Academic literature on the topic 'Prints, European – 20th century – Exhibitions'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Prints, European – 20th century – Exhibitions.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Prints, European – 20th century – Exhibitions"
1
Astakhova, Irina S. "SCIENTIFIC HERITAGE OF OUTSTANDING SCIENTISTS IN THE EUROPEAN NORTH-EAST OF RUSSIA: MEMORIAL OFFICES AND PROJECTS." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 40 (2020): 218–28. http://dx.doi.org/10.17223/22220836/40/19.
Full textAbstract:
Some of the most promising means of preserving scientific heritage, accessibility of archives and popularization of science are memorial museums or projects memorializing the memory of outstanding scientists. In the European North-East of Russia immortalizations of heritage is carried with respect to interests of scientists - geological, biological and socio-economic sciences. Three stages of the formation of the scientific community in the region have been identified. The first stage is related to the initial research of scientists who visited the European North in the 18th – begining of 20th century. The preservation of scientific heritage was provided by the creation of the A.V. Zhuravsky museum in the Ust-Tsilm, and by creation of monuments and commemorative places. The next period in the study of the North began in the 1930s-early 1940s and involves the arrival of distinguished scientists to the region. After the work of the scientists a large volume of scientific heritage. The materials composed the basis of the museums-apartments and separate expositions in local history museums in Uhta and Vorkuta. Academic organizations were established in the European North of Russia in the mid-20th century. The memory of the outstanding achievements of scientists is perpetuated in the names of geological and geographical objects, streets and museums in the cities of the region. The preservation of the scientific heritage of the scientist of this period is connected with the activities of already existing museums or with the creation of memorial offices in the scientific and production organizations in Uhta, Vorkuta and Syktyvkar. The working interior of the scientist is reconstructed or preserved in the memorial rooms. Memorial projects are implemented in the existing museums and in the higher educational and academic institutions. Memorial exhibitions have a following structure: science – research – teaching – memoirs. The most convenient and accessible forms of preservation of the scientific heritage are separate museums-offices in the existing museums. The interior, objects and documents introduce the visitor of the museum to the interests, hobbies, and results of the work of the scientist. It gets acquainted with the historical period when a scientist lived and worked. The museum and science are linked by historical continuity and intergenerational culture. The regional memorial projects are aimed to identify regional scientific identity and ways of development of the scientific community. The main development of regional museums is connected with the establishing the new personalities of scientists, with adaptation in virtual space and creation of online exhibitions.
2
Fedotova, E. D. "Серия акварелей «Campi Phlegraei» английского мецената и итальянского художника века Просвещения." Iskusstvo Evrazii [The Art of Eurasia], no. 1(20) (March 31, 2021): 260–69. http://dx.doi.org/10.46748/arteuras.2021.01.018.
Full textAbstract:
The article is devoted to the history of a unique collection made by famous American patron and curator Peggy Guggenheim. For several decades, she has been gathering works by European Cubists, Abstractionists and Surrealists, creating the huge collection of the 20th century art. But she made the most significant contribution to the development and popularization of modernism by organizing the «Art of this Century» gallery in New York. This gallery hosted for the first time exhibitions of artists who later became known as abstract expressionists. Their work loudly declared itself on the international art scene and won worldwide recognition. Статья посвящена серии акварелей «Campi Phlegraei», исполненной итальянским художником Пьетро Де Фабрисом (годы жизни не известны) во время научной экспедиции лорда Уильяма Гамильтона (1730–1803), посланника Великобритании, к кратеру Везувия. Оба они — художник и У. Гамильтон, меценат и коллекционер, увлеченно занимавшийся вулканологией, были яркими фигурами истории и культуры века Просвещения. Их сотрудничество является подтверждением научных и художественных достижений культуры Италии в век «просвещенного абсолютизма», когда в Королевстве обеих Сицилий правила династия испанских Бурбонов.
3
Yartseva, O. A. "Коллекция Пегги Гуггенхайм." Iskusstvo Evrazii [The Art of Eurasia], no. 1(20) (March 31, 2021): 270–79. http://dx.doi.org/10.46748/arteuras.2021.01.019.
Full textAbstract:
The article is devoted to the history of a unique collection made by famous American patron and curator Peggy Guggenheim. For several decades, she has been gathering works by European Cubists, Abstractionists and Surrealists, creating the huge collection of the 20th century art. But she made the most significant contribution to the development and popularization of modernism by organizing the «Art of this Century» gallery in New York. This gallery hosted for the first time exhibitions of artists who later became known as abstract expressionists. Their work loudly declared itself on the international art scene and won worldwide recognition. В фокусе внимания автора статьи — история создания уникального собрания произведений искусства ХХ века, принадлежавшего известной американской меценатке и куратору Пегги Гуггенхайм. На протяжении нескольких десятилетий она коллекционировала картины европейских кубистов, абстракционистов и сюрреалистов. Но самый значительный вклад в развитие и популяризацию модернизма она внесла, организовав в Нью-Йорке галерею «Искусство этого века», в которой впервые были проведены выставки художников, позже ставших классиками абстрактного экспрессионизма США, магистрального направления, громко заявившего о себе на международной художественной сцене и завоевавшего всемирное признание.
4
Pawłowska, Aneta. "African Art: The Journey from Ethnological Collection to the Museum of Art." Muzeológia a kultúrne dedičstvo 8, no. 4 (2020): 161–76. http://dx.doi.org/10.46284/mkd.2020.8.4.10.
Full textAbstract:
This article aims to show the transformation in the way African art is displayed in museums which has taken place over the last few decades. Over the last 70 years, from the second half of the twentieth century, the field of African Art studies, as well as the forms taken by art exhibitions, have changed considerably. Since W. Rubin’s controversial exhibition Primitivism in 20th Century Art at MoMA (1984), art originating from Africa has begun to be more widely presented in museums with a strictly artistic profile, in contrast to the previous exhibitions which were mostly located in ethnographical museums. This could be the result of the changes that have occurred in the perception of the role of museums in the vein of new museology and the concept of a “curatorial turn” within museology. But on the other hand, it seems that the recognition of the artistic values of old and contemporary art from the African continent allows art dealers to make large profits from selling such works. This article also considers the evolution of the idea of African art as a commodity and the modern form of presentations of African art objects. The current breakthrough exhibition at the Bode Museum in Berlin is thoroughly analysed. This exhibition, entitled Beyond compare, presents unexpected juxtapositions of old works of European art and African objects of worship. Thus, the major purpose of this article is to present various benefits of shifting meaning from “African artefacts” to “African objects of art,” and therefore to relocate them from ethnographic museums to art museums and galleries
5
Kharitonova, Natalya Stepanovna. "Silver Age. Interference of the Russian and German Cultures." Journal of Flm Arts and Film Studies 6, no. 4 (December 15, 2014): 86–95. http://dx.doi.org/10.17816/vgik6486-95.
Full textAbstract:
The author explores the specific interaction of Russian and German art, their differences, forces of attraction and direct contact. Only conscious and meaningful differences could have reveal the strength and true value of each culture and, most importantly, become a pretext for new and creative quest for ones own way in art. Two-sided interest of Russian and German cultures implies a two-way process mutually contributed and enriched on both parts. The fact that Russian and German art at the turn of the 19th-20th centuries was developing under different conditions does not mean that the exchange of spiritual values was proceeding in only one direction. The facts indicate to intensive relationships and mutual enrichment between the two cultures. Despite restrained relation towards Russian fine art until the mid-1890s, the preconditions for closer attention to it were gradually evolving in Germany. A very important role was played in this province by Russian literature, which since the mid-80s had started to agitate the minds both in Germany and Europe in general. Tolstoy and Dostoevsky became well-known in Germany in 1880s, when the first translations of their works appeared. The next two decades showed an uninterrupted flow of reprints. But the point is not merely in the fact, that the achievements of Russian literature suggested the existence of fine arts of the same quality. Rather, as many critics state, Russian literature became a special key to the 19th century arts. The exhibitions of the Russian artists, including solo exhibitions of Ivan K. Aivazovsky and Vasily Vereshchagin, used to be arranged more and more often in German cities. Relations between Russian and German culture in the late 19th - early 20th were fairly stable and fruitful, enriching and inspiring art in both countries. By late 1910s the European public had accepted Russian art as an equal and very significant phenomenon in world culture, with much spiritual and creative potential deserving an elaborate study.
6
Sevostyanova, Elena. "Agricultural unions of Eastern Siberia in the late 19th - the early 20th century: the main forms of out-of-school education and the channels of popularization of agricultural knowledge." Сельское хозяйство, no. 3 (March 2020): 14–33. http://dx.doi.org/10.7256/2453-8809.2020.3.34392.
Full textAbstract:
The research object is agricultural unions formed in Eastern Siberia in the late 19th - the early 20th century. The research subject is reflected in the title of the article. The purpose of the research is to define the forms of agricultural education and the channels of popularization of agricultural knowledge among the broad public. To achieve this goal, the author analyzes, based on the dynamics of agricultural unions formation, the initiation and dynamics of the change of the main directions of work and the extent to which the forms of education corresponded to the aspirations of the authorities, the demands of the progressive public, and the practical needs of rural population. Generally, the work of East-Siberian agricultural unions was definitely less active than the work of the unions of the European part of Russia. That could be explained by the lack of educated employees, the difficulty of using the new agricultural approaches in risk farming areas, and the low literacy rate of the rural population. However, in the first decade of the 20th century, the work of agricultural unions became more active, which was determined, among other things, by the change of the authorities’ attitude and the channels of popularization of agricultural knowledge: exhibitions and public lectures were organized, libraries were founded, and books and magazines were sent out. The ways of rational farm management were popularized via special newspapers and agricultural magazines. Before and during the World War I the agricultural unions of Irkutsk province and Transbaikal started actively creating the branches in rural areas. Agricultural unions created the atmosphere of public interest, broadened and clarified the ideas of society about the needs of Siberian villages.
7
Buchalik, Lucjan. "THE NEW ASPECT OF THE MUNICIPAL MUSEUM IN ŻORY. HISTORY AND COLLECTION." Muzealnictwo 58, no. 1 (August 7, 2017): 0. http://dx.doi.org/10.5604/01.3001.0010.2668.
Full textAbstract:
Two attempts were made to found the Museum in Żory, each time when the anniversary of the town’s founding was being celebrated. The Municipal Cultural Centre then organised exhibitions devoted to the town’s history. Since the interest in celebrations dropped off once they were finished, the museum was never founded. In 1999 the concept was changed, and African culture started to predominate. The interest in such an exhibition was huge, and thus the Municipal Museum was founded in December 2000. It has two branches, one devoted to the history and culture of the region, and one devoted to non-European cultures. At the beginning, museum professionals were aware of the fact that the museum’s existence depended on social acceptance. It was decided to focus on animation activities, which effectively attracted a lot of visitors. At the same time, both the regional and West African collections were created. Since the museum was founded quite recently, the majority of the collection is made up of objects from the 2nd half of the 20th century and the beginning of the 21st century. Having its own premises was a serious problem for the museum. After many years of struggle, an agreement was concluded with the Katowice Special Economic Zone (KSSE) to add a wing to the historical Haering villa from 1908 which it owned. In autumn 2014 the construction work finished and the museum gained its own premises. The museum presents two permanent exhibitions: "Our identity" and "The Polish way of learning about the world". The former presents the history and culture of the region and town, from their beginnings until today. The latter is devoted to research carried out by Polish scientists in various parts of the globe. The museum acquires objects mainly through its own field work, as well as from collections gathered by Polish scientists during their research. Purchasing historical and expensive objects at antique shops and markets is rare.
8
Fershtej, Vasyl. "The Studion’s Library collection in Vasyl Stefanyk National Scientific Library of Ukraine in Lviv: fragments of history, study experience and preservation issues." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 12(28) (2020): 238–54. http://dx.doi.org/10.37222/2524-0315-2020-12(28)-9.
Full textAbstract:
Vasyl Stefanyk National Scientific Library of Ukraine in Lviv (VSNSL of Ukraine in Lviv) is considered as an inheritor and successor for major Ukrainian libraries and institutions that constituted its base consequently to geopolitical upheavals of first half of 20th century. These are books, manuscripts, old prints, periodicals, notes and fine arts collections etc. from the libraries of Shevchenko Scientific Society, People’s Home in Lviv, monasteries, private collections, as well as Studion’s Library collection, whose substantial part now is being dispersed along the shelves of VSNSL of Ukraine in Lviv. The author defined the role of Metropolitan Andrey Sheptytskyi and Klymentii Sheptytskyi in establishing and maintaining this biggest specialized scientific library in Galicia at that time. The paper describes the rise and evolution of the Studion’s Library collection drawing on archival documents and revealing main stages of its formation, outlines objectives that Metropolitan Andrey Sheptytskyi determined for it and highlighted Metropolitan’s activity in church and social fields resulted in formation of national and cultural institutions. The author also defined the outstanding role of Studion’s in the religious life of Ukrainians. The Studion’s Library collection was officially integrated into Lviv Branch of the Library of the Academy of Sciences of USSR on February 12, 1940. So the dispersion of the once rich collection started. Now those books and periodicals are parts of Rare Book Department, Manuscript Department, Ucrainica Department, Exchange and Reserve Department, Department of European book of 19th–20th cc. and others. These collections were repeatedly examined within several bibliological studies conducted by the Library’s researchers. Thus, it is marked that unique collections of Studion’s like other historical libraries at VSNSL of Ukraine in Lviv need writing their history as well as their bibliographical reconstruction what is now composing one of main objectives of Library’s staff Keywords: Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, Metropolitan Andrey Sheptytskyi, Klymentii Sheptytskyi, the Studion’s Library collection, Byzantine Library.
9
Zumbühl, H. J., and S. U. Nussbaumer. "Little Ice Age glacier history of the Central and Western Alps from pictorial documents." Cuadernos de Investigación Geográfica 44, no. 1 (February 20, 2018): 115. http://dx.doi.org/10.18172/cig.3363.
Full textAbstract:
The Lower Grindelwald Glacier (Bernese Oberland, Switzerland) consists of two parts, the Ischmeer in the east (disconnected) and the Bernese Fiescher Glacier in the west. During the Little Ice Age (LIA), the glacier terminated either in the area of the “Schopffelsen” (landmark rock terraces) or advanced at least six times (ten times if we include early findings) even further down into the valley bottom forming the “Schweif” (tail). Maximal ice extensions were reached in 1602 and 1855/56 AD. The years after the end of the LIA have been dominated by a dramatic melting of ice, especially after 2000. The Mer de Glace (Mont Blanc area, France) is a compound valley glacier formed by the tributaries Glacier du Tacul, Glacier de Léschaux, and Glacier de Talèfre (disconnected). During the LIA, the Mer de Glace nearly continuously reached the plain in the Chamonix Valley (maximal extensions in 1644 and 1821 AD). The retreat, beginning in the mid-1850s, was followed by a relatively stable position of the front (1880s until 1930s). Afterwards the retreat has continued until today, especially impressive after 1995. The perception of glaciers in the early times was dominated by fear. In the age of Enlightenment and later in the 19th century, it changed to fascination. In the 20th century, glaciers became a top attraction of the Alps, but today they are disappearing from sight. With a huge number of high-quality pictorial documents, it is possible to reconstruct the LIA history of many glaciers in the European Alps from the 17th to the 19th centuries. Thanks to these pictures, we get an image of the beauty and fascination of LIA glaciers, ending down in the valleys. The pictorial documents (drawings, paintings, prints, photographs, and maps) of important artists (Caspar Wolf, Jean-Antoine Linck, Samuel Birmann) promoted a rapidly growing tourism. Compared with today’s situations, it gives totally different landscapes – a comparison of LIA images with the same views of today is probably the best visual proof for the changes in climate.
10
Hadi, G. "Maize varieties grown in Eastern Central Europe between 1938 and 1983." Acta Agronomica Hungarica 52, no. 4 (March 1, 2005): 421–38. http://dx.doi.org/10.1556/aagr.52.2004.4.11.
Full textAbstract:
Several generations of maize breeders contributed to the establishment of genetic resources in Eastern Central Europe by developing open-pollinated varieties, inbred maize hybrids and parental lines successfully grown on large areas and differing from those found in the North American Corn Belt and in other regions of Europe. In some cases they used unusual methods or used known methods in an unorthodox fashion. The Caribbean Flints brought to Hungary from Spain by the Turks in the 16th century played an important role in the development of the Eastern Central Europe genetic resources and dominated Hungarian maize production for nearly four hundred years. In the early 19th century these genetic stocks of Caribbean origin were supplemented by Andean popcorn (Chutucuno Chico, Chutucuno Grande), introduced into Hungary from Italy for human consumption and export purposes and to a lesser extent by Northern Flints (Pennsylvania 8-row). Under the influence of American maize exhibitions in the 19th century, Southern Dents (especially Gourdseed, but also Shoepeg, Hickory King and Tuxpan) and Corn Belt Dents (Queen of the Prairie, Iowa Goldmine, Leaming, and to a lesser extent Funk Yellow Dent) gained ground. In Eastern Central Europe dent varieties were late maturing, so they were crossed, primarily with early-maturing hard flints, and also with early variants of the Caribbean type Old Hungarian Yellow Flint, in order to produce new varieties, which then dominated maize production in the first half of the 20th century. In the early years of hybrid maize breeding, the breeders relied greatly on local, productive, adapted sources. As the result of hybrid maize breeding in Eastern Central Europe, two distinct gene pools developed, which it is thought could contribute to a further increase in maize yield averages through an improvement in genetic variability. These two gene pools are the Ruma and Mindszentpuszta (MYD) heterosis sources. At least 30 lines of Ruma origin and 19 of MYD origin have been successfully used in the development of commercial hybrids. From the point of view of breeding early flint × dent hybrids, the European early multi-rowed hard flints, which developed locally, independently of the American Northern Flints, could also be of interest. Less significant varieties and lines that were grown successfully at one time or another could be used as genetic reserves for the development of new variations. The paper will discuss the varieties popular between 1880 and 1983, providing more detailed data on 13 open-pollinated varieties, 2 variety hybrids, 41 inbred hybrids and 40 successful lines.
Books on the topic "Prints, European – 20th century – Exhibitions"
1
Bijutsukan, Toyama Kenritsu Kindai. 20-seiki no Yōroppa Amerika hanga: Korekushon o chūshin ni shite = Prints of Europe and America in the 20th century. Toyama-shi: Toyama Kenritsu Kindai Bijutsukan, 1992.
Find full text
2
Muzeʼon Yiśraʼel (Jerusalem). Sifriyat Arṭuro Shṿarts. Ishah-ḥidah: Hedpesim ṿe-sifre-oman sureʼalisṭiyim mi-Sifriyat Arṭuro Shṿarts be-Muzeʼon Yiśraʼel. Yerushalayim: ha-Muzeʼon, 1995.
Find full text
3
Eye on Europe: Prints, books & multiples : 1960 to now. New York, NY: Museum of Modern Art, New York, 2007.
Find full text
4
Wye, Deborah. Eye on Europe: Prints, books & multiples, 1960 to now. New York: Museum of Modern Art, 2006.
Find full text
5
Wye, Deborah. Eye on Europe: Prints, books & multiples, 1960 to now. New York: Museum of Modern Art, 2006.
Find full text
6
Priester, Mary. Inner visions: German prints from the age of expressionism. Portland, Or: Portland Art Museum, 1991.
Find full text
7
Gallery, William Weston. Master prints: 19th and 20th century European and British artists. London: The William Weston Gallery, 1992.
Find full text
8
Legion of Honor (San Francisco, Calif.), ed. Rembrant's century. San Francisco: Fine Arts Museums of San Francisco, 2013.
Find full text
9
Government Art Collection of the United Kingdom: The twentieth century : works excluding prints : a summary catalogue. [London?]: The Collection, 1997.
Find full text
10
Craig-Martin, Michael. Michael Craig-Martin: Prints. London: Alan Cristea Gallery, 1997.
Find full textBook chapters on the topic "Prints, European – 20th century – Exhibitions"
1
Kraševac, Irena, and Petra Šlosel. "Networking of Central European Artists’ Associations via Exhibitions. The Slovenian Art Association, Czech Mánes and Polish Sztuka in Zagreb in the Early 20th Century." In Modern and Contemporary Artists' Networks. An Inquiry into Digital History of Art and Architecture, 16–36. Institute of Art History, 2018. http://dx.doi.org/10.31664/9789537875596.02.
Full text
2
Gigante, Lorenzo. "Incontri, scontri, confronti Appunti sulla ricezione della xilografia nordica in Italia tra XV e XX secolo." In Taking and Denying Challenging Canons in Arts and Philosophy. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-462-2/007.
Full textAbstract:
Germany, France, Italy: the attribution of the first woodcut images has long been debated between several countries, to gain the technological primacy of the invention of reproductive printmaking, before Gutenberg’s movable type printing. Today we know how difficult it is, if not impossible, to establish a place and a date of origin of image printing in Europe. Impossible and probably unimportant. Printing was a European phenomenon in the 15th century, and we may ask ourselves whether a northern woodcut beyond the Italian borders was intended as something different than an Italian one. The contrast between northern and southern prints, which has been claimed by art historians from Vasari until the half of the 20th century, seems to be denied by early modern Italian sources. For example, a German woodcut from the first decades of the 15th century and a Florentine painting from the end of the 14th century can coexist as models for the illumination of the same manuscript. This unpublished case study of two Florentine 15th-century illuminations shows how a European cultural horizon was more common than we think today, and how much woodcut has been a fundamental tool for this broadening of horizons, since its very beginning.
Conference papers on the topic "Prints, European – 20th century – Exhibitions"
1
Beris, Yeter, and İsmail Erim Gulacti. "Influences of Japanese prints on European printmaking (in the case of Degas-Manzi partnership)." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p69.
Full textAbstract:
Contemporary artists have included classical methods together with innovative digital printing technologies to their artistic manufactures and thus their technological production interactions have been reflected on current art as well. Today’s artists have also been in collaboration with each other by involving the digital printing technologies which kept advancing during the recent 20 years in their works of art just like Degas and Manzi did in their relationships of production partnerships in 19th Century. Besides, those opinions which originated from modernism ideas and movements consist of the core of this cooperation post Industrial Revolution era. Therefore, the concept of nationalism, the devastating consequences of the world wars and the latest industrial and technological advancements have all transformed human life irreversibly. Consequently, during this transformation era, various significant movements of art such as Impressionism and Expressionism emerged in the 20th century and representatives of those art movements substituted such a lot of printmaking practices in their works of art. None of those mentioned above took place in other previous movements of art. They reflected their points of view that they display social movements and none of the other artists who represent other senses of art have ever exhibited such a lot of printmaking practices. Thus, various printing technologies which present a new laboratory environment to the artists. As a result of this, printing technologies have been preferred as a sort of new artistic media value and it started to take its prominent place in collections of art as well as in museums during artistic presentations. Within this context, this article aims at studying the phenomenon of art by considering how it has changed during the historical process by examining those works of art which reveal these variations. Common production and working techniques in traditional printmaking, contributions of the technological advantages to the artistic manufacture. Besides, periodical innovations will be examined and presented by introducing an updated point of view to the topic within the content of this article that contain some citations from the second part of the thesis titled “Effects of fine art printmaking on the phenomenon of contemporary art”.