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Journal articles on the topic 'Marc Chagall'

Author: Grafiati

Published: 4 June 2021

Last updated: 24 January 2023

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1

Nam, Ki-Sun. "A Study on Art Make-Up Designs Applying Formative Images of Marc Chagall -Focusing on Practical Training Cases-." Journal of the Korean Society of Cosmetology 28, no. 3 (June 30, 2022): 540–52. http://dx.doi.org/10.52660/jksc.2022.28.3.540.

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This Study is about art make-up designs applying formative Images of Marc Chagall focusing on practical training cases. The art makeup designs express aesthetical and emotional aspects of human mind. And the art make-up designs are in need of drawing skills and aesthetic sense. All the art make-up works were done by distortion, modifications and exagerations. The unique colors and the shapes of Marc Chagall’s art works were expresses in body torso through brush techniques. From this practical training cases, I expect that Marc Chagall’s painting skills could be applicable to the art make-up works. Finally, Six art make-up designs were created by six college students in Daejeon. The making process of art make-up designs were recorded every weeks by the students. Art make-up designs production method works with colors and geometric patterns inspired by flat art techniques hand-painting techniques. The results of this practical training cases contained different art make-up techniques and colors of Chagall's work. Formative characteristecs of Marc Chagall were applied to an expression method. New six art make-up designs were developed and the ides, types and expression method of art make-up were examined. In the future, we expect unique and beautiful high quality of art-make up designs.

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2

Jeffrey, David Lyle. "Meditation and Atonement in the Art of Marc Chagall." Religion and the Arts 16, no. 3 (2012): 211–30. http://dx.doi.org/10.1163/156852912x635205.

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Abstract Chagall’s crucifixion paintings, long a delicate subject among art historians, are best contextualized in the light of his life-long repatriation of Christian iconography to its Jewish foundation. Chagall reverses typological sequences familiar to Christians, so that instead of the Old Testament being seen as prefiguring the events of the Gospels, in his work the New Testament refers back to the Hebrew Scriptures in such a way as to illuminate the universal in Jewish experience. In Solitude (1933) and The Yellow Crucifixion (1943) we see how Chagall achieves a remarkable fusion of Jewish and Christian understandings of meditation and visual commentary on the Scriptures, prophetically calling both traditions to repentance and reconciliation.

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3

Leroy, Fabrice. "Joann Sfar Conjures Marc Chagall." European Comic Art 4, no. 1 (January 1, 2011): 39–57. http://dx.doi.org/10.3828/eca.2011.4.

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The five episodes of Joann Sfar's The Rabbi's Cat (2002-2006), recently published in English translation in two volumes (2007-2008), and particularly the latest instalment of the series, Africa's Jerusalem, are rich in meta-narrative and meta-iconic elements. By staging various theological arguments about aniconism in Abrahamic religions, Sfar uses the comics medium to reflect on the prohibition of graphic representation in Judaism and Islam (following the Jyllands-Posten Danish cartoons controversy and the trial of the French satirical magazine Charlie-Hebdo ). He also distances his work from the usual Western stance on realistic mimesis and its pseudo-scientific epistemology by criticising the European constructs of race and exoticism. Between the anti-iconic prohibition of the East and the false iconicity of the West, Sfar finds a middle ground in the anonymous character of a Russian painter travelling through Africa in the 1930s, whose physical appearance and biographical background recall that of famous Franco-Russian Jewish painter, Marc Chagall. This article will explore how the painter's cultural hybridity and artistic idiosyncrasy allow Sfar to negotiate a perspective on graphic representation which resolves the problem of simulacrum as it is framed in this binary opposition. It will also discuss the manners in which Sfar borrows from Chagall's aesthetics and magic realism in the process, thus creating a new kind of image in the realm of comics.

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4

Ladous, Régis. "Marc Chagall et les Maritain." Revue des sciences religieuses, no. 84/4 (December 15, 2010): 545–60. http://dx.doi.org/10.4000/rsr.311.

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5

Bowlt, John E. "Marc Chagall and Nadezhda Dobychina." Experiment 1, no. 1 (1995): 251–56. http://dx.doi.org/10.1163/2211730x-00101019.

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6

Seth Wolitz. "Marc Chagall (review)." Shofar: An Interdisciplinary Journal of Jewish Studies 26, no. 4 (2009): 211–13. http://dx.doi.org/10.1353/sho.0.0131.

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7

Stevenson, Deborah. "I Am Marc Chagall (review)." Bulletin of the Center for Children's Books 59, no. 6 (2006): 272. http://dx.doi.org/10.1353/bcc.2006.0130.

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8

Hodgson, Shirley. "Marc Chagall: the artist as peacemaker." Medicine, Conflict and Survival 37, no. 4 (October 2, 2021): 332–34. http://dx.doi.org/10.1080/13623699.2021.1994513.

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9

Baskind, Samantha. "Marc Chagall on Art and Culture, and: Marc Chagall and His Times: A Documentary Narrative (review)." Jewish Quarterly Review 98, no. 1 (2008): 135–38. http://dx.doi.org/10.1353/jqr.2008.0009.

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10

Orlando, José Antônio. "O sagrado e o profano em Marc Chagall." Arquivo Maaravi: Revista Digital de Estudos Judaicos da UFMG 10, no. 19 (November 9, 2016): 62–71. http://dx.doi.org/10.17851/1982-3053.10.19.62-71.

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Este artigo analisa arte e religião na obra de Marc Chagall (1887-1985) a partir da exposição “Chagall. Divino y Humano”, apresentada na Fundação Canal, em Madri, de fevereiro a abril de 2016. A mostra, que reuniu mais de uma centena de obras originais em técnicas de litografia, xilogravura e gravura, incluiu trabalhos sobre papel, criadas pelo artista entre as décadas de 1940 e 1980.

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11

Szewczyk-Haake, Katarzyna. "The Works of Marc Chagall in Polish Poetry (from the 1950s to the 1980s)." Porównania 28, no. 1 (June 15, 2021): 71–99. http://dx.doi.org/10.14746/por.2021.1.4.

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The article presents a profound and artistically very successful phenomenon of the reception of Marc Chagall’s works in Polish poetry form the 1950s to the 1980s. Different from the reception of Chagall in other “Western” literatures (examples discussed in the article derive from French poetry), the Polish reception is marked first of all by the events of the Second World War and the Holocaust. As during the war almost all material and cultural traces of the Jewish presence in Poland were annihilated, the works of Chagall became a point of reference for many poets (e.g. Jerzy Ficowski, Joanna Kulmowa, Janusz S. Pasierb, Tadeusz Śliwiak), enabling them to express a part of Polish culture which was tragically deprived of its own forms of expression and existence.

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12

Leroy, Fabrice. "Painting the Painter." European Comic Art 5, no. 2 (December 1, 2012): 8–22. http://dx.doi.org/10.3167/eca.2012.050202.

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French cartoonist and filmmaker Joann Sfar has often used the comics medium to reflect on visual representation. His latest bande dessinée, Chagall en Russie ['Chagall in Russia'] (2010-2011), continues some of the meta-pictural elements previously found in his Pascin (2000-2002), which already featured Chagall in several episodes, as well as his acclaimed series, The Rabbi's Cat, where Sfar introduced the character of an anonymous Russian painter, whose biography and artistic stance seemingly referred to that of Marc Chagall. Although Chagall en Russie explicitly refers to the real-life Franco-Russian modernist painter, it is certainly not a standard biographical exercise. By offering a synthetic and often symbolic version of personal and historical events experienced by Chagall, Sfar takes certain liberties with the painter's life story as it was outlined by the artist (in My Life, his 1922 autobiography) and by many biographers and art historians. Sfar does not seek an authentic depiction of his subject's verifiable life journey, but rather views it through a metaphorical narrative, which is itself inspired by Chagall's artistic universe and raises questions about the figurative possibilities of comics.

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13

Ruth, Dorot. "The Overt and Covert Chagall." Studia Europaea Gnesnensia, no. 14 (December 15, 2016): 229–39. http://dx.doi.org/10.14746/seg.2016.14.13.

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In this paper, the authors chooses the theory of metarealism as a tool to reveal the worlds of Marc Chagall - the physical and metaphysical ones which function simultaneously. The purpose behind it is to help readers discover Chagall’s magical, mysterious and mystical environments which he so adroitly conveyed via his colourful creations. For this end, I analyzed three of his well-known paintings, each of which helped uncover his world of harsh reality merged with his life of fantasy, both spiced with symbolism.

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14

Wolitz, Seth L. "In Search of Marc Chagall: Review Essay." Shofar: An Interdisciplinary Journal of Jewish Studies 23, no. 4 (2005): 121–30. http://dx.doi.org/10.1353/sho.2005.0171.

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15

Rodrigues da Conceição, Douglas. "Literatura bíblica e a pintura de Marc Chagall (1885-1987): “Le sacrifice d’Isaac”." Correlatio 16, no. 1 (August 18, 2017): 175. http://dx.doi.org/10.15603/1677-2644/correlatio.v16n1p175-200.

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O presente artigo tem por objeto de análise a tela “Le sacrifice d’Isaac”, de Marc Chagall (1885-1987), que desde 1973 passou a pertencer à coleção permanente do Musée National Message Biblique Marc Chagall, em Nice, França. A questão a ser evocada, neste texto, é a ostensiva convocação estética da narrativa bíblica de Gênesis 22, 9-14 para o interior da referida tela. Parte-se da hipótese segundo a qual a tela em questão realiza um fenômeno da linguagem denominado por Roman Jakobson de tradução intersemiótica.

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16

Revilla, Federico. "Spiritual coincidences between Marc Chagall and Vicente Aleixandre." Neohelicon 14, no. 1 (March 1987): 193–207. http://dx.doi.org/10.1007/bf02093027.

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17

Lynton, Norbert. "Review: Benjamin Harshav (ed.), Marc Chagall on Art and Culture ; Benjamin Harshav, Marc Chagall and his Times: A Documentary Narrative." Art Book 12, no. 1 (January 26, 2005): 32–33. http://dx.doi.org/10.1111/j.1467-8357.2005.00498.x.

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18

Smolina, Maya. "TAKE YOUR FAMILY WITH YOU: ON THE 135TH ANNIVERSARY OF MARC CHAGALL." Siberian Art History Journal 1, no. 3 (November 9, 2022): 28–37. http://dx.doi.org/10.31804/2782-4926-2022-1-3-28-37.

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The article discusses several works by Mark Zakharovich Chagall, created in the first Parisian period and in Vitebsk. The choice of works connected with the purpose of studying the relationship with the world-famous native painter and poet. The Parisian works presented by «Birth» (1911) and «Self-Portrait with Seven Fingers» (1913) give a self-reflection idea of one's own destiny and the author's personal mythology construction. Also attracted one of the large Vitebsk paintings by Marc Chagall – "Over the City" (1914-1918), left by him in Russia before his emigration. In this work, the attitude to the motherland is concentrated, carried by him in many ways through all the subsequent years of creativity.

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19

Santana Júnior, Fernando Oliveira. "Representações da memória e do exílio judaicos em The fixer, de Bernard Malamud, e em pinturas de Marc Chagall." Arquivo Maaravi: Revista Digital de Estudos Judaicos da UFMG 5, no. 9 (October 30, 2011): 39–49. http://dx.doi.org/10.17851/1982-3053.5.9.39-49.

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Este trabalho tem por objetivo fazer uma análise intersemiótica da presença da memória e do exílio no romance The fixer (O faz-tudo), do escritor judeu norte-americano Bernard Malamud (1914-1986), publicado em 1966, e em alguns quadros do pintor judeu russo Marc Chagall (1887-1985), por exemplo: Êxodo (de 1952-1966), A crucificação branca (de 1938), Eu e a aldeia (de 1911). Apesar de serem de gerações distintas, Malamud, filho de imigrantes judeus russos que foram para os Estados Unidos, e Chagall, ele mesmo imigrante ido para a França, ambos tematizam o lugar-lar de origem de suas respectivas famílias, o schtetl “pequena cidade”, em ídiche). Os schtetlekh foram pequenas cidades demarcadas na Polônia e na Rússia, durante o século 19 e início do século 20, centros da vida religiosa e cultural judaica. Para muitos judeus imigrantes da Europa Oriental e para os seus descendentes, o schtetl se tornou o locus mítico primordial e nostálgico, apesar da destruição provocada pelos pogroms e pelo Holocausto. Por isso, artistas como Malamud e Chagall recriaram a vida do schtetl em suas obras, recorrendo ao zékher, a memória individual e coletiva judaica, cuja transmissão ocorre mediante o ritual e a narrativa. Assim, a memória recria o espaço e o tempo, transgredindo cronologias, como visto em The fixer, de Malamud, e na pintura de Chagall, ao recorrem ao universo onírico e ao inconsciente, elementos do Surrealismo. Ademais, Malamud e Chagall tematizam o exílio, contestando o uso da crucificação de Jesus como pretexto antissemita. Malamud o faz com o personagem Yákov Bok, anti-herói que vive um autoexílio sob as implicações do histórico exílio coletivo judaico. Chagall o faz, a seu modo, também recriando a lenda de Ahasverus, o judeu errante.

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20

Kuščević, Dubravka, Marija Brajčić, and Luce Šipić. "Uporaba umetniškega dela pri poučevanju likovni umetnosti (Marc Chagall)." Revija za elementarno izobraževanje 12, no. 2 (2019): 177–98. http://dx.doi.org/10.18690/rei.12.2.177-198.2019.

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21

Diment, Galya. "Yehuda Pen, The Sholem Aleichem of Painting." Ars Judaica The Bar Ilan Journal of Jewish Art: Volume 17, Issue 1 17, no. 1 (January 1, 2021): 61–86. http://dx.doi.org/10.3828/aj.2021.17.4.

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This article is about Marc Chagall’s teacher in Vitebsk, Yehuda Pen (1854-1937), and the school for painters that he established at the turn of the twentieth century. From it, in addition to Chagall, came the likes of El Lissitzky (1890-1941) and Osip Zadkine (1888-1967). It is proposed that in addition to training and enabling these better-known artists to “paint in Yiddish,” Pen, who is hardly known in the West (and who was mysteriously murdered in 1937, at the peak of Stalin’s purges), was himself (while academically trained) a truly and remarkably groundbreaking Jewish, Yiddish painter.

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22

Kossewska. "Literature and Memory: The Correspondence between Marc Chagall and David Lazer." Polish Review 65, no. 4 (2020): 23. http://dx.doi.org/10.5406/polishreview.65.4.0023.

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23

Salcman, Michael. "THE FIANCÉE WITH A BLUE FACE BY MARC CHAGALL (1887–1985)." Neurosurgery 61, no. 6 (December 1, 2007): 1322–24. http://dx.doi.org/10.1227/01.neu.0000306112.00916.34.

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24

Schmahmann, Brenda. "Marc Chagall: The Light of Origins: some thoughts about audience responses." de arte 36, no. 63 (January 2001): 87–89. http://dx.doi.org/10.1080/00043389.2001.11876974.

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25

Cavalcanti, Luciano Dias. "“O grande desastre aéreo de ontem”: onirismo, montagem poética e ressonâncias de Marc Chagall em Jorge de Lima." Raído 11, no. 28 (January 30, 2018): 237. http://dx.doi.org/10.30612/raido.v11i28.6547.

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Nesse texto, pretendemos fazer a análise do poema “O grande desastre aéreo de ontem”, de modo a perceber as ressonâncias da obra pictural de Marc Chagall na poesia de Jorge de Lima. Para isso estudaremos a relação que os dois artistas empreendem em suas obras com o onirismo e a montagem poética.

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26

Sinkevich, T. I. "REPRESENTATION OF THE IMAGE OF THE SMALL MOTHERLAND IN THE WORKS OF MARC CHAGALL." Onomastics of the Volga Region, no. 2 (2020): 77–82. http://dx.doi.org/10.34216/2020-2.onomast.77-82.

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The article presents poems, fragments of letters, names of paintings that represent the image of the small homeland of M. Chagall, which became signs and symbols of the reality of the described events in the private life of one of the great artists of the XX century. They reflect the peculiarities of perception of the world, social relations, national and cultural characteristics, they become a valuable bibliographic material.

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27

Hughes, Christena F. "About the Cover: I and the Village (1911)/Marc Chagall (1887–1985)." Journal of the American Pharmaceutical Association (1996) 41, no. 3 (May 2001): 496. http://dx.doi.org/10.1016/s1086-5802(16)31277-3.

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28

Mouratova, Helena Yu. "Flying world pictures Marc Chagall: overcoming space and time (Based on a book of poems D. Simanovich “Vitebsk. Chagall. Love”)." Philological Sciences. Scientific Essays of Higher Education, no. 2 (March 2018): 69–75. http://dx.doi.org/10.20339/phs.2-18.069.

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29

Ustinov, A. B. "Andersen in Petrograd: Mstislav Dobuzhinsky and “The Comedians’ Camp”." Studies in Theory of Literary Plot and Narratology 15, no. 2 (2020): 423–61. http://dx.doi.org/10.25205/2410-7883-2020-2-423-461.

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In this article, the author proposes a detailed reconstruction of Mstislav Dobuzhinsky’s artistic activity at “The Comedians’ Camp” cabaret, against the backdrop of the Petrograd culture in 1916–1919. Special attention is paid to the Dobuzhinsky’s creative relationship with prominent writers, artists and stage directors: Boris Pronin, Mikhail Kuzmin, Piotr Sazonov and Yuliia Slonimskaya-Sazonova, Piotr Potiomkin and Boris Romanov, Marc Chagall. Also, Dobuzhinsky’s diaries for 1919 are published here for the first time.

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30

Смолина, Майя. "Эстетизация образа родины в творчестве Марка Захаровича Шагала." Известия Байкальского государственного университета 28, no. 2 (2018): 334–41. http://dx.doi.org/10.17150/2500-2759.2018.28(2).334-341.

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31

GALINDO OCAÑA, Esperanza. "Transgresión y tradición en la obra bíblica de Marc Chagall. Análisis e interpretación de las 17 pinturas del Museo Nacional Mensaje Bíblico "Marc Chagall" como signo y como hecho de comunicación." Comunicación y Hombre, no. 5 (November 15, 2009): 185–88. http://dx.doi.org/10.32466/eufv-cyh.2009.5.464.185-188.

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32

Kossewska, Elżbieta. ""I Work for People Who Love . . .": David Lazer, Marc Chagall, and the Jewish State." Jewish Quarterly Review 111, no. 1 (2021): 1–9. http://dx.doi.org/10.1353/jqr.2021.0000.

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33

Jongeneel, Else. "Le feu magique du regard." Romanic Review 113, no. 3 (December 1, 2022): 492–514. http://dx.doi.org/10.1215/00358118-10055171.

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Résumé Le présent article comporte une analyse d’« À travers l’Europe » (1914), le poème d’Apollinaire dédié à Marc Chagall. Le poète s’y réfère à plusieurs tableaux du peintre qu’il avait vus lors de ses nombreuses visites aux « Salons » de l’époque et aussi à l’occasion d’une visite à l’atelier de celui-ci vers 1913. Significativement Apollinaire ne se présente pas comme un médiateur esthète prêt à recréer en poésie les artéfacts chagalliens, mais se laisse inspirer par les tableaux pour aller à la recherche de sa propre identité personnelle et esthétique.

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34

Delgado, Ana Maria dos Santos Silva. "O estranho caso de Angélica, de Manoel de Oliveira: um viajar fora do tempo." Arquivo Maaravi: Revista Digital de Estudos Judaicos da UFMG 12, no. 23 (November 28, 2018): 129–44. http://dx.doi.org/10.17851/1982-3053.12.23.129-144.

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O filme O estranho caso de Angélica, de Manoel de Oliveira, lançado em 2010, remonta a um projeto de 1952 e sublinha a importância da memória na arte do cineasta. Entendendo memória como liberdade num “viajar fora do tempo”, a película reflete sobre a relação do cinema de Oliveira com outras artes visuais, nomeadamente a fotografia e o conceito de “aura”, como pensado por Walter Benjamin, além da pintura de Marc Chagall, em cuja obra se destacam quadros representando um casal a voar sobre a cidade. Analisaremos, assim, a relação do “viajar fora do tempo”, do filme, com o motivo da suspensão na obra do pintor judeu russo.

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35

Wilhelm, Mirjam E. "“A Child in Every Artist?” Vjera Biller and Jewish Primitivism in the Berlin Sturm Avant-garde." Ars Judaica The Bar Ilan Journal of Jewish Art: Volume 17, Issue 1 17, no. 1 (January 1, 2021): 87–107. http://dx.doi.org/10.3828/aj.2021.17.5.

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This article centers on the “forgotten” Jewish avant-garde artist Vjera Biller, among the most active contributors to the Berlin-based 1920s expressionist movement Der Sturm. Through an in-depth analysis of the artist’s fragmented oeuvre, including her Venice series, it examines Biller’s art practice, her leitmotif of children, and its links to the aesthetics of interwar German Expressionism. It contrasts her approach with that of her contemporary Sturm colleague Marc Chagall and shows how both artists drew extensively on children’s art and “the primitive” for inspiration. Biller also pioneered the inclusion of popular culture elements such as cartoons and comics as an avant-garde art form.

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36

Frankel. "Home and the Holocaust in Selected Paintings of Marc Chagall and Yiddish Poems of David Fram." Soundings: An Interdisciplinary Journal 101, no. 4 (2018): 341. http://dx.doi.org/10.5325/soundings.101.4.0341.

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37

Nikolaenko, Sergey Vladimirovich. "Russian Language Classes through Thematic Learning “About the Country, about the Homeland, about the Human”: Metasubject Aspect." Polylinguality and Transcultural Practices 19, no. 1 (March 16, 2022): 107–16. http://dx.doi.org/10.22363/2618-897x-2022-19-1-107-116.

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In the educational process of acquiring or learning languages, humanitarian knowledge and related skills (both academic and extracurricular, also termed as hard and soft skills) are responsible for not only a native speakers cognitive activity, but also for their behavioral scenarios. This statement ensures the relevance of this research. The objective of the article is to determine methodological recommendations that can be used in Russian language classes at educational institutions of the Republic of Belarus which aim at preserving regional / national places and images of memory presented in fiction and journalistic texts. The material that is used in class comprises texts created by Marc Chagall, Robert Rozhdestvensky, David Simanovich that aim at educating the generational trajectory by means of the language.

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38

Kopceva, Natal'ya, Aleksandra Sitnikova, Anna Omelik, Dar'ya Pchelkina, Ekaterina Sertakova, Aleksandra Kuznetsova, Egor Kozlov, and Anzhelika Frolova. "RESULTS OF THE SCIENTIFIC SEMINAR "THEORY AND PRACTICE OF APPLIED CULTURAL RESEARCH" ON 23TH SEPTEMBER 2022 (SIBERIAN FEDERAL UNIVERSITY, KRASNOYARSK)." Siberian Art History Journal 1, no. 3 (November 9, 2022): 37–57. http://dx.doi.org/10.31804/2782-4926-2022-1-3-37-57.

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This text presents a summary of the work of the educational, scientific and methodological seminar "Theories and Practices of Applied Cultural Research" (September 23, 2022, Krasnoyarsk, Siberian Federal University). The seminar was devoted to the presentation of topical art studies in accordance with memorable dates for the world of culture and art: 1) Art studies of works of fine art for the anniversaries of the artists Marc Chagall, Pavel Korin, Ivan Aivazovsky, Vladimir Borovikovsky; 2) Research of animation art for the 140th anniversary of the birth of Vladislav Starevich; 3) Current research on works of Russian cinematography dedicated to the 70th anniversary of the birth of Karen Shakhnazarov; 4) Studies in the history of theatrical art, for the 160th anniversary of the birth of Maurice Maeterlinck; 5) The art of book illustration in Alexander Koshkin’s works.

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39

Maistrovskaya, Maria T. "A SKETCH OF THE DESIGN CONCEPTION OF THE MARC CHAGALL MUSEUM IN VITEBSK. DEDICATED TO HIS 130 YEARS JUBILEE." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 4 (2017): 127–43. http://dx.doi.org/10.28995/2073-6401-2017-4-127-143.

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40

Carelli, Francesco. "There was... a goat! Impressions of learning from a young visitor to a recent Marc Chagall exhibition in Milan." London Journal of Primary Care 7, no. 3 (January 2015): 59–60. http://dx.doi.org/10.1080/17571472.2015.11494286.

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Kuleszewicz, Anna. "Aleś Puszkin — czołowa postać białoruskiej awangardy?" Kultury Wschodniosłowiańskie - Oblicza i Dialog, no. 7 (July 31, 2018): 87–98. http://dx.doi.org/10.14746/kw.2017.7.7.

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Avant-garde, a rebellious band of new trends and tendencies in art that appeared in the early 20th century, lasted for years being transformed, yielding the new forms of expression. It is also a trend of art most often associated with contemporaryBelarusian art (partially due to “school of Vitebsk”, Marc Chagall and Kazimir Malevich), still enjoying popularity in the country. One of the most recognizable Belarusian artistsis Ales Pushkin, born in 1965 in Bobr, associated with the Achremczuk’s National Schoolof Music and the Arts in Minsk and Vitebsk artistic environment. Pushkin is known for his indomitable, rebellious attitude towards the state regime. For many observers, art amateurs and even art critics, the character of his work immediately resembles avant-garde. However, as some researchers noted, Pushkins’ art enters a new dimension,paving the way towards new horizons of contemporary (avant-garde?) art of Belarus.

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Czekanowska-Gutman, Monika, Amitai Mendelsohn, and Devorah Schoenfeld. "Akedah as an Actual Sacrifice." Religion and the Arts 26, no. 5 (December 12, 2022): 660–78. http://dx.doi.org/10.1163/15685292-02605005.

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Abstract Akedat Yitzhak (The Binding of Isaac) is one of the most powerful and yet horrifying narratives of the Hebrew Bible, describing a sacrifice which was ultimately not performed, as Isaac was not slaughtered. However, over the centuries Jewish exegesis developed a controversial tradition in which Isaac was in fact sacrificed. This paper traces this tradition from Midrashic texts through Hebrew Crusade narratives into works by modern Jewish artists. The latter offer depictions of the divergent interpretation of the Akedah in the context of the Shoah (Marc Chagall) and in the context of Arab-Israeli conflict in the Land of Israel (Abel Pann). Discussing the complex treatment of the actual sacrifice in modern Jewish culture, the paper demonstrates how these artists engaged with an actual sacrifice at different stages of their artistic career as a way of depicting trauma either on the national or personal level.

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

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The Eiffel Tower, the global icon of France, was erected as the entrance to the Paris International Exposition in 1889. It was a suitable centrepiece for the World Fair, which celebrated the centennial of the French Revolution. Although the tower was a subject of controversy at the time of its construction, many European painters have been inspired by the majestic figure of the Eiffel Tower. They picturised the tower in their portraits and cityscapes. Paul Louis Delance, Georges Seurat, Paul Signac and Henri Rousseau were the first artists to depict this symbol of modernity. Robert Delaunay and Marc Chagall used the image of the tower most frequently. Maurice Utrillo, Raoul Dufy, Fernand Léger, Diego Rivera, Max Beckmann and Christian Schad can also be counted among the artists who picturised the tower. The Eiffel Tower appears differently in the eyes of pointillist, expressionist, orfist, cubist and abstract painters. Keywords: Eiffel Tower, European art, painting.

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Mesquita, Eryton. "Religião e Literatura." TeoPraxis 1, no. 1 (July 19, 2021): 65–74. http://dx.doi.org/10.46859/pucrio.acad.teop.2763-9762.2021v1n1p65.

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O presente estudo busca comparar e discutir a relação entre a arte e a religião através de dois textos, a Bíblica Sagrada e a literatura canônica brasileira. Esta pesquisa se utiliza da teoria da intertextualidade de Genette entre a bíblia e a obra literária de Esaú e Jacó feita por Machado de Assis. Busca-se também como aporte a teoria literária, para compreender como distintas linguagens podem se cruzar em uma mesma construção poético-narrativa, em concordância com a pesquisa de Conceição sobre a obra de Marc Chagall. Ou seja, a reconstrução de uma narrativa, exemplificada com personagens da Bíblia e os irmãos gêmeos machadianos Pedro e Paulo, com conflitos familiares tão iguais aos personagens do título da obra. Este “espelho literário” é revisitado diversas vezes durante a narrativa. Sendo assim, comparando ambas, percebe-se que há ressignificações poéticas por meio do aproveitamento estético do livro de Gênesis 15 feito pelo autor brasileiro.

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McCannon, John. "Marc Chagall on Art and Culture, edited by Benjamin Harshav and Marc Chagall and His Times: A Documentary Narrative, edited by Benjamin HarshavMarc Chagall on Art and Culture, edited by Benjamin Harshav. Stanford, California, Stanford University Press, 2003. xiv, 225 pp. $49.50 US (cloth), $19.95 US paper.Marc Chagall and His Times: A Documentary Narrative, edited by Benjamin Harshav. Stanford, California, Stanford University Press, 2004. xx, 1026 pp. $75.00 US (cloth), $29.95 US (paper)." Canadian Journal of History 39, no. 3 (December 2004): 659–62. http://dx.doi.org/10.3138/cjh.39.3.659.

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Tokstad, Kjersti. "En mystikers eksil i kunstens verden. Et blikk på Asher Levs konflikt med sin chassidiske bakgrunn og hans forhold til Marc Chagall." Nordisk Judaistik/Scandinavian Jewish Studies 23, no. 1 (January 1, 2002): 7–35. http://dx.doi.org/10.30752/nj.69588.

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Almeida, Dóris Bittencourt, and Luciane Sgarbi S. Grazziotin. "Memórias de escola em colônias agrícolas judaicas no Rio Grande do Sul: narrativas orais do acervo do Instituto Cultural Marc Chagall (1904 - 1930)." Cadernos de História da Educação 15, no. 3 (December 16, 2016): 1031–54. http://dx.doi.org/10.14393/che-v15n3-2016-7.

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Malinovskaya, Anna V. "THIS IS THE HOUSE WHERE A GREAT ARTIST HAS GROWN UP: THE VITEBSK REGION STATE ARCHIIVES’ RECORDS ON THE FOUNDATION OF THE MUSEUM OF MARC CHAGALL." History and Archives, no. 3 (2019): 40–52. http://dx.doi.org/10.28995/2658-6541-2019-3-40-52.

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Krutikov, Mikhail. "Marc Chagall: Grenzgänge zwischen Literatur und Malerei. By Sabine Roller. Cologne: Böhlau Verlag, 2012. 408 pp. Appendix. Notes. Bibliography. Index. Illustrations. Plates. Photographs. €49.90, hard bound." Slavic Review 74, no. 1 (2015): 210–11. http://dx.doi.org/10.5612/slavicreview.74.1.210.

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Rhee, Young Suck. "A Comparison of East and West: Spatial and Temporal Feelings in Literature and Art as in W.B. Yeats, Hwang Dongkyu, William Blake, Marc Chagall, and Kim Hongdo*." Yeats Journal of Korea 8 (May 31, 1998): 11–33. http://dx.doi.org/10.14354/yjk.1998.8.11.

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