motif to an ornamental formula, the artist does not completely cancel the real form but leaves open the possibility of its returning to the material world. The same principles of form constructing are retained in the pictorial Sketch to the Portrait exhibited together with Portrait of T. Shevchenko at the 2nd Report Exhibition of the Ukrainian Academy of Arts (1921). The plastic codes of abstract art saturated V. Meller’s stage design for the early Berezil productions of 1923. Despite the use of K. Malevich’s Suprematist vocabulary in the stage backdrops for the production of R.U.R., A. Exter’s art and the language of her lyrically expressive and dynamic abstractions have always remained a source of creative inspiration. This was precisely the kind of composition V. Meller, transferred into the three-dimensional space of the stage in the production of Gas (1923). Its scenography marked the inner logic and independence of the artist’s movement towards subsequent structural-linear spatial modules (The New Ones Are Coming (1923)), which designated a brilliant period of “orthodox” theatrical constructivism on the Ukrainian stage.
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Nowakowska-Sito, Katarzyna. "Ludomir Sleńdziński’s Trips to Italy 1923–1925". Roczniki Humanistyczne 67, n. 4 SELECTED PAPERS IN ENGLISH (30 ottobre 2019): 81–101. http://dx.doi.org/10.18290/rh.2019.68.4-4en.
Testo completoAbstract (sommario):
The Polish version of the article was published in Roczniki Humanistyczne vol. 60, issue 4 (2012).
Ludomir Sleńdziński was the main representative of classicism in Polish art in the period between the two World Wars. The article discusses his two trips to Italy in 1922/24 and 1924/25. They have not been yet researched in the context of the origin and character of his work, albeit impulses coming from Italy were thought to have been an important catalyst for the birth of the so-called “return to order.”
Sleńdziński was Dmitry Kardovsky’s student at the Academy of Fine Arts in Sankt Petersburg, and it was in his class that he acquired a worship of the old masters and a perfect command of his trade, first of all perfect drawing skills. Apart from the Sankt Petersburg school, classicist trends came to Polish art from Paris where they were first noticed in the circles connected with the Museion magazine (1911-1913) and among artists belonging to the Polish colony, such as Henryk Kuna, Edward Wittig and Eugeniusz Żak.
In the article, I reconstruct Sleńdziński’s tour of Italy, and I remind about the exhibition of Polish modern art that he staged in 1925 as part of the 3rd Roman Biennale. His personal contact with old and modern Italian art became an important moment in his artistic formation, stimulating his departure from academic towards modern classicism, in which the artist starts playing a game with the present day and with tradition, consciously using stylistic elements that belong to different epochs.
In conclusion it must be said that Ludomir’s trips inclined him to introduce many new solutions (sometimes surprisingly close to works by well-known Italian artists of similar outlook) and determined the final shape of his mature work.
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Leal Rodrigues, Sofia. "“Vision in motion”: László Moholy-Nagy and the Genesis of the Visual Book". Disegno, n. 1-2 (2021): 86–109. http://dx.doi.org/10.21096/disegno_2021_1-2slr.
Testo completoAbstract (sommario):
This essay aims to analyze the ways in which László Moholy-Nagy’s concepts of “new typography” and “typophoto” were essential to the creation of a new typology of publications: visual books, which have a strong image component, resulting from the popularization of photography and cinema. New typography was defined in 1923 by László Moholy-Nagy in a short text for the catalog of the Bauhaus exhibition Staatliches Bauhaus in Weimar 1919–1923. New typography resulted from a new graphical orientation by Bauhaus, influenced by the ideology of several avant-garde movements, such as De Stijl and Russian Constructivism, that celebrated simplification, geometrization and the advantages of modern technology to construct a visual language that could communicate clearly and in a universal manner. In Moholy-Nagy’s text, new typography called for an analysis of the relation between form and content through the collapsing of the “classic model” (the “old typography”) and the objective use of photography. In 1925, Moholy-Nagy introduced the notion of typophoto in Painting, Photography, Film to realize the “bioscopic book” of El Lissitzky, which is more visual than textual. In publications like the exhibition catalog Staatliches Bauhaus in Weimar 1919–1923 or the Bauhausbücher series, Moholy-Nagy puts both principles into practice, converting the book into a space of visual exploration, endowed with a cinematic dimension that comes close to his notion of “vision in motion”. Through the use of a qualitative research methodology, and based on a critical review of literature and the direct observation of case studies, this essay aims to show how Moholy-Nagy’s multidisciplinary legacy contributed to a paradigm shift in book design.
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Blackman, Cally. "The Colour of Fashion at the Salon du Goût Français: A Virtual Exhibition of French Luxury Commodities, 1921–1923". Costume 56, n. 1 (marzo 2022): 51–73. http://dx.doi.org/10.3366/cost.2022.0218.
Testo completoAbstract (sommario):
This article investigates the use of the Autochrome, an important photographic process invented by the Lumière brothers that produced the most accurate representation of colour between 1907 and the early 1930s, in a government-backed exhibition of French luxury commodities, the Salon du Goût Français. Between 1921 and 1923 the exhibition showed in Paris and undertook two international tours, first to North America and then to Australasia, China, Vietnam, Japan and India. Thousands of objects were displayed, from automobiles to umbrellas, including couture, ready to wear, lingerie, menswear, children's wear and accessories. By reducing the objects to two dimensions on the glass Autochrome plates, the exhibition could be shown in a relatively small venue in Paris, transported to America in a trunk and voyage on a decommissioned battle cruiser to the Far East. Using the trope of Western fashion as a form of soft power mediated by the global reach afforded by the Autochromes, the article proposes that the Salon du Goût Français offered a kind of roving virtual art gallery, a vividly colourful encyclopaedic display of over 2,000 images of luxury manufacturing deployed to restore France's imperial and cultural hegemony as supreme arbiter of taste after the trauma of the First World War.
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Blinov, Ivan S. "COMPANY “FRIEDRICH KRUPP” AT THE FIRST SOVIET ALL-UNION AGRICULTURAL EXHIBITION IN 1923". RSUH/RGGU Bulletin. Series Political Sciences. History. International Relations, n. 4 (2020): 156–66. http://dx.doi.org/10.28995/2073-6339-2020-4-156-166.
Testo completoAbstract (sommario):
The article is focused on the first Soviet All-Union Agricultural Exhibition and the participation of German industrialists in it, in particular the Friedrich Krupp Company. Following the documents from the Russian State Archive of Economics, as well as a wide range of periodicals the author shows that the Soviet exhibition was positively reviewed by Western businessmen as an extremely important political event, but foreign entrepreneurs had to face a number of challenges associated with the special nature of the Soviet economic system. Despite the difficult conditions set by the People’s Commissariat of Foreign Trade (NKVT) of the USSR for exhibitors, German companies could maintain a general enthusiasm, largely due to the awareness of the special political significance of the event and the personal motivation of individual participants. The author examines the peculiarities of realizing the personal ambitions of entrepreneurs in the context of the Soviet exhibition on the example of the Friedrich Krupp Company. Participation in the exhibition was a logical continuation of the Krupp development in the agricultural field. Krupp became a guide to the world of advanced agricultural technologies and used an every opportunity to strengthen ties with the Russian market, continuing to develop cooperation that began with the organization of an agricultural concession in the south of Soviet Russia.
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Lavrov, Dmitrii Evgen'evich. "Exhibition activity of the Palekh lacquer miniature craft (1945-1989)". Человек и культура, n. 5 (maggio 2022): 117–25. http://dx.doi.org/10.25136/2409-8744.2022.5.36910.
Testo completoAbstract (sommario):
The study is a continuation of the article "Exhibition activity of the Palekh lacquer miniature craft (1923-1939)", published in the scientific journal "Man and Culture". The subject of the proposed work is an analysis of the exhibition activity of the Palekh lacquer craft in the post-war period, limited to the second half of the 1940s and the end of the 1980s. The purpose of the article is to use historical, typological and structural research methods, as well as a historical and systematic approach, to show the specifics of this period in the history of the exhibition activity of the Palekh craft. Emphasizing the continuity of the exhibition activities of the 1940s - 1980s with the pre–war period, the author at the same time points out the new features that appear in the exhibition practices of the craft in the post-war period. The scientific novelty of the research consists in the fact that the author analyzes the most important art shows of the Soviet Union, where the products of the Palekh lacquer miniature were exhibited in the 1940s – 1980s. The article pays special attention to the activities of the State Museum of Palekh Art, which after its opening in 1935 became an important exhibition center for lacquer craft products, personal, retrospective, thematic and traveling exhibitions are considered. The main conclusion of the article is the substantiation of the importance of the considered topic for understanding the public recognition and fame that the Palekh lacquer miniature craft acquired in the late Soviet period, as well as in the post-Soviet period.
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Karasev, Andrey V. "Genesis of autotractor diesel engineering and first diesel tractors". Tekhnicheskiy servis mashin, n. 1 (1 marzo 2020): 207–15. http://dx.doi.org/10.22314/2618-8287-2020-58-1-207-215.
Testo completoAbstract (sommario):
Agriculture needed a simple engine running on cheap fuel to switch to mechanical traction. Due to its simplicity and ability to work on oil, colorization engines have become widespread, including in agriculture. (Research purpose) The research purpose is in identifying the key issues that influenced the creation of diesel engines with divided combustion chamber: indirect, pre-chamber, as well as studying the story of the creation of the indirect diesel, the first diesel tractors. (Materials and methods) The article notes the importance of the International Congress of figures involved in the construction and use of internal combustion engines, and the exhibition organized at the same time. The exhibition presents 95 engines, 23 of them were created at Russian factories. The holding of the international event and the wide participation of domestic engine manufacturers in it testified to the development of engine design in Russia. (Results and discussion) The article notes that despite the success of the world engine building, the problem of creating a lightweight diesel of high specific power, suitable for installation on automotive equipment, has not been solved yet. The article consideres the history of creation of a high-speed turbocharged diesel engine with a "soft" flow of the working stroke. (Conclusions) A two-cylinder pre-chamber diesel engine with a capacity of 18 kilowatts (25 horsepower) at 800 rpm by P. L'Orange was produced by Benz & Cie in 1922 and intended for agricultural machinery. The Benz-Sendling S6 motor plow with the Benz & Cie diesel was launched in March 1923. In addition to three-wheeled tractors and motor plows, since 1923, Benz and Sendling have offered a four-wheeled model of the BK diesel tractor. The first serial diesel tractor in Europe is considered to be the Deutz tractor. Produced in 1927, the MTH 222 tractor was equipped with a 14-horsepower single-cylinder engine with an additional chamber.
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Svetlana V., Bershadskaia. "Journey from Krasnoyarsk to Moscow in 1923". Humanitarian Vector 16, n. 3 (giugno 2021): 71–78. http://dx.doi.org/10.21209/1996-7853-2021-16-3-71-78.
Testo completoAbstract (sommario):
By examining the personal journal of Marfa Solov’eva, one of the staff of Krasnoyarsk Local History Museum (Yenissei Province), the article aims to analyze some changes of everyday life at the beginning of the 1920s. Aged 33, Ms. Solov’eva found herself among the members of the Yenissei Province delegation sent to participate in the First All-Union Agriculture and Orchard Industry Exhibition in Moscow in 1923. She wrote down her personal experiences of travelling from Krasnoyarsk to Moscow. Given that anthropological shift has taken the lead in historical research, the materials of personal origin (like personal journals) provide an additional avenue to get firsthand information on how contemporaries interpreted the turning points in history. By focusing on the findings from the personal journal introduced for the first time the article investigates the transformations in early Soviet society at the grassroots level and from the point of view of a young representative of Siberian intelligentsia. The article demonstrates how day-to-day and leisure practices of those who took part in the trip were organized. Additionally, it considers the emotional sphere, which is missed to a greater extent by official sources. A mixture of interdisciplinary, systematic and sociocultural approaches and descriptive methods for interpreting sources has been adopted. Keywords: personal journal, everyday life, the intelligentsia, Siberia, the Yenissei province, the onset of NEP, the First All-Union Agriculture and Orchard Industry Exhibition in Moscow in 1923
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Johnston, Keith M. "Beyond the “Exhibition Straight-Jacket”: How British Amateur Film Clubs Created an Alternative Distribution and Exhibition Network, 1923–1933". Film History 34, n. 3 (gennaio 2023): 46–70. http://dx.doi.org/10.2979/filmhistory.34.3.03.
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Makhrachev, Georgiy. "Development of handicraft industry in the period of the new economic policy according to the governorate newspaper “Tambovskaya Pravda”". Tambov University Review. Series: Humanities, n. 183 (2019): 204–13. http://dx.doi.org/10.20310/1810-0201-2019-24-183-204-213.
Testo completoAbstract (sommario):
We give the historiographic criticism of the governorate party newspaper “Tambovskaya Pravda”. We analyze the reflected in its pages relation of the party management to handicraft industry. We provide examples of a newspaper’s propaganda role in engaging handicraftsmen for country needs. We consider the publications devoted to government measures of handicraft industry stimulation at the state and local levels. Among the main areas of state activities we highlight cooperation, holding handicraft exhibitions, the allocation of loans to industrial cooperatives through the bank for consumer cooperation, the involvement of small producers in the political life of the country, as well as the increase of their professional and general cultural level. We pay special attention to the All-Russian Agricultural and Handicraft Exhibition in 1923 and its accompanying events. We give characteristic of the changes in policy that followed the 14th All-Union Conference of the All-Union Communist Party (Bolsheviks) and the 3rd All-Union Congress of Soviets. Based on the articles in the 1927 issues, we conclude that many party under-takings did not have adequate success. We also analyze data on the peculiarities of the handicraft industry restoration in the governorate. We consider the specificity of the county distribution of crafts, as well as their ratio in urban and rural environments.
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Maximov, Yuriy, Pavel Matviets e Polina Matviets. "RUSSIAN NORTH. IMAGES OF RUSSIA IN D.N. ANUCHIN’S PHOTO COLLECTION". LIFE OF THE EARTH 45, n. 2 (14 giugno 2023): 260–67. http://dx.doi.org/10.29003/m3454.0514-7468.2023_45_2/260-267.
Testo completoAbstract (sommario):
An exhibition of photographs from the collection of Dmitry Nikolayevich Anuchin, organized jointly with the Earth Science Museum of Lomonosov Moscow State University, has opened in the Maritime Exhibition Center of the Museum of the World Ocean in Svetlogorsk, Kaliningrad region. Dmitry Nikolayevich Anuchin (1843-1923) was a famous Russian anthropologist, ethnographer, archaeologist, geographer, and museologist. D.N. Anuchin was active in spreading geographical knowledge and creating a Russian university geography school, and educated a great number of students. Dmitry Nikolayevich was at the origin of the creation of the Geographical Museum of Moscow University, which he headed for more than 20 years. The exhibition shows about 70 prints of photographs of the Russian North of the late 19th-early 20th centuries from D.N. Anuchin’s photo collection. A significant part of the collection (more than 3.5 thousand units) is now stored in the funds of the Earth Science Museum of the Lomonosov Moscow State University.
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Paz-Agras, Luz. "Creative processes in the Avant-Garde Movements". Estoa, n. 15 (2019): 21–30. http://dx.doi.org/10.18537/est.v008.n015.a02.
Testo completoAbstract (sommario):
The 20th Century Avant-Garde Movements broke with the traditional distinction of artistic disciplines in favour to an ambiguous space where limits are diffuse. Exhibition space played a relevant role in this sense as a laboratory where art object and spectator are together in interaction, getting to experiences that, in many cases, transcend from the exhibition to disciplinary Architecture. Through the analysis of the Proun Space of El Lissitzky, constructed in 1923, and some of the most relevant proposals of Neplasticist authors, focusing on the creative and experimental process, contributions from Painting to Architecture are established. Some of them, partially shaded by the hegemony of Modern Movement, have been incorporated to 20th Century architectural projects and they are a significant chapter about interdisciplinary creative processes.
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Батырева, К. П. "100th Anniversary of Garri Rokchinsky (1923–1993), People’s Artist of the RSFSR, Was Celebrated in the Republic of Kalmykia and Regions of Southern Russia". Nasledie Vekov, n. 4(36) (31 dicembre 2023): 152–61. http://dx.doi.org/10.36343/sb.2023.36.4.012.
Testo completoAbstract (sommario):
Статья содержит основную информацию о мероприятиях, связанных с празднованием 100-летия со дня рождения народного художника РСФСР Г. О. Рокчинского – основоположника изобразительного искусства Калмыкии. Значительное внимание уделено передвижной выставке «Сказ о земле калмыцкой», экспонировавшейся в Элисте и других региональных центрах Юга России. Отражена проблематика выступлений и докладов участников прошедшей в Элисте в октябре 2023 г. межрегиональной научно-практической конференции «Живопись как знак культуры», посвященной творчеству Г. О. Рокчинского и вопросам развития искусства. Охарактеризованы каталог произведений художника и альбом-монография «Живопись во времени и пространстве культуры», вышедшие в свет к его юбилею. Отмечается, что альбом-монография стала самым полным изданием о жизни и творчестве Г. О. Рокчинского, а живопись мастера явилась многомерным пространством, в котором в юбилейные дни органично объединились сферы искусства и культуры, образования и науки. The article contains basic information about events related to the celebration of the 100th anniversary of the birth of Garri Rokchinsky, Honored Artist of the Kalmyk ASSR, laureate of the State Prize of the Kalmyk ASSR named after O.I. Gorodovikov, People’s Artist of the RSFSR. The master, who created works of painting, graphics, and small sculpture, is considered the founder of the fine arts of Kalmykia. The works he created have become classics, recognizable and quoted in the Mongolian world, and are included in the golden fund of multinational art in Russia. The article describes events held at the beginning of the year 2023 in Elista and related to the popularization of Rokchinsky’s works and the study of his heritage. Considerable attention is paid to the traveling exhibition The Tale of the Kalmyk Land, which was shown in the regional centers of the South of Russia (Volgograd, Astrakhan, Rostov-on-Don). The article cites excerpts from the speeches of art critics made at the opening of the exhibitions and notes the significance of the opening of a museum dedicated to Rokchinsky’s works in his homeland, village Altsynkhut, Ketchenerovsky District, Republic of Kalmykia. The article also lists the problems of the key speeches and reports of the participants in the interregional conference Painting as a Sign of Culture, held in Elista in October 2023. The topics of the conference covered Rokchinsky’s works, the figurative and stylistic search for a pictorial language, the formation of a national art school in Kalmykia, studies of the role of art in higher and secondary education. Researchers also shared practical research findings and theoretical developments in the field of communication. The conference was preceded by the opening of an anniversary exhibition-retrospection of the artist’s works. The contents of the catalog of the artist’s works from the collection of the National Museum of Kalmykia and the monograph album Painting in the Time and Space of Culture, released for the artist’s anniversary, are characterized. The monograph album, intended for the widest range of readers, has become the most complete publication dedicated to the works of Garri Rokchinsky, and the master’s paintings in the anniversary days formed a multidimensional space that organically united art and culture, education and science.
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Jeong, So Young. "A Study on the holding Joseon Sideline-products Exhibition and its effect in 1923". Historical Association for Soong-Sil 38 (30 giugno 2017): 133–81. http://dx.doi.org/10.16942/ssh.2017.38.06.05.
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Jeong, So Young. "A Study on the holding Joseon Sideline-products Exhibition and its effect in 1923". Historical Association for Soong-Sil 38 (30 giugno 2017): 133–81. http://dx.doi.org/10.16942/ssh.2017.38.6.05.
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Elina, Olga. "The “New Peasant” at the 1923 All-Russian Agricultural Exhibition: Construction of an Image". Novoe literaturnoe obozrenie, n. 4 (2022): 99–118. http://dx.doi.org/10.53953/08696365_2022_176_4_99.
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Hitchcock, H. Wiley. "Ives's "114 [+ 15] Songs" and What He Thought of Them". Journal of the American Musicological Society 52, n. 1 (1999): 97–144. http://dx.doi.org/10.2307/832025.
Testo completoAbstract (sommario):
This essay reflects work toward a critical edition of 129 Ives songs (all those in whose publication he was directly involved)-mainly 114 Songs (1922) and the New Music issues of Thirty-Four Songs (1933) and Nineteen Songs (1935). It explores his value judgments of them, and also of 50 Songs (1923), containing unaltered reprints from 114. 114 Songs is eclectic and inclusive, a retrospective exhibition of various song types, including ones drastically foreign to conventional notions of a song. In 50 Songs, Ives responded to adverse reactions to 114 Songs and sought to reprint songs of "more general interest." For the New Music collections, he revised many songs, especially those initially arranged from pre-114 chamber-ensemble works. To the latter he typically restored material from the "parent pieces," increasing the songs' dissonance (not, however, to falsify their modernity). He also reprinted conservative songs, as well as adding nine previously unpublished ones, and in both collections chose the songs' order carefully.
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RICE, TOM. "“The True Story of the Ku Klux Klan”: Defining the Klan through Film". Journal of American Studies 42, n. 3 (dicembre 2008): 471–88. http://dx.doi.org/10.1017/s0021875808005537.
Testo completoAbstract (sommario):
In 1923 the Ku Klux Klan produced two films, The Toll of Justice and The Traitor Within. This article considers, for the first time, what the representation, promotion and exhibition of these films suggests about the ways in which the Klan sought to promote and define itself at the height of its power. It examines the cinematic articulations of Klan policies and explores the broader engagement of the Klan and cinema. In doing this, the article repositions film as a contributing factor in the growth and development of the modern Klan during the 1920s.
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Elina, O. Yu. "Regions at the All-Russian Agricultural and Handicraft Industrial Exhibition, 1923: Geography, Ethnology, and Art". IOP Conference Series: Earth and Environmental Science 579 (5 novembre 2020): 012157. http://dx.doi.org/10.1088/1755-1315/579/1/012157.
Testo completo
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Latifić, Amra. "Contextualisation of optico-plastic: The effects of Alexander Archipenko and Ljubomir Micić's cooperation". Zbornik Akademije umetnosti, n. 9 (2021): 79–90. http://dx.doi.org/10.5937/zbaku2109079l.
Testo completoAbstract (sommario):
One of the most important representatives of our culture in the 1920's is Ljubomir Micić, who connects a wide range of activities. His activity as the editor and founder of Zenit, poet, writer, critic, theorist, collector and organiser of exhibitions, attracted the attention of the world's avant-garde. Micić's project entitled Archipenko - the New Plastic, an album-monograph, appeared in Belgrade in 1923. The monograph had a print-run of 100 copies; it includes Archipenko's artistic opus until 1923 and represents one of the world's earliest, according to Zoran Markuš perhaps even the oldest monograph about sculptor Alexander Archipenko. An additional feature of this monograph is the cooperation between the writer and the world artist, because Archipenko himself participated in the preparation of this publication; he was the one to choose reproductions - 13 sculptures and 2 drawings. On this occasion, Micić wrote the introductory text, and according to Irina Subotić, it is a "manifesto of zenithist sculpture, seen through the optics of this sculptor's oeuvre". The introductory text is entitled Towards Optico-plastic, and Micić writes it in Belgrade on the 20th September. Here he introduces a new theoretical concept of optico-plastic, and in a specific literary way argues that Archipenko's art is one step towards optico-plastic, as he significantly defines a new style of absolute plasticity. Micić combines oculocentric aesthetics and optical illusionism dimension in the new concept, anticipating the third dimension which only eye can perceive. It is clear that Micić possessed the ability to anticipate, not only new concepts in the domain of theoretical and literary discourse, but also future world-renowned artists, even if they were just in their earliest artistic phases at the time. that Markuš What is of additional importance for this term is connects it with the term optical art, emphasising that optico-plastic, four decades earlier, anticipates the term op art. Archipenko exhibited his works in Belgrade in April 1924, as part of the First Zenit International Exhibition of New Art at the Stanković Music School. The international importance of the Zenit magazine, as well as the effects of the Archipenko-Micić cooperation, is evidenced by the fact that soon after the publication of the monograph, Archipenko sent an invitation to Zenit to join the International Society of New Artists in New York, led by Catherine Dreyer and Wassily Wassilyevich Kandinsky and whose one of the presidents was Marcel Duchamp (Henri-Robert-Marcel Duchamp). The lavish talent of these two artists, Alexander Archipenko and Ljubomir Micić, deserves continuous and additional research, as well as new interpretations of their joint work.
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Minta-Tworzowska, Danuta. "Nowoczesna archeologia Profesora Jana Żaka (1923-1990). W 100. rocznicę urodzin". Folia Praehistorica Posnaniensia 28 (27 dicembre 2023): 231–53. http://dx.doi.org/10.14746/fpp.2023.28.10.
Testo completoAbstract (sommario):
On March 23rd, 2023 the 100th anniversary of Professor Jan Żak’s birth was marked with an exhibition and a seminar meant to present the modern archeology he had been creating. In addition to Professor’s scientific achievements, there were fragments presented of three documentaries to illustrate his involvement into popularization of archeology. The article discusses also Professor’s work and scientific activities in the field of early medieval archeology, methodology of archaeology and general prehistory, widely recognized and appreciated not only in Poland but also abroad. In 1945 Jan Żak took part in the military operations of the 3rd Carpathian Rifle Division, and his professional life took place in the realities of the People’s Republic of Poland. Particularly important were his organizational achievements as well as scientific contacts with researchers from Western Europe. The article also presents the direction of contemporary archeology methodology established by J. Żak, continued by his students and subsequent generations or archaeologists.
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Albert, Samuel D. "Hungarian Representative Exhibitions and the Rhetoric of Display in the 1920s". Arts 13, n. 1 (26 gennaio 2024): 23. http://dx.doi.org/10.3390/arts13010023.
Testo completoAbstract (sommario):
This article examines the series of art exhibitions organized by the Hungarian government in the 1920s. After examining the bureaucratic framework of the exhibition, the article then discusses the materials displayed at five different exhibitions, organized between 1920 and 1927. While much of the material displayed remained the same, the rhetoric, particularly the catalog essays that accompanied the exhibition provided insight into the organizers’ goals and the governmental ideology underlying that rhetoric.
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Land, Michael F., e Priscilla Heard. "Richard Langton Gregory. 24 July 1923—17 May 2010". Biographical Memoirs of Fellows of the Royal Society 64 (28 marzo 2018): 163–82. http://dx.doi.org/10.1098/rsbm.2017.0034.
Testo completoAbstract (sommario):
Richard Gregory was a pioneer of cognitive psychology. Much of his scientific work involved the development and interpretation of visual illusions, which he used as a tool to work out the perceptual mechanisms involved in the way that the visual world is normally perceived. He was also an inventor, developing a technique for viewing microscopic objects in three dimensions, and a method for taking sharp telescope images through an unstable atmosphere. He was a man of great charm, enthusiasm and wit, who listed his hobbies as punning and pondering. He was to become an outstanding public communicator of scientific ideas. He gave the Royal Institution Christmas Lectures (‘The intelligent eye’) in 1967, was a founder member of the Experimental Psychology Society, set up his own journal, Perception , in 1972, and in 1978 founded the Exploratory, a hands-on science centre in Bristol. His work on illusions and his interest in painting led to a collaboration with the art historian Sir Ernst Gombrich, resulting in the book Illusion in nature and art (1973) and an exhibition at the Institute of Contemporary Art. Other books included Mind in science (1981) and The Oxford companion to the mind (1987), for which he was both editor and a major contributor. The book for which he is best known is the wonderfully accessible Eye and brain , whose five editions (1966–1997) and many translations have inspired students of all ages.
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Schleicher, Alexander. "Museum of Contemporary Art by Artists". Advanced Engineering Forum 12 (novembre 2014): 79–87. http://dx.doi.org/10.4028/www.scientific.net/aef.12.79.
Testo completoAbstract (sommario):
Museum is type of building which among architectural work occupies a special place by its distinct function of documenting existence and progress of humankind, society and their environment. This is reflected in the outstanding architecture of these buildings. 95% of museum buildings arose after World War II. This authorizes us to talk about the museum as a “20th century phenomenon“ especially of the second half of it. The unprecedented growth of museums after World War II – most of them are museums of art, especially contemporary art – entitles a question which is often discussed: What is an ideal museum like as an object serving for exhibiting art and what does an ideal exhibition space for contemporary art look like? This question had only been discussed among architects and museologists for a long time. According to the nature of contemporary art and because of the fact that alongside these two determinants the exhibiting artists who actively influence exhibition space and form the final spirit of the exhibition became an important element in creation of the museum; the question what is the artists’ vision of the ideal museum is poignant. Answer to that question can be given by concepts of the ideal museum of contemporary art from the end of the 20th century created by artists. The “Bilderbude” concept by Georg Baselitz, two projects “Ideales Museum” by Gottfried Honegger, “A Place Apart” by Marcia Hafif and also concepts of museums or opinions on a museum of contemporary art by other artists provide an idea of how the artists deal with and look on this problematic. The issue of museum of contemporary art perceived by the optics of artists definitely represents an interesting example of connecting functionality demanded by the artists, significant author’s approach and philosophical ideas concerning the ideal museum of contemporary art. Museum Concepts – Thinking about Museum Museum concepts from the beginning of existence of museum buildings (in some cases even before considering a museum an individual specialized object or an institution) provide us the notice about the main themes which the actors of this problematic were dealing with at that time. While at the beginning in the museum concepts we can trace the effort to define an individual type of a museum building, an ideal museum; then we can see searching for a form which would be adequate to the building expression. Later especially in the 20th century until nowadays there have been solved more specific problems concerning the growth of the museum collections, expanding the functional structure of the museum, shape and form of the exhibition space etc. The museum topic such important personalities as for example Étienne-Louis Boullée, Le Corbusier or Ludwig Mies van der Rohe brought their contribution. The 20th century especially the 2nd half of it, if we do not only consider the narrow present scope, brought an unseen growth of museum architecture. 95% of museums arose after the World War II. [1] A great part of museums which were built in this period are museums of art, often presenting modern or contemporary art. This fact - emerging of such an amount of museums of contemporary art together with the changed form of visual art in the 20th century – the importance of depicting and documenting function of art, which until then visual art besides the aesthetical function was satisfying started to decrease, the artist were engaged in new themes, they experimented with new methods etc. – brings increasing effort of the artists to influence the final form of the exhibition spaces in the means of their specific demands and also to influence the form of the general form of the museum building. The artists more and more actively participate at creating the museum, they influence the form of the exhibition space and the exhibition itself – unlike in the past, when the museologist, curator was creating the exhibition by choosing from the collection, which he had at disposal and the exhibition was formed by them relatively independently from the artists – authors of the exhibits. The first artistic experiments, which balance on the edge of visual art and museum, have been occurring since the 20-ties of the 20th century – let’s mention for example El Lissitzky (Proun room, 1923), Kurt Schwitters (Merbau, 1923-37) or Marcel Duchamp (Boîte-en-valise, 1935-41), and they persist until nowadays. In the 70-ties Brian O`Doherty analyses from the point of view of an art theoretician but also an active artist the key exhibition space of the 2nd half of the 20th century, which he characteristically identifies as White Cube. Donald Judd – artist and at the same time a hostile critic of contemporary museum architecture (70-ties-80-ties) formulated his uncompromising point of view to the museum architecture as follows: “Forms’ for their own sake, despite function, are ridiculous. One reason art museums are so popular with architects and so bizarre, is that they must think there is no function, the clients too, since to them art is meaningless. Museums have become an exaggerated, distorted and idle expression for their architects, most of whom are incapable of expression.“ In another text he posed the question: “Why are artists and sculptors not asked how to construct this type of building?“ [2] As we can see the artists’ opinion who seem to stay unheard in the museum and their needs stay unnoticed has full legitimacy and is very interesting for the problematic of museum and exhibition space. Beginning in the 70-ties of the 20th century these opinions are given more and more precise contours. While O’Doherty only comes with a theoretical essay on exhibition space (1976), D. Judd already presents his own idea of a museum even realised through the Marfa complex in Texas (1979/1986). Let’s mention some other artists who form their ideas of an ideal museum in form of unrealised concepts. Some authors name their proposals after a bearing idea of their concept; others call them directly ideal, in the same way as it was in the beginning of the history of museum. Contemporary Art Museum Concepts by Artists Georg Baselitz: Bilderbude.
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Vaniuha, Liudmyla, Mariya Markovych, Nataliya Hryhoruk, Svitlana Matviishyn e Yaroslava Toporivska. "The history of the creation, formation and development of the Museum of Theater, Music and Cinema Arts of Ukraine". History of science and technology 13, n. 1 (30 giugno 2023): 78–100. http://dx.doi.org/10.32703/2415-7422-2023-13-1-78-100.
Testo completoAbstract (sommario):
The authors analyzed the stages of creation, formation, development and modern activity of the Museum of Theater, Music and Cinema Arts of Ukraine, which is the only one in Ukraine in terms of its specialization. This museum has a history famous for its names and events. It is widely known in Ukraine and abroad for its permanent exhibitions and mobile exhibitions, created on unique exhibits from the history of theater, music, and cinema. Collected during its existence – since 1923 – a large and multifaceted collection of monuments from the history of the development of arts, which is constantly replenished with new materials, is the basis for scientific research, scientific advisory, expositional and exhibition work, a rich source for popularizing the achievements of the national theater, music and cinema. The article emphasizes that theater museums, film and music museums are an integral part of the development of world culture. They arose, developed and formed into a separate typological group of art museums. The uniqueness of each theater museum was determined by stationary expositions and temporary exhibitions, which were the main sphere of operation and a form of use and popularization of the processed funds. Reproducing the phenomena and events of the theatrical heritage, expositions and exhibitions visualized the most significant assets of both the past and modern theater and theater science in the language of museum exhibits. Research and analysis of the historical experience of exposition and exhibition activity of theater museums, film and music museums will be important for an objective assessment of the positive and negative consequences of the influence of national and cultural processes on their functioning and development. The challenges faced by theater museums, film museums and music museums in the course of their activities have common features and may vary depending on the specific situation and context. The article analyzes the typical problems and features that theater, film and music museums face in their activities. The article shows that these problems may differ for each specific theater museum depending on its size, financial resources, location and other factors. Their features may vary among theater, music, and film museums, depending on their resources, scale, and specialization. However, solutions to these challenges may include working with conservation professionals, attracting grants and sponsors, developing educational programs, and using new technologies to improve visitor audience engagement.
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Pryn, O. V. "“With God’s help, act in favor of Ukraine”: unknown letters of Fedir Ernst to Adelaida Artiukhova (1927–1929)". SUMY HISTORICAL AND ARCHIVAL JOURNAL, n. 35 (2020): 12–30. http://dx.doi.org/10.21272/shaj.2020.i35.p.12.
Testo completoAbstract (sommario):
In the article, the author studies the correspondence of F. Ernst and A. Artiukhova. The found complex of letters covers the chronological period from 28.09.1927 to 01.12.1929 and belongs to the time of their joint work in Taras Shevchenko All-Ukrainian Historical Museum. F. Ernst was a head of art department of the museum then, and A. Artiukhova worked as an assistant from 1927. Simultaneously with working in the museum, from 1926 F. Ernst worked as Kyiv krai inspector for protection of cultural heritage, and from 1929 he was the member of Parity Commission for Cultural Valuables Exchange between RSFSR and Ukrainian SSR. The letters, found in Central State Archives of Public Organizations in Ukraine in fund 263 “Individuals repressed by GPU-NKVD-KGB during the 1920–1950s in Kyiv and Kyiv region” in the archival investigative case No. 64684 FP, and were the evidence in the case of accusation of Adelaida Artiukhova of “counter-revolutionary nationalist activity”. All the charges were reduced to a personal acquaintance with F. Ernst, who was already deported at that time. The found archival sources allow to reconstruct in more detail the biography of Adelaida Volodymyrivna Artiukhova and her personal contribution to the replenishment of the art collection of the Taras Shevchenko Ukrainian Historical Museum. A. Artiukhova was born in 1902 in the city of Kyiv. In 1920–1923, she studied at the Kyiv Institute of Public Education and the Kyiv Archaeological Institute. In 1924, she began working at the Taras Shevchenko Ukrainian Historical Museum (UHM) in Kyiv as a laboratory assistant of the art department. During 1927-1929, together with F. Ernst, she was returning cultural values from the museums of the Russian Federation, replenishing the UHM collection, and for this purpose often visited the museums of Moscow and Leningrad, studying their collections and museum work in general. The texts of the letters are published without any reductions. Phonetic and orthographic features of the document language are preserved. The letters give an opportunity to immerse in the historical context of the museum life of one of the leading museums of Ukraine, to study into inter-museum cooperation, etc. F. Ernst’s epistolary reveals the contact points of the researchers, shows their friendly style of communication and the topics they discussed. Throughout the correspondence, there are three main topics: the activity of the art department of the Taras Shevchenko Ukrainian Historical Museum (exhibitions and collections), cooperation and return of paintings from Russian museums, and everyday life (rest of the scholars in the Crimea and Odessa). All letters are very informative; they show the internal activities of the art department of the Taras Shevchenko Ukrainian Historical Museum: replenishment of the collection, exhibiting activity, scholarly contacts. The letters reveal the complex inter-museum relations of UHM with Russian museums and the role of personal contacts of scholars. It was found out that A. Artiukhova, who used F. Ernst’s personal connections and acquaintances for the benefit of the museum, had a significant influence on the implementation of the large replenishment of UHM.
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Hemingway, Andrew. "To “Personalize the Rainpipe”: The Critical Mythology of Edward Hopper". Prospects 17 (ottobre 1992): 379–404. http://dx.doi.org/10.1017/s0361233300004774.
Testo completoAbstract (sommario):
By the early 1930s Edward Hopper was a major figure in the American art scene. As is well known, Hopper made no significant sales of paintings until the exhibition of his watercolors at the Rehn Gallery in 1924, by which time he was forty-four years old. However, his career takeoff in the late 1920s and early 1930s was certainly dramatic, and in 1933 Forbes Watson could describe him as a “collector's favorite.” In 1924 the standard price of Hopper's watercolors was $150, by 1925 it had risen to $200, and in 1928–29, $300–400 was the norm. In 1929 alone he sold at least fourteen drawings. Between 1924 and 1930 he also sold sixteen oils at prices ranging between $400 and $2,500 dollars. In the 1930s he was getting between $1,500 and $3,000 for an oil painting, and from 1934 to 1939 he sold several watercolors at $750 each. If, asLifereported in 1937, his receipts from sales did not usually come near $10,000 per year, he was still doing a lot better than most other artists in the Depression years.
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Шапченко, Юлия. "Дальневосточные зарисовки Александра Яковлева". Acta Polono-Ruthenica 2, n. XXIV (30 giugno 2019): 43–53. http://dx.doi.org/10.31648/apr.4460.
Testo completoAbstract (sommario):
Alexandre Yakovlev was a famous Russian painter, graphic and theatre artist, a graduate from the Imperial Academy of Arts and a member of the “World of Art”. In 1917 by the order of the Academy (material collection to decorate interiors of the Kazanian railway station) Yakovlev went to Beijing, then he traveled a lot throughout China, Mongolia and Japan. He explored Chinese and Japanese theaters, as a result he made many ethnographic sketches, portraits and photographs. He arranged the exhibition of his drawings in Shanghai (in 1919). Finding out about the revolution in Russia he emigrated to France. Since 1919 he lived in Paris. He showed multiple works of Far Eastern cycle at personal exhibitions in Paris (Barbazanges Gallery, 1920 and 1921; together with V. Shuhaev), London (Grafton Gallery, 1920) and Chicago (Art Institute, 1922). In 1922 the pub-lisher Lucien Vogel published an album Drawings and paintings of the Far East, which included 50 reproductions of Yakovlev’s Far-East cycle (the book was designed by Shuhaev). At the same time the artist produced an album on the Chinese theater with accompanying text by a Chinese author Zhu Kim-Kim. In 1931–1932 Yakovlev took part in the “Yellow Cruise” arranged by the “Citroen” company. From this expedition he brought some new series of drawings. At the end of the cruise he presented his artworks in Paris and at foreign exhibitions. This background of the artist’s life is subject to be studied better in Russia.
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Mitjans, Frank. "Non sum Oedipus, sed Morus". Moreana 43 & 44 (Number, n. 4 & 1-2 (marzo 2007): 12–67. http://dx.doi.org/10.3366/more.2007.43-44.4_1-2.4.
Testo completoAbstract (sommario):
Frank Mitjans is an architect who has worked in London since 1976. He was introduced to the significance of the figure of St. Thomas More by Andrés Vázquez de Prada (1923-2005), author of the biography, Sir Tomás Moro, Lord Canciller de Inglaterra (Madrid, 1962). In 1977 Vázquez de Prada invited Mitjans to visit with him the Thomas More Exhibition at the National Portrait Gallery, which stimulated his interest in representations of More, his family and his friends. Since August 2002 he has given many presentations and talks on the topography of More’s London to groups of students and other interested people in Britain, Ireland, and Sweden. Frank Mitjans, architecte qui travaille à Londres depuis 1976, fut initié au personnage de Saint Thomas More par Andrés Vázquez de Prada (1923-2003), auteur de la biographie Sir Tomás Moro, Lord Canciller de Inglaterra (Madrid, 1962). En 1977 Vázquez de Prada l’invita à l’accompagner dans sa visite de l’exposition Thomas More à la National Portrait Gallery, évènement qui aiguisa son intérêt pour les représentations de More, de sa famille et de ses amis. Depuis août 2002 il a régulièrement fait des présentations et des exposés à des groupes d’étudiants et d’autres en Grande-Bretagne, Irlande et Suède au sujet de la topographie du Londres de Thomas More. The recent exhibitions of the works of Holbein in London and Basel (2006-2007), and scholarly publications such as Holbein and England (2004), have rekindled interest in the Portrait of Thomas More and his Family, and in the late sixteenth-century versions of Holbein’s presumed lost original. The present paper analyses the differences between the sixteenth-century versions and Holbein’s 1527 composition sketch, and concludes that the sketch is a more reliable witness to Holbein’s lost painting than the later versions, as well as the only authentic witness to More’s intentions; though anything we learn from the drawing must be checked against what we know from More’s letters and writings and other biographical data. From the later versions, however, and in particular from the references to Seneca on them, we can learn about those who commissioned them and England’s peculiar historical circumstances.
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Gidley, Mick. "Topographical Portraits: Seven Views of Richard Avedon'sIn the American West". Prospects 30 (ottobre 2005): 685–713. http://dx.doi.org/10.1017/s0361233300002234.
Testo completoAbstract (sommario):
This essay addresses some of the ambiguities of the western portrait project conducted by Richard Avedon (1923–2004) between 1978 and 1984, a project that resulted in both a major exhibition, initially mounted at the Anion Carter Museum of Western Art in Fort Worth, Texas, and the portfolio-sized bookIn the American West(1985). The book version, insofar as such a thing is possible, echoed between covers, in sequencing and scale, the design experience of the exhibition, with its large prints of the images, even though, according the person who supervised the photographic printing, Avedon's regular studio manager Rue-di Hofman, the reproductions in the book did not achieve quite the same “intensifying, clarifying” quality (his words) as the exhibition prints, which — at life size or slightly larger — were huge. All of the images were taken in the same way, with the subjects standing in front of a large sheet of white paper fixed to a wall, in natural light, and in the shade. The white-background technique is a precondition for several of the project's ambiguities. It means that the subjects of the resulting portraits are, in the perceptive words of one critic, “literally nowhere.”Certainly, if they arefrom— or evenof— the American West, they are not visuallyinthe American West. Indeed, a question mark is raised over the project's referentiality in general. I stress “ambiguities” because the project really does touch upon problematic issues in a number of areas that seem, still, at the suspension of my labors, to elude firm resolution. These areas include both the obvious, such as photographic portraiture and the representation of the American West, and the less evident, such as public taste, corporate patronage, and, at the project's philosophical edge, ontology. I will seek to illuminateIn the American Westby situating it in several contexts — biographical, historical, geographic, aesthetic and, tentatively, philosophical — each of which should serve to bring out differing, and sometimes conflicting, aspects of the project.
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O'Hear, Anthony. "Art and Technology: An Old Tension". Royal Institute of Philosophy Supplement 38 (marzo 1995): 143–58. http://dx.doi.org/10.1017/s1358246100007335.
Testo completoAbstract (sommario):
This is not the first time the title ‘Art and Technology’ has been used, but to distinguish what I have to say from Walter Gropius's Bauhaus exhibition of 1923, I am subtitling my paper ‘an old tension’, where the architect spoke of ‘a new unity’. In a way, Gropius has been proved right; the structures of the future avoiding all romantic embellishment and whimsy, the cathedrals of socialism, the corporate planning of comprehensive Utopian designs have all gone up and some come down. We have a mass media culture also largely made possible by technology. Corporatist architecture, whether statist ‘social housing’ or freemarket inspired, films, videos, modern recording and musical techniques are all due to technological advances made mostly this century. Only in a very puritanical sense could what has happened be thought of as inevitably bringing with it enslavement. All kinds of possibilities are now open to artists and architects, which would have been imaginable a few decades ago. No one is forced to use these possibilities in any specific way.
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Конёнкова, Алла Кирилловна. "The New Testament Images in the works of Sergei Timofeevich Kon’enkov". Вестник церковного искусства и археологии, n. 3(4) (15 agosto 2020): 77–89. http://dx.doi.org/10.31802/bcaa.2020.4.3.005.
Testo completoAbstract (sommario):
Статья посвящена исследованию творческих поисков скульптора С. Т. Конёнкова. Несмотря на то, что многие созданные им произведения скульптуры и графики стали предметом художественного анализа и исследования, отдельные направления его творческих исканий до сих пор остались неизученными. В первую очередь, это касается художественных размышлений Конёнкова на раскрытие сюжетов Нового Завета, а также создание образа Иисуса Христа в графике и скульптуре. Духовная жизнь родного села Верхние Караковичи была тесно связана с Оптиной Пустынью, и память об общении с оптинскими старцами оказала сильное влияние на становление личности и творчества художника. В 1923 г. С. Т. Конёнков по поручению правительства в составе делегации художников и общественных деятелей уехал в Америку с выставкой работ советских художников и скульпторов, где задержался более чем на 20 лет. Этот период творчества слабо изучен, но именно в это время появляются первые скульптурные работы, изображающие Иисуса Христа. The article is devoted to the study of the creative heritage of the sculptor S. T. Konenkov. Despite the fact that many of his sculptures and graphic works became the subject of scientific analysis and research, some areas of his artistic search have remained unexplored. First of all it concerns Konenkov’s reflections on the New Testament subjects, as well as the creation of the image of Jesus Christ in graphics and sculpture. The spiritual life of his native village Verkhniye Karakovichi was closely connected to Optina Hermitage, and the memory of discussions with the Optina elders had a strong influence on the formation of the artist’s personality and his further work. In 1923, on behalf of the government, S. T. Konenkov, left for America as part of a delegation which organized an exhibition of Soviet artists and sculptors. There he stayed for more than 20 years. That period of his life and work is poorly studied, but it was the time when the first sculptural works depicting Jesus Christ appeared.
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Żywicki, Jerzy. "Architekci międzywojennego Lublina. Przyczynek do charakterystyki środowiska w pierwszym pięcioleciu niepodległości (1918-1923)". Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 16, n. 1/2 (14 giugno 2019): 43. http://dx.doi.org/10.17951/l.2018.16.1/2.43-62.
Testo completoAbstract (sommario):
<p>„Kalendarz Lubelski Na Rok Zwyczajny 1918” wymienił tylko trzech architektów zamieszkałych w Lublinie: Ksawerego Drozdowskiego, Henryka Paprockiego i Władysława Sienickiego. Każdy z nich legitymował się wieloletnim doświadczeniem zawodowym oraz bogatym dorobkiem architektonicznym. Sienicki miał jednak wówczas aż 81 lat i nie zajmował się już działalnością budowlaną. Podobnie było z Drozdowskim. Chociaż w niepodległej Polsce otworzył on własne biuro architektoniczne, to nic nie wiadomo o jego działalności. Paprocki - najmłodszy z wymienionych - od odzyskania niepodległości pracował w różnych urzędach państwowych, prowadząc jednocześnie własną praktykę architektoniczną. Wymienieni architekci nie byli jedynymi, którzy działali w Lublinie w pierwszych latach niepodległości. Pojawienie się innych związane było z powoływaniem do życia państwowych urzędów (wojewódzkich oraz miejskich) zajmujących się architekturą i budownictwem. Ważna była zwłaszcza istniejąca od<strong> </strong>1919 roku Okręgowa Dyrekcja Robót Publicznych (ODRP). Jej organizatorem i pierwszym dyrektorem był inżynier budownictwa Zygmunt Słomiński. Architekci znaleźli się w składach dwóch wydziałów ODRP: odbudowy oraz architektoniczno-budowlanym. Pierwszym z nich kierował inż. arch. Jerzy Siennicki. Kierownictwo wydziału architektoniczno-budowlanego objął inż. arch. Witold Minkiewicz. Spośród nich zwłaszcza Siennicki zaznaczył się w niepodległej Polsce ważnymi funkcjami (był między innymi pierwszym konserwatorem zabytków województwa lubelskiego), znaczącym dorobkiem architektonicznym, a także aktywnością na płaszczyźnie społeczno-kulturalnej. W 1923 roku współorganizował wystawę architektoniczną, pierwsze tego typu wydarzenie w dziejach Lublina. Uczestnicy tej wystawy stanowili trzon ówczesnego lubelskiego środowiska architektonicznego. Sześciu z nich (Karol Iwanicki, Ignacy Kędzierski, Bohdan Kelles-Krauze, Henryk Paprocki, Jerzy Siennicki i Zygmunt Słomiński) mieszkało i pracowało w Lublinie, pozostała piątka (Edward Kranz, Witold Minkiewicz, Kazimierz Prokulski, Jan Koszczyc-Witkiewicz i Kazimierz Zaremba) związana była swą działalnością z innymi miejscowościami województwa lubelskiego. W artykule wskazani są również inni architekci – ci, którzy choć nigdy w Lublinie na stałe nie mieszkali, to byli projektantami wzniesionych w nim budowli w okresie od 1918 do 1923 r. Pierwsze pięcioleciu niepodległości było czasem wyjątkowo trudnym. Kraj dopiero stwarzał zręby swej państwowości i się odbudowywał, zaś procesowi temu towarzyszyły zmagania ze skomplikowanymi problemami ekonomicznymi i społecznymi, a ponadto wojna z Rosją sowiecką. To, że w tym okresie architekci lubelscy zaznaczyli się jako autorzy budowli wyróżniających się dużą kubaturą i ciekawą formą architektoniczną należy uznać za fenomen. Do najważniejszych z tych realizacji można zaliczyć kościoły w Dzwoli i Puszczy Solskiej, puławskie gimnazjum im. Czartoryskich, szkołę w Bychawie, a w Lublinie „Bobolanum”, szkołę powszechną na Czwartku, łaźnię miejską na Bronowicach, domy mieszkalne dla urzędników państwowych przy ul. Spokojnej, a także Pocztę Główną. </p><p><strong>The Architects of the Interwar Lublin. A Contribution to the Description of Their Milieu in the First Five Years of Independence (1918-1923)</strong></p>SUMMARY<p>„Kalendarz Lubelski Na Rok Zwyczajny 1918” [Lublin Calendar for a Normal Year 1918] enumerates three architects who resided in Lublin: Ksawery Drozdowski, Henryk Paprocki, and Władysław Sienicki. These architects were not the only ones who were active in Lublin during the first years of independence. The advent of other architects was connected with the establishment state offices (provincial and urban) which dealt with architecture and construction works. The Okręgowa Dyrekcja Robót Publicznych [Regional Directorate of Public Works], established in 1919, is especially important. Its organizer and first director was Zygmunt Słomiński, civil engineer. Architects were employed in the reconstruction and architectural/construction departments of ODRP. The first one was managed by Jerzy Siennicki, MSc, Eng. Arch., and the second one by Witold Minkiewicz, MSc, Eng. Arch. Siennicki carried out important functions in independent Poland, he had vast architectural achievements and was active in the social-cultural sphere. In 1923 he co-organized an architectural exhibition – the first event of this type in Lublin’s history. The participants in the exhibition constituted the core of the then Lublin architectural milieu. Six of them (Karol Iwanicki, Ignacy Kędzierski, Bohdan Kelles-Krauze, Henryk Paprocki, Jerzy Siennicki, Zygmunt Słomiński) lived and worked in Lublin, the remaining five (Edward Kranz, Witold Minkiewicz, Kazimierz Prokulski, Jan Koszczyc-Witkiewicz, Kazimierz Zaremba) were connected with other towns in the Lublin province. The article also points to other architects who, although not permanently residing in Lublin, were designers of buildings in Lublin in 1918-1923. The first five-year period of independence was an extremely difficult time. The country was building the foundations of its statehood, and was rebuilding itself. This process was accompanied by struggles with complicated economic and social problems; moreover, the war with the Soviet Russia was fought in the meantime. The fact that in this period Lublin architects distinguished themselves as the authors of buildings of large capacity and interesting architectural form should be regarded as a phenomenon. Their most important constructions are: churches in Dzwola and the Solska Forest, the Czartoryski Gimnazjum (Junior High School) in Puławy, a school in Bychawa; and in Lublin – the “Bobolanum” primary school at Lublin’s Czwartek district, the urban bathhouse in Bronowice, dwelling houses for state clerks at Spokojna Street, and Poczta Główna [Main Post Office].</p>
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Kirk-Greene, Anthony. "The Changing Face of African Studies in Britain, 1962-2002". African Research & Documentation 90 (2002): 17–27. http://dx.doi.org/10.1017/s0305862x00016794.
Testo completoAbstract (sommario):
Leaving to one side the sui generis Royal African Society, which in 2000 marked its centenary with a special history (Rimmer and Kirk-Greene, 2000), the formalised study of Africa in British academia may be said to be approaching its 80th year. For it was in 1926 that the International African Institute, originally the Institute of African Languages and Cultures, was founded in London, followed two years later by the maiden issue of its journal for practising Africanists, Africa, still among the flagship journals in the African field. Indeed, the 1920s were alive with new institutions promoting an interest in African affairs, whether it be the London School of Hygiene and Tropical Medicine (1924); the Phelps-Stokes Commission reports on education in British Africa (1920-24), culminating in the Colonial Office Memorandum on Education Policy (1925); the major contribution to public awareness made by the Empire Exhibition at Wembley, however politically incorrect some of its idiom seems today; or the attention generated by the League of Nations’ Mandates Commission, the bulk of whose remit was focused on Africa and whose British representative was no less than Lord Lugard, the biggest “Africanist” of his day.
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Podlubnova, Yu S. "“To the Keeper of the Ufimian Museum...” The Letter by D. D. Burlyuk to A. A. Cherdantsev August 3, 1923. New York". Studies in Theory of Literary Plot and Narratology, n. 1 (2019): 199–206. http://dx.doi.org/10.25205/2410-7883-2019-1-199-206.
Testo completoAbstract (sommario):
The letter from the poet, the founder of Russian futurism David Davidovich Burliuk (1882– 1967) was written on August 3 of 1923. His addressee was Aleksander Alekseevich Cherdantsev (1871–1943). The letter is kept in the collection of the writer, local historian and a collector of documentary materials Alexander Kuzmich Scharts (1906–1986) in the Ural Writers Museum. The content of the letter is associated with a famous episode of the biography of David Burliuk, his lfe in 1915–1918 in the village of Buzdak near Ufa. Here he created more than 200 paintings. Also he was the active member of the Ufa art circle (1913–1918) at the provincial museum (he communicated with local artists, organized exhibitions). In 1918 Burliuk traveled from Siberia, then emigrated first to Japan (1920) and then to the USA (1922). His paintings remained in Buzdyak. Some of them after 1918 ended up in museums (mainly the Ufa Art Museum) while the other part was scattered. The fate of the abandoned paintings was worried Burliuk. He established correspondence with A. A. Cherdantsev and then replaced him as director of the museum Ylius Yulievich Blumenthal (“My dear, old, but forever young friend, David Burliuk!” Moscow, 2018). Obviously this letter was only a bit in the correspondence which was conducted in 1923. The letter is important for determining the degree of involving of the poet and the emigrant artist in the cultural life of Ufa and more broadly the Soviet Union in the 1920s. This demonstrates his attitude to his own artistic heritage. The letter in an allows to reconstruct some contexts that were not disclosed in the previously published correspondence of Burliuk.
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Jovanov, Jasna. "Izložbe Grupe nezavisnih umjetnika u Vojvodini od 1924. do 1925." Peristil 57 (2015): 221–28. http://dx.doi.org/10.17685/peristil.57.19.
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Maly, Elizabeth, e Mariko Yamazaki. "Disaster Museums in Japan: Telling the Stories of Disasters Before and After 3.11". Journal of Disaster Research 16, n. 2 (1 febbraio 2021): 146–56. http://dx.doi.org/10.20965/jdr.2021.p0146.
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Japan has an established tradition of museums commemorating its long history of disasters, which memorialize lives lost and convey the scientific mechanisms of natural hazards, disaster history, and people’s experiences during and after disasters. The first part of this paper provides an overview of seven modern disaster museums in Japan established before 3.11, starting from the museum of the 1923 Great Kanto Earthquake. These seven museums commemorate disasters of different types, time, and scales of damages. Considering their shared commonalities and individual characteristics, it describes the components and approaches of exhibits that these museums use to convey experiences and stories of disasters, passing on local knowledge toward future disaster risk reduction. The second part of the paper provides an overview of new museums and exhibit facilities established to commemorate the 3.11 Great East Japan Earthquake, tsunami, and nuclear disaster of March 11, 2011. The scale of the devastation of 3.11, as well as an explosion of interest and support for activities of memorialization, documentation, and exhibition, has resulted in a variety and decentralization of new museums and exhibit spaces throughout the area affected by the 3.11 disaster. Spanning various combinations and types of exhibit facilities, this paper concludes by considering emergent trends compared to pre-3.11 disaster museums and potential future developments.
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Bobojonov, Dilmurod. "History of «Ichan Qala» State Museum-Reserve". Infolib 27, n. 3 (30 settembre 2021): 60–64. http://dx.doi.org/10.47267/2181-8207/2021/3-077.
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This article describes the foundation of the Ichan-Kala State Museum Reserve in Khiva in 1920 and the activities of the museum, its staff, exhibitions and events over the past 100 years. The Khiva museum- was opened on April 27, 1920 in Arzkhana (reception hall) of Kunya-Ark in the presence of the participants of the 1st Kurultay (Congress) of national representatives. It was called the People’s Museum. The number of visitors increased day by day. In addition to the exposition itself, introductory lectures were held there and thematic exhibitions were organized on certain dates. Until 1924, the descendants of Allakuli Khan lived in the huge Tash-Khauli palace built in 1831–1839 in the inner fortress of Khiva. Considering it their own possession, they began to sell the property of the palace. The government members, having learnt about this, moved the Khiva museum from Kunya-Ark to Tash-Khauli and included it in the list of state property.13 In August of the same year, the Khiva Museum was supplied with the necessary exhibition equipment delivered from Moscow. 285 unique pieces were exhibited in the imported showcases.
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Berard, Ewa. "The ‘First Exhibition of Russian Art’ in Berlin: The Transnational Origins of Bolshevik Cultural Diplomacy, 1921–1922". Contemporary European History 30, n. 2 (23 marzo 2021): 164–80. http://dx.doi.org/10.1017/s0960777320000661.
Testo completoAbstract (sommario):
The emergence of a Soviet cultural diplomacy in the 1920s was hardly predictable. Bolsheviks’ propaganda for ‘world revolution’ reduced the image of Soviet Russia to one of Leninist-proletarian victory, while the rejection of diplomatic tradition and a distrust of artists and intellectuals precluded any commitment to cultural action abroad. This article explores how, when and why a Soviet cultural diplomacy developed. It focuses on two episodes related to the famine of 1921, including, based on new archival evidence, the First Exhibition of Russian Art in Berlin in October 1922. The exhibition's spectacular success paved the way for Soviet cultural diplomacy that moved away from overtly communist propaganda in order to address Western avant-garde literary and artistic milieus.
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Ponomareva, Varvara Vitalievna. "First Russian National exhibition dedicated to hygiene and public health, 1893". Moscow University Anthropology Bulletin (Vestnik Moskovskogo Universiteta. Seria XXIII. Antropologia), n. 2 (22 maggio 2023): 113–22. http://dx.doi.org/10.32521/2074-8132.2023.1.113-122.
Testo completoAbstract (sommario):
Introduction. Since 1820s, it became customary in the Russian Empire to hold various exhibitions - dedicated to manufacture and consequently industry; agricultural, local and national, as well as take part in international exhibitions. Towards the end of the nineteenth century, the number, scale and thematic diversity of such exhibitions grew significantly. Exhibitions related activities, which claimed such wide range and popularity, marked the change in public thought process about the new economic structures being established, and the understanding of the issues and risks associated with them, following industrial revolution. One of the problems identified was the deterioration of sanitary and hygiene conditions in cities, caused by growth in industrial production and population. Materials and methods. Catalogues of the Russian National Hygiene Exhibition of 1893 are the sources for this work. As well as documenting activities of the exhibition, they contain illustrative materials, scientific and academic reports on urban life, data from the periodicals of that era, in the study of which historico-typological and historico-descriptive methods are used. Results. In the majority of differently themed exhibitions, natural science and medical sections were established, which confirmed the need for targeted development of medical and sanitary aspects. These sections, which were partly organised by scientific societies, were seen, for example, at the Polytechnic Exhibition in 1872, the Craft Exhibition in 1885, Siberian-Ural Scientific and Industrial Exhibition in 1887 in Ekaterinburg, and Scientific and Industrial Exhibition of the Volzhsko-Kamskii region in Kazan in 1890. Finally, in May 1893, Russian National Exhibition was opened in St Petersburg dedicated solely to the development of sanitary and hygienic issues. Exhibition’s organisers declared enlightenment to be its main goal- popularisation of knowledge, scientific discoveries, and inventions in the field of hygiene and sanitation. A large number of state institutions and departments, scientific and public organisations, and private entrepreneurs helped to prepare this exhibition, presenting about 50 thousand exhibits that describe all aspects of human life from both medical and sanitary points of view. Various models and mockups, drawings, sketches and photographs, devices, equipment and tools, demonstrated achievements both in scientific and practical terms. Conclusion. This exhibition attracted high levels of attention, and its exhibits convincingly proved existence of serious problems and threats in the area of public hygiene and sanitation. It became apparent that in order to solve these on a contemporary level, it was necessary to rely on joint scientific and technological resources. Russia’s participation in the World Hygiene Exhibition in 1911 was another step in this direction, followed by the launch of Russia’s second National Hygiene Exhibition in 1913, the footprint of which grew even larger. @ 2023. This work is licensed under a CC BY 4.0 license.
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Gaiduk, Maria Y., Alexander I. Klimenko e Alexander B. Khramtsov. "Open-air museums of folk architecture: overview of creation and development in Russia". Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 61 (2021): 38–63. http://dx.doi.org/10.37816/2073-9567-2021-61-38-63.
Testo completoAbstract (sommario):
The paper provides an overview of the domestic experience of creating ethnographic museums in the open air. It traces stages and chronological periodization of the foundation of such museums in the world and studies historical conditions for the creation of open-air museums in Russia. The first experience of creating such a museum was demonstrated at the All-Russian Agricultural and Artisanal-Industrial Exhibition in Moscow in 1923. In the park-museum of Kolomenskoye village near Moscow, monuments of wooden architecture of the 17th–18th centuries were placed. For the first time, this paper comes up with a comprehensive classification of the open-air museums according to various grounds: the status of the museum complex (federal, regional, local), the specificity of the exposition, the architectural and urban planning principle of the organization; the principle of organizing the exposition and others. The study determined that most of the open-air museums are concentrated in the central part of Russia. The authors also explored potential for developing an open-air museum in the Tyumen region. The experience and examples of the functioning of museums allow for developing give “ground” for the development of ethnographic museums in all regions of the country. The creation of this complex is interesting not only from the point of view of implementing educational function for the population, but also in terms of developing the region's economy — the creation of the most diverse tourist product (landscape — architecture — ethnography).
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Bojić, Zoja. "The Slav Avant-garde in Australian Art". Poznańskie Studia Slawistyczne, n. 18 (28 aprile 2020): 37–48. http://dx.doi.org/10.14746/pss.2020.18.2.
Testo completoAbstract (sommario):
Australian art history includes a peculiar short period during which the European avant-garde values were brought to Australia by a group of Slav artists who gathered in Adelaide in 1950. They were brothers Voitre (1919–1999) and Dušan Marek (1926–1993) from Bohemia, Władysław (1918–1999) and Ludwik Dutkiewicz (1921–2008) from Poland, and Stanislaus (Stanislav, Stan) Rapotec (1911–1997) from Yugoslavia, later joined by Joseph Stanislaus Ostoja-Kotkowski (1922–1994) from Poland. Each of these artists went on to leave their individual mark on the overall Australian art practice. This brief moment of the artists’ working and exhibiting together also enriched their later individual work with the very idea of a common Slav cultural memory.
49
Luba, Iwona. "Kobro and Strzemiński: Łódź – Warsaw – Paris (1956–1957)". Ikonotheka 26 (26 giugno 2017): 137–66. http://dx.doi.org/10.5604/01.3001.0010.1676.
Testo completoAbstract (sommario):
From December 1956 to December 1957, no fewer than four exhibitions presenting the oeuvre of Katarzyna Kobro and Władysław Strzemiński were organised: the Posthumous Exhibition of Władysław Strzemiński’s and Katarzyna Kobro’s Oeuvre, shown fi rst in Łódź (16 December 1956 – 14 January 1957) and then in Warsaw (18 January – 10 February 1957), and two exhibitions in Paris: 50 ans de peinture abstraite at Galerie Raymond Creuze (9 May – 12 June 1957) and Précurseurs de l’art abstrait en Pologne: Malewicz, Kobro, Strzemiński, Berlewi, Stażewski at Galerie Denise René (22 November 1957 – 10 January 1958). All received a strong response, both in Poland and abroad. Research focused on these exhibitions has brought some surprising results. None of them had been planned until 1956, and only after the events of October 1956 was it possible to show the works of Kobro and Strzemiński in Warsaw in 1957. The exhibition at the Łódź Division of the Central Bureau of Art Exhibitions was prepared with exceptional care and is immensely important, as it occasioned the fi rst attempt at preparing a catalogue of both Kobro’s and Strzemiński’s works, of Strzemiński’s biography and a bibliography of texts authored by Strzemiński and Kobro. In addition, it was there that Strzemiński’s treatise Teoria widzenia fi rst came to public attention; it was published only two years later. The exhibition was transferred, quite unexpectedly, to the Central Bureau of Art Exhibitions in Warsaw, which was the chief institution involved in exhibiting modern art in Poland; this gave offi cial sanction and a considerable status to the oeuvre of both avant-garde artists. The exhibition entitled Précurseurs de l’art abstrait en Pologne became, paradoxically, the fi rst-ever offi cial exhibition of Polish avant-garde art to be held abroad and organised by a state agency, i.e. the Central Bureau of Art Exhibitions, under the aegis of the ambassador of the People’s Republic of Poland in France. It was also the only exhibition in which Kazimierz Malewicz was regarded as a Pole and presented as belonging to the history of art in Poland; the mission initiated by Strzemiński in 1922 was thus completed. The institutions involved in arranging the loans of Malewicz’s works for this exhibition were the Ministry of Culture and Art, the Ministry of Foreign Affairs and its subordinate Polish embassies in Paris and Moscow. This was the fi rst time that the works of Kazimierz Malewicz were presented in the West, thanks to the efforts and under the aegis of the Polish Ministry of Foreign Affairs during the period of the post-Stalinist thaw; notably, this happened before their presentation at the Stedelijk Museum in Amsterdam (29 December 1957).
50
Sereda, Oksana. "The exhibiting activities of the Circle of Ukrainian Art Figures in the mirror of the Ukrainian press of the 1920s". Proceedings of Research and Scientific Institute for Periodicals, n. 10(28) (gennaio 2020): 165–79. http://dx.doi.org/10.37222/2524-0331-2020-10(28)-11.
Testo completoAbstract (sommario):
The article analyzes a work of the first interwar art association ― the Circle of Ukrainian Art Figures (HDUM) in the field of exhibition organization. It reveals the role of this society in consolidating the Ukrainian artists living and working in Western (Polish-controlled), and Great (Soviet) Ukraine. About 30 publications reflecting a reception of exhibitions of HDUM by critics and Lviv public have been introduced into scholarly circulation. A little-researched aspect is yet how creative efforts of the HDUM were received by its contemporaries, as well as by the Ukrainian press. Therefore our article aims to present the overview of activities of the association on the basis of content of the Ukrainian (mainly, Lviv) publications of the 1920s ― the newspapers «Hromadskyi Vistnyk», «Dilo», magazines «Literaturno-Naukovyi Vistnyk», «Mytusa», «Nova Ukraina», «Ukrayins’ke Mystetsvo». HDUM was founded in Lviv on 28 December 1921 thanks to an initiative of the well-known Lviv art critic Mykola Golubets’ and émigré artists Petro Kholodnyi (Elder) and Pavlo Kozhun. One of the key principles of the Society was to shape national identity in artists’ circles and ordinary citizens. Pursuing this aim, HDUM actively conducted exhibiting work. Specifically, every exhibition was followed by issuing a catalog. According to the press reports of that time, the first two Ukrainian art exhibitions took place in the halls of the Museum of Shevchenko Scientific Society. They received positive press coverage. All Ukrainian artists wishing to participate in these exhibitions were invited regardless of direction or art school they represented, as well as the HDUM affiliation. The next shows were on display in the halls of the National Museum. The public had felt some tension already during the third expo organization, and the next one didn’t match expectations of its organizers and wide public explicitly. Consequently, active initiatives of the association were gradually curtailed, although it formally continued to be operational yet for three years. Keywords: HDUM, exposition, press, publication, criticism, art.