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Gotowe bibliografie tematyczne / Painters – Finland

Gotowa bibliografia na temat „Painters – Finland”

Autor: Grafiati

Data publikacji: 27 lipca 2024

Data aktualizacji: 29 lipca 2024

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Artykuły w czasopismach na temat "Painters – Finland"

1

Joy, Francis. "To all our relations: evidence of Sámi involvement in the creation of rock paintings in Finland". Polar Record 50, nr 1 (20.05.2013): 108–11. http://dx.doi.org/10.1017/s0032247413000351.

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ABSTRACTResearch undertaken between 1960 to 1990 into what was once a rock painting tradition in Finland, lacked a clear understanding of parallels between the painted figures found at rock painting locations in the southern and central areas of the country, and the motifs painted on the heads of Sámi shaman divination drums from Lapland. However, due to the discovery and analysis of the content of more rock painting sites in Finland from 1990 up to the present, a more comprehensive framework has emerged in which scholars from across different academic disciplines have discovered many more similar characteristics linking the rock paintings and drum symbolism. These recent findings point towards the survival of a nature based sacrificial religion from the Stone Age era in Finland. The source of this was shamanistic in its essence, and is seen portrayed on rock and boulder formations by hunters similarly to how figures were illustrated on drum heads by the Sámi shamans from the nomadic era of the 17th and 18th centuries in Lapland. This more recent recognition strengthens the argument for Sámi involvement in the creation of rock paintings in Finland.

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Gutman, Laura. "Werner von Hausen and Emile Bernard". Tahiti 13, nr 2 (24.10.2023): 71–85. http://dx.doi.org/10.23995/tht.137442.

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Werner von Hausen met Emile Bernard in Cairo in 1895, in Laren (Netherlands) in 1906, and again in Paris in 1906–1908. Evidence of these encounters is found in portraits, press articles and in the artists’ correspondence. These scattered fragments contain hitherto unknown biographical elements and make it possible to reconstruct a major influence on the artistic production and thought of the Finnish painter. Werner von Hausen thus turns out to be a protagonist of Antimodernism in Finland, a classical painter and author of memoirs, reviews and a manifesto defending a vision of art that did not conform to the expectations of his time.

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Joy, Francis. "Noaidi drums from Sápmi, rock paintings in Finland and Sámi cultural heritage – an investigation". Polar Record 53, nr 2 (27.02.2017): 200–219. http://dx.doi.org/10.1017/s0032247416000917.

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ABSTRACTA new, extensive examination of figures with horns and triangular shaped heads in prehistoric rock paintings in Finland reveals remarkable parallels with similar attributes on the Radien and Akka groups of spirits, pictured as male and female powers of the sky, earth and underworld, painted on the heads of indigenous Sámi noaidi drums from Swedish and Norwegian Sápmi during the seventeenth and eighteenth centuries. What makes this particular study of interest is that the cultural context or origins of rock paintings in Finland remains ambiguous. They are contextualised as being ‘Finnish’ according to academic literature. This paper explores these theories further and presents the findings of this investigation. In light of these findings, a re-examination and re-interpretation of the cultural context of rock paintings in Finland concerning Sámi pre-Christian religion and cultural heritage is prompted.

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Kondakova, Olga N. "ALEXEY PETROVICH BOGOLYUBOV. HALF A CENTURY IN THE SERVICE OF THE NAVAL MINISTRY". History and Archives, nr 2 (2022): 117–35. http://dx.doi.org/10.28995/2658-6541-2022-2-117-135.

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The purpose of the study, carried out on the basis of numerous unpublished documents, is to present the various useful activities of Alexei Petrovich Bogolyubov, a painter and an Actual State Councilor in the Naval Ministry. A.P. Bogolyubov began his service as a midshipman on January 8, 1841, and worked actively in the Naval Ministry for about 55 years. More than 90 documents from various funds were found in the Russian Archives of the Navy, including the artist’s autographs. The recently discovered album of original drawings made by the artist in 1862 and 1864 is of greatest value. Professor of marine painting, a member of the Council of the Imperial Academy of Arts, A.P. Bogolyubov trained talented apprentice artists who continued his work at the Naval Ministry and brought fame to Russia at numerous international art exhibitions. He performed important practical work (visual drawings of the shores, entrances to the ports and skerry-type channels) and for many decades made it safe for the sailors to navigate through the Baltic Sea and the Gulf of Finland; he created the Art Museum named after Radishchev and the Art and Craft School in Saratov; by the order of the emperors Nicholas I, Alexander II, Alexander III, Bogolyubov painted about a hundred of marine battle scenes covering the history of the Russian Fleet from its origin under Peter the Great up to the visit of the Russian squadron to Cherbourg in 1896. New archival documents testify to all the glorious deeds of A.P. Bogolyubov

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Takanen, Ringa. "Religious Affects and Female Subjects in the Altarpieces of the Finnish Artist Alexandra Frosterus-Såltin". Temenos - Nordic Journal of Comparative Religion 56, nr 2 (21.12.2020): 201–26. http://dx.doi.org/10.33356/temenos.82534.

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Before the mid-nineteenth century there were few subjects in the altarpiece tradition of the Evangelical Lutheran Church of Finland in which the central figures accompanying Christ were female. Seldom used or new motifs involving female characters now emerged behind the altar. Most of the altarpieces with central women figures were painted in Finland at the turn of the twentieth century by the artist Alexandra Frosterus-Såltin (1837–1916). In the nineteenth century Frosterus-Såltin was the only artist in Finland who realized the motif of ‘Christ Appearing to Mary Magdalene’ in her altarpieces. In her final representation of the theme, the altarpiece in the church of the Finnish Jepua commune, she chose an unusual approach to the motif. My interest in the subject lies in the motif’s affective nature – the ways in which altarpieces in general have been actively used to evoke feelings. Moreover, I consider the influence that Alexandra Frosterus-Såltin, a significant agent in Finnish sacral art, had on consolidating the position of women’s agency in the Finnish altarpiece tradition. I examine the motif in relation to the cultural and political atmosphere of the era, especially the changing gender roles and the understanding of women’s social agency as the women’s movement emerged.

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Rosales Rodríguez, Agnieszka. "Ferdynand Ruszczyc: A Polish Painter at the Crossroads of Cultures". Arts 12, nr 6 (2.11.2023): 232. http://dx.doi.org/10.3390/arts12060232.

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The oeuvre of beloved Polish painter Ferdynand Ruszczyc (1870–1936) reflected the patriotic Neo-Romantic landscape trend of the fin-de-siècle prevalent in Germany and the Nordic countries (Denmark, Finland, Norway, Sweden). It should be considered in the context of Nordic visual culture for two reasons: (1) until the affiliation of Central and Eastern European nations with the Soviet Union in the wake of World War Two, nations bordering the Baltic formed a single, fluid territory of cultural exchange, and (2) Ruszczyc’s oeuvre displays significant commonalities with dominant patriotic and Neo-Romantic trends of progressive artists around the Baltic Sea, where landscape became a vehicle for expressing dreams and emotions, as well as love of homeland. This article situates Ruszczyc’s national and artistic identity at the crossroads of cultures and artistic impulses, regional as well as international. Ruszczyc was born in Bohdanów near Vilnius (now Belarus) to a Polish father and a Danish mother. Like many Polish artists from the Russian partition, he was educated at the Imperial Academy of Fine Arts in St. Petersburg, where he studied with Ivan Shishkin (1832–1898) and Arkhip Kuindzhi (1878–1910). He also travelled to Sweden. Ruszczyc was influenced by the Russian art circle Mir Iskusstva (World of Art, est. 1898) and is often compared with Nordic (e.g., Akseli Gallen-Kallela; Finnish, 1865–1931) and German (e.g., Otto Modersohn; 1865–1943) artists. His visions of nature are sometimes raw monumental images of the northern landscape or fairy-tale fantasies containing symbolic allusiveness and a mythical, poetic element that evoke intimate memories of the land of his childhood. In his paintings, Ruszczyc presented the changeability of seasons, orchards, soil and streams, clouds formations, and tree trunks with palpable emotion. By exposing the material substance of nature, his paintings also reveal its mystical aspect, its ability to transform in accordance with the cyclical, cosmic rhythm of growth, maturation, death, and rebirth.

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7

Sakki, Inari, Eemeli Hakoköngäs i Katarina Pettersson. "Past and Present Nationalist Political Rhetoric in Finland: Changes and Continuities". Journal of Language and Social Psychology 37, nr 2 (1.05.2017): 160–80. http://dx.doi.org/10.1177/0261927x17706945.

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This article focuses on nationalist political rhetoric in two historical periods in Finland. We analysed the rhetorical changes and continuities in anticommunist newspaper articles from the past (1930s) and in anti-Islam blogs in the present (2010s). We identified two similar discourses in the political rhetoric of both eras, each discourse constructed around two different Others: the external Other, the stranger from the outside world, and the internal Others, those within our own society. Our analysis identified some significant differences pertaining to the form of the rhetoric in the two studied time periods. The writers in the past used unproblematic and blatant rhetoric that often relied on metaphorical and hyperbolic expressions. The present-day bloggers painted a negative picture of the Other more often than did their counterparts of the 1930s by using factuality-enhancing strategies such as giving details, citing statistics, and drawing on expert knowledge. Importantly, moreover, the present-day discourse was characterised by defensive and counterattacking rhetorical formulations, as illustrated by the extensive denials and reversals of racism. Our analysis suggests that the discourse of Otherness seems to require much more rhetorical work and justifying proclamations in the present than in the past nationalist political rhetoric.

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8

Stauning, P. "Danish auroral science history". History of Geo- and Space Sciences 2, nr 1 (4.01.2011): 1–28. http://dx.doi.org/10.5194/hgss-2-1-2011.

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Abstract. Danish auroral science history begins with the early auroral observations made by the Danish astronomer Tycho Brahe during the years from 1582 to 1601 preceding the Maunder minimum in solar activity. Included are also the brilliant observations made by another astronomer, Ole Rømer, from Copenhagen in 1707, as well as the early auroral observations made from Greenland by missionaries during the 18th and 19th centuries. The relations between auroras and geomagnetic variations were analysed by H. C. Ørsted, who also played a vital role in the development of Danish meteorology that came to include comprehensive auroral observations from Denmark, Iceland and Greenland as well as auroral and geomagnetic research. The very important auroral investigations made by Sophus Tromholt are outlined. His analysis from 1880 of auroral observations from Greenland prepared for the significant contributions from the Danish Meteorological Institute, DMI, (founded in 1872) to the first International Polar Year 1882/83, where an expedition headed by Adam Paulsen was sent to Greenland to conduct auroral and geomagnetic observations. Paulsen's analyses of the collected data gave many important results but also raised many new questions that gave rise to auroral expeditions to Iceland in 1899 to 1900 and to Finland in 1900 to 1901. Among the results from these expeditions were 26 unique paintings of the auroras made by the artist painter, Harald Moltke. The expedition to Finland was headed by Dan la Cour, who later as director of the DMI came to be in charge of the comprehensive international geomagnetic and auroral observations made during the Second International Polar Year in 1932/33. Finally, the article describes the important investigations made by Knud Lassen during, among others, the International Geophysical Year 1957/58 and during the International Quiet Sun Year (IQSY) in 1964/65. With his leadership the auroral and geomagnetic research at DMI reached a high international level that came to be the background for the first Danish satellite, Ørsted, successfully launched in 1999 and still in operation.

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9

Eskola, J., i K. Poikolainen. "Seasonal Variation and Recurring Peaks of Reported Poisonings During a 3-year Period". Human Toxicology 4, nr 6 (listopad 1985): 609–15. http://dx.doi.org/10.1177/096032718500400607.

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1 Seasonality of poisonings was studied among 28 692 cases reported during the years 1980-1982 in Finland with special reference to recurring peak months over years. Poisonings predominated in the summer. For all age-groups peaks of envenomations, plant poisonings and pesticide poisonings recurred between June and September. 2 Among children aged 0-6 years, there were in addition recurrent peaks in poisonings by tobacco between June and August, by corrosive agents in September and by vitamins, trace elements and external medicines in October. Among children aged 7-15 years, fertilizer poisonings peaked recurrently in August. Among adults, poisonings by petroleum products peaked recurrently in July and December, psychopharmacologic drugs in July and October, paints, glues and plastics in November, alcohols in December and antimicrobial drugs in August and October. 3 Of all poisonings, 33% occurred in July, August or September in contrast to the expected 25%. Preventive efforts should thus be intensified during the summer.

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10

Fodera, Peter L., Kenneth N. Needleman i John L. Vitagliano. "The Conservation of a Painted Baltimore Sidechair (ca. 1815) Attributed to John and Hugh Finlay". Journal of the American Institute for Conservation 36, nr 3 (1997): 183. http://dx.doi.org/10.2307/3179947.

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Więcej źródeł

Książki na temat "Painters – Finland"

1

1865-1931, Gallen-Kallela Akseli, Sivén Douglas, Bosley Keith i Satu Salo, red. Akseli Gallen-Kallela, national artist of Finland. Helsinki, Finland: Watti-Kustannusoy, 1985.

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2

taidemuseo, Amos Andersonin, i Waldemarsudde (Museum : Djurgården, Stockholm, Sweden), red. Bilder från Finland: Land och folk. Helsingfors: Finska litteratursällskapet, 2008.

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Käyhkö, Unto. Painted and photographed portraits in Finland, 1839-1870. Jyväskylä: University of Jyväskylä, 1995.

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Lauri Laine. Helsinki: Parvs Publishing, 2009.

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Akseli Gallen-Kallela: The spirit of Finland. Rotterdam: NAi Publishers, 2005.

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Jackson, David, Janne Gallen-Kallela-Siren, Adriaan Van Der Hoeven, Patty Wageman i Akseli Gallen-Kallela. Akseli Gallen-Kallela: The Spirit of Finland. NAi Publishers, 2007.

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Forecasts for Imported Pig Iron Cast Iro, Related Materials Research Group i Paints Varnishes The Pigments. The 2000 Import and Export Market for Pigments, Paints, Varnishes and Related Materials in Finland (World Trade Report). Wyd. 2. Icon Group International, 2001.

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Części książek na temat "Painters – Finland"

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Gröndahl, Laura. "Looking for early set painters in Finland". W The Art and Occupation of Stage Design in Finnish Theatres, 26–53. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003386988-2.

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Järvinen, Sami O. "Cautious Data-Driven Evolution: Defence AI in Finland". W Contributions to Security and Defence Studies, 127–48. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-58649-1_6.

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AbstractFinland has ambitious civilian AI goals and a highly ranked research and education system, but defence AI policies are somewhat less ambitious. Defence AI was first piloted for support functions, followed by applications in military capabilities now emerging in various R&D projects. The Finnish Defence Forces (FDF) lists AI as a priority research area with use cases identified in virtually all areas of defence. AI’s disruptive impact is already visible on the battlefield in autonomous systems, and a further revolution may emerge through dynamic electromagnetic spectrum management. Transceivers combining communications with electronic warfare capabilities could simultaneously provide situational awareness and achieve blue force communications inoffensively to civilian frequencies all the while intercepting enemy communications. Such AI applications could enable new concepts of fighting, but this would require the FDF’s organizational culture to become more conducive to experimentation. The FDF recognizes data availability and management as key for AI development, in particular machine learning. FDF’s new holistic Data Concept aims at more flexible data utilization, but legal and organizational barriers pose several challenges. Apart from a few innovative projects, Finland’s defence AI seems to be somewhat lagging behind the ambitious national AI policies of others, with a cautious and very gradual approach. Publicly available information paints a picture of AI being procured in military-off-the-shelf systems, even if FDF’s R&D portfolio hints at the possibility of various original applications. Finland’s NATO membership, its F-35 acquisition and corresponding industrial R&D cooperation with the U.S. may significantly boost AI development.

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"JOHNSTON, James Finlay Weir (1796–1855)". W Dictionary Of British And Irish Botantists And Horticulturalists Including plant collectors, flower painters and garden designers, 1740. CRC Press, 2002. http://dx.doi.org/10.1201/b12560-908.

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"FINLAY, William George Knox (c. 1895–1970)". W Dictionary Of British And Irish Botantists And Horticulturalists Including plant collectors, flower painters and garden designers, 1130–31. CRC Press, 2002. http://dx.doi.org/10.1201/b12560-580.

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"KNOX F1NLAY see Finlay, W.G.K. KNYFF, Leonard (1650–1721)". W Dictionary Of British And Irish Botantists And Horticulturalists Including plant collectors, flower painters and garden designers, 1824–27. CRC Press, 2002. http://dx.doi.org/10.1201/b12560-955.

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