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1
Frank, Mitchell B. "New Romanticisms in Wilhelmine Germany." Romantik: Journal for the Study of Romanticisms 3, no. 1 (2016): 9. http://dx.doi.org/10.7146/rom.v3i1.23251.
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This essay examines and connects two related issues in the literature on the history of art of the Wilhelmine Period: the canonical shift in German romantic painting from the Nazarenes to Phillip Otto Runge and Caspar David Friedrich; and the attempt to position the work of contemporary German artists (often called new idealists) as a new romanticism. At this time, art historians like Richard Muther and Cornelius Gurlitt take on a romantic sensibility in their attempts to position contemporary German art on the international scene. With the development of new idealism in German artwriting, two new romanticisms were thus founded. Modern German art (the work of Anselm Feuerbach, Hans von Marées, Arnold Böcklin, Max Klinger, and others) was claimed within a romantic tradition. And romantic painting was conceptualized anew with the focus increasingly on Friedrich and Runge, and less on the Nazarenes.
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Karaçoban, Atanas, and Patricia Denisa Dita. "Painting, Poetry and the Interference of the Genres in English Art: The Case of William Blake." Border Crossing 10, no. 1 (2020): 29–42. http://dx.doi.org/10.33182/bc.v10i1.931.
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Throughout the history of Western culture and art, there are numerous examples of those who, in their creativity, went beyond the limits of a particular art, embarking instead on attempts to combine in one artistic discourse the practices of various arts, such as music and poetic text, drama and dance, literature and sculpture, literature and painting, and so on. One of these artists is William Blake, acclaimed as a major poet and painter of romanticism in English and world art. He is accredited as the founder of a whole new and original method of producing artistic works, called “illuminated printing”, which is a remarkable combination of poetic text, decoration, and picture. Apart from revealing Blake’s appurtenance to romantic tradition, the present study aims to present the specificity of his technique and, primary, to disclose the ways in which it combines the artistic practice of poetry with that of painting as to render and strengthen the meaning by mutually sustaining and illuminating each other.
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Barbosa Ribeiro, Marta, and Joana Brites. "Rethinking the stylistic categories of Portuguese 19th century sculpture: the work of António Teixeira Lopes." Ars Longa. Cuadernos de arte, no. 26 (February 1, 2018): 157. http://dx.doi.org/10.7203/arslonga.26.10961.
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This paper aims to rethink 19th century Portuguese sculpture’s stylistic categories from the analysis of the work of António Teixeira Lopes, who is considered the major representative of naturalism in this country. First, the concept of naturalism in Portuguese art history is examined, with a critical characterization of its separation from romanticism (contrasting with mainstream literature) and demonstrating that its emergence from painting research and its adoption in sculpture is inoperative when observing a concrete art work. Secondly, with the Portuguese art reality as a backdrop, Teixeira Lopes’ academic and professional life is contextualised. Finally, based on the analysis of the sculptor’s work and the knowledge of his methods and views on art, the labelling of Lopes as a naturalist is questioned and the necessity for a less compartmentalized understanding of 19th century art is stressed.
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Bychkov, V. V. "The Symbolic Essence of Art in Friedrich Schlegel’s Romantic Aesthetics." Art & Culture Studies, no. 1 (2021): 266–87. http://dx.doi.org/10.51678/2226-0072-2021-1-266-287.
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According to Friedrich Schlegel, one of the leading theorists of German Romanticism, the “highest” art is always symbolic, and it would be more precise to name the discipline that deals with it “symbolics”, rather than “aesthetics”. According to Schlegel, the highest arts comprise painting, sculpture, music, and poetry as the “arts of the beautiful and the ideally significant”. Using the examples of painting and literary arts, he demonstrates the symbolic character of art in general. Schlegel thinks that masterpieces of old Italian and German painters exemplify symbolic art. Schlegel is against separating painting into genres. He thinks that portrait, landscape, or still nature are merely sketches in preparation for a large, multi-figure, historical painting — as a rule, with Christian content — which leads the spectator to divine spheres. At the same time, painting must perform its symbolic function by means purely pictorial. The best examples of poetry (this is how Schlegel styles all belles lettres) also have been symbolic, especially during its “Romantic period”, from the Middle Ages and up to the 1600s. Schlegel refers to its symbolic meaning by the term “allegory”. The Bible — as an artistic, symbolic book — became the foundation of the “Romantic” literature of the Middle Ages, which took two routes: “Christian-allegorical”, which transfers Christian symbolism on to the entire world and life, and properly speaking Romantic, which presents every phenomenon of life as leading up to symbolic beauty. Using the example of drama, Schlegel divides works of art into three categories: superficial, spiritual-profound, and eschatological. According to the German philosopher, contemporary art has lost its symbolic content and mostly remains at the superficial level.
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Harmash, Liudmyla. "EKPHRASIS IN ARTS AND WONDERS BY GREGORY NORMINTON: GIUSEPPE ARCIMBOIDO AND TOMMASO GRILLI." Fìlologìčnì traktati 12, no. 1 (2020): 49–60. http://dx.doi.org/10.21272/ftrk.2020.12(1)-5.
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The article reveals some features of postmodern aesthetics that were borrowed by modern literature from romantics, and are now undergoing a period of criticism. It is shown how a fiction reflects the continuity between contemporary literature and previous literary phenomena, which consists in the perception, transformation, and critical rethinking of aesthetic ideas and concepts. For this purpose, the genesis of Norminton’s novel Arts and Wonders was traced and a literary technique such as ekphrasis, that means a verbal description of a painting, was researched. An analysis of the two most significant ekphrasises – Vertumn and The Librarian – showed that the author of the novel raises the problem of copy or plagiarism, which today has gained particular relevance both in the world of art and in the academic environment. It was showed that Norminton solves this issue by referring to the traditional concept of mimesis. Despite the declaration of the need to imitate nature, Arts and Wonders demonstrates that the contemporary author asserts his right to free creative imagination, including the interpretation of historical facts and figures. The literary text refers to the artifacts which are presented in the arsenal of culture that are freely combined according to a kaleidoscope principle. Raising the question of the dialectical unity of such aesthetic categories as “beauty” and “ugliness”, Norminton enters into a polemic with the forerunner of postmodernism – romanticism. At the same time, the writer also poses questions about the correlation in the artist’s work of parts and the whole, about the need to achieve a balance of proportions between the elements that make up a work of art. Determining the genre originality of the novel, the author of the article concludes that it is a complex synthetic form that combines the features of picaresque novel, a biographical novel, a travel book, a historical novel, an artist's novel, and a Bildungsroman, which as a result forms a new genre variety – an adventure novel about the artist.
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Hockenhull, Stella. "Sublime landscapes in contemporary British horror: The Last Great Wilderness and Eden Lake." Horror Studies 1, no. 2 (2010): 207–24. http://dx.doi.org/10.1386/host.1.2.207_1.
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Landscape, as distinct from setting, presents its own visual authority, particularly in the horror genre. A number of contemporary British films contain pictorial images of the landscape that are not necessarily pivotal to the narrative. By implementing an analysis of these representations in contemporary British rural horror, and drawing on the theories of romanticism and the Sublime of the eighteenth and nineteenth centuries with their emphasis on the spiritual aspects of nature, allows for setting as more than narrative space. It produces an affect that elicits a certain type of emotion from the viewer, who is invited to experience an intuitive response on encountering the pictorial compositions, aiding narrative meaning. This essay examines what Martin Lebebvre describes as impure or spectator landscapes in two recent films: The Last Great Wilderness (MacKenzie, 2002) and Eden Lake (Watkins, 2008), and finds visual correlations drawn from the contemporary art world. This indicates that, from a socio-cultural perspective, the twenty-first century has witnessed an emergence of Romantic and sublime vocabulary in both film and painting, which indicates the existence of, what Raymond Williams might term, a structure of feeling.
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Kimber, Marian Wilson. "Victorian Fairies and Felix Mendelssohn's A Midsummer Night's Dream in England." Nineteenth-Century Music Review 4, no. 1 (2007): 53–79. http://dx.doi.org/10.1017/s1479409800000069.
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In art, literature, theatre and music, Victorians demonstrated increased interest in the supernatural and nostalgia for a lost mythic time, a response to rapid technological change and increased urbanization. Romanticism generated a new regard for Shakespeare, also fuelled by British nationalism. The immortal bard's plays began to receive theatrical performances that more accurately presented their original texts, partially remedying the mutilations of the previous century. The so-called ‘fairy’ plays, A Midsummer Night's Dream and The Tempest, were also popular subjects for fairy paintings, stemming from the establishment of the Boydell Shakespeare Gallery in 1789. In such a context, it is no wonder that Felix Mendelssohn's incidental music for A Midsummer Night's Dream was so overwhelmingly popular in England and that his style became closely associated with the idea of fairies. This article explores how the Victorians’ understanding of fairies and how the depiction of fairies in the theatre and visual arts of the period influenced the reception of Mendelssohn's music, contributing to its construction as ‘feminine’. Victorian fairies, from the nude supernatural creatures cavorting in fairy paintings to the diaphanously gowned dancers treading lightly on the boards of the stage, were typically women. In his study of Chopin reception, Jeffrey Kallberg has interpreted fairies as androgynous, but Victorian fairies were predominantly female, so much so that Lewis Spence's 1948 study, The Fairy Tradition in Britain, includes an entire section on fairy gender intended to refute the long-standing notion that there were no male fairies. Thus, for Mendelssohn to have composed the leading musical work that depicted fairies contributed to his increasingly feminized reputation over the course of the nineteenth century.
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Joshi, Shobhana. "LITERATURE IN PAINTING / PAINTING IN LITERATURE." International Journal of Research -GRANTHAALAYAH 7, no. 11 (2019): 5–9. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.899.
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English : The world is pictorial, it is also a movie. "Who is this painter"! Do not know! But a small part of the universe is born in the middle of these pictures and movies, it is time-consuming. One watches these movies during the movement of breaths and stops. This which he sees, passes through the camera of his eyes and is printed in the mind and heart. He is restless. Let me share that print. A hieroglyph of this sharing from the rest. The script rang, the pictures were painted, the colors were unrefined. Manas became fertile, art enriched by imagination. Art grew to vibrancy from the sentiments of human beings progressed by primitive barbarism. The infinite beauty of the parallel vision of creation embodied dance art, singing art with Prabhavishnuta. The instruments were unmodified. When the replica of nature was found to be a sound form, the concrete shape from the soil and stone was found in the form of "sculpture".
 Hindi : सृष्टि चित्रलिखित सी है, चलचित्र भी है। ''ये कौन चित्रकार है''! पता नहीं! पर सृष्टि का एक क्षुद्र हिस्सा भर मनुष्य इन चित्रों-चलचित्रों के बीच ही जनमता है, काल-कवलित होता है। सांसों के आने-जाने और रूक जाने की अवधि में इन चलचित्रों को देखता है। यह जो वह देखता है, उसकी आँखों के कैमरे से गुजरकर दिल-दिमाग में छपता है। उसे बैचेनी होती है। उस छपे को साझा करूँ। इस साझा करने की बैचेनी से जनमी चित्रलिपि। लिपि की बेल फैली, चित्र रचे चितेरों ने, रंग अविष्कृत हुए। मानस उर्वर हुआ, कल्पना से कला समृद्ध हुई। आदिम बर्बरता से आगे बढ़े मनुष्य के भावों से कला को स्पन्दन मिला। सृष्टि के समानांतर दृष्टि के अपरिमित सौंदर्य ने प्रभविष्णुता के साथ नृत्य कला, गायन कला को मूर्त्त किया। वाद्य अविष्कृत हुए। प्रकृति की प्रतिकृति ध्वनि रूप पा गयी तो मिट्टी और पत्थर से ठोस आकार ''मूर्तिकला'' रूप में मिला।
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Langer, Johnni. "Imagining national belief through art." Revista de História da Arte e da Cultura 2, no. 1 (2021): 6–26. http://dx.doi.org/10.20396/rhac.v2i1.14708.
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This article analyzes the painting Nordisk offerscene fra den Odinske periode (Nordic sacrificial scene from the period of Odin), created by the Danish painter Johan Ludvig Gebhard Lund (1777-1867) in 1831 and which presents a theme regarding Old Norse religion and the Vikings. We have made use of Ernest Gombrich's schemata theory and the studies of reception by Margaret Clunies Ross. Our main perspective is that Lund's work was related to both Danish nationalist romanticism and to a perspective of history and art in which the ancient religious forms and idealized representations of the Vikings played a major role in shaping social and cultural identities of his time.
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Feller, C., E. R. Landa, A. Toland, and G. Wessolek. "From soil in art towards Soil Art." SOIL Discussions 2, no. 1 (2015): 85–132. http://dx.doi.org/10.5194/soild-2-85-2015.
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Abstract. The range of art forms and genres dealing with soil is wide and diverse, spanning many centuries and artistic traditions, from prehistoric painting and ceramics to early Renaissance works in Western literature, poetry, paintings, and sculpture, to recent developments in cinema, architecture and contemporary art. Case studies focused on painting, installation, and cinema are presented with the view of encouraging further exploration of art about, in, with, or featuring soil or soil conservation issues, created by artists, and occasionally scientists, educators or collaborative efforts thereof.
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Monrad, Kaper. "The Nordic contributions to romanticism in the visual arts." European Review 8, no. 2 (2000): 173–83. http://dx.doi.org/10.1017/s1062798700004749.
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The Nordic achievements in the visual arts in the age of romanticism were first and foremost accomplished by Danish artists. The great initiator was C. W. Eckersberg, who observed reality with great scrutiny and demanded of himself a faithful rendering of all the details. However, at the same time, he stuck to the classical principles of composition and omitted all accidental and ugly aspects of the motif that did not fit into his concept of an ideal picture. The principles he laid down in his art in around 1815 formed the basis of Danish (and Norwegian) painting until 1850. He introduced open-air painting as part of the tuition at the Royal Academy of Copenhagen and was, in this respect, a pioneer in a European context. During the 1820s and 30s almost all the young Danish painters were pupils of Eckersberg, and he also influenced the Norwegian J. C. Dahl. The subjects of the Danish paintings are very down-to-earth – they are first and foremost taken from everyday life. In the first decades of nineteenth century, Copenhagen had the status as the most important art centre in Northern Europe, and the art academy attracted many German artists. However, around 1840, a growing nationalism separated the Danish and German artists, and many Danish landscape painters devoted their art to the praise of Denmark. The nationalist artists, however, still stuck to the reality they had actually seen.
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Van Beurden, Sarah. "Congo Art Works: Popular Painting." African Arts 51, no. 4 (2018): 94–96. http://dx.doi.org/10.1162/afar_r_00438.
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Bertelé, Matteo. "Soviet “Severe Romanticism” at the 1962 Venice Biennale." Experiment 23, no. 1 (2017): 158–72. http://dx.doi.org/10.1163/2211730x-12341308.
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Abstract With the Soviet Pavilion of the 1962 Venice Art Biennale, the Thaw era made its entrance onto the international art scene. Artists from different generations and Soviet republics were entrusted to illustrate “the deeply human dimension of Soviet art.”1 Among younger painters, one prominent figure was 30-year old artist Viktor Popkov. Along with the drawings and sketches produced during his travels in the virgin lands and building sites of Siberia, he presented the monumental painting The Builders of Bratsk (1960-61), an iconic artwork of the so-called “severe style.” The exhibition took place just a few months before the Moscow Manege Exhibition of December 1962, which prompted Khrushchev’s notoriously negative reaction and the first stop to Soviet cultural détente. The present article explores the genesis of the canvas as the expression of a new “severe romanticism,” against the backdrop of the ongoing debate about romanticism in Soviet culture. It also analyzes the reception of Popkov’s work both in Italy—the country with the largest communist party in the West—and in the international press. On the basis of archival materials and press reviews, the article sheds light onto an artistic encounter between East and West in a divided Europe and discusses missed connections and unmet expectations of Western, mostly Italian, art critics.
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Jones, V. P. "Teaching Elements of Literature through Art: Romanticism, Realism, and Culture." Pedagogy: Critical Approaches to Teaching Literature, Language, Composition, and Culture 7, no. 2 (2007): 264–70. http://dx.doi.org/10.1215/15314200-2006-035.
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Wright, Dorena, and Naomi Ritter. "Art as Spectacle: Images of the Entertainer since Romanticism." Comparative Literature 44, no. 4 (1992): 434. http://dx.doi.org/10.2307/1771555.
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HANNOOSH, MICHELE. "PAINTING AS TRANSLATION IN BAUDELAIRE'S ART CRITICISM." Forum for Modern Language Studies XXII, no. 1 (1986): 22–33. http://dx.doi.org/10.1093/fmls/xxii.1.22.
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Feller, C., E. R. Landa, A. Toland, and G. Wessolek. "Case studies of soil in art." SOIL 1, no. 2 (2015): 543–59. http://dx.doi.org/10.5194/soil-1-543-2015.
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Abstract. The material and symbolic appropriations of soil in artworks are numerous and diverse, spanning many centuries and artistic traditions, from prehistoric painting and ceramics to early Renaissance works in Western literature, poetry, paintings, and sculpture, to recent developments in film, architecture, and contemporary art. Case studies focused on painting, installation, and film are presented with the view of encouraging further exploration of art about, in, and with soil as a contribution to raising soil awareness.
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Sedlovskiy, Anatoliy Anatolievich. "Space in Art and Cinema." Journal of Flm Arts and Film Studies 3, no. 2 (2011): 58–64. http://dx.doi.org/10.17816/vgik3258-64.
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Cinema is a synthetic art form which has accumulated the experience of theatre, literature, music and fine arts. The article investigates the influence of painting on cinema in terms of filling the screen space and artistic assimilation of the linear, spatial and tonal perspective, light and color treatment.
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GREWE, CORDULA. "BEYOND HEGEL'S END OF ART: SCHADOW'S MIGNON AND THE RELIGIOUS PROJECT OF LATE ROMANTICISM." Modern Intellectual History 1, no. 2 (2004): 185–217. http://dx.doi.org/10.1017/s1479244304000125.
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This article explores the cultural controversy about the relationship between painting and poetry sparked by Wilhelm von Schadow's 1828 rendering of Mignon, a famous literary heroine in Goethe's Wilhelm Meister's Apprenticeship. Following closely a position introduced by Lessing and endorsed by Goethe, and using it to advance his general thesis about the end of art, Hegel argued that Schadow's image transgressed the proper borders of its medium by attempting to translate the poetic into the visual. Schadow, by contrast, insisted on the crucial regenerative role of art in society and art's religious mission, thereby giving an emphatically Christian tenor to the Romantic injunction to strive after the infinite. Animated by these convictions, Schadow turned Goethe's heroine into an allegory of Romantic art, thus “Christianizing” Goethe's neoclassical sensibility. The controversy provoked by Schadow's Mignon provides an opportunity to explore late Romantic aesthetics and the cultural and political meaning of art within the context of the Prussian Restoration, as well as to reconsider the relationship between this putatively conservative sensibility and “modernism.”
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Nguyen, Lien Mai Thi, and Nhu Chan Minh Dieu Nguyen. "Approaching classical Japanese Haiku poetry through the perspective of ink painting art and application to teaching foreign literature for Literature Pedagogy students at Dong Thap University." Vietnam Journal of Education 5, no. 2 (2021): 41–49. http://dx.doi.org/10.52296/vje.2021.98.
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Exploring the culture and literature of countries around the world is increasingly important in the current trend of international exchange and integration. Therefore, foreign literature disciplines, including Japanese literature, occupies an increasingly essential position in the curriculum of Dong Thap University. However, the perception and teaching of Japanese Haiku poems have long been challenged due to language barriers as well as cultural differences. In order for enhancing the quality of teaching Haiku poetry to Literature Pedagogy majors at Dong Thap University, the article presents a new approach towards classical Haiku poetry through the perspective of ink painting art (aka painting art). With the aim of observing the beauty of Japanese literature and culture, the study analyzes the causes and some specific manifestations of the similarities between Japanese ink painting art and classical Haiku poetry in terms of artistic methods. The root cause lies in the influence of Zen, as a cultural characteristic of the Japanese spirit, and the specific manifestations include the technique of empty spaces in ink painting art, and the empty poetic strategy in classical Haiku poetry, the features of the conception scenery and the moment characteristic in both Oriental art genres.
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Nguyen, Lien Mai Thi, and Nhu Chan Minh Dieu Nguyen. "Approaching Classical Japanese Haiku Poetry through the Perspective of Ink Painting Art and Application to Teaching Foreign Literature for Literature Pedagogy Students at Dong Thap University." Vietnam Journal of Education 5, no. 2 (2021): 52–60. http://dx.doi.org/10.52296/vje.2021.69.
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Exploring the culture and literature of countries around the world is increasingly important in the current trend of international exchange and integration. Therefore, foreign literature disciplines, including Japanese literature, occupies an increasingly essential position in the curriculum of Dong Thap University. However, the perception and teaching of Japanese Haiku poems have long been challenged due to language barriers as well as cultural differences. In order for enhancing the quality of teaching Haiku poetry to Literature Pedagogy majors at Dong Thap University, the article presents a new approach towards classical Haiku poetry through the perspective of ink painting art (aka painting art). With the aim of observing the beauty of Japanese literature and culture, the study analyzes the causes and some specific manifestations of the similarities between Japanese ink painting art and classical Haiku poetry in terms of artistic methods. The root cause lies in the influence of Zen, as a cultural characteristic of the Japanese spirit, and the specific manifestations include the technique of empty spaces in ink painting art, and the empty poetic strategy in classical Haiku poetry, the features of the conception scenery and the moment characteristic in both Oriental art genres.
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Sudrajat, Dadang, Yasraf Amir Piliang, Tisna Sanjaya, and Andriyanto Rikrik Kusmara. "Colour dematerialization in spiritual literature and painting." Harmonia: Journal of Arts Research and Education 17, no. 2 (2017): 174. http://dx.doi.org/10.15294/harmonia.v17i2.10568.
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<p>Colour in variety of art expression can be interpreted differently. This study is aiming at analyzing the colour dematerialization of Javanese spiritual literature “Falsafah Jeroning Warna” by Suprapto Kadis and a painting by Ahmad Sadali entitled “Gunung Mas”. Research was done by employing qualitative research, while data was collected by observation, interview, discussion, and documentation study. The analysis of meanings in the two art works was done in descriptive way by using the theory and the knowledge of tasawwuf or sufism, the aesthetics, and arts. Results showed that both sufis, Ahmad Sadali and Suprapto Kadis, share similarities in doing dematerialization towards colour. For them, colour was initially taken from nature (the external territory) which then experienced dematerialization when it made contact with inspiration that was created from the internal area (mental). On the other hand, the difference between the two art works lies on an understanding that colour in FJW is naturalistic mimesis in nature, meanwhile, the painting of Ahmad Sadali is naturaly abstract.</p>
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Hotchkiss, Duncan. "Meiko O'Halloran, James Hogg and British Romanticism: A Kaleidoscopic Art." Romanticism 25, no. 1 (2019): 111–13. http://dx.doi.org/10.3366/rom.2019.0409.
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Kestner, Joseph A. "Victorian Art History." Victorian Literature and Culture 26, no. 1 (1998): 207–19. http://dx.doi.org/10.1017/s1060150300002357.
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There has been an intriguing range of material published concerning Victorian painting since Victorian Literature and Culture last offered an assessment of the field. These books, including exhibition catalogues, monographs, and collections of essays, represent new and important sources for research in Victorian art and its cultural contexts. Most striking of all during this interval has been the range of exhibitions, from focus on the Pre-Raphaelites to major installations of such Victorian High Olympians/High Renaissance painters as Frederic, Lord Leighton and Sir Lawrence Alma-Tadema. Included as well have been exhibitions with a particular focus, such as that on the Grosvenor Gallery, and the more broadly inclusive The Victorians held at the National Gallery of Art in Washington D.C., this last being the most appropriate point of departure to assess the impact of Victorian art on the viewing public in the States.
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Seifrid, Thomas, Gerard de Vries, D. Barton Johnson, and Liana Ashenden. "Vladimir Nabokov and the Art of Painting." Slavic and East European Journal 50, no. 4 (2006): 741. http://dx.doi.org/10.2307/20459403.
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Swan, John, and Naomi Ritter. "Art as Spectacle: Images of the Entertainer since Romanticism." Theatre Journal 42, no. 3 (1990): 404. http://dx.doi.org/10.2307/3208107.
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Hankins, Laurel V. "The Art of Retreat." Nineteenth-Century Literature 71, no. 4 (2017): 431–56. http://dx.doi.org/10.1525/ncl.2017.71.4.431.
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Laurel V. Hankins, “The Art of Retreat: Salmagundi’s Elbow-Chair Domesticity” (pp. 431–456) James Kirke Paulding and William and Washington Irving’s literary periodical Salmagundi; or, the Whim-Whams and Opinions of Launcelot Langstaff, Esq. and Others (1807) has been incorporated into accounts of Washington Irving’s protoromanticism that define American romanticism through an oppositional relationship between the aesthetic retreat of the artist and the consensus-driven consumerism of a feminized reading public. This essay argues that through the self-conscious assumption of bachelor pseudonyms, the Salmagundi editors’ aggressively masculine domestic retreat can be read as a reaction to the insufficiently reductive categories of a literary culture increasingly organized by gender difference. Even as the Salmagundi bachelor-editors mock the performative virtue of feminine domesticity, their own humorous social critique works to reestablish the possibility of making reform feel in tune with natural impulses. The bachelors locate the source of their imaginative whimsy within the domestic sphere’s supposed transcendence of social artifice and market pressures, but they also claim authorship by distinguishing their imaginative output from the termagant’s domestic labor. Because the editors’ reformative project depends on readers recognizing the alienated bachelor as a humorous literary type, the hostile relationship to its readers that has earned Salmagundi a place in narratives of Irving’s protoromanticism actually signals a collaborative relationship with readers who are repeatedly forced to acknowledge the editors’ authorial design.
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Hulse, Clark. "The Rule of Art: Literature and Painting in the Renaissance." Journal of Aesthetics and Art Criticism 50, no. 3 (1992): 271. http://dx.doi.org/10.2307/431246.
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Golahny, Amy, and Clark Hulse. "The Rule of Art, Literature and Painting in the Renaissance." Sixteenth Century Journal 23, no. 1 (1992): 141. http://dx.doi.org/10.2307/2542073.
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Parry, Graham, and Clark Hulse. "The Rule of Art: Literature and Painting in the Renaissance." Modern Language Review 87, no. 4 (1992): 933. http://dx.doi.org/10.2307/3731448.
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Evett, David, and Clark Hulse. "The Rule of Art: Literature and Painting in the Renaissance." Comparative Literature 45, no. 4 (1993): 380. http://dx.doi.org/10.2307/1771604.
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Boa, Elizabeth, and Naomi Ritter. "Art as Spectacle: Images of the Entertainer since Romanticism." Modern Language Review 87, no. 2 (1992): 523. http://dx.doi.org/10.2307/3730765.
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Davidovitch, Nitza, and Ruth Dorot. "Interdisciplinary Instruction: Between Art and Literature." International Journal of Higher Education 9, no. 3 (2020): 269. http://dx.doi.org/10.5430/ijhe.v9n3p269.
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This paper explores the developments and trends in higher education from a pedagogical perspective (specifically, multidisciplinary curricula) and research perspective (the interdisciplinary approach), and traces them from a last resort option to their recognition as a legitimate development with added value. The paper focuses on a case study that integrates two disciplines, art and literature, based on the poem by the Israeli poet Rachel entitled My Book of Poems and the painting The Scream by Norwegian artist Eduard Munch. The interdisciplinary approach opens up possibilities of enriching, expanding horizons, and breaking boundaries, and can grant graduates of the higher education system a cultural perspective suitable for the current generation of students, who typically use multiple interactive media and platforms, often simultaneously. This paper may shed light on teaching and learning of many diverse fields. The case study illustrates the joy of interdisciplinary learning and its academic benefits, despite the fact that for years, higher education institutions have tended to refer to researchers’ specializations in specific academic disciplines. This case study may serve as a model or source of inspiration for multidisciplinary learning involving motifs and topics that traditionally represent specific disciplines.
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Hryhorov, V. "Monumental and decorative art of the second half of the 20th century in specialized literature." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 99–104. http://dx.doi.org/10.33838/naoma.27.2018.99-104.
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The article deals with a number of issues highlighted in the research of monumental painting during the 1960–2000s, and follows the development of art studies literature during the specified period. Ukrainian monumental painting during the second half of the 20th century evolved rather unequally, which affecte the art criticism reflections. In the 1960's and 80's the active and dynamic development of monumental art took place. Research in this area also reached the peak of its popularity. For example, the article of I. Pronina contains a review of publications from 1973–1974, and the author brought the statistics indicating more than 200 works. (180) Since the mid-1960's, academics have been increasingly focusing on monumental art. The attitude to monumental painting in the art history literature of the 1960's is ambiguous. However, most researchers are still critical of post-war practice and consider monumental works of the late 1950`s and 1960`s as a step forward. The distinctive differences between the 1960's and 1970's – 1980's lie in various attitudes towards themes and scenes of the monumental painting. In the 1960's the monumentality was associated with the laconic content, using a set of all understandable associative attributes. The expansion of the range of themes in monumental painting in the professional literature occured in the 1970's. Since the research problem stands at the crossroads of various branches of art, important scientific advancements were reflected in such prominent professional publications as: "Architecture of the USSR", "Decorative art of the USSR" and "Fine Arts". In the 1970's the publishing house "Soviet artist" released a series of articles compilations called "Soviet monumental art." The state of monumentalism significantly changes in 1990's as there was a significant decline in the activity of this artistic direction. At this time the monumental painting fell into the field of wide-scale artistic studies. In the professional literature of the last decade the scope of art study themes has changed to a certain extent as the art historians more often address the issues previously tabooed in Soviet times, and some of them partially or fully relate to the monumental painting. To such themes belong the Sixties and Boichukizm. Today the problem of the preservation of Soviet monumental works sharply appears. Many authors turn to the theme of monumental art in order to attract the attention of society to the rapid destruction of mosaics and wall murals, and to prove their value for Ukrainian fine arts.
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Mathews, Peter D. "Embodied Art: A Reading of A. S. Byatt’s ‘Body Art’." English: Journal of the English Association 68, no. 263 (2019): 344–63. http://dx.doi.org/10.1093/english/efz033.
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Abstract This article examines the idea of an embodied art in A. S. Byatt’s short story ‘Body Art’. In order to contextualize this concept, the essay begins with a survey of Byatt’s earlier explorations of the link between mind and body, as well as an analysis of the small amount of secondary material relating to ‘Body Art’, a text that has received little critical attention. The article then explores the story’s ties to Dutch vanitas painting, a tradition that is intimately linked to the study of anatomy. The vanitas tradition shows how medicine and art were once a unified field, and explores the consequences of their modern division. This leads to a consideration of the influence of theological debates about mind and body and their effect, in particular, on Renaissance humanist art. The next section examines the shifting meaning of the archival collection, particularly in its significance for modern formations of subjectivity. This idea is particularly important in the context of the story’s allusions to Joseph Beuys, who views the artist’s body as a locus of creativity. Like Beuys, Byatt is interested in art that draws on the imaginative power of religious storytelling and imagery while rejecting its supernatural elements. Byatt draws together all of these elements in her story in order to articulate her vision of an embodied art, one that draws together the conceptual and the physical.
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Talley, Catherine. "Fashioning Romanticism: the Petit Cénacle and the art of dress." Nineteenth-Century Contexts 42, no. 1 (2019): 51–68. http://dx.doi.org/10.1080/08905495.2020.1703478.
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Litvinenko, Ninel A. "The concept of “neo” and the novels of G. Rodenbach: between romanticism and symbolism." RUDN Journal of Studies in Literature and Journalism 25, no. 4 (2020): 682–91. http://dx.doi.org/10.22363/2312-9220-2020-25-4-682-691.
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Various forms of transition in literature and art of the turn of 19th and 20th centuries havent been explored enough. The use of the concept of neo allows to clarify the ideas of neo-romanticism that have developed in modern science. The article analyzes the novel heritage of the Belgian writer Rodenbach as a transitional phenomenon that brings together the writer's tetralogy with romanticism, Parnassus and symbolist French poetry; as well as phenomenon that organically includes Belgian literature in the European space of intertextuality. It is proved that addressing the problems of art, the artist-creator, the beautiful soul, connects Rodenbach with the traditions of Yens romanticism, at a new stage of development of literature generates a transformation of the myth of romanticism. The ideal of art is not subject to devaluation, but the artist, who lives in society, always fails. Indulging in earthly passion, coming into conflict with society and himself, he doesnt keep faith in his beliefs. Real life creates illusions and self-deception, leading the character to disaster. Rodenbach uses a romantic model of mythologization, saturating it with symbolic allusions and signs, on the eve of modernism creates a neo-romantic novel synthesis.
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Sperling, Joy. "Painting the Dark Side: Art and the Gothic Imagination in Nineteenth-Century American Art." Journal of American Culture 27, no. 4 (2004): 454–56. http://dx.doi.org/10.1111/j.1542-734x.2004.148_24.x.
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Gołubiew, Zofia. "THE POET OF ART – JANUSZ WAŁEK." Muzealnictwo 59 (October 5, 2018): 215–18. http://dx.doi.org/10.5604/01.3001.0012.6141.
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On the 8th of July 2018 died Janusz Wałek, art historian, museologist, pedagogue, born in 1941 in Bobowa. He graduated from the Jagiellonian University, the history of art faculty. In 1968, he started working in the Czartoryskis’ Museum – Branch of the National Museum in Krakow, where some time after he became a head of the European Painting Department for many years. He was a lecturer at the Fine Arts Academy, the National Academy of Theatre Arts and the Jagiellonian University in Krakow. He wrote two books and numerous articles about art. He was also a poet, the winner of the Main Prize in the 1997 edition of the General Polish Poetry Competition. He was a student of Marek Rostworowski, they worked together on a number of publicly acclaimed exhibitions: “Romanticism and Romanticity in Polish Art of the 19th and 20th centuries”, “The Poles’ Own Portrait”, “Jews – Polish”. Many exhibitions and artistic shows were prepared by him alone, inter alia “The Vast Theatre of Stanisław Wyspiański”, presentations of artworks by great artists: Goya, Rafael, Titian, El Greco. He also created a few scenarios of permanent exhibitions from the Czartoryskis’ Collection – in Krakow and in Niepołomice – being a great expert on this collection. “Europeum” – European Culture Centre was organised according to the programme written by him. He specialised mostly, although not exclusively, in art and culture of the Renaissance. Janusz Wałek is presented herein as a museologist who was fully devoted to art, characterised by: creativity, broad perception of art and culture, unconventional approach to museum undertakings, unusual sensitivity and imagination. What the author of the article found worth emphasising is that J. Wałek talked and wrote about art not only as a scholar, but first of all as a poet, with beauty and zest of the language he used.
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Bragina, Natalia, and Jelena Jermolajeva. "THE DOLL IN THE PAINTINGS OF THE LATE 19TH – EARLY 20TH CENTURIES: HERMENEUTIC ANALYSIS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 20, 2020): 616. http://dx.doi.org/10.17770/sie2020vol5.4859.
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The semantics of the doll in painting is not sufficiently investigated in art history and culture studies. The doll is never an accidental or unimportant component of a painting; it reveals deep psychological and symbolic undertones, complicates and concretizes the content of the painting. Each art style deals with this topic in its own way. The aim of the article is to analyse the interpretation of the image of the doll in various styles of painting of the second half of the XIX century – beginning of the XX century: in realistic painting, in symbolism, impressionism, and modernism. The research methods are the analysis of literature, the descriptive method, the hermeneutic method, and the comparative analysis method. The article may be useful for researchers in art and cultural studies, and can be used at school and university courses in the History of Art and Culture.
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Florea, Eleonora, and Stela Cojocaru. "The Presence of the Phenomenon of Artistic Synesthesia in Painting." Review of Artistic Education 22, no. 1 (2021): 244–52. http://dx.doi.org/10.2478/rae-2021-0030.
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Abstract The present study elucidates the presence of the phenomenon of artistic synesthesia in painting, describes the types of synesthesia and their effects, sensory symbiotic relationships, correlations with different genres of art: dance, music, literature. Early art forms were initially distinguished by an archaic and primary syncretism, being interconnected and dependent on each other. Subsequently, during the historical evolution, these artistic forms were dispersed in separate art genres, while preserving this specific intermediarity and interrelation, of artistic synesthesia. Synesthetic phenomena in painting are stylistically interconnected with music, dance, literature.
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Jain, Dr Sushma. "MURAL PAINTING OF GIRIRAJ TEMPLE GWALIOR." ShodhKosh: Journal of Visual and Performing Arts 1, no. 1 (2020): 8–14. http://dx.doi.org/10.29121/shodhkosh.v1.i1.2020.4.
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English: The Tomarvanshi tradition of promoting music, literature and art emerged as an influential center of Gwalior art, creating a style that was different from the Gujarati tradition but influenced by both Rajput and Akbarian Mughal art. It was natural that Gwalior had become a stronghold of artists at that time. [1].
 
 Hindi: संगीत, साहित्य और कला को प्रोत्साहन देने की तोमरवंषी परम्परा के कारण ही ग्वालियर कला के प्रभावषाली केन्द्र के रूप में उभरा इस केन्द्र से एक ऐसी शैली का निर्माण हुआ जो गुजराती परम्परा से भिन्न किन्तु राजपूत और अकबरकालीन मुगलकला दोनों से प्रभावित थी । स्वाभाविक था कि ग्वालियर उस समय कलाकारों का गढ़ बन गया था । [1]
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Mukhopadhyay, Aju. "Communication in Art Song and Literature: Poems versus Novels." IJOHMN (International Journal online of Humanities) 4, no. 1 (2018): 1–6. http://dx.doi.org/10.24113/ijohmn.v4i1.74.
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The primary urge of a poet or writer is to create according to his inspiration but close to it is the urge to communicate with the reader. A singer requires hearer, a painting requires connoisseur. Well, even without the other parties, a poem and a painting may be created or a song may be sung. Think of the wind flowing through the reeds or bamboo grove or a bird’s song reaching the ethereal height creating a symphony in the air which is perhaps enjoyed by the silent Nature. Nature exactly does that. It is neither responsible nor obliged to tell man what it enjoys, how it enjoys itself but when a man hears them they become songs touching the heart of the pure sympathizers away from the hullabaloo of the mundane world. Go further and there are the unheard songs, unheard sounds; they are very much there for every sound comes out of silence. When Nature creates such things on its own without waiting for anybody to appreciate the things remain unknown until someone hears or looks at them. Man creates to communicate. If we consider songs it is definitely a field for communication between the singer and the hearer. Man’s creation may be said to be, in general term, artificial whereas Nature’s creation is natural. Nature recreates itself Man creates imitating Nature or otherwise. But I don’t wish to stop telling that Art is imitation only like our great Greek predecessors. The seer poets created words the way they heard. The higher and highest sources, it may be said the Divine sources, create through man as through the Nature.
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Lacoue-Labarthe, Philippe. "Introduction to Walter Benjamin's "The Concept of Art Criticism in German Romanticism"." Studies in Romanticism 31, no. 4 (1992): 421. http://dx.doi.org/10.2307/25600980.
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Sokolova, Alla Nikolaevna. "Content of the concept of “ethnic painting”: articulation of the problem." Культура и искусство, no. 9 (September 2021): 1–17. http://dx.doi.org/10.7256/2454-0625.2021.9.36273.
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This article analyzes the concept of &ldquo;ethnic painting&rdquo;, Russian and Western sources on the topic, as well as controversial approaches towards its interpretation. It is established that the Russian science avoids using the concept of &ldquo;ethnic painting&rdquo; to ambiguity of its content. The most commonly concepts in sphere are &ldquo;national art&rdquo;, &ldquo;ethnocultural manifestations&rdquo;, &ldquo;territorial-ethnic nature of painting&rdquo;, &ldquo;national peculiarities&rdquo;, and &ldquo;national distinctness of art schools&rdquo;. In Western literature, the concept of &ldquo;ethnic painting&rdquo; is attributed to both, folk art and professional art. Parallel is drawn between the concept of &ldquo;national culture&rdquo; and &ldquo;ethnic culture&rdquo;. The research is based on the painting of Circassians (Adyghe) of Russia and Turkey. Using the methods of comparative studies, comparative typology and art analysis, the article explores the works of contemporary Circassian painters of Turkey and Russia, revealing the specificity and universal characteristics of their paintings. The works of professional artists, which meet certain characteristics, should be referred to as &ldquo;ethnic painting&rdquo;. The author describes the key attributes and functions of plastic arts that allow classifying it as the concept of &ldquo;ethnic&rdquo;: 1) figurative characteristics (visualization of mythological and epic heroes and plotlines, ritual and common culture); 2) translation of ethnic mental characteristics and values; 3) design of ethnic identity and solidarity by means of painting; 4) introduction the art of painting not only to the elite, but other social classes as well; 5) usage of public instruments for proliferation and popularization of painting through education and enlightenment; 6) comprehension of ethnic art as a crucial element of national art; 7) development of ethnic art through various contaminants (ethnocultural content and modernist form or technique; modern content in the traditional genre or form).
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Karim, Baigutov, Myrzakanov Madvakas Seksembaevich, Aiman Suyuberdieva, et al. "Painting education of Kazakh mythology." Cypriot Journal of Educational Sciences 16, no. 4 (2021): 1956–75. http://dx.doi.org/10.18844/cjes.v16i4.6064.
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Various scientific studies, interpretations, analyses, and comparisons have revealed a strong link in the origin of Kazakh mythology in contemporary Kazakh society. The main problem in this lies in the fact that existing research on mythology has always centered in fields of literature, philosophy, religion and culture, and history. Previous scholars have always overlooked the study of mythology in the field of art. It’s for this reason, that this research article centered on the mythology in the art of painting education and especially pictorial analysis of Kazakh mythology. In the article, the definition and history of Kazakh mythology are given and the studies of the researchers on mythology are mentioned. The painting educations made within the scope of the research article are inspired by the myth of "Er Tostik". The research conducted within the scope of a creative and scientific analysis shows that the works related to the formation of Kazakh mythology have an important place in the history of Kazakh painting education. Besides, important subjects of Kazakh mythology in Kazakh art history were determined and how they affected the works of the painters were examined and interpreted comparatively.
 
 Keywords: Kazakh mythology, Kazakh painters, Er Tostik, art, painting, woodcut technique
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Piechucka, Alicja. "Art (and) Criticism: Hart Crane and David Siqueiros." Text Matters, no. 8 (October 24, 2018): 229–43. http://dx.doi.org/10.1515/texmat-2018-0014.
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The article focuses on an analysis of Hart Crane’s essay “Note on the Paintings of David Siqueiros.” One of Crane’s few art-historical texts, the critical piece in question is first of all a tribute to the American poet’s friend, the Mexican painter David Siqueiros. The author of a portrait of Crane, Siqueiros is a major artist, one of the leading figures that marked the history of Mexican painting in the first half of the twentieth century. While it is interesting to delve into the way Crane approaches painting in general and Siqueiros’ oeuvre in particular, an analysis of the essay with which the present article is concerned is also worthwhile for another reason. Like many examples of art criticism—and literary criticism, for that matter—“Note on the Paintings of David Siqueiros” reveals a lot not only about the artist it revolves around, but also about its author, an artist in his own right. In a text written in the last year of his life, Hart Crane therefore voices concerns which have preoccupied him as a poet and which, more importantly, are central to modernist art and literature.
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Rokayah, Cucu, Resnizar Annasrul, and Raden Wulan W. "Art Therapy for Client with Substance Abuse." Jurnal Keperawatan Jiwa 8, no. 4 (2020): 461. http://dx.doi.org/10.26714/jkj.8.4.2020.461-468.
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Drug abuse in Indonesia is increasing from year to year, from the age of 15 to 64 years using narcotics at least one a year and the need to be aware of proliferation of new types of narcotics. One way of helping in the recovery of people with drug abuse. Purpose is to describe the client’s art therapy due to drug abuse. The writing method used in this writing is a journal-based literature review, with several stage, : determining the big topic, journal screening and determining the theme of the journal references obtained. Art therapy which is effective for drug use is by using painting therapy and musik therapy. Painting as therapy, is related to the contemplative or sublimation aspects so thar it can express feelings and reduce dependence on subtances. In conclusion, art therapy is needed by clients with mental disorders, especially female and adolescent clients. Art therapy is a means of channeling thoughts and feelings that a client with drug abuse may not be able to verbalize.
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Golahny, Amy, Keith Aldrich, Philipp Fehl, Raina Fehl, Franciscus Junis, and Keith Aldrich. "The Literature of Classical Art. Volume I, The Painting of the Ancients." Sixteenth Century Journal 24, no. 1 (1993): 173. http://dx.doi.org/10.2307/2541847.
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Thon, Sonia. "Painting Borges: Philosophy Interpreting Art Interpreting Literature by Jorge J. E Gracia." Hispania 96, no. 4 (2013): 785–86. http://dx.doi.org/10.1353/hpn.2013.0102.
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