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Journal articles on the topic 'Expressionist art'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Kramer, Andreas. "Sport in Expressionist Art." International Journal of the History of Sport 35, no. 17-18 (December 12, 2018): 1692–709. http://dx.doi.org/10.1080/09523367.2019.1593144.

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2

Bridgwater, Patrick. "Friedrichian Images in Expressionist Art." Oxford German Studies 31, no. 1 (January 2002): 103–28. http://dx.doi.org/10.1179/ogs.2002.31.1.103.

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3

Jenkins, Emily. "A bold expressionist Brand of art therapy." Lancet Oncology 18, no. 8 (August 2017): 1007–8. http://dx.doi.org/10.1016/s1470-2045(17)30525-9.

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4

Maram, Thirupathi Reddy. "An Abstract Expressionist: A Study of Kurt Vonnegut’s Bluebeard." Shanlax International Journal of English 7, no. 3 (June 1, 2019): 8–15. http://dx.doi.org/10.34293/english.v7i3.448.

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The novel, Bluebeard (1987) presents a dialogue between abstract and representational painting, pointing out both the value and shortcomings of each school. It may end by imagining a type of art in which the usual boundaries separating the real and the artificial fall away; an art that is able to capture the complexity, sorrow, and beauty of life itself. On the other hand, it focuses on human’s cruelty to human. However, the novel also shows that even in the midst of war and death and sorrow the innate human impulse is a creative one. The novel discovers the human desire to create as it invest

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5

Furness, Raymond, and Neil H. Donahue. "Invisible Cathedrals: The Expressionist Art History of Wilhelm Worringer." Modern Language Review 92, no. 4 (October 1997): 1019. http://dx.doi.org/10.2307/3734287.

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6

Coleman, Floyd. "A Transformative Vision: The Expressionist Art of Sylvia Snowden." Callaloo 40, no. 5 (2017): 81–84. http://dx.doi.org/10.1353/cal.2017.0158.

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Evans, Tamara S., Wilhelm Worringer, and Neil H. Donahue. "Invisible Cathedrals: The Expressionist Art History of Wilhelm Worringer." German Quarterly 70, no. 4 (1997): 406. http://dx.doi.org/10.2307/408079.

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8

HUBERT, R. R. "KOKOSCHKA, KANDINSKY AND THE ART OF THE EXPRESSIONIST BOOK." Forum for Modern Language Studies XXXII, no. 2 (April 1, 1996): 165–81. http://dx.doi.org/10.1093/fmls/xxxii.2.165.

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9

Lake, Susan. "The Challenge of Preserving Modern Art: A Technical Investigation of Paints Used in Selected Works by Willem de Kooning and Jackson Pollock." MRS Bulletin 26, no. 1 (January 2001): 56–60. http://dx.doi.org/10.1557/mrs2001.20.

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Willem de Kooning (1904–1997) and Jackson Pollock (1912–1956) are perhaps the best-known members of the abstract expressionist movement, a group of diverse artists from disparate backgrounds who radically transformed American art during the 1940s and into the 1950s. While the development and legacy of abstract expressionism remains a subject of considerable debate, what this diverse group of artists had in common was the belief that the materials, and the ways the artists applied them, are crucial to the expression of their art.

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Dourley, John. "Jung, a mystical aesthetic, and abstract art." International Journal of Jungian Studies 7, no. 1 (January 2, 2015): 4–18. http://dx.doi.org/10.1080/19409052.2014.924687.

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On the question of aesthetics, Jung makes a clear distinction between aestheticism and aesthetics. He dismissed the former as lacking substance and moral commitment, but allows that his psychology can never usurp but can contribute to a depth aesthetic. On close examination, this aesthetic rests on the manifestation of the archetypal in all forms of creativity. As such, it is closely related to the spiritual and religious. Modern expressionist and abstract art was consciously influenced by the apophatic mystical tradition to which Jung himself was drawn. Kandinsky and Arp are significant repre

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Γαλανάκης, Αθανάσιος Β. "Yvan Goll – Ε. Χ. Γονατάς: Προς μια συγκριτική ποιητική". Σύγκριση 26 (25 лютого 2018): 11. http://dx.doi.org/10.12681/comparison.11120.

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This study aims to explore the relationship between the works of Yvan Goll and E. Ch. Gonatas. More specifically, the main purpose of the study is to highlight the role played by the Expressionist Movement (in which Yvan Goll was an active member) in the literary works of E. Ch. Gonatas. The methodological tools of Comparative Literature and Hermeneutics are used to prove the close relationship between the two authors and the expressionistic texture of their art. In the first part, the study is concerned with the expressionistic imagery, the poetics of landscape, the use of colors and the symb

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12

Parrott, A. C. "Aesthetic Responses to Traditional and Modern Paintings by Art Experts and Nonexperts." Perceptual and Motor Skills 79, no. 1 (August 1994): 297–98. http://dx.doi.org/10.2466/pms.1994.79.1.297.

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16 art experts and 18 nonexperts assessed six paintings of different styles. It was predicted that nonexperts would like traditional paintings, whereas art experts would prefer modern styles, but this was not found. Instead, both groups produced their highest ratings for one of the modern abstracts (Klee), while the nonexperts rated the two modern representational paintings (German Expressionist) more highly than the experts.

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Kowsari, Masoud, and Mehrdad Garousi. "Fractal art and multi-blended spaces." Virtual Creativity 9, no. 1 (December 1, 2019): 23–41. http://dx.doi.org/10.1386/vcr_00003_1.

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Abstract Artworks, especially in the last two centuries, have been more created through a process of blending than at any other time. This blendedness is seen not only in many modern and postmodern works of art, from German expressionist woodcuts to Picasso's paintings and spontaneous action paintings of Pollock, but in fractal works of art perhaps more than anywhere else. This study, based on Fauconnier and Turner's blended space and conceptual blending theories, will show how fractal artworks are the result of a multi-blending process. This multi-blending is not only because fractal artworks

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14

Saul, Gerald, and Chrystene Ells. "Shadows Illuminated. Understanding German Expressionist Cinema through the Lens of Contemporary Filmmaking Practices." Acta Universitatis Sapientiae, Film and Media Studies 16, no. 1 (August 1, 2019): 103–26. http://dx.doi.org/10.2478/ausfm-2019-0006.

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Abstract The article looks at German Expressionist cinema through the eyes of contemporary, non-commercial filmmakers, to attempt to discover what aspects of this 1920s approach may guide filmmakers today. By drawing parallels between the outsider nature of Weimar artist-driven approaches to collaborative filmmaking and twenty-first-century non-mainstream independent filmmaking outside of major motion picture producing centres, the writers have attempted to find ways to strengthen their own filmmaking practices as well as to investigate methods of re-invigorating other independent or national

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Stojanova, Christina. "German Cinematic Expressionism in Light of Jungian and Post-Jungian Approaches." Acta Universitatis Sapientiae, Film and Media Studies 16, no. 1 (August 1, 2019): 35–58. http://dx.doi.org/10.2478/ausfm-2019-0003.

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Abstract Prerogative of what Jung calls visionary art, the aesthetics of German Expressionist cinema is “primarily expressive of the collective unconscious,” and – unlike the psychological art, whose goal is “to express the collective consciousness of a society” – they have succeeded not only to “compensate their culture for its biases” by bringing “to the consciousness what is ignored or repressed,” but also to “predict something of the future direction of a culture” (Rowland 2008, italics in the original, 189–90). After a theoretical introduction, the article develops this idea through the e

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Pozdnyakov, Konstantin S. "Elements of expressionism in the story of A. Green «Gray Car»." Semiotic studies 1, no. 1 (April 19, 2021): 26–32. http://dx.doi.org/10.18287/2782-2966-2021-1-1-26-32.

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The topic of the work is relevant, since at present the Russian literary criticism is rediscovering the features of the artistic expression of Soviet literature of the 1920s. The aim of the study was to discover the features of the poetics of Greens text that allow us to identify the novel under consideration as expressionist. Research methods used in the article: comparative-historical and semantic analysis of texts. At the beginning of the article, the research of the novella Gray Car by A.V. Polupanova and L.U. Zvonareva is considered, inaccuracies and obvious factual errors are noted, indi

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Funkenstein, Susan Laikin. "There's Something about Mary Wigman: The Woman Dancer as Subject in German Expressionist Art." Gender History 17, no. 3 (November 2005): 826–59. http://dx.doi.org/10.1111/j.0953-5233.2005.00406.x.

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18

Barnett, David. "Joseph Goebbels: Expressionist Dramatist as Nazi Minister of Culture." New Theatre Quarterly 17, no. 2 (May 2001): 161–69. http://dx.doi.org/10.1017/s0266464x00014561.

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The young Joseph Goebbels, caught up in the heady mix of ideas and ideals permeating German artistic circles during and after the First World War, expressed both his convictions and his confusions through writing plays. None of these deserve much attention as serious drama: but all shed light on the ideological development of the future Nazi Minister of Culture. While also developing an argument on the wider relationship between Expressionism and modernism, David Barnett here traces that relationship in Goebbels' plays, as also the evolution of an ideology that remained equivocal in its aesthe

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Sansom, Matthew. "Imaging Music: Abstract Expressionism and Free Improvisation." Leonardo Music Journal 11 (December 2001): 29–34. http://dx.doi.org/10.1162/09611210152780647.

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The author defines free improvisation, a form of music-making that first emerged in the 1960s with U.K. composers and groups such as Cardew, Bailey, AMM and the Spontaneous Music Ensemble. The approach here considers free improvisation as creative activity, encompassing its artistic agenda on the one hand and the process-based dynamic of its production on the other. After considering the historical location of free improvisation within Western music history, the article explores free improvisation as analogous with Abstract Expressionist art. This comparison enables a fuller understanding of t

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Winther, Judith. "Tradition and revolution. In search of roots: Uri Zvi Grinberg's Albatros." Nordisk Judaistik/Scandinavian Jewish Studies 18, no. 1-2 (September 1, 1997): 130–58. http://dx.doi.org/10.30752/nj.69545.

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Although Uri Zvi Grinberg had published poetry in both Hebrew and Yiddish from 1912 onward, it was with the appearance of the Yiddish volume Mefisto in 1921 and his Albatros in 1922–1923 that the new idiom, expressionism was introduced. In seeking to explain the transformation of Uri Zvi Grinberg from a minor romantic lyric poet in Yiddish and Hebrew into an Expressionist bard who emerged in the 1921 Mefisto, critics have advanced a number of elaborate and sometimes contradictory theories. His own special “creative force” in interplay with the highly eclectic dynamic of Yiddish modernism, spur

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Deb, Dhruba. "Understanding the Unpredictability of Cancer using Chaos Theory and Modern Art Techniques." Leonardo 49, no. 1 (February 2016): 66–67. http://dx.doi.org/10.1162/leon_a_01099.

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The unpredictability of cancer poses a threat to personalized cures. Although cancer is studied as a chaotic system, the shape of its unpredictability, known as the strange attractor, is unclear. In this article, the author discusses a conceptual model, building on the strange attractor in cancer phase space. Using techniques of cubism, the author defines the 10-dimensional phase space and then, using an abstract expressionist approach, represents the strange attractor, which twists and turns in multi dimensions, indicating the unpredictability of cancer. This conceptual model motivates the id

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22

Gilbert, G. "Robert Motherwell's World War Two Collages: Signifying War as Topical Spectacle in Abstract Expressionist Art." Oxford Art Journal 27, no. 3 (March 1, 2004): 311–37. http://dx.doi.org/10.1093/oaj/27.3.311.

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23

Nissel, Jenny, Angelina Hawley-Dolan, and Ellen Winner. "Can Young Children Distinguish Abstract Expressionist Art From Superficially Similar Works by Preschoolers and Animals?" Journal of Cognition and Development 17, no. 1 (March 31, 2015): 18–29. http://dx.doi.org/10.1080/15248372.2015.1014488.

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24

Wasilewska, Diana. "Out of the mainstream. Henryk Weber – a Jewish art critic in interwar Cracow." Tekstualia 2, no. 57 (August 16, 2019): 37–54. http://dx.doi.org/10.5604/01.3001.0013.3540.

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Henryk Weber, a painter and art critic of the interwar period, is today a completely, though inequitably, forgotten fi gure. He was mainly associated with the Jewish magazine „Nasz Wyraz” in which he ran a column devoted to the visual arts. He was particularly interested in the history of the artistic milieu of Cracow, including, though not exclusively, Jewish artists. As a painter he was close to the colorists, and in his reviews he turned out to be an insightful observer and interpreter, also open to the latest avant-garde art phenomena. His artistic concept grew out of the expressionist aes

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Seth, Anil K. "From Unconscious Inference to the Beholder’s Share: Predictive Perception and Human Experience." European Review 27, no. 3 (June 14, 2019): 378–410. http://dx.doi.org/10.1017/s1062798719000061.

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Science and art have long recognized that perceptual experience depends on the involvement of the experiencer. In art history, this idea is captured by Ernst Gombrich’s ‘beholder’s share’. In neuroscience, it traces to Helmholtz’s concept of ‘perception as inference’, which is enjoying renewed prominence in the guise of ‘prediction error minimization’ (PEM) or the ‘Bayesian brain’. The shared idea is that our perceptual experience – whether of the world, of ourselves, or of an artwork – depends on the active ‘top-down’ interpretation of sensory input. Perception becomes a generative act, in wh

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Howorus-Czajka, Magdalena. "Lęk i czerwona kotara. Prestiż a twórczość nie-filmowa Davida Lyncha." Panoptikum, no. 19 (June 30, 2018): 176–84. http://dx.doi.org/10.26881/pan.2018.19.12.

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Inspired by David Lynch’s works of visual art, this paper is an attempt to identify some extra-artistic mechanisms (the art market) relating to artworks. As a result, his non-cinematic works have been analysed here in the context of the mechanisms operating in culture, as indicated by Mieke Bal (“cultural imperialism”) and James F. English (“economy of prestige”). The artistic works of the American film director have been located on the main axes identified in this context. In addition to the expressionist-surrealist origin and commonly acknowledged connotations with the works of Edvard Munch,

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Huttenlauch, Anna Blume. "Street Scenes and other Scenes from Berlin - Legal Issues in the Restitution of Art after the Third Reich." German Law Journal 7, no. 10 (October 1, 2006): 819–31. http://dx.doi.org/10.1017/s2071832200005137.

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The news that Ernst Ludwig Kirchner's painting “Berliner Strassenszene“ (Berlin Street Scene) will be up for sale in New York on November 8, 2006 has stirred up the international art scene for the past two months. The sale was announced shortly after the Berlin state senate had returned the painting to the heirs of its original owners, Jewish art collectors Alfred and Tekla Hess. For the past 26 years the piece had been hanging in the Brücke Museum in Berlin and formed a cornerstone of the museum's expressionist collection. Bought, from public funds, in 1980, for a little over $ 1 Million US,

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Mureika, J. R., G. C. Cupchik, and C. C. Dyer. "Multifractal Fingerprints in the Visual Arts." Leonardo 37, no. 1 (February 2004): 53–56. http://dx.doi.org/10.1162/002409404772828139.

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The similarity in fractal dimensions of paint “blobs” in samples of gestural expressionist art implies that these pigment structures are statistically indistinguishable from one another. This conclusion suggests that such dimensions cannot be used as a “finger-print” for identifying the work of a single artist. To overcome this limitation, the authors have adopted the multifractal spectrum as an alternative tool for artwork analysis. For the pigment blobs, it is demonstrated that this spectrum can be used to isolate a construction paradigm or art style. Additionally, the fractal dimensions of

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Rogge, Corina E., and Julie Arslanoglu. "Luminescence of coprecipitated titanium white pigments: Implications for dating modern art." Science Advances 5, no. 5 (May 2019): eaav0679. http://dx.doi.org/10.1126/sciadv.aav0679.

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Material analysis of cultural artifacts can uncover aspects of the creative process and help determine the origin and authenticity of works of art. Technical studies on abstract expressionist paintings revealed a luminescence signature from titanium white paints whose pigments were manufactured by coprecipitation with calcium or barium sulfate. We propose that trace neodymium present in some ilmenite (FeTiO3) ores can be trapped in the alkaline earth sulfate during coprecipitation, generating a luminescent marker characteristic of the ore and process. We show that the luminescence is linked to

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Goldman, Natasha. "From Ravensbrück to Berlin: Will Lammert’s Monument to the Deported Jews 1957/1985." Images 9, no. 1 (May 22, 2016): 140–63. http://dx.doi.org/10.1163/18718000-12340056.

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In 1985 one of the earliest memorials dedicated to the Jewish victims of the Holocaust was installed in East Berlin. The Monument to the Deported Jews was an arrangement of thirteen bronze figures in expressionist style. Will Lammert, the artist, originally designed the figures for the base of his monument for Ravensbrück in 1957. The artist died in 1957, however, before finalizing his design for the monument. Only two figures on a pylon were installed at the concentration camp in 1959. The figures meant for the base of the Ravensbrück memorial were unfinished, but were nonetheless cast in bro

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Lotery, Kevin. "Folds in the Fabric: Robert Morris in the 1980s." October 171 (March 2020): 77–114. http://dx.doi.org/10.1162/octo_a_00379.

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At the beginning of the 1980s, Robert Morris took a decisive and shocking turn. Abandoning the strategies of agency reduction, abstraction, and indeterminacy that had guided his practice since the 1960s, he began to make paintings instead. Architectural in scale and gaudy in their depictions of eviscerated human remains and post-apocalyptic landscapes, the new paintings trafficked in those myths of painting that Neo-Expressionism was just then resurrecting as bankable signs for a consumerist decade: expressivity, figuration, and narrative, among them. What, then, could unite the theorist of an

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Epifanova, Irina Gennadevna. "Implementation of Louis Lankford’s techniques in analysis of the work of Egon Schiele “Levitation” (1915)." Культура и искусство, no. 12 (December 2020): 160–68. http://dx.doi.org/10.7256/2454-0625.2020.12.32072.

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The subject of this research is the work of the Austrian expressionist painter Egon Schiele &ldquo;Levitation&rdquo; (1915). Emphasis is placed on the phenomenological dimension of this work, for which was adapted and implemented the methodology of American phenomenologist Louis Lankford. This technique allows analyzing the work of visual art using the art criticism and phenomenological means simultaneously. &nbsp;It includes five successive stages: receptiveness, vectoring, bracketing (phenomenological analysis), interpretive analysis, and synthesis of acquired information. The re

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Siopsi, Anastasia. "Aural and visual manifestations of the Scream in art, beginning with Edvard Munch's 'Der Schrei der Natur'." New Sound, no. 50-2 (2017): 237–57. http://dx.doi.org/10.5937/newso1750237s.

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In Munch's painting entitled Der Schrei der Natur (1893), a figure, while walking on a bridge, feels the cry of nature, a sound that is sensed internally rather than heard with the ears. The Scream is thought to be the ultimate embodiment of fear, angst, and alienation. It is also thought to symbolize humanity's existential panic expressed by ugly, even hideous, sounds of living beings undergoing both physical and emotional suffering in the modern age. As a motive, the so-called Ur-schrei is manifested mainly, but not only, in expressionist literature, painting and music, in order to articulat

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Ermolaeva, M. V., and D. V. Lubovsky. "The Psychotherapeutic Value of Tragic Catharsis." Консультативная психология и психотерапия 26, no. 1 (2018): 29–44. http://dx.doi.org/10.17759/cpp.2018260103.

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The article analyzes the phenomenon of catharsis that occurs from the perception of the tragic in art. Based on the eudemonistic understanding of catharsis we trace the cultural and historical aspects of the problem and show that catharsis as an aesthetic and psychological phenomenon that emerged in antiquity in order to facilitate acceptance of the necessity of dying of Self for rebirth into a new life. Using the examples of expressionist paintings and their early origins (M. Grünewald, E. Munch, P. Picasso) we analyze catharsis that occurs in the process of the tragic artworks perception, sh

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Rutkoff, Peter M., and William B. Scott. "Appalachian Spring: A Collaboration and a Transition." Prospects 20 (October 1995): 209–25. http://dx.doi.org/10.1017/s0361233300006062.

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In late October, 1944, the Martha Graham Dance Company performed Appalachian Spring at the Library of Congress, establishing Graham as the master of modern dance. The significance of Appalachian Spring, however, went well beyond Graham's artistic development. Notwithstanding its traditional theme, Appalachian Spring heralded an important shift in American art. Following the Second World War a large segment of New York City artists abandoned the effort, so dominant in the interwar years, to create an explicitly “American” art in favor of a “modernist” aesthetic, best exemplified in abstract exp

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Snapper, Leslie, Cansu Oranç, Angelina Hawley-Dolan, Jenny Nissel, and Ellen Winner. "Your kid could not have done that: Even untutored observers can discern intentionality and structure in abstract expressionist art." Cognition 137 (April 2015): 154–65. http://dx.doi.org/10.1016/j.cognition.2014.12.009.

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MOCTEZUMA, R. E., and JORGE GONZÁLEZ-GUTIÉRREZ. "MULTIFRACTAL STRUCTURE IN SAND DRAWINGS." Fractals 28, no. 01 (January 30, 2020): 2050004. http://dx.doi.org/10.1142/s0218348x20500048.

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The construction of an abstract expressionist artwork is driven by chaotic mechanisms that sculpt multifractal characteristics. Jackson Pollock’s paintings, for example, arise due to the random process of depositing drops and jets of paint on a canvas. However, most of the paintings and drawings try to recreate with fidelity common forms, natural landscapes, and the human figure. Accordingly, in the context of the formation of statistically self-similar objects, a question persists: will it be possible to find some vestige of multifractal structure in drawings or paintings whose elaboration pr

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Bratiuk, Nadiia. "Expressive and Pictorial Language and the National Orientation of Creative Experiements of the Lviv Artists in the 1980s: L. Medvid, M. Yagoda, M. Bezpalkiv." Artistic Culture. Topical Issues, no. 17(1) (June 8, 2021): 30–37. http://dx.doi.org/10.31500/1992-5514.17(1).2021.235122.

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The article addresses expressive and pictorial means in the works of Lviv artists of the 1980s L. Medvid, M. Yagoda, M. Bezpalkiv, who were iconic and famous figures of the second half of the twentieth century in the artistic life of Lviv, Ukraine, and abroad. Their works differ significantly against the background of the artistic context, the paintings operate deep spiritual and moral and aesthetic values, images from Ukrainian mythology, and are marked by professionalism and unique style. The aim of the research isto view the 1980s paintings by L. Medvid, M. Yagoda, M. Bezpalkiv in the conte

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Hilsabeck, Burke. "Frank Tashlin's Jackson Pollock." Modernist Cultures 11, no. 2 (July 2016): 243–67. http://dx.doi.org/10.3366/mod.2016.0137.

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This paper situates Frank Tashlin's Paramount-produced Artists and Models (1955) alongside a genealogy of modernist painting. Beginning with the observation that the opening sequence of Tashlin's film burlesques Abstract Expressionist painting and Jackson Pollock in particular, it puts Artists and Models in conversation with Clement Greenberg's paint-on-a-flat-canvas modernism (and Greenberg's interest in articulating this modernism through the figure of Pollock) with a distinct account of cinematic specificity. The essay then places Tashlin's film and the figure of Jerry-Lewis-as-Jackson-Poll

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Stern, Guy. "Neil H. Donahue, ed.Invisible Cathedrals: The Expressionist Art History of Wilhelm Worringer. University Park, PA: Pennsylvania UP 1995. Pp. viii + 217." Germanic Review: Literature, Culture, Theory 71, no. 1 (January 1996): 78–80. http://dx.doi.org/10.1080/00168890.1996.9938087.

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Sheppard, Richard. "Reviews : Expressionist Utopias: Paradise, Metropolis, Architectural Fantasy. Edited by Timothy O. Benson. Los Angeles: Los Angeles County Museum of Art, 1993. Pp.323." Journal of European Studies 24, no. 95 (September 1994): 320–21. http://dx.doi.org/10.1177/004724419402409522.

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Pelikan, Egon. "Uncovering Mussolini and Hitler in Churches: The Painter's Ideological Subversion and the Marking of Space along the Slovene-Italian Border." Austrian History Yearbook 49 (April 2018): 207–37. http://dx.doi.org/10.1017/s0067237818000164.

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This study analyzes the phenomenon of church paintings as subversive visual representations of Fascism and as an act of systematic rebellion against Fascist “ideological marking of space.” Slovene Expressionist painter and sculptor Tone Kralj's (1900−75) paintings functioned as ideological markers of national territory. He painted churches along the ethnic border as it was imagined by the Slovene community, delineating it with visual symbols of anti-Fascism and anti-Nazism. Kralj's undertaking can thus be interpreted as an instance of systematic “subversive coverage” of an ethnically exposed b

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Isman, Sibel Almelek. "Eiffel Tower Through The Eyes of Painters." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 27, 2017): 01. http://dx.doi.org/10.18844/prosoc.v4i11.2845.

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The Eiffel Tower, the global icon of France, was erected as the entrance to the Paris International Exposition in 1889. It was a suitable centrepiece for the World Fair, which celebrated the centennial of the French Revolution. Although the tower was a subject of controversy at the time of its construction, many European painters have been inspired by the majestic figure of the Eiffel Tower. They picturised the tower in their portraits and cityscapes. Paul Louis Delance, Georges Seurat, Paul Signac and Henri Rousseau were the first artists to depict this symbol of modernity. Robert Delaunay an

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Fox, Christopher. "British Music at Darmstadt 1982–92." Tempo, no. 186 (September 1993): 21–25. http://dx.doi.org/10.1017/s0040298200003065.

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The new music summer school in Darmstadt is perhaps the most important gathering of and performers of contemporary music in Europe. Launched in 1946 in the then American Zone of occupied Germany, as part of the postwar process of internationalization (and, therefore, de-Nazification) of German culture, the Darmstadt Ferienkurse quickly gained a reputation as a forum for the promulgation of a radically abstract musical aesthetic, based on reductive analyses of the serial works of Webern in particular. While some composers saw this new aesthetic as a ‘mechanistic heresy’, the music of what came

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Horrocks, Roger. "The dance of the hand: Len Lye’s direct films." Animation Practice, Process & Production 8, no. 1 (December 1, 2019): 33–45. http://dx.doi.org/10.1386/ap3_00003_1.

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Len Lye’s animation has a special relationship with physical materials and the body because of the ways he drew and scratched his images directly onto film. This article considers what is unusual about his aesthetic, with its emphasis on kinaesthetic styles of viewing and on ‘physical empathy’. Tracking Lye’s film work from the 1930s through the 1950s, it draws connections with the body-oriented aspects of abstract expressionist art. It also relates the films to Maurice Merleau-Ponty’s ‘embodied’ approach to phenomenology. Today Lye’s films need to be digitized, and that transfer raises intere

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Bahari, Nooryan, Dyah Yuni Kurniawati, and Sigit Purnomo Adi. "PLEXIGLAS AS PAINTING MEDIA." VISUALITA 8, no. 1 (August 10, 2019): 15–23. http://dx.doi.org/10.33375/vslt.v8i1.1235.

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The research aim of art creation and presentation is to revitalize traditional glass painting in Indonesia by utilizing plexiglas flexibility as a medium in fine artwork. This is due to the use of glass as a medium is very heavy and easily broken when moved or taken for display. The research method used in the creation of art uses experimental method with the order of exploration stage, design stage, and realization stage. Exploration stage is an exploration activity that explores the source of ideas, including exploring plexiglass materials using various types of water-based and oil-based pai

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Arefieva, Anna. "Dialogue of cultures as a synthesis of arts: experience of formation of integrative poetics in Diaghilev's seasons." Filosofiya osvity. Philosophy of Education 26, no. 2 (June 25, 2021): 100–108. http://dx.doi.org/10.31874/2309-1606-2020-26-2-7.

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The article is devoted to the definition of the synthesis of arts in Serge Diaghilev's seasons as a dialogue of cultures. In contrast to the interpretation of the dialogue of cultures as a sociological phenomenon, which has become a truism, when the dialogue of cultures in the Diaghilev's seasons is seen as a dialogue of French and Russian cultures, it is provided the interpretation of the dialogue of cultures in a work of art. In particular, in Ihor Stravinsky's "Sacred Spring" staged by Waclaw Nizynski, scenography by Nikolay Rerich, there is a dialogue between pagan and Christian cultures a

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Zimmermann, Tanja. "Objects of Embodiment: A “Post-Material Turn” in Exhibiting Lost Material Culture." Ikonotheka, no. 29 (September 16, 2020): 249–74. http://dx.doi.org/10.31338/2657-6015ik.29.1.

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Exhibiting lost material culture goes beyond documenting, preserving, reconstructing, and staging material traces of the past. Museums, possessing modest collections of original historical objects, have to search for new ways of exhibiting material culture thereby replacing facts (original objects, documents, documentary media) by bodily experience similar to that evoked by mystical religious art addressing different human senses beyond the vision. Bodily sensations can be evoked by ambiences, following expressionist or constructivist architecture, by sculptural displays in tradition of the av

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Verma, Neena. "Insecurity in architecture." Architectural Research Quarterly 18, no. 2 (June 2014): 106–9. http://dx.doi.org/10.1017/s1359135514000414.

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‘I myself do not believe in explaining anything’, wrote Shel Silverstein. It seems that architecture is always looking to explain itself. Definitions of architecture seem almost common knowledge; ask a bartender, biologist, computer scientist, economist, legislator, birdwatcher, quilter or scientist, each of whom analogises their field with respect to architecture. And several within the profession can themselves define architecture's limits quite elegantly. Most recently Steven Holl defined architecture as consisting simply of abstract, use, space and idea. However, seeking a rationale or exp

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Bulavina, Maria O. "Nikolai Gogol in silent films." Vestnik of Kostroma State University 27, no. 1 (March 31, 2021): 179–84. http://dx.doi.org/10.34216/1998-0817-2021-27-1-179-184.

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The article is devoted to the problem of Nikolai Gogol's interpretation on Russian screen. The problem of interaction between literature and cinematography is considered in a concrete historical plan, that is connected with the features of the time in which Gogol`s film adaptations were created. At the same time, the level of technical equipment of cinematography and other inherent qualities of it, that are largely determined the approach of the first directors to specific Gogol material, were taken into account. Cinema interpretations like «Dead Souls» by Pyotr Chardynin, «Taras Bulba» by Ale

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