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Artykuły w czasopismach na temat "Sculpture, English – 20th century – Exhibitions"
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Ma, Junjie, i Yingxin Ma. "English in Bilingual Promotional Material of Chinese Maritime-related Exhibition Publicity: A discourse Analysis Study". Journal of Translation and Language Studies 3, nr 1 (1.03.2022): 1–11. http://dx.doi.org/10.48185/jtls.v3i1.422.
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In recent years, the numbers of bilingual advertising texts have increased in China’s international maritime exhibitions. Nevertheless, the shortcomings in wording and phrasing, usage of translation strategies and intercultural communication in these China English texts are not only contrary to the Plain English Movement which advocated a more concise and economical use of words and sentences in the late 20th century, but also adversely affect the Belt and Road Initiative as well as intercultural communication. In this paper, various promotional material collected from major maritime-related English exhibitions in China over the past three years will be taken as examples. This paper will adopt the discourse analysis theory to summarize the problems of redundancy, Chinglish, misuse of translation strategies and mismanagement of intercultural conflict in relevant bilingual advertisements. The paper then suggests a series of ways for improvement in order to improve the quality of China English texts as well as promote intercultural communication.
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Myakshin, V. A. "A Brief Report on the Research Regarding Art History Texts (19th – First Half of the 20th Century) into Foreign Language Teaching (Courses: “Foreign Language” and “English for Professional Communication”) Carried out at Sergey Andriaka Academy of Watercolor and Fine Arts". Secreta Artis 6, nr 4 (22.05.2024): 27–35. http://dx.doi.org/10.51236/2618-7140-2023-6-4-27-35.
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The scientific and methodological article focuses on authentic art history texts spanning from the second half of the 19th century to the first half of the 20th century. These texts serve as the foundation for the English teaching methodology tailored for students of Sergey Andriaka Academy of Watercolor and Fine Arts, an approach currently being developed by the author. The research is characterized by a certain degree of scientific novelty, as the majority of these texts are introduced into the educational curriculum of a higher art educational institution for the first time, thereby lending special relevance to the study.For a variety of reasons, the texts in question are of paramount importance for English language instruction. They offer a rich array of source materials to choose from. These include, among others: lectures on painting and sculpture, art masterclasses, catalogues of museum and private collections, artist biographies, academic journals, encyclopedias and dictionaries of painters. Original teaching materials are created on the basis of authentic texts in line with the educational needs of art students.
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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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Vie, Inger-Kristin Larsen. "Sámi on Display: Sámi Representations in an Early Nonfiction Book for Children". Literature 4, nr 3 (27.06.2024): 147–59. http://dx.doi.org/10.3390/literature4030011.
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Lisbeth Bergh’s nonfiction picturebook En lappefamilie: tekst og bilder fra Nordland (A Lappish family: text and pictures from Nordland) from 1905 is one of the first Norwegian nonfiction picturebooks for children about the life of Sámi. It contains Bergh’s own illustrations and text passages in Norwegian, English, and German, which signals that the book addresses a national and international audience. Simultaneously, the book is published in an era characterized by an increasing interest in indigenous tourism, demonstrated through the popularity of world exhibitions and «human zoos». In this article, I explore Bergh’s nonfiction picturebook in the light of “human zoos” and “living exhibitions” at the beginning of the 1900s and how her book alludes to the depiction of the Sámi for entertainment and information purposes. My close reading shows how the book reflects the categorization and systematization of the world and of exotic ethnic groups at the time. Furthermore, the reading confirms the book’s very distinctive position in Norwegian children’s literature history, and how it may have acquired a particular role in the promotion of Norwegian tourism at the beginning of the 20th century.
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Allen, Nancy S. "History of Western sources on Japanese art". Art Libraries Journal 11, nr 4 (1986): 8–13. http://dx.doi.org/10.1017/s0307472200004867.
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Learning about Japanese art has been difficult for Westerners. Limited access, language barriers, and cultural misunderstanding have been almost insurmountable obstacles. Knowledge of Japanese art in the West began over 150 years before the arrival of Commodore Perry in 1853. Englebert Kaempfer (1657-1716), sent to Japan as a physician for the Dutch East India Company, befriended a young assistant who provided information for a book on Japanese life and history published in 1727. By 1850, more ethnographic information had been published in Europe. Catalogs of sales of Japanese art in Europe exist prior to 1850 and collection catalogs from major museums follow in the second half of that century. After the Meiji Restoration (1867) cultural exchange was possible and organizations for that purpose were formed. Diaries of 19th century travellers and important international fairs further expanded cross-cultural information. Okakura Kakuzo, a native of Japan, published in English about Japanese art and ultimately became Curator of the important collections of the Boston Museum of Fine Arts. The advent of photography made visual images easily accessible to Westerners. Great collectors built up the holdings of major American museums. In the 20th century, materials written and published in Japan in English language have furthered understanding of Japanese culture. During the past twenty years, travelling exhibitions and scholarly catalogs have circulated in the West. Presently monographs, dissertations and translated scholarly texts are available. Unfortunately, there is little understanding in the West of the organization of Japanese art libraries and archives which contain primary source material of interest to art historians.
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Duda, Vasile. "Armonia spațialității pozitive și negative în sculptura artistului Ingo Glass". Studia Universitatis Babeș-Bolyai Historia Artium 65, nr 1 (31.12.2020): 185–220. http://dx.doi.org/10.24193/subbhistart.2020.10.
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"Harmony of Positive and Negative Spaciousness in Ingo Glass sculpture. The aim of this article is to discuss issues regarding the ways spaciousness and harmony of positive and negative surfaces in Inglo Glass sculpture are valorized. The artist was born in 1941 in Timișoara, he studied at the Traditional School of Arts from Lugoj and then he attended the university in Cluj. Between 1967-71 he worked as curator at the Museum of Contemporary Arts from Galați and he established connections with visual artists from all over the country. Later on, between 1972-73 he worked as teaching assistant at the Architecture University from Bucharest and then he became cultural consultant at the German Culture House Friedrich Schiller. During this period, Ingo Glass created a Constructivist Art with metal structures developed vertically following the spatial pattern specific to the great Gothic cathedrals– the most famous work Septenarius was built in 1976 on the Danube boardwalk from Galați. Being forced by the political circumstances from the Socialist Republic of Romania, he emigrated to the Federal Republic of Germany in 1979, he moved to München where he worked for the Municipal Art Gallery and where he was integrated in the group of Concrete-Constuctivist Art artists. After 1989 he came back to Romania with different exhibitions and he created public monuments in Galați, Timișoara, Moinești and Lugoj. Then, in 1992 he presented his PhD thesis about the influence of Constantin Brâncuși Art over the 20th century sculpture. Between 1989-1998 the artist crystallized an original visual concept based on the usage of the basic geometric shapes in conjunction with the primary colours. Ingo Glass upgraded Bauhaus theory and he associated the square with blue, the triangle with yellow and the circle with red. By using shapes and primary colours the artists creates Concrete Art, a new symbolic universe, purely geometrical, the harmony of his entire work being given by the proportion and link between full and empty spaces. Expanded spaciousness specific to the Constructivst Art phase experiments the architecture-sculpture link and the monumentality of the metallic structures encourages the entrance to the central core of works. The open, non-material dimension forms the main volume of the sculpture, the empty space dominates the full shape and it outlines the effects of an unrated and irrational spaciousness. Balanced spaciousness specific to the Concrete Art phase experiments geometrical combinations, based on the basic shapes in positive and negative intersections, by the spaciousness and non-spaciousness link, the pace between full and empty spaces. The usage of the three basic geometrical shapes also influenced the combining vocabulary of these elements, and it even ensured the ordering and deduction of the empty space. The utopia of basic forms expresses tendencies towards positive irreductible forms of energy or negative forms through non-materiality, where the concepts of mass, weight, space and time are added. In each of his works, the artist used a proportion between the elements of the composition through a rational interpretation stimulated by the achievement of a geometrical order as the essential basis of tasks. The relation between positive and negative spaciousness appears constantly in the sculpture of the last century and the rhytm and sequence of its spatial effects are determined by a sense of proportion that involves an aesthetic of proportion. Thus, we can definitely say that the work of the artist Ingo Glass originally captures all these aspects of Contemporary Art. Keywords: sculpture, spaciousness, Ingo Glass, constructivism, Concrete Art. "
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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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Doronina, Tatiana V. "EUGENE LANCERAY’S EQUESTRIAN STATUES: THE ROYAL FALCONER OF THE 16TH CENTURY AND KYRGYZ WITH A GOLDEN EAGLE". Scientific and analytical journal Burganov House. The space of culture 19, nr 2 (10.04.2023): 53–69. http://dx.doi.org/10.36340/2071-6818-2023-19-2-53-69.
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The article systematises scattered data on the reduplication of two chamber sculptures, The Royal Falconer of the 16th Century (1872) and Kyrgyz with a Golden Eagle (1876), by Eugene Lanceray in larger size. The earliest information about Lanceray’s work in the workshops to reduplicate chamber compositions of equestrian hunters in larger size can be found in the memoirs of his contemporaries, N. Shatilov (1916) and A. Benois (1944-1957). Information not previously mentioned in art criticism literature is given about the display of Lanceray’s equestrian statues, cast in bronze at the F. Chopin factory, at three exhibitions: the World Exhibition in Paris, where they were bought by “a noble Parisian” (1878), the All-Russian Art and Industrial Exhibition in Moscow (1882), Exhibition of Birds of Prey, Dogs and Hunting Accessories in St. Petersburg (1885). In the Nedelya newspaper in 1981, writer I. Kamenkovich reported about two sculptures of horse hunters with falcons, cast in bronze in full size and signed on the base: “Лепил Лансере 1876” (“Sculpted by Lanceray 1876”), located in the Baku Absheron sanatorium. Kamenkovich found out that the sculptures came from Leningrad - they were bought from the funds of the former royal palaces. In 2006, English researcher Geoffrey Walden Sudbury described Lanceray’s equestrian statues (in bronze) located in the French city of Menton, indicating the sizes and signatures: on the base of the sculptures - “Лепилъ Е. Лансере” (“Sculpted by Lanceray”), on pedestals - “Lanceray, fauconnier d’Ivan Grosney Don de Moncieu Maurice Malpart 1903” (“Lanceray, Falconer of Ivan the Terrible, gift of Monsieur Maurice Malpart, 1903”) on one, and “Don de Mme Maurice Malpart neé Mercier 1903” (“Gift of Madame Maurice Malpart, born Mercier, 1903”) on another. Historical information suggested that it was Maurice Malpart who was the noble Parisian who had bought the sculptures in 1878 at an exhibition in Paris; then in 1903, the sculptures were donated to Menton. According to the information received by the Azerbaijan National Museum of Art in Baku, there are two equestrian statues (in bronze) that came to the museum in 2000 - Falconry and Falconry (Kyrgyz) with the author’s signature and date on both: “лъпиль лансере 1876”. Archival materials of art historian N. Sobko allow us to clarify the century (16th) in the name of the sculpture of the royal falconer. The equestrian figures of falconers with birds of prey on their arms, made close to life size, are considered as a garden and park version of a monumental and decorative sculpture.
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Perović, Miloš, i Jean Gottmann. "An interview with Jean Gottmann on urban geography". Ekistics and The New Habitat 70, nr 420/421 (1.08.2003): 140–46. http://dx.doi.org/10.53910/26531313-e200370420/421280.
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The author is Professor of History of Modern Architecture at the Faculty of Architecture, University of Belgrade, received his M.Sc in architecture and town-planning in Belgrade and at the Athens Center of Ekistics, Athens, Greece, and his Ph. D at the Faculty of Architecture, University of Belgrade. He is the author of many books including Computer Atlas of Belgrade (Belgrade, 1976, second edition in Serbian and English as Research into the Urban Structure of Belgrade, Belgrade, 2002), Lessons of the Past (Belgrade, 1985), four volumes on the history of modern architecture in the world 1750 to present, Serbian 20th Century Architecture: From Historicisim to Second Modernism (Belgrade, 2003), and numerous articles published in scientific and professional journals. He has had one-man exhibitions of his experimental town-planning projects in Ljubljana (1977), Zagreb(1978), Belgrade (1978), Paris (1981), Dublin (1981), and at the Gallery of the Royal Institute of British Architects in London (1986). He has lectured at New York University, the Institute of Fine Arts (New York), Princeton University, Columbia University (New York), Ohio State University (Columbus), Athens Center of Ekistics, University of Cambridge (UK), and the Royal Institute of British Architects. The text that follows was one of several interviews of Dr Perovió with selected participants in the Delos Symposia (international meetings on boardship organized by the Athens Center of Ekistics, 1963-1972) first published in the journal Sinteza (Ljubljana) and later in a separate book entitled Dialogues with the Delians in both Serbian and English, Ljublijana, 1978.
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Zolotova, Maria B. "Attribution of Decorative Marble Papers in the Study of Russian Binding of the 18th — early 20th centuries: Problems and Solutions". Bibliotekovedenie [Russian Journal of Library Science] 70, nr 1 (1.06.2021): 89–99. http://dx.doi.org/10.25281/0869-608x-2021-1-1-89-99.
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An important stage in the study and attribution of the Russian binding of the 18th — early 20th century is the description of the flyleaf and other elements of decorative paper. First of all, this applies to paper with marble drawings (marble paper), found in the Russian book since the 18th century. Modern researchers of Russian binding of the 18th — early 20th centuries face a number of problems related to the lack of literature on the topic, including methodological and reference, the lack of specialized collections and exhibitions of decorative paper in Russia and the lack of development in the domestic book science of the terminology for describing the binding materials. This article substantiates the need to create the nomenclature of drawings and link them to a certain chronological period. The author analyses three main groups of problems: terminological, systematization of marble drawings and their chronological correlation, problems of describing paper as a material. The first group includes different interpretations of term and unclear definition of many terms; phenomena of synonymy and polysemy when using particular names of drawings (patterns). Not only historians of the book, but also librarians, restorers, masters of individual binding, second-hand booksellers and bibliophiles have their own independently formed professional dictionary, which gives place to decorative papers. This inconsistency is reinforced by borrowing French, German and English terms, which, in turn, can also be duplicated. The author notes that systematization of decorative papers with marble drawings can be based on the methods of its colouring, but such a technological approach is not sufficient to describe a specific sample of marble paper. The article shows that various patterns periodically gained and lost popularity, then returned to bookbinding practice, but with a number of characteristic changes and additions. Correct description of the paper in binding is impossible without determining its origin (Russian/foreign), the method of production and colouring (manual/machine) and the specific properties of the material itself. At the same time, there are no methods and schemes for describing decorative paper grades. The article highlights that the development of such method will help to significantly narrow the chronological framework when attributing the binding.
Książki na temat "Sculpture, English – 20th century – Exhibitions"
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Gallery, Tate, red. St Ives, 1939-64: Twenty-five years of painting, sculpture, and pottery. London: Tate Gallery Pub., 1996.
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Henry, Moore. Henry Moore: Complete sculpture, volume 6, sculpture 1980-86. London: Lund Humphries, 1988.
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Henry, Moore. Henry Moore: Complete sculpture. London: Lund Humphries, 1988.
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Henry, Moore. Henry Moore: Complete sculpture. Wyd. 3. London: Lund Humphries, 1986.
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Henry, Moore. Henry Moore: Complete sculpture. London: Lund Humphries, 1988.
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Perrell, Franklin Hill, i Constance Schwartz. 20th century sculpture: March 28, 1999-May 31, 1999. Roslyn Harbor, N.Y: Nassau County Museum of Art, 1999.
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Henry, Moore. Henry Moore: Sculpture and drawings. Wyd. 2. London: Lund Humphries, 1986.
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Henry, Moore. Henry Moore: An exhibition of sculptures and graphics. Manchester: Manchester Artists Studio Association, 1987.
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Kosinski, Dorothy M. Per Kirkeby: Paintings and sculpture. New Haven: Yale University Press, 2012.
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Kashey, Elisabeth. European paintings, drawings and sculpture: 19th and early 20th century. New York: Shepherd Gallery, 1992.
Znajdź pełny tekst źródłaCzęści książek na temat "Sculpture, English – 20th century – Exhibitions"
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Poddubtsev, Ruslan A. "The Newspaper Nov’ and the Supplement Utrennij Telefon “Novi”: List of Contents". W Russian Literature and Journalism in the Pre-revolutionary Era: Forms of Interaction and Methodology of Analysis, 562–681. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/978-5-9208-0661-1-562-681.
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This work is a list of the contents of the daily newspaper Nov’, as well as the accompanying supplement Utrennij telefon “Novi”. The objects of attention were publications that touch upon topics related to literature, music, painting, theater, architecture, sculpture and philosophy. The pages of a relatively short-lived newspaper reflected, in particular, such events as the arrival in Moscow of F. Marinetti, H. Wells, G. Kogan, the protest actions of European suffragettes, the exclusion of V. Rozanov from the Religiousphilosophical society, the centenary anniversary of T. Shevchenko, the return of M. Gorky to Russia and exhibitions of avant-garde artists. This indicates that the Nov’ newspaper can be used as a valuable source for the study of Russian culture at the beginning of the 20th century.
Raporty organizacyjne na temat "Sculpture, English – 20th century – Exhibitions"
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Paradox and Coexistence: Latin American Artists, 1980 - 2000. Inter-American Development Bank, styczeń 2002. http://dx.doi.org/10.18235/0005931.
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The show represents a number of artistic trends developed by Latin American artists during the last two decades of the 20th Century. An assortment of works in different media¿oil on canvas, acrylics, rusted steel, photography, video, photography collage, ceramic, cedar wood and ropes, and paper sculpture¿provides a general view of the latest art trends in Latin America. The exhibit complements the book ¿Art of Latin America, 1981-2000¿ by Colombian Professor Germán Rubiano Caballero, which was launched in English and Spanish. Galleries and artists from Latin America and the United States collaborated with the exhibit.