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Academic literature on the topic 'Mid 20th century portrait artist'
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Journal articles on the topic "Mid 20th century portrait artist"
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Popko, O. N. "Ceremonial portraits of Prince Peter Lvovich Wittgenstein in the context of his iconography." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 66, no. 3 (2021): 333–42. http://dx.doi.org/10.29235/2524-2369-2021-66-3-333-342.
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The article is devoted to the study of three ceremonial portraits of Prince Peter Lvovich Wittgenstein, a general of the Russian army and the richest landowner in Belarus in the 19th century. Most of ceremonial portraits of 19th century military men were perished in the whirlwind of wars and revolutions of the 20th century. Finding each such work, even outside our country, is of great interest.The prince’s maternal ancestors were representatives of the most famous aristocratic family in the history of Belarus. His father was the son of a Russian field marshal, hero of the war with Napoleon. Prince Peter did not leave children, all of his portraits are now outside Belarus about the descendants of his sister and brother.The paintings were revealed by the author himself, have not been studied before.The earliest portrait dates from the 1850s. and represents the prince in the uniform of a junior officer of the Horse Guards Regiment. The author’s name is not known, there is a copy of J. N. Bernhardt. The next portrait was painted by an unknown artist around 1864. The latest portrait represents a prince in a general’s uniform, completed by the Austrian artist Z. L’Alleman in 1888 after the death of his hero. Two copies of this portrait are also kept in private collections of his descendants.The article presents descriptions of portraits and their copies, analysis of the history of creation and existence in the context of the prince’s biography and his iconography, through the prism of the Russian and European tradition of writing ceremonial portraits of government officials.
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Pouyet, Emeline, Monica Ganio, Aisha Motlani, Abhinav Saboo, Francesca Casadio, and Marc Walton. "Casting Light on 20th-Century Parisian Artistic Bronze: Insights from Compositional Studies of Sculptures Using Hand-Held X-ray Fluorescence Spectroscopy." Heritage 2, no. 1 (2019): 732–48. http://dx.doi.org/10.3390/heritage2010047.
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In the 19th and early 20th centuries, Paris was home to scores of bronze foundries making it the primary European center for the production of artistic bronzes, or bronzes d’art. These foundries were competitive, employing different casting methods—either lost-wax or sand casting—as well as closely guarded alloy and patina recipes. Recent studies have demonstrated that accurate measurements of the metal composition of these casts can provide art historians of early 20th-century bronze sculpture with a richer understanding of an object’s biography, and help answer questions about provenance and authenticity. In this paper, data from 171 20th-century bronzes from Parisian foundries are presented revealing diachronic aspects of foundry production, such as varying compositional ranges for sand casting and lost-wax casting. This new detailed knowledge of alloy composition is most illuminating when the interpretation of the data focuses on casts by a single artist and is embedded within a specific historical context. As a case study, compositional analyses were undertaken on a group of 20th-century posthumous bronze casts of painted, unbaked clay caricature portrait busts by Honoré-Victorin Daumier (1808–1879).
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Meijer, Fred G. "De portretten van Jan van Huysum door Arnold Boonen en anderen." Oud Holland - Quarterly for Dutch Art History 108, no. 3 (1994): 127–36. http://dx.doi.org/10.1163/187501794x00440.
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AbstractThe Ashmolcan Museum in Oxford owns a portrait of Jan van Huysum, thc famous painter of still lifes and landscapes, which has always been considered a self-portrait (fig. 1). Stylistic comparison, however, justifies the attribution of this portrait to Arnold Boonen. As early as the mid-eighteenth century the artist and writer Jan van Gool mentioned and illustrated a portrait of Van Huysum by Boonen (fig. 3). That picture can very probably be identified with a painting which was on the London art market in 1981, allegedly as a self-portrait of Jan's father, Justus van Huysum (fig.4). In an Amsterdam auction of 1773 a third, smaller, portrait of Van Huysum by Boonen came up for sale, and in recent decadcs a (studio) version of the Oxford painting has been on the market (fig. 5). From old catalogues it would appear that still more portraits of the painter by Boonen have existed. Printed portraits of Jan van Huysum, among them illustrations in biographical works, were apparently all derived, one way or another, from portraits by Boonen (figs, 3 , 6 and 8-10); even Kremer's romantic representation of the artist known only from a print- appears to be distantly related (fig. 12). The source for a nineteenth-century lithograph remains somewhat uncertain, although it, too, was probably inspired by Boonen (fig. 11). Clearly not a portrait of Jan van Huysum is Heroman van der Mijn's painting at Amsterdam (fig. 13), but a work at Quimper, now considered by the museum to be an anonymous French portrait of an unknown man, might be a fairly early effigy of Jan van Huysum after all (fig. 14).
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Barashkov, V. V. "The Formation of Artistic Competence in the Evangelical Church in Germany in the XX – Early XXI Century." Bulletin of Irkutsk State University. Series Political Science and Religion Studies 35 (2021): 115–24. http://dx.doi.org/10.26516/2073-3380.2021.35.115.
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In various Protestant denominations (particularly in the Evangelical Church in Germany) the demand for the formation of artistic competence has been growing since the mid 20th century. The celebration of the 500th anniversary of the Reformation in Germany in 2017 contributed to a new round of discussion of this issue. Luther's attitude to artistic images has been reevaluated. Interconnectedness of the word and image in the process of religious communication has been emphasized. The autonomy of art and freedom of creative expression of an artist in the dialogue with religion (in the form of exhibitions, installations in churches, etc.) has been recognized.
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Terranova, Charissa N. "Systems and Automatisms: Jack Burnham, Stanley Cavell and the Evolution of a Neoliberal Aesthetic." Leonardo 47, no. 1 (2014): 56–62. http://dx.doi.org/10.1162/leon_a_00703.
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This paper compares Jack Burnham's “systems esthetics” and Stanley Cavell's “automatisms,” linking them by way of organizational and systems theories of the mid-20th century and the rise of the post-medium condition in art. Although rarely paired, curator and critic Burnham and philosopher Cavell offer similar ontologies of art in the post--World War II period. Their ideas freed artists from old constraints of formalism and medium specificity while foreshadowing the rise of an artistic atomization driven by technology and economics. If Burnham's concept of systems aesthetics is concerned with a sense of cybernetic connectivity based on a feedback loop between the artist, artwork, art community and monetizing power of the market, then Cavell's automatisms describe a condition of laissez-faire independence in which each artist must work entrepreneurially, wholly for and unto herself.
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Becker, Karin, and Geska Helena Brečević. "More Than a Portrait: Framing the Photograph as Sculpture and Video Animation." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 48–55. http://dx.doi.org/10.47659/m5.048.art.
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This essay traces the resurrection of the fotoescultura, a three-dimensional photographic portrait popular in rural Mexico in the early 20th century, as interpreted in recent works by Performing Pictures, a contemporary Swedish artist duo. The early fotoesculturas were an augmented form of portraiture, commissioned by family members who supplied photographs that artisans in Mexico City converted into framed sculptural portraits for display on family altars. We compare these »traditional« photographic objects with “new” digital forms of video animation on screen and in the public space that characterize Performing Pictures work, and explore how the fotoescultura inspired new incarnations of their series Men that Fall. At the intersection between the material aspects of a “traditional” vernacular art form and “new” media art, we identify a photographic aesthetic that shifts from seeing and perceiving to physical engagement, and discuss how the frame and its parergon augment the photographic gaze. The essay is accompanied by photos and video stills from Performing Pictures’ film poem Dreaming the Memories of Now (2018), depicting their work with the fotoesculturas. Keywords: fotoesculturas, frame, parergon, vernacular photography, videoart
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Goodwin, Donna, Andrew Demetrius, and P. Bruce Uhrmacher. "Responding and Connecting: Visual Literacy for Today Using the Mid-20th-Century Ideas of Artist and Educator Kurt Rowland." Art Education 72, no. 3 (2019): 39–44. http://dx.doi.org/10.1080/00043125.2019.1578021.
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Banning, Kass, and Warren Crichlow. "A Grand Panorama: Isaac Julien, Frederick Douglass, and Lessons of the Hour." Film Quarterly 73, no. 4 (2020): 11–24. http://dx.doi.org/10.1525/fq.2020.73.4.11.
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Kass Banning and Warren Crichlow provide a historical and theoretical assessment of renowned British artist and filmmaker Isaac Julien's ten-screen installation Lessons of the Hour: Frederick Douglass (2019). Lessons of the Hour is inspired by a combination of Douglass's own genre-breaking autobiographical writing, personal letters, and published lectures that mobilized tropes of visuality for his own unique rhetorical ends. With its sculptural multiscreen architecture, lush color palette, and immersive affordances and soundscape, Julien's Lessons is less concerned with rendering a hagiographic portrait of Douglass than in reactivating his visionary thought as a continued force for human rights in the twenty-first century. Lessons underscores that the nascent technology of photography and the renewed struggle for liberation from chattel slavery emerged simultaneously in the mid-nineteenth century; this confluence fosters Douglass's lifelong personal and theoretical inquiry into what both truth and sovereignty—and visuality—might entail.
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Zakharchenko, Irina N., and Olga M. Shchedrina. "THE NATURE OF THE IMAGE WITHIN TECHNOLOGICAL ART IN THE MID – 20TH CENTURY. LUMINO KINETIC EXPERIMENTS BY FRANK MALINA." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 4 (2021): 110–25. http://dx.doi.org/10.28995/2686-7249-2021-4-110-125.
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For the first time in the Russian-speaking academic environment the authors of the paper analyze the creative legacy of the scientist, aeronautical engineer and artist Frank Joseph Malina (1912–1981). His working practices reflected the most important ethic and aesthetic aspirations of the mid-twentieth century, what became an important contribution to the development of modern visual culture. The pioneer of Lumino Kinetic art F.Malina created several unique electromechanical systems for the production of an image, the media infrastructure and technological nature of which would later become the visual standard of the digital age. The discovery of electric light as a new artistic medium allowed him to focus on the production methods, control and processing algorithms for light that produces images. The Lumino Kinetic experiments of F. Malina are based on understanding the new nature of the image, born during the era of scientific discoveries. Several decades before the iconic turn was proclaimed by academic science, they presented the image as a system of relations that is formed in acts of perception and that is not based on visible, but felt, ideated, imagined reality. While creating his works F. Malina dreamed of modeling qualitatively new perceptual conditions for the existence of mankind aimed at further progress and traveling to the stars.
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Dobriian, Daria. "New about the little-known and missing works of Oleksandr Murashko: the attribution of portraits of the German consul Erich Hering’s wife, artist A. Babenko, Tetiana Yashvil, Lidia Murashko, paintings "Evening"." Text and Image: Essential Problems in Art History, no. 1 (2020): 69–81. http://dx.doi.org/10.17721/2519-4801.2020.1.05.
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The author attempts to attribute the lesser-known artistic works by Oleksandr Murashko (1875–1919). Some of them were considered lost, e.g. the images of Tetiana Jashvil or Lidia Murashko. Others, including a portrait of the German consul Erich Hering’s wife, as well as a portrait of the artist A. Babenko (Murashko’s pupil) and the painting "Evening", can still appear in the field of view of researchers. The author describes primary sources that allowed her to carry out the attribution, and details that suggested the correct way for the scientific search. A number of iconic paintings by Oleksandr Murashko are known only from some black-and-white or colour reproductions. First and foremost, we are talking about such works of the artist as "Merry-go-round", "Sunday" (1909), "On terrace", "Over the old pond", which trails were lost in the early 20th century. The author already touched upon the question of these paintings’ fate (except for "Merry-go-round"). Nevertheless for a deeper understanding of the artist's work, it is necessary to explore the lesser-known, even lost pieces. The primary source for studying the heritage of the artist are listings of his works, that were compiled around 1919 by Marharyta Murashko. Despite the fact that they contain many inaccuracies and errors, the value of these listings cannot be overemphasized. Inter alia, there are works, which locations are unknown by far. But the idea of some of them can be formed from photos from the documentary and archival trust of the National Art Museum of Ukraine. Some researchers have managed to establish the names of many persons portrayed by Murashko, but there is a need to make further researches in this field. The attribution of each painting proves that even a limited amount of sources can give us an idea of the appearance of lost works, regardless the fact that not all of them were reproduced on the pages of printed publications or as photographs. At the same time, the assessment of various sources allows us to attribute the little-known portraits, because the names of many depicted persons remain unknown. But with each passing year it becomes more complex to set them.
Books on the topic "Mid 20th century portrait artist"
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Goodman, Gayle. Portrait of an American: Fred Olds : a historical biography of a 20th century American artist. Printed and bound by the Ace Book Bindery Co., 2003.
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Portrait of the mother-artist: Class and creativity in contemporary American fiction. Lexington Books, 2003.
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Jeremy, Lewison, and Victoria Miro Gallery, eds. Alice Neel: A chronicle of New York 1950 - 1976. Victoria Miro Gallery, 2004.
Find full textBook chapters on the topic "Mid 20th century portrait artist"
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Van Horn, Jennifer. "The Power of Paint." In Power of Objects in Eighteenth-Century British America. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469629568.003.0003.
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Chapter 2 focuses on mid-century Philadelphia’s burgeoning art community through the figure of travelling English portrait painter John Wollaston, who visited the city in 1752 and 1758/9. Wollaston’s presence encouraged the young student Francis Hopkinson to write a poem about the artist in the new periodical the American Magazine. By tracing the aesthetic responses that Hopkinson and the fellow students in his circle (including Benjamin West) had to Wollaston’s portraits the chapter charts Philadelphians’ engagement with the aesthetic debates raging in London over the role of the artist and the power of the portrait to civilize. Hopkinson embraced the new model of connoisseurship being popularized in the British art capital of London but recast it to argue that the portrait could civilize the sitter. Reading Wollaston’s portraits through the model of physiognomy reveals how viewers understood his paintings to improve sitters’ civility and how his paintings forged social connections between sitters.
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Halsall, Francis. "Attractors and Locked-In Art: Art History as a Complex System." In Speculative Art Histories. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474421041.003.0004.
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My speculation in this paper is to consider, in short, what if art history is a system? In other words what does it means to think about art through the systems-thinking. To do so would mean understanding both art as a system and how art is also a part of other systems. It is my overall claim that to do so would require a rethinking of particular ideas about art and art history in ways that are both radical and effective. I begin by introducing some key feature of the systems-thinking approach. In short, systems thinking emerged in the mid 20th century along with related theories such as Cybernetics and Information Theory. Recently it expanded to incorporate the developments of 2<sup>nd</sup> order cybernetics (Bateson) and dynamical systems theory (von Bertalanffy); examples of such developments include the Social Systems Theory of Niklas Luhmann and the use of systems by Bruno Latour and Gilles Deleuze. Whilst often very different these theories share an interest in: self-organizing systems; their behaviour and how they are defined by their interactions with their immediate environment. Systems-theory understands phenomena in terms of the systems of which they are part. A system is constituted by a number of interrelated elements that form a ‘whole’ different from the sum of its individual parts. When applied to art discourse it means considering not only works of art but also art museums, art markets, and art histories as systems that are autonomous, complex, distributed and self-organising. Examples of these types of speculations are offered. I conclude with two key speculations as to what the adoption of the systems-theoretical approach within art history might entail. Firstly, I argue that it is particularly effective in dealing with art after modernism, which is characterised by, amongst other things: non-visual qualities; unstable, or de-materialised physicality and an engagement (often politicised) with the institutional systems of support. By prioritising the systems of support over the individual work of art, or the agency of the individual artist such an approach is not tied by an umbilical cord of vision to an analysis based on traditional art historical categories such as medium, style and iconography. Secondly, I identify a tradition within art historical writing – Podro called it the Critical Historians of Art – that is known in the German tradition as Kunstwissenschaft (the systematic, or rigorous study of art.) I do so both as a means of clarifying what I mean when I say art history; but also as a means of identifying a tradition within art history of self-reflexivity and systematic investigation of methods and limits. From a systems-theoretical perspective it is an interesting question in its own right to ask why model of Kunstwissenschaft has become the dominant mode of historiography (since the 1980s at least). As a discourse it has become, in systems-theoretical terms, ‘locked-in’ (via positive feedback). It is my view that the systems theoretical approach to art discourse places it within the art historical tradition of Kunstwissenschaft, and is not in opposition to it. In summary, it is not my intention to either attack or defend a straw-man, or flimsy stereotype of what art history is. I am rather, seeking a body of work, a canon, or discursive system, with which to engage. Overall my claim is that the systems theoretical approach to art discourse is a continuation of this rich and worthy heritage (of finding historical models to match the art under scrutiny)—not a break from it.