Gotowa bibliografia na temat „Paintings, Modern – 20th century – Exhibitions”
Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych
Spis treści
Zobacz listy aktualnych artykułów, książek, rozpraw, streszczeń i innych źródeł naukowych na temat „Paintings, Modern – 20th century – Exhibitions”.
Przycisk „Dodaj do bibliografii” jest dostępny obok każdej pracy w bibliografii. Użyj go – a my automatycznie utworzymy odniesienie bibliograficzne do wybranej pracy w stylu cytowania, którego potrzebujesz: APA, MLA, Harvard, Chicago, Vancouver itp.
Możesz również pobrać pełny tekst publikacji naukowej w formacie „.pdf” i przeczytać adnotację do pracy online, jeśli odpowiednie parametry są dostępne w metadanych.
Artykuły w czasopismach na temat "Paintings, Modern – 20th century – Exhibitions"
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.
Pełny tekst źródłaLyashenko, Ekaterina S. "Transbaikal Painting of the 18th — the Early 20th Centuries: Periodization Problems". Vestnik of Saint Petersburg University. Arts 13, nr 3 (2023): 467–88. http://dx.doi.org/10.21638/spbu15.2023.305.
Pełny tekst źródłaMajewski, 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.
Pełny tekst źródłaPark, 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.
Pełny tekst źródłaChvyr, 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.
Pełny tekst źródłaXiaotao, 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.
Pełny tekst źródłaKarpenko, 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.
Pełny tekst źródłaShamraeva, 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.
Pełny tekst źródłaBuyak, Halyna. "THE FORMATION OF BOHDAN KHAVARIVSKYI AS PERSONALITY, SOCIAL, POLITICAL, CULTURAL AND EDUCATIONAL FIGURE (THE SECOND HALF OF THE 20TH CENTURY – THE BEGINNING OF THE 21ST CENTURY)". Scientific Herald of Uzhhorod University. Series: History, nr 2 (47) (20.12.2022): 67–74. http://dx.doi.org/10.24144/2523-4498.2(47).2022.266521.
Pełny tekst źródłaRasmussen, Leah. "Curating Russia: The Shchukin Collection, Nationalism, and Border Crossing from Lenin to Putin". Canadian Journal of European and Russian Studies 15, nr 1 (20.09.2022): 43–60. http://dx.doi.org/10.22215/cjers.v15i1.3288.
Pełny tekst źródłaRozprawy doktorskie na temat "Paintings, Modern – 20th century – Exhibitions"
Brown, Carol. ""Museum spaces in post-apartheid South Africa": the Durban Art Gallery as a case study". Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1006231.
Pełny tekst źródłaCzujack, Corinna. "An economic analysis of price behaviour in the market for paintings and prints". Doctoral thesis, Universite Libre de Bruxelles, 1997. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212155.
Pełny tekst źródłaUtz, Laura Lee. "Museum Educator as Advocate for the Visitor: Organizing the Texas Fashion Collection's 25th Anniversary Exhibition Suiting the Modern Woman". Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc277589/.
Pełny tekst źródłaLindley, Anne Hollinger. "Relating to relational aesthetics". Pomona College, 2009. http://ccdl.libraries.claremont.edu/u?/stc,74.
Pełny tekst źródłaAndrieu, Mélanie. "Une spécificité Cobra, les oeuvres collectives: émergence d'une pratique et exemplarité de Christian Dotremont". Doctoral thesis, Universite Libre de Bruxelles, 2011. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209838.
Pełny tekst źródłaCe travail est structuré en trois points. Le premier établit une étude du contexte artistique et social des années précédent Cobra puis la mise en place du groupe. Le second aborde les années d’intense activité "officielle" du groupe, au service du collectif. Enfin, le troisième propose de suivre l’évolution post-Cobra des œuvres collectives et des recherches sur l’écriture et la peinture. / This thesis is a study of the Cobra movement through one of its characteristic components: the collective works. First of all it's about understanding the movement, its origins (three countries), its influences and its purpose of a free art, open, experimental, involvement with life. In a social after-war context, often politicized, Cobra defends collective action, notably defined in concepts of anti-specialism and inter-specialism. We should therefore underline the origins of this practice and undestand different aspects that it shows, in particular through publications, exhibitions or shared creations. The poet Christian Dotremont, leader and soul of Cobra, promotes cooperative work by collaboration and contributes to its development by stimulating artistic meetings. He is the purveyor and permanent "agitator" of this concept. The words-paintings that he creates with other artists, take part of his major thinking about writing and painting. This link interpellates a few Belgian artists like Pierre Alechinsky, but it fascinates Christian Dotremont who keeps experimenting on it, in order to reach what he calls the logograms, a remarkable fusion of painting and poetry, and a culmination of a life-time of research.
This work is structured in three parts. The first one draws a study of the artistic and social context of the years preceding Cobra and the setting up of the group. The second one talks about years of intense "official" activity of the group serving collective way of work. Finally, the third one offers to follow the post-Cobra evolution of collective works and researches about writing and painting.
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished
Cohen, Robyn Yael. "The relationship between repetition and originality : selected paintings of Robert Hodgins". Thesis, 1990. http://hdl.handle.net/10539/22849.
Pełny tekst źródłaThis dissertation investigates a particular use of repetition (and `quotation`) in the artistic method of Robert Hodgins, and the pedagogical significance of this method for the author. (Abbreviation abstract)
AC2017
Sithole, Nomcebo Cindy. "Exhibitions of resistance posters: contested values between art and the archive". Thesis, 2017. https://hdl.handle.net/10539/24483.
Pełny tekst źródłaThis research report has followed three periods in the history of the political struggle for freedom in South Africa, from the height of the Anti-apartheid struggle in the 1980s to the present day by way of exploring three exhibitions of resistance posters as case studies. It is located in the realm of political and art history. Looking at the positioning of the resistance poster in South African art history, the intension is to highlight how these exhibitions have used display strategies to construct values reflected in the resistance poster. The three selected exhibitions are as follows: firstly, Thami Mnyele and Medu Art Ensemble Retrospective (2008), Second is the exhibition Images of Defiance: South African poster of the 1980’s (2004). And the third exhibition Interruptions: Posters from the Community Arts Project Archive (2014).
XL2018
Jacobs, Natasha Sandra Ruth. "Abstraction, ambiguity and memory in selected artworks by Ursula von Rydingsvard and Kemang wa Lehulere". Thesis, 2017. https://hdl.handle.net/10539/24461.
Pełny tekst źródłaThis research report explores the influences of memory in selected works by two visual artists: South African Kemang Wa Lehulere’s Remembering the Future of a Hole as a Verb 2.1 and Polish artist Ursula von Rydingsvard’s Droga. The report examines the ways in which personal memory can inform creative practice and the surface difficulties such endeavours may present. These works and writings on memory and creative practice inform my own practice, through which I investigate ways of expressing my memories of my grandparents’ carpentry workshop in Sunnydale Eshowe in KwaZulu Natal, South Africa.
XL2018
Ananmalay, Kiyara. "Ethnography and the personal: the field practices of writing and photography on the Natal leg of the ninth frobenius expedition". Thesis, 2017. https://hdl.handle.net/10539/23894.
Pełny tekst źródłaWithin this research report, I explore how the (re-)integration of writing and photography enhances an understanding of the role of the personal within documentary practices. I focus on a portion of the Frobenius Archive as my case study, specifically the documents produced during the five-week Natal leg of the ninth expedition in early 1929. The German Leo Frobenius (b.1873–d.1938) was a primarily self-taught Africanist ethnographer, who had an interdisciplinary practice that blurred the boundaries between anthropology, archaeology and history. He conducted a total of twelve expeditions within Africa between 1904 and 1935, and his objective on these expeditions was to record ways of life that he felt were vulnerable to changes due to modernity. The documents collected during the Natal leg consist of field notes, photographs, hand-drawn pictures and diary entries. The field notes comprise of a set of eleven rock art site descriptions that have been constructed by the three artists: Maria Weyersberg, Elisabeth Mannsfeld and Agnes Schulz. Weyersberg’s diary entries provide a more impressionistic set of notes, tracking the day-today unfolding of their journey (but with many gaps). The subject matter of the photographs ranges from the rock art sites and the landscapes these sites are a part of, to the people they encountered along the way. I engaging with the concept of writing, particularly through the example of Weyersberg’s personal diaries, and the ways in which these entries relate to the photographs, creating a space in between where the personal relationships would have played themselves out. Within this research report I demonstrate that writing and photography can be brought back together in order to restore something of the original encounter and that this (re-)integration offers an opportunity for a new dialogue and a new understanding to be achieved.
MT2018
Kotze, Steven. "Gender, power and iron metallurgy in archives of African societies from the Phongolo-Mzimkhulu region". Thesis, 2018. https://hdl.handle.net/10539/27048.
Pełny tekst źródłaThis dissertation examines the social, cultural and economic significance of locally forged field-hoes, known as amageja in Zulu. A key question I have engaged in this study is whether gender-based divisions of labour in nineteenth-century African communities of this region, which largely consigned agricultural work to women, also affect attitudes towards the tools they used. I argue that examples of field-hoes held in eight museum collections form an important but neglected archive of “hoeculture”, the form of subsistence crop cultivation based on the use of manual implements, within the Phongolo-Mzimkhulu geographic region that roughly approximates to the modern territory of KwaZulu-Natal. In response to observations made by Maggs (1991), namely that a disparity exists in the numbers of fieldhoes collected by museums in comparison with weapons, I conducted research to establish the present numbers of amageja in these museums, relative to spears in the respective collections. The dissertation assesses the historical context that these metallurgical artefacts were produced in prior to the twentieth-century and documents views on iron production, spears and hoes or agriculture recorded in oral testimony from African sources, as well as Zulu-language idioms that make reference to hoes. I furthermore examine the collecting habits and policies of private individuals and museums in this region from the nineteenthcentury onwards, and the manner in which hoes are used in displays, in order to provide recommendations on how this under-utilised category of material culture should be incorporated into future exhibitions.
XL2019
Książki na temat "Paintings, Modern – 20th century – Exhibitions"
Kashey, Elisabeth. European paintings, drawings and sculpture: 19th and early 20th century. New York: Shepherd Gallery, 1992.
Znajdź pełny tekst źródłainterviewer, Moshayedi Aram, Hacienda Gallery (Zurich Switzerland) i Truth and Consequences (Geneva, Switzerland), red. Pentti Monkkonen: Box truck paintings. Los Angeles, CA: DoPe Press, 2014.
Znajdź pełny tekst źródłaVriesendorp, Madelon. The world of Madelon Vriesendorp: Paintings, postcards, objects, games. London: AA Publications, 2008.
Znajdź pełny tekst źródłaAndrea, Rose, i British Council, red. Coastlines: An exhibition of 20th century paintings of the British coastline. (Great Britain): British Council, 1992.
Znajdź pełny tekst źródłaStomberg, John R. A theater of recollection: Paintings and prints. Boston: Boston University Art Gallery, 1997.
Znajdź pełny tekst źródłaBaer, Jo. Jo Baer: Paintings 1960-1998. Amsterdam: Stedelijk Museum, 1999.
Znajdź pełny tekst źródłaTill, Barry. Tradition and innovation in 20th century Chinese painting. Victoria, B.C: Art Gallery of Greater Victoria, 1998.
Znajdź pełny tekst źródłaGalleries, Hammer. 19th & 20th century European & American paintings: The Gallery Collection, Winter 1987. New York, N.Y. (33 W. 57th St., New York, N.Y. 10019): The Galleries, 1987.
Znajdź pełny tekst źródłaHilton, Rose. Rose Hilton: Recent paintings, 21st June-8th July, 1995. London: David Messum, 1995.
Znajdź pełny tekst źródłaHunter, Sam. Modern art: Painting, sculpture, architecture. Wyd. 3. Upper Saddle River, NJ: Prentice Hall and Harry N. Abrams, 2000.
Znajdź pełny tekst źródłaCzęści książek na temat "Paintings, Modern – 20th century – Exhibitions"
Salis Gomes, Carolina, Cátia Ferreira, Brenda Rossenaar, Ineke Joosten, Inez van der Werf, Leslie Carlyle i Klaas Jan van den Berg. "Pigment Surface Treatments: 20th and 21st Century Industrial Techniques and Strategies for their Detection". W Conservation of Modern Oil Paintings, 39–60. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19254-9_3.
Pełny tekst źródłaBobilewicz, Grażyna. "Obraz Afryki w malarstwie rosyjskim XX i początku XXI wieku". W Afryka i (post)kolonializm. Wydawnictwo Uniwersytetu Łódzkiego, 2016. http://dx.doi.org/10.18778/8088-260-7.07.
Pełny tekst źródłaRegina Baggio Osinski, Dulce, i Ricardo Carneiro Antonio. "Children’s Art Exhibitions in Brazil: A Modern Badge for the New Man". W Pedagogy - Challenges, Recent Advances, New Perspectives, and Applications [Working Title]. IntechOpen, 2021. http://dx.doi.org/10.5772/intechopen.99161.
Pełny tekst źródłaKraševac, Irena, i Petra Šlosel. "Networking of Central European Artists’ Associations via Exhibitions. The Slovenian Art Association, Czech Mánes and Polish Sztuka in Zagreb in the Early 20th Century". W Modern and Contemporary Artists' Networks. An Inquiry into Digital History of Art and Architecture, 16–36. Institute of Art History, 2018. http://dx.doi.org/10.31664/9789537875596.02.
Pełny tekst źródłaStreszczenia konferencji na temat "Paintings, Modern – 20th century – Exhibitions"
Wong, Peter P. "Vague Space: Tracing Eyes, Edges, and the Indeterminate Limits of the Architectural Interior". W 109th ACSA Annual Meeting Proceedings. ACSA Press, 2021. http://dx.doi.org/10.35483/acsa.am.109.27.
Pełny tekst źródłaKoblenkova, Diana V. "ON SOME TRENDS IN THE SATIRICAL LITERATURE AND CINEMATOGRAPHY OF SWEDEN AT THE END OF THE 20TH — BEGINNING OF THE 21ST CENTURY (C.-J. VALLGREN AND R. ÖSTLUND)". W Second Scientific readings in memory of Professor V. P. Berkov. St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063576.
Pełny tekst źródłaRaporty organizacyjne na temat "Paintings, Modern – 20th century – Exhibitions"
Two Visions of El Salvador. Inter-American Development Bank, wrzesień 2000. http://dx.doi.org/10.18235/0006436.
Pełny tekst źródła