Academic literature on the topic 'Artists and patrons – Fiction'
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Journal articles on the topic "Artists and patrons – Fiction"
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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 to that group are also Ewa Elżbieta Nowakowska, Dariusz Pada, and Mariusz Tenerowicz. All of them consider Schulz, who called the entire genuine literature “poetry,” their mentor and patron, both as a writer and a graphic artist, whose heritage includes also the works that are unfinished or lost, and as such, they encourage continuing his ideas (such as the novel Messiah). For them, he is also the founder of a “trend” based on the primacy of imagination, visions, the mythicization of reality, and a creative approach to cultural traditions. The poets have been also inspired by Schulz’s literary legend whose elements are his double Polish and Jewish identity, the family and erotic psychodramas, life in a provincial and multicultural Galician town as well as the necessity to combine a literary career with the humdrum teacher’s job and his tragic death in the Holocaust. Referring to the motifs drawn from Schulz’s life and work, the imaginativists, poets and fiction writers, write apocrypha and elegies in which Schulz continues his “posthumous life.” The author considers all the modes of his presence in the poetry of the “bold imagination”: as a literary precursor, as the favorite master, as an emblem of the Holocaust, and as a protagonist of a biographical legend. She interprets the programmatic statements of Honet, Majzel, and Różycki, where Schulz figures prominently, right before other highly appreciated poets, writers, and artists: Rilke, Kafka, Trakl, and Schiele. Then she interprets the early poems by Honet, Kobierski, Nowakowska, and Pada, which include the characteristic motifs of Schulz’s fiction: a sanatorium, a phantasmagoric town, the Book, a comet, and the realities of the Austro-Hungarian Empire and the belle époque. It has been stressed that the later Schulzean “biographical apocrypha” of the imaginativists (Tomasz Cieślak’s coinage), which develop the alternative versions of his life, are rooted in the projects of alternative histories (“side courses of time,” the “thirteenth months”) to be found in his fiction, as well as the visionary ways of prolonging life of the dead (particularly in “The Sanatorium under the Sign of an Hourglass” and the “Treatise on Tailor’s Dummies”). The Schulzean poems of the imaginativists are full of biographical details – their authors, imitating the poetics of their master, quoting, paraphrasing, and summarizing his texts or referring to his life experience and vicissitudes, write first of all about themselves. Schulz’s biography and work turn out to be an unusually flexible medium, a figure of the contemporary (particularly Polish) artist, and a mirror for the writers of late modernity, who get a chance to understand themselves and perhaps confirm their own poetic calling.
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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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Relich, Mario. "Russian Artists and Patrons." Slavonica 25, no. 2 (July 2, 2020): 170–73. http://dx.doi.org/10.1080/13617427.2020.1834518.
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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 (April 19, 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 explores the phenomenon. Until ancient traditions evolve with authenticity, global cultures will wither and die. The presented research chronicles over half a millennium of archives. Lists with names, dates, and genealogies seal the Black American legacy in stone.
Methodology: The presented research for case studies draws from archival data, dated events, news articles, and an interview with Woni Spotts. The case studies generated three lists. Fifty sports and competitions were dated and cataloged. The athletes were analyzed by a genealogist. Forty music and dance genres were cataloged by publishing or recording dates. The artists were analyzed by a genealogist. Copyright infringements were noted. Inventors were researched for U.S. patents. NASA astronauts and inventors were analyzed by a genealogist.
Findings: The presented research showed centuries of untold, reframed, stigmatized, and fetishized Black American history and culture. In the case studies, foreigners of African descent (Africans, Caribbeans, Central Americans, and South Americans) practiced ethnocidal behavior in concert with European descendants. Prolific abolitionists, patriots, politicians, and inventors were written out of history. Superstar athletes were obstructed or outshined by fictional
Recommendations: Case studies showed centuries of fragmented narratives created biases and distortions. Black Americans were written out of history, reframed as background characters, stigmatized with skewed statistics, and fetishized globally to the point of ethnocide. The presented research stands as a vital resource for preservationists. Music and dance genre architects were solidified by publishing and recording dates. Athletic events, inventions, and NASA scientists were recorded.
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Ditchfield, Simon. "Cardinals Reclaimed: Patrons and Artists Revisited." Art History 34, no. 1 (January 14, 2011): 195–99. http://dx.doi.org/10.1111/j.1467-8365.2010.00806.x.
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Saricks, Joyce. "Providing the Fiction Your Patrons Want." Journal of Electronic Resources Librarianship 10, no. 19 (February 17, 1998): 11–28. http://dx.doi.org/10.1300/j101v10n19_02.
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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 coffeehouses' reputations, became sites of casual networking and the cultivation of personal relationships between artists, patrons, and various mediators in the arts.
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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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Segger, Martin. "Artists, patrons and the public: why culture changes." Museum Management and Curatorship 28, no. 1 (January 30, 2013): 125–27. http://dx.doi.org/10.1080/09647775.2012.754629.
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Martis, Susan. "Artists, Patrons and the Public: Why Culture Changes." Collections 7, no. 1 (March 2011): 47–48. http://dx.doi.org/10.1177/155019061100700116.
Full textDissertations / Theses on the topic "Artists and patrons – Fiction"
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Davis, Peter B. "The curve of Kate's nose." Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1041883.
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My creative thesis project will be a loosely composed story consisting of fragments of prose, poetry, and possibly random notes and/or letters. In length, my project will be somewhere between fifty and a hundred pages.The premise of my story will be this: Henry Egan is a painter. One day, Henry Egan paints a line that he believes is the first line of his masterpiece. (Henry Egan longs for the immortality afforded to the creators of masterpieces. He has waited, and nearly given up, on the divine luck required to be immortal.) Now, Henry Egan believes he has begun his masterpiece. He believes he is painting with genius and that his genius will be remembered. He is so sure (or, possibly, unsure) that this painting will ensure his immortality that he is documenting its completion.This is my creative project: The journal/study-guide that Henry Egan writes while painting his masterpiece. There is, of course, a problem. Henry Egan's masterpiece is of a woman he is in love with, Kate. She is both the inspiration and subject of his masterpiece. He associates his masterpiece and Kate so strongly that difficulties with Kate create difficulties in painting, and visa-versa. This problem manifests itself in a variety. At any rate, Henry Egan's inability to clearly distinguish artistic creation from reality is an issue, and the major part of the plot and theme revolve around this difficulty.The significance of this problem I do not feel I can accurately-judge, given that my feelings about this problem are of little significance compared to the feelings of the reader. I do not see how a writer can accurately judge (or impose upon) the significance of a problem he or she has invented.For lack of a better phrase, I will say that my project could be categorized as `stream of conscious' writing.Department of English
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Melville, Jennifer. "John Forbes White and George Reid : artists and patrons in north-east Scotland 1860-1920." Thesis, University of Edinburgh, 2001. http://hdl.handle.net/1842/8162.
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John Forbes White's contribution to the history of Art in Scotland was, for the first seventy years after his death, mentioned only in passing by the main writers on Scottish art of the day. However, two of his daughters, Ina Mary Harrower and Dorothea Fyfe, both wrote articles on aspects of their father's collecting: Ina publishing "Private Picture Galleries, The Collection of John Forbes White" in Goodwords in 1896 (pp 813-819), John Forbes White (Edinburgh) in 1918 and in 1927, "Jozef lsraels and his Aberdeen Friend" for the Aberdeen University Review (pp 108-122). A noted art historian, Ina reflected her father's taste and collecting interests in her own writings, as with, for example, "Studies of Fruit by Courbet" Apollo (Vol. L No 296 1949 pp 95-98). Dorothea, with her co-author C.S. Minto, published John Forbes White, Miller, Collector, Photographer 1831-1904 (Edinburgh 1970). The only other writers who have examined White's contribution to art in any detail were Charles Carter, who as curator of Aberdeen Art Gallery, covered art and patronage in the North-East of Scotland in numerous articles and outlined White's contribution in "Art Patronage in Scotland: John Forbes White" published in the Scottish Art Review,(Vol VI, no 2, 1957, pp. 27-30). Frances Fowle, on completion of her PhD on Alexander Reid, also discussed White's tastes in "The Hague School and the Scots, A Taste for Dutch Pictures" (Apollo August 1991 pp 108-111). George Reid was still less favoured by critics after his death. With J.L. Caw championing James Guthrie and William MacTaggart, the innovative and influential aspects of Reid's art were obscured, reduced and even sometimes credited to others. W.D. McKay in The Scottish School of Painting (London 1906) had played down Reid's part in the introduction of Realism into Scotland and Agnes McKay in her monograph on Arthur Melville (Lee on Sea, 1951) went furthest of all in portraying Reid as the enemy of a younger, more innovative group of artists, who included the subject of her book. It was to be another thirty years before Dun can Macmillan would examine Reid, in Scottish Art 1460-1990 (Mainstream, 1990) as an important landscape painter, rather than, as had been the case before, as a reactionary president of the Royal Scottish Academy and an extremely dull, if talented, portrait painter. One year later John Morrison, having completed his PhD Rural Nostalgia: Painting in XIX Scotland c.1860-1880 (St Andrews 1989) wrote of Reid's important European contacts and of the vital relationship between White and Reid in "Sir George Reid in Holland, his work with G.A. Mollinger and Jozef Israels" (Jong Holland 1991 No 4 pp 10-19). Both the assets and the faults of Alexander Macdonald's collecting were examined by Charles Carter in "Alexander Macdonald 1837-1884 - Aberdeen Art Collector" (Scottish Art Review, Vol V, no 3, 1955, pp. 23-28) and again by Francina Irwin in an exhibition catalogue entitled Alexander Macdonald: From Mason to Maecenas in 1985. My main source of material has come from the uncatalogued archive of correspondence between George Reid, John Forbes White, Jozef Israels, George Paul Chalmers, David Artz, Gerrit Mollinger, Samuel Smiles and others, most of which is housed in Aberdeen Art Gallery. Reid's unpublished autobiography, transcribed by his wife Mia, (in the same archive) was also of great use, as was an unpublished but almost complete catalogue raisonne of Reid's work, compiled, probably by Percy Bate or Harry Townend c.1912. I have also made extensive use of the papers of James Pittendrigh Macgillivray which are held by The National Library of Scotland. The descendants of John Forbes White made the works and letters in their possession freely available to me. These included the correspondence between John Forbes White and William Stott of Oldham which is cited in Chapter 6. Elements of this thesis, and particularly sections 2,3, & 4 of Chapter 4, appeared in a revised form in "Art and Patronage in Aberdeen 1860-1920", a paper that I delivered at the Scottish Society of Art History's conference on Patronage, and which was published in The Journal of the Scottish Society for Art Historians (Volume 3 1998 pp 16-24). The sixth section of Chapter 5 appeared in a revised form, in An Album of Photographs compiled by Sir John Everett Millais PRA published in Studies in Photography (Edinburgh, 1997). The discussion of the influence of Ancient Greece and Classicism in the eighth section of Chapter 7 was included in a paper entitled John Forbes White, The Classical Tradition and Ideals In Art given at the conference on "The Role of Collections In The Scottish Cultural Tradition", which was held at Aberdeen University in 1998. The third section of Chapter 7 appeared in a revised form in Robert Brough (Aberdeen Art Gallery, 1995). Appendix A contains relevant excerpts from letters and text, on which much of my research was based whilst Appendix B lists the works of art owned by John Forbes White.
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Law-Turner, Frederica C. E. "Artists, patrons and the sequence of production in the Ormesby Psalter : (Oxford, Bodleian Library MS Douce 366)." Thesis, Courtauld Institute of Art (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.300899.
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Naylor, Pat. "Artists, scribes and patrons : The enlargement and embellishment of two percy family manuscripts in the Early Sixteenth century." Thesis, Queen Mary, University of London, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.511348.
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Cornet, Catherine. "In Search of an Arab Renaissance : artists, Patrons and Power in Egypt and the Middle East (2001-2013)." Paris, EHESS, 2016. http://www.theses.fr/2016EHES0091.
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Le paradigme de la Nahda, ou Renaissance arabe est un puissant zeitgeist qui revient cycliquement dans la pensée et le monde culturel du Moyen-Orient depuis la fin du 19eme siècle. Cette thèse questionne les raisons du retour du paradigme dans les années 2000 (et en particulier entre 2001 et 2005) en Egypte et dans les Emirats (Doha et Sharjah) en observant les rapports de force entre différentes sphères artistiques et les structures de mécénat. Elle interroge la raison d'être de cette quête pour une Renaissance culturelle, les enjeux liées au mécénat, l'exploitation politique du culturel et en particulier les questions d'authenticité, de culture nationale et globale, musulmane ou séculière, d'indépendance et enfin, de liberté artistique. L'étude du paradigme passe à travers la comparaison des discours et des oeuvres des 'artistes d'états' soutenus par le pouvoir de Moubarak, des artistes commerciaux, qui derrière Adel Imam, sont les fers de lance du pouvoir séculier contre les islamistes égyptiens; et des artistes arabes et internationaux qui à Doha ou Sharjah gravitent autour du riche mécénat des Emirats. En opposition à l'état, plusieurs sphères sont étudiées: celle des artistes 'indépendants' mais soutenus par les fondations privées ainsi que la sphère des artistes musulmans qui proposent un fan al hadif, ou 'art modeste'. La sphère des artistes digitaux enfin, autonomes par rapport aux réseaux de mécénat, permet de confirmer l'existence d'une réelle Renaissance culturelle digitale soutenue par l'explosion des réseaux sociaux, une décennie avant les révolutions arabes. En questionnant la position des artistes vis à vis de leurs mécènes et par rapport au pouvoir, cette thèse souligne l'importance du discours culturel et artistique pour la sphère publique et ses répercussions sur les enjeux de citoyennetéThe Nahda, or "Arab Renaissance" is a powerful returning paradigm in Egypt and the Middle East cultural field since the end of the 19th century. The aim of this dissertation is to assess, through the study of the new paradigm, the autonomy of the arts in Egypt and the Middle East and their relation to power and to interrogate the role of art in identity definition and in the "dialogue" with Islam after 9/11 - and especially after foreign actors have greatly re-shuffled the power relationship. The first case study focuses on "state artists" in Egypt and studies the passage from the Tahtqif, or "culturisation" of Egyptians in the name of Enlightenment and the gradually undermining of state monopoly over identity politics. The second chapter is dedicated to Arab artists and their Gulf patrons: the agency of the "invisible hand" of the global artistic market is discussed, through two case studies in Doha and Sharjah. The third chapter assesses the state narrative against Islamists in Egypt through the figure of comedy actor Adel Imam. The second part is dedicated to the artists in opposition to the state. Chapter I reviews the agency of the artistic sphere in total opposition with the state, with the study of a group of young Muslim filmmakers who intented to contribute to a fann al hadif or "purposeful art". The two following chapters review the works of the "independent scene" that saw the light after the arrival arrival en masse of foreign funding in 2001, while the last case studies centred on Digital artists venture into giving the first hints of a conclusion about a Digital Renaissance that took place after after 2004, and of the adoption of social networks in Egypt. The importance of the arts in the political discourse, its agency in the process of secularization, nationalist debates or international relations in the time of globalisation, is barely mentioned in political science. This dissertation is intended to corroborate the claim that there is much to learn from the art spectrum and from its agency on societal changes and power struggles
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Jackson, Cailah. "Patrons and artists at the crossroads : the Islamic arts of the book in the lands of Rūm, 1270s-1370s." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:2d687f25-fb80-4470-b259-72714ba24386.
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This dissertation is the first book-length study to analyse the production and patronage of Islamic illuminated manuscripts in late medieval RÅ«m in their fullest cultural contexts and in relation to the arts of the book of neighbouring regions. Although research concerning the artistic landscapes of late medieval Rūm has made significant progress in recent years, the development of the arts of the book and the nature of their patronage and production has yet to be fully addressed. The topic also remains relatively neglected in the wider field of Islamic art history. This thesis considers the arts of the book and the part they played in artistic life within contemporary scholarly frameworks that emphasise inclusivity, diversity and fluidity. Such frameworks acknowledge the period's ethnic and religious pluralism, the extent of cross-cultural exchange, the region's complex political situation after the breakdown in Seljuk rule, and the itinerancy of scholars, Sufis and craftsmen. Analyses are based on the codicological examination of sixteen illuminated Persian and Arabic manuscripts, none of which have been published in depth. In order to appropriately assess the material and to partially redress scholarly emphases on the constituent arts of the book (calligraphy, illumination, illustration and binding), the manuscripts are considered as whole objects. The manuscripts' ample inscriptions also help to form a clearer picture of contemporary artistic life. Evidence from further illuminated and non-illuminated manuscripts and other textual and material primary sources is also examined. Based on this evidence, this dissertation demonstrates that Rūm's towns had active cultural scenes despite the frequent outbreak of hostilities and the absence of an effective centralised government. The lavishness of some manuscripts from this period also challenges the often-assumed connection between dynastic patronage and sophisticated artistic production. Furthermore, the identities and affiliations of those involved in the production and patronage of illuminated manuscripts reinforces the impression of an ethnically and religiously diverse environment and highlights the role that local amīrs and Sufi dervishes in particular had in the creation of such material.
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Chott, Laurence R. "The artist as prisoner in the fiction of Bernard Malamud." Virtual Press, 1985. http://liblink.bsu.edu/uhtbin/catkey/440948.
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The general idea of imprisonment in Bernard Malamud's ficiton manifests itself in his artists, who may be understood as "prisoners" dramatizing the artistic process as Malamud views it.Malamud's artists' struggle to balance art and life is expressed through the idea of imprisonment. When overemphasizing art, the artist is isolated, "imprisoned" in his or her work. Although this imprisonment is necessary temporarily, the artist must meet worldly responsibilities to find the freedom to create art, though artistic success is not guaranteed.Malamud's artists are always somehow imprisoned. In "The Girl of My Dreams" (1953), the writer Mitka rejects an uncooperative world, whereas the writer Olga transcends poverty and accepts the world. In "Man in the Drawer" (1968), the writer Levitansky is trapped in a totalitarian state. In "Rembrandt's Hat" (1973), the failed sculptor Rubin perseveres in art. And in "The Model" (1983), Elihu, mistaking himself for an artist, dehumanizes his model, Ms. Perry.In Pictures, Qj Fidelman (1969), Fidelman is imprisoned in artistic perfectionism. I n the Tenants (1971), writers Harry Lesser and Willie Spearmint are imprisoned in their obsessions. And in Dubin's Lives (1979), dubin is trapped in a false self-image.Malamud's artists are of two types: (1) the successful whose continued fulfillment is in question and (2) the so-far unsuccessful. Subtypes in the first group are the liberated (Dubin), the potentially liberated (Mitka, Levitansky), and the perpetually imprisoned (Lesser). Subtypes in the second group are the liberated (Fidelman, Ms. Perry) and the perpetually imprisoned (Rubin, Willie, Elihu).The exception is the successful a liberated Olga. Appearing in an early (1953) story, Olga embodies an answer to the problems of the artist; twenty-six years later, in Dubin's Lives (1979), Malamud's answer is the same: Maintain balance between art and life; keep the demands of art subordinate to those of life.The idea of the artist as prisoner in Malamud's fiction implies the difficulty of artistic endeavor. Malamud's artists, like his other characters, face suffering. Their art is a potentially imprisoning complication, not an escape from life's problems. Ultimately, the artist must face the world and its demands.
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Forbes, Duncan. "Artists, patrons and the power of association : the emergence of a bourgeois artistic field in Edinburgh, c.1775-c.1840." Thesis, University of St Andrews, 1997. http://hdl.handle.net/10023/9566.
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The period 1775-1840 witnessed a dramatic transformation in the size and complexity of the Edinburgh art world, with the rituals associated with fine art consumption emerging from the closed circles of the elite connoisseur and taking on new meanings in the more open and contested spaces of the urban public sphere. Expanding regimes of artistic exchange and consumption accelerated rapidly during the course of the 1820s, as the city's fine arts became more deeply embedded in British and Continental markets. For a growing audience of wealthy professional bourgeoisie and lesser gentry, the ownership of painting became the requisite component of refined urban living. However, this expansion -- dominated by the resale exchange of 'old' masters -- was not automatically a boon to contemporary artists. In a highly stratified artistic sphere many found the struggle for subsistence unequal. An early protective association, the Society of Artists, foundered on the rocks of its members' competing interests, and the formation of the Scottish Academy in 1826 was also riven by debilitating disputes between different groups of artists and their patrons. During a period of acute political turmoil, the press exploited these divisions for political gain, and disagreements over modes of patronage were easily represented in terms of the passions of party feeling. It was only in the wake of the Reform Act, and the remodelling of Edinburgh's body politic, that the 'problem' of the public emerged as a central concern of elite patronage. Members of the stumbling Scottish Academy joined with leading civic figures to found the first Edinburgh art union. Its successful harnessing of a largely middle-class public not only secured the financial prospects of the city's leading artists, but also offered civic elites a clearly defined pathway to social power and recognition. The cultural authority accruing to the fine arts allowed its managers to develop a self-interested 'governmental' agenda. However, the art union's dominance of the urban arts did not pass uncontested, and a counter organisation was formed to challenge its patrician management style. These disputes, combined with earlier confrontations, expose the complex array of competing interests that structured Edinburgh's emergent artistic field during the early decades of the nineteenth century.
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Millis, Jessica M. "An artist's childhood : short stories." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1391234.
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Short stories follows five different characters as they attempt to develop their earliest artistic impulses. Through the use of young protagonists, these stories demonstrate the ways in which our earliest experiences with loss and trauma often create a space for imaginative discovery; the collection reveals that it is the uniqueness of this space, this blend of premature emotional depth and naïve whimsy, that opens up new psychological possibilities for the child-artist. Meant to be read as a collection of intimate character sketches, these stories reveal the artist's intensely visual approach toward growth and maturity. Several stories concentrate specifically on what it means to sustain one's imagination into adulthood, while others use flashbacks to demonstrate the profound influence of childhood memories on adult behavior.Taylor's stories -- You'll call her tomorrow -- Where to look -- Filling in the gaps -- Certainly not me.
Department of English
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Vanderlaan, Kimberly Marie. "The arts and artists in the fiction of Henry James, Edith Wharton and Willa Cather." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 0.85 Mb., 297 p, 2005. http://proquest.umi.com/pqdlink?did=1051280091&Fmt=7&clientId=8331&RQT=309&VName=PQD.
Full textBooks on the topic "Artists and patrons – Fiction"
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Bradu, Fabienne. Damas de corazón. México, D.F: Fondo de Cultura Económica, 1994.
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Huxley, Aldous. Those barren leaves: A novel. Normal, IL: Dalkey Archive Press, 1998.
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Gleeson, Janet. The serpent in the garden: A novel. New York: Simon & Schuster, 2005.
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Margaret, Garlake, ed. Artists and Patrons in Post-war Britain. London: Taylor and Francis, 2017.
Find full textBook chapters on the topic "Artists and patrons – Fiction"
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Codell, Julie F. "Patrons’ Desire." In Victorian Artists’ Autograph Replicas, 79–93. New York : Routledge, 2020. | Series: British art: histories and interpretations since 1700: Routledge, 2020. http://dx.doi.org/10.4324/9780367145835-10.
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Durcan, Sarah. "Documentary Fiction." In Memory and Intermediality in Artists’ Moving Image, 159–98. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-47396-9_6.
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Watt, Stephen. "Entr’acte at the Theatre: Marriage, Money, and Feeling in Love Among the Artists." In Bernard Shaw’s Fiction, Material Psychology, and Affect, 135–44. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71513-1_4.
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Gordić Petković, Vladislava. "The Canadian Condition: Migration of Intellectuals and Artists in Post-Yugoslav Fiction." In Les Migrations postmodernes: Le Canada = Postmodern Migrations: Canada, 151–63. Beograd: Univerzitet u Beogradu, Filološki fakultet, Srpska asocijacija za kanadske studije, 2021. http://dx.doi.org/10.18485/asec_sacs.2021.9.ch10.
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Mayr-Harting, Henry. "Artists and patrons." In The New Cambridge Medieval History, 212–30. Cambridge University Press, 2000. http://dx.doi.org/10.1017/chol9780521364478.009.
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"Artists, mentors and patrons." In Louise Jopling, 25–44. Burlington, VT: Ashgate, 2016. | Series: Among the Victorians and modernists: Routledge, 2017. http://dx.doi.org/10.4324/9781315091624-2.
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"Artists and Patrons Introduction." In Sources for Byzantine Art History, 107–12. Cambridge University Press, 2022. http://dx.doi.org/10.1017/9781108672450.009.
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"Artists and their Patrons." In The Art of Roman Britain, 114–45. Routledge, 2002. http://dx.doi.org/10.4324/9780203442098-8.
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Kasson, Joy S. "Narratives of the Female Body: The Greek Slave." In The Culture of Sentiment, 172–90. Oxford University PressNew York, NY, 1992. http://dx.doi.org/10.1093/oso/9780195063547.003.0011.
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Abstract Viewers of art objects in nidnineteenth-century America brought to their encounter with painting or sculpture a set of expectations very foreign to twentieth-century aesthetic values. The gulf had already opened in 1903, when Henry James looked back on the career of sculptor William Wetmore Story a half century earlier and commented that works of art in Story’s generation did not appeal to what he considered the aesthetic sense, but rather to “the sense of the romantic, the anecdotic, the supposedly historic, the explicitly pathetic. It was still the age in which an image had, before anything else, to tell a story.”1 The stories that art objects told their audiences sometimes affirmed and sometimes subverted their ostensible meaning. Some were poorly articulated and may be recovered only in indirect ways, while others were recorded in letters between artists and patrons, in descriptions of art objects that were published in newspapers and magazines, and in printed catalogues of art exhibitions. Imagining a past, present, and future as well as an emotional context for a fictional subject, audiences participated in the production of meaning and revealed many of their own assumptions. Fervent believers in the equivalence between words and images, they saw in art ob jects representations of the world as they understood it.
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Lord, Barry, and Gail Dexter Lord. "Chapter 4." In Artists, Patrons, and the Public, 41–50. Rowman & Littlefield Publishers, 2010. http://dx.doi.org/10.5771/9780759119017-41.
Full textConference papers on the topic "Artists and patrons – Fiction"
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Kaverkina, Aleksandra. "Projecting event series on literary mastership for schoolchildren in libraries." In Sixth World Professional Forum "The Book. Culture. Education. Innovations". Russian National Public Library for Science and Technology, 2021. http://dx.doi.org/10.33186/978-5-85638-236-4-2021-121-123.
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Literary mastership is a discipline aimed to teach students to write fiction and non-fiction works. This subject is getting more and more popular every year. Libraries have enough resources to organize teaching literary mastership to their patrons. The major provisions needed for this kind of library events targeted at schoolchildren, e. g. developing theoretical basis, audience analysis, outsourcing and desired final product, are discussed.
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Ершова, Н. А. "“TEMPLE OF THE RUSSIA’S HEROES FAME”. HEROES IN HISTORIOGRAPHY AND ARTISTIC CULTURE OF THE EARLY 19TH CENTURY." In Образ героя. От прошлого к настоящему. Crossref, 2023. http://dx.doi.org/10.54874/9785605054252.2023.1.10.
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Представление о героическом в российской истории в начале XIX в. происходило благодаря совместным устремлениям историков, писателей, художников. Эпически-возвышенные характеристики исторических персонажей соответствовали определенным каноническим представлениям о герое истории, не предполагавшем противоречивости. Пример сочинения П. Ю. Львова раскрывает особенности беллетризации деятельности героев российской истории, создания словесных монументов, готовых для воплощения скульптором или художником. Творчество Н. М. Карамзина, всецело разделявшего такой подход, свидетельствовало о продвижении по пути объективности и критики в истории. Idea of a heroic personage in Russian history of the early 19th century had been forming in common aspiration of the historians, writers, artists. Epic and sublime images of the historic figures appeared in accordance with certain canonic rules of the heroes’ representation. P. Lvov’s book is an example of historic popular fiction with the heroes presented like verbal monuments ready to be depicted by a sculptor or painter. Great Russian historian N. Karamzin who contributed to this way of commemoration, in his historical writings moved forward in direction of the historical objectivity and critics.
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Olarescu, Dumitru. "Ion Creanga phenomenon in audiovisual images." In Simpozion Național de Studii Culturale, dedicat Zilelor Europene ale Patrimoniului. Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/sc21.03.
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The destiny and literary creation of Ion Creangă crystallized into an unprecedented phenomenon in our culture, always inciting artists and literati to the most diverse interpretations and visions. But a re-interpretation of the “spectacle of the world”, created by the great storyteller from Humulești, requires great aesthetic and artistic efforts. To argue these ideas, we will refer to the non-fiction film “Ion Creangă” directed by Vlad Druc, based on a script signed by Anatol Codru, cameraman - Ion Bolboceanu. In search of the most appropriate audiovisual equivalents for the rendering/interpretation through another language, the cinematographic one, of the artistic phenomenon Ion Creangă, the film director Vlad Druc turned to some iconographic materials (photographs, manuscripts), places filmed “live”, but also to some works from the paintings of the Yugoslav naivists, which restore the values of authentic life, but also of the imaginary. In the director V. Druc’s conception, this art has some qualities in common with the world perceived by the great storyteller finding suggestive ambiences in the context of his cinematic approach. Finally, the director Vlad Druc managed to consolidate these heterogeneous materials into a unique whole through audiovisual language, launching a cinematic product that resists the erosion of time.
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Yandim Aydin, Sercan. "„RENAISSANCE“ BEFORE THE RENAISSANCE: HUMANLY ASPECTS OF LATE BYZANTINE PAINTING. CASE: “THE ANASTASIS: AN IMAGE OF LIBERATION AND RESURRECTION”, STUDENICA MONASTERY." In Kralj Milutin i doba Paleologa: istorija, književnost, kulturno nasleđe. Publishing House of the Eparchy of Šumadija of the Serbian Orthodox Church - "Kalenić", 2023. http://dx.doi.org/10.46793/6008-065-5.629ya.
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Present paper aims to readdress the idealized Renaissance con- ception of painting starting with the writings of Giorgio Vasari, which paved the way to a widely stereotyped and prejudiced evaluation of the Byzantine art within the general art historical framework. Consequently, placing the latter one inferior to the Renaissance. Further the paper attempts to revise the conventional assumptions about Byzantine painting. Visual interpre- tation of a dodecaorton subject, Anastasis Christi, is taken to provide evi- dence in understanding the humanly aspects in terms of iconography and reception of the scene. Material evidence is obtained from the monumental panting of the Studenica monastery, (ca. 1313-ca. 1320). General outline of its iconography, communal versus individual resurrec- tion, and specific depiction of one of the basic elements of iconography, Hades, reveal the fact that there is difference in the mind sets of Eastern and Western Christianity. Libri Carolini in the eighth century signifies the different visual understanding and reception. Also, the text-image relation is greatly influenced by the involvement of either theologians of a col- lective monasticism or individual aristocratic prayer. Thanks to the recent scholarly studies on cultural history and art history, a wider perspective is possible in order to comprehend the content of their cultural memories that comes into play in interpreting and reflecting religious subjects/imageries. As a result, artists and patrons of medieval Serbia were able to not just to inherit but also improve the inherited Byzantine artistic language in a com- plex positive way. Altogether referring to a renaissance in their rethinking and execution of the Byzantine models and beyond.