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Journal articles on the topic '20th century Avant-Garde'

Author: Grafiati

Published: 3 June 2025

Last updated: 31 July 2025

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1

Oblučar, Branislav. "Avangarda poslije avangarde u hrvatskoj poeziji." Poznańskie Studia Slawistyczne, no. 18 (April 28, 2020): 159–73. http://dx.doi.org/10.14746/pss.2020.18.9.

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The article discusses the problem of the avant-garde in Croatian poetry during the second half of 20th century. It supports the thesis about the continuity of the avant-garde before and after World War II, and perceives the artistic and literary experiments of the neo and post-avant-garde as a part of a long avant-garde tradition. The analysis brings forward the different perceptions of avant-garde in the works of Radovan Ivšić and Josip Sever, and post-avant-garde poets of 1970s and 80s.

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Kantor, Maxim. "The Renaissance versus the Avant-Garde." Forum Philosophicum 18, no. 2 (2014): 139–68. http://dx.doi.org/10.35765/forphil.2013.1802.09.

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The essay contrasts two recurring phenomena of European culture: renaissance and avant-garde. The author discusses the paradigmatic Renaissance of 15th and 16th centuries and the paradigmatic Avant-Garde of early 20th century from the point of view of a practicing artist, interested in philosophical, social, religious, and political involvements of artists and their creation. The author shows the artistic and social history of 20th century as a struggle between the Avant-Garde and the Renaissance ideals, which, as he points out, found a fertile ground in in the 20 years that followed immediate

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3

Kirdina-Chandler, S. G. "Economists of the Russian Avant-Garde." AlterEconomics 22, no. 1 (2025): 141–60. https://doi.org/10.31063/altereconomics/2025.22-1.10.

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The paper highlights the contributions of early 20th-century Russian economists who were ahead of their time. Referred to as the “economists of the Russian avant-garde,” they are considered part of the broader Russian avant-garde movement — a cultural phenomenon associated with creative innovation in times of social upheaval and increasing complexity. Such periods, known as systemic crises, necessitate going beyond established knowledge in both art and science. Key figures in the Russian economic avant-garde include Pyotr Kropotkin (1842–1921), Alexander Bogdanov (1873–1928), and Nikolai Kondr

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Pavlovets, Mikhail G. "Russian Poetic Neo-avant-garde of the 2nd Half of the 20th Century: On Issue of the Term’s Use Boundaries." Studia Litterarum 8, no. 2 (2023): 10–31. http://dx.doi.org/10.22455/2500-4247-2023-8-2-10-31.

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The article is devoted to the neo-avant-garde literary trend that emerged in the Soviet underground of the 2nd half of the 20th century. The paper states that the use of the term “neo-avant-garde” with respect to post-war avant-garde has already become conventional in European art and art studies, however it has not yet established in the Russian scientific vocabulary. Moreover, in the field of literary study a significant amount of research material has been collected, which allows us to indicate the existence of Russian poetic neo-avant-garde in the 2nd half of the 20th century. Its authors

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Lavrentiev, Alexander N. "AVANT-GARDE DIALOGUES." Scientific and analytical journal Burganov House. The space of culture 17, no. 5 (2021): 104–8. http://dx.doi.org/10.36340/2071-6818-2021-17-5-104-108.

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The article is dedicated to comparative analysis of spatial constructions created by the Russian Avant-Garde Artist Alexander Rodchenko and the famous kinetic European and American artist Alexander Calder in the first half of the 20-th century. For both artists technology played the decisive role in constructing spatial objects, both of them used line as a basic expressive element. Still there is a certain difference stressed by the author: Rodchenko used linear elements to express structural and constructive qualities of spatial objects, while Calder was more intending to represent emotion an

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Kiseleva-Afflerbach, Evgeniya. "The Sensory Legacy of the Russian Avant-Garde: Haptics, Scent, Movement, Immersion." Experiment 30, no. 1 (2024): 165–79. http://dx.doi.org/10.30965/2211730x-12340067.

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Abstract Aside from its obvious influence on 20th century art in general, the Russian Avant-Garde was a precursor to many conceptual trends, not always directly related to our general notion of “Avant-garde”, but more as the fulfilment of its prophecies. This paper explores the legacy of the Russian Avant-garde through the prism of a multisensory study, involving haptics, optics, immersion and participation. Revisiting manifestos of the early 20th century in the context of contemporary theories of art and perception, the paper traces intersections and “dreams come true”. Inter alia, the paper

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7

Davis González, Ana. "La vanguardia de los Contemporáneos, una estética de la dilación." Literatura Mexicana 33, no. 1 (2022): 149–77. http://dx.doi.org/10.19130/iifl.litmex.2022.33.1.7122x15.

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This paper seeks to dialogue with the preceding critic about the possible classification of Contemporáneos texts as avant-garde. Our proposal is that some of their poems can be classified as avant-garde if we understand the avant-garde as a 20th century art paradigm and not only as a historical category during the beginning of the century. For this purpose, in the first place, the dichotomy “threshold aesthetics / dilation aesthetics” is proposed to explain two avant-garde poetic modalities, starting from the expression “threshold aesthetics,” coined by Luciana Del Gizzo (2017). Secondly, the

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Dudareva, D. "THE VALUE OF THE HISTORY OF AVANT-GARDE ART FROM ITS INCEPTION TO THE PRESENT DAY." Sciences of Europe, no. 135 (February 26, 2024): 14–16. https://doi.org/10.5281/zenodo.10704305.

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<strong>The purpose of research:</strong> The subject of this work is Avant-garde art. this is a trend in art that arose at the beginning of the 20th century. It rejects traditional and outdated art forms, and strives for innovation and experimentation. <strong>Research methods: </strong>distinctive features of avant-garde art have been studied using a historical critical method. <strong>Research results</strong>: Avant-garde artists and writers are looking for new ways of self-expression to represent a new reality and the coming era. <strong>Practical application:</strong> Familiarization wit

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9

Rodríguez González, Alberto. "El Corno Emplumado y la vanguardia en el umbral de la nueva era." Sincronía XXV, no. 80 (2021): 383–416. http://dx.doi.org/10.32870/sincronia.axxv.n80.18b21.

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This article analyzes the case of the Mexican magazine El Corno Emplumado and its role as an avant-garde publication based on Renato Poggioli's idea of avant-garde movement and the notions of epoch threshold and aesthetics of threshold formulated by Hans Robert Jauss and Luciana del Gizzo, respectively. The intention is to examine the way in which the magazine edited by Margaret Randall and Sergio Mondragón updates the utopian impulse of the avant-gardes based on their vision that social change at the beginning of the 60s of the 20th century would come thanks to renewal spirituality that only

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Dvoynishnikova, M. P., T. F. Semian, and E. A. Smyshlyaev. "Traditions of the Russian avant-garde in children’s poetry." Culture and Text, no. 51 (2022): 167–80. http://dx.doi.org/10.37386/2305-4077-2022-4-167-180.

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The article presents the experience of understanding the traditions of Russian avant-garde in children’s poetry. In poems for children poets, whose work is traditionally classified as avant-garde, focus on the techniques of minimalism and primitivism, guided by children’s perception. The article deals with the mechanisms of organization and specifics of children’s poetry by G. Sapgir, J. Grants, as well as artistic parallels between the works of representatives of the Russian avant-garde of the 20th century and contemporary poets of the Ural region.

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Bogusławska, Magdalena. "Wędrująca idea awangardy. Centrum Dekontaminacji Kulturowej i serbska kultura oporu." Poznańskie Studia Slawistyczne, no. 18 (April 28, 2020): 23–36. http://dx.doi.org/10.14746/pss.2020.18.1.

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The article addresses the presence of the avant-garde in the discourse and the practice of social resistance in Serbia at the turn of the 20th and 21st centuries. The focal point of the text is the thesis that nowadays the avant-garde resonates not so much as an artistic formation, but as an ideological complex. The author investigates the manners of contemporary transposition of ideas and avant- garde imagination through the analysis of the activities of the Centre for Cultural Decontamination in Belgrade. Using the examples of two programmes: Modernism, Serbian National Identity in 20th Cent

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Paz-Agras, Luz. "Creative processes in the Avant-Garde Movements." Estoa, no. 15 (2019): 21–30. http://dx.doi.org/10.18537/est.v008.n015.a02.

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The 20th Century Avant-Garde Movements broke with the traditional distinction of artistic disciplines in favour to an ambiguous space where limits are diffuse. Exhibition space played a relevant role in this sense as a laboratory where art object and spectator are together in interaction, getting to experiences that, in many cases, transcend from the exhibition to disciplinary Architecture. Through the analysis of the Proun Space of El Lissitzky, constructed in 1923, and some of the most relevant proposals of Neplasticist authors, focusing on the creative and experimental process, contribution

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Patina, Tatiana E., and Ol’ga V. Kovaleva. "Formation and Evolvement of the Russian Avant-Garde during 1910–1930. Ideas of the Russian Textile Avant-Garde." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 65 (2022): 315–24. http://dx.doi.org/10.37816/2073-9567-2022-65-315-324.

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The paper presents an analytical review of the studied and processed information on the fundamental role of the education of artists in the system of the avant-garde institutes and art schools in the first quarter of the twentieth century. The study explores the main theoretical aspects related tothe development and formation of the Russian textile avant-garde. For a deeper and more objective understanding of the development of innovative ideas in the art of post-revolutionary Russia in the 20th century it focused on the activities of the main ideologists of the Russian avant-garde in the art

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Tretyakova, Maria S., and Nadezhda S. Philonenko. "IKEBANA OF 20TH CENTURY: AESTHETICS OF OHARA SCHOOL AND SOGETSU SCHOOL." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 55 (2024): 200–213. https://doi.org/10.17223/22220836/55/16.

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Although the art of ikebana has spread in Russia in the 1960s, the aesthetics of ikebana rarely becomes the subject of scientific reflection in our country. The aim of this study is to analyze the aesthetic basics of the two main modern schools of ikebana, Ohara and Sogetsu, and find out the difference between them. In the study we raise the problems of modern ikebana and accordingly turn to the idea of ‘living form’ in traditional Chinese and Japanese flower arrangement. The basics of the aesthetics of the Ohara school were laid in the Meiji era (1868–1912), when European flowers began to be

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Radandish, Parvane. "The History of the formation of Iranian poetic avant-garde in the 20th century." Филология: научные исследования, no. 8 (August 2024): 1–22. http://dx.doi.org/10.7256/2454-0749.2024.8.70048.

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The article presents the origins of avant-gardism in modern Persian poetry and the stages of its development in the XX century. In order to identify the social and political prerequisites for the modernization of literature, the period of the Constitutional Revolution in 1905–1911 is considered. Attempts to renew the Persian verse and create its theory were first studied by such literary figures as T. Rafat, A. Lahuti, N. Yushij, H. Irani, Tondar-Kiya, A. Ahmadi and others. The classification of Iranian poetic movements (conservative poetry, nimaist poetry and radical poetry) is considered. An

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PREDBANNIKOVA, Olga I. "Revolution and Russian avant-garde (first quarter of the 20th century): historical and philosophical aspect." Service plus 18, no. 3 (2024): 109–18. https://doi.org/10.5281/zenodo.14509696.

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The first quarter of the 20th century in the history of our state is full of dramatic events: revolutions, wars, the collapse of the Russian Empire. Revolutionary changes in society led to the formation of a new historical reality in time and space. New trends in the development of society were reflected in various forms and directions of art, including the Russian avant-garde. The article examines the relationship between revolutionary changes in Russian society in the first quarter of the 20th century and their influence on the work of avant-garde artists based on the analysis of artworks, a

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Arefieva, Anna. "AVANT-GARDE SYNTHESIS OF THE ARTS IN THE CREATIVITY OF SCENEGRAPHERS AT THE BEGINNING OF THE 20TH CENTURY." Bulletin of Yaroslav Mudryi National Law University. Series: philosophy, philosophy of law, political science, sociology : The collection of scientific papers / Editorial board: O. Danilyan (Ed.-in-Ch.), et al. – Kharkiv : Pravo, 2023. – Issue No. 1 (56). 56, no. 1 (2023): 99–108. https://doi.org/10.21564/2663-5704.56.274331.

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<em>The urgency of turning to the philosophical foundations of the formation of avant-garde stage synthesis on the stage of the Diaghilev seasons is emphasized. The purpose of the article is to determine the intentions of the stage synthesis of avant-garde art – cubism, Fauvism, abstractionism as a philosophical and anthropological phenomenon of destruction and deconstruction of classical art. The research methodology is determined by comparative and systematic approaches. Transcendental, phenomenological and dialectical methods make it possible to carry out a philosophical and anthropol

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18

Mustafayev, Femiy. "Ukrainian vocal music of the 20th – early 21st century in the pedagogical repertoire of the soloist-vocalist." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 154–59. http://dx.doi.org/10.32461/2226-2180.39.2021.238712.

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The purpose of the article. The paper describes the contemporary vocal pedagogical repertoire from the standpoint of its representativeness in relation to musical trends of the 20th – early 21st century. The methodology is based on a combination of historical, cultural, systemic, analytical, predictive methods, which made it possible to demonstrate the limited educational repertoire of vocalists, respectively, with didactic tasks and potential openness to expand its genre and style palette in connection with the need to train a universal academic singer. The scientific novelty of the paper lie

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19

Gilbert, Gregory. "The Intersection of Abstract Expressionist and Mass Visual Culture—An Historiographic Overview." Arts 12, no. 2 (2023): 64. http://dx.doi.org/10.3390/arts12020064.

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Kluszczynski, Ryszard W. "Re-Writing the History of Media Art: From Personal Cinema to Artistic Collaboration." Leonardo 40, no. 5 (2007): 469–74. http://dx.doi.org/10.1162/leon.2007.40.5.469.

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The author reinterprets the artistic phenomena that composed historical avant-garde art. His method of interpretation is an intertextual strategy that approaches the historical artifacts through recent phenomena. The first case study is of structural film; its most important attributes appear to be artistic strategies questioning the structural/material integrity, durability and permanence of the film work. The second case study is of the avant-garde strategy of collective work, reinterpreted through the open-source work and interactive art of today. The author identifies three steps in the de

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Volgusheva, Alla O., and Svetlana A. Vorobyova. "Proletarian Culture and Leftist Trends in Russia at the Beginning of the 20th Century." Observatory of Culture 20, no. 2 (2023): 212–22. http://dx.doi.org/10.25281/2072-3156-2023-20-2-212-222.

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The low level of development of this topic in Russian historiography can be explained by the fact that, most often, this problematics is considered through the prism of general issues of culture of the Soviet period, party and state cultural policy, aspects of intelligentsia studies.This study aims at identifying the artistic concept of the leftist direction in the visual arts of the early 20th century, considering its variability, showing its origins, relations with the Soviet government and within the artistic environment, analyzing the reasons for its prohibition and exodus for many decades

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Кобер, О. И. "About the features of the avant-garde art of Orenburg of the second half of the 20th century: axiological context." Iskusstvo Evrazii [The Art of Eurasia], no. 3(26) (September 30, 2022): 128–41. http://dx.doi.org/10.46748/arteuras.2022.03.011.

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Региональный авангард «второй волны» относится к малоизученным темам современного российского искусствоведения. Актуальность данного исследования обусловлена тем, что впервые оренбургский авангард рассматривается в контексте отечественной культуры. На основе анализа творчества художников, отвергавших догматы официального искусства и отстаивавших право на свое видение художественного мира, научных статей, альбомов и каталогов выставок, статей в прессе указываются основные особенности авангардного искусства Оренбурга. Значительным явлением в культурной жизни города стало создание в начале 1970-х

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Niebelska-Rajca, Barbara. "Convention as the Source of the Avant-Garde. Remarks on the Inventiveness of Poetics of the Past." Roczniki Humanistyczne 66, no. 1 SELECTED PAPERS IN ENGLISH (2019): 19–31. http://dx.doi.org/10.18290/rh.2018.66.1-2e.

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The Polish version of the article was published in “Roczniki Humanistyczne,” vol. 59 (2011), issue 1. Modern theoretical-literary treatises, defined as normative poetics, are usually connected with the dominance of the convention and normativism, with obligatory rules, canonical concepts and restrictive directives hampering originality. The present text tries to revise the conviction that convention is a dominant tendency in the development of the old theoretical thought; it tends to show the avant-garde aspects of modern poetics and to present the relations between what is conventional

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Muratbekova, J.S. "FEATURES OF 20th CENTURY FRENCH MUSIC." INTERNATIONAL JOURNAL OF PEDAGOGICS (IJP) 5, no. 3 (2025): 1–5. https://doi.org/10.5281/zenodo.15455066.

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This article analyzes the specific stylistic and aesthetic features of 20th century French music, the development of modernist and avant-garde movements in music, and the contribution of French composers to world music culture. The article examines the creative heritage of composers such as Claude Debussy, Maurice Ravel, Eric Satie, Olivier Messiaen, Pierre Boulez based on a modern analytical approach, and studies their harmonic, timbral, and rhythmic experiments. It also sheds light on the aesthetic principles that French music adopted in the 20th century, the harmony of nationalism and innov

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Benthien, Claudia, and Wiebke Vorrath. "German sound poetry from the neo-avant-garde to the digital age." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 7, no. 1 (2017): 4–26. http://dx.doi.org/10.7146/se.v7i1.97176.

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This article gives insight into German-language sound poetry since the 1950s. The first section provides a brief historical introduction to the inventions of and theoretical reflections on sound poetry within the avant-garde movements of the early 20th century. The second section presents works by Ernst Jandl and Gerhard Rühm as examples of verbal poetry of the post-war neo-avant-garde. The following two sections investigate contemporary sound poetry relating to avant-garde achievements. Section three deals with two examples that may be classified as sound poetry in a broader sense: Thomas Kli

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Navarro, Alicia. "Flying Frills: When Flamenco Is All About Gestures, Machines, and Nymphs." Enclaves. Revista de Literatura, Música y Artes Escénicas, no. 4 (2024): 51–73. https://doi.org/10.12795/enclaves.2024.i04.04.

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This paper re-evaluates the modernist significance of flamenco by focusing on Antonia Mercé, La Argentina, as a foundational yet overlooked figure in avant-garde dance. As well, it claims a common pattern of artistic and choreatic practices between Mercé and Isadora Duncan within avant-garde art and dances. Through the lens of Aby Warburg's Mnemosyne Atlas and critical theories from Agamben, Foucault, and Deleuze, it demonstrates how Mercé’s choreography embodies the lost gestures of Western modernity. It is necessary to clarify, on the one hand, that there were different levels of impact and

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Demchenko, Alexander I. "Russian musical avant-garde of the early 20th century and D. Shostakovich’s "The Nose"." Ученые записки Российской академии музыки имени Гнесиных 4, no. 51 (2024): 44–55. https://doi.org/10.56620/2227-9997-2024-4-44-55.

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The article is devoted to D. Shostakovich’s opera "The Nose", which is considered in the context of the Russian avant-garde of the early XX century. It is noted a rather wide range of artistic search of representatives of the early avant-garde in Russian music: polytonality and multi-second chords (V. Rebikov), atonalism and principles of serial organisation of sound material (E. Golyshev, N. Roslavets), experiments of quarter-tone music (A. Avraamov, I. Vyshnegradsky, A. Lurie, M. Matyushin), anticipation of pointillism and minimalism, approbation of noise, concrete and electronic music techn

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Rovner, Anton А. "The Transformation of a Music Festival in St. Petersburg “The World of Art. Contrasts”." ICONI, no. 2 (2019): 159–71. http://dx.doi.org/10.33779/2658-4824.2019.2.159-171.

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The article presents the history of an extraordinary music festival organized in St. Petersburg by two composers Igor Rogalev and Igor Vorobyev. The festival was fi rst called “From the Avant-garde to the Present Day,” subsequently “From the Avant-garde to the Present Day. Continuation,” and during the last three years — “The World of Art. Contrasts.” This festival was founded in 1992, and its aim was to create a venue for performance of music by contemporary composers and representatives of the “forgotten generation” of the early 20th century Russian avant-garde movement, such as Nikolai Rosl

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Fortuny-Agramunt, Jaume. "An Insight on the Inconsistency of the Theoretical Construction of Avant-garde Concept in 20th-Century Art." Advances in Social Sciences Research Journal 10, no. 10 (2023): 231–39. http://dx.doi.org/10.14738/assrj.1010.15800.

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This paper analyses avant-garde art theory through the concept of originality, understood as shock. The initial hypothesis is that this theoretical construction is a misunderstanding because it neglects the body during the experience lived before the work of art. It reminds us that if we are aware of our presence, it is thanks to the fact that we are psychosomatic individuals. Even so, we tend to evaluate the work of art from philosophical reflection rather than from analysing the form that excites us. It shows how the materialisation of the work of art sought by the avant-garde should have de

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Perloff, Marjorie. "From Language Poetry to the New Concretism: The Evolution of the Avant-Garde." Literature of the Americas, no. 12 (2022): 10–36. http://dx.doi.org/10.22455/2541-7894-2022-12-10-36.

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The article examines the trajectory of the Western avant-garde in the 20th century, in connection with the group formations characteristic of these movements. Movements such as the Russian avant-garde and European Dadaism are classified according to various criteria, and their rise and fall is traced. After a broad overview of avant-garde movements, the first part of the essay analyzes the cases of the modern avant-garde movement “Language Poetry”. The article then goes on to detail the theoretical principles of the “language movement” founded in the late 1970s, and then explore how this radic

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Kostova-Panayotova, Magdalena. "RUSSIAN LITERARY MODERNISM AND ITS INFLUENCE ON BULGARIAN LITERATURE." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 58 (2020): 203–24. http://dx.doi.org/10.37816/2073-9567-2020-58-203-224.

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The paper discusses to what extent major currents and representatives of Russian modernism and the Avant-garde had influenced the works of prominent representatives of 20th-century Bulgarian literature such as L. Stoyanov, Liliev, Debelyanov, Trayanov, Sirak Skitnik, and many others. In addition to addressing the influence of Russian symbolism on Bulgarian writers, the article examines the impact of Acmeism on the work of El. Bagryanа and At. Dalchev; the one of Imaginism on the work of Bulgarian modernists from the 1920s such as Slavcho Krasinski, Geo Milev and others. The intertwining of fea

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Lubimova, Anastasiya Igorevna, and Anna Yuryevna Demshina. "Actual problems of studying the interaction of Soviet unofficial art of the 1960s and 1980s with the heritage of the avant-garde." Manuscript 17, no. 4 (2024): 598–602. https://doi.org/10.30853/mns20240090.

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The aim of the study is to analyze the actual problems of studying the succession of creativity of unofficial artists with the legacy of avant-garde in the artistic culture of the USSR in the 1960s and 1980s. The article notes the modern concepts of domestic researchers, considering the general patterns of development of the creative method of unofficial artists and avant-garde representatives, points out the issues of terminology, periodization and regional aspects of unofficial art, without which understanding the interrelations between tradition and modernity in the artistic culture of the

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Alimkulova, Dilzoda. "National Institute of Art and Design named after Kamoliddin Behzod." History Research Journal 5, no. 4 (2019): 104–8. http://dx.doi.org/10.26643/hrj.v5i4.7134.

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The art of Uzbekistan of the first decade of 20th century (1920-30s) is worthily recognized as the brightest period in history of Uzbek national art. We may observe big interest among the artwork which was created during the years of Independence of Uzbekistan towards the art of 20th century and mainly it may be seen in form, style, idea and semantics. Despite the significant gap between the 20th century art tendencies and Independence period, there is very big influence of avant-garde style in works of such artists as Javlon Umarbekov, Akmal Ikramjanov, Alisher Mirzaev, Tokhir Karimov, Daima

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Demchenko, Alexander I. "The Art of Music in the 20th Century (Based on the Material of Choral Music)." IKONI / ICONI, no. 4 (2021): 142–58. http://dx.doi.org/10.33779/2658-4824.2021.4.142-158.

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The lectures on 20th century Russian music published in previous issues of our magazine were devoted to the work of such outstanding composers as Sergei Rachmaninoff, Igor Stravinsky, Sergei Prokofiev, Nikolai Myaskovsky, Dmitri Shostakovich, Georgy Sviridov, Rodion Shchedrin and Alfred Schnittke. In the last of the published lectures brief sketches on the music of Sergei Slonimsky, Valery Gavrilin and Elena Gokhman were presented. Completing this cycle of lectures, we shall give a general overview of the art of music of the previous century, which is examined on the basis of choral music and

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KARAKOVA, T. V., and E. V. RYZhIKOVA. "INFLUENCE OF THE SOVIET VANGUARD OF THE DEVELOPMENT OF MODERN ARCHITECTURE." Urban construction and architecture 2, no. 4 (2012): 22–24. http://dx.doi.org/10.17673/vestnik.2012.04.4.

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Vanguard are typical for all the transition stages in the history of art culture, certain types of art. In the 20th century. notion of the avant-garde has become the term to refer to a powerful phenomenon of artistic culture that has enveloped her significant events, which have much in common. Vanguard is the reaction of the artistic and aesthetic consciousness on a global, not yet encountered in the history of mankind change in cultural and civilizational process caused by scientific and technological progress (STP) of the last century. The nature and importance to humanity of this process in

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Kudiņš, Jānis. "FRAGMENTARY AND MODERATE MODERNISM IN LATVIAN MUSIC HISTORY ." Culture Crossroads 19 (October 11, 2022): 111–25. http://dx.doi.org/10.55877/cc.vol19.31.

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The question of 20th century modernism in the history of Latvian academic genres music is still topical. The prevailing opinion in musicological research (literature) is that representation of modernism in the history of Latvian music has been fragmentary. In various decades of the 20th century (the first and second half of the century), Latvian composers have rarely turned to the most radical expression of modernism, the avant-garde. Much more often possible identified stylistically moderate manifestations of modernism. However, these issues have still been little researched. This article off

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Cherkasova, Kateryna, and Olesya Chagovets. "A Study of the Kharkiv Architectural Avant-Garde." Docomomo Journal, no. 70 (April 15, 2024): 86–95. http://dx.doi.org/10.52200/docomomo.70.11.

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The article addresses the issue of preserving Kharkiv’s architectural heritage from the first third of the 20th century. The main focus is on the preservation of authenticity of the early modernist heritage in the context of a crisis situation associated with the overall state of heritage preservation in Ukraine and during active military operations. The research was conducted in the context of the planning development and spatial structure of the Kharkiv historical center and suburbs, where new workers’ settlements were formed, as well as considering the architectural layers within the struct

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Kavas, Kemal Reha, İkbal Erbaş, and Hacer Mutlu Danacı. "A reinterpretation of the suprematist painterly space for the comprehension of basic design in architectural educationMimarlık eğitiminde temel tasarımın kavranmasına yönelik olarak süprematist resim uzamının yeniden değerlendirilmesi." Journal of Human Sciences 13, no. 3 (2016): 5813. http://dx.doi.org/10.14687/jhs.v13i3.4199.

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The basic design course is the heritage of the Bauhaus and similar avant-garde approaches, who established a practical education system and a theoretical framework comprehending art and design disciplines during the early 20th century. Today, basic design is still the most important course of the first year in the curriculum of many art and design programs in Turkey and abroad. This is also viable for architectural education. In the discipline of architecture, which is based on the definition of space, basic design has a special value for the comprehension of basic principles in the transition

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Kuleszewicz, Anna. "Aleś Puszkin — czołowa postać białoruskiej awangardy?" Kultury Wschodniosłowiańskie - Oblicza i Dialog, no. 7 (July 31, 2018): 87–98. http://dx.doi.org/10.14746/kw.2017.7.7.

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Avant-garde, a rebellious band of new trends and tendencies in art that appeared in the early 20th century, lasted for years being transformed, yielding the new forms of expression. It is also a trend of art most often associated with contemporaryBelarusian art (partially due to “school of Vitebsk”, Marc Chagall and Kazimir Malevich), still enjoying popularity in the country. One of the most recognizable Belarusian artistsis Ales Pushkin, born in 1965 in Bobr, associated with the Achremczuk’s National Schoolof Music and the Arts in Minsk and Vitebsk artistic environment. Pushkin is known for h

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Foitoș, Alexandru. "WAR TRAUMA AND THE CRISIS OF HUMAN REPRESENTATION IN LITERARY AND ART AVANT-GARDE: URMUZ AND MAX ERNST." Incursions into the imaginary 14, no. 1 (2023): 219–36. http://dx.doi.org/10.29302/inimag.2023.14.11.

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The present work proposes an applied analysis, by bringing together the Romanian literary avant-garde with the European artistic one, a reunion represented by the text Emil Gayk, a text written by the precursor of the Romanian avant-garde, Urmuz, and the painting Barbarii (The Barbarians) by the German surrealist painter Max Ernst. Both works are specifically related to the First World War, a traumatic experience that leads to specific poetics of avant-garde and modernity, that of the crisis of human representation. Thus, we will pursue a comparative, but also interdisciplinary approach, the s

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Remizova, Оlena. "Composition Methods of the Soviet Architectural Avant-Garde." Docomomo Journal, no. 70 (April 15, 2024): 28–35. http://dx.doi.org/10.52200/docomomo.70.04.

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This paper explores the composition logic of the creativity of the Avant-garde masters and to identify the principles of the composition language of the architecture of modernism.To characterize the composition language of Avant-garde architecture, systemic, historical-genetic and semiotic methods of research are used. Architectural composition is interpreted as an activity that has its own semantic, morphological and syntactic features. In the example of Svoboda Square (the former Dzerzhinsky Square) in Kharkiv, the logical methods of artistic activity and thinking of the architects of the So

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FISCHER-LICHTE, ERIKA. "Introduction: contemporary theatre and drama in Europe." European Review 9, no. 3 (2001): 275–76. http://dx.doi.org/10.1017/s1062798701000266.

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The 30 years between the 1960s and the 1980s of the 20th century are recalled today as a golden age of European theatre. They seem to have revived, continued and re-created the previous golden age brought about by the historical theatre avant-garde movements during the first decades of the 20th century (approximately 1900–1930). Then, Adolphe Appia, Jacques Copeau, Edward Gordon Craig, Leopold Jessner, Vsevolod Meyerhold, Max Reinhardt, Alexander Tairov, Evgeni Vakhtangov and others had striven for what they called a retheatricalization of theatre.

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Klymenko, M. "Alexander Archipenko: Artistic and Aesthetic Principles of the European Avant-garde Epoch." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2021, no. 1 (2021): 69–76. http://dx.doi.org/10.33625/visnik2021.01.069.

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The paradigm formation of Alexander Archipenko’s art (1887–1964) in the context of the European avant-garde was analyzed in the article. The study examined the historiography of the 20th century artistic movement from Cubism, Futurism to Expressionism. The author analyzed the sculptor’s conceptual connection with innovations of the period and underlined the main philo-sophical principles of the epoch, and their impact on the formation of the artist’s figurative plastic concepts. The focus was made on the accumulation of the universal cultural experience of the European avant-garde in the proce

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Rom, Josep, and Joan Sabaté. "Publicitat i contracultura." Tripodos, no. 18 (June 19, 2006): 139–56. https://doi.org/10.51698/tripodos.2006.18.139-156.

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Since the birth of the avant-garde movements of the 20th century, there has been a mutually fruitful influence between the avant-garde and advertising. It is obvious that the avant-garde has a need for differentiation which it achieves through a great creative vitality. This ability to use differentiated creative language, the use of cuttingedge concepts to attract attention, is what makes avantgarde language and latterly, the esthetic trends of countercultural and “anti-system” movements interesting for advertising. The 60s, characterized by the definitive enthroning of creativity in the adve

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Kogler, Susanne. "Art as a Critique of Language: On the Continuity of the Tradition of the Avant-Garde Aesthetic in the Modern and the Postmodern." Musicological Annual 43, no. 2 (2007): 287–303. http://dx.doi.org/10.4312/mz.43.2.287-303.

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That art functions as a corrective to rational-scientific insights is one of the formative thoughts of art philosophy. The fact that artistic expression represents a corrective to linguistically-rationally affected insight also ranks among the constants of art philosophy in the 20th century. “Expression is the opponent of articulating something” can be read, for instance, in Adorno’s Aesthetic Theory with regards to the character of language in art and Jean François Lyotard wrote on aesthetic experience: “What happens to us is by no means something which we would have controlled, programmed or

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Włodarczyk, Wojciech. "1989. On the Concept of Modernism." Artium Quaestiones, no. 30 (December 20, 2019): 257–70. http://dx.doi.org/10.14746/aq.2019.30.14.

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The author argues that the significance of the year 1989 for Polish art was not determined by political changes, but by the rise of postmodernism. Until that moment, the term “modernism” usually referred in academic art history to Polish art at the turn of the 20th century. The concept of postmodernism brought to the Polish language a new meaning of modernism as simply modern art, and more precisely, as modern art defined by Clement Greenberg. That change made it necessary to draw a new map of concepts referring to modern Polish art, most often defined before by the concept of the avant-garde.

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Włodarczyk, Wojciech. "Rok 1989 – wokół pojęcia modernizmu." Artium Quaestiones, no. 30 (December 20, 2019): 415–28. http://dx.doi.org/10.14746/aq.2019.30.25.

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The author argues that the significance of the year 1989 for Polish art was not determined by political changes, but by the rise of postmodernism. Until that moment, the term “modernism” usually referred in academic art history to Polish art at the turn of the 20th century. The concept of postmodernism brought to the Polish language a new meaning of modernism as simply modern art, and more precisely, as modern art defined by Clement Greenberg. That change made it necessary to draw a new map of concepts referring to modern Polish art, most often defined before by the concept of the avant-garde.

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Maslinskaya, Svetlana. "Literature about animals of the early 20th century: avant-garde and pedagogy." St. Tikhons' University Review. Series IV. Pedagogy. Psychology 57 (June 30, 2020): 136–50. http://dx.doi.org/10.15382/sturiv202057.136-150.

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Onyshchenko, Andrii. "Historical Projections of Philosophical Critics of Art Avant-garde of 20th Century." NaUKMA Research Papers in Philosophy and Religious Studies 3 (November 22, 2019): 100–105. http://dx.doi.org/10.18523/2617-1678.2019.3.100-105.

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Danilova, Irina. "Arts’s Fight for Life or the Triumphant End of the Avant-Garde." Culture and Arts in the Modern World, no. 24 (September 22, 2023): 100–111. http://dx.doi.org/10.31866/2410-1915.24.2023.287666.

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The aim of the article is to outline a logical sequence of events that led to radicalism in the art of the 19th and 20th centuries by studying the connections between art, life (reality), and science and technology. From the mid-nineteenth century through the 1970s, art acquired a unique quality: it rapidly radicalised, creating a number of alternative art practices, such as impressionism, abstractionism, cubism, ready-made, etc. Before that, except for random individual phenomena, art for centuries was just changing styles: Baroque, Rococo, Classicism. Results. The article identifies the caus

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