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Journal articles on the topic '1980s painting'
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1
Sakhno, Irina. "The Metaphysics of Presence and the Invisible Traces: Eduard Steinberg’s Polemical Dialogues." Arts 11, no. 5 (2022): 85. http://dx.doi.org/10.3390/arts11050085.
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The article examines the paintings by Eduard Steinberg, a Soviet non-conformist painter from the 1950s to the 1980s from the standpoint of the plastics of his language. The author focuses on Steinberg’s polemical dialogues with the greatest names in Russian and European avant-garde art, including both common points and disagreements. By analyzing the painter’s texts through the prism of poetics of the invisible and the ontology of traces, the author observes Steinberg’s early art of the 1960s and 1970s as an attempt to create a symbolic language and attach an ideographic status to art. Through simultaneous use of two artistic strategies—mystical and religious symbolism, coupled with metageometry Steinberg arrives at optical formalism and spectator dialectics, vying to see the invisible and record the polysemantic nature of the symbolic sign. The article analyzes the influence Vladimir Veisberg and his “invisible painting” had on Steinberg, including the “white on white” style, as well as Giorgio Morandi’s still-life vision of metaphysical painting. The author believes that by relying on analogies and reminiscences, Steinberg refers his audience to his predecessors and joins them in an intertextual dialogue. A special place here belongs to Kazimir Malevich with his radicalism, his trend towards metasymbolism and the language of the basic forms—the circle, square and cross. All of these are close to Steinberg’s geometric plastics of the 1970s and 1980s. Staying true to the pure forms of Suprematism, Steinberg builds up an aesthetics of the geometric forms of his own, where abstract art comes together with the ontological progress towards God. The Countryside series (1985–1987) shows influence of Кazimir Malevich’s Peasant Cycle, some principles of icon painting and Neo-Primitivist art.
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Kadikova, Irina F. "Specifying the chronology of some pigments application according to the results of the investigation of the Soviet painting of the second half of the 20th century." Podlinnik, no. 2 (June 2024): 9–26. https://doi.org/10.28995/3034-3224-2024-2-9-26.
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The article systematizes the cases of occurrence in the works of Soviet masters of the late 1940s–1980s of a number of pigments that are more characteristic of painting of the first half of the XX century: emerald green, vermilion, chrome yellow, zinc yellow and chrome orange. The first two named pigments were actively used in both European and Soviet painting until the 1930s, when the production of art paints based on them was suspended (emerald green) or significantly reduced (vermilion). However, as a result of the study of the paint materials of paintings, sufficient evidence has been obtained that the production of such paints continued in the second half of the XX century. Since emerald green was not produced in the USSR, it can be assumed that Soviet artists used imported paint based on this pigment. Some of these pigments (chrome yellow, zinc yellow and orange chrome) were produced in the USSR, but were used only for the production of II category paints intended for decorative works. This can explain their extremely rare presence in the composition of paint layer of paintings. Thus, the study of Soviet painting of the second half of the 20th century allowed to clarify the chronology of the use of a number of pigments.
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Brut, Sorin. "The Art of Nikolai Estis in the Soviet Abstract Painting of 1950s–1980s." Vestnik of Saint Petersburg University. Arts 13, no. 4 (2023): 664–84. http://dx.doi.org/10.21638/spbu15.2023.404.
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The work of the abstract artist Nikolai Estis is considered for the first time in the context of the Soviet version of abstract expressionism, which began to form during the Khrushchev thaw. The author analyzes the conditions, causes and sources that influenced the emergence of interest in abstractionism among a number of Soviet artists in the late 1950s, as well as the features of the forming of the abstract manner of Nikolai Estis. For the first time, a comparative analysis of the conceptual foundations and solutions of the works of Estis and other representatives of Soviet abstract expressionism such as Vladimir Nemukhin, Lidia Masterkova, Lev Kropivnitsky, Evgeny Mikhnov-Voitenko is carried out. The work of Estis is also compared with the works of Jackson Pollock that are consonant with him. The process of formation of Nikolai Estis as an abstract artist was significantly different from the folding of the abstract manner of his older contemporaries. Estis went to abstract painting gradually and wrote the first completely abstract works already in the 1970s. Accordingly, the meanings of abstract art associated with the period of the Khrushchev thaw affected his painting only partially. The works of Estis of the 1970s are the closest to the canvases of Vladimir Nemukhin and Lev Kropivnitsky of the 1950s and 1960s, but they also have significant differences. In the 1980s, the artist’s style changed and became closer to some of the early works of Yevgeny Mikhnov-Voitenko and the paintings of Jackson Pollock. At the same time, the works of the Moscow abstract artist remain original. The ideas of the work of Estis and the Soviet artists under consideration are in many ways close. They are associated with an attempt to escape from the everyday point of view and display the hidden device of reality. The study shows that the work of Nikolai Estis fits into the general line of development of the Soviet version of abstract expressionism. At the same time, in line with this direction, the painter managed to develop an individual manner.
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Merewether, Charles. "Chabet: The Russian connection." Journal of Contemporary Painting 6, no. 1-2 (2020): 79–92. http://dx.doi.org/10.1386/jcp_00015_1.
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This article focuses on the Filipino artist Roberto Chabet and his Russian Paintings of 1984. It explores the influence of Russian art, especially Vladimir Tatlin on his work in the 1980s and others, notably Malevich and El Lissitzky’s Proun work. The article looks back at Chabet’s trips to Europe and his first installations and work on paper in the 1970s, prefiguring the radical nature of his subsequent Russian painting.
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Buchloh, Benjamin H. D. "A Conversation with Jutta Koether." October 157 (July 2016): 15–33. http://dx.doi.org/10.1162/octo_a_00257.
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Benjamin Buchloh speaks with German artist, musician, and critic Jutta Koether about the many ways in which Koether blurs the lines between painting and performance in her practice, “reinstalling,” in her words, painting as a “platform, a potential, [and] a performance.” Koether discusses the formative role of New Wave and punk culture in her practice, particularly her time at Spex magazine; her studies in Cologne in the late 1970s and the anti-aesthetic impulse in painting from Picabia to Polke to Kippenberger; and her time in New York in the late 1980s and ′90s. Special attention is paid to her relationship to Poussin, both in her paintings The Seasons and The Sacraments and in her performance at Harvard in April 2013, as well as to early works like Inside Job (1992).
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Anghel, Călin, and Radu Totoianu. "Colecția de pictură Sava Henția a muzeului din Sebeș: constituire și dezvoltare." Terra Sebus. Acta Musei Sabesiensis, no. 16 (December 31, 2024): 415–34. https://doi.org/10.63578/terrasebus.2024.17.
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The Sava Henția Painting Collection of the Museum of Sebeș: Constitution and Development The Municipal Museum Ioan Raica Sebeș holds an important collection of works by Transylvanian painter Sava Henția (1848–1904). Its beginnings date back to the late 1950s, when the first six paintings were purchased from Ecaterina Erdt in Sebeș. The development of the collection gained focus in 1966 when a temporary exhibition dedicated to Sava Henția was organized at the museum, bringing together works from its own collection and from private collectors. There was also an initiative to set up a memorial house in the nearby Sebeșel, the painter’s birthplace. In the 1970s and 1980s, the collection grew year by year and has become one the most important in Romania today, comprising 46 works.
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Z.R., Khamzatova. "PHILOSOPHICAL AND CULTURAL ASPECTS OF UNDERSTANDING SOVIET PAINTING OF THE 60-80S OF THE XX CENTURY (BASED ON THE MATERIAL OF A. ASUKHANOV'S CREATIVITY)." “Educational bulletin “Consciousness” 24, no. 11 (2022): 83–91. http://dx.doi.org/10.26787/nydha-2686-6846-2022-24-11-83-91.
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The purpose of the article is a culturological analysis of the artistic creativity of Amanda Abasovich Asukhanov in the context of the development of Soviet painting in the 1960s-80s. The study involves the consideration of socio-cultural, regional, national-ethnic aspects, contemporary trends of the artist, which are manifested in the painting of the Honored Artist of Russia, People's Artist of the Chechen Republic, Honored Artist of the Republic of Dagestan, a representative of the first generation of Chechen artists who joined the Union of Artists of the USSR. From the point of view of the socio-cultural situation, the period of the artist's work of the 1960s-1980s is considered in detail, when his artistic worldview, philosophical position was formed, which was reflected in a number of paintings.
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Хожамуратов, Қ.Б. "THE FOUNDATIONS AND FORMATION OF PAINTING IN THE FINE ARTS OF KARAKALPAKSTAN IN THE 1970S AND 1980S." MODERN SCIENCE AND RESEARCH 3, no. 2 (2024): 341–45. https://doi.org/10.5281/zenodo.10675386.
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Sklyarenko, Galyna. "Ukrainian wall painting of the 1960s-1980s: the evolution of the artistic language." CONTEMPORARY ART, no. 18 (November 29, 2022): 175–88. http://dx.doi.org/10.31500/2309-8813.18.2022.269727.
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The article is devoted to the analysis of one of the most paradoxical phenomena of artistic culture of the late Soviet era - monumental and decorative art, which, despite its programmatic socio-political involvement, became part of “Soviet modernism”, combining social utopia with a variety of formal, plastic, stylistic, aesthetic directions, which reflected the search for a new national and individual author’s artistic language and imagery. Significant, that exactly murals and architecture put beginning to the processes of the aesthetic updating, that became the signs of social and political thaw in the USSR. Keeping the main tasks “ of leninist plan of monumental propaganda”, monumental -decorative art in Ukraine grew into a certain “aesthetic niche”, where found a display wide address to reasons of folk art and different aspirations of modernism, and at the same time and development of new withcomposition charts of late Soviet iconography. The evolution of wall painting – from mainly planar and decorative solutions of the 1960s to complex figurative and spatial constructions of the 1970s and 1980s, the expansion of wall painting techniques ( mosaics, frescoes, stained glass windows, sgraffito, mosaic reliefs, encaustics, various types of painting, etc.) reflected the demonstration processes in Soviet art, where through wall painting new images, languages and aesthetics entered the public space, which significantly expanded its official canonical dimensions.
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Matsumura, Kimiko. "The Death of Painting and Its Afterlife in Morimura Yasumasa’s Portrait (Futago)." Arts 12, no. 5 (2023): 196. http://dx.doi.org/10.3390/arts12050196.
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This essay performs a close reading of Morimura’s Portrait (Futago) to establish how the artist’s multi-media approach echoes 1980s declarations about the end of painting while also proposing alternatives for its historical and material afterlife. In many ways, the artist’s performances make the crises brought on by the emerging global economy visual, and as such pointed to a number of slow deaths: of painting, of capitalism, of Japanese tradition. But the images do not merely document the demise. Instead, they present a scenario in which multiplicities define contemporary being. By considering how the work engages with photography, performance, and painting, I argue that Morimura’s approach to modality pointed out inherently Western assumptions about painting as well as its incompatibility with a holistic global identity in the 1980s and 90s. Exploiting the stereotypes of his media, Morimura makes tangible painting’s complicity with Western hegemony and destabilizes it in ways that propose a new global subject.
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Osadtsa, Marta. "Urban Landscape in the Painting Practices of Ivano-Frankivsk Region Artists, 1960s – 1980s: Artistic, Stylistic and Image Transformations." Bulletin of KNUKiM. Series in Arts, no. 42 (July 14, 2020): 50–55. https://doi.org/10.31866/2410-1176.42.2020.207632.
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The purpose of the study is to identify trends in the urban landscape transformations in the painting practices of Ivano-Frankivsk region artists of the 1960s to 1980s and to reveal their artistic and stylistic priorities in terms of both innovative techniques and traditional heritage. Research methodology. The process of the urban landscape and its artistic features formation is considered based on reconstructive and historical-attributive methods, as well as iconographic method, formalstylistic method of art analysis, which contribute to the study of urban landscape figurative transformation in its historical and cultural context. The scientific novelty of the study is to identify the specificity of the artistic representation of the urban landscape in the works of Ivano-Frankivsk region artists of the 1960s to 1980s following its historical and cultural realities. Conclusions. The artistic and stylistic priorities of pictorial searches in the urban landscape genre are revealed in chronological order. We have systematised their typical characteristics according to the historical and artistic stages of the urban landscape genre transformation in the art of Ivano-Frankivsk region of the 1960s to 1980s in the context of those art processes. The representation of the city image in the painting practices of Ivano-Frankivsk region artists of the 1960s to 1980s is understood from the point of their stylistic diversity and the author’s peculiarities of figurative language. The subjects of urban themes have received different variants following artistic and stylistic priorities: from realistic trends to formal searches for the landscape, which developed during the 1960s and 1980s. We have profiled the painters who defined the primary vectors for the urban landscape development of the Ivano-Frankivsk region of the 1960s to 1980s and characterised their work through the regional artistic tradition and innovation features.
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Lotery, Kevin. "Folds in the Fabric: Robert Morris in the 1980s." October 171 (March 2020): 77–114. http://dx.doi.org/10.1162/octo_a_00379.
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At the beginning of the 1980s, Robert Morris took a decisive and shocking turn. Abandoning the strategies of agency reduction, abstraction, and indeterminacy that had guided his practice since the 1960s, he began to make paintings instead. Architectural in scale and gaudy in their depictions of eviscerated human remains and post-apocalyptic landscapes, the new paintings trafficked in those myths of painting that Neo-Expressionism was just then resurrecting as bankable signs for a consumerist decade: expressivity, figuration, and narrative, among them. What, then, could unite the theorist of anti form—maker of the process-based, anti-object folds, tangles, and mounds of felt and thread waste—with the painter of the baroque, Neo-Expressionist daubs? This paper argues that the paintings of the 1980s, despite their seeming reversals, provide a key for understanding Morris's way of working from his earliest lead and felt projects forward. What they reveal, in short, is an oeuvre guided by a baroque logic of “the fold,” an aesthetic of non-invention that aimed, not at creating but at commandeering and multiplying, for better or worse, existing aesthetic and discursive structures, be they those of Conceptual art, post-Minimalism, or Neo-Expressionism.
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Chen, Chen. "Painterly focused Chinese ink animation: Seeing through the cultural lens of the Xiang system." Animation Practice, Process & Production 8, no. 1 (2019): 141–64. http://dx.doi.org/10.1386/ap3_00009_1.
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Chinese ink animation has won worldwide respect for its ethereal and refined approach to ink painting. From the 1950s to 1980s, the Shanghai Animation Film Studio produced a number of award-winning ink animations. These animations share a unique traditional Chinese aesthetic based on Chinese literature and philosophy. However, the complex and long hand-made production process is one of the factors that caused the decline of Chinese ink animation following the 1980s. Since the millennium, three-dimensional ink modelling and digital painting technology have contributed to the revival of Chinese ink animation. This article summarizes the development of the production process of Chinese ink animation, together with its artistic features in both the analogue and digital age. Theoretically, this article focuses on a Chinese poetic framework, ‘the Xiang system’, as both a creative strategy for producing Chinese ink animation and an analytical lens to critique it.
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Qu, Lingyun, and Hongmei Liu. "Research on the Development of Chinese Painting Under the Influence of Western Art Thought in the 1980s." Humanities and Social Science Research 8, no. 1 (2025): p104. https://doi.org/10.30560/hssr.v8n1p104.
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This paper aims to study the profound impact of Western art thought on the development of Chinese painting in the 1980s. By analyzing the emergence of Western modernism and postmodernism, the study explores how these artistic trends were introduced into China during the 1980s and significantly influenced the form, ideas, and content of Chinese painting. First, the paper reviews the main characteristics of Western art thought and analyzes the channels through which these ideas spread within the Chinese art community, as well as the awakening of artists’ self-awareness. Next, it focuses on discussing the innovations in painting form, the transformation of artistic themes, and the evolution of artistic ideas brought about by Western art, specifically elaborating on how artists integrated elements of Western expressionism, abstract art, and traditional Chinese painting into their creations. In addition, by analyzing the works of representative artists and important art events, the paper further reveals how Western art thought shaped the diverse development of Chinese painting in the 1980s. Finally, the paper concludes by summarizing the profound significance of these influences on the modernization, globalization, and theoretical innovation of Chinese art, providing a new perspective for future research.
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Cao, Sisheng. "Inheritance and Research: The “Hubei Phenomenon” of Watercolor Painting in the National Art Exhibition." Highlights in Art and Design 10, no. 1 (2025): 37–41. https://doi.org/10.54097/ttzctg76.
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Due to the excellent art education tradition and the systematic construction of watercolor painting discipline, Hubei watercolor has achieved remarkable outcomes in national art exhibitions and various exhibitions at all levels since the 1980s. Comparatively speaking, Hubei watercolor is focused on “production”, and the works of a group of watercolor painters, such as Liu Shouxiang and Xu Haigang, have made great breakthroughs in materials, techniques and language compared with those of their predecessors, and the visual and expressive power of their works have effectively supplemented the consistent “ relaxation of depiction” of watercolor paintings, greatly enhancing the quality of watercolor paintings, and improving the quality of their works. The emergence of the “Hubei Phenomenon” in the field of watercolor painting in the National Art Exhibition is closely related to Hubei's own art education foundation, art theory and criticism environment, and the construction of the watercolor painting academy disciplinary system, and the academy's watercolor teaching plays an irreplaceable and constructive role in the inheritance of watercolor techniques and the exploration of the language of contemporary watercolor.
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Bratiuk, Nadiia. "Expressive and Pictorial Language and the National Orientation of Creative Experiements of the Lviv Artists in the 1980s: L. Medvid, M. Yagoda, M. Bezpalkiv." Artistic Culture. Topical Issues, no. 17(1) (June 8, 2021): 30–37. http://dx.doi.org/10.31500/1992-5514.17(1).2021.235122.
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The article addresses expressive and pictorial means in the works of Lviv artists of the 1980s L. Medvid, M. Yagoda, M. Bezpalkiv, who were iconic and famous figures of the second half of the twentieth century in the artistic life of Lviv, Ukraine, and abroad. Their works differ significantly against the background of the artistic context, the paintings operate deep spiritual and moral and aesthetic values, images from Ukrainian mythology, and are marked by professionalism and unique style. The aim of the research isto view the 1980s paintings by L. Medvid, M. Yagoda, M. Bezpalkiv in the context of the expressionist vector of development. Research methodology includes art analysis, comparative method, method of analysis and synthesis, formal analysis ofstylistic features of the authors’ styles. In the process of complex research, the socio-cultural, artistic and political preconditions that led to the emergence and formation of expressive features in the works of L. Medvid, M. Yagoda, M. Bezpalkiv were clarified. It was discovered that the painting of Lviv-based artists in the 1980s significantly influenced the present-day art of Lviv
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Lubimova, Anastasia Igorevna. "Idea of the synthesis of arts in the creative work of Soviet unofficial artists in the 1960s-1980s." Manuscript 17, no. 3 (2024): 343–51. http://dx.doi.org/10.30853/mns20240049.
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The research aims to identify the main forms of implementation of the idea of the synthesis of arts in the artistic discourse of unofficial art in the 1960s-1980s. The paper notes the general patterns and characteristics of the creative method of Moscow and Leningrad unofficial artists rethinking the heritage of the past. Special attention is given to the study of the relationship between unofficial art and the tradition of avant-garde as one of the vivid examples of expression of the idea of synthesis of arts. The research is novel in that it is the first to provide a new understanding of how the idea of the synthesis of arts is interpreted in the creative work of unofficial artists in terms of the embodiment of the synthesis of arts within their paintings and the creation of new spatial objects and performative practices. As a result, it is proved that the embodiment of the idea of the synthesis of arts in the creative work of unofficial artists in the 1960s-1980s maintains the line of succession with the legacy of avant-garde related to preserving the unity of painting, music and theater, which contributes to the development of new artistic systems.
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Cotter, Holland. "Deconstructed Painting: Some Younger Artists in the 1980s." Art Journal 50, no. 1 (1991): 79. http://dx.doi.org/10.2307/777093.
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Malova, Tatiana V. "François Boisrond’s Practice of Painting in the 1980s." Observatory of Culture 14, no. 1 (2017): 61–67. http://dx.doi.org/10.25281/2072-3156-2017-14-1-61-67.
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김현숙. "Deorientalization of Korean Oriental Painting in the 1980s." Journal of History of Modern Art ll, no. 24 (2008): 203–24. http://dx.doi.org/10.17057/kahoma.2008..24.008.
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Purnamasari, Ni Putu Laras, I. Wayan Adnyana, I. Wayan Mudra, and I. Wayan Mudana. "The image of flora and fauna painting in batik craft: Phenomena in ubud, bali." International Journal of Social Sciences World (TIJOSSW) 4, no. 3 (2022): 317–24. https://doi.org/10.5281/zenodo.7426054.
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The high consumer interest in Pengosekan’s flora and fauna paintings of the 1980s was one supporting factor for representing this painting in several arts and crafts in the Gianyar region. The craft representing themes, techniques, and visual objects of Pengosekan’s flora and fauna painting, is the art of batik craft in Ubud district. This research reviews explicitly the process of this representation, the underlying factors, and the socio-economic impacts on the supporting community. This qualitative research uses aesthetic and representation theories to uncover research problems. The results show that the visual objects of Pengosekan’s flora and fauna paintings are represented in batik art products in Ubud district, as seen in themes, techniques, and visual objects attached to these batik art products. The representation is influenced by the painting image of Pengosekan’s flora and fauna as a trendsetter of art products. Moreover, it is also supported by the artisans’ motivation to create innovative forms of their products. Some of these factors are inseparable from the influence of tourism development and the developed market at that time.
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Costa, Marcondes. "Observações de campo nos materiais lateríticos de Mosqueiro (Belém, Pará) como potenciais pigmentos minerais naturais." Boletim do Museu de Geociências da Amazônia 11, no. 4 (2024): 1–9. http://dx.doi.org/10.31419/issn.2594-942x.v112024i4a9mlc.
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Back in the 1980s, when I began exploring the cliffs of Baía do Sol (Mosqueiro, Belém, Pará), carved into immature laterite profiles derived from clayey and sandy sedimentary rocks of the Barreiras Formation, I was very impressed by the colorful tones of the mottled horizon in these profiles. With my children (they were still “children”) we played painting each other and it was really fun. When reading and studying cave paintings in the Amazon and around the world, it was evident, obviously, that these paintings were made with different materials, mainly Fe and Mn oxyhydroxides, coal, ash and organic extracts.
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Lubimova, Anastasia I. "Symbolic Capital of the Avant-Garde in the Unofficial Art Discourse of the 1960–1980s." Общество: философия, история, культура, no. 11 (November 22, 2023): 284–93. http://dx.doi.org/10.24158/fik.2023.11.41.
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The article considers the work of independent artists of the 1960s and 1980s, rethinking the heritage of the avant-garde. In the unofficial art discourse, the ideas of the beginning of the XX century represent symbolic capital, significant for artists in the formation of new techniques. The appeal to the avant-garde tradition unites various regional schools of non-conformism in an effort to create a synthesis of contemporary artistic practices and art of the past. Unofficial art unites representatives of different disciplines, were separated from public ac-tivities due to long censorship. The creative and conceptual searches of the artists expressed a disconnect be-tween personal, emotional and inner world of artistic thinking in the late 1950s, tired of operating a single sys-tem. The appeal to the avant-garde tradition unites various regional schools of non-conformism in an effort to create a synthesis of contemporary artistic practices and art of the past. Moscow nonconformists developed a conceptual direction, representatives of the Leningrad underground experimented with methods of metaphysi-cal painting and abstract art, ideas of decorative symbolism were preserved in the works of Saratov noncon-formists. Interacting with the avant-garde, nonconformists form a unity of figurative and abstract painting, a dis-tinctive feature of unofficial art.
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Yurchenko, Vladimir. "THE ART OF RETROFUTURISM: STEAMPUNK, DIESELPUNK, CYBERPUNK. DECORATIVE AND APPLIED ART, PAINTING, CINEMA." Siberian Art History Journal 2, no. 1 (2023): 96–107. http://dx.doi.org/10.31804/2782-4926-2023-2-1-96-107.
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The article examines the reasons for the emergence of the cultural phenomenon "retrofuturism" in the 1970s-1980s of the last century as an escapist reaction to the failure of futuristic ideas about creating a progressive society based on scientific and technological progress. The analysis of the visual component of the main directions of retrofuturism: subcultures of "cyberpunk", "steampunk", "dieselpunk" in contemporary art is also carried out.
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Zeng, Weiping. "Study on the Composition of Yi Subjects in Ink Painting." International Journal of Education and Humanities 19, no. 2 (2025): 71–74. https://doi.org/10.54097/vkpxq505.
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In the 1980s, after years of creative accumulation and reference to Western aesthetic theories, Lu Chen proposed the "ink composition" theory at the Central Academy of Fine Arts in 1987, opening up a new path for Chinese painting creation. Under this concept, how can Yi painting themes apply the composition factors of ink to the creation of freehand figure painting, and run through the entire process of creation. How the use of ink, shape, and color in ink composition form the expression of painting language is another new topic in ink composition.
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MATKOVSKA, Ivanna. "Zenoviy Flinta’s artistic ceramics of 1960-80s: Stages of development of the author’s creative manner and influence of artist’s painting on his artistic ceramicsand Ukrainization." Contemporary Art, no. 17 (November 30, 2021): 69–84. http://dx.doi.org/10.31500/2309-8813.17.2021.248429.
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The works of Zenovia Flint, an outstanding artist, teacher and nonconformist ceramist, who embodied in his ceramic works of the 1960s and 1980s his own picturesque informal searches and philosophical images-allegories in the author’s manner, are analyzed. For the first time, the systematization of directions and stages of formation of Z. Flint’s authorial style in the field of artistic ceramics was performed, as well as an art analysis of the influence of the artist’s painting on his ceramics.
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ÖZÇELİK, Satınur. "REFLECTIONS OF POSTMODERNISM ON TURKISH PAINTING." Zeitschrift für die Welt der Türken / Journal of World of Turks 14, no. 1 (2022): 251–62. http://dx.doi.org/10.46291/zfwt/140119.
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In Turkey, it is possible to see the traces of the West in almost all of the postmodernism practices that started to give examples within the framework of the modernization movements in the art of painting that emerged after the 1960s. In these periods, postmodernism tried to put forward a structure against modernism, a structure that researches and criticizes modernity. As it is known, the isms in the same field and lane try to exist either in order to completely ignore the previous traces and create their own existence, or by criticizing its doctors and trying to stand out by putting forward new arguments and theses. From this point of view, it is quite normal to examine postmodernism and modernism critically and then try to embody them with innovation movements. It can be said that it started to take shape with examples in the 1980s. This research is important because it makes determinations about the reflections of the transition from the modernism process to the postmodernism stage of Turkish painting on Turkish painting. In this context, examples of postmodernism movements and postmodern understanding in Turkish painting are given. Some of the messages given to the society by some painters who created works in this direction as representatives of Turkish painting art are discussed by examining them. Keywords: Postmodernism Turkish painting Art
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Pavelchuk, I. "The Formation of the Post-Impressionist Trend in the Creative Practice of Oleh Harahonych." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2020, no. 3 (2020): 44–53. http://dx.doi.org/10.33625/visnik2020.03.044.
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The article examines the artistic experience during the period of 1980–2000. Oleh Harahonych’s individual painting style was formed at the turn of the 1960s and 1970s under the influence of a large-scale talent of the famous Ukrainian painter Yosyp Bokshay (1891–1975). O. Harahonych visited Bokshay’s Uzhhorod workshop several years in a row. Having escaped the system-defined academic education, the post-impressionist-to-be was experimenting with the new formal means of reproduction. Being primarily a landscapist, the painter began to develop new dynamic angles of the composition, involving the fragments of a high-altitude highway in presentation of his works, which ensured that his landscapes obtained a sense of modernity. Winding Carpathian roads suggested to the artist a zigzag structure of the composition, which was based on the principles of polar dynamics. In O. Harahonych’s landscapes of the mid‑1980s, the contrast of warm and cold color gradations and intensity of colors enhanced. The dominance of pure colors harmoniously combined with simple shapes that focused on an acute triangle. The renewed lyrical sense of the landscape was reproduced by the simplest artistic means which included decorative ornaments, logic of compositional accents, and clarity of silhouettes. It was realized in a series of plein‑air images of the 2000s. In search of new visual means, Oleh Harahonych’s imagination was ahead of the visual technologies of easel painting of that time. Developed in the 1980s, the author’s style visually resembles the digital presentations in Photoshop. The author’s synthesis of color and form reveals an integral connection between post-impressionism and design, which Roger Fry called “Vision and design” in his book a century ago.
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Kuziv, Mykhailo, and Iryna Tiutiunnyk. "Artist of «troubled silence.» Mykola Bezdilny." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 133–38. http://dx.doi.org/10.32461/2226-3209.2.2021.239991.
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The purpose of the article is to highlight the peculiarities of the paintings of the amateur artist of the period of socialist realism Mykola Bezdilny and to draw parallels with the professional art of the 1970s and 1980s. Methodology. Methods of systematization, art analysis, historical and comparative methods are applied. The scientific novelty is to identify the influence of centralized creative structures of the second half of the twentieth century for the self-realization of artists who acquired creative skills in their own way. In particular, the figure of the artist Mykola Bezdilny was chosen for the analysis as a bright representative of the amateur Ternopil region, who showed the ability to admire not only different genres and types of fine arts but also constantly analyze other interpretations of the painting, "try", "move" in technical and philosophical and aesthetic terms. The obtained results are important for further research of the problems of amateur and amateur fine arts in Ukraine. Conclusions. It is determined that M. Bezdilny, as a bright representative of socialist-realist amateur art, reached a high level of painting due to systematic work and interaction with professional painting. It focused on the true essence of the work, its depth, the transfer of harmony of nature, rather than the external beauty of the picture. Against the background of features that are characteristic of the work of many amateur artists and amateurs revealed a clear tendency of M. Bezdilny to his favorite plot, composition, constant change of sound of paint, attempts at impressionistic dynamic brushstroke, and complex color.
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Lee, Minsoo. "New Figurative Korean Painting(Hangukhwa) in the 1970s and 1980s : From Hyperrealism to Minjoong Art." Journal of Korean Modern & Contemporary Art History 39 (July 31, 2020): 177–206. http://dx.doi.org/10.46834/jkmcah.2020.07.39.177.
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Nasidi, Nadir A. "Some Biographical Notes on Artists of Sacred Sufi Painting in Kano, Nigeria." Journal of West African History 9, no. 2 (2023): 1–20. http://dx.doi.org/10.14321/jwestafrihist.9.2.0001.
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Abstract The Sufi Islamic leader, Sheikh Ibrahim Niass first came to Kano in 1937. His repeated visits paved the way for the development of Sufi artists in Kano. Through their representational art, they celebrate the various Sufi saints, particularly those of the Qādiriyyah and Tijjāniyyah Sufi orders. This article puts the growth of Sufi representational art in the context of the history of Tijjāniyyah Islam in Kano by examining the biographies and works of six Kano artists and their sacred Sufi painting, from the 1980s to the present day. This article concludes that paintings of Sufi saints by these artists, which countered alternative aniconic views associated with some branches of Islam, contributed not only to the development of representational paintings in Kano, but also to the acceptance of Western media, styles, and techniques in their visual representations of such paintings.
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Liu, Qisheng. "Contemporary Oil Painting Art and Art Market in Real Life." Transactions on Social Science, Education and Humanities Research 7 (May 6, 2024): 237–40. http://dx.doi.org/10.62051/1367xt64.
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Since the reform and opening up in the 1980s, in the context of cultural exchange between China and the West, Chinese culture, art, and ideological concepts have undergone tremendous changes. Under the influence of Western painting, the development of oil painting art has further explored and studied modernist painting. At the same time, under the influence of Western modernist painting art, Chinese oil painting art has also shown a phenomenon of a hundred flowers blooming, such as the diversification of artistic styles and the diversification of painting language types, thereby creating the birth of various new painting schools. In the context of globalized art and culture, contemporary Chinese oil painting has also begun to go global. However, the development of contemporary Chinese oil painting is still criticized by the art of easel painting and photorealistic painting. Faced with the booming art market and the diversification of evaluation standards, how to understand the current situation and trends of contemporary oil painting art development is a question worthy of our in-depth research and reflection.
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Ruvalcaba-Sil, José Luis, Luis Barba, Edgar Casanova-González, et al. "Analytical Approach for the Study of Teotihuacan Mural Paintings from the Techinantitla Complex." Minerals 11, no. 5 (2021): 508. http://dx.doi.org/10.3390/min11050508.
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Techinantitla building complex, in the Amanalco neighborhood of the ancient city of Teotihuacan, is famous for the iconography and quality of the mural paintings found in this site. A significant part of this heritage has been lost due to looting. In recent years, an interdisciplinary research project was developed to study the limited patrimony that was left. As part of this study, we first employed geophysical techniques to reconstruct the architectural pattern of the compound’s remaining walls, where other paintings may still be found. Then, we applied a non-invasive methodology to characterize a large set of fragments recovered in the 1980s and to gain information on their pigments and manufacturing techniques. This methodology included False Color Infrared Imaging, X-ray Fluorescence and Fiber-Optics Reflectance Spectroscopy, and led to the identification of hematite, calcite, malachite, azurite and an unidentified blue pigment. The results were compared with a previous study performed on a set of Techinantitla mural paintings looted in the 1960s. A broader comparison with contemporary mural paintings from other Teotihuacan complexes shows good agreement in the materials used. These results may suggest a standardization in the making of Teotihuacan mural painting during the Xolapan period (350 to 550 AD).
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Неглинская, Марина. "Политическая тематика в китайской актуальной инсталляции". Историческая психология и социология истории 17, № 1 (2023): 34–44. http://dx.doi.org/10.30884/ipsi/2023.01.02.
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Modern installation appeared in the Chinese art in the mid-1960s, a little later than in the West. From its inception to the present, a new type of Chinese art has used political themes and plots. Unlike modern Chinese painting, which reflected the influence of modernism, since the 1980s installation has been a relevant form of artistic expression that distinguishes Chinese postmodernism. The modern installation of the People's Republic of China seems to be a new creative form in the field of Chinese conceptualism.
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Hu, Manran. "A Study of the Development History and Stylistic Features of Chinese Ink Painting." Pacific International Journal 6, no. 1 (2023): 71–76. http://dx.doi.org/10.55014/pij.v6i1.310.
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The modern ink painting in China started in the 1980s and it didn't become popular until the late 1990s. Up till now, it has become a major branch of Chinese art and painting. This paper makes a brief review on the historical development of Chinese ink painting based on the current studies on the topic. Compared with the western painting, the Chinese ink painting enjoys a special position in terms of spiritual forms, Artistic function, Language Structure, ink and brush form. The study finds that ink painting has a strong philosophical conception of Chinese cultural traditions and an ideology that matches its history, culture and religious beliefs. The values and ideology of the traditional Chinese philosophical outlook can be glimpsed in ink painting, and the ancient subsistence smallholder economic system also permeated and influenced the way of painting in terms of economic and social development. This influence ultimately reflected in the ancient philosophical system of thinking .
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Шаманова, М. Г. "Figurative and stylistic analysis of Givi Mantkava's work “The Nivkhi Archers” (1974) from the collection of the Sakhalin Regional Art Museum." Iskusstvo Evrazii [The Art of Eurasia], no. 3(34) (September 29, 2024): 166–79. http://dx.doi.org/10.46748/arteuras.2024.03.010.
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Статья посвящена образно-стилистическому анализу картины Гиви Михайловича Манткавы «Нивхские лучники» (1973) из фондов Сахалинского областного художественного музея в контексте развития советского изобразительного искусства 1960–1980-х годов. Автор рассматривает творчество Г.М. Манткавы на фоне тенденций сурового стиля, одного из ключевых направлений советской живописи того времени. В статье освещаются основные черты сурового стиля, его эволюция и взаимосвязь с культурными и этническими аспектами, как в случае с «нивхской темой» в работе Манткавы. Особое внимание уделено анализу средств выразительности и композиционных решений в произведении, а также его историко-культурному контексту. Сохранившиеся в музейном собрании этюды 1970-х годов к этой картине свидетельствуют о тщательной проработке как композиции в целом, так и персонажей будущего произведения, что создало глубину его содержания и художественную выразительность. This article presents a figurative and stylistic analysis of Givi Mikhailovich Mantkava's painting “The Nivkhi Archers” (1973), drawn from the collections of the Sakhalin Regional Art Museum. It situates the painting within the context of the development of Soviet fine art between the 1960s and 1980s. The author considers the work of G.M. Mantkava in the perspective of the so-called severe style, which constituted one of the principal trends of Soviet painting during that period. The article elucidates the principal characteristics of the severe style, its evolution and interrelation with cultural and ethnic aspects, as exemplified by the Nivkhi theme in Mantkava's work. Particular attention is devoted to an analysis of the means of expression and compositional solutions employed in the work, as well as its historical and cultural context. The studies of the 1970s for this painting, preserved in the museum's collection, demonstrate the meticulous construction of both the composition and the characters that would become the hallmarks of the finished work.
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Xu, Lin, and Yujie Liu. "Reception of Works in Different Historical Contexts—Take Xu Wei’s Painting Acceptance History as an Example." Region - Educational Research and Reviews 6, no. 4 (2024): 118. http://dx.doi.org/10.32629/rerr.v6i4.2078.
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Nowadays, there are many acclaimed artists and works of art in the Chinese painting and calligraphy circle. When we trace the historical acceptance of these works and artists, we will find that many works and artists are not accepted by the recipients at the beginning, and many of them are known after a period of time. This paper will discuss the acceptance of art by the public under different historical development backgrounds and the process of promoting art acceptance. This paper will take Xu Wei’s acceptance history as an example to explore this argument. This article will analyze from three parts, the first is the rise of Xu Wei’s painting fame in the Ming and Qing Dynasties as well as the driving characters and reasons. In this initial stage, Xu Wei’s influence was in literature at the beginning, and then gradually turned to painting. The second is the change of Xu Wei’s status in the painting circle after the 20th century, especially after the 1980s, Xu Wei’s status began to improve significantly, and there are some novel views in overseas research. Finally, through the investigation of the acceptance of Xu Wei’s paintings, I think about the reasons behind it, that is, under different historical backgrounds, the recipient’s reaction to the acceptance of art is also different, and the understanding between art and receiver is shaped by each other.
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HUANG, Xiaofan. "Hidden Opening:Gustave Courbet’s L' Origine du monde and Lacan." Advances in Art Science 2, no. 1 (2025): 22–50. https://doi.org/10.48014/aas.20250108003.
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As one of the most controversial paintings in the history of art, Courbet' s The Origin of the World was hidden from private collectors in various ways from the very beginning of its creation. The last private owner of the painting was the French psychoanalyst Jacques Lacan, who not only collected the painting anonymously, but also refused to disclose it to the public during the period of his collection. As a result, the painting was lost to art historical research, with its traces only retrievable through retrospective means. Around the 1980s, the study of The Origin of the World continued to advance, during which news of Lacan' s collection gradually spread, and it was these rumors that proved Lacan' s collecting behavior. that provided a brand-new stance and perspective for the study of The Origin of the World———the psychoanalytic approach. After Lacan' s death, the painting was publicly exhibited in the Musée d' Orsay, and since then art historians have studied it more comprehensively, not only verifying the history of the painting' s circulation in traditional research methods, but also exploring Courbet' s creative significance from a psychoanalytic, feminist perspective. It can be said that the act of covering up the painting and the act of tracing back the history of it together constitutes The Origin of the World’s viewing history. Starting from the existing psychoanalytic studies, this article attempts to focus on this viewing history, analyze the special role of the “veil” used to cover the painting, and use this history as a basis to return to Courbet' s creative environment, creative intention, and even his proposed realism, to rethink Courbet' s uniqueness and the originality of The Origin of the World.
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Rustaeva, Nailya R. "Rustaeva N.R. Industrial and Manufacturing Landscape in Soviet Painting of the 1920s—1930s." Observatory of Culture 21, no. 3 (2024): 282–94. http://dx.doi.org/10.25281/2072-3156-2024-21-3-282-294.
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In the light of the growing interest in the industrial theme in the art of the Soviet period, the questions of terminology and typology are becoming increasingly acute. Their solution helps to understand the artistic approaches to the development of the theme by Soviet painters, to identify and classify certain intra-genre types. One such question, which has not yet been raised by researchers of Russian art, is the definition of the difference between industrial and manufacturing landscapes. The present article represents the first attempt to typologies the Soviet landscape genre, which took shape within the framework of a large industrial theme. The aim of the study is to put forward a hypothesis explaining the terminological and typological difference in the interpretation of the terms “industry” and “manufactory” and to reveal the fundamental difference between the two respective types of landscape in Soviet painting of the 1920s—1930s, the unified species form of which is not questioned. It is shown that the interest of Russian painters in the industrialization of the USSR was manifested with varying degrees of intensity throughout the Soviet period, which was also reflected in the landscape genre: evolving within the theme, it developed the two forms of artistic interpretation considered, which at the dawn of their emergence were inseparable, but by the 1960s—1980s became increasingly distant from each other. Their typological differentiation is revealed, expressed in compositional features, as well as in the conceptual treatment of the theme by Soviet painters to solve different semantic problems. The author proposes the following definitions: industrial landscape is a depiction of an industrial object as an organic part of the natural, urban or suburban environment, demonstrating non-conflict unity and harmony of coexistence, so important in the concept of Soviet reality. The manufacturing landscape focuses, rather, on an architectural portrait of a production facility that dominates the environment. This type of landscape is shaped by the production itself, the factory or its territory. The manufacturing landscape itself becomes the new nature that organizes life around it.
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Pręgowski, Filip. "An artist who used to disappear: About concealing artistic subjectivity in the art of Jack Goldstein." Quart, no. 4(58) (December 1, 2020): 56–75. https://doi.org/10.19195/quart.2020.4.78069.
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The article presents the work of an American artist, a graduate of the California Institute of the Arts who made his debut in the early 1970s and a representative of the Pictures Generation group, Jack Goldstein (1945–2003). Goldstein’s works, realised by various media, such as performance, film and painting, are characterised by the gesture of disappearance, withdrawal from or concealment of artistic subjectivity, present in various ways. The text reflects on the significance of this gesture in the context of selected trends in American art of the 1970s and 1980s, and in relation to the discourse defining the artistic practices of that time, reviewing such notions as representation, authorship, identity or originality, and whose key figures included Jean Baudrillard, Roland Barthes and Michel Foucault. Goldstein’s work was also presented against the background of artistic criticism sympathising with the trends initiated by the circle of The Pictures Generation, in which the most influential voices were those of Douglas Crimp, Thomas Lawson, Craig Owens and Hal Foster. The text also presents the technical aspects of Goldstein’s films and paintings in the context of a phenomenon that is particularly important for understanding the essence of mass culture, namely the spectacle.
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Хилько, Б. В. "Features of the artistic language of E.G. Mikhnov-Voitenko in the 1950s–1960s." Iskusstvo Evrazii [The Art of Eurasia], no. 3(30) (September 30, 2023): 152–65. http://dx.doi.org/10.46748/arteuras.2023.03.011.
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В статье делается попытка периодизации раннего творчества знаменитого ленинградского абстракциониста Е.Г. Михнова-Войтенко и выделения основных особенностей его художественного языка в 1950–1960-е годы. Михнов-Войтенко является признанным, но до сих пор малоизученным художником. В основном в работах, посвященных его живописи, внимание уделяется 1970–1980-м годам, а также циклу «Тюбик» (1956–1959), тогда как ранние фигуративные работы, коллажи и графические серии 1960-х годов исследователи обходят стороной. Для характеристики произведений использованы методы формального и компаративного анализа. В статье выделяется три периода творчества художника — фигуративный, коллажный и графический. Несмотря на разнородные по характеру произведения, создаваемые художником в это время, определены черты художественного языка, присущие всему периоду в целом. К таковым относятся особая ритмическая организация каждого произведения, работа с пятном и линией, а также целостность, монументальность формы, вызванные стремлением отразить весь мир полностью в границах каждого отдельного произведения — конкреции. В заключение делается предположение о том, что данные особенности могут стать ключом к пониманию позднего творчества Михнова-Войтенко 1970–1980-х годов. The article attempts to periodize the first half of the creative path of the famous Leningrad abstract artist E.G. Mikhnov-Voitenko and highlight the main features of his artistic language in the 1950s and 1960s. Mikhnov-Voitenko is a recognized but still little studied artist. Researchers in the works devoted to his painting mainly pay attention to the 1970s and 1980s, as well as the Tube cycle (1956–1959), while they avoid early figurative works, collages and graphic series of the 1960s. To characterize the works, the methods of formal and comparative analysis are used. The article highlights three periods of the artist's work — figurative, collage and graphic. Despite the heterogeneous nature of the works created by the artist at that time, the text highlights the features of the artistic language inherent in the entire period as a whole. These include the special rhythmic organization of each work, work with spots and lines, as well as the integrity, monumentality of the form, caused by the desire to reflect the whole world completely within the boundaries of each individual work. In conclusion, an assumption is made that these features can become the key to understanding the late work of Mikhnov-Voitenko in the 1970s–1980s.
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Wan, Xiaokang, Jamarul Imran, Bin Wan, and Abdullah Thani. "The Rise and Development of Hunan Gong Bi Painting from 1980 to 2000: Expressing Life Through Tradition." Journal of Social Science Humanities and Literature 7, no. 4 (2024): 87–92. http://dx.doi.org/10.53469/jsshl.2024.07(04).15.
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Gong Bi painting, one of China's most influential traditional art forms, evolved significantly in the 20th century, transforming into modern Gong Bi painting. Hunan Gong Bi Painting (HGP) experienced a resurgence in the 1980s, becoming a prominent force in the field. This resurgence introduced a new style, "using tradition to express contemporary life," which blended classical techniques with modern themes. During this period, Hunan Gong Bi painting achieved significant accomplishments, becoming a major influence in the national Gong Bi painting scene. This paper aims to analyze the specific characteristics of "using tradition to express contemporary life" from an iconographic perspective. The study employs qualitative research methods, including case studies, observation, interviews, literature analysis, and thematic analysis. Findings reveal that HGP retained the intricate line work and refined color application typical of traditional Gong Bi painting. In terms of theme, Hunan Gong Bi painting focused more on contemporary life and natural scenery. This fresh style met the post-Cultural Revolution society's need for diverse cultural forms and artistic styles.
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Studenets, Nataliia. "Traditional Practice of Home Wall Painting in Modern Scientific Comprehension and Interpretation." Folk art and ethnology, no. 3 (September 30, 2022): 78–85. http://dx.doi.org/10.15407/nte2022.03.078.
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Starting from the middle of the 19th century a great deal of materials is dedicated to the home wall painting as an original traditional practice. These works are diverse according to the level of comprehension. The investigations are summarized partly in the studies of the second half of the 20th century. Hence longstanding researches of a wall painting have required systematization, considerable revaluation through the lens of time and realities of the Ukrainian culture of postmodernity. The culturological, ethnological and Art Studies investigations of the wall paintings are analyzed in the article from the late 1980s till the present time. The most typical aspects and trends of the investigation of this artistic practice in the works of O. Naiden, V. Kushnir, N. Zozulia are distinguished. The novelty of scientific interpretation of this phenomenon in the studies of Yu. Smolii, O. Shestakova, N. Studenets, A. Chudnivets and other scholars is described. The works, dedicated to the paintings of separate regions and centres, especially the village of Petrykivka in Dnipropetrovsk oblast, are analyzed. The newest conceptual principles of the studies of traditional folk art, the wall painting in particular, in the published works of the NAS of Ukraine Maksym Rylskyi Institute of Art Studies, Folkloristics and Ethnology are described. These are The History of the Decorative Arts of Ukraine, Decorative Arts of Ukraine Through the Centuries and other editions. A considerable empirical material is recreated in the parts of collective monographs. It is based on a thorough study of collected volumes, archival sources, materials of field investigations. In particular, the authors have treated, systematized, analyzed and interpreted the works from the largest museum collections of the samples of Ukrainian wall painting. Also the transformations of the wall paintings in modern cultural space are represented. A new interpretation of this artistic practice in the heritage of the artists of Vinnytsia, Khmelnytskyi, Kirovohrad, Kherson and other oblasts of Ukraine is revealed.
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Podlednov, D. D., and E. D. Kazantseva. "The Phenomenon of Post-Memory and Its Aesthetics on the Example of Pyotr Belov’s “Anti-Stalinist Cycle”." Art & Culture Studies, no. 3 (September 2023): 202–27. http://dx.doi.org/10.51678/2226-0072-2023-3-202-227.
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The article is dedicated to the analysis of numerous paintings by the Soviet artist Pyotr A. Belov (1929–1988). For the first time, these artworks were presented in Moscow in 1988, at the posthumous exhibition of the artist, revealing complex issues in the history of the USSR. The paintings presented at the exhibition were later referred to the “anti-Stalinist cycle”. In 2020, the GULAG History Museum (Moscow) accepted these paintings into the collection and organized the exhibition The Queue for the Truth. The authors of the article rely on the concept of post-memory believing that the artist can be attributed to the “first generation” — the generation of witnesses to the traumatic events of history, in this case, the totalitarian regime under which the GULAG system developed. Within the framework of this cycle, Pyotr Belov addresses various narratives, both collective and individual: he represents the history of the USSR through images of power, recognizable elements and symbols of everyday culture of the USSR, as well as tells about his personal history and the history of his family. The authors of the article consider works presented at The Queue for the Truth exhibition using the semiotic and formal-stylistic methods of analysis. In the conclusion section of the article, the authors focus on the features of Pyotr Belov’s painting style (which appear only in the “anti-Stalinist cycle”), the plots of the paintings, and the episteme that influenced the creation of the painting cycle in the 1980s.
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Zhao, Jia. "L'Écrit et l'image: la question de l'énonciation et de la narrativité dans la peinture de Robert Combas." Nottingham French Studies 58, no. 1 (2019): 102–19. http://dx.doi.org/10.3366/nfs.2019.0238.
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The present article considers the ways in which written enunciations are superimposed upon painted enunciations, and the ways in which the former stratify, modify and break the unity of the latter. We take as our examples some paintings by the French painter Robert Combas, a leading light in the ‘Figuration libre’ movement of the 1980s, which sought to invest painting with narrativity. Combas frequently uses writing in his pictorial creations. The written word introduces a new level of enunciation, an alternative voice, a different world – which, taken in and of itself, constitutes an autonomous entity, and placed in parallel to the image, creates a sort of polyphony in which the two sometimes clash. We analyse writing within Combas's paintings, and the ‘paratexts’ that accompany these, interrogating the relationship between text and image in the works' different enunciatory levels.
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Avdeeva, Vera V. "METHODOLOGICAL MANUALS OF THE 1960-1980S AS A REFLECTION OF THE PRINCIPLES OF THE PEDAGOGICAL SYSTEM OF THE N.K. KRUPSKAYA EXTRAMURAL PEOPLE UNIVERSITY OF ARTS." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 1 (2024): 139–53. http://dx.doi.org/10.28995/2073-6401-2024-1-139-153.
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The article considers and analyzes the general aspects of educational methods at the N.K. Krupskaya Extramural People University of Arts (ZNUI) in the 1960s–1980s, which proves the specifics of the basic principles of interaction between teacher and student. In the published manuals of that time, the emphasis is placed on a number of substantial guidelines for teaching amateur artists: educational and methodological issues, and questions of artistic education in the basics of visual theory and practice. The main teaching aids developed specifically for amateur artists are: for the first period “Creative work of an amateur artist” (1961), and a guide for amateur artists “Drawing and Painting” by Yu.G. Aksenov, R.M. Zakin, E.M. Sonnenstral, F.M. Krieger, G.E. Tarasevich (2 vols, 1961), for the second period “Training and Creative Work” by R.M. Zakin (1965) and “Design Artist. A Guide for Amateur Artists” by G.E. Tarasevich, V. Grokhotov, E. Pavlinova (1966), for the final third period the tutorials are produced, namely the textbook “Perspective” by E.A. Aksenova and Yu.G. Aksenov (1974) and a practical guide to drawing and painting “Color and Line” by M. Levidov and Yu.G. Aksenov (1976). All analyzed manuals were compiled by a team of teachers from the Faculty of Drawing and Painting of the University.
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Polishchuk, Alla. "Sacred Art in Painting by Nafaa Teachers of 1980s-1990s Period." Krakowskie Studia Małopolskie 31, no. 3 (2021): 160–70. http://dx.doi.org/10.15804/ksm20210309.
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Jeongjin, Lee. "Tendencies in Korean Color Painting from the Mid-to Late 1980s." Misulsa Yeongu : Journal of Art History 45 (December 31, 2023): 179–203. http://dx.doi.org/10.52799/jah.2023.12.45.179.
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Vigneron, Frank. "New frontier: Three painters from Shenzhen and their relation with the Hong Kong art market." Journal of Contemporary Painting 7, no. 1 (2021): 177–98. http://dx.doi.org/10.1386/jcp_00030_1.
Full textAbstract:
Drawn towards Hong Kong because of what appears to be a thriving art market, many artists from the People’s Republic of China are now looking towards Shenzhen, the Special Economic Zone created nearby in the 1980s, for conducting their practices. Launched as an economic testing ground by Deng Xiaping, Shenzhen is now experiencing new and profound changes. The development of new art institutions has been the reason for the emergence of an art scene that is fostering the creation of original art practices, especially in the field of painting. This article takes as example three practitioners and explains the reasons why they have chosen to live there and how they are negotiating their position from this city within the local art ecology as well as the art market of Hong Kong. The first of these artists, Liang Quan (), has lived in Shenzhen since the 1990s and is a representative of contemporary forms of literati painting, while the other two, Zhou Li () and Xue Feng (), are more recent arrivals who are both abstract painters engaging sometimes in the creation of installations and public art projects. To better understand the position of these artists towards the demands of an art market, this article will also explain how the idea of commoditization, which was so repellent to the practitioners of institutional critique in the Euro-American context of the 1960s and 1970s, has not been experienced in Mainland China in quite the same way.
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Lubimova, Anastasia I. "The unofficial art of Saratov: the problem of the evolution of artistic language in the 1960s – 1980s." Vestnik of Saint Petersburg State University of Culture, no. 3 (56) (2023): 125–29. http://dx.doi.org/10.30725/2619-0303-2023-3-125-129.
Full textAbstract:
The unofficial art of Saratov 1960s – 1980s was not considered in art history as a separate artistic phenomenon for a long time. This is due to the strong influence on Saratov artists of informal art of Leningrad and Moscow. In addition, the residents of Saratov almost did not unite in art groups with common programs, which makes it difficult to study the main trends in the development of this regional school. Nevertheless, in the last decade the discussion of the specifics of the Saratov school has become relevant – there were publications devoted to the formation of Saratov informal art and the work of its key masters (M. N. Arzhanov, V. F. Chudin, V. A. Solyanov, V. V. Lopatin, L. E. Pererezova). In the 1960s and 1980s the artistic language of Saratov unofficial art is a synthesis of a number of approaches: the interpretation of the heritage of domestic painting of the late XIX – early XX century, the development of the aesthetic and philosophical system of N. M. Gushchin and the development of actual artistic phenomena – primarily, the abstract trend in the art of the second half of the 20th century.