Artykuły w czasopismach na temat „1950s Illustration”
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Zeller, Sara. "Centering the Periphery: Reassessing Swiss Graphic Design Through the Prism of Regional Characteristics". Design Issues 37, nr 1 (styczeń 2021): 64–75. http://dx.doi.org/10.1162/desi_a_00625.
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In the literature, the history of Swiss graphic design is regularly told as a linear development from illustrative tendencies to Modernist abstraction. Recent research has shown that these narratives were constructed and disseminated by a group of Modernist graphic designers through journals and their own publications. By the mid-1950s, the Modernists themselves began dividing designers of the time into two camps: the individual or illustrative versus the abstract or Modern. This dichotomy, which established itself quickly, continues to shape the narrative of Swiss graphic design to this day. However, this article argues that the reality of graphic design practice in Switzerland in the 1950s was more diverse than previously assumed. Outside an exclusive circle of practitioners, illustration and abstraction were understood more as design methods than as attitudes. Taking this as its starting point, this article looks beyond this dichotomy by drawing on unpublished sources of the time and, thereby, challenges the traditional understanding of Swiss graphic design.
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Korvatskaya, Elena Sergeevna. "The objective world of Soviet everydaylife in illustrated books for children of the 1950s and 1960s". Культура и искусство, nr 12 (grudzień 2023): 12–33. http://dx.doi.org/10.7256/2454-0625.2023.12.69124.
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The topic of Soviet everyday life is quite popular in the scientific community. The children's publications themselves are still outside the scope of research practices in the field of studying the culture of everyday life. The article analyzes the subject world in the domestic book illustration of the late 1940s-1960s. The aim is to identify markers of the everyday culture of the Soviet city, in particular Leningrad. The boundaries of the study are publications issued during the specified time period and addressed to children and adolescents. The attention was given to books about the life of a Soviet child of the Leningrad branch of Detgiz publishing house. It is established that in the children's illustrated book of the 1940s-1960s, large objects that visually defined the boundaries of everyday life, as well as elementary things for the organization of everyday life, became objects of everyday culture more often. Small interior items that have a decorative function will appear to a greater extent by the 1960s, that is, the conditions and priorities in the formation of the life of a Soviet citizen will change, and a tendency to detail the world of everyday life is formed in the book illustration. In the course of the study, a group of artists was identified who paid great attention to the depiction of everyday objects, but the illustrators did not separately show the belonging of the plot and the created space to a certain locality. They created a collective image of the everyday life of the Soviet country. Therefore, in the book illustration of the late 1940s-1960s in the subject world of Leningrad, it is not yet possible to clearly distinguish the features of the «Leningrad style», but it is possible to reconstruct the daily life of a Soviet citizen
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Bohn, Thomas M. "Bagpipe Players and Painted Birds: Some Reflections on Writing the History of the People in the Marshes from a German Perspective". Journal of Belarusian Studies 10, nr 1 (25.11.2020): 32–43. http://dx.doi.org/10.30965/20526512-12350001.
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Abstract The article adopts an approach to the history of Belarus’, which plays with imaginations. It opens up two vistas concerning the past that are marked by fictional texts. The former belongs to developments before World War I and is connected with a short story by Jakub Kolas, whereas the latter attends to events of World War II and is related to a novel by Jerzy Kosiński. In both cases supplements to the main texts offer insights into Soviet history, on the one hand into the era of revolutionary culture of the 1920s, and on the other hand into the political thaw of the 1950s. The result is an illustration of the metamorphoses that took place in the transitional region of Central and Eastern Europe in the process of Soviet modernization.
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Hedenborg White, Manon. "Magic in Art, Poetry, and Biography". Religion and the Arts 28, nr 1-2 (27.03.2024): 133–69. http://dx.doi.org/10.1163/15685292-02801005.
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Abstract The article analyzes four works of poetry and illustration produced by the artist, poet, and occultist Marjorie Cameron (1922–1995) in the 1950s and 1960s. Widow of rocket scientist and occultist John “Jack” Whiteside Parsons (1914–1952), an early follower of Aleister Crowley’s (1875–1947) religion Thelema, Cameron was also a friend and collaborator of Beat artist Wallace Berman (1926–1976) and avant-garde filmmaker Kenneth Anger (1927–2023). In the 1950s and 1960s, Cameron delved deeply into Crowley’s magical writings alongside those of comparative mythologist Joseph Campbell (1904–1987). The article especially highlights how Cameron creatively adapted and re-worked the ideas of both thinkers in her artistic interpretations of her Holy Guardian Angel. A core argument of the article is that art, poetry, and esotericism were intertwined pursuits for Cameron, and that extra-textual sources (e.g., letters and biographical details) contemporary with the analyzed creative works are helpful in untangling their meaning.
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Savich, A. A. "History of Western Belarus in 1921–1939 in domestic soviet historiography of the 1950s–1980s." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 65, nr 1 (12.02.2020): 44–51. http://dx.doi.org/10.29235/2524-2369-2020-65-1-44-51.
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The study is aimed at understanding the process of formation and development of the Soviet national historiography in 1950s–1980s of the sociocultural history of Western Belarus in 1921–1939, identifying its thematic, ideological and political orientation. Based on a wide range of sources, a conclusion was made about the conditionality of domestic journalism and scientific historical thought on the socio-cultural issues of Western Belarus in 1921–1939. the assimilation policy of Poland and the desire of the Belarusian people for social liberation and national consolidation. With the exception of the problems of the communist and democratic press and the state of public education, there was no systematic substantive development of the topic during the Soviet period, which was explained by the secondary importance of cultural themes in the system of Marxist-Leninist methodology. The events of social and cultural life were used to confirm the difficult situation of the Belarusian people and as an illustration of the revolutionary struggle for “social and national liberation”, the approaches to its study were determined by the place and role of the Communist Party in the social and political situation, the Polish was clearly negative and alien to Belarusians. Socio-cultural influence on Western Belarus, ignoring the socio-cultural life of members of other national minorities and under control Communist Party groups. Socio-cultural issues developed in accordance with the Marxist-Leninist social-class canons, aimed at leveling national features and fostering internationalist priorities, resulting in the impoverishment of the sociocultural history of Western Belarus, the rejection of significant achievements of the Belarusian people in material and spiritual culture, in the field of education and science literature and art.
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Podalko, Petr. "“Another Russia in the Orient”: the Phenomenon of So-Called “Japanese Branch” of Russian Emigration". ISTORIYA 13, nr 7 (117) (2022): 0. http://dx.doi.org/10.18254/s207987840022197-5.
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This article explores the phenomenon of Russian post-revolutionary emigration to Japan and the general differences between Eastern and Western emigration by Russians. Many Russians from different social strata came to Japan to escape from the horrors of the Bolshevic regime. There were three main periods, or “waves”, of emigration to Japan: 1917—1923, 1924—1940, 1945 — late 1950s. Many of the Russian refugees settled in the sea-ports, like Kobe or Yokohama, because of the unique variety of advantages the cities offered to foreigners. Here they turned to become quite a noticable (though not the largest) group of inhabitants of those cosmopolitan cities. The role these emigrants played in the “westernization” of Japan in spheres such as food and light industries was as great as their contribution to Japanese culture in such activities as ballet, classical music and teaching of foreign languages. Some names of those Russians are still well known in modern Japan, giving an illustration of the people who formed the Russian diaspora in Japan in 1920—1950s.
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Santhiago, Ricardo, i Astrid Salles. "An artist’s narrative self-construction: a conversation with Astrid Salles". PORTO ARTE: Revista de Artes Visuais 23, nr 38 (10.01.2018): 197. http://dx.doi.org/10.22456/2179-8001.80806.
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In an interview with Ricardo Santhiago, visual artist Astrid Salles revisits aspects of her formation in the field of artistic creation since her youth in the late 1950s, in the state of São Paulo, in order to review important topics of her life history. She graduated in Music and is recognized as the first woman to play the French horn in Brazil. Astrid worked in illustration and landscape representation and now calls herself a painter. In the conversation, she recounts, among other points, her encounter with sertanist Orlando Villas-Bôas, which was crucial for her to dedicate her visual art production to reinterpreting indigenous graphic patterns.
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Lee, Eun Joo. "Changes in the Representation of Children Shown in the Cover Illustration of a Magazine <Saebeot> in the 1950s-1960s". Treatise on The Plastic Media 25, nr 2 (31.05.2022): 23–32. http://dx.doi.org/10.35280/kotpm.2022.25.2.3.
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Basso, Andrew R., Patrick Ciaschi i Bree Akesson. "Cumulative domicide: The Sayisi Dene and destruction of home in mid-twentieth century Canada". Current Sociology 68, nr 5 (12.06.2020): 651–68. http://dx.doi.org/10.1177/0011392120927763.
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This article introduces a new concept to help explain domicide perpetrated against one group of people over space and time: ‘cumulative domicide’. The authors challenge the notion of domicide as an event and instead conceptualize the rights violation as a process. The cumulative domicide against the Sayisi Dene in Manitoba from the 1950s to the 1970s is a perfect illustration of the compounding, intergenerational effects that cumulative domicide can have upon a people when they are torn from their home and are not allowed to remake home elsewhere on their terms. In the case of the Sayisi Dene, the authors argue that processes of colonial expansion and hegemony are based on cumulative domicide and that this process occurs over variances in time and space.
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Spencer, Les. "The Expanding Role of Clinical Sociology in Australia". Journal of Applied Social Science 3, nr 2 (wrzesień 2009): 56–62. http://dx.doi.org/10.1177/193672440900300205.
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This paper introduces clinical sociology as a humanistic, multidisciplinary specialty seeking to improve the quality of people's lives. It traces the emergence of clinical sociology in the United States in 1931, and in Australia in the late 1950s in the context of the pioneering clinical sociology research into social transformation at Australian society's margins by Neville Yeomans. A contemporary illustration is given demonstrating how a biopyschosocial model of health is now being implemented as world best-evidence-based practice within the Australian health care delivery system. Further arguments, citing national and international evidence based on sociotherapeutic models of intervention, support a proposal for the Australian Sociology Association to engage in dialogues with health care agencies with the view of establishing clinical sociologists as an integral part of the Australian health-care delivery system.
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Mundy, Rachel. "Birdsong and the Image of Evolution". Society & Animals 17, nr 3 (2009): 206–23. http://dx.doi.org/10.1163/156853009x445389.
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AbstractFor nearly a quarter of Darwin's Descent of Man (1871), it is the singing bird whose voice presages the development of human aesthetics. But since the 1950s, aesthetics has had a perilous and contested role in the study of birdsong. Modern ornithology's disillusionment with aesthetic knowledge after World War II brought about the removal of musical studies of birdsong, studies which were replaced by work with the sound spectrograph, a tool that changes the elusive sounds of birdsong into a readable graphic image called a spectrogram. This article narrates the terms under which the image, rather than the sound, of birdsong has become a sign of humanity's ability to reason objectively. Drawing examples from the strange evolutionary tales that exist at the juncture of ornithology, music history, illustration, and linguistics, this story suggests how it was that the human ear disappeared in the unbridgeable gap between the sciences and the study of aesthetics so tellingly termed "the humanities."
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Alekseev, Evgeny P. "”Not a Monotonous Artist”: Graphic Works by L. A. Epple Based on D. N. Mamin-Sibiryak’s Works". Izvestia of the Ural federal university. Series 2. Humanities and Arts 24, nr 4 (2022): 71–88. http://dx.doi.org/10.15826/izv2.2022.24.4.065.
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This article analyses the graphic cycle of L. A. Epple created based on D. N. Mamin-Sibiryak’s works in 1946–1952. Among the artist’s works, there are both illustrations for the collection For Children (1947) and easel compositions commissioned by the writer’s memorial museum in Sverdlovsk. A professional graphic artist, Epple worked thoughtfully and consistently with the works of the writer for many years, achieving expressiveness of images and artistic accuracy. The artist’s special position (a labour soldier in Sevurallag in 1941–1945, then a special settler in Sosva and Irbit in 1946–1952) led to the fact that his creative activity during these years was unknown to specialists. The artist’s name was not mentioned in the data of the collection of Mamin-Sibiryak’s works, and his easel paintings (kept in the collection of the United Museum of Writers of the Urals) were not published. In the late nineteenth — first half of the twentieth centuries, Mamin-Sibiryak’s works were illustrated and decorated by many Ural artists (S. I. Yakovlev, A. V. Kikin, Yu. A. Ivanov, A. A. Zhukov, N. P. Golubchikov, A. A. Kudrin, E. V. Gileva, etc.), but unlike L. A. Epple, the appeal to the literary heritage of the writer was for them only a brief episode of creative activity. Epple’s art project developed within the framework of an official order, hence the stylistics convenient for the mass reader, and a set of visual images was thought out. The principle of narrative fits into the aesthetics of book illustration of the 1940s–1950s, but in Epple’s graphic compositions, there is a feeling of intimacy, softness, some idealisation, and smoothness of images. Following the traditions of his teacher D. N. Kardovsky, Epple strives for the exact choice of the scene, the expressiveness of the entire composition and each character, the elaboration of details, and tries to reveal the psychology of the main characters. Choosing a realistic manner of performance, the artist proceeds from the nature of Mamin-Sibiryak’s oeuvre, with his thoroughness and journalistic narrative, respectful attitude to historical, ethnographic, and everyday realities.
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Wilson, John, Anthony Webster i Rachael Vorberg-Rugh. "The Co-operative Movement in Britain: From Crisis to “Renaissance,” 1950–2010". Enterprise & Society 14, nr 2 (czerwiec 2013): 271–302. http://dx.doi.org/10.1093/es/khs076.
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Between 1950 and 2010, the British co-operative movement faced a series of commercial, structural, and corporate governance crises. Having pioneered many of the features of modern large-scale retailing since its origins in the mid-nineteenth century, from the 1950s the Co-operative Wholesale Society (CWS) and the retail cooperative societies it served experienced plummeting market share, continued internecine rivalries, and increasing marginalization. In the early twenty-first century, however, co-operatives improved their market share and experienced a “Renaissance” in commercial fortunes despite continued fierce competition in food retailing. As yet there has been little exploration of the nature of this turnaround and the ways in which the once-foundering co-operative business model was re-engineered.Drawing on new research into the CWS (renamed The Co-operative Group in 2001), this article provides a historical analysis of the movement’s decline and revival. As the article details, from the 1950s significant efforts were made to reform CWS and the movement as a whole. However, co-operatives were slow to adapt to the changing business environment, hampered by dysfunctional organizational dynamics that constrained structural change and limited efforts to compete with private retail multiples. Following an unsuccessful takeover bid for CWS in 1997, co-operative opinion coalesced around the need for change. In the final section, the authors analyze the factors underpinning the “Renaissance,” focusing on both organizational innovations and the reassertion of core values and principles on which co-operation had been built. This provides a fascinating illustration of how a business can respond effectively to internal and external challenges, yet retain its fundamental character.
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Garris, Joel J. "The Case for Patenting Medical Procedures". American Journal of Law & Medicine 22, nr 1 (1996): 85–108. http://dx.doi.org/10.1017/s0098858800010303.
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In contrast to the few medical procedure patents granted in the three decades following the 1950s, patent attorneys now estimate that the Patent and Trademark Office (PTO) grants at least a dozen medical procedure patents each week. This growing trend heightened the medical community’s concerns that such patents may adversely affect the cost, quality, and patient accessibility of medical care. Additionally, attempts by physicians to enforce medical procedure patents against other physicians further increased these concerns. One of the more widely publicized patented medical procedure cases involves an infringement suit over a patent for a method of making self-sealing episcleral incisions during cataract operations. On July 6, 1993, Dr. Samuel Pallin filed a lawsuit against fellow opthalmologist Dr. Jack Singer, accusing Dr. Singer and his clinic of performing hundreds of cataract operations using the patented procedure. The medical community views this case as an illustration of the problems that may arise in patenting medical procedures because Dr. Pallin’s suit restricts Dr. Singer’s use of a procedure that benefits patients.
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Warren, William G., i David C. LeBlanc. "Dynamic standardization of tree-ring series". Canadian Journal of Forest Research 20, nr 9 (1.09.1990): 1422–31. http://dx.doi.org/10.1139/x90-188.
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The compound growth function of Warren (W.G. Warren. 1980. Tree-Ring Bull. 40: 35–44) represented an attempt at developing a model-based approach that standardized tree ring width sequences and was more flexible than the monotonic functions that were then commonly used. While the idea was conceptually attractive, operational difficulties of fitting hindered its use as a practical tool. This paper describes the modifications, and what are believed to be improvements, that have recently been made to the method, and which have led to an interactive computer program by which the fitting of the model to any sequence of ring widths may be readily accomplished. The approach also permits the location of both positive and negative departures from a trend (releases and suppressions, respectively) and estimation of the rate of ring-width increase or decrease. For illustration it has been applied to a sample of red spruce (Picearubens Sarg.) cores from Whiteface Mountain, New York. Some synchrony in releases and suppressions was detected, with suppressions being very conspicuous since the late 1950s. Also, the recent reductions in growth rates are as great, or greater, than those previously exhibited by the trees of this sample.
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Kazin, Aleksandr L., i Elena V. Zhdanova. "Russian Classical Literature in German Book Graphics of the 20th Century: Peculiarities of Artistic Thinking". Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 68 (2023): 96–103. http://dx.doi.org/10.37816/2073-9567-2023-68-96-103.
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The present paper actualizes the issue of graphic interpretation of the artistic text of Russian classics by German graphic artists. The study analyzes the specifics of artistic and imaginative thinking in the German tradition of book illustration by the example of illustrations for publications of Russian classics in the first half of the twentieth century. In particular, the paper examines graphic cycles of German expressionist artists of the 1920s, dedicated to the works of N. V. Gogol and F. M. Dostoevsky, as well as illustrations of Russian classical literature created by German artists who emigrated from Germany in the 1930s. The authors note that the style of German book illustration remained influenced by expressionism even in the post-war period, regardless of the cultural context, as evidenced, for example, by the works of graphic artists in the German Democratic Republic. The article also examines the book graphics of the Leipzig school and representatives of the Halle school. German graphic artists' works dedicated to the works of Russian classical literature provide rich material for the analysis of the mediated intercultural dialogue of artists with Russian writers and Russian culture. The authors explore the national originality of imaginative thinking in the Russian and German traditions, noting which aspects of the works the artists sought to emphasize, and which were ignored.
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Blair, Sarah. "The ornament of grammar". Journal of Illustration 6, nr 1 (1.08.2019): 137–60. http://dx.doi.org/10.1386/jill_00008_1.
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Part of an ongoing research project to interpret linguistic grammar visually, this essay presents initial experiments to visualize rhetorical patterns in English sentences. Creative contextualization is offered with reference to earlier visual forms that were treated as a kind of language. A certain strand in Modernism ‐ in particular that running through the Bauhaus, which used abstract devices as a foundational design syntax ‐ paved the way for post-war picture books to activate the narrative potential of simple coloured shapes; and, again, avant-garde musical scores from the 1950s onwards used exploratory graphic notations to instigate expressive new treatments of sound. My own visualizations are playful in spirit but posit a serious idea that grammar works by means of deep aesthetic tendencies. My case studies ‐ featuring a model user and a model abuser of English ‐ flag up common patterns in typical sentence constructions under seven descriptive labels. Ultimately the essay suggests that Illustration might flourish at the level of the sentence, the basic unit of meaning within word-based language and, in very simple terms, the expression of a thought. Ornamenting the rhythm and flow of how a sentence operates is one means of 'seeing' a voice lending shape to thought at a detailed level.
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Hevko, Igor, Olha Potapchuk, Iryna Lutsyk, Viktoria Yavorska i Viktoriia Tkachuk. "Techniques for creating and printing historical architectural artifacts in 3D". Ukrainian Journal of Educational Studies and Information Technology 11, nr 1 (31.03.2023): 14–25. http://dx.doi.org/10.32919/uesit.2023.01.02.
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The authors outline techniques for creating and printing three-dimensional models that can be used to graphically rebuild old architectural pieces. The construction of a model of the 1950s Parochial Cathedral of St. Mary of the Perpetual Assistance serves as an illustration of the methodologies' order of operation. The most widely used specialized software tools have been examined and evaluated, and the 3DS Max environment has been selected to create a three-dimensional model. The suggested software solutions provide effective methods for handling large amounts of data and are pertinent to current IT developments. They also boost the accuracy, speed, and granularity of fixing complex systems and extended databases. The order and nature of the operations for the cycles of analysis and modeling are supported. The cathedral model was constructed from old photos and sketches. To reconstruct the architectural object, the authors discuss techniques, an algorithm of steps, and the fundamentals of architectural and spacious modeling. The stereogram miniature of the demolished Cathedral is used to create the three-dimensional model. The measurement of picture parallax serves as the foundation for the reconstruction of spacious object configuration. The phases of the project's execution are chosen. Methods for implementing modeling using 3DS Max tools and getting the model ready for 3D printing in Cura are presented.
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Bendová, Eva, i Vilma Hubáčková. "Kresba nebo fotomontáž pro děti? Příklady inovativních přístupů ilustrace dětské knihy v meziválečném Československu". Acta Musei Nationalis Pragae – Historia litterarum 68, nr 3-4 (2024): 23–34. http://dx.doi.org/10.37520/amnpsc.2023.0022.
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The aim of the paper has been to show the plethora of innovative approaches to the illustration of books for children in the interwar period in Czechoslovakia (1918–1938). In a journal focused on education and literature (Úhor [Fallow]), the first synthetic text devoted to the aesthetics of children’s books was published as late as 1935, written by Josef Novák. His text perceives the illustrations of children’s books as an important and distinctive artistic expression dependent on the drawing conception of a form. It highlights the most modern examples in the form of the book of Zdenka Marčanová and Toyen, Náš svět [Our World], but not without reservations; it provides another modern example in Karel Čapek’s Dášeňka, on whose typography Karel Teige worked in 1933. The artistic potential of illustration is thus dominated by the individual approaches of particular authors. As early as 1918, the anthology Nůše pohádek [A Basketful of Fairy Tales] brought some unconventional illustrations, adopting elements from progressive art movements. Jeníkovy pohádky [Jack’s Fairy Tales], written and illustrated by Jan Zrzavý in 1920, enriched the visual appearance of children’s books with variations of dream imagery and with the interconnection of image and text according to the author’s concept with the involvement of a visually dominant and aesthetically modified typeface. In particular in Milada Marešová’s drawings published at the turn of the 1930s, it is possible to observe a new way of working with traditional means of expression. Her drawings were a reaction to the contemporary foreign approaches of the New Objectivity. In the early 1930s, Josef Čapek’s book graphics and illustrations were characterised by a shift towards multimedia. The involvement of the avant-garde painter Toyen in children’s book illustration proceeds from Civilism to Surrealism. A distinctly avant-garde form was given to the experimentally conceived popular-educational book by J. V. Pleva Kapka vody [A Drop of Water] in the graphic design of Zdeňek Rossmann, who creatively combined typography with photomontage. Photomontage was used by Augustin Tschinkel in his popular-educational books, either together with Ladislav Sutnar, for instance in Malá vlastivěda [A Little Civics Reader]), or on his own in the book Zeměpisné rebusy [Geographical Rebuses]. The works of the last three mentioned avant-garde artists are typical examples of the progressive graphic design where graphic symbols have been replaced by illustrations. These publications were created within a new model of cooperation – collaboration between a typographer, designer and illustrator in an authorial whole. Significantly radical experiments applying constructivist aesthetics and involving photography were unique in children’s literature in Czechoslovakia.
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Boitsova, Olga. "A Review of Marina Balina, Sergei Oushakine (eds.), The Pedagogy of Images: Depicting Communism for Children. Toronto; Buffalo, NY; London: University of Toronto Press, 2021, XX+548 pp." Antropologicheskij forum 20, nr 61 (czerwiec 2024): 236–45. http://dx.doi.org/10.31250/1815-8870-2024-20-61-236-245.
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The reviewed book The Pedagogy of Images: Depicting Communism for Children, edited by Marina Balina and Sergei Oushakine, is dedicated to Soviet children’s book illustrations of the 1920s–1930s, which had an ideological function. The introduction and sixteen chapters written by different authors demonstrate a variegated picture in which there is a place for avant-garde artistic experiments, educational projects and discussions about children’s books. Illustrations for books that were not related to politics did not come into the focus of attention of the authors of the collection, but nevertheless the coverage of the material is very wide. Different chapters examine how paper, nature, electricity, vezdekhodnost (goeverywhereness), time, the death of Lenin, the Red Army, the proletariat, and “Americanism” were represented in children’s illustrations. Due to involvement of many researchers, the book presents different approaches and methods of visual analysis borrowed from visual studies, art criticism, and history. Not all the authors are convincing in their analysis, but the publication of this collection is undoubtedly an important event in this field of study, even though illustrations for children of the 1920s and 1930s are well-studied.
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GALCHENKO, Valeriy, Valentina NEMTSOVA, Volodymyr SACHKO i Igor CHUDIYOVYCH. "MYKHAILO KOZYK – ARTIST AND EXECUTIVE: RETURN FROM OBLIVION". HUDPROM: The Ukrainian Art and Design Journal 2023, nr 1 (30.06.2023): 140–76. http://dx.doi.org/10.33625/hudprom2023.01.140.
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The article is dedicated to the half forgotten Ukrainian artist Mykhailo Kozyk (1879–1947) – a master of impressive still lifes, portraits, landscape paintings, genre paintings and monumental church paintings, as well as an artist of original illustrations. Kozyk belongs to the generation of artists who entered the arena of Ukrainian cultural and artistic life at the beginning of the 20th century. The heyday of his talent came in the 1930s – the first half of the 1940s. During the years of his work, M. Kozyk created more than 500 paintings and monumental paintings, as well as several hundred graphic compositions (most of which are considered lost). For more than 25 years, he was involved in the formation of higher art education in Ukraine. Kozyk taught and was the head of Kyiv Art School (1915), held the position of professor at the Kyiv Institute of Architecture (1918), and Kyiv Art Institute (1925); was a teacher (1932), and then a professor at Kharkiv State Art Institute (1939), acting director of the National Institute of Art during the German occupation of Kharkiv (November 1941 – November 1942), taught painting at the Lviv Academy of Arts (1944). Among his students, the most famous are: Ye. Volobuyev, V. Golovaty, N. Umansky, F. Nyrod, O. Vandalovsky, M. Ashikhman, M. Slipchenko, L. Chernov, V. Yatsenko, G. Tomenko, O. Yakovenko, S. Gruzberg. A purposeful study of the artist’s work began after 1979, when thanks to the insistence of children, friends, and grateful students, the 100th anniversary of the artist’s birth was celebrated. During the time of independence, the period of the early 1910s, and middle 1920s of the master’s work was well studied. However, the period of maturity of the master associated with Kharkiv (1932–1942), as well as the years of his forced stay in Western Ukraine (1943–1946), are not sufficiently reflected in the existing publications. A large part of the present publication is devoted to the last fourteen years of the artist’s life and work. A significant part of the illustrations is published for the first time.
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Saddam, Dr Sahira Mezher. "Resentment in John Osborne's Look Back in Anger". INTERNATIONAL JOURNAL OF RESEARCH IN SOCIAL SCIENCES & HUMANITIES 13, nr 01 (2023): 112–19. http://dx.doi.org/10.37648/ijrssh.v13i01.010.
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Resentment is a personal and social phenomenon illustrated widely in John Osborne's masterpiece, Look Back in Anger. The central idea of Osborne's illustration of this phenomenon is to present the dissatisfaction of the English individual with the political, economic and the religious situation of the time. The study deals with the term, resentment and how it is presented through the major characters so as to concentrate on the main issues discussed in the play. The study consists of three sections and a conclusion. The first section introduces the term, resentment. It investigates its origin and definition with the intention of presenting a vivid picture of the term in particular and the events of the play in general. The second section is mainly concerned with John Osborne as a member of The Young Angry Men and his life which have a great impact on his literary career. Young Angry Men is a group of British playwrights who appeared during the 1950s and 1960s. This section also presents the playwrights' ideas of the current circumstances of the period that are presented in their dramatic works. The third section discusses resentment as a personal and social phenomenon in Osborne's Look Back in Anger. It shows how resentment is employed through the major characters of the play, especially Jimmy Porter over the society and the formal institutions in the play after being left wrecked and desolate in the period following the World War II. Finally, the conclusion sums up the results inferred from the investigation of resentment in the study.
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Bide, Bethan. "Class and creativity in fashion education: A comparison of the pedagogies of making and design at British technical schools and art and design schools, 1870s‐1950s". International Journal of Fashion Studies 8, nr 2 (1.10.2021): 175–94. http://dx.doi.org/10.1386/infs_00049_1.
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Discourses of creativity play a crucial role in shaping cultural perceptions of what constitutes creative labour, who performs it and where it is located. This article explores the historical role that businesses, policy-makers and education providers played as co-producers of discourses about creativity in British fashion and textile design education. Beginning with the emergence of new vocational courses for textile design and manufacture in the 1870s, it traces how the language used to describe conceptions of creativity evolved in relation to educational provision for textiles, dressmaking and, later, fashion over the first half of the twentieth century. During this period, creativity became associated with labour related to designing fashion and textile goods ‐ such as illustration ‐ rather than the labour of making them. This shift resulted from the establishment of fashion and textile design as respected courses within art and design schools, which backed the ideal of a professional designer. It was implemented at the expense of, and with the effect of undermining the creative labour of staff and students in vocational trade schools. As a result, this article challenges the idea that the development of fashion and textile design courses in art and design schools democratized the creative labour of design in the British fashion industry by opening opportunities for the middle-classes. Rather, it finds that discourses around creative labour worked to exclude the creativity of the predominantly working-class students at technical schools, with long-term implications for the relationship between socio-economic status and access to the creative industries.
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Crawford, Robert. "‘Truth in Advertising’: The Impossible Dream?" Media International Australia 119, nr 1 (maj 2006): 124–37. http://dx.doi.org/10.1177/1329878x0611900112.
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For an industry that deals with the public perception of images, it perhaps ironic that advertising itself has long suffered from a severe image problem. The industry has long been equated with exaggerations, distortions and falsities. Critics and the industry alike have looked to the possibility of truth in advertising to redeem its reputation. The discourse of truth in advertising that occurred in the advertising industry ranks during the early twentieth century provides a revealing insight into the way that the ‘magic system’ of advertising has been constructed. Reaching a high point in the 1920s, concerns about truth would recede over the course of the 1930s and 1940s as the industry moved to embrace new forms of technology. By examining the rise and fall of this discourse, this paper reveals the advertising industry's fervent desire to improve advertising's status whilst illustrating the way in which technological developments not only affected the industry, but also its ability to ever be completely truthful.
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Beck Pristed, Birgitte. "Russian Illustration in German Children’s Books of the 1980s-1990s". Children's Readings: Studies in Children's Literature 15 (2019): 262–80. http://dx.doi.org/10.31860/2304-5817-2019-1-15-262-280.
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Vdovychenko, Heorgiy. "KYIV PHILOSOPHICAL SCHOOL AND THE ORIGINS OF THE CRISIS OF MARXISM-LENINISM IN HIGHER EDUCATION OF THE UKRAINIAN SSR: THE EXPERIENCE OF KYIV STATE UNIVERSITY (LATE 1940S – MID 1960S)". Sophia. Human and Religious Studies Bulletin 22, nr 2 (2023): 68–76. http://dx.doi.org/10.17721/sophia.2023.22.14.
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This article is the first of a series of publications about the place and role of the Kyiv Philosophical School of the second half of the 20th century in the process of the destruction of Marxism-Leninism in the philosophical education, science and culture of the Ukrainian SSR. This process, which began at the end of Stalin era, is explored in the illustrative example of the Faculty of Philosophy of Kyiv State University. The author has classified four main stages of this process, of which he studies the first and the second ones: 1. the initial one or the stage of the beginning of the critical revision of the Stalinist version of Marxism-Leninism (late 1940s – 1950s); 2. the stage of the beginning of a systematic critical revision of this version in the context of postmodern philosophy (late 1950s – mid 1960s). The main object of study is the memoirs of the creators of this school, primarily their interviews conducted as part of projects on the Oral history of philosophy. Their example is the conversation of Y. Golovakha with the Student Society for the Oral History of Philosophy of Taras Shevchenko National University of Kyiv. The development and content of these two stages are studied on the basis of an analysis of a series of interviews by T. Chayka with graduates of this faculty and the creators of this school S. Krymskyi, M. Popovych, V. Horskyi in her author's project "Oral Histories of Philosophers". We also studied the memoirs of their university mates, colleagues at the school, such as A. Horak, V. Tabachkovskyi, V. Lisovyi and M. Bulatov. The ideological opposition of M. Zlotina together with the rehabilitated figure of the "philosophical front" of Ukraine in the 1920s – 1930s M. Yushmanov to the so-called "old guard" professors of philosophy at the Kyiv State University like Y. Bludov, F. Yenevich and etc. is considered. The significant reformatory contribution of the deans of this faculty P. Kopnin and V. Shynkaruk to its progress during the Khrushchev's thaw is outlined. The contribution of these two scholars, already as directors of the said institute, and their predecessor in this position D. Ostryanin and their colleagues at that university and institute, to the progress of neo-Marxist and post-Marxist foundations of Ukrainian philosophical education, science and culture is also highlighted.
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Vitácková, Martina. "In search of adventure: Ladislav Mikeš Parízek, a Czech in the Congo". Tydskrif vir Letterkunde 46, nr 1 (9.11.2017): 167–78. http://dx.doi.org/10.17159/2309-9070/tvl.v.46i1.3474.
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Ladislav Mikeš Parízek’s books, articles and lectures had a large impact on the image of the Congo as it existed in communist Czechoslovakia from the 1940s till the 1970s, but this Czech traveller and writer has almost been forgotten. Through an analysis of his works and of reviews of these works published in newspapers of the 1950s, the nature of the African discourse as it was created in communist Eastern Europe, as well as the (mis)use of this discourse by the ruling party, is revealed. Special attention will be paid to the illustrations accompanying his books, articles and lectures.
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Sazonenko, M. A. "Gender Images in Children’s Magazines from the mid-1930s to the mid-1950s: the Formation of Military-Sports Childhood". Russia: Society, Politics, History, nr 1(6) (2.05.2023): 142–63. http://dx.doi.org/10.56654/ropi-2023-1(6)-142-163.
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The relevance of the topic is due to the trends of recent years: a controversial view of gender policy and the actualization of the cultural heritage of the Soviet period. The study of gender images in children’s literature reveals the specifi cs of gender policy in the USSR, the peculiarities of Soviet upbringing and educational settings, as well as ways of representing these topics in children’s magazines for different age groups. In this article, the history of Soviet children’s magazines (mid-1930s-mid-1950s) is shown through gender studies. The children’s magazine in the context of this study is considered as a unique publication that offers the child not only the passive acceptance of textual and visual information, but also the active consolidation of it through play and creative activities. Gender issues in magazines are analyzed on the examples of illustrations, as well as games and tasks for manual labor. It is interesting to trace how the return to the traditional content of gender roles in Soviet society in the mid-1930s. refl ected in the visual and playful component of popular children’s magazines. And also, is there in the visual representation of images of characters in children’s magazines and the representation of gender roles in games and headings for creativity confi rmation of the attempts of the state to create a sexless «Soviet man» in the period of the mid-1930s-mid-1950s, defi ned by sociologists as a period of totalitarian androgyny.
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Chambers, C. J. "Future traffic demands and characteristics from a media perspective". Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences 374, nr 2062 (6.03.2016): 20140433. http://dx.doi.org/10.1098/rsta.2014.0433.
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Providing topical information and entertainment began with wall paintings, the spoken word and face-to-face performance, then the addition of the written and printed word along with illustrations and pictures, followed by audio recording. In the early 1920s, regular broadcast radio services began, followed by television in the late 1930s, and this has provided the basis of broadcast media we know today. These innovations frequently pushed boundaries and challenged the status quo, but not all of these challenges were technical by any means. However, it could be argued that the development of accessible technologies has been fundamental to the successful deployment of information and entertainment media in all their forms throughout history. Today, the merging of audio and video media with a whole range of digital services is becoming commonplace. With the ability of such services to develop new approaches in supporting people’s everyday living experiences, this will take communication networks into a new era central to the way we live. This paper postulates that the historical trends with audio and video media developments from the early 1900s will continue to push future boundaries, and attempts to highlight the key demands and the developing trends from a communication network point of view.
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Martynova, D. O. "“Hysterical” Mechanisms and Bodies in Max Ernst’s Collages of the 1920s and 1930s". Art & Culture Studies, nr 1 (luty 2022): 268–93. http://dx.doi.org/10.51678/2226-0072-2021-4-268-293.
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The purpose of this article is to analyze the influence of the hysterical discourse on Max Ernst’s artworks of the 1920s and 1930s. The main source material for his collages was medical illustrations, which he analyzed and subsequently “appropriated” for his own artworks. Given this, various aberrations occur: borrowed sources and their meanings are not always clear, which poses a problem in the study of the presented corpus of artworks. The relevance and scientific novelty of the study are as follows: the description and introduction of the collages of the 1920s and 1930s into scientific discourse would help to clarify the semantics of not only Ernst’s early, but also his later artworks. Analyzing the collages of the 1920s and 1930s, we can conclude that Ernst’s fascination with the visual component of the hysterical discourse allowed him to engage in psychotherapy and rejecting various dogmas. As a result, the hysterical discourse is the thread that runs through all of his creative works. It can be assumed that the “hysterical” mechanism developed by Ernst also influenced one of the “performances” of the 1938 International Surrealist Exhibition: the appearance of the Enigmarelle automaton, a descendant of Frankenstein, powered by electricity. The artistic study of hysteria was continued by Ernst’s companion Dorothea Tanning, who created a series of works featuring “women in wallpaper”, inspired by the Victorian novel about a hysteria patient The Yellow Wallpaper authored by Charlotte Perkins Gilman.
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Martynova, D. O. "“Hysterical” Mechanisms and Bodies in Max Ernst’s Collages of the 1920s and 1930s". Art & Culture Studies, nr 1 (luty 2022): 268–93. http://dx.doi.org/10.51678/2226-0072-2022-1-268-293.
Pełny tekst źródłaStreszczenie:
The purpose of this article is to analyze the influence of the hysterical discourse on Max Ernst’s artworks of the 1920s and 1930s. The main source material for his collages was medical illustrations, which he analyzed and subsequently “appropriated” for his own artworks. Given this, various aberrations occur: borrowed sources and their meanings are not always clear, which poses a problem in the study of the presented corpus of artworks. The relevance and scientific novelty of the study are as follows: the description and introduction of the collages of the 1920s and 1930s into scientific discourse would help to clarify the semantics of not only Ernst’s early, but also his later artworks. Analyzing the collages of the 1920s and 1930s, we can conclude that Ernst’s fascination with the visual component of the hysterical discourse allowed him to engage in psychotherapy and rejecting various dogmas. As a result, the hysterical discourse is the thread that runs through all of his creative works. It can be assumed that the “hysterical” mechanism developed by Ernst also influenced one of the “performances” of the 1938 International Surrealist Exhibition: the appearance of the Enigmarelle automaton, a descendant of Frankenstein, powered by electricity. The artistic study of hysteria was continued by Ernst’s companion Dorothea Tanning, who created a series of works featuring “women in wallpaper”, inspired by the Victorian novel about a hysteria patient The Yellow Wallpaper authored by Charlotte Perkins Gilman.
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Wang, Siyu. "Understanding the Characteristics of the Heta-Uma Illustration Works in the 1980s: A Case Study of Teruhiko Yumura and Yosuke Kawamura". Arts 12, nr 3 (4.05.2023): 90. http://dx.doi.org/10.3390/arts12030090.
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Heta-Uma, a Japanese illustration style, was first proposed in the 1970s and flourished in the 1980s. It involves illustration that expresses a unique artistic temperament through the use of childlike and naive forms. However, such a special cultural phenomenon has not been widely explored in the literature. The aim of this article is to examine the Heta-Uma works during the 1980s and reveal the role of these works’ characteristics. We conduct a case study of the two most representative Heta-Uma illustrators: Teruhiko Yumura and Yosuke Kawamura. Specifically, we analyze a total of their 514 works using the combination of quantitative and qualitative research methods. Our key findings suggest that the number and the type of Heta-Uma works changed from the early 1980s to the end of 1980s and the text in Heta-Uma works potentially plays an important role in supporting their understanding. In addition, the study demonstrates that Heta-Uma is likely to have a relationship with Japanese aesthetics. We take a first step towards understanding Heta-Uma systematically, and believe that this article complements the knowledge gap in the context of Japanese illustrations. Meanwhile, our study opens up avenues for future work, such as investigating the birth of Heta-Uma, the relationship between the works and the social impact, and the effect of Heta-Uma on the modern Japanese illustrations.
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Sheng, Keren. "The Watercolor Technique in Illustrations of Children’s Books of the 1980s—2020s by Soviet and Modern Russian Artists". Observatory of Culture 18, nr 6 (21.12.2021): 648–61. http://dx.doi.org/10.25281/2072-3156-2021-18-6-648-661.
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The article analyzes the technique of watercolor in illustrations of children’s books of the 1980s—2020s by Soviet and modern Russian artists. There is traced the influence of modern technologies on children’s book illustrations made in the watercolor technique. In the context of current artistic trends, the article examines the connections of social processes and book graphics; the features of the technical development of book design; the combination of various visual materials with the technique of “watercolor” in the conditions of information technology; new technological and technical approaches; the author’s vision of an illustrated work. The main method used is the analysis of the works of Soviet and modern illustrators of children’s books: V.V. Pertsov, N.E. Popov, A.V. Kokovkin, V.G. Britvin, V.V. Pavlova, A.A. Koshkin, E.A. Silina, Ya.M. Sedova, A.A. Desnitskaya, O. Demidova, V. Pomidor, A.Ya. Lomaev. The relevance of this topic is determined by the intensive introduction of digital technologies into book art and the transformation of the traditional watercolor technique, and the topic’s novelty is based on the lack of formulation of the mentioned issues in the context of children’s book watercolor illustration. Modern technologies make it possible to implement any creative idea of the artist, who, being able to freely interpret the literary work, is now an active participant in the creation of a book image. Absence of censorship imposes a certain responsibility for the quality of illustrations on the artist, since it affects the perception of the child. Thus, forming the aesthetic taste of the younger generation, the artist becomes a participant in the educational process.The analysis of the watercolor illustration showed that the artist is faced with a difficult task, which is associated not only with the ability to use technological and technical innovations, understand the principle of modern computer programs, reinforce the visual series with knowledge of the historical context, but also to know and understand how children’s consciousness works and how to instill good taste in a child.
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Moskowitz, Golan. "Before Wild Things: Maurice Sendak and the Postwar Jewish American Child as Queer Insider-Outsider". IMAGES 12, nr 1 (24.10.2019): 85–94. http://dx.doi.org/10.1163/18718000-12340103.
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Abstract This article analyzes the late Maurice Sendak’s (1928–2012) entry into the field of children’s picture books in the midtwentieth century and his contribution to the affective shift in children’s literature. It examines Sendak’s complex social position and artistic development in the 1940s and 1950s, as well as lesser-known illustrations by Sendak, including collaborations with Ruth Krauss and with the artist’s brother, Jack. These works began to respond to Sendak’s own childhood as a queer son of Eastern European Yiddish-speaking immigrants. They also offered new potential mirrors for midcentury children—perhaps especially queer and otherwise marginalized children—as they navigated cultural gaps between home and the public sphere, as well as between personal orientations and the social pressures of postwar America.
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Blanton, Carlos Kevin. "A Legacy of Neglect: George I. Sánchez, Mexican American Education, and the Ideal of Integration, 1940–1970". Teachers College Record: The Voice of Scholarship in Education 114, nr 6 (czerwiec 2012): 1–34. http://dx.doi.org/10.1177/016146811211400601.
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This biographical study of Dr. George I. Sánchez, a leading Mexican American educator, intellectual, and activist from the 1930s through the 1960s, opens up the idea of compensatory education—the prevalent notion of the 1960s that schools use specialized instructional programs to combat the alleged cultural deprivation of some children, particularly minorities—to a wider focus. While George Sánchez addressed key themes of compensatory education in critical and even predictive ways since at least the 1940s, he was not known to the compensatory education movement, nor was his most passionate subject, Mexican Americans, much of a factor in compensatory education thinking. And this was most unfortunate. No one captured more forcefully the tension between liberal sympathy to offer special schooling to Mexican Americans and how such innovative educational programs maintained and perpetuated the widespread practice of racial segregation. I focus on several discrete, illustrative episodes of Sánchez's life and activism over a three-decade period: first, Sánchez's New Deal-era idealism from the late 1930s and early 1940s in which he used stricter sociological definitions of Mexican American culture as deficient and in need of government action; second, his efforts of the 1940s and 1950s to desegregate public schools in Texas and the Southwest on behalf of the nascent Mexican American civil rights movement; third, his support for bilingual education in the 1960s for reasons of civic and political equality, but not from the perspective of sociolinguistic theory; and finally, Sánchez's surprisingly persistent and pugnacious opposition throughout the 1960s to a preschool compensatory program that originated from within the Mexican American community. These four phases of Sanchez's career illustrate the degree to which Sánchez wrestled with, and even predicted, some key points of later criticism of the entire compensatory education intellectual project. These aspects of Sanchez's work also document just how invisible Mexican American struggles were to national intellectual and policy circles. But most of all, George I. Sánchez recognized that the Mexican American people in the United States, his people, suffered greatly from a sad legacy of neglect. One of the central consistencies to his pedagogical thinking regardless of the decade was his willingness to call attention to that tragic legacy in the hopes of correcting it. This underlying principle to Sánchez's life and work, as well as his sharp diagnosis of the leading educational theories of the day, makes his marginal, almost invisible position among compensatory education thinkers of the 1960s, who also sought to correct legacies of injustice, just as tragic. Educational thinkers today should know more about George I. Sánchez as well as his perspectives on Mexican Americans, schools, and justice.
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MYERS, LINDSAY. "Meo's Fists – Fighting For or Against Fascism? The Subversive Nature of Text and Image in Giovanni Bertinetti's I pugni di Meo". International Research in Children's Literature 1, nr 1 (lipiec 2008): 1–15. http://dx.doi.org/10.3366/e1755619808000069.
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During the 1920s and 1930s Italian children's literature was heavily influenced by fascist propaganda. Stories which celebrated patriotism, militarism and obedience appeared in great numbers as did biographies of Mussolini. Children's book illustrations also underwent stylistic changes becoming more statuary and geometric in accordance with the principles behind fascist architecture and propagandist art. Not all of the Italian writers and artists who ostensibly endorsed fascist ideologies, however, were entirely compliant with fascist dictates. Careful reading of some of the key works by writers and artists outwardly supportive of the regime reveals underlying subversive political ideologies, the majority of which have yet to be acknowledged. One of the ways in which writers and artists of the fascist period inscribed subversive ideologies in their works was by manipulating contemporary visual and verbal codes. This paper focuses on the dialectic of text and image in Giovanni Bertinetti's I pugni di Meo [Meo's fists], a children's fantasy, illustrated by the well-known artist, Attilio Mussino. Situating text and illustrations in their socio-political context, it discusses how these artists manipulated words and images to convey an ideology of moderation in the midst of excessive use and abuse of power in Italy in the 1930s.
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Misler, Nicoletta. "Satire and Propaganda in the Graphic Art of Vladimir Lebedev". Experiment 28, nr 1 (21.12.2022): 212–44. http://dx.doi.org/10.30965/2211730x-12340029.
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Abstract The focus of this article is on the social caricatures which Vladimir Vasil’evich Lebedev (1891–1967) produced just before and after 1917, especially for the journals Satirikon and Novyi Satirikon (New Satyricon), tо which his immediate colleagues such as Boris Grigor’ev and Vladimir Kozlinsky also contributed. With copious references to Lebedev’s personal archive and to his domestic “laboratory” of cut-outs and preliminary drawings, the text and illustrations treat of Lebedev’s satirical attitudes towards both the bourgeoisie and the political élite and of his often ambivalent depiction of “friends” and “enemies,” a condition also evident in his ROSTA posters and in Nikolai Punin’s 1922 book of reproductions called Russkii plakat 1917–1922. A key argument is that during the 1910s–1930s, ideological pressures notwithstanding, Lebedev managed to retain an esthetic distance and that, rather than kowtow to a given regime, ultimately, found artistic refuge in illustrations for children’s books, often in collaboration with writers such as Samuil Marshak.
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Brandist, Craig. "Reflections on the Work of R.O. Šor: Materials from Institutional Archives". Cahiers du Centre de Linguistique et des Sciences du Langage, nr 47 (4.06.2016): 71–84. http://dx.doi.org/10.26034/la.cdclsl.2016.439.
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The work of R.O. Šor (1894-1939) is examined through materials held in the ar- chives of institutions in which she worked. Particularly important is the text of her self-criticism of 1932 in which she examines the formation of her own ideas and the influences on her work. This is supplemented with reflections on her published work and new information about aspects of her contribution to Soviet linguistic thought in the 1920s and 1930s that have remained unexplored. This brings new light to bear on Šor’s work by illustrating her relationship to European linguistic thought and the development of period of the ascen- dency of the ideas of N.Ja. Marr.
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Kalenichenko, Mariya Vladimirovna. "Production of popular science films in Leningrad: late 1940s – 1960s". Genesis: исторические исследования, nr 4 (kwiecień 2021): 75–85. http://dx.doi.org/10.25136/2409-868x.2021.4.35594.
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This article is dedicated to the history of the Soviet popular science cinematography on the example of the Leningrad film studio “Lentekhfilm” / “Lennauchfilm"” during the late 1940s – 1960s.The goal of this work consists in tracing the development and production stages of popular science films at the Leningrad film studio “Lennauchfilm”. The author sets the following tasks: follow the work of the film studio “Lennauchfilm” based on the archival materials, as well as determine the main plotlines of popular science films of the period under review. The article employs archival documents stored in the fund No. 243 of the St. Petersburg Central State Archive of Literature and Art. Namely, based on the materials of the annual financial and production reports of the film studio, using the quantitative methods, the author carries out the sampling of films that were classified as popular science. The author also applies the problem-chronological method for studying the stages of operation of the film studio. The novelty of this research consists in determination of production volumes of popular science films at a particular film studio, as well as their main themes. As a result, the author highlights six main plotlines: natural sciences, geography of the country, industry and agriculture, education of children and adolescents, history of culture and art, historical-revolutionary. The conclusion is made that the Soviet popular science cinematography was aimed not only at popularization of scientific knowledge (as follows from the definition of the term “popular science film” given in the Great Soviet Encyclopedia), but also performed the important political and civic functions on youth education, distribution of technical knowledge, as well as illustration of the achievements of the Soviet Union in economic and social policy.
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Ахметова, Д. И. "Bulat Galeev's artistic “orbital” in Kazan in the 1960s – 1980s". Iskusstvo Evrazii [The Art of Eurasia], nr 3(26) (30.09.2022): 74–83. http://dx.doi.org/10.46748/arteuras.2022.03.006.
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Статья посвящена экспериментам в искусстве, интерес к которым в СССР возобновился в период оттепели; в частности синтезу музыки и визуального искусства. Особое внимание уделяется организатору исследований и творчества в данном направлении, основателю казанского НИИ «Прометей» Булату Галееву, который одним из первых в стране заинтересовался историей беспредметного искусства синестетического характера, сделав его объектом научного исследования, обсуждения, введя в культурный контекст, объединив тех, кто создавал новое искусство. Анализируется его тесное сотрудничество с рядом художников того периода: Константином Васильевым, Алексеем Аникеёнком и Надиром Альмеевым. Показано тесное сотрудничество Н. Альмеева с «Прометеем» на протяжении нескольких лет: создание иллюстраций к книгам и визуального наполнения цветомузыкальных фильмов. The article is devoted to experiments in art. Interest in them in the USSR resumed during the “thaw” period. In particular, the focus was on the synthesis of music and visual art. The author of the study paid special attention to the organizer of research and creativity in this direction, the founder of the Kazan Research Institute “Prometheus” Bulat Galeev. He was one of the first in the country who became interested in the history of non-objective art of a synaesthetic nature, making it the object of scientific research, discussion, introducing it into a cultural context, uniting those who created new art. The article presents an analysis of his close collaboration with a number of artists of that period: Konstantin Vasiliev, Alexei Anikeenok and Nadir Almeev. N. Almeev's close cooperation with “Prometheus” for several years led to the creation of illustrations for books and visual content for color-musical films.
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Wincencjusz-Patyna, Anita. "Ingrid Vang Nyman i Pippi Pończoszanka, czyli o Pippi – dziecięcej rebeliantce – i Pus – duńskiej artystce, która dokonała rewolucji w szwedzkiej książce dla dzieci". Studia Scandinavica 24, nr 4 (2.12.2020): 30–48. http://dx.doi.org/10.26881/ss.2020.24.02.
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This article focuses on Ingrid Vang Nyman’s illustrations to various books about Pippi Longstocking, written by Astrid Lindgren, ranging from novels through picturebooks to comics. The core of the paper is an analysis of the Danish artist’s style, her use of means of artistic expression, and her attitude towards avant-garde movements in Western art in the 1930s and 1940s. The text briefly covers Vang Nyman’s biography, and the influence of her Danish background, taking mainly the period of her studies at the Royal Academy of Fine Arts in Copenhagen into consideration. Analysis makes it possible to indicate three main features of Vang Nyman’s “Pippi works”, which are a specific construction of space, anti-classical aesthetics, and a selfdiscilplined use of basic colours taken from modern painting, e.g. Neo-Plasticism.
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Wilmott, Tony, i Philip Smither. "The Plan of the Saxon Shore Fort at Richborough". Britannia 51 (2.07.2020): 147–74. http://dx.doi.org/10.1017/s0068113x20000379.
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AbstractRecent excavation and coring of the collapsed east wall of the Saxon Shore fort of Richborough has revealed the manner in which the wall collapsed. This led to a re-evaluation of the original siting of the wall, which must have lain to the west of where it is usually depicted. Reassessment of previous excavations, including the examination of original records from the J.P. Bushe-Fox excavations of the 1920s and 1930s leads to the conclusion that the so-called ‘unfinished’ or ‘abandoned’ east wall foundation was in fact the base of the built east wall, from which the collapse derives. A revised fort plan based upon this conclusion is suggested. Supplementary material is available online (https://doi.org/10.1017/S0068113X20000379), and includes additional backing tables and illustrations referenced in the text.
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Delisle, Philippe. "Tintin ‘In Black and White’". European Comic Art 14, nr 1 (1.03.2021): 7–20. http://dx.doi.org/10.3167/eca.2020.140102.
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The Tintin albums that were first printed in black and white offer a revealing picture of the conservative, Catholic, nationalist climate in which the young Hergé was immersed in the 1920s and 1930s. Taken together, they offer a coherent vision of the world. Tintin sometimes takes on the role of a pious young hero, and a character such as Rastapopoulos may seem like a perfect illustration of the enemy as defined by a writer like Charles Maurras. But Belgian conservative Catholics also had a powerful social mission. From the Congolese escapade up to L’Oreille cassée [ Tintin and the Broken Ear ], Tintin is combating the same proponents of Anglo-American cosmopolitan capitalism. Conversely, he comes to the help of the poor and needy, reactivating a whole Christian iconography of charity, as, for example, when he rescues Tchang from drowning in Le Lotus bleu [ The Blue Lotus ].
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Delisle, Philippe. "Tintin ‘In Black and White’". European Comic Art 14, nr 1 (1.03.2021): 7–20. http://dx.doi.org/10.3167/eca.2021.140102.
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The Tintin albums that were first printed in black and white offer a revealing picture of the conservative, Catholic, nationalist climate in which the young Hergé was immersed in the 1920s and 1930s. Taken together, they offer a coherent vision of the world. Tintin sometimes takes on the role of a pious young hero, and a character such as Rastapopoulos may seem like a perfect illustration of the enemy as defined by a writer like Charles Maurras. But Belgian conservative Catholics also had a powerful social mission. From the Congolese escapade up to L’Oreille cassée [ Tintin and the Broken Ear ], Tintin is combating the same proponents of Anglo-American cosmopolitan capitalism. Conversely, he comes to the help of the poor and needy, reactivating a whole Christian iconography of charity, as, for example, when he rescues Tchang from drowning in Le Lotus bleu [ The Blue Lotus ].
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Frolov, Dmitrii. "The works of August Ivans in the context of development of Latvian art culture in the 1920s – 1930s". Человек и культура, nr 5 (maj 2020): 95–103. http://dx.doi.org/10.25136/2409-8744.2020.5.33667.
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The problematic of studying Latvian art culture after declaring independence in 1918 did not receive due coverage in the works of national researchers. Based on the new facts of artistic biography of the prominent cultural figure of Latvia – the painter August Ivans (1895-1975), analysis is conducted on the isolated phenomena of the Latvian art culture of the 1920s – 1930s, namely the establishment of higher art education in the Republic of Latvia. The preserved sayings of the painter allow revealing the role of graduates of Russian schools of art in formation of the Latvian Academy of Arts. The author highlights the painter’s role in the process of democratization of the country's art life, which consists in his work on illustrations to the satirical magazines. The establishment of art education in Latvia is reviewed on the basis of life and creative path of the Latvian painter August Ivans for the first time. The role of the graduates of Russian art schools in formation of the Latvian Academy of Arts is also noted. In the 1920s – 1930s, the art life in Latvia became more public, and artists acquired more opportunities to exhibit their paintings. More artists were able to sustain themselves by selling their works. Printing numerous satirical publications designed by A. Ivans led to the process of democratization of art life of the country. This article is also first to publish the information on the death and burial place of the artist.
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Abramova, Ksenia V. "Avant-Garde Children’s Magazines and Newspapers of the 1920s – 1930s in Siberia". Studies in Theory of Literary Plot and Narratology 14, nr 2 (2019): 84–105. http://dx.doi.org/10.25205/2410-7883-2019-2-84-105.
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The purpose of this article is to analyze the magazines and newspapers for children and youth issued on the territory of Siberia in 1920s – 1930s. A great many children’s books were issued that years, moreover, the approach to design of that books and to the contents of writings for children changed significantly: the topics had to be actual, associated with the construction of the new society. At the same time, exactly in children’s press in 1920s, the new principles of book graphics were formed. There are a large number of magazines and newspapers aimed at youth audiences were published in Siberia in the 1920s and 1930s, but they did not have a long history. Some of them appeared only once or twice, after that they closed. But all the more interesting is the study of these rare publications as experiments that influenced how the Soviet children’s and youth magazine was formed. Viewing magazines and newspapers allows you to observe how the rubrication and the genre system of Soviet publications for children evolved, as well as identify trends that have become a definite “sign of the times”. The article explores archive materials and examines the contents of printed issues, peculiarities of the approaches to the inner composition of the material and design techniques, discovers the features of the “Soviet avant-garde” development in children’s and youth periodicals. It indicates that the majority of the Siberian Children’s and youth magazines issued within that period has demonstrated a strongly demonstrated ideological overtone, claiming its purpose raising the new type of human and orientation on the “iterature of fact”. The article covers the peculiarities of the illustration techniques in Siberian post-revolutionary magazines. The article marks that up to the mid – late 1920s, the children’s and youth periodicals design became composed of such elements as insets, plane drawings based on a contrast combination of black and white, photography and photographic compilation. Furthermore, it describes a number of self-presentation techniques, developed exactly by the avant-garde art. As can be seen from the above, it can be stated that Siberian children’s and youth journalism acquired the avant-garde trends of the first third of the 20th century, however, they haven’t been gradually and fully realized.
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Abbasova, Galina. ""Rose and Quail". Metamorphoses in the Graphics of A.V. Nikolaev (Usto Mumin) of the 1930s". Человек и культура, nr 6 (czerwiec 2022): 32–46. http://dx.doi.org/10.25136/2409-8744.2022.6.29097.
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The heyday of the creative life of Uzbekistan, which fell on the 1920s - 1930s, was due not only to the lively activity of art groups, exhibitions and creative assignments, but also to the active work of artists in periodicals of various kinds. The graphic cycles published on the pages of newspapers and magazines significantly expand the established ideas about themes, plots and images in the work of the masters of Soviet Uzbekistan. Sometimes these publications remain the only documentary evidence of the existence of works that are now lost. This article is devoted to little-known graphics by A.V. Nikolaev, who worked under the name of Usto Mumin, its classification, description and establishment of links between the easel painting of the artist and graphic sheets, which he performed for such publications as “Maşala” (“Mash'ala”), “Muştum” (“Mushtum”) and “Pravda East". In the 1930s, the poetic contemplation inherent in the early painting of Usto Mumin gave way to the construction of a new social myth. At this stage, a significant role in the transformation of the artistic manner of the master was played by his departure in 1929 to Leningrad, where he devoted himself to work on book and magazine illustration. At the same time, the artist managed to find that delicate balance, which allowed, with a clear ideological component, to maintain the high artistic quality of the drawing. He filled the his works with images borrowed from earlier works. However, extracted from the mythologized context, they, as a rule, lost their semantic ambiguity, acquiring a mundane character. At the same time, the ruthless appeal of the master to such emblematic symbols for his painting of the 1920s as a rose and a quail suggests that the changes that took place in his work in the 1930s were not only external in nature, but were due to deeper reasons.
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Chadaga, Julia Bekman. "Light in Captivity: Spectacular Glass and Soviet Power in the 1920s and 1930s". Slavic Review 66, nr 1 (2007): 82–105. http://dx.doi.org/10.2307/20060148.
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Exploiting what Jean Starobinski has called the “solar myth” of the revolution, the Soviet regime used the visual power of light within glass to create an exalted vision of Russia's transformation. This article explores the symbolism and the spectacular use of the light bulb (as a material and a discursive entity) in the early Soviet period. Julia Bekman Chadaga traces how the light bulb became an ideological icon and then investigates its treatment in Soviet popular culture and in literary works by Mikhail Zoshchenko, Andrei Platonov, and Iurii Olesha. The Kremlin stars are examined as a monumental manifestation of the Soviet light bulb and a case study illustrating the state's appropriation of religious imagery. While official discourse around the Kremlin stars and “Lenin's little lamps” invokes the conquest of unruly nature and the attainment of divine power via technology produced by the triumphant socialist state, the literary works examined here destabilize the fixed symbolic meaning of captive light.
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WERTH, NICOLAS. "The ‘Chechen Problem’: Handling an Awkward Legacy, 1918–1958". Contemporary European History 15, nr 3 (19.07.2006): 347–66. http://dx.doi.org/10.1017/s0960777306003365.
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The study of the ‘Chechen problem’ from the civil war period to the aftermath of the 20th Congress of the CPSU highlights a major topic in recent historiography of the Soviet period: the resistance to the regime. The various ways in which the Chechens resisted sovietisation over several decades provide a fine illustration of the highly complex notion of ‘social resistance’ in the Soviet Union. In the Chechen case, the manifestation and expression of resistance were rooted either in deeply ingrained social identities, community and tradition or in national and universal strategies of popular collective action. But the ‘Chechen problem’ also provides a good example of the different reactions and policies of the Soviet state when faced with this kind of ‘multi-dimensional’ resistance. These policies changed and evolved over the years: armed operations aimed at the ‘eradication of Chechen banditry’ in the 1920s and 1930s, total deportation in 1944 and, after 1956, the removal of most of the limitations imposed on the ‘punished’ national group.
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Fomin, Dmitry V. "Book Graphics by M.M. Tsekhanovsky. To the 130th Birth Anniversary of the Artist". Bibliotekovedenie [Library and Information Science (Russia)] 68, nr 5 (27.11.2019): 493–504. http://dx.doi.org/10.25281/0869-608x-2019-68-5-493-504.
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The purpose of the article is to consider the book design works of the famous graphic artist and animation movie director M.M. Tsekhanovsky (1889—1965), using the complex of bibliological, art historical and historiographic methods, to identify the most characteristic features of his creative method, to reconstruct the important stage of biography of the master, analysing previously unpublished archival materials. Already in the very first illustrative cycles, the artist finds his theme: he gives a clear preference to inanimate heroes, spectacularly and clearly depicts the attributes of modern life, symbols of technological progress. Further, making illustrations to the works of S.Y. Marshak, B.S. Zhitkov, M. Ilyin, he refines his artistry and takes the prominent place among the creators of children’s “manufacturing”, technical, popular science books. He manages to adapt the extremely complex topics to the perception of a child, to fill dry language schemes, drawings or geographical maps with lively, exciting content and vivid imagery. The visual series of such graphic works is not a banal pictorial parallel of the text, its explanation, but it leads an independent party, significantly complements and enriches the content of the book. People appear quite rarely in these graphic series; they are treated very schematically and mechanistically, sometimes they seem to be the creations of the world of things and machines, so close to the artist. However, in the best works of M.M. Tsekhanovsky, and above all, in the illustrations to the famous “Post” by S.Y. Marshak, human images are shown generically, and at the same time individualized, endowed with characteristic, memorable features, clearly inscribed in the plot and rhythmic outline of the dynamic narrative. In the heritage of the master, there are also completely different works, indicating that he could become a remarkable animalist, illustrator of fairy tales or “adult” historical and revolutionary works. However, these sides of his talent were not demanded by the technocratic era of the 1920s. Transition of the artist from book graphics to cartoon animation was in some sense predetermined by the very nature of his talent: M.M. Tsekhanovsky was always interested in the problem of plastic transfer of movement and unification of disparate episodes into a coherent story.