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Journal articles on the topic 'Glasgow school of painting'

Author: Grafiati

Published: 4 June 2021

Last updated: 17 February 2022

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1

Polyakov, E. N., and T. V. Donchuk. "SCOTTISH MODERN IN DESIGN WORKS OF C.R. MACKINTOSH AND M. MACDONALD." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture, no. 5 (October 30, 2018): 9–34. http://dx.doi.org/10.31675/1607-1859-2018-20-5-9-34.

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The article is devoted to the creative heritage of Charles Rennie Mackintosh (1868–1928), the outstanding Scottish architect and Margaret MacDonald Macintosh (1865–1933), his wife, an artist-designer. Their life and main character traits which predetermined the choice of their future profession are considered. A brief overview is given to the main stages of their professional development. In the Glasgow School of arts they organized the famous creative group „The Four‟ which created a unique Glasgow style. They participated in international exhibitions of Art Nouvea, engaged in successful architectural and design practice including the development of unique geometrical pictures and Macintosh style furniture, floral and landscape paintings. The paper describes the tragic end of their creative career, departure from Glasgow, posthumous rehabilitation and international recognition. Their style preferences in the world architecture and design are shown as well specific features of their unique style. The articlepresents three of the most famous design projects of the Macintosh spouses made in the tradition of Glasgow style. Here belong interiors of Cranston tea rooms, Hill House in Helensburgh, Scotland and Bassett-Lowke Northampton house. At present, many Macintoshes works are successfully restored, their museums and exhibitions are organized.

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2

MCGREAD, C. "Glasgow School of Art Archives." Journal of Design History 11, no. 2 (January 1, 1998): 173–74. http://dx.doi.org/10.1093/jdh/11.2.173.

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3

Bolshakova, Svetlana Evgenievna. "Valaam Monastery School of Painting." Secreta Artis, no. 4 (January 21, 2021): 41–72. http://dx.doi.org/10.51236/2618-7140-2020-3-4-41-72.

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The article is dedicated to the formation of Valaam’s own school of painting for monks and novices of the monastery. This process consisted of several stages connected to both the historical development of the monastery itself, as well as the expanding influence of the Russian Imperial Academy of Arts. The official establishment of the painting school, which trained artists according to academic methods, dates back to the late 19th – early 20th centuries. The entire preceding history of the monastery paved the way for the inauguration of the school. In particular, the monastery gathered a carefully selected collection of engravings and reproductions of famous religious paintings, art manuals, human anatomy atlases and picturesque copies of popular works of art. Construction of the new Transfiguration Cathedral, to be supposedly painted by monastery artists, provided the main impetus for the eventual opening of the school. Gifted Valaam monks Alipiy (Konstantinov) and Luka (Bogdanov), as well as a student of the Russian Academy of Arts, V. A. Bondarenko, taught at the monastery’s school. Among some of the most diligent students of the school were hegumen Gavrill (Gavrilov), the main proponent of its establishment and its trustee, along with monk Fotiy (Yablokov), the future head of the icon painting workshop. The school continued to operate until the monks of the Valaam Monastery were forced to flee to Finland as a result of hostilities that broke out in the archipelago during the Soviet-Finnish war of 1939–1940.

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4

Kukil, N. "Hrygorii Synytsia’s school of coloristic painting." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 117–24. http://dx.doi.org/10.33838/naoma.27.2018.117-124.

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The article is devoted to the study of the creative contribution of Hrygori Synytsia, an honored artist of Ukraine, laureate of Taras Shevchenko state prize, to the development of theoretical basis of formation of modern Ukrainian national painting. Artist was concerned with the question of developmental ways of Ukrainian art. Having received art education at the M. Boychuk's Studio of monumental painting, H. Synytsia saw the primary task in the development of this school’s traditions. He enriched the teaching of M. Boychuk with his own theory of color. The article explores the genesis of the term "color"; the characteristics of terms used by H. Synytsia "coloristic painting" and "tone painting" is given. The foundation of coloristic painting is a color, color as a basis of artistic image construction. A critical component of a coloristic painting founded by H. Synytsia is traditional Ukrainian art. The artist determines that only a color painting can embody the national characteristics of artistic thinking, to give impetus to the development of modern Ukrainian painting. H. Synytsia explains that shaped coloring does not exist in nature, it has certain laws of construction. A colour that embodies the artistic image is based on color relationships and interactions: the interpenetration of dark and light spots, warm and cool colors, and as a result it creates harmony. The artist finds the confirmation of his theory in philosophy, in its universal laws of nature. H. Synytsia sees the development of coloristic traditions of Ukrainian art in the works of folk artists. The main distinguishing features of the new direction, which was called ”the national Ukrainian coloristic school of modern national painting", were defined in the article. The analysis of the most significant works by H. Synytsia, in which the principles of artistic image were embodied, was given.

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5

Razina, T. V. "PSYCHOLOGY OF HIGHER SCHOOL IN PAINTING." Vestnik Syktyvkarskogo universiteta. Seriya 2: Biologiya. Geologiya. Khimiya. Ekologiya, no. 2 (2020): 4–31. http://dx.doi.org/10.34130/2306-6229-2020-2-4.

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6

Marble, Stephen. "Programs in Practice: Painting School Portraits." Kappa Delta Pi Record 41, no. 3 (April 2005): 140–42. http://dx.doi.org/10.1080/00228958.2005.10518825.

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7

Cameron, E. "Celebrating 150 years of Glasgow vet school." Veterinary Record 169, no. 10 (September 2, 2011): 262. http://dx.doi.org/10.1136/vr.d5550.

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8

Yu, Lan, and Yukari Nagai. "Painting Practical Support: A Study about the Usage of Painting Materials in Children’s Painting Works." Social Sciences 9, no. 4 (March 26, 2020): 33. http://dx.doi.org/10.3390/socsci9040033.

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Painting materials are one of the mediums that help painters to show the effects of paintings. The use of different painting materials can help the painter to display different painting styles and artistic conception. Six hundred sixty-seven children aged 7 to 13 participated in the study. This study is mainly about the impact of the use of different painting materials on children’s painting creation. The questionnaire survey was conducted based on primary school fine arts education to study the influence of painting materials on children’s painting ability. The content of the questionnaire survey was to investigate children’s usage of different painting materials in painting works and the grasp of painting materials knowledge. This research also provided some painting materials training methods for primary school fine arts teachers to guide children to use different painting materials for painting creation based on the study results.

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9

Short, Georgianna. "Arts-Based School Reform: A Whole School Studies One Painting." Art Education 54, no. 3 (May 2001): 6. http://dx.doi.org/10.2307/3193918.

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10

Friett, Karen, and Anita Wallace. "Glasgow nursing school must be saved from closure." Nursing Standard 25, no. 30 (March 30, 2011): 32–33. http://dx.doi.org/10.7748/ns.25.30.32.s41.

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11

STEPHENSON, JOHN BP. "Aicardi-Goutières syndrome—observations of the Glasgow school." European Journal of Paediatric Neurology 6 (May 2002): A67—A70. http://dx.doi.org/10.1053/ejpn.2002.0578.

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12

Armer, Jane. "Rallying support for the glasgow school of nursing." Nursing Standard 25, no. 35 (May 4, 2011): 33. http://dx.doi.org/10.7748/ns.25.35.33.s42.

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13

Аrutyunyan, Yuliya Ivanovna. "Spanish school of painting: form, method, style." Vestnik of Saint Petersburg State University of Culture 4 (December 2017): 107–12. http://dx.doi.org/10.30725/2619-0303-2017-4-107-112.

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14

Fitski, Menno, and Lucien Van Valen. "A Hishikawa School Screen Uncovered." Rijksmuseum Bulletin 67, no. 3 (September 15, 2019): 216–33. http://dx.doi.org/10.52476/trb.9733.

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The restoration of a Japanese eight-fold screen, accompanied by art-historical study and research into materials and techniques has greatly enhanced the understanding of the object. Each side bears a painting and it was found that theoldest painting depicts the world of entertainment in Edo in the late seventeenth century, with a portrayal of the Nakamura theatre, holding a performance of the early kabuki play Coming and Going to Takayasu, featuring the then popular actor of women’s roles Tamagawa Sennojō. The source of this scene is an illustration from a 1678 book by Hishikawa Moronobu, Tales of Actors Past and Present. Also, there is an outing to view the cherry blossoms by the Yoshiwara brothel Myōgaya. The other side was fitted in the mid nineteenth century with a specially commissioned painting of an autumn landscape by the painter Itabashi Tsurao, using high-quality pigments. The provenance of the screen has been traced back to 1924, to the dealer Felix Tikotin. It was acquired by Herman Karel Westendorp, the firstchairman of the Royal Asian Art Society in the Netherlands, the present owner, to whom Westendorp sold it in 1931.

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15

Rodger, Johnny. "Drawing Glasgow School of Art: the graphics of reconstruction." Architectural Research Quarterly 22, no. 4 (November 23, 2018): 310–24. http://dx.doi.org/10.1017/s1359135518000611.

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The Glasgow School of Art has a long history of the cultivation of the art of drawing. Many types of drawing have been taught and practiced within the institution since its establishment in 1845. Mackintosh's Glasgow School of Art building, completed between 1897 and 1909, can be seen as one great outcome of that design-through-tradition. The building not only sheltered and thus enabled a further cultivation of the art of drawing, but became itself a model for the practices of that drawing tradition. There is a strong body of work, much of it by teachers and students of the Mackintosh School of Architecture, which has focussed on the building and explored through drawing the architectonic features and significance of the structure. This work has been useful as a teaching and critical aid but also as a contribution to the art and discipline of architecture. In the wake of the first 2014 fire, which destroyed part of the building, this body of work suddenly became of use as a design tool rather than simply an exploratory or critical tool, as the institution sought to reproduce exactly what had been lost. The most recent 2018 fire wreaked a destruction much more comprehensive across the whole building. Accordingly, we are forced to completely review the relationship of that drawing heritage to the building. That is to say, the building largely no longer exists, and the drawings take on a life of their own in a way not previously attached to them. The school may, however, be rebuilt, recreated ‘as was’ at some point in the future, potentially instigating yet another type of relationship between the existing drawing work and a new ‘Mackintosh’ building.

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16

Britt, Helena, Jimmy Stephen-Cran, and Susannah Waters. "The Glasgow School of Art fashion show, 1947–2017." Art Libraries Journal 42, no. 3 (June 2, 2017): 148–56. http://dx.doi.org/10.1017/alj.2017.21.

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Introduced in 1947 as an event during Charities Week, the Glasgow School of Art (GSA) Fashion Show provided an opportunity to present student designs and fundraise around the City of Glasgow. Over the years, the format, location and emphasis of the event have changed, although creativity, collaboration, team working and the Students Union remain central to organization. To commemorate the 70th anniversary of the fashion show, the development of this event has recently been re-visited and an exhibition developed. This project posed the questions: What GSA Archives and Collections’ holdings relate to the event? Are there gaps within the collection and if so can items be accessioned? What can be understood about the evolution of the GSA fashion show from this material? Is there potential for further research from this local event? These questions form the basis of this article.

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17

McCARTNEY, E. "60 Years of the Glasgow School of Speech Therapy." International Journal of Language & Communication Disorders 30, S1 (October 1995): 47. http://dx.doi.org/10.1111/j.1460-6984.1995.tb01639.x.

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18

Walker, Frank Arneil. "William Buchanan, editor, Mackintosh's Masterwork: The Glasgow School of Art, Richard Drew, Glasgow, 1989. Hardback. £25.00." Architectural Heritage 1, no. 1 (November 1990): 114–15. http://dx.doi.org/10.3366/arch.1990.1.1.114.

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19

Berezniuk, Tetiana. "About the Concept of "Volyn Icon Painting School"." Bulletin of Kyiv National University of Culture and Arts. Series in Museology and Monumental Studies 2, no. 1 (June 26, 2019): 50–58. http://dx.doi.org/10.31866/2617-7943.2.1.2019.172519.

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20

FAGG, JOHN. "Seeing History/Showing Seeing in Ashcan School Painting." Journal of American Studies 43, no. 3 (November 2, 2009): 535–42. http://dx.doi.org/10.1017/s0021875809991307.

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21

Bhreathnach-Lynch, Sighle. "Twelve Irish Artists: A School of Irish Painting?" New Hibernia Review 6, no. 2 (2002): 130–34. http://dx.doi.org/10.1353/nhr.2002.0025.

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22

Новосёлова, Елена Владимировна. "THE CUZCO SCHOOL PAINTING AS A WORLDVIEW MODEL." ΠΡΑΞΗMΑ. Journal of Visual Semiotics, no. 1(27) (April 2, 2021): 124–41. http://dx.doi.org/10.23951/2312-7899-2021-1-124-141.

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В статье рассматривается феномен кусканской школы живописи (одного из наиболее самобытных явлений культурной жизни не только стран Андского региона, но и всей Латинской Америки в колониальный период) как отражение мировоззрения индейцев колониального периода. Важность этих визуальных источников обусловлена тем, что они создавались самими индейцами, хотя и под контролем испанского клира с целью христианизации местного населения. Несмотря на значимость тематики и немалое количество посвященных ей исследований, многие аспекты проблемы еще не нашли исчерпывающего истолкования. Во многом это касается как раз идеологических и мировоззренческих аспектов. В связи с этим перед автором стояла задача рассмотреть полотна не с сугубо искусствоведческих, а с семиотических позиций: какие аспекты мировоззрения стоят за тем или иным символом и мотивом. Для решения этой задачи автор анализирует ряд живописных полотен школы Куско (наиболее перспективных с точки зрения целей исследования) с целью выявить содержащиеся в них мировоззренческие элементы, которые нашли отражение в образах, мотивах, цветопередаче. Проведение такого анализа невозможно без привлечения сравнительных данных из других источников по особенностям индейского мировоззрения, прежде всего письменных. Единовременность создания обеих групп источников позволяет проводить релевантные параллели относительно одних и тех же объектов исследования. В первую очередь для удобства и наглядности анализа автор проводит типологизацию мировоззренческих элементов по принципу происхождения. Традиционно их можно поделить на индейские, испано-христианские и смешанные. Автор также дает краткий обзор основных художественных традиций, оказавших влияние на становление школы (испанское барокко, индейские верования и элементы искусства и пр.). Анализ художественных и стилистических особенностей произведений с точки зрения их идеологического содержания позволяет сделать следующие выводы. Во-первых, многие символы и мотивы школы Куско прямо восходят к индейским верованиям доиспанской эпохи. Во-вторых, многие эти символы и мотивы не являются эксплицитными, а считываются без особых затруднений. В-третьих, испано-христианские элементы носят во многом внешний, декларативный характер с рядом уступок по отношению к языческим мотивам. Все это говорит о том, что мировоззрение индейцев колониального периода было сложным и многогранным по своему составу. При этом важно отметить, что ни одна из мировоззренческих систем не предстает в своем исходном виде, что было вызвано драматическим процессом столкновения двух этих систем и созданием на их базе новой. Тем не менее, исходя из анализа полотен школы Куско, есть основания считать, что в этой мозаичной системе индейского мировоззрения доиспанские элементы могут считаться преобладающими. Все это свидетельствует о подлинном синтезе мировоззрений и о метисном характере самой школы Куско как культурного и социального явления. The article considers the phenomenon of the Cuzco School of painting (one of the most original phenomena of cultural life not only in the Andean region, but also in Latin America in general during the colonial period) as a reflection of the worldview of the Indians of the colonial period. Indians themselves created paintings, although under the control of the Spanish clergy, in order to Christianize the local population, which makes these visual sources important. Despite the significance of the topic and the number of studies devoted to it, many aspects of the problem have not yet been fully interpreted. In many ways, this applies to ideological and worldview aspects. In this regard, the author analyses Cuzco paintings in semiotic, rather than purely artistic, terms: what aspects of the worldview are behind a particular symbol and motif. To solve this problem, the author analyzes a number of paintings of the Cuzco School (the most promising for the research) in order to identify the worldview elements – reflected in the images, motifs, and colors – the paintings contain. It is impossible to conduct such an analysis without using comparative data from other sources on the peculiarities of the Indian worldview, especially written ones. The simultaneous creation of both groups of sources allows drawing relevant parallels with respect to the same research objects. For the convenience and clarity of the analysis, the author typologizes worldview elements based on the principle of origin. Traditionally, they can be divided into Indian, Spanish-Christian, and mixed. The author also gives a brief overview of the main artistic traditions that influenced the formation of the school (Spanish Baroque, Indian beliefs and elements of art, etc.). The analysis of the artistic and stylistic features of the works from the point of view of their ideological content allows drawing the following conclusions. Firstly, many of the symbols and motifs of the Cuzco School go directly back to pre-Hispanic Indian beliefs. Secondly, many of these symbols and motifs are not explicit yet can be read without much effort. Thirdly, the Spanish-Christian elements are largely external, declarative in nature, with a number of concessions to pagan motives. All this suggests that the worldview of the Indians of the colonial period was complex and multi-faceted in its composition. At the same time, it is important to note that none of the worldview systems appears in its original form because of the dramatic process of the collision of these two systems and the creation of a new one on their basis. Nevertheless, based on the analysis of the paintings of the Cuzco School, there is reason to believe that in this mosaic system of the Indian worldview, pre-Hispanic elements can be considered pre-existing. All this testifies to a genuine synthesis of worldviews and to the mestizo character of the Cusco School as a cultural and social phenomenon.

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23

Basbug, Fatih, and Ozcan Ozkarakoc. "IMPERIAL MILITARY SCHOOL AND OTTOMAN MEDICAL SCHOOL IN EDUCATION OF TURKISH PAINTING." Ulakbilge Dergisi 7, no. 43 (December 31, 2019): 923–28. http://dx.doi.org/10.7816/ulakbilge-07-43-06.

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24

Baratboyev Batir Mamadjananivich and Sattorova Sarvinoz Ortiqboy kizi. "“It is necessary to feed the world with beauty!”." International Journal on Integrated Education 3, no. 8 (August 30, 2020): 215–17. http://dx.doi.org/10.31149/ijie.v3i8.566.

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To feed the world with beauty S. MAHMUDOV. This article, which reflects the Kokand School of Painting and its representatives, provides detailed information about the history of Painting and the methodological peculiarities of the Kokand School!

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25

Green, Simon. "William Buchanan, ed., Mackintosh's Masterwork: The Glasgow School of Art." Architectural Heritage 16, no. 1 (November 2005): 103–6. http://dx.doi.org/10.3366/arch.2005.16.1.103.

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26

Hamilton, Sarah L. "The Architecture and Impact of the School Boards in Glasgow." Architectural Heritage 22, no. 1 (November 2011): 115–36. http://dx.doi.org/10.3366/arch.2011.0021.

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27

Waters, Susannah. "Historical resources and creative education at Glasgow School of Art." Art Libraries Journal 37, no. 3 (2012): 15–19. http://dx.doi.org/10.1017/s0307472200017557.

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The Glasgow School of Art (established 1845) has a long history of collecting publications and artefacts to support its teaching of fine art, design and architecture. The School now owns a rich resource of historical material, spread across its library, archive and museum collections and overseen by its Learning Resources department. Can this material continue to support learning and teaching in the creative disciplines in the 21st century? And what are the potential benefits for students? Over the last five years Learning Resources staff have explored these questions and developed a programme of activities to promote knowledge of this material and understanding of its potential use in fine art, design and architecture education.

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28

Pancza-Graham, Arleen. "Charles Kurtz & The Glasgow School: An American Critical Response." Archives of American Art Journal 31, no. 3 (January 1991): 14–25. http://dx.doi.org/10.1086/aaa.31.3.1557609.

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29

LOGININSKY, Yaroslav. "Painting traditions of Zabashta in the context of the European and national plenary school of painting." Humanities science current issues 2, no. 36 (2021): 25–30. http://dx.doi.org/10.24919/2308-4863/36-2-4.

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30

Maksymiuk, Yurii. "Religious and philosophical principles of iconography development in Kievan Rus." Good Parson: scientific bulletin of Ivano-Frankivsk Academy of John Chrysostom. Theology. Philosophy. History, no. 14 (January 29, 2020): 135–43. http://dx.doi.org/10.52761/2522-1558.2019.14.13.

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In the article world view subsoil of origin of the icon limning is exposed in to Kievan Rus, influence of Byzantium icon-painting school is analysed on becoming of authentic Kievan Rus of the sacral painting, the role of monasteries is found out as cells of engaged in painting and iconography.

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31

Behroozipour, Hossein, and Khashayar Ghazizadeh. "Recovering the Characteristics of the Shiraz Painting School in Painting of Al-Inju and Al-Muzaffar Period and its Impact on Iranian Painting." Parseh Journal of Archaeological Studies 4, no. 13 (November 1, 2020): 137–59. http://dx.doi.org/10.30699/pjas.4.13.137.

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32

Sussman, Herbert. "HOW THE VICTORIANS BECAME SEXY: THE FLESHLY SCHOOL OF PAINTING." Victorian Literature and Culture 33, no. 1 (March 2005): 322–28. http://dx.doi.org/10.1017/s106015030524086x.

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EXPOSED:THE VICTORIAN NUDE, an extensive exhibition initiated by and first shown at Tate Britain in 2002, andThe Crimson Petal and the Whiteby Michael Faber, a best-selling novel set in Victorian times and published in the same year, illustrate the interchange of the scholarly and the popular, more particularly how the recent rich work in Victorian sexuality, familiar to readers of this journal, informs and is transformed within blockbuster museum shows and popular fiction. Both exhibition and novel shed some light on the question of how the Victorians have become so sexy.

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Wang, Decheng, and Yan Chen. "Calculation and Application of Xin’an Painting School Art Style Model." Journal of Physics: Conference Series 1651 (November 2020): 012033. http://dx.doi.org/10.1088/1742-6596/1651/1/012033.

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34

Larsen, Frode. "Leonardo da Vinci in Raphael's School of Athens." Journal of Humanistic Mathematics 11, no. 2 (July 2021): 196–243. http://dx.doi.org/10.5642/jhummath.202102.09.

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At the center of the School of Athens, Raphael painted Plato with a face similar to that of Leonardo da Vinci. In this article I argue that the likeness was intentional, and that Raphael’s fresco contains a set of references to the book De Divina Proportione, to which Leonardo contributed with drawings of polyhedrons. De Divina Proportione was written by Leonardo’s friend and teacher of mathematics, Luca Pacioli, and contains arguments for raising the status of the art of painting, similar to the arguments found in Leonardo’s Paragone. Pacioli and Leonardo thought painting should be regarded as a liberal art, due to the painters' use of mathematical principles. In the article, I show how Plato with the face of Leonardo is part of a set of allusions to these arguments found in The School of Athens.

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35

Ștefănescu, Mirela. "Fine Arts: 5. The Iaşi School of Painting – Between Myth and Reality." Review of Artistic Education 16, no. 1 (March 1, 2018): 196–202. http://dx.doi.org/10.2478/rae-2018-0021.

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Abstract This paper analyzes a phrase which is specific of cultural space from Iași called "The Iași School of Painting", a term which, as art critics say, is distinguished by several features including the harmony of the composition, the chromaticism and refinement of artistic expression. So, we start in this study with the founders of the first institution of artistic education in Iasi, which strongly influenced the local creative style of plastic expression, then, we talk about the period in which was materialized fully the traditional way of the Iasi school of painting. After December 1989 the visual art from Iasi has gone through many changes, being outlined a new approach to the artistic phenomenon in the context of technological development and the globalization, the moment in which the visual artists tried new plastics formulas. Today the expression the Iasi School of Painting is only a metaphor which illustrates the connection with the glorious past of the great masters.

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Koltsova, Tatiana Mikhailovna. "Icon-Painting Workshop of the Solovetsky Monastery. 17th - Early 20th Century." Secreta Artis, no. 3 (November 20, 2020): 50–75. http://dx.doi.org/10.51236/2618-7140-2020-3-3-50-75.

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Founded in 1429, the Solovetsky Monastery has throughout several centuries preserved and maintained the traditions of Russian icon painting in the North. In its iconpainting chamber (the building was constructed in 1615), new iconostases were created and icons from the churches of the monastery and patrimonial lands in Pomorie were repaired. In the 17th century, 45 icon painters worked on Solovki in different years, among them were monks, monastery servants, and “trudniks” (lay workers). In the 18th century, the artists of the Pomor patrimonial lands underwent their initial training at the monastery school of icon painting. Families of hereditary icon painters Chalkovs and Savins from Sumsky Posad are particularly well-known. The monastery sent the most gifted students to St. Petersburg and Moscow to improve their art. In 1880, the Solovetsky painting school was inaugurated, where many northern icon painters acquired basic painting skills. Copying and painting from life formed the basis of the educational process; students were offered paintings from the Academy of Arts as samples. The icons and paintings made in the workshop are distinguished by their characteristic stylistic, technical and technological features. The most prominent graduates of the school (A. A. Borisov, N. G. Bekryashev) contributed significantly to the history of Russian art. The article contains new archival documents and rare photographs.

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Jerram, Timothy. "James Valentine: Formerly Consultant Psychiatrist, University Health Service, Leeds." Psychiatric Bulletin 32, no. 6 (June 2008): 237. http://dx.doi.org/10.1192/pb.bp.108.021089.

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James Valentine was born on 2 October 1906, of farming stock, in Glasgow. He won a scholarship to Hutcheson's Grammar School where he was an outstanding student (Dux Medalist, School Captain and Captain of cricket). He read Medicine at Glasgow where, he recalled, he met Ferguson Rodger (later Professor of Psychiatry) in their first week in the Anatomy Room and the two remained close friends until the latter's death. As a student Jim was active in many areas, but is particularly remembered for being a founding member of the National Party of Scotland (now the SNP) and serving on its National Council. He trained at Bethlem Royal Hospital (where, being in London, he was an assiduous theatre-goer). Then he went to Gartnavel Hospital, Glasgow, where his duties included waiting at Central Station to receive consignments of mosquitos from the Mott Clinic, Horton Hospital, Epsom, then used in the treatment of general paralysis of the insane (GPI).

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Griffiths, Ian, Peter Holmes, Martin Sullivan, and Norman Wright. "Robin Lee." Veterinary Record 186, no. 17 (May 30, 2020): 576. http://dx.doi.org/10.1136/vr.m2145.

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Weaver, L. T. "Kinderheilkunde and Continental Connections in Child Health: The "Glasgow School Revisited"--Again." Journal of the History of Medicine and Allied Sciences 68, no. 4 (April 3, 2012): 583–626. http://dx.doi.org/10.1093/jhmas/jrs021.

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Robb, Nigel D., Jason Leitch, Conor O’Brian, and Peter Walker. "Predoctoral Teaching in Intravenous Conscious Sedation: Ten Years at Glasgow Dental School." Journal of Dental Education 77, no. 1 (January 2013): 58–62. http://dx.doi.org/10.1002/j.0022-0337.2013.77.1.tb05443.x.

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Cohen, Stephen D. "Walter Wilson Stothers (1946–2009)." Glasgow Mathematical Journal 52, no. 3 (August 25, 2010): 711–15. http://dx.doi.org/10.1017/s0017089510000534.

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Walter Wilson Stothers was born in Glasgow on 8 November 1946. A third (youngest) son, he had the identical name to his father. From childhood, however, he had always been known by his middle name ‘Wilson’, so that his father, a Glasgow GP, would never be referred to as ‘Old Walter’. His mother, as Jean Young Kyle, had herself graduated in Mathematics in 1927, a rare achievement for a woman at that time. After attending the local primary school 1952–1956, Wilson completed his primary education in the preparatory classes in Allan Glen's School, then a distinguished Glasgow boys school with a scientific emphasis, progressing to the secondary school in 1958 and ending by becoming Dux in 1964. He also played in the school rugby first XV. From 1964–1968 he was a student in the Science Faculty of Glasgow University. His original intention was to take Honours in Chemistry and, indeed, he won the Chemistry prize in his first year. But he excelled in all subjects, winning the Faraday medal in the Intermediate Honours (second year) class in Natural Philosophy (Physics). After that he concentrated on Mathematics and became the top student, gaining a First Class Honours degree, as well as the Cunninghame Medal and a Jack Scholarship to Peterhouse College, Cambridge (1968). Before commencing postgraduate studies he married Andrea Watson in September 1968. At Cambridge from 1968–1971 he studied for a Ph.D. in number theory under the supervision of Peter Swinnerton-Dyer and graduated in 1972 with the thesis Some Discrete Triangle Groups. By then he was becoming aware of the strange realm inhabited by mathematicians that he seemed to be entering. So when his Cambridge room-mate Bob Odoni, at a research meeting they were attending as postgrads, asked, ‘Wilson, do you realise that we are the only normal people here’, Wilson felt compelled to respond, ‘What makes you think that we are normal?’

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Polyakov, E. N., and T. V. Donchuk. "ARCHITECTURAL HERITAGE OF Ch.R. MACKINTOSH." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture, no. 6 (January 2, 2019): 9–32. http://dx.doi.org/10.31675/1607-1859-2018-20-6-9-32.

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The article is devoted to the most famous architectural projects of residential, public and religious buildings of Charles Rennie Mackintosh (1868–1928). It is shown that he adhered to the traditions of neo-romanticism, preferred the traditions of Celtic symbolical art, the Scottish folk architecture and the so-called baronial style which make his buildings similar to medieval castles. It is noted that in design solutions and especially organization of internal space of buildings, the architect used the most advanced construction technologies, structures and materials. The article considers six of the most famous architectural projects by Macintosh made in neo-romanticism traditions. Among them, the Lighthouse Tower for the Glasgow Herald (1893–1894), the Glasgow School of Art (1897–1909), Queen's Cross Church in Glasgow (1898–1899), Scotland Street School (1903–1906), the project of the House for an Art lover in Darmstadt (1901), the Нill House in Helensburgh (1902–1904.). The main reasons for the creative crisis of the master on the eve of the I World War are revealed.

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Gerards-Nelissen, Inemie, and Thomas DaCosta Kaufmann. "The School of Prague: Painting at the Court of Rudolf II." Simiolus: Netherlands Quarterly for the History of Art 20, no. 1 (1990): 75. http://dx.doi.org/10.2307/3780764.

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Neuman, Lisa K. "Painting Culture: Art and Ethnography at a School for Native Americans." Ethnology 45, no. 3 (July 1, 2006): 173. http://dx.doi.org/10.2307/20456593.

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Stosic, Ljiljana. "The bay of Cattaro (Kotor) school of icon-painting 1680-1860." Balcanica, no. 45 (2014): 187–202. http://dx.doi.org/10.2298/balc1445187s.

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Relying on post-Byzantine tradition, eleven painters from five generations of the Dimitrijevic-Rafailovic family, accompanied by Maksim Tujkovic, painted several thousand icons and several hundred iconostases between the late seventeenth and the second half of the nineteenth century. They worked in major Orthodox Christian monasteries in Montenegro, Kosovo and Metohija, Bosnia and Herzegovina and Dalmatia, but their works can mostly be found in modest village churches in the Bay of Kotor (Cattaro) and on the South Adriatic coast. The decoration of these churches was financially supported by the local population headed by elders. Along with a reconstruction of their biographies and a chronological overview of their major works, this paper seeks to trace stylistic changes in the Bay of Kotor school of icon-painting. While simply varying a thematic repertory established in earlier periods, the painters from the Bay of Kotor were gradually introducing new details and themes adopted from Western European Baroque art under indirect influences coming from the monastery of Hilandar, Corfu, Venice and Russia. This process makes this indigenous school of icon-painting, which spanned almost two centuries, comparable to the work of Serbian traditional religious painters (zografs) and illuminators active north of the Sava and Danube rivers after the Great Migration of the Serbs (1690). Despite differences between the two, which resulted from different cultural and historical circumstances in which Serbs lived under Ottoman, Venetian and Habsburg rules, similarities in iconography and style, which were inspired by an urge to counteract proselytic pressures, are considerably more important.

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Sakofs, Mitch. "Painting and Christopher Columbus: A Story about Metaphors for School Change." Journal of Experiential Education 21, no. 2 (September 1998): 108–11. http://dx.doi.org/10.1177/105382599802100207.

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Korina, Natalya. "Moscow School of Painting, Sculpture and Architecture as the center of the formation of the Moscow school of painting in the mid-XIX - early XX century." St.Tikhons' University Review. Series V. Christian Art 14, no. 2 (June 30, 2014): 117–35. http://dx.doi.org/10.15382/sturv201414.117-135.

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Savitskaya, Tatyana E. "Museum as the basis of the “school”: Dusseldorf Art Gallery and the Dusseldorf school of painting." Issues of Museology 12, no. 1 (2021): 48–57. http://dx.doi.org/10.21638/spbu27.2021.105.

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The article demonstrates the influence of the Dusseldorf Art Gallery (1714–1805) on the formation of the Dusseldorf school of painting — one of the leading European schools of the XIX century. The history of the establishment and formation of the collection is briefly considered, and the activities of the founder of the art gallery, Johann Wilhelm (1658–1716), as a reformer of the museum business are characterized. The collection is analyzed, and a significant predominance of works of the Dutch school is noted as its special feature. The author points out that the gallery was primarily a learning center for artists studying at the Dusseldorf Academy of Arts (1773). After Dusseldorf became a part of the Kingdom of Prussia, a new stage began and the gallery was transformed into the Royal Academy of Arts. This happened in 1819, which is officially considered the year when the Dusseldorf school of painting was born. It is noted that the influence of the Dusseldorf school extended far beyond European borders, including Russia and particularly Saratov where the artist A. P. Bogolyubov founded the Radishevsky Museum. He came up with the idea of creating a museum while studying in Dusseldorf. The example of the Dusseldorf Gallery demonstrates the importance of the museum as a collection of samples, the basis for the emergence of the “school” in two meanings — an educational institution and the development of an artistic tradition.

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Aytaç, A. "Turkish textiles which have been described in paintings of artist Şevket Dağ." Universum Humanitarium, no. 1 (July 13, 2021): 73–89. http://dx.doi.org/10.25205/2499-9997-2021-1-73-89.

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The perception of painting that started with the Turks, the Gokturks and the Uighurs was expressed mostly in miniature after Islam. There was a false perception that Islam imposed a ban on painting. Therefore, not much painting art was seen in the Ottomans until recently. There are mostly miniature paintings in the Ottomans. The art of painting has developed in the last periods of the Ottoman Empire. One of the most important representatives of that period was Şevket Dağ. She is one of the first graduates of Şevket Dağ Sanayi-i Nefise School. There are no foreign influences in Şevket Dağ's paintings. There are painting techniques in purely national characters. In the article there are five paintings depicting Turkish carpets. Five paintings in which the furniture and architectural features of the period are depicted together with the carpets will be emphasized.

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Britt, Helena, Susannah Waters, and Jimmy Stephen-Cran. "The History of the Glasgow School of Art Fashion Show an Evolving Pedagogy." Journal of Textile Design Research and Practice 7, no. 2 (July 3, 2019): 210–45. http://dx.doi.org/10.1080/20511787.2019.1607652.

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