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Relevant bibliographies by topics / Artists and patrons – Fiction

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Journal articles

Academic literature on the topic 'Artists and patrons – Fiction'

Author: Grafiati

Published: 26 July 2024

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Journal articles on the topic "Artists and patrons – Fiction"

1

Rabizo-Birek, Magdalena. "Schulz poetów „ośmielonej wyobraźni” (preliminaria)." Schulz/Forum, no. 13 (October 28, 2019): 63–85. http://dx.doi.org/10.26881/sf.2019.13.05.

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The paper addresses the popularity of the person and work of Bruno Schulz in one of the trends in Polish poetry, represented by the generation born in the 1970s, placing it in the context of the writer’s earlier reception (e.g., in the works of the poets of older generations, such as Marian Jachimowicz, Tadeusz Różewicz, Jerzy Ficowski, Anna Frajlich, and Jarosław Gawlik). This trend has been usually referred to with a metaphorical term “bold imagination” and called “imiaginativism”, and its main representatives are Roman Honet, Tomasz Różycki, Radosław Kobierski, and Bartłomiej Majzel. Close

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2

Ratcliff, Carter. "Artists and Patrons." Woman's Art Journal 23, no. 2 (2002): 52. http://dx.doi.org/10.2307/1358718.

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3

Relich, Mario. "Russian Artists and Patrons." Slavonica 25, no. 2 (2020): 170–73. http://dx.doi.org/10.1080/13617427.2020.1834518.

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4

Spotts, K. "Black American History and Culture: Untold, Reframed, Stigmatized and Fetishized to the Point of Global Ethnocide." European Journal of Philosophy, Culture and Religion 7, no. 1 (2023): 1–41. http://dx.doi.org/10.47672/ejpcr.1423.

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Purpose: A poetic work of fiction haunts the base of the Statue of Liberty. The act overshadowed the original tribute to the Civil War victory and the Emancipation Proclamation. Abraham Lincoln's praises of the Black American military fell silent. Eurocentrists shrouded centuries of genius and scaled-down Black American mastery. Sagas of barrier-breaking Olympians, military heroes, Wild West pioneers, and inventors ended as forgotten footnotes. Today, countries around the world fetishize Black American history and culture to the point of ethnocide. The real-time case study of Woni Spotts explo

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5

Ditchfield, Simon. "Cardinals Reclaimed: Patrons and Artists Revisited." Art History 34, no. 1 (2011): 195–99. http://dx.doi.org/10.1111/j.1467-8365.2010.00806.x.

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6

Saricks, Joyce. "Providing the Fiction Your Patrons Want." Journal of Electronic Resources Librarianship 10, no. 19 (1998): 11–28. http://dx.doi.org/10.1300/j101v10n19_02.

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7

Szívόs, Erika. "Fin-De-Siècle Budapest as a Center of Art." East Central Europe 33, no. 1-2 (2006): 141–69. http://dx.doi.org/10.1163/187633006x00097.

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AbstractThis article discusses the emergence of Budapest as an art center as an integral part of the greater project of the making of the Hungarian capital after the Compromise of 1867. In the political setup of the Dual Monarchy, major cultural institutions were founded and a distinct urban culture, centered around cafés, was born in Budapest. It was there that actual or potential patrons, as well as receptive audiences, of the arts were to be found, which in turn led the city to also become a magnet for artists. "Artists' tables," subject to great public attention and the source of coffeehou

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8

Raven, Arlene. "Artists and Patrons Ita Aber: 55 Year Retrospective." Woman's Art Journal 22, no. 2 (2001): 58. http://dx.doi.org/10.2307/1358911.

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9

Segger, Martin. "Artists, patrons and the public: why culture changes." Museum Management and Curatorship 28, no. 1 (2013): 125–27. http://dx.doi.org/10.1080/09647775.2012.754629.

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10

Martis, Susan. "Artists, Patrons and the Public: Why Culture Changes." Collections 7, no. 1 (2011): 47–48. http://dx.doi.org/10.1177/155019061100700116.

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