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Journal articles on the topic 'Decorative arts - 20th Century'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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1

Yegorova, Anna A. "The “Raku Ceramics:” Japanese Tradition in Western Interpretations of the 20th Century." Observatory of Culture, no. 6 (December 28, 2014): 136–41. http://dx.doi.org/10.25281/2072-3156-2014-0-6-136-141.

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Traces the history of the raku-ware tradition in Japan and reveals its influence on the Western decorative arts of the 20th century. The author distinguishes between technological characteristics of the Raku family ware and the meaning of the “rakuware” term coined in the West for the particular artistic style and demonstrates the contribution of the Raku ware to the development of contemporary decorative arts.

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Hotsaliuk, Alla. "Ethnic Design in Applied and Decorative Arts of the Late 20th — Early 21st Century." Ukrainian Studies, no. 1(74) (March 11, 2020): 169–79. http://dx.doi.org/10.30840/2413-7065.1(74).2020.195744.

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Xu, Min. "Chinese art: A survey of collections and research materials in the United States." Art Libraries Journal 39, no. 2 (2014): 43–47. http://dx.doi.org/10.1017/s0307472200018319.

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During the 20th century a range of museums in the United States were engaged in acquiring Chinese art objects, developing major collections of painting and calligraphy, ancient bronze, Buddhist sculpture, ceramics and other decorative arts. Research materials on Chinese art have been collected by art libraries in major museums and the East Asian libraries of the main research universities. The author surveys significant Chinese art collections in museums and research libraries in the United States today.

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Gerasimov, A. P., and T. V. Biryukova. "INTERIOR OF ART NOUVEAU ARCHITECTURE IN SIBERIA." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture, no. 2 (April 29, 2019): 102–12. http://dx.doi.org/10.31675/1607-1859-2019-21-2-102-112.

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The article discusses the development of the interior in private and public buildings in Russia late in the 19th and early 20th centuries. Romantic trends that emerged in architecture Western Europe in the 19th century turned into the new style expressed in modernity, which fundamentally differs from the historical repetition in architecture of the early period. This article is an interdisciplinary work and describes such arts as architecture, painting, and decorative and applied arts. The main feature of modernity is the internal space, subordinating the interior to the exterior, its graphic

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Hryhorov, V. "Monumental and decorative art of the second half of the 20th century in specialized literature." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 99–104. http://dx.doi.org/10.33838/naoma.27.2018.99-104.

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The article deals with a number of issues highlighted in the research of monumental painting during the 1960–2000s, and follows the development of art studies literature during the specified period. Ukrainian monumental painting during the second half of the 20th century evolved rather unequally, which affecte the art criticism reflections. In the 1960's and 80's the active and dynamic development of monumental art took place. Research in this area also reached the peak of its popularity. For example, the article of I. Pronina contains a review of publications from 1973–1974, and the author br

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Aref, Eman. "The Far Morocco Idrisid Arts and their role in enriching the plaster wall processing in the southwest Saudi Arabian kingdom in the century (14th AH/ 20th AD)." Academic Research Community publication 1, no. 1 (September 18, 2017): 13. http://dx.doi.org/10.21625/archive.v1i1.137.

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Studying the methods of plaster wall decorations is considered one of the complementary elements of the architectural vocabulary that reflects the cultural and ideological heritage identy of the time period. Wall decoration has broken the barrier of time and place, and the political and doctrinal differences, expressing in an abstract way the truth about the beilefs of both the Far Morocco Idrisid and Sebia Idrisid in kingdom of Saudi Arabia, where they did not use any symbol or sign that demonstrates their belonging to Shi'i Muslims, so-most probably- they belong to Sunni Muslims. This study

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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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Demchuk, Stefaniia, та Yuliia Kizyma. "Between the sacred and the decorative: Сhristian iconography in the sketches for "Lily" decorative panel by Mykhailo Zhuk". Text and Image: Essential Problems in Art History, № 1 (2020): 102–13. http://dx.doi.org/10.17721/2519-4801.2020.1.07.

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Mykailo Zhuk was a graphic artist and a writer who is among the most famous and influential figures in the history of the early 20th century Ukrainian art. His artworks bear the mark of the in-depth reception of the Art Nouveau style. Although art historians who studied Zhuk’s early period (1904 - 1918) did mention the complex symbolism of his works (including that of the sketches for the floral panels which we shall examine), they avoided plunging deeper in the semantic interweaving he indulged himself in. Thus, this essay shall examine the two panels titled “Lilies”, which were treated mostl

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Rudenko, A. A. "DYBYNTSI’S CERAMIC CENTER ACTIVITY IN UKRAINIAN ART CULTURE OF THE 19th—20th CENTURY." Archaeology and Early History of Ukraine 29, no. 4 (December 22, 2018): 361–85. http://dx.doi.org/10.37445/adiu.2018.04.21.

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The article is devoted to the study of the activity of one of the largest ceramic craft center of the Central Naddnipryanschyna from the 19th and early 20th centuries which is Dybyntsi village located in Boguslav district of Kyiv region in the context of the development of folk arts crafts. The local features of the art culture of Boguslav region were illuminated; the artistic means of ceramic products decoration were analyzed; the typology of the products assortment was determined according to its functional purpose; the five stages in the existence of the Dybyntsi’s ceramic industry were dis

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Østby, Erik. "A Protocorinthian aryballos with a myth scene from Tegea." Opuscula. Annual of the Swedish Institutes at Athens and Rome 13 (November 2, 2020): 123–38. http://dx.doi.org/10.30549/opathrom-13-05.

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During the preparation of the new exhibition in the Museum of Tegea it was discovered that one composed fragment from a Protocorinthian aryballos with a complicated, figured representation, found during the excavations of the Norwegian Institute at Athens in the Sanctuary of Athena Alea in the 1990s, joined with another fragment found by the French excavation at the same site in the early 20th century. After the join, the interpretation of the scene must be completely changed. The aryballos has two narrative scenes in a decorative frieze: a fight between two unidentified men over a large vesse

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Chvyr, L. A. "The Visitor and the East West Jazz." Journal of the Institute of Oriental Studies RAS, no. 1 (11) (2020): 61–75. http://dx.doi.org/10.31696/2618-7302-2020-1-61-75.

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The article is based on the author’s impressions of the East West Jazz exhibition in the Pushkin Museum of Fine Arts in Moscow in the fall of 2019. The exhibition was quite notable, and especially attractive due to the fashionable way of exhibiting the works of art, deliberately erasing the established boundaries between genres, styles and trends. The originality of the exposition was manifested in a paradoxical comparison of two artistic traditions, standing far from each other in all respects — chronologically, territorially, ethnically, religiously, and culturally. But the main and interest

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Melnyk, Ivan. "The role of Ukrainian folk ornament in the Art Nouveau graphic: theoretical and applied aspects." Bulletin of Lviv National Academy of Arts, no. 41 (December 26, 2019): 11–18. http://dx.doi.org/10.37131/2524-0943-2019-41-02.

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Background. The article deals with the basic conceptual foundations of the "Ukrainian style" in the art of the late 19th – early 20th centuries, primarily in the field of searching for actual ways of adaptation and creative rethinking of Ukrainian folk ornament motifs. A special role in this process was played by the use of graphics, whose artistic language has evolved rapidly under the influence of contemporary European styles. However, in the graphic works of Ukrainian artists, the appeal to folk ornamentation was one of several ways of self-identification with the national artistic traditio

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Pereira, Paulo Manta. "“Urbanistic Architecture” according to Raul Lino." Enquiry The ARCC Journal for Architectural Research 17, no. 1 (June 19, 2020): 1–27. http://dx.doi.org/10.17831/enq:arcc.v17i1.1064.

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Over a period of nearly one hundred years, Raul Lino (1879-1974) experienced the profound political, social and economic changes that marked the twentieth century in Portugal. Having been born during the Constitutional Monarchy (1822-1910), he lived through the First Republic (1910-1926), the Military Dictatorship (1926-1933), the Second Republic, or Estado Novo (New State, 1933-1974), and died shortly after the Carnation Revolution of 25 April 1974, at the dawning of the Third Republic. He was an architect who published prolifically in Portugal, having become known through his advocacy of the

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James, Stuart. "The Crafts in Britain in the 20th Century99275Tanya Harrod. The Crafts in Britain in the 20th Century. New Haven, Connecticut, and London: Yale University Press 1999. 496 pp, ISBN: 0 300 07780 7 £45.00 Published for the Bard Graduate Center for Studies in the Decorative Arts." Reference Reviews 13, no. 5 (May 1999): 37–38. http://dx.doi.org/10.1108/rr.1999.13.5.37.275.

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Polyakov, E. N., and T. V. Donchuk. "HECTOR GUIMARD’S WORKS AT THE BEGINNING OF THE 20th CENTURY." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture, no. 6 (December 29, 2019): 9–29. http://dx.doi.org/10.31675/1607-1859-2019-21-6-9-29.

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The article is devoted to the second stage of architectural and design activity of Hector (Hector) Guimar (1867–1942), during which his unique style was finally formed. During the period from 1900 to 1912, following the traditions of «total design», the architect was engaged not only in the design of residential and public buildings, but also in the decorative design of their facades and interiors, furniture, tableware, elements of technical equipment. He compiled a catalog of metal decorative elements for their serial production, published a set of advertising cards of his best works. The mos

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Адушева, Ирина Борисовна, and Наталья Борисовна Смирнова. "IMPLEMENTATION OF SYSTEM- AND ACTIVITY-BASED APPROACH IN SECONDARY SCHOOL." Bulletin of the Chuvash State Pedagogical University named after I Y Yakovlev, no. 4(109) (January 26, 2021): 150–57. http://dx.doi.org/10.37972/chgpu.2020.109.4.018.

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В статье раскрыта актуальность применения деятельностного подхода в отечественной педагогике и история его развития в системе образования. Определено понятие «деятельности» и деятельностного подхода, рассмотрены этапы претворения в жизнь «развивающего обучения» в педагогической деятельности с точки зрения теории Л. С. Выготского. Рассмотрен переход от знаниевой к личностной парадигме обучения. Определены ведущие роли учителя и ученика в процессе использования деятельностного подхода. Проанализировано развитие психологической, социологической и методологической теорий деятельностного подхода. О

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17

Adlin, Jane, and Amelia Peck. "20th Century." Metropolitan Museum of Art Bulletin 53, no. 3 (1995): 1. http://dx.doi.org/10.2307/3258792.

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Wang, Yu, and Zhengding Liao. "Porcelain interior plastic of the 1950s in museums and private collections in China." Issues of Museology 12, no. 1 (2021): 58–67. http://dx.doi.org/10.21638/spbu27.2021.106.

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In the two decades since the establishment of the people’s Republic of China, the challenges facing porcelain production have changed significantly. Porcelain production is one of the most important and oldest traditions in China. In the 1950s, porcelain craftsmen became involved in the creation of new forms of interior plastics. Many of the pieces they created are now part of museum collections and represent the history of the development of Chinese interior porcelain. Using the example of three museums and three reference monuments, the article examines the key trends in the development of p

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F., E. H., and Carolyn Ketch. "U.S. 20th Century." Woman's Art Journal 24, no. 1 (2003): 56. http://dx.doi.org/10.2307/1358834.

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20

MacLaren, G. "Review: 20th Century Ceramics." Journal of Design History 18, no. 1 (January 1, 2005): 124–26. http://dx.doi.org/10.1093/jdh/epi014.

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21

Brooke, Christopher, Howell Edwards, Peter Vandenabeele, Sylvia Lycke, and Michelle Pepper. "Raman Spectroscopic Analysis of an Early 20th Century English Painted Organ Case by Temple Moore." Heritage 3, no. 4 (October 21, 2020): 1148–61. http://dx.doi.org/10.3390/heritage3040064.

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An organ case from Lincoln, England, designed by the architect Temple Moore in 1907 was examined during conservation work using Raman spectroscopy in order to analyze the decorative paint composition. Samples from the six principal colours were extracted and examined using a Bruker Senterra R200-L spectrometer. The results are the first known formal analysis of a painted scheme by this architect, and they reveal a mixture of commonly used pigments for the period and the unexpected use of simpler, earth pigments, along with an unusual admixture in the red, along with an organic additive. The fi

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Puhmajer, Petar, and Krasanka Majer Jurišić. "Palača Benzoni – primjer stambene arhitekture 18. stoljeća u riječkom Starom gradu." Ars Adriatica, no. 6 (January 1, 2016): 185. http://dx.doi.org/10.15291/ars.537.

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This paper focuses on the construction history and renovations of the Benzoni Palace located in Grivica Square in the Old Town of Rijeka. The three-storey building was designed by architect Antonio de Verneda and erected during the second quarter of the 18th century as a family palace of Giovanni Antonio Benzoni, bishop of Senj (1693-1745). The palace was renovated in the late 18th century, at the time when it was owned by the bishop’s nephew, Giulio Benzoni (1732-1798), who was a city councillor. He had the front façade redesigned in the late-baroque classicist style, by adding a monumental s

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23

Wójcik, Agata. "Edward Trojanowski: The Search for Style in Early 20th-century Furniture Design in Poland." Ikonotheka 28 (August 6, 2019): 67–95. http://dx.doi.org/10.5604/01.3001.0013.3344.

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Three sources of inspiration are discernible in early 20th-century Polish furniture design and especially in the output of artist-designers associated with the Polish Applied Art Association (TPSS), namely, folk art, the historical styles, and the modernistic/geometrical current. Edward Trojanowski’s oeuvre in that area combines all these three tendencies and embodies the evolution of a Polish approach to designing furniture; hence it may serve to illustrate the history of Polish furniture design in the early 20th century. Although initially Trojanowski turned to folk art, he did not passively

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Karpova, Elena A. "TEXTILE ART AS PART OF CITY'S ARCHITECTURAL SPACE." Architecton: Proceedings of Higher Education, no. 2(70) (June 29, 2020): 20. http://dx.doi.org/10.47055/1990-4126-2020-2(70)-20.

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The article is devoted to the interaction of textile art with architecture. The prototypes of tent architecture were temporary and mobile structures and ancient tent shelters. Decorative fabrics were used to decorate city streets during festivals and processions. They served as an essential color dominant emotionally affecting the viewers. The textile art of the 20th – early 21st century has seen the emergence of three-dimensional forms named "new tapisserie" and "environment". In the 20th century, architectural tent structures received extensive engineering and technical development, which in

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BENHAMOU, R. "Imitation in the Decorative Arts of the Eighteenth Century." Journal of Design History 4, no. 1 (January 1, 1991): 1–13. http://dx.doi.org/10.1093/jdh/4.1.1.

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Yamashita, Kinichi, Ruth-Inge Heinze, and Stanley Krippner. "Shamans in the 20th Century." Asian Folklore Studies 52, no. 1 (1993): 214. http://dx.doi.org/10.2307/1178460.

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Ніколаєва, Т. В., І. Л. Гаиова та І. В. Давиденко. "ХУДОЖНЬО-КОМПОЗИЦІЙНІ ОСОБЛИВОСТІ ВИКОРИСТАННЯ ЕЛЕМЕНТІВ СТИЛЮ ВІНТАЖ В ДИЗАЙНІ СУЧАСНОГО ОДЯГУ". Art and Design, № 1 (13 травня 2019): 127–39. http://dx.doi.org/10.30857/2617-0272.2019.1.11.

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Research of historical experience and modern trends of the vintage tendencies in design of clothing and accessories, determining methods for creative transformation of materials' surfaces and decorative elements to be used in forward-looking fashion collections. Scientific research uses modern methods of historiographical, literary and analytical, system-structural analysis as well as methods of classification of the artistic and compositional transformation means applied to decorative elements and complements to costume. The study of the historical background of vintage style and promising di

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Küchler, Susanne. "The prototype in 20th-century art." Visual Communication 9, no. 3 (August 2010): 301–12. http://dx.doi.org/10.1177/1470357210372723.

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WOODHAM, J. M. "Designed for Delight: Alternative Aspects of Twentieth Century Decorative Arts." Journal of Design History 10, no. 4 (January 1, 1997): 441–43. http://dx.doi.org/10.1093/jdh/10.4.441.

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Bincsik, Monika, Shinya Maezaki, and Kenji Hattori. "Digital archive project to catalogue exported Japanese decorative arts." International Journal of Humanities and Arts Computing 6, no. 1-2 (March 2012): 42–56. http://dx.doi.org/10.3366/ijhac.2012.0037.

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In Europe, Japanese ceramic and lacquer objects have been collected and used as interior decoration since the early seventeenth century. In the nineteenth century, the worldwide fashion for Japonisme generated an extensive trade in various Japanese decorative arts. Consequently, museums and private collections all over the world have rich holdings of Japanese decorative arts. Despite their popularity and profound influence on Western applied arts, the systematic research of Japanese decorative arts in Western collections is backward compared to the investigation of other art forms. It is actua

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Zolotova, Maria B. "Attribution of Decorative Marble Papers in the Study of Russian Binding of the 18th — early 20th centuries: Problems and Solutions." Bibliotekovedenie [Russian Journal of Library Science] 70, no. 1 (June 1, 2021): 89–99. http://dx.doi.org/10.25281/0869-608x-2021-70-1-89-99.

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An important stage in the study and attribution of the Russian binding of the 18th — early 20th century is the description of the flyleaf and other elements of decorative paper. First of all, this applies to paper with marble drawings (marble paper), found in the Russian book since the 18th century. Modern researchers of Russian binding of the 18th — early 20th centuries face a number of problems related to the lack of literature on the topic, including methodological and reference, the lack of specialized collections and exhibitions of decorative paper in Russia and the lack of development in

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Zolotova, Maria B. "Attribution of Decorative Marble Papers in the Study of Russian Binding of the 18th — early 20th centuries: Problems and Solutions." Bibliotekovedenie [Russian Journal of Library Science] 70, no. 1 (June 1, 2021): 89–99. http://dx.doi.org/10.25281/0869-608x-2021-1-1-89-99.

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An important stage in the study and attribution of the Russian binding of the 18th — early 20th century is the description of the flyleaf and other elements of decorative paper. First of all, this applies to paper with marble drawings (marble paper), found in the Russian book since the 18th century. Modern researchers of Russian binding of the 18th — early 20th centuries face a number of problems related to the lack of literature on the topic, including methodological and reference, the lack of specialized collections and exhibitions of decorative paper in Russia and the lack of development in

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Flam, Jack. "Africa Explores: 20th Century African Art." African Arts 25, no. 2 (April 1992): 88. http://dx.doi.org/10.2307/3337064.

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Oguibe, Olu, and Susan Vogel. "Africa Explores: 20th Century African Art." African Arts 26, no. 1 (January 1993): 16. http://dx.doi.org/10.2307/3337105.

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Pellizzi, Francesco. "Africa Explores: 20th Century African Art." African Arts 26, no. 1 (January 1993): 22. http://dx.doi.org/10.2307/3337106.

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Atkinson, Maxine P., and Stephen P. Blackwelder. "Fathering in the 20th Century." Journal of Marriage and the Family 55, no. 4 (November 1993): 975. http://dx.doi.org/10.2307/352777.

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Mhearáin, Aoibheann Ní, and Tara Kennedy. "Reframing Social Value in 20th‐Century Conservation." Architectural Design 90, no. 4 (July 2020): 94–103. http://dx.doi.org/10.1002/ad.2596.

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Hobbs, Stuart D. "Exhibiting Antimodernism: History, Memory, and the Aestheticized Past in Mid-twentieth-century America." Public Historian 23, no. 3 (2001): 39–61. http://dx.doi.org/10.1525/tph.2001.23.3.39.

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In "Exhibiting Antimodernism: History, Memory and the Aestheticized Past in Mid-Twentieth-Century America," Stuart D. Hobbs explores the reasons why aesthetic concerns have trumped history and turned too many historic house museums into decorative arts museums. Hobbs uses the 1950s restoration of a house designed by Benjamin Henry Latrobe as a case study. He argues that the painstaking research required for the restoration created a momentum of its own, and the story of the house as architecture and the story of the interior as decorative arts became the story at this and other historic sites.

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Henriques, Frederico. "Restoration of an 18th century frame: 3D modelling, printing and matching color of decorative flowers elements." Ge-conservacion 18, no. 1 (December 10, 2020): 313–22. http://dx.doi.org/10.37558/gec.v18i1.854.

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This paper describes the application of 3D digital technology to support the rebuild of lost decorative elements of an historical frame. The frame belongs to an 18th century painting depicting the portrait of D. José, Prince of Brazil, displayed at the National Palace of Queluz, Portugal. The application of digital technologies has been planned from the very beginning in order to avoid the traditional use of silicone in the reproduction of missing elements. The photogrammetric 3D acquisition, a non-contact methodology, has been used to reduce the manipulation and hence prevent further degradat

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Haut, Judith E. "Folklore in the Classroom: 19th-Century Roots, 20th-Century Perspectives." Western Folklore 50, no. 1 (January 1991): 65. http://dx.doi.org/10.2307/1499398.

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Portnova, Tatiana. "Dance in Sculpture of the Early 20th Century." Sculpture Review 68, no. 4 (December 2019): 22–34. http://dx.doi.org/10.1177/0747528420901915.

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This article is concerned with the ratio of plastic arts as exemplified by sculptural works depicting dances of the early 20th century. Special attention is paid to the Greek motives in the Russian art of this period, which became the subject of inexhaustible aesthetic and artistic interest. The representation of ancient dance motifs, their figurative image and the nature of antiquity in sculptural plastics, various approaches to the interpretation of ancient plots and themes, the role and significance of the “antique” component in their artistic structure are considered in the article. The st

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De Coster, Annie. "The Bibliotheca Wittockiana in Brussels: collecting and exhibiting bindings." Art Libraries Journal 33, no. 3 (2008): 30–33. http://dx.doi.org/10.1017/s0307472200015455.

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The Bibliotheca Wittockiana in Brussels houses an impressive array of bindings that shows the glories of this very special decorative art. The collection does not aim to be an exhaustive historical survey, but reflects the taste of one man, Michel Wittock, beginning with his early interest in 16th-century Italian bindings and later those of 19th-century France, and culminating in many beautiful examples of abstraction in French and Belgian bindings of the 20th century. These works are housed in a purpose-built 1980s building designed by Emmanuel de Callatay and extended 15 years later by Witto

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Kuzeeva, Z. Z., A. O. Murtazaev, and K. B. Shaushev. "MAIN RESULTS OF FIELD STUDIES OF THE NOGAI TRADITIONAL ORNAMENT." History, Archeology and Ethnography of the Caucasus 13, no. 4 (December 15, 2017): 143–51. http://dx.doi.org/10.32653/ch134143-151.

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The article presents new data on the Nogai folk ornament, obtained during expeditionary researches in the Dagestan Republic, Chechen Republic, Astrakhan Region, Karachay-Cherkess Republic, Stavropol Territory, and in Moscow and St. Petersburg in 2014 - 2016. These are materials of 83 private collections, expositions and funds of 13 central and regional museums, five archives, and four libraries. Ornamented objects of the Nogai decorative and applied art stored in museums and private collections were examined. These are mainly metal artworks of the 19th - early 20th cc., objects made of soft ma

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Кукіль, Л. Л. "АНТРОПОМОРФНІ ОБРАЗИ МАСКАРОНІВ У ЛЬВІВСЬКІЙ АРХІТЕКТУРНО-ДЕКОРАТИВНІЙ ПЛАСТИЦІ ХІХ – ПОЧАТКУ ХХ СТОЛІТТЯ". Art and Design, № 3 (13 листопада 2020): 78–88. http://dx.doi.org/10.30857/2617-0272.2020.3.6.

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The purpose of the study is to analyze the information load and plastic solutions of the anthropomorphic mascarons on the facades of Lviv buildings of the XIX – early XX centuries. Methodology. The article uses general scientific research methods: the historical and comparative method; the method of synthesis and the art history analysis. Research results. The Lviv architectural and decorative plastics of the 19th and early 20th century is characterized by a widespread typology of the mascarons on the facades of the buildings. Various types of faces of old Lviv street, paired male and female i

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Peremyslov, I. A., and L. G. Peremyslova. "JAPANESE AESTHETICS IN MASTERPIECES OF AMERICAN SILVER." Arts education and science 1, no. 1 (2021): 89–96. http://dx.doi.org/10.36871/hon.202101010.

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Japanese culture with its unique monuments of architecture, sculpture, painting, small forms, decorative and applied arts, occupies a special place in the development of world art. Influenced by China, Japanese masters created their own unique style based on the aesthetics of contemplation and spiritual harmony of man and nature. In the context of "Japan's inspiration" the work refers to the influence of the art of the Land of the Rising Sun on American decorative arts and, in particular, on the silver jewelry industry in trends of a new aesthetic direction of the last third of the XIXth centu

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Peremislov, I. A., and L. G. Peremislov. "JAPANESE AESTHETICS IN AMERICAN SILVER MASTERPIECES." Arts education and science 1, no. 2 (2021): 79–88. http://dx.doi.org/10.36871/hon.202102010.

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Japanese culture with its unique monuments of architecture, sculpture, painting, small forms, decorative and applied arts, occupies a special place in the development of world art. Influenced by China, Japanese masters created their own unique style based on the aesthetics of contemplation and spiritual harmony of man and nature. In the context of "Japan's inspiration" the work refers to the influence of the art of the Land of the Rising Sun on American decorative arts and, in particular, on the silver jewelry industry in trends of a new aesthetic direction of the last third of the XIXth centu

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Martínez, Miriam Velázquez. "The Franz Mayer Collection and the Rogerio Casas-Alatriste H. Library." Art Libraries Journal 37, no. 4 (2012): 27–30. http://dx.doi.org/10.1017/s0307472200017715.

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The existence of the Franz Mayer Museum is due to the German philanthropist and naturalized Mexican, Franz Gabriel Mayer Traumann Altschul (1882-1975), who bequeathed to the Mexican people his library and decorative arts collection. Considered the most important of its kind in the country, it includes works from the 16th through the 19th centuries, from America, Europe and Asia. It is located in Mexico City, in a building dating from the second half of the 16th century, and celebrated its 25th anniversary in 2011. The Library, which is open to researchers, is currently made up of around 22,000

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Gameson, Richard. "English Manuscript Art in the Mid-Eleventh Century: The Decorative Tradition." Antiquaries Journal 71 (September 1991): 64–122. http://dx.doi.org/10.1017/s0003581500086832.

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This article provides a critical survey of English manuscript art (in its broadest sense) of the periodc.1030–c.1080, paying particular attention to decorative features and general design. Consideration is first given to the circumstances, distribution, context and main types of decorated book production. The corpus of relevant extant material is then analysed in terms of its continuities with, its development of, and its departures from, the traditions of the previous generations. Finally, one representative aspect of the influence of Anglo-Saxon manuscript art in this period on the work of C

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Dudek, Stephanie Z. "The morality of 20th‐century transgressive art." Creativity Research Journal 6, no. 1-2 (January 1993): 145–52. http://dx.doi.org/10.1080/10400419309534473.

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Cordier, Sylvain. "The Bellangé Album and New Discoveries in French Nineteenth-Century Decorative Arts." Metropolitan Museum Journal 47 (January 2012): 119–47. http://dx.doi.org/10.1086/670144.

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