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Dobrota, Snježana, Ina Reić Ercegovac e Katija Kalebić Jakupčević. "The Relationship between Multicultural Effectiveness and Artistic Preferences". Psihologijske teme 32, n.º 1 (21 de abril de 2023): 143–61. http://dx.doi.org/10.31820/pt.32.1.8.
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This research explored students’ artistic preferences for musical and visual arts (paintings) from different world cultures, outside the dominant Western European and Anglo-Saxon art field. The main goal of the research was to examine the possibility of predicting these preferences based on multicultural personality traits, within the concept of multicultural effectiveness. A total of 427 participants took part in the study. The following instruments were used: General Data Questionnaire, Multicultural Personality Inventory, Musical Preferences Questionnaire, and Painting Preferences Questionnaire. The results indicated a significant correlation between age and musical preferences, as well as between artistic experience (attending theatre productions and art exhibitions) and musical/painting preferences. Among the multicultural personality traits, only open-mindedness and cultural empathy positively correlated with artistic preferences. Results of regression analysis in which preferences were used as criteria showed that, after demographics of participants and their artistic experience have been controlled for, open-mindedness positively predicted musical and painting preferences, while both open-mindedness and cultural empathy proved to be significant positive predictors of painting preferences. Other significant predictor for both preferences was attending art exhibitions. Musical preferences were related with older age, while vocational high school education predicted higher preferences for paintings. Although predictors explained relatively small amount of criterion variance, the obtained results confirmed that multicultural personality dispositions have little, but significant contribution to world artistic preferences.
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Stavila, Tudor. "Teodor Buzu's extemporaries: light and singularity". Akademos, n.º 2(69) (outubro de 2023): 177–81. http://dx.doi.org/10.52673/18570461.23.2-69.21.
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A notorious representative of the contemporary Bessarabian artistic diaspora, Teodor Buzu is a well-known name in the Romanian and Central European artistic scene. Having settled for over three decades in Tabor in the Czech Republic, the artist takes part with devotion in exhibitions in the Republic of Moldova and in European countries. He is a versatile artist, working in watercolour, easel painting, graphic design, ceramics, monumental painting, and book graphics. He is a member of the Volary Group, together with his friends, the Czech painters Pavel Klima and Vit Pavlik, sharing a passion for experimentation and a common vision of creation and its role in the modern world. In July 2023, the Volary Group was hosted by the National Art Museum of Moldova with the exhibition Ex tempore/ Improvizații.
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Bakaryagin, Stepan S. "Exhibitions of Soviet fine art in 1930 in the reviews of the foreign press". Vestnik Yaroslavskogo gosudarstvennogo universiteta im. P. G. Demidova. Seriya gumanitarnye nauki 15, n.º 4 (20 de dezembro de 2021): 498–505. http://dx.doi.org/10.18255/1996-5648-2021-4-498-505.
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The article examines the reviews of the German, Austrian and Swedish periodicals about some exhibitions of Soviet fine art held in 1930. On the basis of archival materials, the attitude of the foreign press to the Soviet exhibition projects in Berlin, Vienna and Stockholm is analyzed. The influence of the political orientation of periodicals on the assessment of the plots of the works of Soviet artists is emphasized. When characterizing the painting technique and compositional structure of the works, critics pointed to their continuity from the Western European tradition. Soviet graphics and sculpture made a positive impression. Critics associated the artistic successes mainly with the masters of the old Russian school.
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Siemianowski, Jordan. "Exhibitions of Polish Avant-garde Artists in Denmark, Finland, and Norway in 1967, 1985, and 1986 as an Element of the Cultural Policy of the Polish People’s Republic". Res Historica 56 (21 de dezembro de 2023): 995–1026. http://dx.doi.org/10.17951/rh.2023.56.995-1026.
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During the Cold War, the authorities of the Polish People’s Republic tried to use the native culture to maintain relations with Western European countries, trying to establish a warmer image of Poland in the international arena. An important role in this activity was played by Polish avant-garde painting, presenting a high artistic level and recognition abroad, including in the Nordic area. The aim of the article is to explain the influence of the Polish People’s Republic’s foreign policy on the exhibitions of Polish abstract painting in Denmark, Norway, and Finland in 1967, 1985, and 1986. The research postulate was implemented through the analysis of previously unused file sources from the State Archives in Łódź, as well as articles from the press of Nordic items stored in the Museum of Art in Łódź. Confronting these materials with the literature on the subject made it possible to examine the specificity of the presented exhibitions against the background of the international situation.
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Qafarova, Gunay N. "Azerbaijan National Museum of Art: On the history of foundation". Issues of Museology 13, n.º 2 (2022): 214–30. http://dx.doi.org/10.21638/spbu27.2022.205.
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The article briefly gives the history of the creation of the Azerbaijan National Museum of Art, one of the largest museums in the country. The museum has a rich collection of Russian, Western European, Eastern and Azerbaijani art. The collection has been formed throughout the existence of the museum, but its foundation was laid back in the Azgosmusey. A certain part of the collection is made up of exhibits transferred to the museum during the USSR period, a cultural policy that relied on the education of the masses, regardless of nationality and region. A descriptive description of the exhibition activities of the museum is given, in which both collections of Russian and foreign museums were exhibited in different years. In various years, the museum hosted exhibitions of the fraternal republics, as well as China, India, Iran. After each exhibition, the museum’s collection was replenished with new exhibits. The museum constantly held and held personal exhibitions of representatives of various schools of painting in Azerbaijan. The country’s artists are proud that their paintings are exhibited and stored in one of the country’s major museums. In the context of the article, a special place is given to the work of the first theater artist R.Mustafayev, whose name the museum bore for many decades, and whose works are kept in his collection. Unfortunately, the name of this talented artist is little known to the younger generation, although his contribution to the development of national scenography and the protection of architectural monuments is invaluable. Thanks to his artistic flair, the performances “Koroglu” and “Arshin Mal Alan” designed by him have been successfully staged on the stage of various theaters. Тhe analysis of his work is an important thematic contribution to the history of the study of the Azerbaijan National Museum of Art.
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Hnidyk, Iryna. "ICONS OF THE MOTHER OF GOD IN THE CULTURAL HERITAGE SPACE OF ROME". Ethnic History of European Nations, n.º 68 (2022): 14–21. http://dx.doi.org/10.17721/2518-1270.2022.68.02.
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The images of the Mother of God in Italy represent a significant part of the cultural heritage of European and world sacred art and icon painting of various chronological periods and stylistic features. A special place in this dimension belongs to the icons of the Mother of God in Rome. Ever since the first centuries, images of the Virgin have been represented in the paintings of the Roman catacombs. The iconographic heritage of Rome represents different periods and a unique interweaving of styles. Over the centuries, ancient icons of the Mother of God have been kept in Rome, made both in the technique of encaustic, tempera, and later in oil painting. Many images of the Mother of God in Rome represent the original samples of the Byzantine style of icon painting of various origins and the works of masters of the Italian artistic environment at the intersection of Western and Eastern artistic styles. A significant number of these icons are crowned and have the status of miraculous. Some of the most ancient and famous icons of the Mother of God in Rome are «Salus Populi Romani», «Madonna del Conforto», «Madonna Avvocata», «Madonna della Clemenza», «Madre del Perpetuo Soccorso», «Santa Maria del Popolo», «Madonna della Catena», «La Madonna dei Martiri» and others. Common iconographic types are Hodegetria, Agiosoritissa, Kyriotissa, Galaktotrofusa, etc. Often, these icons have several Italian-language names, which must be considered when choosing methodological tools for historiographical analysis. The article provides a general overview of the heritage of the icons of the Mother of God in Rome based on the most famous of them. English-language and Italian-language historiography was analyzed to model further relevant research directions in developing this topic by modern specialists in an interdisciplinary context. It is emphasized that in the churches of Rome, there are still many less-known and less-researched icons of the Mother of God, particularly in terms of stylistic features and painting techniques. Their detailed study and analysis of sources can effectively fill this niche in historiography and become an interesting topic for modern interdisciplinary research in the field of history, icon painting, art, restoration, and cultural heritage, as well as the basis of original concepts for exhibitions, photo catalogs, new excursion routes, etc.
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Gołubiew, Zofia. "THE POET OF ART – JANUSZ WAŁEK". Muzealnictwo 59 (5 de outubro de 2018): 215–18. http://dx.doi.org/10.5604/01.3001.0012.6141.
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On the 8th of July 2018 died Janusz Wałek, art historian, museologist, pedagogue, born in 1941 in Bobowa. He graduated from the Jagiellonian University, the history of art faculty. In 1968, he started working in the Czartoryskis’ Museum – Branch of the National Museum in Krakow, where some time after he became a head of the European Painting Department for many years. He was a lecturer at the Fine Arts Academy, the National Academy of Theatre Arts and the Jagiellonian University in Krakow. He wrote two books and numerous articles about art. He was also a poet, the winner of the Main Prize in the 1997 edition of the General Polish Poetry Competition. He was a student of Marek Rostworowski, they worked together on a number of publicly acclaimed exhibitions: “Romanticism and Romanticity in Polish Art of the 19th and 20th centuries”, “The Poles’ Own Portrait”, “Jews – Polish”. Many exhibitions and artistic shows were prepared by him alone, inter alia “The Vast Theatre of Stanisław Wyspiański”, presentations of artworks by great artists: Goya, Rafael, Titian, El Greco. He also created a few scenarios of permanent exhibitions from the Czartoryskis’ Collection – in Krakow and in Niepołomice – being a great expert on this collection. “Europeum” – European Culture Centre was organised according to the programme written by him. He specialised mostly, although not exclusively, in art and culture of the Renaissance. Janusz Wałek is presented herein as a museologist who was fully devoted to art, characterised by: creativity, broad perception of art and culture, unconventional approach to museum undertakings, unusual sensitivity and imagination. What the author of the article found worth emphasising is that J. Wałek talked and wrote about art not only as a scholar, but first of all as a poet, with beauty and zest of the language he used.
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Storchai, Oksana. "Create in Me a Pure Heart, O God, And Renew a Steadfast Spirit within Me: On Some New Details of Creative Biographies of Sisters Olena and Olha Kulchytska (From Archival Materials)". Folk art and ethnology, n.º 1 (2023): 80–90. http://dx.doi.org/10.15407/nte2023.01.080.
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The article’s purpose is to publish interesting and significant archival materials, introduced into scientific circulation for the first time, namely: Biographical Data, Recorded from O. L. Kulchytska in September 1–3 1947 in the Sanatorium “Syniak” in Transcarpathia; Olena Kulchytska’s Autobiography of the 1940s old and an excerpt from a S. Butnyk-Siverskyi’s archival encyclopedic entry about his participation in Olena Kulchytska’s exhibitions up to and including 1947, accompanied by an introductory article and commentary. These archival documents will be interesting and useful in further research of creative biographies of the mistresses. The materials are stored at the Department of Visual and Applied Arts of the M. Rylskyi Institute of Art Studies, Folkloristics and Ethnology (National Academy of Sciences of Ukraine) and are published with keeping to authorial style, spelling, and punctuation with minor correcting. The creation of the sisters Olena Lvivna Kulchytska (1877–1967) and Olha-Melaniia Lvivna (1873–1940) Kulchytska occupies a prominent, significant place in the history of domestic art and organically fits into the context of European art. Natural talent, intelligence, brilliant knowledge of their craft, artistic taste, ability to emanate their own refined and unique world, their attitudes to art, dignity of soul and intentions – these are the features that were inherent in both sisters. The range of Olena Kulchytska’s creative heritage is wide and well-known among specialists, educated public, and admirers of fine arts. The artist successfully worked in various kinds of art: graphic art, painting, and applied arts. A gifted draftsman, watercolourist, aquafortist, and illustrator, in particular of children’s books, it is she who is associated with the revival of woodcutting and linocutting techniques in domestic art. Olena Kulchytska worked in the portraiture, genre painting, landscape painting, as well as in the genre of religious painting (she created a unique iconostasis); she was engaged in art weaving, modelling and designing of clothes, furniture, and architectural décor. In addition, she made sketches for ceramics and carpets. Known for her wonderful enamels, the mistress also worked in the fields of metal, small-scale sculpture, and jewellery. Olena Kulchytska devoted a lot of time to teaching and ethnography. Her intense exhibition activity is also impressive. Olha Kulchytska is a renowned mistress of decorative and applied arts, a carpet weaver; she was also engaged in pedagogical practice. Together with her sister, she created distinguished works of carpet art. Certainly, the archival materials now published should greatly complement creative biographies of the mistresses, mostly Olena Kulchytska, with new details.
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Sokolyuk, L. "Ladislav Trakal’s Art and Crafts Workshop of Decorative Painting in Kharkiv (1899–1921)". Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2020, n.º 3 (dezembro de 2020): 62–72. http://dx.doi.org/10.33625/visnik2020.03.062.
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The article attempts to outline the activities of Kharkiv art and craft workshop of decorative painting, headed by a Czech creator Ladislav Trakal in 1899. The introduction of some new archival documents into scientific circulation showed that there was a close connection between the pedagogical system of Rayevska‑Ivanova’s school, founded in 1869, and Trakal’s decorative‑handicraft workshop. The 4‑year industrial art school in Prague, which Trakal graduated from in 1896, did not have the status of a higher art institution at that period of time. When Trakal arrived in Kharkiv and headed the decorative‑handicraft workshop, which was housed in an edifice that Colonel Borodaevsky devised to Kharkiv Society for the Dissemination of Literacy, Trakal got on a well‑worked ground, which was prepared by Rayevska‑Ivanova. In 1869 this outstanding person, the first woman‑artist with a European level education and a diploma from St. Petersburg Academy of Arts in Russian Empire, founded an industrial art school in Kharkiv. Later, in 1896 she was forced to leave teaching at her school due to a complete loss of vision. However, the need for specialists of this profile did not disappear. Kharkiv was experiencing a real construction boom, and decorators, one of whom Trakal was, were in great demand. Although Trakal’s workshop did not become as multidisciplinary as Raevska‑Ivanova’s school, it used a lot of the pedagogical system developed by the founder of industrial art education in Kharkiv, to its advantage. Trakal’s workshop gave its students an initial industrial art education, prepared them for the activity in decorative painting. Unlike Rayevska-Ivanova who taught free of charge in her private school for more than 27 years, trying to lay solid foundation of industrial art education in Kharkiv, Trakal turned out to be a rather enterprising person. He successfully completed highly paid orders for the decoration of buildings in Kharkiv and also opened his own private studio. Having a good command of Russian, Trakal easily entered Kharkiv’s artistic life. He actively participated in exhibitions, where he showed his paintings, made in the Art Nouveau Style with an enhanced symbolist sound. However, the question remains about how bright and original this artist was in comparison with artists from other Ukrainian cities (M. Zhuk, Yu. Mykhailiv, M. Sapozhnikov). Similarly, the contribution of other art institutions to the development of some of Trakal’s students who eventually became famous masters, also requires further studying.
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Jeep, John M. "Painting the Page in the Age of Print: Central European Manuscript Illumination of the Fifteenth Century, ed. Jeffrey F. Hamburger, Robert Suckale, and Gude Suckale-Redlefsen, trans. David Sánchez Text · Image · Context: Studies in Medieval Manuscript Illumination, 4 Studies and Texts 208. Toronto: Pontifical Institute of Mediaeval Studies, 2018, pp. XXXIII, 329." Mediaevistik 31, n.º 1 (1 de janeiro de 2018): 450–52. http://dx.doi.org/10.3726/med012018_450.
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Under the somewhat different, certainly intentionally punning title, Unter Druck: Mitteleuropäische Buchmalerei im Zeitalter Gutenbergs / Under Pressure / Printing […] in the Age of Gutenberg, this volume first appeared in German (Lucerne: Quaternio, 2015) to accompany a series of twelve different exhibitions of largely fifteenth-century book illumination across Central Europe. The exhibitions in Germany, Austria, and Switzerland were held, in part overlapping, from September 2015 – March 2017. They were bookended by exhibits in Vienna and Munich (for the latter, see Bilderwelten. Buchmalerei zwischen Mittelalter und Neuzeit. Katalogband zu den Ausstellungen in der Bayerischen Staatsbibliothek vom 13. April 2016 bis 24. Februar 2017, ed. Jeffrey F. Hamburger et al. Buchmalerei des 15. Jahrhunderts in Mitteleuropa, 3 (Lucerne: Quaternio, 2016). For each of ten somewhat smaller exhibitions a catalogue of uniform size and format was produced; they are, according to the publisher, already out of print. The three editors of the more comprehensive collection, Painting the Page, penned contributions that complement Eberhard König’s study, “Colour for the Black Art,” which traces <?page nr="451"?>the development of ornamentation to the Gutenberg and following printed Bibles. Early printed Bibles, in Latin or in the vernacular, tended only to provide space for initial and marginal, as opposed to full page illumination. These admittedly limited artistic accomplishments often allow for more precise localization of incunabula than other available resources. At the same time, differences and even misunderstandings – such as failure to follow instructions to the illuminator – on occasion lead to fruitful cultural analysis. Finally, printed copies that were never adorned were sometimes in the past thought to be superior, untouched, as it were, by the artistry of the ‘old’ manuscript world. König argues that the study of early printed books, and especially the illuminations they contain, should be celebrated not only as ancillary scholarship, but also as a discipline in its own right.
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Belting, Hans. "The Museum of Modern Art and the History of Modernism". Nka Journal of Contemporary African Art 2020, n.º 46 (1 de maio de 2020): 100–114. http://dx.doi.org/10.1215/10757163-8308222.
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Right from its opening in 1929, the Museum of Modern Art (MoMA) recreated modern art as a new myth that was rescued from European history and thus became accessible as an independent value for an American audience. Paradoxically, the myth stemmed from the opinion that modern art’s history seemed to have expired in pre-war Europe. Upon MoMA’s completion of a major expansion project in 2004, there was considerable anticipation about how the museum would represent its own history and raise its profile in a new century. As it turned out, the museum opted for a surprisingly retrospective look, since its curators were tempted to exhibit its own collection, so unique up until the sixties, in the new exhibition halls. This launched a dilemma for MoMA, as it became a place for past art with little space for new art. In an in-depth analysis of what constitutes “modern” art in the context of the preeminent questions circulating in the art world during this time—When was modern art? and Where was modern art?—the author presents a focused chronology of the administration of MoMA under the museum’s first director, Alfred Hamilton Barr Jr. (1929–43), and, later, William Rubin, director of the Department of Painting and Sculpture (1968–88), with regard to their influence on the museum’s mission, exhibitions, and international profile. The author concludes with commentary on contemporary changes in art geography and contemplation on the effect on artists of the emergence of a global art market.
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Roberts, Jodi. "Diego Rivera: Moscow Sketchbook". October 145 (julho de 2013): 85–114. http://dx.doi.org/10.1162/octo_a_00149.
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Diego Rivera made the following sketches during a seven-to-eight-month stay in the Soviet Union between 1927 and 1928. A prominent member of the Partido Comunista de México (Communist Party of Mexico), Rivera traveled to Moscow to participate in the tenth-anniversary celebrations of the 1917 Revolution. Word of Rivera's dedication to muralism as a politically potent art form preceded his arrival, and he quickly became embroiled in debates about Soviet art's ideological aims and physical characteristics. He lectured on monumental painting at the Komakademiia (Communist Academy) and joined the Oktiabr' (October) group, a body of artists—many former Constructivists—working in varied media but united in their rejection of easel painting in favor of works intended for public display and mass audiences. Rivera also received a commission from Anatolli Lunacharsky, the first Soviet Commissar of Enlightenment, for a fresco cycle (ultimately unrealized) at the Red Army's headquarters. As Maria Gough argues in this issue, the group of drawings, long assumed to be from a single notebook, is likely an amalgamation of sketches created during two distinct events, the tenth-anniversary celebrations in November 1927 and the May Day festivities of the following year. Rivera's sketches capture his reaction to these officially mandated public demonstrations—spectacles so large in scale that they defined a new type of mass political event. In January 1928, Rivera met two young American scholars—Alfred H. Barr Jr. and Jere Abbott, the future director and associate director of the Museum of Modern Art, New York, respectively—who were on the Russian leg of a European tour designed as an education in contemporary artistic developments. The three met regularly, visiting exhibitions and the studios of Moscow-based artists. The fruits of this unlikely friendship between a radical art-world celebrity and two fledgling art historians were seen in Rivera's one-man show at MoMA in the winter of 1931–32, a blockbuster that decimated the young museum's existing attendance records. In support of the exhibition, Abby Aldrich Rockefeller, a founding trustee of the Museum, purchased the sketches to help defray the cost of the artist's stay in New York. She donated the works to MoMA in 1935.
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Maistruk, N., e L. Kravchenko. "TRAINING OF DECORATIVE AND APPLIED ARTS SPECIALISTS IN EDUCATIONAL INSTITUTIONS OF UKRAINE: HISTORICAL ASPECT". Ukrainian professional education, n.º 8 (25 de novembro de 2020): 121–27. http://dx.doi.org/10.33989/2519-8254.2020.8.239466.
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The paper examines the historical aspects of the development specialists in decorative and applied arts training in Ukraine on the example of porcelain production (late 18th century - today) and its current state abroad. In line with the issue of introduction of this direction of decorative and applied art in our country, examples of its flourishing in the cities of Koret (production of baroque Meissen porcelain), Baranivka, Hrodnytsia, Dovbysh (Iliinskyi Manufactory, Markhlov Factory, Dovbysh Porcelain Factory, Polonsky Porcelain Factory); Poltava, Boryslav, Sumy, Ternopil (opening of porcelain factories in 1965) are characterized. It has been found that along with the foundation and development of porcelain industries there were professional schools focused on training skilled craftsmen to work in the factory, in particular schools in Kyiv, Lviv, Kharkiv; Myrhorod Art and Industrial School in Poltava region, etc.). Training of specialists in pottery and porcelain, teachers of graphic arts and painting, masters of artistic decoration of products, etc., who were ready to perform significant amounts of physical work, namely making tiles, bulk utensils, decorating the facades of churches, houses, fireplaces, sculptures, ornaments, and exterior, is analyzed. Activities of famous artists such as S. Maslenikov, O. Slastion, V. Krychevsky are described; characteristics of outstanding works and participation in exhibitions are revealed.
It is determined that the best traditions of training specialists are preserved in modern Ukraine. But porcelain production has declined and is virtually absent; products made in small businesses are souvenirs, they can not always be conveniently used as utensils. A conclusion has been made on the need to use European manufacturers who have maintained mass porcelain production and train a significant number of skilled workers.
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Grzybkowska, Teresa. "PROFESSOR ZDZISŁAW ŻYGULSKI JR.: AN OUTSTANDING PERSON, A GREAT PERSONALITY, A MUSEUM PROFESSIONAL, A RESEARCHER ON ANTIQUE WEAPONS, ORIENTAL ART AND EUROPEAN PAINTING (1921–2015)". Muzealnictwo 58, n.º 1 (13 de fevereiro de 2017): 2–13. http://dx.doi.org/10.5604/01.3001.0009.5602.
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Professor Zdzisław Żygulski Jr. (1921–2015) was one of the most prominent Polish art historians of the second half of the 20th century. He treated the history of art as a broadly understood science of mankind and his artistic achievements. His name was recognised in global research on antique weapons, and among experts on Rembrandt and Leonardo da Vinci. He studied museums and Oriental art. He wrote 35 books, about 200 articles, and numerous essays on art; he wrote for the daily press about his artistic journeys through Europe, Japan and the United States. He illustrated his publications with his own photographs, and had a large set of slides. Żygulski created many exhibitions both at home and abroad presenting Polish art in which armour and oriental elements played an important role. He spent his youth in Lvov, and was expatriated to Cracow in 1945 together with his wife, the pottery artist and painter Eva Voelpel. He studied English philology and history of art at the Jagiellonian University (UJ), and was a student under Adam Bochnak and Vojeslav Molè. He was linked to the Czartoryski Museum in Cracow for his whole life; he worked there from 1949 until 2010, for the great majority of time as curator of the Arms and Armour Section. He devoted his whole life to the world of this museum, and wrote about its history and collections. Together with Prof. Zbigniew Bocheński, he set up the Association of Lovers of Old Armour and Flags, over which he presided from 1972 to 1998. He set up the Polish school of the study of militaria. He was a renowned and charismatic member of the circle of international researchers and lovers of militaria. He wrote the key texts in this field: Broń w dawnej Polsce na tle uzbrojenia Europy i Bliskiego Wschodu [Weapons in old Poland compared to armaments in Europe and the Near East], Stara broń w polskich zbiorach [Old weapons in Polish armouries], Polski mundur wojskowy [Polish military uniforms] (together with H. Wielecki). He was an outstanding researcher on Oriental art to which he dedicated several books: Sztuka turecka [Turkish art], Sztuka perska [Persian art], Sztuka mauretańska i jej echa w Polsce [Moorish art and its echoes in Poland]. Prof. Zdzisław Żygulski Jr. was a prominent educator who enjoyed great respect. He taught costume design and the history of art and interiors at the Academy of Fine Arts in Cracow, as well as Mediterranean culture at the Mediterranean Studies Department and at the Postgraduate Museum Studies at the UJ. His lectures attracted crowds of students, for whose needs he wrote a book Muzea na świecie. Wstęp do muzealnictwa [Museums in the world. Introduction to museum studies]. He also lectured at the Florence Academy of Art and at the New York University. He was active in numerous Polish scientific organisations such as PAU, PAN and SHS, and in international associations such as ICOMAM and ICOM. He represented Polish art history at general ICOM congresses many times. He was also active on diverse museum councils all over Poland.
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Mishurouskaya-Teurtrie, Oksana. "Features of the Development of the Neo-Moorish Style on the Example of Russia and France". Scientific and analytical journal Burganov House. The space of culture 16, n.º 2 (10 de junho de 2020): 70–90. http://dx.doi.org/10.36340/2071-6818-2020-16-2-70-90.
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A comparative analysis of the formation and development of the Neo-Moorish style in the architecture and interiors of France and Russia in the 19th century is presented in the article. How did the interest in studying the architecture of medieval Moors form in these countries? What are the main differences and similarities in the development of the Neo-Moorish style in Russia and France? In the 19th century, the first manifestations of the oriental theme appeared to a large extent owing to the work of writers and artists. The mysterious world of the East became a rich source of new plots, palette, exotic customs, and architectural forms. In parallel with literature and painting, the oriental theme was developing in architecture and interior design, and it would later flourish in copying the Moorish style. Among the monuments of medieval Moors, the Alhambra Palace, built in the Emirate of Granada in the period from the 13th to the 15th centuries, became an architectural model for European architects. The French world exhibitions, on which architectural and historical pavilions were exhibited, were a significant source of the proliferation of the Neo-Moorish style in Europe. Russian architects such as Paul Notbek and Carl Rachau also made a significant contribution to the study of the Alhambra. Recognized both in Russia and in Europe, the results of their work allowed St. Petersburg architects to have original samples of Moorish architecture and to develop this style in many St. Petersburg interiors with a high degree of skill of their work during the peak of historicism development. In the second half of the 19th century, the Moorish style spread throughout Europe and became an international historical oriental style. In each country, borrowings showed their own characteristics and developmental features due to cultural, political, and geographical influence. In France, the Moorish style was actively borrowed not only for interior decoration but also in the construction of public and commercial buildings such as casinos, cafes, thermal stations. In Russia, the Moorish style was used mainly in palaces and mansions of the highest nobility and the bourgeoisie. In France, the Mauresque style took on various forms and had different sources, whereas in Russia it referred mainly to the historical examples of the Alhambra. Thus, France and Russia participated in the pan-European trend of the Neo-Moorish style; however, each country has developed its own variation of this oriental style of the period of historicism.
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Chvyr, L. A. "The Visitor and the East West Jazz". Journal of the Institute of Oriental Studies RAS, n.º 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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Maine, Barry. "The Authenticity of American Realism: Samuel Clemens and George Caleb Bingham “On the River”". Prospects 21 (outubro de 1996): 13–37. http://dx.doi.org/10.1017/s0361233300006475.
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In 1846 in Louisville, Kentucky, John Banvard, a self-taught Missouri painter, exhibited his Three-Mile Painting, a panorama of the Mississippi and Missouri Rivers, painted from hundreds of direct observations and sketches he had executed over a period of many years along the riverbanks. The painting was exhibited by means of a giant pair of rollers upon which the canvas was wound and unwound. Following a successful run in Louisville, the exhibition drew large crowds in Boston and New York City before Banvard capped his triumph with a European tour. In a promotional description of the painting, printed in Boston in 1847 to generate interest in the exhibit, many endorsements testified to the painting's authenticity, including one signed by over one hundred captains and other officers of steamboats who had examined the painting and declared it “correct.” That authenticity and “correctness” were measures of artistic achievement testifies to the premium placed on verisimilitude in art that served as a record of discovery and observation along the American frontier.
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Portús, Javier. "[SPA] PERIFERIA Y PERIFERIAS: ESCUELA ESPAÑOLA Y ESCUELAS LOCALES EN EL MUSEO DEL PRADO (XIX) // PERIPHERY AND PERIPHERIES: THE SPANISH AND LOCAL SCHOOLS IN THE MUSEO DEL PRADO IN THE NINETEENTH CENTURY". Librosdelacorte.es, n.º 5 (29 de maio de 2017): 88–95. http://dx.doi.org/10.15366/ldc2017.9.m5.005.
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Aunque ya se ha hecho frecuente el uso del concepto de "escuela española"de pintura, lo cierto es que se trata de una noción que se extendió relativamente tarde,desde finales del siglo XVIII. Durante un tiempo fue necesario dar visibilidad a loscuadros españoles y reivindicar a sus autores, que habían ocupado un lugar marginalen el imaginario de la pintura europea. El estudio de los criterios expositivos y de lapolítica de adquisiciones en las primeras décadas de vida del Museo del Pradopermite corroborar, por una parte, ese estado de marginalidad, y, por otra, conocercómo la institución adquirió conciencia del importante papel que le tocaba jugar en lareivindicación de la pintura española.PALABRAS CLAVE: escuela española, museo, pintura ** Even though the concept of a “Spanish School” of painting is now acommonplace, it developed rather late, from the end of the eighteenth century. For atime it was necessary to give Spanish paintings greater visibility and to champion theirauthors, since they had to date occupied a marginal place in the wider context ofEuropean painting. From analyzing the criteria for exhibitions and acquisition policiesin the first decades of the Museo del Prado, it is possible to gauge, on the one hand,the marginal situation of the school and, on the other, how the institution acquired agreater awareness of the importance of its role in championing Spanish painting.KEY WORDS: Spanish school, Prado Museum, painting
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Borozan, Igor. "Simbolistički opus Mihe Marinkovića i njegova recepcija u srpskoj sredini". Ars Adriatica 9 (28 de fevereiro de 2020): 133–50. http://dx.doi.org/10.15291/ars.2928.
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The paper analyses the symbolist works in the under-researched opus of painter Miho Marinković. Trained at the Munich Academy of Fine Arts, he is primarily known as a painter of intricate themes that can be categorized as late 19th-century symbolism. In 1904, he settled in Belgrade and became an active participant in the cultural scene of the Serbian capital. In 1911, Marinković’s paintings were exhibited in the Pavilion of the Kingdom of Serbia at the International Exhibition in Rome. His symbolist oeuvre covers the standard themes of symbolist painting, such as Medusa, Lucifer, or The Sinner, which speaks both of the artist’s personality and of the eclectic turn of the century. Symbolism in Marinković’s work reflects his training in Munich, which in the late 19th and early 20th centuries was the European centre of somnambular themes and artistic experiments. In this paper, his oeuvre has been considered in the context of general symbolist structures, with particular references to the Munich symbolism. Some reviews of Marinković’s symbolist paintings have been pointed out, which testify to the history of the reception of his work in the Kingdom of Serbia in the early 20th century. The positive reception of Marinković’s paintings in the Serbian setting is evident from the fact that as many as thirty-five of his works have been included in the holdings of the National Museum in Belgrade.
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Сюн, П. "“Farmer's Hope”: exhibition of Chinese artist Wang Shenglie in Shenyang". Iskusstvo Evrazii [The Art of Eurasia], n.º 1(32) (30 de março de 2024): 254–67. http://dx.doi.org/10.46748/arteuras.2024.01.018.
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В статье представлен аналитический обзор выставки одного из выдающихся китайских художников Ван Шэнлe «Крестьянская надежда», состоявшейся в октябре-ноябре 2023 года в Академии изящных искусств Лу Синя в городе Шэньян. Экспозиция была посвящена столетию мастера и вызвала огромный резонанс в китайском художественном мире, став одним из крупнейших событий культурной жизни Китая 2023 года. Автор статьи подробно освещает выставку картин Ван Шэнлe с целью ввести в научный оборот новые материалы и предложить перспективы изучения творчества этого живописца. Новизна исследования заключается в том, что творчество Ван Шэнлe рассмотрено с точки зрения сочетания представлений китайской традиционной философии и живописи, с одной стороны, и европейской культуры, с другой. Автор использует методы интервьюирования, искусствоведческого анализа, сравнения и обобщения для выявления вклада Ван Шэнлe в развитие китайского искусства. The article presents an analytical review of the exhibition of one of China's most prominent artists Wang Shenglie “Farmer's Hope”, held in October-November 2023 at the Lu Xun Academy of Fine Arts in Shenyang. The exhibition was dedicated to the master's centenary and caused a huge resonance in the Chinese art world, becoming one of the biggest events of China's cultural life in 2023. The author of the article examines the exhibition of Wang Shenglie's paintings in detail in order to introduce new materials into the scientific turnover and offer prospects for studying the work of this painter. The novelty of the study lies in the fact that Wang Shenglie's work is examined from the point of view of combining the ideas of Chinese traditional philosophy and painting, on the one hand, and European culture, on the other. The author uses the methods of interviewing, art history analysis, comparison and generalisation to reveal Wang Shenglie's contribution to the development of Chinese art.
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Dekova, Galina. "Nikolay Raynov – Beauty with a crystalline structure". Labyrinth 20, n.º 2 (30 de dezembro de 2018): 209. http://dx.doi.org/10.25180/lj.v20i2.156.
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The aim of the paper is to give a glimpse of the syncretism and complexness of the work of Nikolay Raynov and to propose an approach that would show his methods of implication of artistic historical ideas into paintings and works of decorative art. Furthermore, it is a reflection about the 130th anniversary exhibition of Raynov's paintings at the Sofia City Art Gallery1 from the perspective of its historical place in European art and its actual insight.
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Melnik, Natalia D. "In the “Mirror” of Press: Preparation and Conduct of the First “Russian Season” by S. P. Diaghilev (1906)". Vestnik NSU. Series: History and Philology 19, n.º 6 (2020): 48–58. http://dx.doi.org/10.25205/1818-7919-2020-19-6-48-58.
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Purpose. The purpose of this study is to examine the coverage in the Russian and foreign press the preparation and conduct of the first Russian season in Paris (then in Berlin) by S. P. Diaghilev in 1906, which became the beginning of implementation of large-scale activities of impresario in Western Europe, whose main objective was the promotion of almost unknown at the time for the Europeans the Russian art. Results. Quoting the correspondence of artists-friends of Diaghilev, memoirs of contemporaries, publications in the press, as well as modern research, allows the author to assert that the basis of this cultural project of the impresario was the exhibition “Two centuries of Russian painting and sculpture”, where he exhibited ancient Russian icons, works of Russian artists of the 18th century – the first half of the 19th century, as well as paintings by members of the art Association “World of Art” who were the representatives of Russian symbolism and modernism. Conclusion. The studied materials indicate that the success of the first Russian season set the stage for further cultural activities to acquaint Western Europe with a variety of achievements of Russian art and their success among critics and the public.
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Paranyuk, Viktoria. "Painting Light Scientifically: Arkhip Kuindzhi's Intermedial Environment". Slavic Review 78, n.º 2 (2019): 456–80. http://dx.doi.org/10.1017/slr.2019.97.
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In art historical scholarship, inasmuch as he is considered at all, the painter Arkhip Kuindzhi has long been viewed as a peculiar outlier. His landscapes, with their coloristic drama, light effects, and simplified forms, hardly fit the accounts of Russian nineteenth-century painting that focus on the development of the realist school. Questioning the artist's anomalous status, this essay discusses his canvases from the 1870s and 1880s within the broader framework of nineteenth-century popular visual amusements, discourses on realism, and the physiology of vision. Considered through this wider lens—beyond the institution of easel painting and beyond Russia—Kuindzhi is revealed to be an innovator whose approach to painting was profoundly modern and aligned with the aesthetic preoccupations of many west European artists. His painterly pursuits and exhibition practices, furthermore, force a reconsideration of the biases associated with the established narrative of modern art in the west.
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Lopez, Donald S. "“Lamaism” and the Disappearance of Tibet". Comparative Studies in Society and History 38, n.º 1 (janeiro de 1996): 3–25. http://dx.doi.org/10.1017/s0010417500020107.
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At an exhibition in 1992 at the National Gallery in Washington, D.C., “Circa 1492: Art in the Age of Exploration,” one room among the four devoted to Ming China was called “Lamaist Art.” In the coffee-table book produced for the exhibition, with reproductions and descriptions of over 1,100 of the works displayed, however, not one painting, sculpture, or artifact was described as being of Tibetan origin. In commenting upon one of the Ming paintings, the well-known Asian art historian, Sherman E. Lee, wrote, “The individual [Tang and Song] motifs, however, were woven into a thicket of obsessive design produced for a non-Chinese audience. Here the aesthetic wealth of China was placed at the service of the complicated theology of Tibet.” This complicated theology is named by Lee with the term “Lamaism,” an abstract noun that does not occur in the Tibetan language but which has a long history in the West, a history inextricable from the ideology of exploration and discovery that the National Gallery cautiously sought to celebrate. Lee echoes the nineteenth-century portrayal of Lamaism as something monstrous, a composite of unnatural lineage, devoid of the spirit of original Buddhism (as constructed by European Orientialists). Lamaism was a deformity unique to Tibet, its parentage denied by India (in the voice of British Indologists) and by China (in the voice of the Qing empire), an aberration so unique in fact that it would eventually float free from its Tibetan abode, an abode that would vanish.
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Blažič, Milena, e Arburim Iseni. "MAPPING CULTURAL HERITAGE IN AN INTERNATIONAL CONTEXT - THE SLOVENIAN UNIQUE - PAINTED BEEHIVE PANELS (USING ICT IN THE CLASSROOM)". ANGLISTICUM. Journal of the Association-Institute for English Language and American Studies 12, n.º 12 (20 de dezembro de 2023): 11–19. http://dx.doi.org/10.58885/ijllis.v12i12.11mb.
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Republic of Slovenia is the only European Union Member State to have protected its native bee [The Carniolian bee (Apis mellifera carnica)]. Slovenian Ethnographic Museum have preserved about one thousand of original beehive panels and they have permanent online exhibition of painting beehive panels. The academic book on painted beehive panels is based on the collection of the Slovene Ethnographic Museum. Keywords: mapping, cultural heritage, literary culture, painted beehive panels, ICT, Google Maps.
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Zavyalova, Anna E. "Konstantin Somov’s Early Works and Impressionism: A New View on the Issue". Observatory of Culture 18, n.º 4 (11 de outubro de 2021): 409–15. http://dx.doi.org/10.25281/2072-3156-2021-18-4-409-415.
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The article reveals literary (Emile Zola’s novel “L’Œuvre”, Richard Muther’s work “History of Painting in the 19th Century”), literary and artistic (magazines “Mercure de France”, “L’Ermitage”, “La Revue Blanche”, “La Plume”) and artistic (exhibits of the French art exhibition of 1896) sources of Konstantin Somov’s acquaintance with the art of French impressionism at the beginning of his independent activity (before leaving for Paris in the late 1890s). There are also identified sources of phenomena in his work that are similar to impressionism only externally. These issues become the subject of special consideration for the first time. The scientific novelty of the work lies in the fact that it first reveals that the artist did not address to impressionism in the period before his departure to France, as it has been long believed. To study the tasks set, the article involves sources of personal origin (letters and diaries of K.A. Somov and his friend A.N. Benois), as well as A.N. Benois’s articles of the 1890s, published on the pages of the magazine “World of Art”. The author comes to the conclusion that K.A. Somov did not turn to the artistic method of the impressionists in his work at that time, since the information he had been able to get from the identified sources was of a verbal and theoretical nature. Black-and-white reproductions of impressionist paintings in literary and art magazines and in Muther’s “History of Painting in the 19th Century” had not provided sufficient information for the artist. The phenomena similar to impressionism in Somov’s works are based on the study of nature, the heritage of the old European artists, the art of the Barbizonians, J.-F. Millet, W. Turner.
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Pethő, Ágnes. "Between Absorption, Abstraction and Exhibition: Inflections of the Cinematic Tableau in the Films of Corneliu Porumboiu, Roy Andersson and Joanna Hogg". Acta Universitatis Sapientiae, Film and Media Studies 11, n.º 1 (1 de dezembro de 2015): 39–76. http://dx.doi.org/10.1515/ausfm-2015-0015.
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Abstract The paper proposes to focus on the multiple affordances and intermedial aesthetic of the cinematic tableau seen as a performative space resulting in the impression of watching a painting, a theatre stage, a shop window, a diorama, or a photo-filmic installation in which the play between stillness and motion is accompanied by a reflexive emphasis on media and the senses. Such images, described extensively by David Bordwell in his writings on the evolution of film style, are being re-evaluated through debates on the “tableau form,” “absorption and theatricality” in modern art and photography (e.g. Jean-François Chevrier, Michael Fried). In particular, the aim of this paper is to examine inflections of the cinematic tableau in the films of three contemporary European authors, Corneliu Porumboiu (Romania), Roy Andersson (Sweden) and Joanna Hogg (UK), and relate them to the paradigm of the Dutch interior established in seventeenth-century painting.
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Письмак, Юрий. "Viennese vase painted in Dresden (architectural, artistic, stylistic, morphological and structural features)". Arta 30, n.º 1 (agosto de 2021): 54–62. http://dx.doi.org/10.52603/arta.2021.30-1.08.
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The article examines the architectural, artistic, stylistic, morphological and structural features of an old porcelain vase from a private Odessa collection. The unpainted vase was made in 1860s at Vienna Porcelain Manufactory. This vase was painted in Helena Wolfsohn’s studio in Dresden between 1864 and 1878 (?). Helena Wolfsohn lived and worked in a significant center of European civilization, culture and arts of her time. The images are painted on the vase using the technique of manual overglaze painting. Amazingly arranged bouquets of flowers are painted on the turquoise background of the oval-shaped body of the vase, and gallant scenes in the Watteau style are depicted on the white parts of the body. On the bottom of the vase base an underglaze blue mark is applied: a shield. The painting of the vase is notable for a vivid pictorial effect, a successful composition, harmony and restraint of color shades. Similar vases painted at Helena Wolfsohn’s studio were exhibited at the International Exhibition in Sydney (1879) and at the World Exhibition in Melbourne (1880). Decorative porcelain vases play an important role in creating the architectural and artistic ensemble of the interior, whose main compositional principle is architectonics.
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Sergeeva, T. D. "Coloristic Searches of Modern Russian Artists: The White Colour Palette of the Easel Painting by Maria Pak". Art & Culture Studies, n.º 3 (setembro de 2023): 106–23. http://dx.doi.org/10.51678/2226-0072-2023-3-106-123.
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The article attempts to consider the work of the Moscow artist Maria Pak in the context of coloristic searches in Russian painting based on artists’ work with the white colour. The article opens with a brief outline of the development of the doctrine of colour in the European art of the early modern and modern periods. The main part is devoted to the analysis of the latest exhibition of the easel painting (March 2023) by Associate Professor of the V.I. Surikov Moscow State Academic Art Institute, Maria Pak, student of I.L. Lubennikov. Particular attention is focused on the “winter” canvases in which the creative task is to paint white on white. The author of the article makes the conclusion that colour preferences are not only determined by social, national and other conditions for artistic culture development, but also closely related to a person’s ability to empathize. The author comes to this conclusion considering the white colour palette of M. Pak’s easel painting in a broad cultural context — appealing to the works of painters as well as to the poetic creations of Russian writers.
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Wee, C. J. W. L. "Tropical Modernism(s), Miscegenated Art and Modernity". Southeast of Now: Directions in Contemporary and Modern Art in Asia 8, n.º 1 (março de 2024): 127–39. http://dx.doi.org/10.56159/sen.2024.a924619.
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Abstract: Tropical: Stories from Southeast Asia and Latin America opened on 18 November 2023 and ran at the National Gallery Singapore (NGS) until 24 March 2024. NGS’s website states that the exhibition is “the first large-scale museum exhibition to take a comparative approach across two regions united by their shared struggles against colonialism”, comprising over 200 paintings, sculptures, prints and installations. The exhibition proceeds not always via direct formal or informal engagements between artists but by “an alchemy of shared narratives” (Teo Hui Min). Tropical endeavours to complicate the essential link between modernism and modernity by reflecting on how the “accursed European and American influence” is “absorbed” (Hélio Oiticica) into the local and indigenous, resulting in what might be called miscegenated art .
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Bitoleanu, Iulian. "Internal Articulation of the Open Work Concept". International Letters of Social and Humanistic Sciences 27 (maio de 2014): 67–74. http://dx.doi.org/10.18052/www.scipress.com/ilshs.27.67.
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Study shows multiple valences of aesthetic concept opening in artwork, whose notoriety was due to Umberto Eco. It was mentioned honest rivalry between France and Italy, in terms of pioneering art. Comparative method and the exhibition referencing the music, literature, sculpture, architecture, painting, cinema, applying a single criterion - the opening, leading to equivalence of open work exceptional work, moving, unpredictable, indeterminate, asymmetric but bizarre work, unfinished, unfinished, ambiguous, discontinuous. Anchoring the French cultural space, European (J. P. Sartre, M. Merleau-Ponty, E. Husserl) deepened the theme set forth and conferred substantiality, sense.
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Romanowska-Zadrożna, Maria. "A KNIGHT IN THE SERVICE OF ART. HANNA BENESZ IN MEMORIAM (1947–2019)". Muzealnictwo 62 (17 de março de 2021): 13–22. http://dx.doi.org/10.5604/01.3001.0014.8096.
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Hanna Benesz graduated from the Institutes: of Art History and of Applied Linguistics at the University of Warsaw. Her whole career launched in 1975 remained inseparably connected with the National Museum in Warsaw, where she worked at the Gallery of European Art curating the Flemish and Dutch collections. She followed all the promotion steps: from assistant to curator. Benesz strongly believed that museum curator’s job was grounded in a perfect knowledge of the collection. Thanks to her research conducted into the paintings amassed in National Museum’s storerooms, she successfully attributed a substantial number of works and identified provenance of many. She studied iconography applying research methods worked out by iconology. Moreover, she focused on the paintings’ technical condition, this occasionally leading to spectacular ‘restorations’, e.g. the identification of a genuine work by Abraham Janssens (ca 1575–1632) the Lamentation of Christ in a forgotten work, previously considered to be a copy. Author and co-author of many exhibitions, she cooperated with museum curators around the world. Her exhibition on Baroque art reached as far as Japan. Benesz’s intention was not only to present the paintings from the National Museum’s collections through a direct contact of visitors with the works, but also in publications, mainly in English and online. As soon as she became curator, together with Maria Kluk she focused on working out the reasoned catalogue Early Netherlandish, Dutch, Flemish and Belgian Paintings 1494–1983 in the Collections of the National Museum in Warsaw and the Palace at Nieborów. Complete Illustrated Summary Catalogue, published in 2016. A year later, the Catalogue was honoured with the main prize in the Sybilla Competition in the category for publications, while the King of the Netherlands awarded Hanna Benesz with the chivalric Order of Orange-Nassau (Oranje-Nassau) of the 5th grade; she was decorated with it by the Ambassador of the Kingdom of the Netherlands during the 20th CODART Congress held at the Warsaw Łazienki Palace. Not only was Hanna Benesz an outstanding museum curator and scholar, but also a trusted friend and a warm empathetic person, sensitive to other people’s misfortunes.
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Ковальова, М. М., e Цю Чжуанюй. "ІМПРЕСІОНІСТИЧНІ ТЕНДЕНЦІЇ В КИТАЙСЬКОМУ ОЛІЙНОМУ ЖИВОПИСУ ПЕРШОЇ ПОЛОВИНИ XX СТОЛІТТЯ". Art and Design, n.º 3 (13 de novembro de 2020): 55–65. http://dx.doi.org/10.30857/2617-0272.2020.3.4.
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The purpose of the article is to reveal the impressionistic trends in the fine arts of China, determining the originality of the Chinese oil painting development of the 20th century. Methodology. Historical and cultural, comparative, iconographic and iconological methods are used in the study. Results. The study examines the underinvestigated aspects of Chinese painting development in the first half of the 20th century. The retrospective analysis of the pictural art enables tracing the traditions and innovations in the formation of oil painting in China, which prevails at this historical stage of the national art school development. The desire of Chinese artists to preserve the philosophical foundation and theoretical principles of classical ink painting, and at the same time an interest in Impressionism, have become a peculiar feature of Chinese oil painting. The main trends, dominating at the beginning of the century, persist to this day, defining the development of Chinese oil painting in general. It is determined that the decorativeness and thematic repertoire of classical Chinese ink art has been transferred to oil painting, as evidenced by the booming exhibition activities. The study determined that in the first half of the 20th century, the impressionistic trend was spread in the country, which resulted from the study of Japanese and French masters by Chinese masters. The teaching methods and stylistic searches of Chinese artists of the period under study became the foundation of contemporary Chinese art. The latest trends in Chinese oil painting in the first half of the 20th century are: an artistic rethinking, reminiscences of a similar phenomenon in Western European painting of the late XIX – early XX century. The spread of impressionism contributed to the greatest development of still life and landscape genres, and also brought plein air practice to a new level. Many Chinese artists spread impressionistic ideas not only in artistic creation, but also in art history. The scientific novelty lies in the systematization and factual material analysis on this problem, determining the role of the impressionist trend in the Chinese oil painting development. Practical significance. The results of the study can be used in further studies of the history and theory of Oriental art of the 20th century.
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Park, Hyungji. "“GOING TO WAKE UP EGYPT”: EXHIBITING EMPIRE IN EDWIN DROOD". Victorian Literature and Culture 30, n.º 2 (27 de agosto de 2002): 529–50. http://dx.doi.org/10.1017/s1060150302302080h.
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IN 1821 IN PICCADILLY, Giovanni Battista Belzoni staged a spectacular full-scale reproduction of royal tombs he had uncovered in the Valley of the Kings. Crowds of paying visitors milled through rooms at the Egyptian Hall, marveling at enormous stone artifacts and at colorful wall paintings replicating ancient Egyptian tomb interiors. About half a century later and around the globe, tens of thousands of guests, including many European luminaries, witnessed the grand 1869 opening of the Suez Canal and fêted the achievement of its chief engineer, Ferdinand de Lesseps, with fireworks and extravagant feasts. The driving forces behind these exhibitions were very different — one was an entrepreneur’s packaging of ancient Egypt into a leisure excursion for Londoners, the other evidence of Egyptian acquiescence to European pressure for enhanced trading routes; one was available for a middle-class, fee-paying popular British audience; the other to specially invited international guests traveling thousands of miles — but both were public displays that rendered Egypt, past and present, into a cultural and visual commodity for the West. Dickens’s final, unfinished novel The Mystery of Edwin Drood (1870), written during the excitement and controversy over the Suez Canal and drawing on both de Lesseps and Belzoni as partial models for the title character, is deeply aware of such Egypt-gazing, but Egypt’s presence within the novel is in fact highly unspectacular, almost invisible.
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Mancebo Roca, Juan Agustin. "Recepción y legado de Gustav Klimt en el norte de Italia". Norba. Revista de Arte, n.º 43 (11 de janeiro de 2024): 371–87. http://dx.doi.org/10.17398/2660-714x.43.371.
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No European country devoted to Klimt the attention he received in Italy. Widely represented at the 1910 Biennale and at the International Exhibition in Rome in 1911, his work influenced artists in the north of the country and in the irredentist territories that transcribed his laboratory of experiences both in painting and in other artistic disciplines. The reception of Klimt, through design, furniture, fashion and interior decoration perpetuated, in a more moderate way than at his starting years, modernism and symbolism until the mid-20th century in the transalpine country through Venetian decorative models, the reception in Felice Casorati and the "rebellious" artists of Ca'Pesaro, the Italian-speaking Austrian subjects in Trento and Trieste and the sculpture and graphics of Adolfo Wildt.
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Oborny, Aneta I. "ALOJZY OBORNY (1933–2022) IN HIS WIFE’S POST MORTEM". Muzealnictwo 63 (19 de outubro de 2022): 194–201. http://dx.doi.org/10.5604/01.3001.0016.0556.
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Alojzy Oborny (1933–2022) was an art historian (MA 1955), assistant at the Pszczyna Castle Museum (1955– 1958), Head of the Raciborz Museum (1958–1961), a longstanding director of the Świętokrzyskie Museum, as of 1975 Director of the National Museum in Kielce (1961–1987, 1990– 2002), Deputy Director for Research at the National Museum in Krakow (1987–1990). A co-organizer and honorary member of the Kielce Branch of the Polish Art Historian Association, he was a long-standing member of the Council for Museums at the Ministry of Culture, as well as the president and a member of museum councils. He co-founded the Rotary Club in Kielce of which he was a member. As an art disseminator, he cooperated with Kielce dailies and cultural periodicals, as well as with the Kielce Radio. It was thanks to his efforts that the Former Palace of Cracow Bishops in Kielce was allocated to the Świętokrzyskie Museum (1971) which he subsequently raised to the dignity of the National Museum (1975). An active organizer of museum life, from the 1970s he initiated and co-organized an international cultural exchange, locating the Kielce museum collection and the offer of the Kielce Museum within the realm of Europeans culture. An expert in Polish painting, he created the Gallery of Polish Painting of the National Museum in Kielce. Oborny authored and co-authored museum exhibitions as well as several dozen publications and books on art, particularly Polish painting.
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Skurvida, Sandra. "Barbad Golshiri's Acts of Alterity". ARTMargins 12, n.º 1 (1 de fevereiro de 2023): 73–91. http://dx.doi.org/10.1162/artm_a_00338.
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Abstract In his transdisciplinary practice, artist, writer, and translator Barbad Golshiri interprets from his viewpoint located in Iran the iconic pieces of the European art history, including paintings by Jan van Eyck, Jacques-Louis David, and Kazimir Malevich. Inserting his own artistically inscribed body into the material milieus of these artists, Golshiri activates the present via transfer of the past onto the future, in an attempt to differentiate the script of history. Deleuzian approach of repetition as a means of differencing instigates this interrogation of Golshiri's Malevich cycle, comprising Quod (2010), which references Malevich's Black Square (1915); Cura; the Rise and Fall of Aplasticism, (2013), restaging in Moscow and Tehran the Last Futurist Exhibition of Paintings 0.10 (Petrograd, 1915); and post-performance object “.” (2013); as well as a series of QR code actions that continue the process of dematerialization of Black Square via social mediation. In their coded language, these works speak truth to power.
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James, N. "Cherchez la femme—a Palaeolithic preoccupation". Antiquity 86, n.º 332 (junho de 2012): 558–60. http://dx.doi.org/10.1017/s0003598x00062955.
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The cave paintings in France and Spain are the Magdalenian’s most famous feature. The exhibition, Mille et une femmes de la fin des temps glaciaires (“1001 women from the end of the Ice Age”) explored the proposition that, more than just an archaeological culture, the Magdalenian was inspired, through most of its history, by common symbolism across the Great European Plain all the way from the Pyrenees to Poland; and that, although the landscape varied, this vast region was integrated by common techniques and imagery from 20 000 to 15 000 years ago. The “Lalinde-G¨onnersdorf style” figurines of women, was the suggestion, were particularly characteristic. Assembled from some 20 collections in France, Switzerland, Germany, Poland and the Czech Republic, the exhibition was shown at the Museum of Prehistory in Les Eyzies from June to September last year. The compact presentation was in two parts.
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Kohut, Volodymyr. "Video art of Lviv, late XX - early XXI century, historical context: creating an art form". Bulletin of Lviv National Academy of Arts, n.º 39 (2019): 317–33. http://dx.doi.org/10.37131/2524-0943-2019-39-22.
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Background. For the last 25 years videoart in Ukraine had passed a maturation from the elementary experimental video practices of the end of the 80's to the full-identical art form. Like most of the USSR innovative art trends, videoart in Ukraine paved it's way through the formal endorsement's resistance and had been creating owing to the enthusiasm and persistence of individual artists and single artistic formations. Ukrainian videoart had developed according to all the fine art growth's features of socialistic period; however was established and concepted for the first time in Lviv as a phenomenon in the 1990-s what had generated a brand-new pleiad of cultural actors and had influence on the alternative artistic expression mediums of that time. Objectives. The incipience and developnent of Lviv videoart appears to be the main goal, applicating specifics of the new media style in individual artistic identification for single artists and Lviv artistic enviroment in general; reconstitution of the expression of new visual ideas made via video camera among social and historical “perestroika” context. Videoart role definition in the artistic expression of the totalitarian unrest period. Methods. Achieving the goals of the article was implemented via empirical methods: comparison, observation, description of the historical facts, which preceded videoart foundation throughout Ukraine. Theoretical methods were founded for the analysis of videoart, it’s role and position in art studies historiography of Lviv focus. Also deductive chronology playbacking method, what gave an opportunity to represent a whole artistic climate where Lviv videoart was established. Classification method divided artistic formations into groups based on artistic and stylistic criterion. Results. The research results confirmed the idea of independent Lviv videoart existance with it’s own establishing and development history. Research, based on Andrij Boyarov artworks of the end of 80’s, showed up comprehensive data that videoart had not been positioned as additional medium for single artist’s creations diluting; combination of photo and video was and remains the main activity for a certain range of artists thus proving that emergence of videoart genre had not turned into spontaneous way or copied from West European processes but rather appeared to be totally required by socio-political environment, the artist and the viewer to see the video reflections in galleries. Formed chronology showed up a special linkages between the appearance of brand-new art experiments, alternative practices and youth movements, festivals and artistic formations that had established the very first Ukrainian galleries and had placed curator practices unprecedented neither for artists nor for viewers. These were the “Tsenter Europy”, “Try Krapky”, “Dzyga” galleries, where the exhibitions “Thing Theatre or thing ecology”, “Defloration” and “Congress of Ukrainian Physicians Exhibition” took place at the time of turning point of Ukraine’s 90’s. The “Vyvykh” Festival had become a so-called Vesuvius for massive Lviv non-conformism vector, which explored a number of brand-new names of experimental art and videoart: Alfred Maksymenko, Andrij Boyarov, Hanna Kuts, Viktor Dovhaljuk, Ihor Podolchak, Serhiy Petljuk and others. During the consideration it was revealed that Lviv videoart meant to be different from the one in the other Ukrainian videoart centers due to it “pedagogical” aspect, namely it was the only center, where the experience sharing for the young generation truly existed, that had been caused by reservation problem and communication absence between the videoartists and a range of author generations. The originator of the first videoart in Ukraine - Alfred Maksymenko - now works as a pedagogue at Lviv National Academy of Arts, whose Studies generated a number of videoartists, carring on Lviv Classic School traditions and creating original stylistic indications. Conclusions. This social-informational research has shown preconditions for a brand-new art genre establishment - the 90’s Lviv videoart and the fact that it was not born in a way of “playing” or “flirtation” with some kind of new imported technical equipment but had it’s own conceptual way instead; got an opportunity to continue previous visual practices and expand the frontiers of visual influences on viewer. The analysis of Lviv videoart formation concludes the research and brings up the subject for further researches: establishing of high-quality art analysis of single artists working in videoart for already more than 25 years. A totally special stylistic manner of creating video images had emerged during that time period, which echoes with traditional Lviv Classic School painting manner and brand-new mediums born and dictated by alternative angles and technical implementation of videoart.
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Capelle, Birgit. "Mountains and Waters of No-Mind". JAAAS: Journal of the Austrian Association for American Studies 2, n.º 2 (26 de abril de 2022): 117–40. http://dx.doi.org/10.47060/jaaas.v2i2.93.
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This article explores the epic poem Mountains and Rivers Without End (1996) by Gary Snyder and a Song/Chin dynasty Chinese landscape painting. I illustrate how the poem and the painting, together with Henry David Thoreau’s autobiographical narrative A Week on the Concord and Merrimack Rivers (1849) and Jack Kerouac’s The Dharma Bums (1958), form a complex web of intertextual and intermedial references. All four works, I argue, tell similar narratives of spiritual journey and paths through mountain and river landscapes; all four speak of moments of heightened awareness in the sense of Buddhist “no-mind” (Chinese: wu-shin; Japanese: mushin). I show how they converge in exhibiting ontologies of non-substantiality, emptiness, and becoming. Taking the philosophies of Zen Buddhism and Taoism as a theoretical frame, I argue that the American transcendentalist and Beat works poetically and narratively convey relational rather than substantialist views of Being and life. They depict the world as a dynamic and open field of tension between two non-oppositional forces from which we as subjects are not essentially separate in a dualistic way. I substantiate my argument by drawing on the French sinologist and philosopher François Jullien, who refers to the Chinese understanding of landscape (“mountains and waters”) in his critical treatment of (European) philosophy’s centuries-long subject-centered epistemology and substantialist “ontology of Being.”
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Capelle, Birgit. "Mountains and Waters of No-Mind". JAAAS: Journal of the Austrian Association for American Studies 2, n.º 2 (26 de abril de 2022): 117–40. http://dx.doi.org/10.47060/jaaas.v2i2.93.
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This article explores the epic poem Mountains and Rivers Without End (1996) by Gary Snyder and a Song/Chin dynasty Chinese landscape painting. I illustrate how the poem and the painting, together with Henry David Thoreau’s autobiographical narrative A Week on the Concord and Merrimack Rivers (1849) and Jack Kerouac’s The Dharma Bums (1958), form a complex web of intertextual and intermedial references. All four works, I argue, tell similar narratives of spiritual journey and paths through mountain and river landscapes; all four speak of moments of heightened awareness in the sense of Buddhist “no-mind” (Chinese: wu-shin; Japanese: mushin). I show how they converge in exhibiting ontologies of non-substantiality, emptiness, and becoming. Taking the philosophies of Zen Buddhism and Taoism as a theoretical frame, I argue that the American transcendentalist and Beat works poetically and narratively convey relational rather than substantialist views of Being and life. They depict the world as a dynamic and open field of tension between two non-oppositional forces from which we as subjects are not essentially separate in a dualistic way. I substantiate my argument by drawing on the French sinologist and philosopher François Jullien, who refers to the Chinese understanding of landscape (“mountains and waters”) in his critical treatment of (European) philosophy’s centuries-long subject-centered epistemology and substantialist “ontology of Being.”
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Lanceva, A. M. "Exhibition Сzech and Кoman King Wenceslas IV: «Beautiful Style» of Gothic Art. On the 600th Anniversary of the Death of the Czech King". Concept: philosophy, religion, culture, n.º 1 (7 de julho de 2020): 186–93. http://dx.doi.org/10.24833/2541-8831-2020-1-13-186-193.
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The article is devoted to the historical and cultural aspects of the development of Czech art in the late Middle Ages on the example of an exhibition held from August 16 to November 3 at Prague Castle, which was dedicated to the 600th anniversary of the death of the Czech and Roman King Wenceslas IV. The author of the article considers the significance of the Czech culture and sacred art in the context of the political and historical specifics of the development of medieval Bohemia and the features of the reign of Vaclav IV, who wasthe son of the Holy Roman Emperor and the Czech King Charles IV . Wenceslas IV is a complex and controversial figure in Czech history, who stood at the «crossroads» of epochs and cultures, around him various disputes persist in historiography up to our time. This article provides an overview of the nature of the sacred artifacts of culture and art presented at the exhibition «Czech and Roman King Wenceslas IV: «beautiful style» of Gothic art», as well as the characteristics of the artistic style , defined in terms of historical and cultural, internal and external political development of the Czech Republic, crosscultural dialogue of the Czech Republic with European countries on the background of the emerging religious controversy in the country. The work takes into account the features of the Late Gothic style in the Central Europe. On the example of the remarkable works of painting, sculpture, fragments of architectural monuments, decorative and applied art and manuscripts, first of all the monumental Wenceslas Bible, many of which were brought to Prague from various European Galleries and Castles of Poland, Germany, France, New York, as well as from private collections, can demonstrate the rise of Czech culture and art in the late XIV-early XV centuries, which was presented the process of cultural accumulation of the European style of the late Gothic, received Czech national artificial identity.
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Lejman, Beata. "O niebezpiecznych związkach sztuki i polityki na przykładzie „żywotów równoległych” Michaela Willmanna i Philipa Bentuma". Porta Aurea, n.º 19 (22 de dezembro de 2020): 114–34. http://dx.doi.org/10.26881/porta.2020.19.05.
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Michael Lucas Leopold Willmann (1630–1706) was born in Königsberg (now Kalinin grad in Russia), where his first teacher was Christian Peter, a well -off guild painter. After years of journeys of apprenticeship and learning in the Netherlands, the young artist returned to his homeland, after Matthias Czwiczek’s death in 1654 probably hoping for the position of the painter at the court of Great Elector Frederick William (1620–1688).What served to draw the ruler’s attention to himself was probably the lost painting, described by Johann Joachim von Sandrart as follows: ‘the Vulcan with his cyclops makes armour for Mars and a shield and a spear for Minerva’. The failure of these efforts led the future ‘Apelles’ to emigrate to Silesia, where he created a family painting workshop in Lubiąż (Leubus), and following the conversion from Calvinism to Catholicism, he became a Cistercian painter, creating famous works of art in religious or secular centres of Crown Bohemia. What connects him to Prussia is another painting of great importance in his career, the little -known ‘Apotheosis of the Great Elector as a Guardian of Arts’ from 1682.
The successor to Great Elector Frederick III (1657–1713) was crowned in 1701 as the ‘king of Prussia’. The ceremony required an appropriate artistic setting, which prompted many artists to flock to Königsberg, including a Dutchman from Leiden, the painter Justus Bentum, a pupil of Gottfred Schalken, who reached the capital of the new kingdom together with his son Philip Christian. After studying from his father, Philip Christian Bentum (ok. 1690 – po 1757) followed in the footsteps of the famous Willmann, and went on a journey, from which he never returned to Prussia. He went first to imperial Prague, where he collaborated with Peter Brandl and converted to Catholicism, following which he travelled to Silesia. After 1731, he took part in the artistic projects of Bishop Franz Ludwig von Pfalz–Neuburg of Wrocław (Breslau) and Abbot Constantin Beyer, who completed the project begun by Freiberger and Willmann: the extension and decoration of the Cistercian Abbey in Lubiąż. It was there that he made the largest in Europe canvas -painted oil plafond of the Prince’s Hall and completed his opus magnum: covering all the library walls and vaults with painting. Those pro -Habsburg works were finished two years before the death of Emperor Charles VI (1685–1740) and the military invasion of Silesia by Frederick II Hohenzollern (1712–1786), great - -grandson of the Great Elector.
The fate of the artists mentioned in the title was intertwined with Königsberg and Lubiąż. Both converts set off for the professional maturity from the Prussian capital via Prague to Silesia. They can be compared by the Dutch sources of their art and a compilation method of creating images using print ‘prototypes’. Their inner discrepancy can be seen in the choice of these patterns, as they followed both the Catholic Rubens and the Protestant Rembrandt Van Rijn. They were connected with the provinces playing a key role in Central -European politics: here the Hohenzollerns competed for power in Central Europe with the Habsburgs. They were witnessesto the game for winning Silesia, and even took part in it by creating propagandistic art. Both of them worked for Bishop Franz Ludwig von Pfalz–Neuburg (1664–1732), associated with the Emperor, a kind of the capo di tutti capi of the Counter -Reformation in Silesia. Bentum eagerly imitated selected compositions of his predecessor and master from Lubiąż, and I think he even tried to surpass him in scale and precision. The artistic competition with Willman is visible in the paintings of the library in Lubiąż. There, he presented an Allegory of Painting, which shows the image of Willmann carried by an angel, while the inscription praising the qualities of his character calls him ‘Apelles’.
The work of both painters, who took their first steps in the profession as Protestants in Königsberg, but became famous through their work for Catholics, provides an interesting material for the analysis of the general topic of artistic careers on the periphery of Europe, the relationship between the centres and the periphery, as well as for two stages of re -Catholisation in Silesia treated as an instrument of power. It was usually pointed out how much separates the two painters, but no one has ever tried to show what unites them. The comparison of the sources, motifs, and outstanding achievements of both of them, especially in Lubiąż, gives a more complete picture of their activity deeply immersed in the politics of their times. This picture is not as unambiguous as it has been so far, highlighting the political and propaganda aspects of their career spreading out between the coastal Protestant north and the Catholic south. The drama of their lives took place in Silesia, where the multiple dividing lines of Europe intersected.
The idea of narrating the parallel fates of two artists with great Politics in the background (as in he case of Plutarch’s ‘Parallel Lives’) came to my mind years ago when I curated the Exhibition ‘Willmann – Drawings. A Baroque Artist’s Workshop’ (2001, National Museum in Wrocław, in cooperation with Salzburg and Stuttgart). The present paper was to be included in the volume accompanying that project initiated by Andrzej Kozieł (Willmann and Others. Painting, Drawing and Graphic Arts in Silesia and Neighbouring Countries in the Seventeenth and Eighteenth Centuries, ed. A. Kozieł, B. Lejman, Wrocław 2002), but I withdrew from its publication. I am hereby publishing it, thanking Małgorzata Omilanowska for her presence at the opening of this first great exhibition of mine in 2001, as well for the excellent cooperation with my Austrian, Czech, German, and Polish colleagues. This text, referring to the topic of our discussions at the time – as on the event of the above -mentioned exhibition I spoke at a press conference in Stuttgart’s Staatsgalerie, where the curator of the German exhibition was Hans Martin Kaulbach, exactly two days after the attack on WTC.
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Heckenberg, Kerry. "A taste for art in colonial Queensland: The Queensland Art Gallery Foundational Bequest of Thomas Lodge Murray-Prior". Queensland Review 25, n.º 1 (junho de 2018): 119–36. http://dx.doi.org/10.1017/qre.2018.11.
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AbstractThis study arose from an encounter with some paintings (still lives, Madonnas and other religious or genre scenes of mainly seventeenth-century Northern European origin) at the Queensland Art Gallery in 2012. They were intriguing because they were part of a bequest by squatter and colonial parliamentarian Thomas Lodge Murray-Prior (1819–92), which formed the nucleus of the original Queensland Art Gallery collection when it opened in 1895. Little is known about them, but they raise questions: What part did they play in the life of the donor? Did he collect them merely to burnish his reputation? Were they hung in a town house or in the bush? How did they enter the collection of the Queensland Art Gallery and what reception did they receive? What subsequent use has been made of them? This article examines the collection and the role it played in Murray-Prior's life, arguing that it is a coherent collection of Northern European art and more than a status symbol. Furthermore, it has much to say about a period that saw the development of art collecting and exhibiting. As such, it is the perfect foundation for an art gallery in colonial Australia.
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Bakanova, Irina V. "To the 100th anniversary of Irina Antonova". Issues of Museology 13, n.º 1 (2022): 121–39. http://dx.doi.org/10.21638/spbu27.2022.109.
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Pushkin Museum was often ahead of its time, laying the groundwork for major changes. For example, with the opening of the Museum of Private Collections as part of the State Museum of Fine Arts, the rehabilitation of private collecting in the country took place. The December Nights festival created by Irina Antonova in collaboration with the brilliant pianist Svyatoslav Richter in 1981 became a matrix of art festivals that took place in various museums of the country during the following decades. The Pushkin State Museum of Fine Arts was charged with promoting Western art in the USSR, of which it brilliantly took the advantage when started displaying works by Picasso, Matisse, Leonardo da Vinci’s Mona Lisa, masterpieces of drawing from the Albertina Museum in Vienna, Western European and American paintings from American museums and others famous exhibitions. This is the visible part of Irina Antonova’s dynamic activity. She approached academic work no less thoroughly, as well as the organization of study and cataloguing of the collection of the State Museum of Fine Arts. And, of course, much credit must go to Irina Antonova for preparing the program for the development and reconstruction of the Pushkin Museum, which has been repeatedly revised and is being finalized before our very eyes under the direction of Marina Loshak.
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Anzi, Achia. "Migration, Exile, and Homecoming in the Book of Ruth". Open Theology 7, n.º 1 (1 de janeiro de 2021): 514–30. http://dx.doi.org/10.1515/opth-2020-0178.
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Abstract My article examines various artworks from Europe and Israel that portray and are inspired by the Book of Ruth. While in Jewish sources such as the Talmud (Yevamot 47b) Ruth is seen as an immigrant and a convert to Judaism, European artists since the seventeenth century highlighted different episodes and aspects of the biblical story that suited their social, political, and religious worldviews. Notably, the expansion of colonialism during the nineteenth century transformed the depictions of Ruth. While in the canvases of painters such as Pieter Lastman and Jan Victors Ruth is depicted as a model of religious identification, in the paintings of Joseph Anton Koch and Francesco Hayez she epitomises “oriental” otherness. Furthermore, while early European painters underscore the immigration of Ruth, Hayez represents Ruth as a dweller of the “East.” Zionist artists were influenced by European traditions of depicting the Book of Ruth but developed a unique fusion between strategies of identification and differentiation. Artists such as Ze’ev Raban (1890–1970) portrayed the story of Ruth as both ancient and contemporary, while imitating and appropriating Palestinian tropes in order to imagine the Zionist narrative of homecoming. The contemporary Israeli artist Leor Grady (b. 1966), on the other hand, addresses questions of immigration and homecoming while exploring the Book of Ruth in his solo exhibition Bethlehem (2019, Tel Aviv). While Raban’s illustrations ignore the Jewish experience of exile, Grady’s oeuvre epitomises what the Israeli historian Amnon Raz-Krakotzkin sees as “exile within sovereignty.” Instead of recounting a linear historical narrative that begins with exile and culminates with the return to the Promised Land, Grady underscores that every return is also a departure and every departure a return. In this manner, Grady foregrounds the voices silenced by Zionist historiography and challenges the exclusion of the Palestinian narrative.
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Craciun, Adriana. "THE FRANKLIN RELICS IN THE ARCTIC ARCHIVE". Victorian Literature and Culture 42, n.º 1 (19 de fevereiro de 2014): 1–31. http://dx.doi.org/10.1017/s1060150313000235.
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In August 2013 the Canadian governmentlaunched its largest search for the ships, relics, and records of the John Franklin expedition, which disappeared with all 129 hands lost searching for the Northwest Passage in 1845. Canada's latest search was its fifth in six years, one of dozens of search expeditions launched since 1848, in a well-known story of imperial hubris elevated to an internationalcause célèbre. Recent work in nineteenth-century literary and visual culture has shown the significant role that Franklin played in the Victorian popular imagination of the Arctic (see Spufford, Potter, David, Hill, Cavell, Williams, Savours, MacLaren). In panoramas, stereographs, paintings, plays, music, lantern shows, exhibitions, and popular and elite printed texts, record numbers of Britons could enjoy at their leisure the Arctic sublime in which Franklin's men perished. Alongside this work on how Europeans represented Arctic peoples and places, we also have a growing body of Inuit oral histories describing their encounters with nineteenth-century Arctic explorers. Drawing on these traditional histories of British exploration, visual culture, and literary imagination, and on postcolonial, anthropological and indigenous accounts that shift our attention away from the Eurocentrism of exploration historiography, and toward the “hidden histories of exploration,” this essay uncovers an unexamined material dimension of these encounters – the “Franklin Relics” collected by voyagers searching for Franklin.
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Rasmussen, Leah. "Curating Russia: The Shchukin Collection, Nationalism, and Border Crossing from Lenin to Putin". Canadian Journal of European and Russian Studies 15, n.º 1 (20 de setembro de 2022): 43–60. http://dx.doi.org/10.22215/cjers.v15i1.3288.
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Russia’s relationship with nation is marred by contradictions that stem from its place in comparison to the West. Cultural nationalism in artistic production originated with the arrival of the Peredvizhniki [Wanderers] in the 1870s. Moscow merchant Pavel Tretyakov, in collecting Russian and European art, openly embraced a nation that encompassed Western ideas in conjunction with distinctly Russian themes. The unparalleled collecting of French modern art by Moscow merchants Sergei Shchukin and Ivan Morozov in the early 20th century continued this embrace. The nature of their collected paintings produced shockwaves in late tsarist and Soviet society and politics before being inculcated into Russian national identity in the 21st century. This article explores the life of Henri Matisse’s The Dance (1909), commissioned by Sergei Shchukin. It follows the work across time and regimes as it assumes pride of place in not only Russia’s national collections but also within its identity. Through a focus on the 2008 exhibition From Russia at the Royal Academy of Arts in London, this article examines Russia’s relations and protection of this work to understand, why even as the country seeks to define itself once more actively through its opposition to the West, their cultural diplomacy speaks to an openness built on a transnational history of the most prized works in their national collections.
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Abdullina, Darina A. "The “Allegorical Ornateness” in Children’s Portraits of the 18th Century". Observatory of Culture 17, n.º 6 (10 de fevereiro de 2021): 616–25. http://dx.doi.org/10.25281/2072-3156-2020-17-6-616-625.
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The article considers the emergence and development features of the symbolic and emblematic system of children’s portraits in the 18th century. Children’s portraits, as well as the history of childhood in general, attract more and more attention of Russian and Western researchers; the largest museums of the country and the world devote their exhibition projects to this subject. This paper shows, for the first time, how symbols have been “reinterpreted” in accordance with the changes in the attitude of Russian society to the nature of childhood and in the artistic environment at that time, the “formulas” of its presentation in art. The article considers in detail the specifics of using a number of attributes by Russian artists in the context of children’s portrait images: books, floral symbols, animals and birds, toys and other items. As examples, there are considered the works of “capital” and “provincial” artists of the 18th century: I.Ya. Vishnyakov, F.S. Rokotov, D.G. Levitsky, V.L. Borovikovsky, as well as a number of authors whose names remain unknown. Special attention is paid to the issue of borrowing symbols, signs and metaphors from Western European art, their adaptation and transformation in Russian painting, taking into account national ideas about children and their subject environment. The article concludes that the children’s portrait symbolic sphere went through a difficult path during the 18th century, from a tool for personifying the male or female adulthood of a young model to creating the image of a child as a romantic symbol of the world of childhood, an elusive ideal.
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Hachad, Naïma. "Lalla Essaydi’s Bullets and Bullets Revisited". Journal of Middle East Women's Studies 17, n.º 1 (1 de março de 2021): 1–21. http://dx.doi.org/10.1215/15525864-8790196.
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Abstract In Bullets and Bullets Revisited (2009–14) the Moroccan-born artist Lalla Essaydi invites the onlooker to reflect on the power dynamics of image production and consumption in a globalizing visual culture. As in the artist’s previous series, the photographs present Moroccan women in interior spaces and poses made familiar to an international audience by nineteenth-century European paintings. However, Essaydi trades Orientalism’s apparent realism and colorful decors for a monochromatic gold color scheme that originates from thousands of bullet casings she has meticulously sewn together to fabricate ceilings, walls, floors, furniture, jewelry, and clothes for her models. This article underscores how Essaydi’s use of a readable symbol of violence allows her to take part in and act on representational traditions that have shaped the perception of Arab Muslim women and the Middle East. Her violent aesthetics further account for curatorial and marketing practices that neutralize the subversive content of art by women originating in North Africa and the Middle East. Often shown in exhibitions featuring similar images and associating women with the veil, weapons, and scenes of destruction, Essaydi’s photographs are uncritically linked to events and situations as varied as the Arab uprisings, violence in the Palestinian territories, and the wars in Syria, Yemen, and Iraq. Instead of illuminating complex sociopolitical issues and reshaping dominant discourses, they become part of a homogenizing visual archive that sustains ways of seeing and producing the Middle East—as inherently violent and culturally backward—that are rooted in imperial imaginaries and political ideologies.