To see the other types of publications on this topic, follow the link: Impressionism (Art).
Journal articles on the topic 'Impressionism (Art)'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Impressionism (Art).'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Yamash, Yurii, Inna Prokopchuk, Mariana Pelekh, Olena Padovska, and Olena Zherebetska. "Theme of Flowers as a Sign of Impressionism on the Example of the Work of Ivan Trush (1869-1941)." Herança 7, no. 1 (December 29, 2023): 126–35. http://dx.doi.org/10.52152/heranca.v7i1.812.
Full textAbstract:
The end of the 19th and the beginning of the 20th century in art are associated with light and color in Europe, which were characteristic of the artistic philosophy of Impressionism. Prominent representatives of this movement created artworks based on a new approach to color choices and subject matter, including the depiction of real landscapes and floral compositions. The relevance of this research is driven by the need to study the artistic representation of floral compositions by the Ukrainian artist I. Trush through the prism of Impressionist stylistic elements. The research aims to identify the features of Impressionist philosophy in the works of I. Trush through a comparison of the artist's body of work with that of Impressionist contemporaries in the field of visual arts. In this research, scientific methods such as description, systematization, analysis, comparison, cultural-historical analysis, and generalization were employed. As a result of this scientific investigation, the fundamental characteristic traits of Impressionism as an art style in visual arts were studied, as well as the particular features that distinguish this artistic movement from previous artistic philosophies. The research also analyzed the conceptual framework of the term "Impressionism" and its origins. Furthermore, it examined the characteristic traits and features of the works of the Ukrainian painter I. Trush and Impressionist artists, allowing for the integration of the distinctive traits and features of Impressionism in the artist's work through comparison. Through the comparative analysis conducted in this scientific work between Impressionists and the artistic output of I. Trush, the involvement of the Ukrainian artist in the broader Impressionist movement was highlighted. This research can be utilized by scholars and art historians for further exploration of Impressionism as an artistic movement and its influence on the development of Ukrainian art.
2
Ozturk, Fatma, and Ozlem Berksan. "A study for the impact of impressionism period’s coloring, style and mode on fashion designers." Global Journal of Arts Education 5, no. 2 (November 15, 2015): 40. http://dx.doi.org/10.18844/gjae.v5i2.243.
Full textAbstract:
Impressionism is a result of scientific and social developments’ influence on art and cultural movements during 1870’s. Impressionism, as being the brand new and the most important development in art during 19th century, has represented the modern painting with a strict separation from former understanding of art. While other art movements of 19th century have been maintained the relations or bore trace from classical understanding, impressionists severed all these ties. Instead of observing the nature in a realistic manner, they used impressions of observing it on art.Fashion in the most general sense, is representing the change. Whereas, fashion has been seen as the synonym of dressing, it involves all the aspects of human life. The Belle Epoque Era (1890-1914) that comprised a coy eroticism in fashion overlaps with the Impressionism period. It was a period characterized by an extensive freedom, economic growth and scientific development in Europe. New daily sport clothes and expensive night dresses were the source of inspiration in fashion. Trains and cars made it possible to spend time at the outside for everybody and new fashion styles adopted for social activities.This study is intended to analyze Impressionism Period’s impact on fashion designers. The clothes of the period are going to be investigated from the view point of their color, style, models and accessories. Keywords: Fashion, art, impressionism, belle epoque
3
Gu, Ranran. "Explore the similarity of impressionist music and impressionist painting." Highlights in Art and Design 2, no. 3 (April 24, 2023): 24–26. http://dx.doi.org/10.54097/hiaad.v2i3.7547.
Full textAbstract:
The 19th, the end of the century, impressionist painting and impressionism music in the background of innovation, the development of impressionism witnessed the transformation of western traditional art and the rise of modern art, in the history of western art left a heavy, painting, music and other art genres, discipline fusion reached a new step. This paper analyzes and compares the subject matter, structure and expression techniques of impressionist painting and music, explores the similarities of two different arts, and explores the important role of the interaction and integration of art in the development of art.
4
Surat, Irina Z. "On Osip Mandelstam’s Poem “Impressionism”." Studia Litterarum 6, no. 3 (2021): 166–83. http://dx.doi.org/10.22455/2500-4247-2021-6-3-166-183.
Full textAbstract:
This article focuses on Osip Mandelstam’s poem “Impressionism”. The main objective of this work is to analyze the key motifs and images of the poem and to offer an integral, non-contradictory reading of the poem based on its immediate context as well as on the specific features of Mandelstam’s poetics. Mandelstam treated impressionism with great enthusiasm considering it an innovative phenomenon in art; impressionism in its broad meaning most fully corresponded with his idea of the life-giving capacities of art as reflected in this poem. The article discloses the plot of the gradual immersion in the world of an impressionist painting in Mandelstam’s poem. A verse-by-verse analysis of the text complemented by the parallel reading of the fragments of Mandelstam’s prose, and also with impressionist paintings the poet was familiar with as a backdrop, allows me to define the particularities of Mandelstam’s symphonic and solid perception of plastic arts, including impressionist painting. The article shows how the antinomies of Mandelstam’s creative art affect the poetic text. “Impressionism” is not a reflection of specific motifs of particular paintings but a cocreative effort of resurrecting reality in art that Mandelstam thought to be the art’s prime purpose.
5
Jiao, Shizuo, and Xuanjian Zhu. "Post-impressionism: implicit salute towards its predecessors." Journal of Education, Humanities and Social Sciences 1 (July 6, 2022): 302–7. http://dx.doi.org/10.54097/ehss.v1i.675.
Full textAbstract:
Post-impressionism, as one of the world's most popular schools of art, was focused mostly on its influence on its descendants. However, this paper examines the undiscovered aspect of post-impressionism by giving a perspective on its relations with its predecessors rather than its influence on its successors. It studies the forms and flows of post-impressionist paintings. Comparisons, investigations, and observations were made during the period. It is also reviewed in the thesis about the previous articles on comparisons between post-impressionism and its contemporaries as ukiyo-e paintings. Between post-impressionism and its ensuing schools, such as the art nouveau, these comparisons are made to illustrate the influence. The investigation pointed out that there have always been relationships and similarities between post-impressionism and its predecessors, either implicit or explicit ones. The work could endorse further studies on post-impressionism and break the common sense on post-impressionism that it only had an impact on its posts and was not influenced much by its predecessors.
6
Liu, Jiabei. "Explore the Influence of Impressionism on Post-Impressionism: Taking Van Gogh's Works as an Example." Journal of Education, Humanities and Social Sciences 31 (April 27, 2024): 135–39. http://dx.doi.org/10.54097/3qjw2990.
Full textAbstract:
Impressionism is a pivotal movement in the history of Western art. It revolutionizes the traditional approach to Western painting. This artistic movement emphasized the spontaneous, direct, and visual representation of natural light and its effect on colors, shapes, and textures. Impressionism is a special kind of non-traditional art without a doubt. Vincent van Gogh is one of the most famous impressionist artists. He has many special characteristics: swirl-like brushstrokes, painting themes that are full of compassion and suffering consciousness, and bold and exaggerated colors. Van Gogh's works often express different emotions through strong contrast and bright colors. His works are very distinctive and full of beauty. He is also one of the most representative impressionist artists. This article will use the survey method and document retrieval method to discover the specialties of impressionism works through Van Gogh's paintings. After the discovery, this article has found three main specialties of impressionism: colors, unrealistic descriptions, and nature elements. In conclusion, this article has discovered why impressionist artworks are so special and so ‘impressive’ through the research.
7
Li, Jie. "Dialogue on Artistic Expression: A Study of Oriental Elements in 19th-Century Impressionism." Journal of Education, Humanities and Social Sciences 31 (April 27, 2024): 151–59. http://dx.doi.org/10.54097/nskets35.
Full textAbstract:
As one of the most significant art movements in the 19th century, Impressionism broke down conventional boundaries, laying the foundation for today’s artistic styles to flourish. This paper aims to explore the integration of Oriental elements of Impressionism and to reveal the influence of cultural exchange on art movements. The introduction section provides a comprehensive overview of Impressionism, focusing on the research goals that revolve around Oriental aspects. The paper utilises an exhaustive approach, including a literature review, artwork analysis, and examination of historical records, ensuring a thorough exploration of Oriental influences. The structure of this paper acts as a guide for readers, highlighting unique contributions such as exploring little-known Eastern elements and interpreting artworks from new perspectives. By deeply studying the historical background of Impressionism, this paper discusses the interests in Eastern art and its influences on the Western art movement in the 19th century, examines the channels of cultural exchange, and analyses the reception of Oriental elements through case studies. At the same time, the influences of oriental traditions and elements such as brushwork, composition, and calligraphy on the natural depiction, colour application, daily life, symbolism, and character representation of Impressionist paintings are also discussed. In conclusion, this paper summarises the key findings and contributions and emphasises the importance of Oriental elements in Impressionist art.
8
Zavyalova, Anna E. "Konstantin Somov’s Early Works and Impressionism: A New View on the Issue." Observatory of Culture 18, no. 4 (October 11, 2021): 409–15. http://dx.doi.org/10.25281/2072-3156-2021-18-4-409-415.
Full textAbstract:
The article reveals literary (Emile Zola’s novel “L’Œuvre”, Richard Muther’s work “History of Painting in the 19th Century”), literary and artistic (magazines “Mercure de France”, “L’Ermitage”, “La Revue Blanche”, “La Plume”) and artistic (exhibits of the French art exhibition of 1896) sources of Konstantin Somov’s acquaintance with the art of French impressionism at the beginning of his independent activity (before leaving for Paris in the late 1890s). There are also identified sources of phenomena in his work that are similar to impressionism only externally. These issues become the subject of special consideration for the first time. The scientific novelty of the work lies in the fact that it first reveals that the artist did not address to impressionism in the period before his departure to France, as it has been long believed. To study the tasks set, the article involves sources of personal origin (letters and diaries of K.A. Somov and his friend A.N. Benois), as well as A.N. Benois’s articles of the 1890s, published on the pages of the magazine “World of Art”. The author comes to the conclusion that K.A. Somov did not turn to the artistic method of the impressionists in his work at that time, since the information he had been able to get from the identified sources was of a verbal and theoretical nature. Black-and-white reproductions of impressionist paintings in literary and art magazines and in Muther’s “History of Painting in the 19th Century” had not provided sufficient information for the artist. The phenomena similar to impressionism in Somov’s works are based on the study of nature, the heritage of the old European artists, the art of the Barbizonians, J.-F. Millet, W. Turner.
9
Yan, Zhiqi, Zidi Guo, and Miao Guo. "On the Combination of Oil Painting Techniques and Modern Illustration Art." Highlights in Art and Design 4, no. 1 (August 28, 2023): 118–21. http://dx.doi.org/10.54097/hiaad.v4i1.12015.
Full textAbstract:
Oil painting represents the mainstream of modern Western painting art. The development history of Western painting art cannot be separated from the evolution of the style, subject matter and techniques of oil painting. Since its emergence, oil painting has experienced several style periods, including classicism, Romanticism, Impressionism, abstraction and so on. Among them, Impressionism, which was born in the middle of 19th century, played an important role in the history of western oil painting. It changed the style and way of oil painting popular in the past few centuries with new color theory and creative techniques. Impressionism emphasized the intuitive observation and real performance of the painting object. Since then, painting is no longer limited to the spiritual transmission of the author, and "what you paint is what you see" has gradually become one of the creation principles of Western oil painting. This paper analyzes the paintings of famous Impressionist painters with examples, sums up how Impressionist paintings skillfully use light, shadow and color to create, and discusses its referential significance for modern illustration.
10
Skorobogacheva, Ekaterina Aleksandrovna. "Genesis of Russian Impressionism and its first interpretations." Pan-Art 3, no. 4 (November 8, 2023): 231–35. http://dx.doi.org/10.30853/pa20230037.
Full textAbstract:
The aim of this research is to identify the specific features of the artistic language of Russian Impressionism. The article presents the content of this stylistic direction, distinguishing it from the general concept of "impressionism." The characteristics of Russian Impressionist art are revealed in its "dialogue" with both Western and Eastern painting, within the chronological framework of the late 19th to the first half of the 20th century. It is determined that the combination of Impressionist language with other styles, including realism, remains significant in both the latter half of the 20th century and contemporary Russian culture.
11
Sema, Daniel. "GERAKAN IMPRESIONISME, DEBUSSY DAN “CLAIR DE LUNE”: SEBUAH REFLEKSI TERHADAP PERUBAHAN." Jurnal Abdiel: Khazanah Pemikiran Teologi, Pendidikan Agama Kristen, dan Musik Gereja 2, no. 1 (April 12, 2018): 61–73. http://dx.doi.org/10.37368/ja.v2i1.61.
Full textAbstract:
Impressionism derives its source of inspiration from external, even exotic sources; its literature, art and music are easily projected outside; the recipient of its colorful images has the means of comparing photoreality with the artist’s experience of it. This impressionism movement starts from painting, then penetrated into other arts fields. Impressionism has changed the way people view art. It has been considered the setting stone of Modern Art. In general, impressionism has changed the perspective of art, itself.
12
Cherkashina, M. V. "Stéphane Mallarmé on Impressionism and the Impressionists in the context of French art criticism." Voprosy literatury, no. 5 (October 11, 2023): 13–41. http://dx.doi.org/10.31425/0042-8795-2023-5-13-41.
Full textAbstract:
The article prefaces the publication of the first Russian translation of Mallarmé’s essay ‘The Impressionists and Edouard Manet:’ originally printed in English in a London-based periodical in 1876, it was not rediscovered until the early 21st c., when the essay’s translation back into French became available. In his work, Mallarmé offers the first contemporary interpretation of Impressionism as a natural next step in the development of art, revealing it to be a form of self-reflection that gazes at reality. He notes that Manet’s manner of depicting landscapes and people in them bears a similarity to Japanese prints — an art form much beloved by the Impressionists. Other innovative viewpoints expressed by Mallarmé include his interpretation of mimesis, which, rather than mimicking nature, means its recreation, ‘touch by touch:’ the idea that the representative art of the period cannot be isolated from the characteristic politics and industry of the era, and the suggestion that, rather than treating artists as spiritual aristocrats, as was customary in the Romantic era, one should consider them as ‘energetic modern workers,’ exemplified by Impressionist painters. The article sets out to present Mallarmé’s ideas in the context of French art criticism from the 18th c. until the present day.
13
Newman, Richard, and David Bomford. "Art in the Making: Impressionism." Journal of the American Institute for Conservation 32, no. 3 (1993): 319. http://dx.doi.org/10.2307/3179555.
Full text
14
Lazunina, Ekaterina A., and Ekaterina M. Zinchenko. "Patterns of oculomotor activity during the perception of different art movements: Eye tracking study." Izvestiya of Saratov University. Philosophy. Psychology. Pedagogy 24, no. 2 (June 21, 2024): 192–200. http://dx.doi.org/10.18500/1819-7671-2024-24-2-192-200.
Full textAbstract:
The introduction discusses the role of art in society. Art is one of the ways of learning and describing the world, and its role in the development of an integral personality is enormous. The theoretical analysis presents some research within the framework of neuroaesthetics. The choice of stimulus material for the study is discussed – paintings from five art movements: Realism, Impressionism, Modernism, Cubism, and Surrealism. It is suggested that in the process of viewing works of art from different movements, oculomotor activity (OMA) will be different. Empirical analysis showed differences in OMA parameters: blinking, fixations, and saccades, among students when they were presented with pictures of different art movements. It was found that the subjects showed emotional excitement while perceiving paintings from the Impressionist movement. Paintings of Modernism and Impressionism presented the least concentration of attention but the greatest interest. A high concentration of attention was observed during visual perception of realism pictures. The greatest cognitive load was detected at the time of presentation of cubist paintings. Rational perception and memory resources are more involved in the processing of Surreal pictures. In conclusion, the characteristic patterns of OMA in the perception of various art movements are noted. Research results may be useful in the practice of passive art therapy as part of psychoprophylaxis programs.
15
Isaacson, Joel, and Robert L. Herbert. "Impressionism: Art, Leisure, and Parisian Society." Art Journal 49, no. 1 (1990): 63. http://dx.doi.org/10.2307/777182.
Full text
16
Lee, Jisun, and Joonho Kim. "The Culture of the Belle Epoque and Impressionism in Music of Debussy." Society for International Cultural Institute 15, no. 1 (June 30, 2022): 25–49. http://dx.doi.org/10.34223/jic.2022.15.1.25.
Full textAbstract:
The period from about 1871 to the outbreak of the First World War in France in 1914 was a golden age called ‘Belle Époque’, which means beautiful era in French. Economically, through the Industrial Revolution, culture and art flourished centered on Paris, and democracy was developed through the establishment of democratic procedures through the civil revolution. The musical characteristics that emerged in the Belle Epoque era stemmed from cultural backgrounds. These extra-cultural influences and the spread of cultural capabilities led to the birth of new cultural trends such as impressionism, and the activities of impressionist musicians and artists contributed to making the Belle Epoque era more splendid. This study sheds light on the new trends and characteristics of the music field where the Belle Epoque can be most conscious of. And this study examines the music of Debussy, who represented Belle Epoque with impressionism, and analyzes the influence of contemporary cultural background on his music. This study is meaningful in suggesting a new hope for a beautiful period and cultural development by examining the splendid period brought about by the times and social changes in the development of international culture and emphasizing the influence that the era of peace and stability had on cultural formation. Debussy, who is indispensable in the French musical art of the Belle Epoque era, is regarded as a representative composer of impressionism, which influenced Satie and Lex Six by expressing a dreamlike feeling with impressionist characteristics, and using scales and instruments that express exotic emotions. Debussy created beautiful and musically expressive melodies without breaking with the musical conventions of his past. Furthermore, in order to express the beauty of all things in the Belle Epoque period, the feeling of light and water was expressed through sound, occupying a unique position in the generation in which the paradigm of modern music and art was changing.
17
Skliarenko, Halyna. "Interpretation Peculiarities of the Impressionistic Trends in Ukrainian Ar." Folk art and ethnology, no. 1 (February 28, 2022): 30–45. http://dx.doi.org/10.15407/nte2022.01.030.
Full textAbstract:
The article is dedicated to the interpretation peculiarities of the impressionistic trends in Ukrainian art. Impressionism as the first modernist style has a huge impact on world art, been marked in it both by new purely formal, plastic and also world-view features. Ukrainian art hasn’t also avoided it and attracts its experience to the search for a new artistic language of the turning point in the artistic development of the period of the late 19th – early 20th century in its own way. Although impressionism hasn’t formed a definite exact trend in Ukrainian art, its ideas, in particular, the individualization of artistic vision, subjectivity of perception, colour expressiveness mark a new stage of its development and keep their relevance for a long time. The sources of impressionistic influences in Ukrainian painting at the turn of the 19th – early 20th century, the contradictions of its interpretation by critics and artists, the peculiarities of impressionism significance in the works of avant-garde artists (D. Burliuk, O. Bohomazov, K. Malevich) are considered in the article. A great importance of a large exhibition Impressionism in Ukraine in the phenomenon representation is emphasized. The event has been held on December, 2009 – March, 2010 at the National Museum of Modern Art in Kyiv. A range of impressionistic interpretations in Ukrainian painting of the late 19th – early 20th century is submitted for the first time. An attitude to the trend during the next periods of the history of Ukrainian art, namely in the post-revolutionary 1920s, 1930s – 1950s, 1960s – 1970s, is analyzed in the article. These are the periods, when impressionism as a bourgeois artistic trend has been “deleted” from the Soviet art because of the establishment of socialist realist doctrine. It has been returned gradually into the artists’ creative practices in the following years. Impressionism has preserved its attractiveness until the 1970s due to the peculiarities of the art development in the Soviet conditions (isolation from the world experience, shortage of extensive information about Ukrainian art of the pre-Soviet times) despite its historicity and close connection with art of the turn of the 19th – 20th century.
18
Yang, Fangchao. "Urban Inspirations: The Influence of 19th Century Parisian Cityscapes on Impressionist Art." International Journal of Education and Humanities 12, no. 1 (January 15, 2024): 212–15. http://dx.doi.org/10.54097/ew8w6a12.
Full textAbstract:
The development and planning of Parisian cities in the 19th century provided inspiration for the Impressionists, who responded to the changes of the times with their unique painting techniques and concepts. From their own special point of view, the painters chose the boundaries of their vision in their paintings. The change in the combination of figures and landscapes meant a new shift in the way painters looked at modern life in the city. More and more man-made landscapes were included in the Impressionists' landscapes, and the integration of the countryside and the city made the suburbs the subject of the painters' depictions, which not only reconstructed the visual culture of the city, but also presented a picture of modern life in Paris. The experience of life in the context of urban landscapes provided Impressionist painters with a constant source of creative materials, and they thought about the development of urbanised landscapes and industrialised civilisations, and formed their artistic thoughts and tried to integrate them into their own paintings, presenting a portrait of modern life in Paris. This study aims to explore how the urban landscape of 19th-century Paris influenced the creation of the Impressionists, especially how they expressed the experience of urban life and social changes at that time through their art. By reviewing the history of urban development in nineteenth-century Paris, combined with in-depth analyses of representative works of the Impressionists, this study reveals the influence of the urban landscape on the artists' perspectives and the content of their creations. At the same time, the artistic reflection of the impact of the urbanisation process and industrialisation in Impressionist paintings is examined. The study finds that Impressionist painters not only made technical and stylistic innovations, but also transformed the way they represented modern urban life. They gradually added urban elements to their works, such as streets, buildings and urban people, while also reflecting the fusion of the countryside and the city. In addition, the painters reflected their thoughts on the process of urbanisation and industrialisation through their works. Through their works, the Impressionist artists reflected the changes in the urban landscape of nineteenth-century Paris, which not only influenced their themes and styles, but also profoundly revealed the social and cultural transformations of the time. These findings are important for understanding the importance of Impressionism in art history and its close connection to the era in which it was created.
19
Huang, Xinyi. "The influence of Japanese Ukiyo-e on Western painting art in the 19th Century." BCP Social Sciences & Humanities 20 (October 18, 2022): 304–10. http://dx.doi.org/10.54691/bcpssh.v20i.2334.
Full textAbstract:
Ukiyo had a profound influence on western painting in the 19th century. It can be seen from the works of Artists such as Monet and Van Gogh that they extensively used, imitated and improved Japanese Ukiyo techniques such as brushwork, composition and color. In addition, under the historical background and social environment at that time, the expression of thoughts and emotions was also greatly influenced by Ukiyo. This paper, starting from the origin and characteristics of Japanese Ukiyo, explains in detail the influence of Japanese Ukiyo-e on western painting in the 19th century, explores the way of expression of Impressionist and post-Impressionist works, analyzes the process of its absorption and re-innovation of Ukiyo-e, in order to provide some reference for modern painting creation. This paper explores the influence of Japanese Ukiyo on western painting in the 19th century in two chapters. First of all, from the origin of Japanese Ukiyo, style, techniques, representatives of the detailed interpretation of Japanese Ukiyo artistic characteristics; Secondly, based on the background of the introduction and integration of Ukiyo in western painting art, the paintings of Monet and Van Gogh, the representative painters of Impressionism and post-Impressionism, are extracted respectively, so as to explore the influence of Japanese Ukiyo on western painting art in the 19th century in terms of style, techniques and ideas.
20
P.C.-B. "Conservation II: Art in the making: Impressionism." Museum Management and Curatorship 10, no. 3 (September 1991): 332. http://dx.doi.org/10.1016/0964-7775(91)90068-3.
Full text
21
Kharitonova, Natalia Stepanovna. "Impressionism as an Expression of Social Consciousness." Journal of Flm Arts and Film Studies 6, no. 3 (September 15, 2014): 82–90. http://dx.doi.org/10.17816/vgik6382-90.
Full textAbstract:
The article is an attempt to comprehend the emergence and establishing of the Impressionism, to understand the reasons of the reappraisal of artistic values gradually taking place in public consciousness and answer the question how the social demand for a new artistic value was formed. The birth of the Impressionism as a cultural phenomenon resulted from an artists interpretation of objective reality, his relations with the society, nature, science, philosophy, religion. The Impressionism was one of the brightest events in the European culture of the mid-1800s which made a great impact on the subsequent development of art becoming the key moment in the transition of the 19th century art to the main artistic trends of the 20th century.
22
Khachibabyan, Mane. "Modernism and Feminism Representations of Women in Modernist Art and Literature." WISDOM 1, no. 6 (July 1, 2016): 118. http://dx.doi.org/10.24234/wisdom.v1i6.71.
Full textAbstract:
This article demonstrates the place and role of the image of women in modernist art and literature, mainly focusing on Impressionism and Post-impressionism. It discusses the unique works of modernist painters and writers (Marie Cassatt, Edgar Degas, Edouard Manet, Pablo Picasso and Virginia Woolf) to explore how modernist art and literature both defined, reflected and shaped gender roles. The article discourses on the representations of feminist views and gender inequality in the works of some modernist artists.
23
Sekulic, Nada. "The impact of Japonisme on European art and painting in the late 19th century: Characteristics of cultural exchange during the rise of European imperialism." Bulletin de l'Institut etnographique 72, no. 1 (2024): 117–30. http://dx.doi.org/10.2298/gei2401117s.
Full textAbstract:
Since the opening of Japan to trade with the West, a cult of Japanese aesthetics in the art and design has been created in Europe. Japonisme exerted a remarkable influence on the emergence of Impressionism and Post-Impressionism, including a recognizable individual influence on key artists within those movements. Motifs, technique, composition, colors were directly borrowed from Japanese art, especially woodcats (ukiyo-e). Japonisme also influenced some later movements in painting and design, but Impressionism and Post-Impressionism represented the initial turning point. Only by considering the imperial expansion of Europe is possible to understand the essential components of that transmission, which requires not only art criticism, but rather, in its complexity, significantly overflows into the field of social critique and anthropology of art. The aim of this study is to trace the pathways and networks of exchange and power that facilitated the spread of Japonisme in Europe - to show how elements of Japanese culture were adopted, assimilated, and to what extent the inventions and originality of new styles and the establishment of new aesthetic standards relied on the dominant position of European culture, which could appropriate elements from other cultures. The study highlights how this transfer was marked by an exotic and Orientalist vision of Japan in Europe and examines the reception of the exoticization of Japan within Japan itself.
24
REYERO, C. "THE KEY TO ART: FROM ROMANTICISM TO IMPRESSIONISM." Art Book 1, no. 3 (June 1994): 16e. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00129.x.
Full text
25
CHARNOCK, IAN. "INSPIRING IMPRESSIONISM: THE IMPRESSIONISTS AND THE ART OF THE PAST BY ANN DUMAS (ED.)." Art Book 15, no. 3 (August 2008): 15–16. http://dx.doi.org/10.1111/j.1467-8357.2008.00973_3.x.
Full text
26
Murray, Natalia. "Nikolai Punin: The Man who Died for Cezanne." Experiment 29, no. 1 (December 12, 2023): 206–15. http://dx.doi.org/10.30965/2211730x-12340053.
Full textAbstract:
Abstract Throughout his life, the art-critic, Nikolai Punin (1888–1953) was a great admirer of Paul Cezanne. He believed that this leader of French modernism had the power to inspire avant-garde artists in Russia, encouraging them to break free from accepted academic rules and limitations. Even after French Impressionism and Post-Impressionism were regarded as a bad influence on young Soviet peo-ple, Punin continued telling his students about the importance of Cezanne and his new system in art. In August 1949, Punin was arrested and sent to the Gulag for promoting the art of Cezanne and Van Gogh. He died there – beyond the Arctic circle – in 1953, shortly before the ban on Western-European art was lifted, and the paintings of Punin’s favourite artists could be exhibited in Moscow and Leningrad once again.
27
PAVELCHUK, Ivanna. "Modern Ukrainian Post-Impressionism: pictorial art of Ihor Melnychuk." Humanities science current issues 4, no. 35 (2021): 45–55. http://dx.doi.org/10.24919/2308-4863/35-4-7.
Full text
28
Haskins, Katherine. "IMPRESSIONISM: ART, LEISURE AND PARISIAN SOCIETY. Robert L. Herbert." Art Documentation: Journal of the Art Libraries Society of North America 8, no. 1 (April 1989): 42–43. http://dx.doi.org/10.1086/adx.8.1.27948024.
Full text
29
Moore, James, and Catherine Tite. "Lancashire’s Pioneering Impressionists: The Manchester School of Painters and its Critics, 1868-1914." Transactions of the Historic Society of Lancashire and Cheshire 171, no. 1 (January 1, 2022): 63–82. http://dx.doi.org/10.3828/transactions.171.7.
Full textAbstract:
The significance of the Manchester School of Painters has been neglected by both art historians and scholars of this region. This article explores the contribution of these artists to the history of Impressionism in Britain and demonstrates how a young group of Mancunians brought French modernism to Lancashire art exhibitions and galleries some time before it was common in London. They struggled with the local artistic establishment, local critics gave them a mixed reception, and yet they ultimately achieved recognition in the capital, with their paintings hanging in the same galleries as the work of their more celebrated French counterparts Corot, Degas and Boudin. While the Manchester School was short-lived, some of its painters continued to experiment with Impressionist techniques and influenced regional art well into the twentieth century. Their techniques were taken up by Adolphe Valette and the style of their urban subject matter was later replicated in the work of both Valette and L.S. Lowry.
30
KONDRATIUK, Lesia, and Uliana ZHORNOKUI. "PSYCHOLINGUISTIC CATEGORIES AS THE LEADING MEANS IN THE COMPARATIVE FRAMEWORK OF IMPRESSIONISM." INNOVATIONS IN THE SCIENTIFIC, TECHNICAL AND SOCIAL ECOSYSTEMS 1, no. 7 (September 30, 2023): 32–57. http://dx.doi.org/10.56378/klzu20230208.
Full textAbstract:
The Purpose of The Study is to study the poetics of impressionism, which unites the world of music, visual and verbal arts, creating a flexible and eclectic impressionistic synthesis and opening up new possibilities for artistic creativity. The Methodology of The Research is the teaching of the methods of description of impressionism, which ensures the comprehensiveness of obtaining information about psycholinguistic categories as the leading means in the comparative study of impressionism. The Scientific Novelty of the research consists in comparative and intertextual methods, which reveal the cultural concept of the category of style and allow to compare the works of different types of art within the same artistic era, as well as to put the works of writers of different artistic directions in the same row. The Conclusions. In works in which the issues are related to the comprehensive disclosure of the specifics of historical and cultural eras or artistic directions and currents, the parallel reading of works of different types of art implies a common aesthetic orientation of artists (within the same period, different artistic systems can be combined with different types of art, coexist ). The given conclusions encourage the study of impressionistic stylistic currents not only in literature, but also in painting and music.
31
Chistopolskaya, Alexandra V., Denis L. Karpov, and Svetlana A. Trifonova. "Phenomenological analysis of the art perception." Vestnik Yaroslavskogo gosudarstvennogo universiteta im. P. G. Demidova. Seriya gumanitarnye nauki 17, no. 2 (June 19, 2023): 298. http://dx.doi.org/10.18255/1996-5648-2023-2-298-307.
Full textAbstract:
The article presents some results of a qualitative study of the phenomenology of perception of art. As the main results, we received an aesthetic preference for the directions of realism and impressionism by most of the subjects. Aesthetic experience can be described in the categories of rational and emotional. The aesthetic evaluation of paintings is dominated by rational categories. The category of emotional is highly differentiated and includes various types of emotions: ethical, aesthetic, hedonistic and everyday.
32
Kühnst, Peter. "Sport as Reflected in Art From the Renaissance to Impressionism." Quest 41, no. 2 (August 1989): 89–98. http://dx.doi.org/10.1080/00336297.1989.10483911.
Full text
33
Kennedy, Róisín. "Transmitting Avant-garde Art: Post-impressionism in a Dublin Context." Visual Resources 31, no. 1-2 (April 3, 2015): 61–73. http://dx.doi.org/10.1080/01973762.2015.1004780.
Full text
34
Ковальова, М. М., and Цю Чжуанюй. "ІМПРЕСІОНІСТИЧНІ ТЕНДЕНЦІЇ В КИТАЙСЬКОМУ ОЛІЙНОМУ ЖИВОПИСУ ПЕРШОЇ ПОЛОВИНИ XX СТОЛІТТЯ." Art and Design, no. 3 (November 13, 2020): 55–65. http://dx.doi.org/10.30857/2617-0272.2020.3.4.
Full textAbstract:
The purpose of the article is to reveal the impressionistic trends in the fine arts of China, determining the originality of the Chinese oil painting development of the 20th century. Methodology. Historical and cultural, comparative, iconographic and iconological methods are used in the study. Results. The study examines the underinvestigated aspects of Chinese painting development in the first half of the 20th century. The retrospective analysis of the pictural art enables tracing the traditions and innovations in the formation of oil painting in China, which prevails at this historical stage of the national art school development. The desire of Chinese artists to preserve the philosophical foundation and theoretical principles of classical ink painting, and at the same time an interest in Impressionism, have become a peculiar feature of Chinese oil painting. The main trends, dominating at the beginning of the century, persist to this day, defining the development of Chinese oil painting in general. It is determined that the decorativeness and thematic repertoire of classical Chinese ink art has been transferred to oil painting, as evidenced by the booming exhibition activities. The study determined that in the first half of the 20th century, the impressionistic trend was spread in the country, which resulted from the study of Japanese and French masters by Chinese masters. The teaching methods and stylistic searches of Chinese artists of the period under study became the foundation of contemporary Chinese art. The latest trends in Chinese oil painting in the first half of the 20th century are: an artistic rethinking, reminiscences of a similar phenomenon in Western European painting of the late XIX – early XX century. The spread of impressionism contributed to the greatest development of still life and landscape genres, and also brought plein air practice to a new level. Many Chinese artists spread impressionistic ideas not only in artistic creation, but also in art history. The scientific novelty lies in the systematization and factual material analysis on this problem, determining the role of the impressionist trend in the Chinese oil painting development. Practical significance. The results of the study can be used in further studies of the history and theory of Oriental art of the 20th century.
35
Prentice, Chris Ortiz y. "RUDYARD KIPLING'S TACTICAL IMPRESSIONISM." Victorian Literature and Culture 45, no. 1 (February 13, 2017): 17–33. http://dx.doi.org/10.1017/s1060150316000413.
Full textAbstract:
A story titled “The Impressionists”that was published in 1897 should have something to say about art, but does it? The sixth installment in Rudyard Kipling'sStalky & Co.series, “The Impressionists” follows the antics of M'Turk, Stalky, and Beetle, three cunning boys at a dreary English military preparatory school. Suspecting these boys of cheating on their schoolwork, housemaster Mr. Prout turns them out of their private study into the main house dormitory. For revenge, and hoping to win back their room, Stalky & Co. becomeagents provocateurs. They start a fight in their house and manage to involve the other housemasters’ houses: “Under cover of the confusion the three escaped to the corridor, whence they called in and sent up passers-by to the fray. ‘Rescue, King's! King's! King's! Number Twelve form-room! Rescue, Prout's – Prout's! Rescue, Macrea's! Rescue, Hartopp's!’” (102). The three boys then allow Mr. Prout to overhear a conversation that makes money-lending seem common practice in the houses: “‘Where's that shillin’ you owe me?’ said Beetle suddenly. Stalky could not see Prout behind him, but returned the lead without a quaver. ‘I only owed you ninepence, you old usurer’” (103). Stalky & Co. rile up the other boys by telling ghost stories and spreading slanderous ditties; they turn the house against the prefects and undermine Mr. Prout's authority; and in the end they win back their room, but they are also found out by the headmaster, who mixes corporeal punishment with his admonishments: “There is a limit – one finds it by experience, Beetle – beyond which it is never safe to pursue private vendettas, because – don't move – sooner or later one comes – into collision with the – higher authority, who has studied the animal.Et ego– M'Turk, please –in Arcadia vixi” (117). The boys take the headmaster's attentions as a compliment, and they take his advice. Never again do they stake the school's peace in the pursuit of their own ends.
36
Stepanov, Andrei Dmitrievich. "A. P. Chekhov and Painting: From Realism to (Pre)Impressionism." Russkaya literatura 1 (2022): 200–206. http://dx.doi.org/10.31860/0131-6095-2022-1-200-206.
Full textAbstract:
The author addresses the transitional nature of Chekhovʼs art, which had evolved from Realism to Modernism, and, trying to solve this problem, draws parallels between Chekhov’s prose and the paintings of the late 19th century. The article establishes that certain canvases of the Itinerants art movement can be identifed as direct sources of certain motives and episodes in Chekhovʼs works. By contrast, the similarities between Chekhovʼs stories and the (Pre)Impressionist paintings of Isaac Levitan cannot be reduced to exact coincidences of plot or detail, and are limited to the hard-to-defne concept of «mood».
37
Felleman, Susan. "“Show the Clichés:” the Appearance of Happiness in Agnès Varda’s Le Bonheur." Acta Universitatis Sapientiae, Film and Media Studies 19, no. 1 (March 1, 2021): 17–34. http://dx.doi.org/10.2478/ausfm-2021-0002.
Full textAbstract:
Abstract Le Bonheur, perhaps Agnès Varda’s most beautiful film, is also her most perplexing. The film’s insistently idyllic surface qualities, overtly beautiful imagery, and psychologically impenetrable, improbably content characters mystify and confuse. Of late, feminist scholars have clarified the situation, noting Varda’s incorporation of advertising and pop cultural visual rhetoric to implicate the social forces framing the picture and those insistently “happy” people: more like advertising ciphers than dramatic characters. Varda herself referenced Impressionist painting as a source of the film’s aesthetics. The purposes of this vivid, chromatic intertextual and intermedial source, in relation to the rhetoric of commercial and popular culture, demand attention. Varda studied art history and connected the milieu of Le Bonheur, the Parisian exurbs, their petit-bourgeois and working-class populace, and bucolic leisure, artisanal and industrial settings, to the modernity of 19th-century Impressionism. Le Bonheur uses an Impressionist picturesque dialectically, in relation to a pop contemporaneity, to observe and critique an ideological genealogy of capitalism and its oppression of women.
38
HASIRCI, Baris. "Landscapes in The Graphic Novels of Chris Ware, Gabrielle Bell and Adrian Tomine: Attributes Shared with Woodblock Prints of Kawase Hasui." Journal of Social Research and Behavioral Sciences 8, no. 16 (July 20, 2022): 255–68. http://dx.doi.org/10.52096/jsrbs.8.16.15.
Full textAbstract:
A common attribute of the graphic novels of Chris Ware, Gabrielle Bell and Adrian Tomine is panels, portraying landscapes that invoke melancholy. The illustration styles are cartoonish yet realistic which lends itself to comedy and tragedy. Some emotional scenes are relayed through illustrations of landscapes that show natural elements such as the sky and trees. They also include elements of modern life such as cars and buildings. By illustrating the timelessness of nature and modern living, these works remind of the woodblock prints of Kawase Hasui. The Shin-hanga prints of Hasui are made with the influence of Impressionism which is influenced by Ukiyo-e. As with the Impressionists, the artists of Shin-hanga presented topics such as landscapes by reflecting fleeting light and the individual experiences they invoke. Hasui represents nature in its quiet glory, mixing it with the everyday which is also in the spirit of the mentioned graphic novelists’ works. This study uncovers the approaches that create the emotional landscape illustrations in graphic novels by determining their common attributes with Shin-hanga. Through the chosen artwork, this discussion aims to contribute to the existing discourse on graphic novels and provide a basis for further understanding of this art form. Keywords: Graphic Novels, Illustration, Landscape Painting, Impressionism, Shin-hanga
39
Opanasiuk, Oleksandr, Sergey Shyp, and Olha Oleksiuk. "Impressionism in the context of procedural nature of existence of European culture." Revista Amazonia Investiga 10, no. 48 (December 30, 2021): 26–33. http://dx.doi.org/10.34069/ai/2021.48.12.3.
Full textAbstract:
Impressionism has been studied in the context of the procedural nature of European culture and the peculiarities of its development in the final intentional formation period. Cultural, comparative and analytical methods of analysis are used. The article emphasizes: since the beginning of European culture, its artistic development has determined the desire to express images of the world in their real and objective perspective. It achieves this in the 19th century. The analysis gives grounds for the following conclusion. At the turn of the 19th – 20 th centuries the vector of observation of images of the world changes. Culture forms an intentional reflection, which determines its cultural and artistic development. The object perspective loses its relevance, but the movement from the (specific) object towards the periphery and the deep dimension of phenomena becomes decisive for art. Impressionism expresses only one aspect of such movement and it is directed towards the deep sphere of the object. Impressionism is characterized by the phenomenological principle of artistic representation.
40
Tarasova, Maria V. "Dialogue in the Arts: Interaction of Languages of Painting and Cinema." Observatory of Culture, no. 1 (February 28, 2015): 30–34. http://dx.doi.org/10.25281/2072-3156-2015-0-1-30-34.
Full textAbstract:
Explores the objectlanguage laws in visual arts and the interrelation of art signs that are employed in painting and cinematography. The author addresses the “Age of Innocence” by Martin Scorsese and analyses the cinema art speech as determined by the objectlanguage of the painting styles, namely the impressionism, pointillism, Art Nouveau, etc. The artistic culture is described as a dialogue space where languages of various types of arts reveal their origin from a single source and make their capacity of general understanding messages produced in culture obvious.
41
Yin, Huiyi. "Unveiling Cross-Cultural Hidden Nexus: An Analysis of Chinas Contribution to the Cultural Influence of the East on the West." Communications in Humanities Research 31, no. 1 (May 17, 2024): 105–14. http://dx.doi.org/10.54254/2753-7064/31/20231978.
Full textAbstract:
Even though the cultural communication between Japan and Europe is massively documented, such as the impact of ukiyo-e prints on Impressionism, Chinese culture's enormous contributions are overlooked. Ukiyo-e is often regarded as the primary source that influenced Impressionism from the East during the Meiji Restoration in the fin de sicle. The East's impact on the West is long-lasting rather than explosive. The critical power of traditional Chinese art and innovations, for example, the moveable type printing, over the evolution of European art movements has yet to be noticed due to political and geographic limitations. Citing paintings by Ma Yuan (1160-1225), Li Song ( active 1190-1230) and Wang Ximeng (1096-1119) in China, Katsushika Hokusai (1760-1849), Utagawa Kuniyoshi (1798- 1861), and Hiroshige (1797- 1858) in Japan, Vincent Van Gogh (1853- 1890) in the Netherlands, and Claude Monet (1840-1926) in France, among others, as examples of specific comparisons and cultural analyses, this article delves into the hidden connections and cultural exchanges, through working on the technical and iconographical forms from ancient China that shaped the European art in the epoch of high modernism.
42
Mikosz, José Eliézer, and Teresa Lousa. "IMAGES OF MELANCHOLY IN THE ART FROM IMPRESSIONISM TO THE PRESENT." Art&Sensorium 11 (June 26, 2024): 1–15. http://dx.doi.org/10.33871/sensorium.2024.11.9247.
Full textAbstract:
Este artigo reflete sobre o papel persistente da melancolia na Arte. Parte de uma história geral do conceito de melancolia, elencando exemplos de obras de artistas dentro do período simbolista e impressionista até às contemporâneas que trazem situações emblemáticas que podemos associar à melancolia. Através de um recorte, que visa recuperar imagens em que a iconografia típica do melancólico em que este é representado com a mão debaixo do queixo, os autores usaram uma metodologia qualitativa semiótica na análise iconográfica delas. Esperando por contribuir com as reflexões e abordagens atuais sobre o tema, este pequeno artigo reposiciona a melancolia no mapa das artes e da cultura.
43
Hui, Wang. "The Evolution of Western Oil Painting Styles from the Renaissance to Modern Art." Frontiers in Humanities and Social Sciences 4, no. 7 (July 24, 2024): 258–61. http://dx.doi.org/10.54691/cef3kb34.
Full textAbstract:
painting styles from the Renaissance through to modern art, exploring significant transformations in technique, thematic focus, and aesthetic values. Starting with the Renaissance, characterized by its emphasis on realism and humanistic themes, we examine the mastery of light and perspective that painters such as Leonardo da Vinci and Michelangelo brought to the canvas. As we move into the Baroque period, the focus shifts to emotional depth and dramatic intensity, exemplified by artists like Caravaggio and Rembrandt. The subsequent Neoclassical and Romantic movements reveal a divergence in styles—precision and restraint versus emotional exuberance and individualism. Transitioning into the 19th century, Impressionism marks a revolutionary departure from traditional forms, focusing instead on light and color to capture fleeting moments, leading to further explorations in Post-Impressionism, Cubism, and Surrealism. Each of these styles contributed to the pluralistic landscape of modern art, which breaks from conventional techniques and embraces abstraction. This paper provides a comprehensive analysis of these transitions, offering insights into the broader cultural and philosophical shifts that influenced these artistic developments. Through examining these historical contexts, the paper highlights how oil painting has continuously adapted to reflect changing ideas and sensibilities within Western society.
44
Samokhvalova, Ekaterina I. "PERCEPTION OF IMPRESSIONISM AS AN EFFECTIVE WAY TO DEVELOP CREATIVITY AMONG STUDENTS IN THE FIELD OF ADDITIONAL EDUCATION." Научное мнение, no. 10 (October 23, 2023): 150–56. http://dx.doi.org/10.25807/22224378_2023_10_150.
Full textAbstract:
Currently, an urgent task is the development of creativity, which is reflected in programmes of additional education. There is a rapid growth in the number of educational programmes including sections on the development of creativity and creative potential of students, the search for new methods of development and evaluation of creativity. In the article, the focus of the author’s attention lies in the field of fine art as a way of developing creativity. The article presents the features of organising the process of perception of Impressionist paintings and designing a creative environment for the development of students’ creativity in the field of additional education through the perception of Impressionist paintings. It is concluded that the Impressionists’ paintings meet the requirements that need to be taken into account when forming a creative environment and developing creativity. Also, for the development of creativity, it is necessary to take into account the peculiarities of thinking, personality traits and qualities of the listener in the field of additional education. The author notes the importance of avoiding the influence of constraining factors, barriers and obstacles to the development of creativity through the perception of Impressionist paintings.
45
Gao, Hui. "Oriental Elements in Cezanne’s Art." BCP Social Sciences & Humanities 18 (June 30, 2022): 266–69. http://dx.doi.org/10.54691/bcpssh.v18i.994.
Full textAbstract:
Paul Cezanne is one of the representative artists of post-impressionism in France. In the early 19th century, Japanese paintings were famous and influenced by the second industrial revolution and respected Oriental works of art. Many Western artists initially increased Oriental elements to create but superficial. In the mid-19th century, with the emergence of Oriental art stores in the streets of France, the popularity of Oriental works has been further developed. Until the late 19th century, represented by Cezanne artists, art has been dared to explore and innovate on the road. Painting, especially in the late paintings of many potential injections of Oriental elements. Cezanne did not go to the East; a visible blend of Eastern and Western art exploration seems to have a hidden fusion very early. Therefore, this paper attempts to conduct a preliminary discussion on three aspects of composition, artistic temperament, and color, which helps us further explore the early integration of Eastern and Western art.
46
Clark, Alexis. "Writing impressionism into the Musée du Luxembourg’s history of nineteenth-century art." Museum History Journal 11, no. 1 (January 2, 2018): 57–75. http://dx.doi.org/10.1080/19369816.2018.1429369.
Full text
47
Petersen, LaMar. "Harvesting the Light: The Paris Art Mission and Beginnings of Utah Impressionism." Utah Historical Quarterly 56, no. 1 (January 1, 1988): 90–92. http://dx.doi.org/10.2307/45061706.
Full text
48
Sevastyanov, Aleksandr Nikitich. "The exhaustion of the visual and technical means of traditional art as a source of the art crisis of the 1880s. The limit of the development of tradition in painting is impressionism." Uchenyy Sovet (Academic Council), no. 2 (January 25, 2021): 126–35. http://dx.doi.org/10.33920/nik-02-2102-06.
Full textAbstract:
The article demonstrates that the art crisis of the 1880s was caused by a number of prerequisites. Among them are both social ones such as the formation of a new type of society - mass industrial, and actually aesthetic and artistic ones. This is the exhaustion of the means of artistic expression, as well as the birth of new technical means of fixing reality, such as photography, and later – cinema. Impressionism became one of the phenomena of this period of art development, delaying its global crisis at the turn of the XIX-XX centuries.
49
Ortiz, Carlos Manuel Montenegro. "Pragmatism and Creativity: Patenting the School Art Manifesto from Dewey’s Aesthetic Experience." Creativity. Theories – Research - Applications 9, no. 1 (June 1, 2022): 130–45. http://dx.doi.org/10.2478/ctra-2022-0007.
Full textAbstract:
Abstract An original way to make sense of the aesthetic experience concept – in a Deweyan perspective – is from the Art-Education binomial. After studying the pragmatist philosophical category of Experience in John Dewey, a product of Doctoral theoretical research in education, it was possible to characterize a new art movement: School Art. Hence, this conceptual-theoretical finding will expand a wide range of art movements that emerged between the nineteenth century and contemporaneity: Art Nouveau, Impressionism, Abstract Art, Futurism, Action Painting, and Children’s Art, among many others. However, because of lexical reasons and hoping to achieve greater acceptance among theorists, the so-called School Art will patent from this paper as a neologism named from now on as Artscholarism. Thus, its philosophical-historical foundations, characteristics, and description will be the article’s primary purpose. In that sense, psychological and historical discussions will emerge throughout the paper. In conclusion, the new art movement – Artscholarism – comes from Deweyan thinking and is framed by creativity and a social context.
50
Gralinska-Toborek, Agnieszka. "Nadawanie nowych znaczeń modernizmowi." Acta Universitatis Lodziensis. Folia Philosophica. Ethica-Aesthetica-Practica, no. 18 (January 1, 2006): 3–18. http://dx.doi.org/10.18778/0208-6107.18.01.
Full textAbstract:
The contemporary vision of modernism, which is constructed from a point outside of that period, differs from the vision created by the participants and originators of modernism. One of the major problems encountered today is the one of the meaning of modernist works art. The extreme concept of "silent" and "pure" art followed by Clement Greenberg and other modernists has now found itself under criticism. The interpretations of many modern currents in art reveal attempts at identifying new content in works of art, which sometimes seems to be an act of assigning new meaning to art. Such interpretations can be observed in studies of impressionism, cubism, abstract expressionism and minimalism. The problem of meaning is the subject of study of such theorists as Timothy J. Clark, Patricia Leighten, Serge Guilbaut, Rosalind Krauss and W. J. T. Mitchell. Their research concentrates not as much on works of art as on modernists' vision of art. Mitchell shows how theory replaced the content of modernism art and proves that "silent" art is impossible since meanings arise independently of the artist's intention in the process reception. The new vision of modernism does not attempt to create a universal and objective model of that period but instead aims at a multiplication of meanings and at a destruction of the previous model (the holistic model). The vision of modernism comes to resemble a mosaic of unconnected elements.