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Relevant bibliographies by topics / Art movements – 20th century

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Academic literature on the topic 'Art movements – 20th century'

Author: Grafiati

Published: 20 February 2023

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Journal articles on the topic "Art movements – 20th century"

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Kardum, Goran, Dubravka Kuščević, and Marija Brajčić. "The Impacts of Different Sorts of Art Education on Pupils’ Preference for 20th-Century Art Movements." Education Sciences 10, no. 1 (January 3, 2020): 15. http://dx.doi.org/10.3390/educsci10010015.

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The research presented here aims to determine how art education influences students’ preferences for the 20th-century art movements. An educational experiment that spanned through one school year was conducted on 200 primary school students. It included three types of intervention: observing works of art from the 20th century, introducing works of art using a puppet, and the students’ art activities/artwork based on the 20th-century art movements. The results show that the model of art education is an important factor in changing students’ preferences for the 20th century art movements. Students reacted positively to each kind of education, as evidenced in the wider acceptance of 20th-century art (abstract, fauvism, cubism, pop art, and surrealism). The type of education did not influence preferences (as much) when it came to classical art and visual works without artistic value. We concluded that puppets and independent creative work should be used more often in art education.

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Tailanga, Soranat. "Modernist Thai Short Stories, 1964–1973: The Relationship with Art." MANUSYA 11, no. 2 (2008): 125–41. http://dx.doi.org/10.1163/26659077-01102007.

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A number of distinguished Thai short stories from 1964 to 1973 reveal new and distinctive features in terms of subject, form, concepts and style. These features are similar to those of modernism, which was an international movement in literature and the arts that began in the late 19th century and continued into the early 20th century. The similarity suggests the direct and indirect influences of the modernist style upon Thai writers. Furthermore, the change in style of some of the short stories indicates a relationship with the art movements: impressionism, expressionism, cubism and surrealism, which were subsidiary art movements within modernism. These specific features of the Thai short story signify a radical break with the traditional writing of the time.

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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, contributions from Painting to Architecture are established. Some of them, partially shaded by the hegemony of Modern Movement, have been incorporated to 20th Century architectural projects and they are a significant chapter about interdisciplinary creative processes.

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Goryunov, Vasiliy, Tatjana Konjkova, Vera Murgul, and Nikolay Vatin. "William Richard Lethaby – Architecture, Mysticism and Myth." Applied Mechanics and Materials 725-726 (January 2015): 1084–89. http://dx.doi.org/10.4028/www.scientific.net/amm.725-726.1084.

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This article deals with the art of a prominent English architect and architectural theorist - William Richard Lethaby. His theoretical outlook on architecture has been considered herein. His fundamental outlook – the book ‘Architecture, Mysticism, and Myth’ - has been analyzed. His innovative outlook, as well as the concept development regarding study of art in the 20th century described in this book, has been highlighted. The Lethaby’s relations with English movements ‘Art and Craft’ and ‘Aesthetic Movement’ have been indicated. Different outlooks on architecture supported by Lethaby and other leading theorists-rationalists in the mid-19th have been also distinguished.

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Rycroft, Simon. "Art and micro-cosmos: kinetic art and mid-20th-century cosmology." cultural geographies 19, no. 4 (August 16, 2012): 447–67. http://dx.doi.org/10.1177/1474474012447538.

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Recent work by cultural geographers on visual art has emphasized performative and participatory aspects focusing upon the embodied and multi-sensory experience of encountering and being part of a work of art. Research on non-figurative art has much to offer in elucidating the relationships and distinctions between representation, non-representation and abstraction. Non figurative artists were representing or enacting a new kind of materiality, one that was putative, in process and ever changing. That materiality was based upon the adoption of a mid-20th-century cosmology and inspired by recent advances in the understanding of matter and the universe. Kinetic art, which is characterized by a set of abstract aesthetics that represent or reproduce real or illusory movement, was, especially in the post-war period, inspired by this new cosmology. Mid-century kinetic artists created non-figurative abstract models of the latest understandings to bring their associated energies, forces and motions to the senses of the viewer-participant. The models that kinetic artists produced in a variety of media were designed to be experienced in an embodied manner rather than simply viewed. These and other models of a mid-century cosmology signify a period in which the practices of representation were shifting significantly and consequently demand our attention.

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Kim, Il-Su. "Kim Jin-man's Anti-Japanese Independence Movement." Institute of Korean Cultural Studies Yeungnam University 82 (December 31, 2022): 289–317. http://dx.doi.org/10.15186/ikc.2022.12.31.12.

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Kim Jin-man has been one of the representative literary painters of the 20th century who has established his art world through Sagunja painting and Gimyeongjeolji painting and influenced the flower bed for a long time since he had academic ability. In order to restore the independence of the Japanese colonial eran people and achieve national independence, he started the Reconstruction Achievement Friendship Association and the “Daegu Pistol Incident”. He was a representative anti-Japanese independence activist in Daegu in the 1910s who promoted the anti-Japanese independence movement. His anti-Japanese independence movement was inherited over three generations. Soon, he continued to his grandson Kim Il-sik, following his sons Kim Young-jo and Kim Young-ki. Through this, the Kim Jin-man family established the overall image of the three major independence movements. In addition, the three major independence movements of the Kim Jin-man family were consistent with the chang e in the route of the anti-Japanese independence movement in Japanese colonial era. The three major independence movements of the Kim Jin-man family have great implications for the direction that our society should view and predict even today in the 21st century.

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Lanszki, Anita. "On Body and Education." Tánc és Nevelés 2, no. 2 (October 13, 2021): 119–22. http://dx.doi.org/10.46819/tn.2.2.119-122.

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The history of the teaching of movements is a remarkable field in the history of education, the research paradigm of which also presupposes social and cultural-historical studies and accurate document analysis. The impressive volume published in 2021 and edited by Simonetta Polenghi, András Németh and Tomáš Kasper, provides a comprehensive overview of the educational trends from the turn of the century to the 1950s. The book’s authors present the trends in physical education and movement arts in the European countries of the era from exciting perspectives. The studies focus on how the public health, ideology, art, and pedagogical trends of the first half of the 20th century influenced educational policy aspirations for the physical and artistic development of the body.

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Zarembo, Liene. "ART DECO STYLE’S FEATURES IN THE TEXTILE WORKS OF DESIGNERS SONIA DELAUNAY AND PAUL POIRET." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 25, 2018): 530. http://dx.doi.org/10.17770/sie2018vol1.3388.

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Art Deco is an artistic term that stands for an elegant eclectic design style dating back to the 1920s. Style has affected virtually all industries, including architecture, fine arts, applied arts, interior design, industrial design, fashion and jewellery, as well as painting, graphics and cinema. Art Deco architecture and arts expanded on other movements - Constructivism, Cubism, Modernism, Bauhaus, and Futurism. Principles of Constructivism and Cubism are also used in contemporary textile patchwork and quilt. The aim of the paper: exploration of the features of Art Deco style in the textile works of 20th century designers - Sonia Delaunay and Paul Poiret. The methods of the research: exploration of theoretical literature and Internet resources, the experience of reflection.The research emphasizes Sonja Delaunay’s particular importance of textile works in the development of contemporary quilt in the 21st century.

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Taranda, G. L. "Modern Dance As an American Alternative to Classical Ballet." Contemporary problems of social work 6, no. 4 (December 30, 2020): 45–51. http://dx.doi.org/10.17922/2412-5466-2020-6-4-45-51.

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the article analyzes the features of the American modern dance, which formed in the first half of the 20th century as an alternative to the classical ballet of the United States, which had Russian roots. In the article there were formulated both the artistic and aesthetic principles of modern dance and the historical and cultural prerequisites for the formation of the US national choreographic school. The work uses theoretical methods: visual and text analysis of choreographic works and music for performances, comparison of the means of plastic expressiveness, movements and figures of classical ballet and modern dance, the principles of stage development of artistic images of performances. The basis of the empirical study was a generalization of the practical experience of staging performances by leading American dancers of the 20th century. According to the results of the study, it is noted that the features of modern dance are opposite to the classical ballet of the United States, testify to the desire of Americans to illuminate the problems of modern time and convey the unique national features of US culture, using elements of African or Indian dances, as well as movements that are not characteristic of classical ballet, but reflect the spirit of our time. The materials of the article have theoretical and practical value for specialists dealing with the problems of culture and art of the 20th century, including modern choreography

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Kranjec, Alexander, and Martin Skov. "Visualizing Aesthetics Across Two Centuries." Empirical Studies of the Arts 39, no. 1 (February 13, 2020): 78–100. http://dx.doi.org/10.1177/0276237420905308.

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Empirical aesthetics is associated with two research questions: How the mind generally assigns value to sensory stimuli and how it responds specifically to art objects. Researchers have debated whether these phenomena share enough to warrant being collapsed into a single field. To ask how these particular questions came to be associated with aesthetics, we conducted Google Ngram analyses over a corpus of books spanning two centuries. Analyses trace the frequency of “big questions” about art and beauty, and how the term aesthetic appears relative to other concepts. Results indicate the 19th century was dominated by notions of beauty and an aesthetic sense. Questions about art and aesthetic experience become more frequent during the 20th century. Results are interpreted with respect to associated affective and evaluative concepts, art movements, and scientific debates. Understanding how aesthetics is used over time can cast light on the ways current work is being conceived and pursued.

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Dissertations / Theses on the topic "Art movements – 20th century"

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Jenkins, Kyle. "The cold war : the politics of being inside and outside a visual art space." Phd thesis, Sydney College of the Arts, 2003. http://hdl.handle.net/2123/3966.

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Conceição, Carlos Augusto Ribeiro da. "Koonsland-comércio de duplos." Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas -- -Departamento de Ciências da Comunicação, 1997. http://dited.bn.pt:80/29838.

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Dias, Fernando Paulo Leitão Simões Rosa. "Ecos expressionistas na pintura portuguesa (1910-1940)." Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas -- -Departamento de História da Arte, 1996. http://dited.bn.pt:80/29877.

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Pereira, Teresa Matos. "A primitividade do ver ou a renúncia da razão na arte do primeiro modernismo em Portugal." Master's thesis, Instituições portuguesas -- UL-Universidade de Lisboa -- -Faculdade de Belas Artes, 2001. http://dited.bn.pt:80/30084.

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Bettis, Robert J. "Herbert Smenner : Muncie eclectic." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1313955.

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Herbert Smenner was one of the most prolific architects in the east central Indiana area from 1920 up until his death in 1950. During those three decades, Smenner designed some of Muncie's most beloved and recognizable buildings, including churches, schools, homes, and governmental institutions. The purpose of this study is to study trends in architecture from 1920 to 1950 through Herbert Smenner's work, to determine if he followed these trends, and to see if these trends themselves influenced his work.Smenner was a very sought after architect in Muncie and the surrounding area. His main clientele were the upper class of Muncie, as well as being the choice for many public commissions. Smenner's work, for the most part, did follow the architectural trends of the time. He worked mostly in the revival styles, which was the primary mode of choice during the 1920's and 1930's. In the early 1930's he also designed several buildings in the popular Art Deco and Art Moderne styles. His innovative design the Harrison Township School in 1924, was popular among many regional architects who came to study the unique layout of the school.Smenner was a troubled man. Throughout his career he battled illness, depression and severe issues with his temper. His work was widely appreciated, but the man faced many trials in the public eye do to his personality and legal problems. Smenner was often known as a copy artist by his peers. Many of his contemporaries felt that Smenner never had the creative skills to be a true architect, and that he was simply a wonderful draftsman interpreting the designs of others. Sadly, he took his own life at the age of 52 only leaving behind his buildings as a testament to his life and accomplishments.
Department of Architecture

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Rosa, Pedro Miguel Aparício Alves. "O cartaz de propaganda do Estado Novo-1930-1940." Master's thesis, Instituições portuguesas -- UL-Universidade de Lisboa -- -Faculdade de Belas Artes, 2000. http://dited.bn.pt:80/29361.

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Ryder, Marianne. "Forming a New Art in the Pacific Northwest: Studio Glass in the Puget Sound Region, 1970-2003." PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/1096.

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The studio glass movement first arose in the United States in the early 1950s, and was characterized by practitioners who wanted to divorce glass from its industrial associations and promote it as a fine arts medium. This movement began in a few cities in the eastern part of the country, and in Los Angeles, but gradually emerged as an art form strongly associated with the city of Seattle and the Puget Sound region. This research studies the emergence and growth of the studio glass movement in the Puget Sound region from 1970 to 2003. It examines how glass artists and Seattle's urban elites interacted and worked separately to build the support structures and "art world" that provided learning and mentoring opportunities, workspaces, artistic validation, audience development, critical and financial support, which helped make glass a signature Puget Sound art form, and the role that artist social networks, social capital, cultural capital and cultural policy played in sustaining this community. In particular, the research seeks to explore the factors that nourish a new art form and artist community in second-tier cities that do not have the substantial cultural and economic support structures found in the "arts super cities" such as Los Angeles, New York City, and San Francisco. This study contributes to the growing literature on artist communities, and the roles played by social capital, cultural capital, urban growth coalitions and policy at different stages of community development. Results can assist policymakers in formulating policies that incorporate the arts as a form of community development.

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Bynum, Katherine E. "Weeding Out the Undesirables: the Red Scare in Texas Higher Education, 1936-1958." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc699918/.

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When the national Democratic Party began to transform to progressive era politics because of the New Deal, conservative reactionaries turned against the social welfare programs and used red scare tactics to discredit liberal and progressive New Deal Democrat professors in higher education. This process continued during the Second World War, when the conservatives in Texas lumped fascism and communism in order to anchor support and fire and threaten professors and administrators for advocating or teaching “subversive doctrine.” In 1948 Texas joined other southern states and followed the Dixiecrat movement designed to return the Democratic Party to its original pro-business and segregationist philosophy. Conservatives who wanted to bolster their Cold Warrior status in Texas also played upon the fears of spreading communism during the Cold War, and passed several repressive laws intended to silence unruly students and entrap professors by claiming they advocated communist doctrine. The fight culminated during the Civil Rights movement, when conservatives in the state attributed subversive or communist behavior to civil rights organizations, and targeted higher education to protect segregated universities. In order to return the national Democratic Party to the pro-business, segregationist philosophy established at the early twentieth century, conservatives used redbaiting tactics to thwart the progressivism in the state’s higher education facilities.

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Torrubia, Rafael. "Culture from the midnight hour : a critical reassessment of the black power movement in twentieth century America." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1884.

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The thesis seeks to develop a more sophisticated view of the black power movement in twentieth century America by analysing the movement’s cultural legacy. The rise, maturation and decline of black power as a political force had a significant impact on American culture, black and white, yet to be substantively analysed. The thesis argues that while the black power movement was not exclusively cultural it was essentially cultural. It was a revolt in and of culture that was manifested in a variety of forms, with black and white culture providing an index to the black and white world view. This independent black culture base provided cohesion to a movement otherwise severely lacking focus and structural support for the movement’s political and economic endeavours. Each chapter in the PhD acts as a step toward understanding black power as an adaptive cultural term which served to connect and illuminate the differing ideological orientations of movement supporters and explores the implications of this. In this manner, it becomes possible to conceptualise the black power movement as something beyond a cacophony of voices which achieved few tangible gains for African-Americans and to move the discussion beyond traditional historiographical perspectives which focus upon the politics and violence of the movement. Viewing the movement from a cultural perspective places language, folk culture, film, sport, religion and the literary and performing arts in a central historical context which served to spread black power philosophy further than political invective. By demonstrating how culture served to broaden the appeal and facilitate the acceptance of black power tenets it is possible to argue that the use of cultural forms of advocation to advance black power ideologies contributed significantly to making the movement a lasting influence in American culture – one whose impact could be discerned long after its exclusively political agenda had disintegrated.

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Blakeley-Carroll, Grace. "Illuminating the spiritual : the symbolic art of Christian Waller." Phd thesis, Canberra, ACT : The Australian National University, 2017. http://hdl.handle.net/1885/146396.

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Australian artist Christian Waller nee Yandell (1894-1954) created artworks that unified her aesthetic and spiritual values. The technical and expressive brilliance of her work across a range of art media - drawing, painting, illustration, printmaking, stained glass and mosaic - makes it worthy of focused scholarly attention. Important influences on her practice included Pre-Raphaelitism, Art Deco and the Celtic Revival. Her spirituality was informed by a range of orthodox and alternative systems of belief, including: Christianity, Theosophy, the Hermetic Order of the Golden Dawn and the international Peace Mission Movement. Acting as an emissary, she included personal symbols - especially the sun, the moon, stars and flowers - in her artworks to encourage spiritual contemplation. In this thesis, I argue that Waller harnessed the decorative and expressive potential of these movements - along with a commitment to Arts and Crafts values - to develop a personal set of symbols that expressed her sense of the spiritual. This encompassed the harmony of word, image and message, which underscored her work. It is for this reason that I locate Waller within the international discourse of spiritual art. Despite her remarkable talents across media and the distinctive quality of her art, Waller has always occupied a peripheral position within Australian art and art history. Even when she is included in significant books and exhibitions, most often it is in relation to her hand-printed book 'The Great Breath: A Book of Seven Designs' (1932) and her relationship with her husband, fellow artist Napier Waller. Key aims of this thesis are to highlight the breadth and depth of Waller's art practice and to demonstrate that she made important contributions to Australian art and to art that addresses the sacred.This thesis introduces a number of Waller's artworks, stories and personal ephemera into scholarship, making a comprehensive study of the artist possible for the first time. It makes a major contribution to scholarship on the artist, especially in relation to the spiritual values that underpinned her practice, as expressed in the key symbols that are identified. By extension, it contributes a more nuanced understanding of art produced between the First and Second World Wars to Australian art history and to scholarship on art that addresses the sacred.

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Books on the topic "Art movements – 20th century"

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New media in late 20th-century art. New York, N.Y: Thames and Hudson, 1999.

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Edward, Lucie-Smith. Movements in art since 1945. London: Thames & Hudson, 2001.

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Artspeak: A guide to contemporary ideas, movements, and buzzwords. New York: Abbeville Press Publishers, 1990.

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P, Compton Susan, Ades Dawn, and Royal Academy of Arts (Great Britain), eds. British art in the 20th century: The modern movement. Munich: Prestel-Verlag, 1986.

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Artspeak: A guide to contemporary ideas, movements, and buzzwords, 1945 to the present. 2nd ed. New York: Abbeville Press Publishers, 1997.

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N, Petrov V., and Kamenskiĭ Aleksandr Abramovich, eds. The World of Art movement in early 20th-century Russia. Leningrad: Aurora Art Publishers, 1991.

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Movements of modernity: The case of Glasgow and art nouveau. London: Routledge, 1990.

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From realism to art nouveau. New York, NY: Sterling Pub., 2009.

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History of the Surrealist movement. Chicago: University of Chicago Press, 2002.

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1945-, McCarthy Paul, and Whitney Museum of American Art., eds. Paul McCarthy: Central symmetrical rotation movement : three installations, two films. New York: Whitney Museum of American Art, 2008.

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Book chapters on the topic "Art movements – 20th century"

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Birbragher-Rozencwaig, Francine. "Contemporary Cuban Art." In Essays on 20th Century Latin American Art, 79–101. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003037507-4.

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Birbragher-Rozencwaig, Francine. "Modern Latin American Art." In Essays on 20th Century Latin American Art, 1–34. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003037507-1.

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Webster, Peter. "New Visual Art for Chichester." In Church and Patronage in 20th Century Britain, 147–86. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-36910-9_6.

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Webster, Peter. "Music, Art and Poetry: 1944–1955." In Church and Patronage in 20th Century Britain, 85–118. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-36910-9_4.

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Körner, Hans. "Speared Heads. Portraits as Things in 20th-Century Sculpture." In Art History and Fetishism Abroad, 57–70. Bielefeld, Germany: transcript Verlag, 2014. http://dx.doi.org/10.14361/9783839424117-003.

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Birbragher-Rozencwaig, Francine. "Carnival in Latin America and the Caribbean." In Essays on 20th Century Latin American Art, 123–45. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003037507-6.

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Birbragher-Rozencwaig, Francine. "Abstraction in Latin America." In Essays on 20th Century Latin American Art, 35–58. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003037507-2.

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Birbragher-Rozencwaig, Francine. "Conclusion." In Essays on 20th Century Latin American Art, 146–49. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003037507-7.

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Birbragher-Rozencwaig, Francine. "Politics in Latin American Art from the 1960s to the 1980s." In Essays on 20th Century Latin American Art, 59–78. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003037507-3.

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Birbragher-Rozencwaig, Francine. "Art in Central America and the Caribbean since the 1990s." In Essays on 20th Century Latin American Art, 102–22. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003037507-5.

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Conference papers on the topic "Art movements – 20th century"

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Beris, Yeter, and İsmail Erim Gulacti. "Influences of Japanese prints on European printmaking (in the case of Degas-Manzi partnership)." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p69.

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Contemporary artists have included classical methods together with innovative digital printing technologies to their artistic manufactures and thus their technological production interactions have been reflected on current art as well. Today’s artists have also been in collaboration with each other by involving the digital printing technologies which kept advancing during the recent 20 years in their works of art just like Degas and Manzi did in their relationships of production partnerships in 19th Century. Besides, those opinions which originated from modernism ideas and movements consist of the core of this cooperation post Industrial Revolution era. Therefore, the concept of nationalism, the devastating consequences of the world wars and the latest industrial and technological advancements have all transformed human life irreversibly. Consequently, during this transformation era, various significant movements of art such as Impressionism and Expressionism emerged in the 20th century and representatives of those art movements substituted such a lot of printmaking practices in their works of art. None of those mentioned above took place in other previous movements of art. They reflected their points of view that they display social movements and none of the other artists who represent other senses of art have ever exhibited such a lot of printmaking practices. Thus, various printing technologies which present a new laboratory environment to the artists. As a result of this, printing technologies have been preferred as a sort of new artistic media value and it started to take its prominent place in collections of art as well as in museums during artistic presentations. Within this context, this article aims at studying the phenomenon of art by considering how it has changed during the historical process by examining those works of art which reveal these variations. Common production and working techniques in traditional printmaking, contributions of the technological advantages to the artistic manufacture. Besides, periodical innovations will be examined and presented by introducing an updated point of view to the topic within the content of this article that contain some citations from the second part of the thesis titled “Effects of fine art printmaking on the phenomenon of contemporary art”.

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Souliotou, AZ. "TRANSFORMATIONS OF MONA LISA: THE CASE OF A DISTANCE EDUCATION ART-ANDTECHNOLOGY PROJECT." In The 7th International Conference on Education 2021. The International Institute of Knowledge Management, 2021. http://dx.doi.org/10.17501/24246700.2021.7131.

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Mona Lisa by Leonardo Da Vinci has been subject to numerous and various transformations in the form of (re)interpretations, reproductions, replicas, appropriations and parodies. Mona Lisa is far more than a mere Renaissance portrait or a symbol of its time. Instead Mona Lisa is radically connected with artistic movements and practices throughout the history of art as well as with the 20th and 21st century visual culture, visual commerce and social media imagery. This paper presents an activity in a higher education Department of Early Childhood where students experimented with digital tools and made a collective artwork of digital transformations of Mona Lisa. This digital experiment was a distance education project which took place during the COVID-19 pandemic restrictions in Greece. At first, students were given examples of appropriations and parodies of Mona Lisa from the history of art as well as from the visual culture. Then students gave their own "responses" through making digitally transformed versions of Mona Lisa which they put together in a collective digital mosaic. Clones, distortions, semi-transparencies, repositions and other transformations within 75 Mona Lisa versions render this collective artwork a composition with reference to pixel structure. Students' collective artwork contributed to the deeper understanding of Da Vinci's masterpiece and increased their confidence and familiarity with Renaissance painting. The case of this activity proves that digital culture is a catalyst for art history learning and creativity in the classroom. Furthermore, this activity fosters collaborative learning through distance education and turns out to be a vehicle for empowering learners in a digital world, as well as for developing linguistic, numerical and multisensory skills through digital creativity. Keywords: Mona Lisa, Leonardo Da Vinci, distance education, higher education, digital art, participatory practices, community resilience

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Tyler, Christopher W., and Amy Ione. "Concept of space in 20th century art." In Photonics West 2001 - Electronic Imaging, edited by Bernice E. Rogowitz and Thrasyvoulos N. Pappas. SPIE, 2001. http://dx.doi.org/10.1117/12.429529.

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Gamble, Susan, and Michael M. Wenyon. "17th-century optics in 20th-century art: artists working in Britain's oldest scientific institution." In OE/LASE '90, 14-19 Jan., Los Angeles, CA, edited by Stephen A. Benton. SPIE, 1990. http://dx.doi.org/10.1117/12.17978.

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Csikota, Josef. "Development of Musical Culture in Hungary in the 20th Century." In 2017 International Conference on Art Studies: Science, Experience, Education (ICASSEE 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-17.2018.6.

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Kaname, Mariko. "Considering the Drawing Education for Children during the 19th Century to the 20th Century in England." In 2nd International Conference of Art, Illustration and Visual Culture in Infant and Primary Education. São Paulo: Editora Edgard Blücher, 2012. http://dx.doi.org/10.5151/edupro-aivcipe-30.

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Andreeva, Olga. "Cinematography as an Unique Phenomenon of the 20th Century Culture." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.80.

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Malinovskaya, Elizaveta. "National Schools of the 20th Century: Cultural Identity or Conceptual Choice." In 4th International Conference on Education, Language, Art and Intercultural Communication (ICELAIC 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-17.2017.128.

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Sheng, Yinghong, and Xiaowen Lin. "The Aesthetic Embodiment of Modernity in Chinese Literature in the 20th Century." In 8th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220306.052.

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Sayahdikumullah, Dikdik. "Japanese Painter on Mooi Indie Period: Case Study of Kojyo Kokan in Indonesia Early 20th Century." In International Conference on Aesthetics and the Sciences of Art. Bandung, Indonesia: Bandung Institute of Technology, 2020. http://dx.doi.org/10.51555/338631.

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Reports on the topic "Art movements – 20th century"

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Lamontagne, M., K. B. S. Burke, and L. Olson. Felt reports and impact of the November 25, 1988, magnitude 5.9 Saguenay, Quebec, earthquake sequence. Natural Resources Canada/CMSS/Information Management, 2021. http://dx.doi.org/10.4095/328194.

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The November 25, 1988, moment magnitude 5.9 (Mw) Saguenay earthquake is one of the largest eastern Canadian earthquakes of the 20th century. It was preceded by a magnitude (MN) 4.7 foreshock and followed by very few aftershocks considering the magnitude of the main shock. The largest aftershock was a magnitude (MN) 4.3 event. This Open File (OF) Report presents a variety of documents (including original and interpreted felt information, images, newspaper clippings, various engineering reports on the damage, mass movements). This OF updates the report of Cajka and Drysdale (1994) with additional material, including descriptions of the foreshock and largest aftershock. Most of the felt report information come from replies of a questionnaire sent to postmasters in more than 2000 localities in Canada and in the United States. Images of the original felt reports from Canada are included. The OF also includes information gathered in damage assessments and newspaper accounts. For each locality, the interpreted information is presented in a digital table. The fields include the name, latitude and longitude of the municipality and the interpreted intensity on the Modified Mercalli Intensity (MMI) scale (most of which are the interpretations of Cajka and Drysdale, 1996). When available or significant, excerpts of the felt reports are added. This OF Report also includes images from contemporary newspapers that describe the impact. In addition, information contained in post-earthquake reports are discussed together with pictures of damage and mass movements. Finally, a GoogleEarth kmz file is added for viewing the felt information reports within a spatial tool.

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