Artykuły w czasopismach: „Painting, abstract – 20th century – exhibitions”

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Linden, Diana L. "Modern? American? Jew? Museums and Exhibitions of Ben Shahn's Late Paintings". Prospects 30 (październik 2005): 665–84. http://dx.doi.org/10.1017/s0361233300002222.

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The year 1998 marked the centennial of the birth of artist Ben Shahn (1898–1969). Coupled with the approach of the millennium, which many museums celebrated by surveying the cultural production of the 20th century, the centennial offered the perfect opportunity to mount a major exhibition of Shahn's work (the last comprehensive exhibition had taken place at the Jewish Museum in New York City in 1976). The moment was also propitious because a renewed interest in narrative, figurative art, and political art encouraged scholarly and popular appreciation of Ben Shahn, whose reputation within the history of American art had been eclipsed for many decades by the attention given to the abstract expressionists. The Jewish Museum responded in 1998 with Common Man, Mythic Vision: The Paintings of Ben Shahn, organized by the Museum's curator Susan Chevlowe, with abstract expressionism scholar Stephen Polcari (Figure 1). The exhibition traveled to the Allentown Art Museum in Pennsylvania and closed at the Detroit Institute of Arts in 1999.Smaller Shahn exhibitions then in the planning stages (although not scheduled to open during the centennial year) were to focus on selected aspects of Shahn's oeuvre: the Fogg Museum was to present his little-known New York City photographs of the 1930s in relationship to his paintings, and the Jersey City Museum intended to exhibit his career-launching series, The Passion of Sacco and Vanzetti (1931–32). Knowing this, Chevlowe smartly chose to focus on the later years of Shahn's career and on his lesser-known easel paintings of the post-World War II era. In so doing, Chevlowe challenged viewers to expand their understanding both of the artist and his place in 20th-century American art.

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Chvyr, L. A. "The Visitor and the East West Jazz". Journal of the Institute of Oriental Studies RAS, nr 1 (11) (2020): 61–75. http://dx.doi.org/10.31696/2618-7302-2020-1-61-75.

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The article is based on the author’s impressions of the East West Jazz exhibition in the Pushkin Museum of Fine Arts in Moscow in the fall of 2019. The exhibition was quite notable, and especially attractive due to the fashionable way of exhibiting the works of art, deliberately erasing the established boundaries between genres, styles and trends. The originality of the exposition was manifested in a paradoxical comparison of two artistic traditions, standing far from each other in all respects — chronologically, territorially, ethnically, religiously, and culturally. But the main and interesting feature was the opposition of two types of arts — decorative and applied art pieces and easel painting. The first are the artifacts of folk art of Central Asia of the 19th — early 20th centuries in the form of magnificent examples of oriental silk-weaved traditional robes (from the private collection of Alexander Klyachin); the second — a number of paintings and drawings by European abstract artists of the mid-20th century (from the collections of the Jean Claude Gandur Foundation in Geneva, the Pompidou Center and the Applicat-Prazan Gallery in Paris). The samples selected on both sides, located in the exposition side by side in “pairs”, clearly demonstrated ornamental and coloristic analogies in dressing gowns and abstract paintings. However, the idea of the organizers of the exhibition (according to the catalog) was not simply to compare them, but to show different types of abstraction, equally expressing the “idea of freedom”, which in the West is often symbolized by jazz music. The author of the article develops this idea, believing that the underlying cause of these similarities is the use of the main (“jazz”) principle — improvisation within the canon, originally inherent in any sphere of both ancient, and modern “oral” pieces, not only musical, but also visual.

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Park, Hyesung. "Rethinking the 20th-Century Korean Embroidery from Gender Perspectives". Korean Journal of Art History 320 (31.12.2023): 65–98. http://dx.doi.org/10.31065/kjah.320.202312.003.

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The rupture in the history of Korean embroidery is generally perceived as a severance from the traditional embroidery, made due to the Japanese colonial rule. However, it cannot be denied that the narrative of modern and contemporary Korean art history, mainly constructed around artistic movements and groups, also played a major part. The dispute encompasses the fundamental question of whether embroidery can be seen as a form of fine art from the perspective of modernist aesthetics, and the matter of hierarchy between different crafts. Also inherent are the tensions between contradictory values such as tradition and modernity, Western or Japanese and Eastern or Korean, abstract and figurative, and others peculiar to Korea, and the effects of such binary oppositions are closely related to gender problems. This paper re-examines, from gender perspectives, the chronological history of embroidery since the late 19th century, which had been placed on the periphery of Korean art history until now. In the traditional society, embroidery was produced and enjoyed privately, but moved into the public sphere through education and exhibitions for women during modernization. In the process, in order to be recognized as a form of pure art, embroidery gave up its unique characteristics as craft and took on the formative language of paintings. In the years immediately after liberation from Japanese colonial rule, which was the era of eradication of Japanese influences, establishment of national identity, and industrialization, embroidery was divided into abstract embroidery understood as more masculine, and traditional embroidery considered more feminine. Korean embroidery artists in the 20<sup>th</sup> century, as women experiencing particular historical contexts, worked with confidence in the artistic value of embroidery due to or despite their specific circumstances.

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Mark, Reet. "Endel Kõksi abstraktsetest maalidest". Baltic Journal of Art History 11 (30.11.2016): 125. http://dx.doi.org/10.12697/bjah.2016.11.07.

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The artist Endel Kõks (1912–1983) is a member of the same generation of Estonian art classics as Elmar Kits and Lepo Mikko. After Kits’s and Kõks’s debut at the exhibition of the Administration of the Cultural Endowment’s Fine Art Foundation (KKSKV) in Tallinn in 1939, the three of them started to be spoken about as the promising Tartu trio. In 1944, Endel Kõks ended up in Germany as a wounded soldier, while Kits and Mikko remained in Estonia. The Kõks’s works that have surreptitiously arrived in his homeland are incidental and small in number. Thus, without any proof, an image developed or was developed of him in Soviet-era art history as a mediocre painter and especially as a weak abstractionist, which is somewhat prevalent even today. I would dispute this based on the conclusions that I reached when helping to organise the exhibition of exile Estonian art between 2008 and 201142 and Endel Kõks’s solo exhibition between 2011 and 201343; conclusions that I have supplemented with the opinions expressed by exile Estonian art historians and artists.In 1951 Kõks moved to Sweden. Paul Reets has highlighted the years between 1952 and 1956, and assumed that these were difficult years due to the contradictions he faced. According to Reets, one obstacle was influence of the Pallas on Kõks’s painting style, which was conservative and adhered to the trends of Late Cubism. According to both Eevi End and Paul Reets, Kõks painted his first abstract painting in 1956 Rahutus (Restlessness) according to the former and Konflikt (Conflict) according to the latter). A black-and-white photo exists of Restlessness, which is slightly reminiscent of Pollock, and this is not the same work that P. Reets refers to. They both note that this was a convincing and mature abstraction not a searching for form, and as Reets states, Kõks had severed himself from the Pallas.The abstract paintings created between 1956 and 1960 – Kompositsioon (Composition) (1958), Rõõmus silmapilk (Joyful Moment) (1959) and others – are constructed on the impact of a joyfully colourful palette and lines, and demonstrate a kinship with the abstract works of Vassili Kandinsky. There is also a similarity to Arshile Gorky, whose works he may have seen at the exhibition of modern American art in Stockholm in 1953.Kõks’s transition into a pure form of abstraction occurred in 1963. Reets has characterised this as a “the most wondrous year that one can expect to see in an artist’s life. Not an unexpected year, but one that was unexpectedly and extremely rich when it came to his works.” The artist started to create series of works, of which the best known is undoubtedly Elektroonika (Electronics), which was comprised of 36 sheets. According to Kõks, he developed the need and idea to create the series while listening to experimental music, watching experimental films and thinking about nuclear physics. Created with a glass printing technique, or vitreography, each work is unique due to the post-printing processing, paint dripping, spraying and additional brushstrokes and images. Of course, all this alludes to Jackson Pollock.In 1962, Kõks painted the abstract composition Astraalne (Astral), which depicts a red circle and bent violet rectangle next to it on an interesting yellowish-brown surface that creates a rough effect. Using only these two symbols, the artist creates a sense of floating in cosmic space. Starting in 1964–1965 this style gradually came to dominate his work, and in was in this style that Kõks created the works that express the greatness of his talent and the charm of the “shaper of nature forms” in the purest sense.The construction of these works is brilliantly simple, and comprised of symbols and images placed on a relatively uniform surface. The nervous brittleness and rapid movement have disappeared from the paintings. The mood is calm and reveling. There is a monumental feel to many of the pictures. Masterful, delicate colour combinations triumph. And as time goes on, the more abundant and interesting the texture becomes. Eevi End believes that Kõks was influenced by Ellsworth Kelly, Kenneth Noland and other representatives of the school of Hard-edge painting that other influential direction operating in American abstractionism during the 20th century. Kõks himself has defined his abstract paintings as biomorphic abstraction, characterized by a free formalism, spatiality and atmospherics (Arshile Gorky, William de Kooning, Mark Tobey, Mark Rothko, and Jackson Pollock.)Kõks’s abstraction that features intellectual and cognizant images is totally the opposite of Elmar Kits’s excellent and spontaneous colourful abstraction. Kits remains true to the Pallas colour tradition; Kõks breaks out of it. Kõks feels secure painting abstract pictures and enjoys the game, which cannot be said of the thoroughly abstract works of Lepo Mikko or Alfred Kongo. Those who doubt this statement should remember that, in order to provide an assessment of Kõks’s abstract pictures, one must have seen them in Europe, the U.S. and Canada. Conclusions cannot be drawn based exclusively on the works in Estonia. As an abstractionist, he is in no way weaker than his contemporaries, just very different and the determination of superiority is a matter of taste. Endel Kõks’s greatness lies in the fact that he was able to fit with what was happening in world art (which many exile artists could not); he experimented with new directions and finally put together something new for himself, and thereby developed Estonian art as a whole.

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Yur, Maryna. "Ukrainian painting of the first third of the 20th century in scientific discourse: National aspect". МISТ: Art, history, modernity, theory 18 (29.11.2022): 98–105. http://dx.doi.org/10.31500/2309-7752.18.2022.271060.

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The article explores scientific works in which the concept of “national” was studied through the prism of the creative intentions of Ukrainian painters. Based on the analysis of literary sources, it is shown that the formation of the national context of Ukrainian painting in the first third of the 20th century is determined by a number of factors — historical and cultural features of the time, values and artist’s worldview. The actualization of scientific discourse of national art contributed to the in-depth study of the development and functioning of Ukrainian painting of the specified period, creative visions of artists. The research methodology is based on the principles of historicism, the cultural-historical method is applied to clarify the prerequisites, cause-and-effect relationships, reconstruction of the development of Ukrainian painting in a diachronic and synchronous dimension, hermeneutics — to substantiate the progress of Ukrainian painting and its significance for culture. Understanding the vision of Ukrainian painting of the first third of the 20th century in the publications of scientists is based on a review of exhibitions, analysis of works, study of biographies and stages of artists’ creativity. It is argued that in the creative intentions of artists who professed realism or formed the foundations of Ukrainian modernism and avant-garde, the concept of «national» determined the development strategy of Ukrainian painting

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Beck, Mirja. "A Lived Experience—Immersive Multi-Sensorial Art Exhibitions as a New Kind of (Not That) ‘Cheap Images’". Arts 12, nr 1 (17.01.2023): 16. http://dx.doi.org/10.3390/arts12010016.

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This article analyzes the phenomenon of multi-sensorial, digital, and immersive art exhibitions of popular artists, which has been widely neglected in academic research, from a historical perspective. Reflecting the significance of lived experience in art consumption, this 21st-century phenomenon can be confronted productively with early-20th-century art reproductions. The article focuses on the characteristics of both popular phenomena and on their advertisement, as well as on the discourse around them, documenting reactions from resistance to persistence and accommodation. The analysis shows noticeable similarities between the two types of popularization of high art, positioning the new immersive exhibitions in a traditional line of technical innovative art popularization. Whereas photomechanical art reproduction had an immense influence on the popular art canon, being also dependent on ‘photogenic’ conditions of artworks and thus focusing predominantly on painting, the contemporary canon is predisposed by the immersible characteristics of artists’ oeuvres.

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Kulakova, Olga Yu. "Dutch Flower Still Life of 17th Century: Interest and Oblivion through the Centuries". Observatory of Culture 18, nr 5 (29.10.2021): 496–505. http://dx.doi.org/10.25281/2072-3156-2021-18-5-496-505.

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Over three and a half centuries, the genre of flower still life created by Dutch artists experienced ups of interest and oblivion. There were the maximum assessment of society in the form of high fees of the 17th century artists; the criticism of connoisseurs and art theorists; the neglect in the 19th century and the rise of auction prices and close attention of art critics, manifested from the middle of the 20th century to the present day. In the middle of the 17th century, there was already a hierarchy of genres, based on both the subject and the size of the paintings, which was reflected in the price. Still lifes and landscapes were cheaper than allegorical and historical scenes, but there were exceptions, for example, in the works of Jan Brueghel the Elder and Jan Davidsz. de Heem. Art theorists Willem van Hoogstraten and Arnold Houbraken, resting upon academic tastes, downplayed the importance of still-life painting. Meanwhile, the artists themselves, determining the worth of their paintings, sought for maximum naturalism, and such paintings were sold well.In the 20th century, this genre attracted the attention of collectors in Europe and the United States. A revival of interest in Dutch still lifes in general, and in flower ones in particular, began in the 20th century, the paintings rose in price at auctions, and collecting them became almost a fashion. Art societies and art dealers of the Netherlands and Belgium organized several small exhibitions of still lifes. The course for studying symbolic messages in still lifes, presented by Ingvar Bergström, is continued by Eddie de Jong, who emphasizes the diverse nature of symbolism in Dutch painting of the 17th century. Svetlana Alpers, on the contrary, criticizes the iconological method and presents the Dutch painting of that period as an example of visual culture. Norman Bryson’s view of Dutch still lifes is formed against the background of the development of a consumer society, economic prosperity and abundance. Finally, there has been an increasing interest in the natural science aspects of flower still-life painting in the researches of the last twenty years. Curiosity, skill, and admiration for nature are the impulses that can still be felt in the images of bouquets and fruits.

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Žanja Vrbica, Sanja. "Hrvatska slikarska dionica ruskog marinista Alekseja Hanzena". Ars Adriatica 8, nr 1 (28.12.2018): 163–78. http://dx.doi.org/10.15291/ars.2760.

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Within the group of lesser-known foreign painters who stayed in Croatia between the two world wars, Russian painter Alexei Hanzen (b. February 2, 1876 in Odessa – d. October 19, 1937 in Dubrovnik) stands out with his artistic achievements. Having immigrated to Croatia in 1920, he remained here for the rest of his life. Nearly two decades spent in Croatia have been a time of intense work, during which Hanzen participated in numerous exhibitions organized almost every year in Zagreb, as well as in Split, Osijek, Dubrovnik, Ljubljana, Belgrade, Paris, Buenos Aires, Prague and elsewhere. His paintings could be seen at private houses, in public and museum collections, and at various royal courts, and are nowadays part of various collections in Croatia. Early in the 20th century, Hanzen studied painting in Munich, Berlin, and Dresden, and then continued his artistic training in Paris, in the ateliers of Tony Robert-Fleury and Jules Lefebvre. He was the grandson of the famous Russian marine artist Ivan Kostantinovich Ajvazovsky, and likewise specialized in painting sea scenes, presented at various exhibitions from 1901 onwards. For his work he was awarded in Paris and Russia, and in 1910 became the official painter of the Russian Navy.

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Gerasimova, Natalia V. "Exhibitions of Art Works from Private Collections of Kazan in the Second Half of 19th — Beginning of 20th Century". Observatory of Culture 21, nr 2 (19.04.2024): 214–23. http://dx.doi.org/10.25281/2072-3156-2024-21-2-214-223.

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The article uses the example of Kazan to reveal the process of organizing and holding exhibitions of artworks from private collections in the Russian pre-revolutionary province. Addressing this topic, which has not been sufficiently studied in the history of Russian art, is relevant because it expands the understanding of the phenomenon of exhibition activity, which is one of the most important aspects of artistic life in Russia. The source base of the present study is the catalogues of four exhibitions of paintings from private collections held from 1873 to 1916, as well as publications in the Kazan press of this period. The peculiarities of the organizational process, selection and exposition of works, and the owners of the works are revealed. It is established that the exhibitions were of charitable nature: their proceeds were directed either in favour of the starving or poor, or in favour of Russian soldiers. The main collectors of art works in Kazan in the second half of the 19th century were predominantly landed gentry and university professors (who came from the families of personal nobles and officials). By the early 20th century, representatives of individual merchant families also had significant art collections. The exhibited works represented the whole variety of genres, but they were dominated by landscapes and portraits, primarily family portraits, suitable for decorating mansions. Catalogues allow us to conclude that local collectors of the second half of the 19th century were primarily interested in foreign art (masters of the Italian, Flemish, Dutch, Belgian, German and French schools, mainly of the 17—18 centuries), as well as (to a lesser extent) Russian academic painting (from V.L. Borovikovsky and D.G. Levitsky to D. Zakharov) and itinerant painters (I.I. Shishkin, N.A. Yaroshenko). By the end of the 19th century, the vector of collectors’ preferences shifted towards contemporary Russian art (works by Makovskys, I.E. Repin, etc. were collected), and collecting works by local artists (K.V. Bardou, L.D. Kryukov, R.A. Stupin, N.I. Zeblov, etc.) began to develop as a special direction.

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Xiaotao, Li, i Yan Qing. "The influence of the Itinerants' creative ideas on Chinese realistic painting". World of Russian-speaking countries 2, nr 8 (2021): 87–104. http://dx.doi.org/10.20323/2658-7866-2021-2-8-87-104.

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The article analyzes the influence of the Itinerants' creative ideas on Chinese realistic painting, the development of which is inseparable from the study of the Itinerants. The article examines how the painting technique and ideology of the Association of Itinerant Art Exhibitions founded in the late 19th century are relevant to many 20th-century Chinese artists. The authors identify the ideological principles of the Itinerant movement that have influenced different generations of Chinese artists (rejection of the “art for art's sake” principle, emphasis on national characteristics of painting, responsibility for reflecting the life of people in the country, advocating the spirit of critical realism as the only true way to reflect life in art) and prove that without Russian Itinerants there would be no Chinese realism in painting and modern Chinese realistic painting. The article identifies and characterizes three stages of adopting the Itinerant creative ideas in China: the period of the Republic of China (acquaintance of the Chinese public with the Itinerants' paintings and understanding the Itinerant ideology at the time of the “Movement for New Culture”), the beginning of the PRC foundation (the period of comprehensive study of realist painting, training of talented Chinese artists in art educational institutions of the USSR as part of the cultural exchange and mastering the principles of Soviet realist art) and the first decade after the Cultural Revolution (a critical “painting of scars” reflecting the experiences and fates of people during the Cultural Revolution). The authors conclude that the study of the Itinerants' creative ideas from the point of view of cultural studies in the context of the Chinese realist art school development is important for understanding the Russian- Chinese cultural dialogue.

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Radonjic, Ana, i Slobodan Markovic. "Judgement of paintings belonging to different tendencies in the 20th century painting". Psihologija 37, nr 4 (2004): 549–69. http://dx.doi.org/10.2298/psi0404549r.

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In this study Trifunovic? hypothesis that there are three objective lines in the development of modern art was psychologically evaluated. According to Trifunovic, in the first line (C?zanne - cubism - neoplasticism - suprematism) the geometrization of form prevails, in the second (Van Gogh - expressionism - abstract expressionism) the use of color is dominant, whereas the main features of the third line (Gauguin - fauvism) are symbolic use of color and reduction of perspective. Fifteen reproductions of paintings that represent the three developmental lines were used as stimuli. The subjects were asked to judge the stimuli on nine bipolar 7-step scales. These scales constitute the three factors of instrument SDF 9: Evaluation, Arousal and Regularity (3 scales x 3 factors = 9 scales). Four clusters of paintings were obtained: Abstract-expressionistic (moderate Evaluation, high Arousal and low Regularity), Figural-expressionistic (very low Evaluation, low Arousal and high Regularity), Constructivistic (moderate Evaluation, low Arousal and high Regularity) and Realistic (high Evaluation, high Arousal and high Regularity). The results partially confirm Trifunovic? hypothesis indicating that, besides the formal features, the content (abstract vs. figural) is also significant factor of subjective clustering of paintings.

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Majewski, Piotr. "Constructing the canon: exhibiting contemporary Polish art abroad in the Cold War era". Ikonotheka, nr 30 (28.05.2021): 135–53. http://dx.doi.org/10.31338/2657-6015ik.30.7.

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The article focuses on the attempts of constructing and presenting the canon of Polish modern and contemporary art in the West after World War II. Initially, the leading role was played by Colourists – painters representing the tradition of Post-Impressionism. After 1956 the focus shifted towards artists who drew in their practice on tachisme and informel. However, the most enduring effects brought the consistent promotion of the interwar Polish Constructivism and its postwar followers. The article discusses the subsequent stages of this process, from the famous exhibition at the Paris Galerie Denise René in 1957, through exhibitions such as Peinture moderne polonaise. Sources et recherches (Modern Polish Painting. Sources and Experiments) from the late 1960s, up to the monumental Présences polonaises (Polish Presences) from 1983 (both in Paris), showing that these efforts contributed to securing a permanent position of Polish Constructivism within the global heritage of 20th-century art.

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Kotovskaya, Mariya G., i Elina G. Shvets. "Painting-report as visual document of an event (based on graphic sketches of F. Reshetnikov’s polar expeditions)". Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 61 (2021): 333–44. http://dx.doi.org/10.37816/2073-9567-2021-61-333-344.

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The exploration of the Russian north at the end of 19th – the beginning of the 20th centuries went along with the emergence of the topic “the conquest of the Arctic” in visual arts. The artists would travel as part of research polar expeditions to the North again and again. Picturesque images of Arkhangelsk, Karelia, Northern Dvina, Novaya Zemlya, the northern sea passage would appear in mass media in front of the viewer in artistically perfect images. Fyodor Reshetnikov took part in an expedition to the North in the 1930s. The artist was young; the desire to perform a feat for his country propelled him to take part in polar expeditions led by O. Yu. Schmidt. It was the time when the materials would be documented by means of photo- and movie camera. During the expedition the artist presented his own way of depicting the work of the expedition and its everyday life. Polar expeditions, the feat of “Chelyuskin,” northern landscapes would become an essential part of artistic exhibitions in the 1930s (such as “20 anniversary of Red Army” and “Socialism Industry”). Viewers’ interest in the topic and a general popularity of the topic made the exploration of the North one of the most prominent, sincere and significant moments in the national art of the 20th century before the war.

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Kim, Seorim, i Kyoo Yun Cho. "Satire and Propaganda of Soviet Posters: The Artistic Representation of Laughter and Disgust in Deni’s Works". Institute for Russian and Altaic Studies Chungbuk University 25 (31.08.2022): 99–128. http://dx.doi.org/10.24958/rh.2022.25.99.

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First appeared for commercial purposes in the early 20th century, Russian posters developed into independent art through the First World War and the Bolshevik Revolution. The early 20th century was the most productive period for Russian Art, as various experiments were conducted in the coexistence and competition of various painting trends. Amid the turbulent conditions leading to the revolution, civil war, and establishment of the Soviet Union, the integration of various artists’ experiments with the revolution is reflected in the form and content of posters produced at the time. Viktor Deni, who is called the pioneer and classic of the Soviet poster, had a profound influence on later Soviet propaganda art and posters by embodying personal laughter, social humor and satire, and disgust based on his unique political insight and artistic imagination. Nevertheless, in Soviet poster exhibitions and related studies, Deni has been introduced as a fragment of the history of Soviet art and has not drawn much attention for the artistic value of his satirical posters because of their ideological aspect. Therefore, this study examines the meaning of the creative works of Deni, which were the basis of Soviet political posters during the formation and development of Russian posters in the revolutionary period, and clarifies the social function of his satire and the essence of propaganda art through the transformation of laughter revealed in his posters.

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Lacina, Jan, i Petr Halas. "Landscape Painting in Evaluation of Changes in Landscape". Journal of Landscape Ecology 8, nr 2 (1.11.2015): 60–68. http://dx.doi.org/10.1515/jlecol-2015-0009.

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Abstract One of common methods of determining landscape change usually is to compare maps and photographic images of the same places in different time horizons. Landscape painting, which has a long and rich tradition in the Czech Republic, can be used similarly. Landscape-ecological interpretation of selected works by painters of the 19th century - Julius Mařák, František Kaván and Antonín Slavíček was done in this paper. Some pictures of the Českomoravská vrchovina (Bohemian-Moravian highlands) by Josef Jambor from the mid-20th century were used for detailed comparative analysis to the level of habitats. We compared 80 landscape paintings and found that most of the painted sceneries have changed for worse.

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Tibbe, Lieske. "Aardappeleters". De Moderne Tijd 5, nr 3/4 (1.12.2021): 328–52. http://dx.doi.org/10.5117/dmt2021.3/4.006.tibb.

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Abstract Potato eaters. A mundane theme in painting, 1885-1905 In late nineteenth-century Dutch art criticism, the topic of ‘poor people eating potatoes’ seems to have been a kind of litmus test for modern, Realist art. It was a sign of the dissolution of the hierachy of the genres, the decline of idealist painting with its elevated, literary themes, and it marked the emerging popularity of commonplace subjects without specific moral meaning attached to them. Likewise, painting of romantic, picturesque landscapes gave way to the more prosaic theme of hard work in the field. Poor farm workers at their shabby meal of potatoes, the fruits of their labour, were part of this subject matter. ‘Modern’ critics welcomed the shift in topics, ‘conservative’ ones fulminated against what they saw as a sign of decay. Catalogues of Exhibitions of Living Artists (Tentoonstellingen van Levende Meesters) and other expositions have been searched for paintings showing potato eaters, or related images like potato peeling, planting, digging, or potato still lifes. Quantitatively, these exhibitions did not justify the art critics’ rhetoric. Qualitatively, the critics’ aversion to the ‘potato eating’ theme was possibly related to its association with poverty and the imminent physical and moral decay of the lower class of the population. In modern realistic literature potato consumption also stood for degeneration. Partly outside the official art circuity, artists like Mauve, Witsen, Toorop, and especially Van Gogh showed potato production and consumption as ‘The Heroism of Daily Life’.

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Karpenko, Vladimir E., i Nikolay I. Shchepetkov. "Light Forms in Urban Environment". Light & Engineering, nr 04-2021 (sierpień 2021): 6–15. http://dx.doi.org/10.33383/2021-033.

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The paper proposes a method for generalizing and understanding the achievements of modern lighting design by means of classifying light forms and their main features are specified. The variety of types and complexity of light forms are due to avant-garde experiments in the art of the early and mid 20th century and is consistent with the successive change in artistic styles. Advances in computer technology and programming have made it possible to combine lighting elements, visual, colour and optical effects in one form. The new lighting techniques were developed for illuminating the architectural environment, various buildings, structures and forms in the spaces of world exhibitions. In this paper, the following light forms of the urban environment are investigated: projection mapping, light-graphic, light-painting and installation, sculptural, media surfaces and media facades, structural and vertical, energy-saving and virtual. The classification of light forms makes it possible to identify their structure and image, their correspondence to different eras in art, to predict the possibility of their transformation in the perspective of modern visual creativity.

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Kharitonova, Natalya Stepanovna. "Interaction of Artistic Culture of Russia and Scandinavian Countries at the turn of the 19th-20th Centuries". Journal of Flm Arts and Film Studies 7, nr 2 (15.06.2015): 97–104. http://dx.doi.org/10.17816/vgik7297-104.

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The author examines similarity of historical and cultural development of Russia and Scandinavian countries. Cultural ties between the two domains evolved over many centuries. The most intensive period of development of Russian-Scandinavian artistic contacts stretched from mid-1880s-1890s up to the end of the first decade of the 20th century. In 1890s Russian painters considered achievements of Scandinavian colleagues as an example of a quest for progress, a creative approach to finding ones way in development of fine arts. At the same period in Russia a number of major international art exhibitions were arranged with active northern painters participation. The Russian interest in the art of Scandinavian countries in the late 19th - early 20th c. was anything but accidental. The development of artistic culture in Nordic countries was in tune with the Russian artists quest for other ways of creative expression. Northern culture attracted sympathy of Russian painters, black-and-white artists and art critics of diverse, often opposing groups and movements. For example, among the admirers of Scandinavian fine arts were V.V. Stasov and A.N. Benoit, I.E. Repin, V.A. Serov, F.A.Malyavin, the artists of the "Mir iskusstva group, and representatives of Moscow School of Painting (K. Korovin, A. Arkhipov, V. Perepletchikov etc.). By mid-1890s relations of Russian and Scandinavian art schools had become very intense and productive. This interaction coincided with significant events that influenced further development of artistic and other forms of culture on both sides. It manifested itself in publications of works of A. Strinberg and K. Hamsun in Russian, in staging of H. Ibsens plays at the Moscow Art Theater, exhibitions (especially of A.Tsorns works), and other activities that served to cross-fertilisation of cultures of Russia and Scandinavian countries.

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Wenji, Zhao, Cui Rongrong i Niu Li. "Design and Cultural Aspects of 20th Century Chinese Xiangjin Brocade". Fibres & Textiles in Eastern Europe 151, nr 3 (28.09.2022): 116–29. http://dx.doi.org/10.2478/ftee-2022-0030.

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Abstract As one of the representative silk-woven artworks of the 20th century in China, Chinese Xiangjin brocade, well-known as “the flower of Oriental art”, draws on the essence of Sichuan brocade, Yun brocade, Song brocade, so as to form its own unique artistic style. It also takes the lead in the innovation of traditional brocade in key processes such as craftsmanship, design and jacquard, whose drawing technique is the exact core skill making it intangible cultural heritage. So far, there have been few studies on crafts and textile design in China before the 20th century or even after the reform and opening up, and rather fewer studies on the structure of Xiangjin brocade in the 20th century. This paper attempts to record and classify 1008 pieces of Xiangjin brocade in the Suzhou Silk Archive, China, as well as to find out their design features, oriental flavour, and unique weaving techniques. In addition, the cultural connotation of Xiangjin brocade as the painting medium was also put forward by analysing those brocades' historical texts, images, and style.

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Amosova, Alisa A., i Alina K. Cherchintseva. "Ways of interpreting the siege and frontline daily life in expositions and exhibitions of Leningrad — St. Petersburg historical museums in the 1940s–1990s". Issues of Museology 12, nr 2 (2021): 187–205. http://dx.doi.org/10.21638/spbu27.2021.204.

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For the first time, the display of frontline life in the museum space was realized during the war years in the framework of military-historical exhibitions that supported the morale of people, served as a means of information about the situation at the fronts. The tragic daily life of the siege was first presented in the format of an exhibition, and later in the Museum of the Defense of Leningrad. The range of topics covered included partisan life, features of organizing urban space, and others. As a result of the Leningrad Affair, the topic of defense and siege was tacitly banned. During Khrushchev’s “thaw”, the Museum of the History of Leningrad was the first to break the silence by undertaking a series of exhibition projects dedicated to the complex topic of the siege. Since the late 1980s, the staff of the revived Museum of the Defense of Leningrad has organized exhibitions devoted to radio broadcasting in the besieged city, reflection of the realities of the siege in painting, graphics, and sculpture, which expanded the content coverage of the topic concerning everyday military life. The baton was picked up by other historical museums of St. Petersburg, which implemented museum displays dedicated to the daily life of a person at the front. This study analyzes the forms of interpretation of the siege and frontline everyday life in the space of Leningrad — St. Petersburg historical museums in the second half of the 20th century. Particular attention is paid to iconic expositions and exhibitions of the period under study: their ideological content and museum objects included are considered and key exposition decisions are analyzed. The article is based on a corpus of archival materials, sources of museum origin, and materials from periodicals.

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Juhászová, Tereza. "The Troubled Pasts of Hungarian and German Minorities in Slovakia and Their Representation in Museums". Journal of Nationalism, Memory & Language Politics 12, nr 1 (30.07.2018): 52–71. http://dx.doi.org/10.2478/jnmlp-2018-0002.

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Abstract In the 20th century, the two world wars reshaped the map of Central Europe as well as the status of Central Europe’s diverse societies. In my article, I focus on the Hungarian and German minorities in Slovakia and the representation of their problematic historical past in contemporary Slovak museums. More specifically, I zoom in on the exhibition Exchanged Homes displayed in Bratislava, which aims to commemorate the fate of Hungarians, Germans, and Slovaks, all of whom were affected by the population transfers after World War II. Based on the concept of memorial museums theorized by Paul Williams, I aim to show how the different exhibitions engage with the traumatic past of forceful resettlement. By offering multifaceted memories of a troubled past, these exhibitions avoid categorizing “victims” and “perpetrators” along national or ethnic lines. My paper thus analyzes the concepts and components of the exhibitions—the context of the postwar events, oral history interviews, and objects of everyday use that should bring the visitor closer to the experience of the people who were forced to leave. I argue that exhibitions of this sort have the ability to challenge the dominant historical narrative focusing on a national “Slovak” history and help the process of reconciliation between the Slovak majority society, and the Hungarian and German minorities.

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Ying-Ling Huang, Michelle. "Introducing the art of modern China: trends in exhibiting modern Chinese painting in Britain, c.1930–1980". Journal of the History of Collections 31, nr 2 (23.08.2018): 383–401. http://dx.doi.org/10.1093/jhc/fhy017.

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Abstract By 1930, the British public took a stronger interest in early Chinese art than in works produced in the pre-modern and modern periods. However, China’s cultural diplomacy in Britain during war-time, as well as the interactions between collectors, scholars and artists of both countries, helped refresh Occidental understanding of the tradition and recent achievements of Chinese art. This article examines the ways in which modern Chinese painting was perceived, collected and displayed in Britain from 1930 to 1980 – the formative period for the collecting and connoisseurship of modern Chinese art in the West. It analyses exhibitions of twentieth-century Chinese painting held in museums and galleries in order to map trends and identify the major parties who introduced the British public to a new aspect of Chinese pictorial art. It also discusses prominent Chinese painters’ connections with British curators, scholars and dealers, who helped establish their reputation in Britain.

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Cramer, Florian. "Hiding in Plain Sight. Amy Suo Wu’s The Kandinsky". INMATERIAL. Diseño, Arte y Sociedad 2, nr 4 (20.12.2017): 104–16. http://dx.doi.org/10.46516/inmaterial.v2.40.

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The history of 20th century painting conventionally identifies abstraction with modernism and the return of figuration with postmodernism. But abstraction ended much earlier, in a spy operation during World War II, when a British intelligence officer, in a stroke of genius, found abstract paintings to be the perfect carriers for secret messages transported across the ocean. For this purpose, he commissioned a painting to Wassily Kandinsky that included a secret message encoded – in the manner of flag signs or Morse code – into its seemingly abstract visual shapes. This anecdote explains steganography: the clever hiding of messages in other messages. Steganographic messages do not need to appear innocuous. At some point, militant jihadists were reported to run pornographic websites as a cover, using porn images for hidden communication. [...]

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Stehlík, Michal. "Creation of Permanent Exhibitions of the National Museum". Muzeum: Muzejní a vlastivedná práce 55, nr 3 (1.09.2017): 6–10. http://dx.doi.org/10.1515/mmvp-2017-0029.

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Abstract At the onset of preparations of new permanent exhibitions of the National Museum (NM) in 2011, it was necessary to define their content. Several expert teams composed of NM staff and other institutions took part in this process. Historical topics were embraced in a novel perspective, their comprehensive presentation was so far absent in the NM. Social science expositions in the History exhibition will map the development of society from the Early Middle Ages until the end of the 20th century. The People exhibition will interlink the topics of anthropology, archaeology and classical archaeology. Natural science topics will be elaborated on three levels – nature around us, stories of evolution, and an experimental area (ExperiMus). They will reveal processes affecting the shape and transformations of Earth. The Social and Natural science parts will be linked through the Treasury exhibition. The Pantheon and the Children’s Museum will form completely independent units. The architecture of exhibitions will be the result of public tenders conducted in compliance with the Act on Public Contracts. New expositions of the NM are to be opened in 2019 (Natural science) and 2020 (Social science) on a total area of 12 000 m2.

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Aguilar-Rodríguez, Pablo, Sandra Zetina, Adrián Mejía-González i Nuria Esturau-Escofet. "Microanalytical Characterization of an Innovative Modern Mural Painting Technique by SEM-EDS, NMR and Micro-ATR-FTIR among Others". Molecules 28, nr 2 (5.01.2023): 564. http://dx.doi.org/10.3390/molecules28020564.

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During the 20th century, modern painters experimented with different mediums and painting techniques, one of them was Rafael Coronel in his mural painting, Paisaje Abstracto (Abstract landscape). The painting was created with a peculiar pouring technique and an unknown binding medium; ageing produced fractures and severe conservation problems. Therefore, the characterization of the painting medium became an urgent matter in order to understand the current condition of the painting and to develop a proper treatment. The aim of this research was to characterize the chemical composition and painting technique of Paisaje Abstracto. To approach this goal two microsamples were taken and analyzed by optical microscopy (OM), scanning electron microscopy (SEM) with energy dispersive spectroscopy (EDS), nuclear magnetic resonance (NMR) spectroscopy, attenuated total reflection Fourier transform infrared spectroscopy (ATR-FTIR), micro attenuated total reflection Fourier transform infrared spectroscopy (micro-ATR-FTIR) and gas chromatography/mass spectrometry (GC/MS). The analysis allowed for the identification of cadmium sulfide (CdS) and titanium dioxide (TiO2) as inorganic pigments; aluminosilicate fillers; poly(methyl methacrylate) (pMMA) as a binder; MMA monomer, red organic pigment PR181; benzoyl peroxide, dibutyl phthalate and 1-octadecanol as organic additives. This study presents an innovative painting technique with pMMA, a medium not commonly used by artists, which was probably polymerized onto the painting support.

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Shamraeva, Elena Yu. "The Mentality of a Museum on a Library Site: Book Exhibitions and the Representative Function". Observatory of Culture 19, nr 3 (5.07.2022): 236–46. http://dx.doi.org/10.25281/2072-3156-2022-19-3-236-246.

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The development of digital culture has made significant changes in the field of culture and information, in particular in the field of library activities. Digitization of library collections forms a digital resource of knowledge, which requires reflection and identification of its potential, strengths and weaknesses. The strengths of the digital resource include a multiple increase in the availability of the book collections and a qualitative change in the opportunity of their research. The problematic aspects of digitalization include the issue of reliability of the digital sources and authenticity of a book unit translated into digital format. One of the verification solutions to this issue may be creating a digital information block accompanying a digital book to collect, accumulate and preserve information about the paper book unit and the history of its existence.Due to the development of digital technologies, a paper book ceases to be the only medium of information. From an information document, it turns into an object of culture with a memory value, historical and artistic features. The translation of the book into the category of a cultural object brings together the position of libraries and museums as medium socio-communicative institutions that act as a platform for the presentation of their collections, one of the most optimal forms of which are exhibitions. The article considers the issues of representativeness of book exhibits and book exhibitions in the conditions of development of the digital environment and digital technologies. There is examined the representativeness of book exhibitions using the example of thematic and artistic-mythological exposition methods.The article considers the activities of the Museum of Painting Culture (MZHK) and the Higher Art and Technical Workshops (VKHUTEMAS) and their experimental searches of the first third of the 20th century in the field of creating new museum exposition forms and exhibition formats. The author draws parallels between universal methods of working with an art object developed by MZHK and VKHUTEMAS and working with book exhibits when creating an exhibition today. The article briefly outlines the tasks solved by the curatorial and design group to strengthen the representative function of an exhibit-book. There are analyzed modern forms of real and virtual exhibitions, their interrelation and mutual influence, formats of interaction. The article notes the importance of exhibitions for the self-presentation of cultural institutions in the digital space.

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JITAI WANG. "Abstract expressionism in European and Chinese painting from the beginning of the 20th century to the beginning of the 21st century". Декоративное искусство и предметно-пространственная среда. Вестник МГХПА, nr 1-1 (2022): 197–210. http://dx.doi.org/10.37485/1997-4663_2022_1_1_197_210.

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Ceaușu, Felicia. "Fine Arts: 6. The Healing Power of Art-Therapy". Review of Artistic Education 16, nr 1 (1.03.2018): 203–11. http://dx.doi.org/10.2478/rae-2018-0022.

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Abstract In Europe, since the middle of the 19th century, physicians realized that by plastic creation an improvement of the mental state of many patients can be achieved. Painting, household chores or gardening were meant to eliminate boredom and to take the patients out of isolation. Various activities of today’s art-therapy. At the beginning of the 20th century, various authors showed interest for the paintings and drawings of mental patients. The interest attracted by the psycho-pathological art allowed the organization of international exhibits with the artistic works of the mental patients. The scientific approach of these ways of pathoplastic expression determined the emergence of institutions, studies, periodicals and international reunions concerning this topic.

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Koch, Rolf Heinrich. "Entwicklungen in der Darstellung Buddhistischer Erzählstoffe in Sri Lanka". Asiatische Studien - Études Asiatiques 72, nr 2 (28.08.2018): 363–74. http://dx.doi.org/10.1515/asia-2017-0086.

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Abstract With this article I would like to draw attention to Buddhist murals in the southwest of Sri Lanka where a spirited artistic scene has developed during the revival of Buddhism (18th century). The artists produced mainly murals which depict the Life of Gautama Buddha (Buddhacarita) and his previous lifes (Jātaka). The construction of these paintings changed dramatically at the end of the 19th century, when the traditional continuing and two-dimensional style was displaced by a central perspective and single framed mode of painting. As an example I introduce an episode from the Ummagga-Jātaka, which is illustrated with all details in four monasteries and thereby covering the various painting styles. To show how closely the artists followed the written sources I provide the corresponding Sinhalese text by contrast with the Pali wording. During that period the knowledge of Sinhala among the members of the Sinhalese elites was at a loss and urban artists had to consult English renderings of Buddhist sources for the proper illustration of particular narratives. Regarding our episode from the Ummagga-Jātaka an essential error has crept into Chalmers English translation which is finally reflected in all murals of the 20th century.

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Åžener, Fatma, i Meltem Erdogan. "Neo-Geo and Fashion Interaction". New Trends and Issues Proceedings on Humanities and Social Sciences 2, nr 1 (19.02.2016): 595–601. http://dx.doi.org/10.18844/prosoc.v2i1.909.

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Neo-geo, which appeared as an abstract and modern art movement towards the end of 20th century, has had its impact in 21st century as well. New geometry painting perception known as neo-geo is the works where materials and geometric forms are used in any environment. The effects of geometric forms are observed in fashion as in architecture and painting. Fashion designers are the people with an open perception who are able to manage to develop their artistic experience and knowledge using the current time and their abilities in a correct way. The purpose of the current study was to investigate the new geometry as an abstract and modern art movement and fashion interaction and determine its effect on fashion. In this research, the related literature was reviewed and the collections of the fashion designers who were impressed by this art movement was examined and some samples were given. Due to the fact that the art movement of neo-geo appeared towards late 1980s, clothing styles of 80s and its relation with the fashion in those days were given.Keywords: Fashion, neo-geo (new geometry), art.Â

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Yan, Keyu. "Modernizing Sculpture: Print Culture and the New Discourse on Sculpture in China, circa 1880–1929". East Asian Publishing and Society 13, nr 2 (8.09.2023): 133–69. http://dx.doi.org/10.1163/22106286-12341378.

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Abstract Much of the current scholarship on the art of China in the 1910s and 1920s focuses on artworks, art academies, and art groups that were associated either with traditional Chinese painting (guohua 國畫) or with oil painting (youhua 油畫). By contrast, other mediums such as sculpture have rarely been discussed by scholars of modern Chinese art. Similar to guohua, the association of which with lofty literati values and imperial eras was hotly debated at the beginning of the Republic of China (1912–1949), the art of sculpture – a category that has long been considered as funerary art, craft, or decorative art – and its relevance to modern China was also discussed by artists and intellectuals at that time. In early twentieth-century China, sculpture eventually gained a new status within the fine arts. This article argues that one important factor that promoted the changing perception of sculpture in the public sphere was the blossoming print culture and its connections with photography and exhibitions in Republican China. Print materials such as newspapers, newspaper supplements, pictorial magazines, and exhibition catalogs/pamphlets promoted the process of modernizing sculpture.

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Qin, Xiaofeng, i Natalia A. Fedorovskaya. "Specifics of Russian-Chinese Cross-Cultural Communication in the Field of Fine Art of the Second Half of the 20th — Early 21st Century". Observatory of Culture 17, nr 6 (10.02.2021): 582–93. http://dx.doi.org/10.25281/2072-3156-2020-17-6-582-593.

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Research in the field of cross-cultural communications in the context of modern globalization processes is becoming particularly relevant. Each specific case in cross-cultural interaction has a set of specific features that require detailed study. The article discusses the features of Russian-Chinese cross-cultural communication in the field of fine art, which have been especially pronounced since the second half of the 20th century and until now. The analysis of generally accepted types of communication made it possible to show specific forms of interaction between Russia and China.There is demonstrated that these features are largely related to the fact that the process of cross-cultural interaction occurs not only at the level of communication between representatives of the two peoples, but also in the process of artistic and stylistic exchange at the level of art works perception. Thus, cross-cultural communication refers to the process of information exchange at different levels. Russian-Chinese communication features include the intrapersonal perception of Russian art, style and genre features of the Russian realistic school, that influenced the style of Chinese artists; the interaction between individual artists and students, the unique contacts between a teacher-master and a student studying individually in the art studio. In the period under review, the communications were often unilateral — Chinese students and artists adopting the traditions of the Russian realistic school of painting, both by inviting Russian artists to China and studying in Russia. The specificity is also shown in the interaction between professional creative unions of artists, joint holding of exhibitions, and organization of plein-airs, during which a multi-level exchange of cultures can happen.

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Ştefănescu, Mircea. "The Beginnings of The Modern Art". Review of Artistic Education 18, nr 1 (1.03.2019): 255–61. http://dx.doi.org/10.2478/rae-2019-0028.

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Abstract At the beginning of the 20th century visual artists found in the art the perfect field to experiment with different materials, combinations of new shapes and proportions to create new artistic currents. But this new trend has questioned the relation of classical arts with its perennial values which can not be overlooked, however radical the desire of young artists to “break” definitively with the past. Thus, in this new artistic context, many of the old art flagship techniques have been questioned and, as is always the case for predicting the “future of art”, the new artistic tendencies are absolutized and others are considered obsolete and declared “death”. The best known example is that of Marcel Duchamp, who, along with his famous ready-made exhibitions, strongly supported the death of art. Finally, the great creators of the past century felt at one point the need to relate to established art in order to better understand the “place” occupied by the generation of new artistic revolutions.

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Chereches, Alexandra. "Grey Building Blocks and Brueghel: The Canvas of Romania Painted by Mircea Dinescu". Acta Marisiensis. Philologia 2, nr 1 (1.09.2020): 1–19. http://dx.doi.org/10.2478/amph-2022-0020.

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Abstract “Prin oraşul păscut de tramvaie / unde grâul e doar musafir” (“In the city cropped by the tramways / where the wheat is only a host”): be it in the urban or the rural space (or in a combination of both), Mircea Dinescu shows the social and political history of Romania with a bittersweet, playful and scathing view. Among his stylistic achievements we can find the creation of a genuine poetic language that breaks in the Romanian literature at the end of the 20th century. In his verses, life and its contraries (death, dictatorships) come together in a mosaic that constantly engages in dialogue with painting, more precisely, with Brueghel.

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Brenni, Paolo. "Prizes, Medals and Honourable Mentions". Nuncius 34, nr 2 (12.06.2019): 392–420. http://dx.doi.org/10.1163/18253911-03402010.

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Abstract Ever since antiquity, medals that were often also remarkable works of art were used to mark the achievements and testify to the glory of a person or his bravery on the battlefield, or to celebrate or commemorate a particular event. Sovereigns and nobles wore medals as symbols of their power, wealth and achievements or distributed them as exceptional gifts in order to maintain or garner support. In the 19th century the use of medals increased dramatically. In fact, with the machine age a new class of heroes was born. These were the engineers, the technicians and the manufacturers who were industrializing the Western world. And these pioneers of technological progress became the new recipients of a tide of medals, diplomas and awards which were primarily distributed at the national, international and universal exhibitions and fairs which abounded during the last decades of the 19th and the first decades of the 20th centuries. This essay will focus on instrument makers, whose activities bridged science and industry. Their products represented the high technology of their day in the sector of precision instruments, and the most outstanding ones, judged to be deserving of an award, were selected following examination by a jury composed of specialists. But what were the criteria adopted by the jurors? Did political considerations influence their judgments? What were the importance and the significance of these awards? Did they have an impact on the instrument maker’s trade or were they just attractive souvenirs to be taken home from the exhibitions? Based on an analysis of many documents (reports, lists of medallists, catalogues, specialized articles, etc.) relating to industrial exhibitions held in Europe and the United States during the 19th century, the present essay provides an answer to these questions.

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Kozłowski, Krzysztof. "„Jupiter and Beyond the Infinite”. 2001: Odyseja kosmiczna Stanleya Kubricka". Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 27, nr 36 (15.12.2020): 117–28. http://dx.doi.org/10.14746/i.2020.36.07.

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The article deals with the relationship between film and painting, as well as the sciences (physics, cosmology) of the 20th century. It introduces the historical context important for the time when Kubrick’s film was made, and addresses the issue of abstraction in cinema, contemporary painting and cosmology, confronting artistic and scientific ideas (the models of the Universe). The starting point for the detailed analysis was “autonomous abstract film” (Alicja Helman), which as a film inside a film combines various cinematic types and genres. The analysis of takes and sequences of this film inside a film made it possible to decipher the director’s idea, which is expressed in intra-film references. The particular results of the research were compared with the possible iconographic context (Gerhard Richter). The inclusion of a diagnosis obtained on the basis of materials examined in the Kubrick Archives in London (Kamil Kościelski), and references to cultural tradition (Plato), supplement the aforementioned considerations in an important way.

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Stolyarova, Elena G., i Andrey Ev Berezin. "Aesthetic principles of expressionism in modern architecture". Urban construction and architecture 14, nr 1 (25.04.2024): 150–56. http://dx.doi.org/10.17673/vestnik.2024.01.17.

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The purpose of the article is to study the aesthetic principles of expressionism that influenced the development of modern architecture. An analysis of the concepts and means of artistic expression of the direction under study is proposed. The conditions for the emergence and formation of expressionism, its artistic methods of expression from conventionally realistic to abstract, as well as the manifestation of this direction of art in architectural design are considered. A brief analysis of the connection between expressionism and other parallel trends or movements of art of the twentieth century is given. Variations of expressionism from the standpoint of abstract art are identified, where the search for interactivity between the artist and the viewer in the process of visual perception of the painting is indicated. It is concluded that imagination is one of the main ways of artistic thinking in the process of author’s artistic design. The manifestation of the aesthetic principles of expressionism in the architecture of individual countries is considered. It has been revealed that expressionism in architecture is characterized by a departure from traditional forms in order to achieve the maximum emotional impact on the recipient. The study of the stated topic allows us to draw a conclusion about the relevance of expressionism at the beginning of the 21st century, which, with its traditions, continues the achievements of expressionism of the 20th century. and at the same time gives a new impetus to artistic expressions of the personal views of artists and architects on the ongoing processes in society. Parallels of the beginning of the 20th – beginning of the 21st centuries. revealed similarities in the aesthetic principles of the formation of the subject-spatial architectural environment. Expressionist techniques, means and methods of working on a painting or object are most accurately able to express the feelings of artists and architects, their psychological stress, the conviction that the viewer must go through a new experience while looking at an architectural or artistic work.

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Кобер, О. И. "About the features of the avant-garde art of Orenburg of the second half of the 20th century: axiological context". Iskusstvo Evrazii [The Art of Eurasia], nr 3(26) (30.09.2022): 128–41. http://dx.doi.org/10.46748/arteuras.2022.03.011.

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Региональный авангард «второй волны» относится к малоизученным темам современного российского искусствоведения. Актуальность данного исследования обусловлена тем, что впервые оренбургский авангард рассматривается в контексте отечественной культуры. На основе анализа творчества художников, отвергавших догматы официального искусства и отстаивавших право на свое видение художественного мира, научных статей, альбомов и каталогов выставок, статей в прессе указываются основные особенности авангардного искусства Оренбурга. Значительным явлением в культурной жизни города стало создание в начале 1970-х годов творческого объединения художников «Академия Садки», оказавшего большое влияние на становление оренбургского авангарда. Первое большое признание пришло к авангардистам в 1991 году, когда на аукционе «Отель Друо» в Париже были представлены «работы художников Урала» с подзаголовком «Подпольное искусство». При рассмотрении данной темы автор указывает и на некооперированных художников, каждый из которых в результате творческих поисков пришел к авангардному искусству. В статье делается акцент на том, что авангардисты трудно пробивали себе дорогу к зрителю, долго не получали признания своего творчества, чаще выставлялись за границей, чем в России. На сегодня творчество оренбургских авангардистов признано всеми, и их персональные выставки проходят на всех экспозиционных площадках города. На основе проделанной работы делается вывод об особенностях второго авангарда в Оренбурге: местные авангардисты были далеки как от соцреалистического, так и от постмодернистского искусства, в своем творчестве не затрагивали современных остросоциальных и политических проблем, для них были важны общечеловеческие и художественные ценности, а в решении живописных задач они опирались на традиции авангардного искусства начала XX века. The regional avant-garde of the “second wave” belongs to the little-studied topics of contemporary Russian art history. The relevance of this study is because for the first time the Orenburg avant-garde is considered in the context of Russian culture. The author indicates the main features of the avant-garde art of Orenburg based on the analysis of the work of artists who rejected the dogmas of official art and defended the right to their vision of the artistic world, scientific articles, albums and catalogs of exhibitions, articles in the press. A significant event in the cultural life of the city was the creation in the early 1970s of the creative association of artists called Sadki Academy, which had a great influence on the formation of the Orenburg avant-garde. The first great recognition came to the avant-garde in 1991, when the Hotel Drouot Auction in Paris presented works of artists of the Urals with the subtitle “Underground Art”. When considering this problem, the author also points to uncooperative artists, each of whom, because of creative searches, came to avant-garde art. The article focuses on the fact that avant-garde artists had a hard time making their way to the viewer, for a long time they did not receive recognition for their work, they were more often exhibited abroad than in Russia. Today, everyone recognizes the work of the Orenburg avant-garde artists, and all exposition sites of the city show their personal exhibitions. Based on the work done, the author of the research makes a conclusion about the features of the second avant-garde in Orenburg. Local avant-garde artists were far from both socialist realist and postmodern art; they did not touch on contemporary acute social and political issues in their work. Universal and artistic values were important for them, and in solving painting tasks, artists relied on the traditions of avant-garde art of the early 20th century.

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Fedotova, E. D. "Серия акварелей «Campi Phlegraei» английского мецената и итальянского художника века Просвещения". Iskusstvo Evrazii [The Art of Eurasia], nr 1(20) (31.03.2021): 260–69. http://dx.doi.org/10.46748/arteuras.2021.01.018.

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The article is devoted to the history of a unique collection made by famous American patron and curator Peggy Guggenheim. For several decades, she has been gathering works by European Cubists, Abstractionists and Surrealists, creating the huge collection of the 20th century art. But she made the most significant contribution to the development and popularization of modernism by organizing the «Art of this Century» gallery in New York. This gallery hosted for the first time exhibitions of artists who later became known as abstract expressionists. Their work loudly declared itself on the international art scene and won worldwide recognition. Статья посвящена серии акварелей «Campi Phlegraei», исполненной итальянским художником Пьетро Де Фабрисом (годы жизни не известны) во время научной экспедиции лорда Уильяма Гамильтона (1730–1803), посланника Великобритании, к кратеру Везувия. Оба они — художник и У. Гамильтон, меценат и коллекционер, увлеченно занимавшийся вулканологией, были яркими фигурами истории и культуры века Просвещения. Их сотрудничество является подтверждением научных и художественных достижений культуры Италии в век «просвещенного абсолютизма», когда в Королевстве обеих Сицилий правила династия испанских Бурбонов.

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Yartseva, O. A. "Коллекция Пегги Гуггенхайм". Iskusstvo Evrazii [The Art of Eurasia], nr 1(20) (31.03.2021): 270–79. http://dx.doi.org/10.46748/arteuras.2021.01.019.

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The article is devoted to the history of a unique collection made by famous American patron and curator Peggy Guggenheim. For several decades, she has been gathering works by European Cubists, Abstractionists and Surrealists, creating the huge collection of the 20th century art. But she made the most significant contribution to the development and popularization of modernism by organizing the «Art of this Century» gallery in New York. This gallery hosted for the first time exhibitions of artists who later became known as abstract expressionists. Their work loudly declared itself on the international art scene and won worldwide recognition. В фокусе внимания автора статьи — история создания уникального собрания произведений искусства ХХ века, принадлежавшего известной американской меценатке и куратору Пегги Гуггенхайм. На протяжении нескольких десятилетий она коллекционировала картины европейских кубистов, абстракционистов и сюрреалистов. Но самый значительный вклад в развитие и популяризацию модернизма она внесла, организовав в Нью-Йорке галерею «Искусство этого века», в которой впервые были проведены выставки художников, позже ставших классиками абстрактного экспрессионизма США, магистрального направления, громко заявившего о себе на международной художественной сцене и завоевавшего всемирное признание.

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Niemira, Konrad. "Much Ado About Nothing? Political Contexts of the 15 Polish Painters Exhibition (MoMA, 1961)". Ikonotheka 26 (26.06.2017): 167–91. http://dx.doi.org/10.5604/01.3001.0010.1677.

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The essay concerns 15 Polish Painters, the now slightly forgotten, but once famous exhibition of Polish contemporary art that took place at the Museum of Modern Art in New York in 1961. Initially, the exhibition was conceived as an expression of a thaw in relations between the United States and Poland, and it was organised at the diplomatic level. Organisational works began during Vice President Richard Nixon’s visit to Warsaw in August of 1959. They were coordinated by Porter McCray (who was responsible for MoMA’s touring exhibition programme) and Peter Selz (an art historian of German origin and a curator cooperating with MoMA). The Polish side withdrew from the project because of the abstract character of the works that Selz had selected and his disregard for the “offi cial” artists of the People’s Republic of Poland. The project was completed with the collaboration of American private galleries which bought the paintings in Poland and then loaned them to MoMA to be exhibited. The essay presents the behind-the-scenes history of organising the exhibition and its political context. It discusses the artistic message of the exhibition and the key used in the selection of its works. Finally, it touches upon the issue of Polish art’s reputation in the United States and the question as to why the Americans, wishing to present modern art from behind the Iron Curtain, decided, of all the countries of the Soviet bloc, to focus on none other than Poland. The aim of the essay is to fi ll the gap in the historiography, since the 15 Polish Painters exhibition is usually referred to only briefl y and has never been the subject of a scholarly enquiry. The event seems worth recalling also because it adds a nuance to the still current – as was confi rmed by Catherine Dossin’s much-talked-of book, The Rise and Fall of American Art, 2015 – and yet schematic view that in the middle of the 20th century there existed only two art centres, New York and Paris, thus completely overlooking the distinct character of the countries of the Communist bloc.

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Brinkmann, Hanna, Louis Williams, Raphael Rosenberg i Eugene McSorley. "Does ‘Action Viewing’ Really Exist? Perceived Dynamism and Viewing Behaviour". Art and Perception 8, nr 1 (4.03.2020): 27–48. http://dx.doi.org/10.1163/22134913-20191128.

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Throughout the 20th century, there have been many different forms of abstract painting. While works by some artists, e.g., Piet Mondrian, are usually described as static, others are described as dynamic, such as Jackson Pollock’s ‘action paintings’. Art historians have assumed that beholders not only conceptualise such differences in depicted dynamics but also mirror these in their viewing behaviour. In an interdisciplinary eye-tracking study, we tested this concept through investigating both the localisation of fixations (polyfocal viewing) and the average duration of fixations as well as saccade velocity, duration and path curvature. We showed 30 different abstract paintings to 40 participants — 20 laypeople and 20 experts (art students) — and used self-reporting to investigate the perceived dynamism of each painting and its relationship with (a) the average number and duration of fixations, (b) the average number, duration and velocity of saccades as well as the amplitude and curvature area of saccade paths, and (c) pleasantness and familiarity ratings. We found that the average number of fixations and saccades, saccade velocity, and pleasantness ratings increase with an increase in perceived dynamism ratings. Meanwhile the saccade duration decreased with an increase in perceived dynamism. Additionally, the analysis showed that experts gave higher dynamic ratings compared to laypeople and were more familiar with the artworks. These results indicate that there is a correlation between perceived dynamism in abstract painting and viewing behaviour — something that has long been assumed by art historians but had never been empirically supported.

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Ковалинская, В. Ю. "The image of V.I. Surikov in works of decorative and applied art from the collection of the Krasnoyarsk Art Museum named after V.I. Surikov". Iskusstvo Evrazii [The Art of Eurasia], nr 1(28) (31.03.2023): 54–65. http://dx.doi.org/10.46748/arteuras.2023.01.005.

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Ростовская финифть и лаковая миниатюра Федоскино — два русских народных промысла, берущие начало в XVIII и XIX веках соответственно. Разные по материалам и технике изготовления, изделия этих промыслов объединяют миниатюрный формат и схожесть приемов росписи. В произведениях миниатюры нашли отражение различные жанры: исторический, сказочный, бытовой, религиозный, цветочная и орнаментальная роспись, пейзаж. В XX веке активно развивался портретный жанр, продолжая традиции предыдущего столетия. Мастера выполняли портреты на заказ, в связи со значимыми событиями — историческими, биографическими, а также для выставок и музейных коллекций. В собрании Красноярского художественного музея находятся три изделия с портретными изображениями выдающегося русского художника В.И. Сурикова: панно и медальон ростовской финифти и панно федоскинской лаковой миниатюры. Их авторы — Б.М. Михайленко, А.А. Хаунов, Н.М. Солонинкин — продолжают традиции ручной росписи, позволяющей создавать уникальные произведения декоративно-прикладного искусства. Используя в качестве образцов живописные портреты и рисунки, изображающие В.И. Сурикова, художники двух промыслов на их основе создают собственные интерпретации, творчески переосмысливая оригиналы. Образы В.И. Сурикова во всех изделиях различны, и каждый отражает своеобразную точку зрения мастера-прикладника на знаменитого художника XIX века. В данной статье впервые вводятся в научный оборот и анализируются три произведения декоративно-прикладного искусства с портретами В.И. Сурикова из фондов Красноярского художественного музея им. В.И. Сурикова, переданные со всероссийской выставки «По родной стране», проходившей в Красноярске в 1983 году. Rostov enamel and Fedoskin's lacquer miniature are two Russian folk crafts originating in the 18th and 19th centuries. Being different in materials and manufacturing techniques, the products of these crafts are united by a miniature format and the similarity of painting techniques. Various genres are reflected in the miniature works: historical, fairy tale, household, religious, floral and ornamental painting, landscape. In the 20th century, the portrait genre actively developed, continuing the traditions of the previous century. The masters made portraits to order, in connection with significant events — historical, biographical, as well as for exhibitions and museum collections. Three products with portrait images of the outstanding Russian artist V.I. Surikov are in the collection of the Krasnoyarsk Art Museum named after V.I. Surikov. These are a panel and a medallion of Rostov enamel and a panel of Fedoskino lacquer miniature. Their authors are B.M. Mikhailenko, A.A. Khaunov, N.M. Soloninkin. They continue the tradition of hand painting, which allows creating unique works of arts and crafts. Using pictorial portraits and drawings depicting V.I. Surikov, the artists of the two crafts create their own interpretations on their basis, creatively rethinking the originals. Images of V.I. Surikov in all products are different, and each reflects the original point of view on the famous artist of the 19th century. In the article, for the first time, three works of decorative and applied art with portraits of V.I. Surikov from the collection of the Krasnoyarsk Art Museum named after V. Surikov were introduced into scientific circulation and analysed. These works were transferred to the museum from the all-Russian exhibition “In the native country”, held in Krasnoyarsk in 1983.

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Abed, Murtadha Atewa. "THE INFLUENCE OF THEOSOPHY ON MODERN PAINTING". American Journal Of Social Sciences And Humanity Research 4, nr 4 (1.04.2024): 42–48. http://dx.doi.org/10.37547/ajsshr/volume04issue04-07.

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An interesting subject that delves into the junction of spirituality, philosophy, and creative expression is the effect of Theosophy on contemporary painting. In the late 19th century, Helena Petrovna Blavatsky established the spiritual movement known as Theosophy. Theosophy is a belief system that seeks to discover the truth about the oneness of all faiths and delve further into the secrets of life, positing the existence of concealed realities beyond the material world. During the late 19th and early 20th centuries, Theosophy wielded a transformative influence on the field of contemporary art. Its principles were not just influential, but potent enough to reshape the work of even the most prominent painters. Russian artist Wassily Kandinsky is a testament to this; his journey was not just instrumental, but transformative in the ascent of abstract expressionism.Theosophical teachings resonated deeply with Kandinsky, echoing not just his profound spirituality, but his personal quest to uncover art's hidden significance. Theosophy posited the existence of concealed realities beyond the material world, placing not just a premium, but a profound importance on the spiritual facets of life. For Kandinsky, art was not just a portal, but a profound conduit for these higher realms, a conduit for the cosmic spirit to manifest. This profoundly impacted Kandinsky as he veered away from realistic imagery and delved into the realm of abstract painting. He aimed to articulate spiritual experiences and emotions through the medium of color and shape. For instance, in his painting 'Composition VII, 'Kandinsky used vibrant colors and dynamic shapes to convey a sense of spiritual energy and movement. Driven by the belief that art could convey profound, transcendent truths, his work progressively shed its symbolic nature. Famous for his geometric abstract paintings, Piet Mondrian was another artist impacted by Theosophy. Theosophy's principles of spiritual progress and cosmic oneness resonated with Mondrian's search for inner peace and a sense of cosmic order, which were crucial to his creative process. For instance, in his painting 'Composition with Red, Yellow, and Blue, 'Mondrian used primary colors and straight lines to represent the harmony and balance he believed existed in the universe, a concept aligned with philosophical ideas. Beyond specific artists, the influence of Theosophy on contemporary art might be seen in more systemic currents like Abstract Expressionism and Symbolism. Some artists, like the symbolists, drew inspiration from the theosophical tradition's emphasis on introspection and mystical themes. Theosophy had not just a significant but a lasting impact on contemporary painting. It inspired painters to seek not just new ways but innovative ways of expressing themselves that went beyond traditional depictions. Modern painting's enduring legacy is not just profoundly rooted but intricately intertwined with theosophical ideas of spirituality, oneness, and inner change, which fostered not just the emergence but the flourishing of abstract and emotionally charged art forms, such as Wassily Kandinsky's abstract expressionism and Piet Mondrian's geometric abstraction, which aimed not just to convey, but to evoke spiritual and emotional experiences through non-representational forms.

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Lubimova, Anastasia I. "The unofficial art of Saratov: the problem of the evolution of artistic language in the 1960s – 1980s". Vestnik of Saint Petersburg State University of Culture, nr 3 (56) (2023): 125–29. http://dx.doi.org/10.30725/2619-0303-2023-3-125-129.

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The unofficial art of Saratov 1960s – 1980s was not considered in art history as a separate artistic phenomenon for a long time. This is due to the strong influence on Saratov artists of informal art of Leningrad and Moscow. In addition, the residents of Saratov almost did not unite in art groups with common programs, which makes it difficult to study the main trends in the development of this regional school. Nevertheless, in the last decade the discussion of the specifics of the Saratov school has become relevant – there were publications devoted to the formation of Saratov informal art and the work of its key masters (M. N. Arzhanov, V. F. Chudin, V. A. Solyanov, V. V. Lopatin, L. E. Pererezova). In the 1960s and 1980s the artistic language of Saratov unofficial art is a synthesis of a number of approaches: the interpretation of the heritage of domestic painting of the late XIX – early XX century, the development of the aesthetic and philosophical system of N. M. Gushchin and the development of actual artistic phenomena – primarily, the abstract trend in the art of the second half of the 20th century.

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Hama, Bakhtiar S. "Imagism and Imagery in the Selected Poems of Major Imagist Poets". Koya University Journal of Humanities and Social Sciences 3, nr 1 (22.06.2020): 88–93. http://dx.doi.org/10.14500/kujhss.v3n1y2020.pp88-93.

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This paper explores imagism and studies the intrinsic literary features of some poems to show how the authors combine all the elements such as style, sentence structure, figures of speech and poetic diction to paint concrete and abstract images in the mind of the readers. Imagism was an early 20th century literary movement and a reaction against the Romantic and Victorian mainstreams. Imagism is known as an Anglo-American literary movement since it borrows from the English and American verse style of modern poetry. The leaders of the movement set some rules for writing imagist poems. The authors of the group believed that poets are like painters; what the painters can do with brush and dye, poets can do it with language i.e. painting pictures with words. The poems are descriptive; the poets capture the images they experience with one or more of the five senses. They believed that readers could see the realities from their eyes because the texts are like a painting. In this paper, six poems by six prominent leaders of the movement will be scrutinized according to the main principles of the formalistic approach which is the interpretation and analysis of the literary devices pertained to the concrete and abstract images drawn by the poets. The poems are: In a Station of the Metro by Ezra Pound, Autumn by T. E. Hulme, November by Amy Lowell, Oread by Hilda Doolittle (H.D.), and Bombardment by Richard Aldington

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Helgason, Hlynur. "Viðtökur á verkum Þórarins B. Þorlákssonar". Ritið 18, nr 3 (20.12.2018): 187–215. http://dx.doi.org/10.33112/ritid.18.3.10.

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Þórarinn B. Þorláksson (1867–1924) has been credited with being the first Icelandic professional painter. His reception, both during his lifetime and posthumously, is therefore an interesting indication of the changes in the outlook and ideology surrounding the reception of Scandinavian findesiécle art up to the present. He was honourably mentioned by his contemporaries and then was forgotten in the upheavals surrounding the adoption of modern styles, such as abstract art, in Iceland around the Second World War. He regained attention in the sixties and has since then been revered as an important, though problematic, pioneer of Icelandic painting. This has in recent years been especially evident in the way he has been mentioned in the context of the revival of Nordic and Scandinavian late 19th and early 20th century art in NorthernEurope and America. The paper reviews and analyses the historical reception Þorláksson has received and the way his work has been inscribed into the narrative of Icelandic and Scandinavian Art History. This process is an attempt to understand and contextualise Þorláksson’s work in aesthetic terms, while at the same time function as a critical mirror of the trends and ideologies surrounding the Nordic revival in recent years.

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Czerni, Krystyna. "Malarska „dwujęzyczność” Jerzego Nowosielskiego. Związki między abstrakcją a ikoną w monumentalnych projektach sakralnych". Sacrum et Decorum 13 (2020): 48–80. http://dx.doi.org/10.15584/setde.2020.13.4.

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The sacred art of Jerzy Nowosielski, an outstanding Polish painter of the second half of the 20th century, is an example of the creative continuation of the Byzantine tradition in Poland, but also an embodiment of the debate with the painting tradition of the East and with the experience of the Church. Both in theory and in painting practice, the artist redefined the concept of the icon, attempting to expand its formula so that it not only spoke of the Kingdom, but also included the image of the earthly, imperfect reality of the pilgrim Church. In his designs of sacred interiors for churches of various Christian denominations, Nowosielski wanted to combine three theological disciplines and their respective ways of representation: Christology, sophiology and angelology. Beside a classical icon, called by the painter a “Christological- Chalcedonian” icon, Nowosielski demanded a “sophiological” icon, bringing into the space of a church an earthly, painful reality, traces of inner struggle and doubt – hence the presence of doloristic motifs in his icons. The “inspired geometry” also became a complement to the holy images; the artist noticed a huge spiritual potential in abstract painting, to which he eventually assigned the role of icon painting. The poetic concept of “subtle bodies” – abstract angels testifying to the reality of the spiritual world – drew from the early Christian theological thought, which argued about the corporeality of spiritual entities, from Byzantine angelology, the tradition of theosophy and occultism, but also from the art of the first avant-garde, especially that from Eastern Europe, which inherited the Orthodox cult of the image. Nowosielski’s bilingualism as a painter – practicing abstraction and figuration in tandem, including within the church – paralleled the liturgical practice of many religious communities using different languages to express different levels of reality: human affairs and divine affairs. The tradition of apophatic theology, proclaiming the truth about the “unrepresentability” of God, was also important in shaping Nowosielski’s ideas. For Nowosielski’s monumental art, the problem of the mutual relationship between painting and architecture proved crucial. The artist based his concept on the decisive domination of painting over architecture and the independence of monumental painting. His goal was the principle of creating a sacred interior as a holistic, comprehensive vision of space which leads the participants of liturgy “out of everyday life” and into a different, transcendent dimension, in which the painter saw the main purpose of sacred art. From his first projects from the 1950s till the end of his artistic practice Nowosielski tried to realize his own dream version of the “ideal church”. In many of his projects he introduced abstraction into the temple, covering the walls, vaults, presbyteries, sometimes even the floors with a network of triangular “subtle bodies”. Forced to compromise, he introduced sacred abstraction into murals, as accompanying geometries, or into stained glass windows. The interiors, comprehensively and meticulously planned, were supposed to create the effect of “passing through”, “rending the veil” – from behind which a new, heavenly reality dawned. In practice, it was not always possible to achieve this intention, but the artist’s aim was to create an impression of visual unity, a sense of “entering the painting”, of being immersed in the element of painting. Painting in space was supposed to unite a broken world, to combine physical and spiritual reality into an integral whole. When designing sacred interiors, Nowosielski used the sanctity of the icon, but also the pure qualities of painting which were to cause a “mystical feeling of God’s reality”. The aim of sacred art understood in such a way turned out to be initiation rather than teaching. In this shift of emphasis Nowosielski saw the only chance for the revival of sacred art, postulating even a shift of the burden of evangelization from verbal teaching to the work of charismatic art.

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Aslan qızı Məmmədova, Ləman. "Portrait treasury of great Azerbaijan female artists". SCIENTIFIC WORK 78, nr 5 (17.05.2022): 31–37. http://dx.doi.org/10.36719/2663-4619/78/31-37.

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Məqalədə Maral Rəhmanzadə, Vəcihə Səmədova, Elmira Şahtaxstinskaya kimi görkəmli Azərbaycan rəssamlarının bəzi əsərləri təhlil edilmişdir. Maral Rəhmanzadənin, mahir fırça ustasının portret əsərləri incəsənətimizin tarixinə boyakarlığın qiymətli nümunələri kimi daxil olmuşdur. Böyük rəssamın portret janrında yüksək sənətkarlıq nümunəsi sayılan əsərləri son dərəcə özünəməxsusluğu ilə səciyyələnir. Maral Rəhmanzadənin yaradıcılığında başlıca xüsusiyyətlərdən biri Azərbaycan qadınına xas gözəlliyin, zərifliyin, məğrurluğun və zəngin mənəvi aləmin parlaq vəhdətidir. Azərbaycanın görkəmli rəssamı Vəcihə Səmədovanın tablolarında isə biz maraqlı rəng çalarları, milli kolorit, kompozisiyanın dinamikliyini və böyük ustalıq görürük. Görkəmli rəssamın belə xüsusiyyətləri ilə seçilən tabloları dünya muzeylərində layiqli yer tutur. Elmira Şaxtaxtinskaya isə daha çox plakat və dəzgah rəsmlərinin müəllifi kimi şöhrət tapmışdır. Rəssamın Azərbaycanın elm, ədəbiyyat və incəsənət xadimlərinin portretlər qalereyası yüksək sənətkarlığı ilə fərqlənir: Üzeyir Hacıbəyovun portreti, Hüseyn Cavidin portreti, Qara Qarayevin portreti, Əcəmi Naxçıvaninin portreti, Sultan Məhəmmədin portreti, Məhəmməd Füzulinin portreti, Məhsəti Gəncəvinin portreti və b. Açar sözlər: qadın rəssam, portret, XX əsr təsviri sənəti, rəssam, rəngkarlıq, bədii obraz, rəsm qalereyası Leman Aslan Mamedova Portrait treasury of great Azerbaijan female artists Abstract The article analyzes some of the works of such outstanding Azerbaijan artists as Maral Rahmanzade, Vajiha Samadova, Elmira Shahtakhstinskaya. The portraits of the great master of the brush Maral Rahmanzade entered the history of our art as valuable examples of painting. The works of the great artis, considered an example of high skill in the genre of portraiture, are distinguished by high originality. One of the main features of Maral Rahmanzade’s creativity is a bright unity of beauty, fragility, pride and rich spiritual world of Azerbaijan women. In the paintings of the outstanding Azerbaijan artist Vajiha Samadova, we see interesting shades of colour, national color, dynamism of composition and great skill. The painting s of the famous artist, characterized by such features, a worthy place in museums around the world. Elmira Shahtakhstinskaya is best known as the author of posters and picturesque paintings. Elmira Shahtakhstinskaya has created a portrait gallery of Azerbaijan culture and science figures, which is distinguished by high skill of execution: portrait of Uzeyir Hajibeyov, portrait of Huseyn Javid, portrait of Gara Garayev, portrait of Ajami Nakhchivani, portrait of Sultan Muhammad, portrait of Muhammad Fizuli, portrait of Mehseti Ganjavi, etc. Key words: artist, portrait, 20th century fine art, artist, painting, artistic image, art gallery

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Rozmarynowski, Łukasz. "Abstrakcji przestrzeń wieloraka. Kategoria przestrzenności w twórczości Wojciecha Fangora, Jerzego Grabowskiego i Ryszarda Winiarskiego - studium porównawcze". Artium Quaestiones 31, nr 1 (20.12.2020): 401–36. http://dx.doi.org/10.14746/aq.2020.31.13.

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If one were to indicate some tendencies characteristic of the art of the 20th century, the pursuit of making artwork more spatial would certainly be one of them. This tendency manifests itself in the myriad of symptoms: an avant-garde redefinition of sculpture with its negative space; a proliferation of kinetic works enabling spectators to (re)shape artwork’s matter more actively; a dissemination of ephemeral forms, especially happening and performance; beginnings of installation art, to mention but a few. The present paper sets out to examine an artistic phenomenon which is not as spectacular as the aforementioned examples, but it could be somehow placed at the intersection of them. One can consider the particular type of abstract painting, embedded in a pictorial plane and slightly opening for surrounding space, but simultaneously reconceptualising the relation between the imagined and the physically present. The first part of the article deals with methodology. As far as research is concerned, the author assumes moderate scientism as the methodological perspective. It is based on the belief that mathematical sciences throughout history have developed notions and analytical methods allowing the observable and communicable features of things, including artworks and artistic phenomena, to be explained in an effective way, i.e. more faithfully and usefully. Because of the fact that mathematical truths are not absolute, the methodological perspective is called ‘moderate’. Taking into account these assumptions, the second part of the article defines the analytical category of spatiality, which expresses painting’s ability to evoke variously conceptualised spaces. The three subsequent sections of the article are devoted to some paintings by three Polish artists active in the second half of the 20th century, i.e. Wojciech Fangor, Jerzy Grabowski, Ryszard Winiarski. Each of them combined two differently understood spatial orders in their works: physical (related to phenomenological and sensual experience) and conceptual (related to notions and theories proposed by exact sciences). Having analysed a number of paintings by Fangor, Grabowski and Winiarski, one can define notions of cosmogonic, transcendence and probabilistic space, respectively. In summary, the specificity of works analysed in the context of ideas drawn from exact sciences is examined.

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Artykuły w czasopismach na temat „Painting, abstract – 20th century – exhibitions”

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