Dissertations / Theses on the topic 'Artists, Russian'

This thesis examines the relationship between the three artists' workshops Røde Mor (Red Mother), Folkets Ateljé (The People's Studio) and GRAS, who worked between 1968 and 1975 in Denmark, Sweden and Norway. Røde Mor was from the outset an articulated Communist graphic workshop loosely organised around collective exhibitions. It developed into a highly productive and professionalised group of artists that made posters by commission for political and social movements. Its artists developed a familiar and popular artistic language characterised by imaginative realism and socialist imagery. Folkets Ateljé, which has never been studied before, was a close knit underground group which created quick and immediate responses to concurrent political issues. This group was founded on the example of Atelier Populaire in France and is strongly related to its practices. Within this comparative study it is the group that comes closest to collective practises around 1968 outside Scandinavia, namely the democratic assembly. The silkscreen workshop GRAS stemmed from the idea of economic and artistic freedom, although socially motivated and politically involved, the group never implemented any doctrine for participation. The aim of this transnational study is to reveal common denominators to the three groups' poster art as it was produced in connection with a Scandinavian experience of 1968. By ‘1968' it is meant the period from the late 1960s till the end of the 1970s. It examines the socio-political conditions under which the groups flourished and shows how these groups operated in conjunction with the political environment of 1968. The thesis explores the relationship between political movements and the collective art making process as it appeared in Scandinavia. To present a comprehensible picture of the impact of 1968 on these groups, their artworks, manifestos, and activities outside of the collective space have been discussed. The argument has presented itself that even though these groups had very similar ideological stances, their posters and techniques differ. This has impacted the artists involved to different degrees, yet made it possible to express the same political goals. It is suggested to be linked with the Scandinavian social democracies and common experience of the radicalisation that took place mostly in the aftermath of 1968 proper. By comparing these three groups' it has been uncovered that even with the same socio-political circumstances and ideological stance divergent styles did develop to embrace these issue.

This thesis is concerned with the thoughts of the Russian writer Ivan Turgenev (1818-83) on the development of the arts in his native country and the specific problems facing the Russian artist. It starts by considering the state of the creative arts in Russia in the early nineteenth century and suggests why even towards the end of his life Turgenev still had some misgivings as to whether painting and music had become a real necessity for Russian society in the same way that literature clearly had. A re-appraisal of "On the Eve" (1860) then follows, indicating how the young sculptor Shubin in this novel acts as the author's alter ego in a number of respects, in particular by reflecting Turgenev's views on heroism and tragedy. The change in Shubin's attitude towards Insarov, whom the sculptor at first tries to belittle before eventually comparing him to the noble Brutus in Shakespeare's "Julius Caesar", can be said to anticipate Turgenev's own feelings about Bazarov in "Fathers and Children" (1862) and the way that this 'nihilist' attained the stature of a true tragic hero. In this chapter, too, the clichéd notion of Turgenev's alleged affinity with Schopenhauer is firmly challenged - an issue that is taken up again later on in the discussion of "Phantoms" (1864) and "Enough!" (1865). Other aspects of Turgenev's portrayal of Shubin are used to introduce the remaining chapters, where the problems of dilettantism, originality, nationalism and Slavophilism - among the most acute problems which Russian artists had to contend with in Turgenev's eyes - are explored through various works of his, especially the novel "Smoke" (1867), as well as by reference to his observations of such contemporaries as Glinka, the painter Ivanov, Tolstoi, and the composers of the 'Mighty Handful'. The springboard for the final chapter on the tragic fate befalling so many Russian artists is once again Shubin, whose voluntary exile in Rome at the end of the novel allows for certain parallels to be drawn with Gogol'. Despite Turgenev's own 'absenteeism' from Russia, for which he was much reproached, it is emphasized in the conclusion that healways remained devoted to the cause of Russia's civic and cultural development, especially in the realm of the arts, whose national, and at the same time universal, value he upheld so compellingly in his Pushkin speech of 1880.

In the contemporary art-historical vision, Mikhail Larionov is renowned as the author and the main figure in the polemical discourse of Neoprimitivism and the inventor of the Rayonism style. These aspects, although crucial to his career, are far from exhausting the artist’s legacy. During his most industrious period, from 1910 to 1915, he was equally, if not more, engaged in the development of new forms of art than in the practice of painting; in fact, the conventional cornerstone of the high art in the era of Modernism – a painting – lost its central position and receded to the status of the peripheral phenomenon in his artistic practice. When considering his position as a central figure in the events of the 1910-1915 in Russia, Larionov’s ambivalence as an artist implies hesitation about the picture of gestalt homogeneity of Modernist discourse (with a painting as the hierarchical apex of high art in the Modernist era) in Russia of the early decades of the twentieth century. While historical evaluation privileges the painting over the non-painting practice of the artist, there is sufficient evidence testifying to the need to consider them as equal and synergetic.

The following paper is an opportunity for me to introduce Pavel Petrovich Chistyakov and his pedagogical ideas to English-speaking educators. His life's accomplishments seem even more remarkable when considering the fact that he was born into a family of serfs and later became a professor at the Russian Academy of Fine Arts. Among his students were well-known Russian artists such as Valentin Serov, Mikhail Vrubel, Vasily Surikov, Victor Vasnetcov, and Vasily Polenov. In this paper, I present you with a brief analytical summary of his methodology on teaching drawing and painting, his pedagogical approaches, as well as his ideas on the development of art education in the public school setting. Chistyakov's pedagogical system still seems relevant today and, with slight adjustments, can be adapted to various teaching situations depending on the educational environment and students' abilities.

In ihrer Monographie widmet sich Sandra Frimmel hauptsächlich zweien der zehn Jahre nach der Perestroika wieder vermehrt vorkommenden Strafprozesse gegen Künstler. Erschienen ist die Studie als zweiter Band in der Reihe: Das östliche Europa: Kunst- und Kulturgeschichte. Frimmel, die selbst auch Kuratorin und Mitbegründerin des Projektraums Art Laboratory Berlin ist, ist in Zürich am Slawischen Seminar wissenschaftliche Mitarbeiterin im EU-Projekt „Performance Art in Eastern Europe“ und Koordinatorin des Zentrums Künste und Kulturtheorie. Es handelt sich bei der hier zu besprechenden Arbeit um ihre am Institut für Kunst- und Bildgeschichte der Humboldt-Universität Berlin verteidigte Dissertation, die von der Kunsthistorikerin Susanne von Falkenhausen betreut wurde.

Scopo della tesi è relazionare la partecipazione dell’URSS alla biennale di Venezia seguendo l’evoluzione dell’idea comunista nell’arte sovietica nel periodo 1920-1970. La Biennale, laboratorio espositivo dove vengono esposte le opere più rappresentative delle idee nazionali, ci consente di seguire lo sviluppo delle idee artistiche in modo attento e selezionato. Dopo la Rivoluzione, era necessario trovare un linguaggio artistico che esprimesse la costruzione del socialismo; i movimenti d’avanguardia, in sintonia con l'epoca post-rivoluzionaria, all’inizio esprimevano le aspirazioni del nuovo sistema in fase di costruzione; presto tuttavia l’avanguardia russa venne messa sotto divieto; gli artisti russi emigrati (tra cui anche i classicisti d’avanguardia) non potevano partecipare al padiglione dell’URSS, anche se erano regolarmente esposti alla Biennale nel programma principale. Alla fine degli anni ‘20 il potere sovietico si rese conto che era necessario ricercare uno stile paradigmatico; dalle esperienze formalistiche, il focus dell’arte si trasferì nell’autorità suprema del Partito comunista. Ciò portò allo sviluppo di uno stile, che esprimeva nel modo più significativo l’idea comunista, ovvero il “realismo sociale”, divenuto dall’inizio degli anni 30’ lo stile predominante. Sperimentazioni e variazioni del realismo socialista tornano ad essere accettate tra gli anni ’60-‘70, con lo stile severo, il realismo romantico, e l’arte non conformista dei dissidenti; tuttavia si crea ben presto una contrapposizione fra realismo socialista e arte informale, che culmina nel 1977 con la Biennale del dissenso. Le due realtà sovietiche si incontrano finalmente con l’arrivo della “perestrojka”, alla Biennale del 1988.

Le présent travail intègre une dimension internationale dans son sujet : La sculpture russe du naturalisme à l’Art Nouveau : géopolitique des pratiques artistiques. Il a pour fondement l’étude de ceux des sculpteurs russes qui, d’une manière ou d’une autre, ont voyagé ou séjourné à l’étranger entre 1870 et 1914. En faisant converger les approches de la nouvelle « macro-histoire de l’art », soutenue par les méthodes statistiques de l’histoire de l’art quantitative, avec l’émergence d’une problématique non pas « bilatérale » mais « multilatérale », à même de rendre compte de manière complète de l’évolution internationale d’un art et de ses acteurs, l’étude se concentre sur les rapports entretenu par des artistes d’un pays avec les autres pays en général. Il cherche ainsi à redéfinir une géographie européenne de l’art, avec une mise en relation des différents centres artistiques entre eux vus par un prisme étranger. Ainsi, par une approche multinationale, distingue-t-il les centres artistiques européens majeurs de la période : Paris supplantant progressivement Rome au cours du siècle en tant que centre artistique de niveau mondial, Munich et Berlin se disputant la place de centre majeur de l’Europe médiane. Paris assoit alors sa domination écrasante dans la concentration des sculpteurs par rapport à ses concurrentes allemandes et italiennes. Les circulations internationales influencent dès lors l’évolution artistique en Russie, notamment lorsque les sculpteurs y reviennent après un séjour à l’étranger : les apports de la sculpture occidentale interviennent dans les multiples évolutions qui affectent la plastique russe depuis les années 1870 jusqu’à l’Âge d’Argent
The following work is to be considered from a global point of view, as shown in this topic: Russian sculpture from naturalism to Art nouveau: a geopolitical analysis of artistic practices. The basis of this study is that of the Russian sculptors who have somehow traveled or stayed abroad between 1870 and 1914. By putting together the new ‘macro art history’ approaches supported by the statistics of a quantitative method of art history with the emergence of a rather multi-lateral question than a bi-lateral one which has the power to fully acknowledge the global evolution of an art and its participants, this study focuses on the relations maintained by the artists from one country with other countries in general. From a foreign perspective, this study aims at redefining the European geography of art while connecting various artistic centers together. A distinction is therefore made from a global approach between the most important art-related European centers of the time; namely Paris, which progressively replaced Rome over the century as a nationally-scaled point of interest, as well as Munich and Berlin, which challenged their number one standing in central Europe. Unlike its German and Italian competitors, Paris managed to establish its authority by gathering sculptors. Global migration consequently influenced the evolution of art in Russia, especially when sculptors went back after staying abroad. Thereby, contributions from Western sculptures played an essential role in the various artistic evolutions that affected Russia from the 1870’s to the Silver Age

Corps, art et société. Si la culture se définit par rapport à ces trois notions, la création féminine dans la Russie contemporaine s'inscrit dans une quête identitaire vacillant entre les repères traditionnels et l'ouverture vers l'Occident. Se situant dans un espace en mutation permanente, se heurtant à la difficulté de discerner les frontières de l'utopie et de l'entropie, les artistes de la période qui a précédé l'effondrement communiste et de celle de la reconstruction post-soviétique ont été amenés à bâtir un " territoire de mémoire " commun. Dans un tel contexte de bouleversement idéologique, l'émancipation des femmes est loin d'être acquise. La création féminine est donc avant tout, pour les Russes, une affaire de recherche intérieure, de déconstruction - partielle et totale - du statu quo et d'invention d'une nouvelle identité. La question de l'art est indissociable d'une géographie corporelle qui surgit de l'abolition des frontières et de l'ouverture culturelle. Le corps des femmes devient de la sorte l'élément fondamental d'une création où se mêlent l'espace, l'érotisme et la religion. Ce même processus de mutation qui aboutit souvent à des interrogations existentielles définit le champ artistique dans les autres pays de l'Est, notamment ceux qui sont porteurs de la même tradition byzantine.

La thèse est consacrée à l'oeuvre des peintres réalistes russes qui ont vécu et travaille en France, dans la seconde moitié du XIXe siècle en tant que boursiers de l'académie des beaux-arts. La thèse est divisée en trois parties. La première partie démontre l'activité à Paris, dans les années 1860-1900, de la société russe. Dans cette partie, nous avons cherché à souligner !es liens qui existaient, au XIXe siècle, entre les mondes artistiques français et russe. La deuxième partie examine l'oeuvre et l'état d'esprit des artistes russes, venus en France pour continuer leurs études. En effet, dans la seconde moitié du XIXe siècle, on constate une exceptionnelle concentration de peintres russes à Paris. Tous les grands maîtres du mouvement des ambulants {Peredvjniki) sont passés par Paris. On y trouve Vassili Perov et Alexei Bogoliubov, Ilia Repine et Vassili Polenov, Ivan Kramskoi ; Konstantin Savitski et Viktor Vasnetsov, ainsi que Vassili Verechtchaguine, Ivan Pranishnikoff, Ivan Pokhitonov et Marie Bashkirtseff. Nous avons consacré à chacun de ces artistes un propos dans cette deuxième partie de la thèse. La troisième partie résume nos recherches concernant la présence, dans les collections publiques et privées françaises, des oeuvres des peintres réalistes russes. En conclusion, nous faisons la synthèse des relations artistiques franco-russes dans la seconde moitié du XIXe siècle et analysons les liens entre les peintres réalistes russes et l'art français.

Avec d’une part les bouleversements de l’ordre mondial après la chute du système bipolaire, avec d’autre part et de manière corrélative l’extension considérable des échanges internationaux, le développement sans précédent des moyens de communications et la mondialisation économique (touchant évidemment aussi le domaine culturel), la fin du XXe siècle a inauguré une nouvelle donne dans les relations culturelles internationales qui revêtent désormais une signification capitale et, jusque-là, inédite. Dans le nouveau contexte mondial les relations culturelles internationales se sont attribué de nouveaux enjeux : elles ont pour objet non seulement la diffusion de la culture nationale en direction de la communauté internationale, mais aussi une impérative, voire vitale résistance aux dangereuses conséquences de la mondialisation, grâce au développement du dialogue interculturel et à l'affirmation des différentes cultures. Sous l'influence de ces nouveaux enjeux, les États du monde ont été obligés de réviser leur conception de la politique culturelle internationale et de perfectionner leur diplomatie culturelle nationale.Cette thèse de doctorat a pour objet la politique culturelle internationale de la France et de la Russie, que l’auteur étudie à travers le prisme des relations culturelles intergouvernementales franco-russes de 1991 à 2004. L’étude du renouveau du système des relations culturelles bilatérales après l’effondrement de l’Union soviétique tend à répondre à trois séries de questions, sur le plan national, mais aussi sur le plan des relations bilatérales et multilatérales (russo-européennes) :• quelle place la politique culturelle internationale a-t-elle prise dans la nouvelle conception nationale de la politique étrangère en France et en Russie ? quels sont les objectifs et les priorités de la France et la Russie concernant les relations culturelles internationales ? et quels sont les instruments dont la France et la Russie se sont dotées pour leur réalisation dans le contexte actuel de la mondialisation ?• quelle place les relations culturelles bilatérales ont-t-elles prise respectivement dans la conception de la politique culturelle internationale des deux pays ? quels sont les objectifs et les moyens de coopération culturelle bilatérale ? quels sont les résultats du renouveau des relations culturelles bilatérales ? et, finalement, comment peut-on caractériser les relations culturelles contemporaines franco-russes ?• quels sont les enjeux des relations culturelles franco-russes en vue de l’évolution de la relation Russie/Union européenne élargie ? et quelles sont les éventuelles perspectives de leur développement ?
On the one hand, together with the global disruptions following the end of the bi-polar political system and on the other hand and in close correlation with the considerable extension of the international exchanges, the unprecedented development of the means of communication and the economic globalization (obviously with regard to the cultural field), the end of the 20th century has launched a new deal in international cultural relations which now take on a major meaning which has remained unprecedented. In this new global context, the international cultural relations have set themselves new goals: they now not only aim at the circulation of the national culture towards the international community but also appear as an urgent even vital resistance to the dangerous impact of globalization, thanks to the development of intercultural dialogue and the affirmation of the different cultures.Under the influence of these new objectives, the world states have been forced to review their conception of international cultural policies and improve their national cultural diplomacy.This thesis mainly deals with the international cultural policies of France and Russia and its author focuses on Franco-Russian intergovernmental cultural relations from 1991 until 2004. The study of the renewal of the bilateral cultural relations after the collapse of the Soviet Union aims at answering three sets of questions, from a national perspective but also on bilateral and multilateral relations (Russo-European that is)• What place have the international cultural policies of France and Russia held in the new national conception of foreign affairs in France and Russia? What are the objectives and priorities of France and Russia as regards to international cultural relations? And what are the instruments used by France and Russia for their achievement in the current global context?• What place have cultural bilateral relations taken respectively in the conception of the international cultural policies of both countries? What are the goals and means used in the cultural bilateral cooperation? What are the results of the renewal of bilateral cultural relations? And finally, how can we characterize the contemporary Franco-Russian cultural relations?• What is at stake in the Franco-Russian cultural relations with a view to the evolution of the relation between Russia and the extended European Union? And what are the potential perspectives in their development?

Магистерская диссертация посвящена исследованию стрит-арт-открыток и уличному искусству в целом: рассмотрению американской и французской традиций, рассмотрению особенностей российского стрит-арта и его правового регулирования. Также работа включает в себя анализ современного состояния уличного искусства г. Екатеринбурга и классификацию стрит-арт-объектов города. Для разработки концепции издательского проекта стрит-арт-открыток был осуществлен анализ рос¬сийского книжного рынка в специфике публикаций об уличном искусстве и анализ открыток, посвященных стрит-арту, проведена оценка востре¬бованности продукта посредством сегментирования целевой аудитории и выведения «персонажей», а также рассмотрены структурно-содержательные и визуально-полиграфические особенности издания. Издательский продукт представляет собой набор открыток в количестве 12 штук формата А6, посвященный уличному искусству Екатеринбурга.
The master's thesis is devoted to the study of street art postcards and street art in general: consideration of the American and French traditions, consideration of the features of Russian street art and its legal regulation. The work also includes an analysis of the current state of street art in Yekaterinburg and classification of street art objects in the city. To develop the concept of a publishing project street art-cards performed analysis of the Russian book market in the specific publications about street art and analysis of postcards dedicated to street art, evaluated demand for the product by segmenting the target audience and removing "characters", and discusses the structural and visual features of the edition. The publishing product is a set of postcards in the amount of 12 pieces of A6 format, dedicated to the street art of Yekaterinburg.

In this internship report, I will describe my experience at the Collection of the Russian Museum in Malaga, Spain. It is the first European branch of the State Russian Museum in Saint Petersburg. The aim of this internship report is to comment on my experience at the Education Department of the museum in question as well as to study several works of the Russian avant-garde artists exhibited at the museum during my internship.

This study gives the Zulu's views and ideas about celestial bodies and associated natural phenomena and how they illustrate features in both the oral and written literature. It sketches various focussing mainly on The concentration is conceptions about the whole universe celestial bodies and natural phenomena. on the sun, moon, stars, thunder and lightning in poetry and prose both modern and traditional. Emphasis is on the fact that Zulus do not perceive celestial bodies as mere bodies but assign certain beliefs and philosophies to them. In examining these different conceptions, Western as well as African literary theories have been used in this study. I~ ~r=rli~ional izibongo amakhosi are associated with the sun, the moon as well as the stars. Their warriors' attack is associated with the thunderstorm. These celestial bodies are also used as determinants of time in terms of day and night, seasons and different times for different daily chores. In modern poetry these bodies are mainly associated with God and in some instances they are referred to as God himself. In prose they are used as determinants of time and are also used figuratively to describe certain circumstances. The study gives an idea of how Zulus in general perceive these celestial bodies and natural phenomena.
African Languages
D.Litt. et Phil. (African Languages)

Tese de mestrado, Linguística, Universidade de Lisboa, Faculdade de Letras, 2011
Ao observar os dados de falantes não nativos inglês (L2), foi verificado que, em geral, os falantes L2 cometem dois tipos de erros: a) a omissão de artigos; b) a substituição de artigos. Também foi detectado que essa substituição não é aleatória, mas pode ocorrer em contextos em que Noun Phrase (NP) tem determinado tipo de interpretação. O presente estudo tem por base o trabalho de Ionin, Ko & Wexler (2004), que testam a Hipótese de Flutuação (Fluctuation Hypothesis), proposta por Ionin (2003), de acordo com a qual os falantes de L2 cuja língua materna (L1) não tenha artigos oscilam entre aquilo que a autora define como duas opções paramétricas: a associação do artigo à codificação de definitude ou a associação à codificação de especificidade. A questão central neste trabalho é saber se os falantes de L2 português e L1 russo conseguem aceder a todos os valores do parâmetro proposto por Ionin (2003), o Parâmetro de Escolha do Artigo (The Article Choice Parameter). I.e., a verdadeira questão é saber se a aquisição de uma L2 conta com o acesso aos diferentes valores paramétricos, portanto se conta com o acesso à Gramática Universal (GU). Os dados recolhidos permitem, de facto, confirmar essa hipótese.
Abstract: The data from English non-native speakers (L2) show that, in general, L2 speakers commit two types of errors: a) article omission; b) article replacement. It was also shown that replacement is not random, but it might occur in certain contexts where a Noun Phrase (NP) has a certain type of interpretation. The present study was done along the lines of Ionin, Ko and Wexler (2004), who tested the Fluctuation Hypothesis, put forward by Ionin (2003). According to this hypothesis, L2 speakers whose L1 does not have articles fluctuate between what the author defines as two parametric options: the association of the articles to definiteness and the association of the article to specificity. This study aims at determining whether Portuguese L2 speakers whose L1 is Russian can access all the values of the Article Choice Parameter. In other words, we want to know if the acquisition of a L2 language involves access to the different parametric values and thus involves access to the Universal Grammar (GU). Our results confirm this hypothesis.

This thesis covers the interpretation of life and work of Marc Chagall, jewish painter of 20th century. Goal of the thesis is to highlight symbolic motives of his work, and later on interpret those on selected pieces. The thesis is divided into four parts. First part is devoted to the life of the painter and his jewish origin, which had a significant influence on the character of his work. Second part covers the meaning of symbols in art and religon in general. Third tries to compare Chagall's conveyance with two jewish philosophers of the dialog: E. Lévinas and F. Rosenzweig. Fourth then interprets selected pieces with philosophical or religious extent. Whole thesis is based on the conception that art is able to convey messages and interpret the world around us.