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Journal articles on the topic 'Artist's books'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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1

Demir, Duygu. "Introduction to İsmail Saray's Leonardo da Vinci." ARTMargins 3, no. 3 (October 2014): 111–25. http://dx.doi.org/10.1162/artm_r_00097.

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Aiming to contextualize Turkish artist İsmail Saray's artist book Leonardo da Vinci (1976), this text centers around the artist's educational formation and the early years of his artistic practice between the years of 1973–1980, when he was based in Turkey. Tracing key moments in this period including his participation in the Paris Biennial of 1977, the Yeni Eğilimler [New Trends in Art] exhibition of 1979 in Istanbul as well as his guest appearance in the exhibition Sanat Olarak Betik [Book as Art] organized by the conceptualist artist collective Sanat Tanım Topluluğu. This essay also gives a

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Saray, İsmail. "Leonardo da Vinci." ARTMargins 3, no. 3 (October 2014): 126–30. http://dx.doi.org/10.1162/artm_r_00098.

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Aiming to contextualize Turkish artist İsmail Saray's artist book Leonardo da Vinci (1976), this text centers around the artist's educational formation and the early years of his artistic practice between the years of 1973–1980, when he was based in Turkey. Tracing key moments in this period including his participation in the Paris Biennial of 1977, the Yeni Eğilimler [New Trends in Art] exhibition of 1979 in Istanbul as well as his guest appearance in the exhibition Sanat Olarak Betik [Book as Art] organized by the conceptualist artist collective Sanat Tanım Topluluğu. This essay also gives a

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3

Cohen, Nathan. "AN ARTIST'S BOOKS." Art Book 1, no. 5 (December 1994): 34a. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00242.x.

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Pitenina, V. "Artistic and stylistic peculiarities of the graphic work of Petro Lapyn, illustrator of the children's books in the first third of the 20th century." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 193–99. http://dx.doi.org/10.33838/naoma.27.2018.193-199.

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The beginning of the 20th century is a period of creative and printing experiments in the Ukrainian art. New generation of Ukrainian books was born in this period. The illustration of the children's books was a significant part of this process. Famous Ukrainian graphic artists, such as H. Narbut, M. Zhuk, O. Sudomora, V. Kononchuk, took part in the creation of a new Ukrainian children's book. Some little-known artists also worked with them, and their creativity was an important part of the artistic process. Petro Lapyn was one of those artists. From 1917 to 1929, he worked with the famous publ

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Clay, Steven. "A Few Words about Artist's Books." Books at Iowa 60 (April 1994): 31–35. http://dx.doi.org/10.17077/0006-7474.1245.

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Agustí Camí, Eugènia. "El libro como presente continuo." Barcelona Investigación Arte Creación 9, no. 2 (June 3, 2021): 222. http://dx.doi.org/10.17583/brac.2021.8195.

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Review of the exhibition “The book as a continuous present. Artist's books around conceptual poetics”. Tecla Sala Art Center, L’Hospitalet de Llobregat (Barcelona). Framed in the Arts Libris Fair in Barcelona.

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Melnyk, Oksana, and Viktor Shtets. "Original graphics of Robert Lisovsky: Genre range and features of the author's artistic language." Text and Image: Essential Problems in Art History, no. 2 (2020): 85–93. http://dx.doi.org/10.17721/2519-4801.2020.2.05.

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The article highlights the work of the Ukrainian emigrant artist Robert Lisovsky (1893-1982), a representative of the Narbut school, a master of book, magazine and applied graphics. While the graphic works by Robert Lisovsky published in books, magazines, calendars and publishing stamps are relatively well-studied, his drawings and watercolors are remain lesser known. The analysis of these works could contribute in clarifying the features of the artist's creative method and author's language. Also, it will determine the stylistic and figurative as well as plot-content preferences of the artist

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Protopapa, Efrosini. "A Choreographer's Score: Fase, Rosas Danst Rosas, Elena's Aria, Bartók." Dance Research Journal 47, no. 2 (July 27, 2015): 80–84. http://dx.doi.org/10.1017/s0149767715000236.

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In the past decade, a growing discourse has developed among choreographers, dance artists, and their collaborators, who are eager to articulate their processes, practices, and working methods through different types of writing and publication. Artists’ books, objects, and online platforms—from Thomas Lehmen's Schreibstück (2002) and FUNKTIONEN tool box (2004), to BADco's Whatever Dance Toolbox (2011) in collaboration with Daniel Turing, and the Forsythe Company's project Motionbank (2010–2013)—have contributed to what we may describe today as the “publishing of choreographic ideas,” as propose

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Moholy, Lucia. "El Lissitzky." October 172 (May 2020): 111–16. http://dx.doi.org/10.1162/octo_a_00395.

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Likely published in anticipation of a 1967 volume of primary documents relating to the Russian artist El Lissitzky, Lucia Moholy discusses the artist's biography, career, influences, major works, reception, and relation to the Bauhaus. Drawing on her involvement in the fields of publishing and printing, she also introduces his then little-known books and graphic art, as well as his conception of the “Proun.” Although not stating it explicitly, much of her knowledge draws on having known Lissitzky personally in the 1920s and his writings from that period. The text stands as one of the earliest

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Myers, Ann K. D., and William Andrew Myers. "Opening Artists’ Books to the User: An Example with Potential Approaches." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 15, no. 1 (March 1, 2014): 56–67. http://dx.doi.org/10.5860/rbm.15.1.415.

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Artists’ books are an increasingly popular collecting area both for art libraries and for special collections. Their experimentation with the book form and emphasis on hand techniques for production dovetail nicely with early printed book collections, highlighting modern approaches to bookmaking techniques that have been used for hundreds of years. The 2010 OCLC Research Survey Taking Our Pulse identified artists’ books as “the specific area most frequently named” for new collecting in special collections.2 In this paper we will discuss a specimen artist’s book and various issues and approache

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Golick, Greta. "Making Booxs: iSchool Students De/Construct the Book." Art Libraries Journal 41, no. 4 (September 20, 2016): 187–97. http://dx.doi.org/10.1017/alj.2016.24.

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What can current students preparing for careers as librarians, archivists and museum curators learn from the book as object and the book as art? How can artists’ books and artisans engaged in bookmaking, conservation and curating books inform our ideas of the book as more than its text? How does bookmaking deepen the connection for students between content and form? This article describes a 6-week workshop conducted at the Faculty of Information at the University of Toronto that explores the book from its earliest forms to artists’ books and includes many descriptions of books constructed by i

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Speight, Elaine, and Charles Quick. "“Fragile Possibilities”: The Role of the Artist’s Book in Public Art." Arts 9, no. 1 (February 27, 2020): 32. http://dx.doi.org/10.3390/arts9010032.

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Writing during the millennium, not long after the installation of Antony Gormley’s The Angel of the North, artist and publisher Simon Cutts criticised the dominance of monumentalism within the field of public art. Decrying the lack of critical engagement offered by public sculpture, he called for an alternative approach, focussed upon process rather than product. Almost two decades later, it could be argued that mainstream understandings of public art have expanded to incorporate more ephemeral approaches, such as performance, sound art and social interventions. Within this context, the artist

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Rojewski, Oskar Jacek. "“Quien será un gran pintor...” Análisis de las condicionantes y de las capacidades necesarias para ser artista según Durero." Revista de Humanidades, no. 42 (May 4, 2021): 59. http://dx.doi.org/10.5944/rdh.42.2021.25543.

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Resumen: La historiografía artística de la Edad Moderna, plasmada en tratados, paragonae, discursos y correspondencias entre humanistas, permite a los historiadores del arte reconstruir y analizar distintos aspectos de la producción artística italiana de esa época. En el caso de los territorios del Norte de Europa, la ausencia de esta documentación no permite precisar con claridad de detalle fenómenos análogos para los pintores flamencos o acerca de la llamada escuela alemana hasta las primeras décadas del siglo XVI. La poca documentación conservada imposibilita una definición profunda de los

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Muñoz López, Pilar. "Las publicaciones y la investigación sobre mujeres artistas en España." RAUDEM. Revista de Estudios de las Mujeres 3 (May 23, 2017): 317. http://dx.doi.org/10.25115/raudem.v3i0.633.

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Resumen: El tema de las mujeres artistas ha sido escasamente tratado en la abundante bibliografía de Historia del Arte. La mayor parte de las publicaciones que se han editado en los últimos años son fundamentalmente de carácter divulgatorio de la actividad de las artistas en el contexto internacional y en nuestro país. En el artículo se revisan los libros y artículos publicados y, finalmente, se exponen los contenidos de mi obra Artistas españolas en la dictadura de Franco. 1939-1975, que, desde una perspectiva histórica, trata de dar a conocer la actividad creativa de muchas artistas española

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15

Farmer, Jennie. "Artists’ books in the National Art Library, Victoria and Albert Museum." Art Libraries Journal 32, no. 2 (2007): 27–31. http://dx.doi.org/10.1017/s0307472200019167.

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The National Art Library’s collection of artists’ books is described here by one of the librarians, who is herself trained as a book artist, having completed an MA in Book Arts at Camberwell College of Art. She has built upon this knowledge through working with the large numbers of artists’ books at the NAL and begins this article by discussing the terminology relating to the book arts, going on to talk about the history of the NAL’s collection and touching on its future. She finishes by highlighting a few very distinctive items available for consultation.

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Bury, Stephen. "The Artist’s Book in the Age of Digital Reproduction: Walter Benjamin and the Artist’s Book." Arts 8, no. 4 (October 21, 2019): 138. http://dx.doi.org/10.3390/arts8040138.

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Walter Benjamin, who was familiar with the pre-Second World War avant-garde, argued that mechanization threatens the aura of art objects. The digital revolution has been seen as reconfirming Benjamin’s thesis, but the digital can be seen to reaffirm the value of the actual, physical artist’s book, and moreover, artists have exploited the digital—as technologies and subject matter—to make artists’ books.

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Cardoso, Catarina Figueiredo. "Past’s Present: Artist’s Books by José Oliveira." Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 2, no. 1 (November 8, 2014): 135–56. http://dx.doi.org/10.14195/2182-8830_2-1_7.

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José Oliveira is a book artist who takes inspiration from the history and evolution of the Western book and of Western writing. His artist’s books take the form of codices, scrolls and leporellos and embody the beliefs, grief and hopes of their author. They ask us about our conceptions of the book and the nature of reading. They are evidences of their author’s resolute rejection of contemporary techniques applied to books. DOI: http://dx.doi.org/10.14195/2182-8830_2-1_7

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Somhegyi, Zoltán. "Empty Pages and Full Stops: On the Aesthetic Relation between Books and Art." AM Journal of Art and Media Studies, no. 19 (September 15, 2019): 69. http://dx.doi.org/10.25038/am.v0i19.306.

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Books and artworks have a long common history. Written texts, as well as the joy of reading and the act of writing them, appeared in pieces of art from early Antiquity onwards, well before the current form of the book itself was invented. Apart from indicating readers and writers, the book had also become a basic symbol of culture, education, or the attribute of saints. On the other hand, there are many artists who create special books, i.e. special one-copy and one-edition volumes, not only containing the artist’s drawings or paintings but the whole assemblage of the book (and often even the

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Fawcett, Trevor. "The nineteenth-century art book: Content, Style and Context." Art Libraries Journal 17, no. 3 (1992): 12–17. http://dx.doi.org/10.1017/s0307472200007902.

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Although ‘art books’ of various kinds existed before 1800, art publishing grew significantly and with increasing speed through the 19th century. Two key factors, each encouraging the other, were the growth of interest in art among a heterogeneous public, and developments in printing technology, especially in methods of reproducing illustrations. Increasing numbers of illustrated art books contributed to the dissemination of awareness of an ever-broader spectrum of works of art, and of the decorative arts, throughout society, and nourished the historicism and eclecticism practised by contempora

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20

Butler, Jim. "Blackrock Sequence: A creative dialogue between an artist and a poet." Book 2.0 10, no. 2 (December 1, 2020): 161–74. http://dx.doi.org/10.1386/btwo_00027_1.

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In 2016, my brother David1 was awarded a grant from Dún Laoghaire/Rathdown Council in Ireland, to write a sequence of poems. He invited me to collaborate with him to make a book of poems and images. I had never collaborated with my brother before, so it was important for me to establish my role and how the project would work in practical and financial terms. There was no formal agreement but just discussions over drinks in the Harbour Bar, near where my brother lives outside Dublin. David had received a grant of €11,000 to write the poems and he would keep all of this – he would see if he coul

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Rocaciuc, Victoria. "Illustrations for the ABC book in the works of Moldovan artists (1945-2015). Preliminary research of the genesis and evolution of aesthetic values." Arta 30, no. 1 (August 2021): 104–11. http://dx.doi.org/10.52603/arta.2021.30-1.15.

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The ABC book is the most important book that affects the cognitive the aesthetic development of the child. The history of this book goes back several centuries, and its prehistory can be traced back to the days of the appearance of writing. This article is dedicated to the study of the processes associated with the evolution of the principles of illustrating ABC books in the works of artists of the Soviet and post-Soviet periods. Among the famous Moldovan artists, who illustrated books of this didactic nature, are: Valentina Nechaeva, Valentina Rusu-Ciobanu, Leonid Grigorashenco, Ilya Bogdesco

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Adascalita, Lucia. "Satirical graphics in the creation of the plastic artist Iurie Rumeanțev." Arta 30, no. 1 (August 2021): 112–17. http://dx.doi.org/10.52603/arta.2021.30-1.16.

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d cultural barometer, it highlighted the perception and plastic reflection of events and changes typical of the weather. Quite a few plastic artists contributed to this, among whom the graphic artist Iurie Rumeanțev. The artist showed skill, artistry and originality in the perspective of emphasizing some interesting facets of everyday life. During his creative activity, the artist creates numerous satirical sheets that see the light of day in various publications, including the satire and humor magazine "Chipăruș", the magazine "Femeia Moldovei", the newspaper "Tinerimea Moldovei", etc. Freque

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Plate, S. Brent. "What the Book Arts Can Teach Us About Sacred Texts." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 8, no. 1-2 (August 19, 2017): 5–25. http://dx.doi.org/10.1558/post.32516.

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Religion and art became separated in the modern age, or so the secularized story goes. But looking at a history of books, including their artistic creation, we find interesting ongoing parallels occurring between religious and artistic texts. Illustrations and scripts, bindings and papers, printmaking and performance, all serve artistic and religious ends. The artistic and the religious are tied together, ultimately, by appealing to the senses, bringing texts and reading into the realm of the aesthetic (Gk. aesthetikos: pertaining to sense perception). Books are powerful and enjoyable as well

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Alaca, Ilgım Veryeri. "Flexographic Artists’ Books." Leonardo 49, no. 3 (June 2016): 270–71. http://dx.doi.org/10.1162/leon_a_01241.

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This article introduces experimental artists’ books created in the interstices between technology and tradition. The series of books are created by utilizing scraps produced via flexographic label printing. Each book is constituted by means of the accumulation of paper on the machine, which introduces a never-ending page structure as a result of the continuous roll, creating a swirling formation. The work is an inquiry on growth, imperfection, form and time, enriched by the impact of mechanical processes that are inherent to the creation of the book. It also investigates experimental uses of p

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Vishnyakova, Yulia I. "Person being in love of Book». Book Exhibition from the Collection of Sokolsky." Bibliotekovedenie [Russian Journal of Library Science], no. 2 (April 27, 2012): 73–76. http://dx.doi.org/10.25281/0869-608x-2012-0-2-73-76.

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On the event dedicated to the 50th anniversary of the death of artiste, people's artist of the RSFSR, writer, bibliographer and historian of the book - N. Smirnov-Sokolsky. The exhibition was held in the Research Department of Rare Books (Book Museum) of the Russian State Library.

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Gemaque, Maria Pinho. "Livro de Artista: Processo de Criação em Performance e Poéticas Visuais em uma Escola Amapaense." Arteriais - Revista do Programa de Pós-Gradução em Artes 6, no. 10 (May 27, 2021): 51. http://dx.doi.org/10.18542/arteriais.v6i10.10576.

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ResumoA lógica da pesquisa desenvolvida intercambia vivências dentro do espaço escolar nas aulas de arte com processos de criação, intervenção artística/educativa desenvolvidas na Escola Estadual Raimunda Virgolino, Macapá/AP/Brasil. Trata-se de um trabalho coletivo que envolveu estudantes do Ensino Médio, professoras de Arte e artistas amapaenses. Procurou compreender os enlaces dos processos de criação em arte por meio de ações em performances de alunos e professores. O estudo possui caráter qualitativo por entender as relações entre os indivíduos, e, por isso, de intenção etnográfica, inspi

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Kolosnichenko, M. V., T. F. Krotova, K. L. Pashkevych, and N. M. Pshinka. "STYLISTIC AND CONSTRUCTIONAL SOLUTIONS IN BOOK SERIES DESIGN "FAIRY TALES FROM AROUND THE WORLD" OF THE NATIONAL CHILDREN`S LITERATURE PUBLISHING HOUSE "VESELKA"." Art and Design, no. 2 (August 11, 2021): 20–29. http://dx.doi.org/10.30857/2617-0272.2021.2.2.

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Aim: to analyze the stylistic and constructive features of the design of the books in the series “Fairy Tales from Around the World“ by the publishing house “Veselka“, to trace the sequence of the publishing project and the role of the designer and art-designer in it. Methodology. Historical and comparative methods, as well as art history methods of image and stylistic and formal analysis have been used in the research. Results. The artistic approaches to the creation of 25 books of the series “Fairy Tales from Around the World“ (1978–2016) have been analyzed, the stages of creating the book d

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Ametova, L. "PECULIARITIES OF THE ARTISTIC LANGUAGE OF THE UKRAINIAN ARTIST YEVHENIA GAPCHYNSKA." Innovative Solution in Modern Science 6, no. 42 (March 4, 2021): 230. http://dx.doi.org/10.26886/2414-634x.6(42)2020.14.

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The subject of the research is the developments of the modern Ukrainian artist Evgeniya Gapchinskaya, who is now successfully working in various fields of art and design, ranging from jewelry and book graphics to monumental mural art. The purpose of the work is to investigate the specifics of the artistic language of the named artist in the context of the development of modern mass culture. The methodology of the work is based on a combination of chronological and the principle of scientific comprehensiveness, art history, design and culturological approaches, ontological, axiological, hermene

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Montero, Gustavo Grandal, and Erica Foden-Lenahan. "Occasional Papers: archival troves, affordability and accessories." Art Libraries Journal 40, no. 1 (2015): 20–29. http://dx.doi.org/10.1017/s0307472200000079.

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The world of art publishing is often characterized by hefty exhibition catalogues and glossy artist monographs that aim to be comprehensive documentation of a theme or an artist’s output, but also cost more than pocket money to purchase. As art librarians we purchase, move, and sometimes read them every day. Occasionally a publication will catch your attention, maybe because it appears ephemeral, or perhaps because it more closely resembles books that you might accession into an artists’ books or artists’ publications collection. Occasional Papers publications have that look and yet their cont

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Sullivan, James D. "A Poem Is a Material Object: Claire Van Vliet’s Artists Books and Denise Levertov’s “Batterers”." Humanities 8, no. 3 (July 16, 2019): 124. http://dx.doi.org/10.3390/h8030124.

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A literary text is, for a book artist, like a score for a musician or a script for an actor: a basis on which to construct an artistic performance. Book artist Claire Van Vliet has, at her Janus Press, constructed dazzling broadsides and artist books based on poetry by, among others, Hayden Carruth, Galway Kinnell, and Margaret Kaufman. These works test or ignore boundaries between conventional categories such as book and broadside, two-dimensional display, and three-dimensional construction. The object she built based on Denise Levertov’s poem “Batterers” unfolds especially powerfully in time

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Erman, Deniz Onur. "Purest form of creation: Art Brut." New Trends and Issues Proceedings on Humanities and Social Sciences 5, no. 6 (September 14, 2018): 134–42. http://dx.doi.org/10.18844/prosoc.v5i6.3850.

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In many cultures, it has been a long-established practice to apply various domains of art as therapy methods in asylums, prisons and rehabilitation centres in order to help people express themselves and their current circumstances and to aid cure themselves. Hans Prinzhorn’s book entitled ‘Artistry of the mentally ill’, which was published in 1924 in Berlin has been the initial resource for Art Brut, also known as ‘raw art’. A French artist, Jean Dubuffet has first used Art Brut as an artistic term in 1945, which has ignited major debates in the artistic milieu. The ultimate goal of these arti

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Bodman, Sarah. "Book arts at the Centre for Fine Print Research in Bristol." Art Libraries Journal 32, no. 2 (2007): 15–20. http://dx.doi.org/10.1017/s0307472200019143.

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This article describes some of the research projects investigating contemporary artists’ books at the Centre for Fine Print Research at the University of the West of England in Bristol. As part of its remit, the Centre explores and promotes many aspects of the book arts including contemporary creative processes and outputs. Some recent projects include the Arcadia id est touring exhibition of 118 artists’ books on the themes ornature and the landscape; Bookmarks: infiltrating the library system; and the Regenerator altered books project. The Centre also works with artists, academics, curators,

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Čiricaitė, Egidija. "On Photographing Artists’ Books." Journal of Medical Humanities 41, no. 1 (December 20, 2019): 81–83. http://dx.doi.org/10.1007/s10912-019-09593-7.

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AbstractArtists’ books are challenging to photograph. They function as a unit of tightly conceptually-bound visual, textual and material elements in addition to a heightened self-awareness of the work's booksness. Binding, size, weight, and shape of the book, translucency, texture, thickness of paper, placement of images and/or text on the page or off the page interact with other graphic elements; they control, and direct the reader towards the expressive components of meaning which arise from pace, haptic experience, and visual or structural stylistic choices. Most of such information gets sa

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Sowden. "Exploring Appropriation as a Creative Practice." Arts 8, no. 4 (November 15, 2019): 152. http://dx.doi.org/10.3390/arts8040152.

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During the 1960s and 1970s, Ed Ruscha produced a series of 16 small, self-published books that became a catalyst for how artists could approach the book form. This reputation has grown through the subsequent decades, and his influence on book artists remains strong to this day to the extent that his books have been, and continue to be, appropriated across the world by successive generations of artists. Writing from a practitioner perspective, I will begin by looking at how Ruscha has become so influential to generations of book artists. I will look at what influenced him, and how he may possib

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Lowe, Tyne. "Artists’ Books and the Problem of Digital Preservation." Preservation, Digital Technology & Culture 46, no. 4 (December 6, 2017): 132–35. http://dx.doi.org/10.1515/pdtc-2017-0019.

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Abstract:Artists’ books have become a popular genre for many institutions collecting art objects and unique books. The attempt to preserve the physical artists’ books often competes with the desire to extend user access to these highly tactile works. Partial digitization of artists’ books has allowed many institutions to cultivate an online presence for these collections, increasing access without compromising the physical integrity of the objects. However, creation of digital surrogates for artists’ books often sacrifices the authenticity and access to the intellectual content of the work. Th

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Phillpot, Clive. "Twentysix gasoline stations that shook the world: the rise and fall of cheap booklets as art." Art Libraries Journal 18, no. 1 (1993): 4–13. http://dx.doi.org/10.1017/s0307472200008178.

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The term ‘artists’ books’ has been used since about 1970 to denote inexpensive booklets produced by artists in ‘unlimited’ editions, but can legitimately embrace a variety of artefacts; the word ‘bookwork’, coined in 1975, carries the more specific meaning of a work of art in book form. Ed Ruscha’s Twentysix Gasoline Stations, published in 1963, was a pioneering bookwork; it was followed by more bookworks from the same artist through the next ten years; however, Ruscha’s innovatory productions had been preceded by a number of experiments with the book format, by Bruno Munari, Åke Hodell, and o

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SÜLÜN, Ebru Nalan. "A LOST NAME IN THE HISTORY OF TURKISH ART: ARİF DİNO." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 11, no. 2 (April 1, 2021): 454–75. http://dx.doi.org/10.7456/11102100/009.

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Arif Dino is one of the important figures in the contemporary art and culture history in Turkey. His is the brother of Abidin Dino who is one of the important artists of Turkish Contemporary art history. Playing a major role in the development of Abidin Dino's artistic style. Arif Dino is a figure who contributed to culture and arts scene of Turkey with his paintings in addition to his passion for sports, his designs, poetry, and articles of art criticism. This study is carried out in order to create a literature on Arif Dino, who was not involved in exhibitions and in research as much as his

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Gauzer, Irina V., and Evgeny A. Ermolin. "MYTHOPOETICAL IMAGE OF GENIUS ARTIST IN K. BALMONT’S ARTISTIC EXPERIENCE: RECEPTION OF SPANISH ARTISTRY." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 39 (2020): 12–21. http://dx.doi.org/10.17223/22220836/39/2.

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The Russian culture of the turn of the XX century is characterized by actualization of the prob-lems of intercultural dialogue. Thus, the analysis of the Silver age is impossible without considering the fact of such a dialogue as a cultural phenomenon. The problem of hispanism reception is considered in the aspect of creative genius in K. Bal-mont’s works. In the context of Balmont's symbolism, it is important to take into account his specific conceptualization of the artist's status and interpretation of creativity as dreaming. The task of the re-search is to study the implementation of this

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Dolgodrova, Tatiana A. "Inspired by Rubens: Antwerp Baroque Books Stored in the Russian State Library." Observatory of Culture 17, no. 6 (February 10, 2021): 648–56. http://dx.doi.org/10.25281/2072-3156-2020-17-6-648-656.

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The article is devoted to the history of Antwerp printed books, which, in the first half of the 17th century, underwent a profound transformation caused by the influence of the Baroque style emerging in the Netherlands, with its characteristic contrast, dynamism and intensity of images, and combination of reality and illusion. The author demonstrates the Baroque book development by the example of the sources that she first introduces into scientific circulation: books stored in the Research Department of Rare Books (Book Museum) of the Russian State Library (RSL). The article gives examples of

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Bernacki, Paweł. "Artists’ books, czyli czym jest owoc małżeństwa książki ze sztuką." Studia o Książce i Informacji (dawniej: Bibliotekoznawstwo) 36 (July 5, 2018): 29–44. http://dx.doi.org/10.19195/2300-7729.36.2.

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Artists’ books, or what is the fruit of the marriage of a book with artThis text is an attempt to looking at the status of artists’ books — interesting phenomenon, which blends worlds of book and art. It includes the opinions of art critics, bibliophiles, publishers, creators of literature and artists. History of the artists’ books and external conditions, which have an influence on its birth were briefly outlined. Image of this phenomenon turns out indeterminate and internally contradictory. Theories, typologies, attempts to define or even fix the right term are often mutually exclusive. Thi

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Jagersma, Rindert, and Joanna Rozendaal. "Female Book Ownership in the Eighteenth-Century Dutch Republic." Quaerendo 50, no. 1-2 (June 4, 2020): 109–40. http://dx.doi.org/10.1163/15700690-12341463.

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Abstract This article analyses the private library book sale catalogue of paper-cutting artist (knipkunstenaar) Johanna Koerten (1650-1715), one of the most famous artists in the Dutch Republic. The study draws on data gathered for the ERC-funded MEDIATE project (Measuring Enlightenment: Disseminating Ideas, Authors and Texts in Europe, 1665-1830). The bibliometric approach of this digital humanities project uses book sale catalogues to study the circulation of books and ideas in eighteenth-century Europe. This article analyses the catalogue of Koerten, her background and professional interest

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Sherwood, Rosie. "New Readings: The Comic as Artists’ Book." Art Libraries Journal 40, no. 1 (2015): 16–19. http://dx.doi.org/10.1017/s0307472200000067.

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Artists’ books consider every aspect of the book in the creation of meaning. How might reading the comic book through this context extend the possibilities of the art form? Can considering the whole book change the way creators and readers approach the comic? This article considers the space between book arts and comics, asking how they might fit together and considering the possible benefits of this expanded reading for the comic book as a form.

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Mader-Meersman, Julie. "Artists’ books for handheld mobile devices: Expanding the artist’s book genre." Book 2.0 7, no. 1 (April 1, 2017): 79–94. http://dx.doi.org/10.1386/btwo.7.1.79_1.

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Bury, Stephen. "1, 2, 3, 5: building a collection of artists’ books." Art Libraries Journal 32, no. 2 (2007): 5–9. http://dx.doi.org/10.1017/s030747220001912x.

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Because artists’ books can be expensive to buy and to keep, institutions need to have a clearly articulated rationale for collecting them. This could range from documenting the history of art, and contemporary art in particular, to a survey of how artists have used the book format to explore their ideas. This latter approach would support the use of artists’ books in practical workshops leading to the creation of yet further artists’ books.

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Nesterenko, Petro. "PUBLISHING SIGN OF UKRAINE OF THE SECOND HALF OF XX – BEGINNING OF XXI CENTURY: TRANSFORMATION IN TIME." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 28 (December 15, 2019): 116–23. http://dx.doi.org/10.33838/naoma.28.2019.116-123.

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Annotation. The article analyzes the little-studied art of the Ukrainian publishing sign, which has a history of almost fifty years and is well known for its highly artistic works. An excursion into the past of the Ukrainian publishing label has been made, collecting documents scattered across various sources of reports on samples of the publishing labels, both known and in the vast majority of unknown authors, and we pay tribute to this important cultural heritage that has developed in the course of the European process. The publishing signs of the second half of XX – beginning of XXI centuri

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Wolf, Stacy. "The Cambridge Companion to the Musical. Edited by William A. Everett and Paul R. Laird. Cambridge: Cambridge University Press, 2002; pp. xvii + 310 + 18 illus. $65 cloth, $23 paper; Boy Loses Girl: Broadway's Librettists. By Thomas S. Hischak. Lanham, MD: Scarecrow Press, 2002; pp. x + 277. $39.95 cloth." Theatre Survey 45, no. 1 (May 2004): 129–31. http://dx.doi.org/10.1017/s0040557404270089.

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“Those who created this book, and many of its readers, think of the musical as art,” write Everett and Laird in their preface to The Cambridge Companion to the Musical (xv). Indeed, many of us who study or teach musical theatre feel the need to defend it as a viable artistic form worthy of scholarly examination. Both of these books demonstrate the musical's importance in cultural history and amply illustrate the artistry of its production.

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Спасскова, О. П. "ТВОРЧІСТЬ ВІКТОРА ЄФИМЕНКА В КОНТЕКСТІ РОЗВИТКУ УКРАЇНСЬКОЇ КНИЖКОВОЇ ГРАФІКИ (остання третина ХХ ст.)". Art and Design, № 2 (24 вересня 2019): 144–51. http://dx.doi.org/10.30857/2617-0272.2019.2.14.

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The purpose of the work is to study the creativity of the Odessa graphic artist Viktor Efimenko (1933-1994) in the context of the development of Ukrainian book graphics of the last third of the twentieth century. The method The basis of our research is the historical-cultural, comparative-typological and figurative-stylistic research methods, which made it possible to achieve a holistic analysis of the graphic works of V. Efimenko. The main thing is the art history analysis of works of book and easel graphic. The last third of the twentieth century is marked by changes in the cultural life of

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Boguszewska, Anna. "Twórcza działalność na rzecz książki dla dzieci Krystyny Lipki-Sztarbałły." Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica 6 (November 30, 2018): 154–67. http://dx.doi.org/10.24917/23534583.6.13.

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Krystyna Lipka-Sztarbałło’s creation for children bookShaping full personality includes an introduction to cultural messages understanding and requires preparation from the earliest years of life. The use of picture books and book illustrations as the key assumption in visual education of children. Picture books represent the first artistic medium as the primary carrier of aesthetic values and a potential chance to stimulate cognitive, social development of a child. History of Polish picture book dates back to the turn of XIX and XX centuries. However, the realizations gaining more widespread

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Kuzmenko, Halyna. "Borys Hrinchenko Literary Heritage in Works of Graphic Artists." ART Space, no. 3 (2018): 50–67. http://dx.doi.org/10.28925/2519-4135.4.2018.3.10.

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The article, in the retrospect of time, covers the peculiarities of publishing development in Ukraine in late nineteenth — early twentieth century the time of Borys Hrinchenko literary activity. It refines the essence of the term “illustration” and determines the specific character of the book illustration design, highlights the role and characteristics of the artist concerning the art of creation and finishing of the book. The article also reveals a brief art analysis of artistic features of the specific illustrations created by the graphic artists for the works of Borys Grinchenko.

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Kelders, Ann. "De Gouden Eeuw van de Bourgondisch-Habsburgse Nederlanden." Queeste 27, no. 1 (January 1, 2020): 63–70. http://dx.doi.org/10.5117/que2020.1.003.keld.

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Abstract The Royal Library of Belgium (kbr) has opened a new permanent museum showcasing the historical core of its collections: the luxurious manuscript library of the dukes of Burgundy. Centred around a late medieval chapel that is part of kbr’s present-day building, the museum introduces visitors to medieval book production, the historical context of the late medieval Low Countries, and the subject matter of the ducal library. The breadth of the dukes’ (and their wives’!) interests is reflected in the manuscripts that have come down to us, ranging from liturgical books over philosophical tr

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