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Journal articles on the topic 'Realist artist'

Author: Grafiati

Published: 2 June 2025

Last updated: 31 July 2025

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1

Botes, N., and N. Cochrane. "’n Ondersoek na die kunstenaarskap in Die swye van Mario Salviati binne die konteks van die magiese realisme." Literator 27, no. 3 (2006): 27–50. http://dx.doi.org/10.4102/lit.v27i3.200.

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An investigation into the nature of the artist in The long silence of Mario Salviati within the context of magic realism This article investigates the nature of the artist in “The long silence of Mario Salviati” (2000) within the context of magic realism. This novel by Etienne van Heerden is particularly interesting as the theme of art is directly intertwined with magic realism. The specific relationship between artistry and magic realism in “The long silence of Mario Salviati” has not been the focus of any particular study yet. Several artists in the novel will be analysed within the context

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Kasimov, Dr Khayrullo S. "THE POSITION OF THE ARTIST IN MODERN SOCIETY." American Journal Of Social Sciences And Humanity Research 03, no. 04 (2023): 10–13. http://dx.doi.org/10.37547/ajsshr/volume03issue04-03.

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The article shows that under the influence of the position of the artist in modern society, worldview, spiritual and moral creative aspects, realism was formed as the main base in the painting of Uzbekistan, that classical artists who have a personal method of work have been filling it with their creativity, that in the years of independence, the realist direction was manifested in the prolific work of the old and middle generation artists.

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Posokhina, Marina V. "A. BOGOLYUBOV AND I. AIVAZOVSKY. AN ISSUE OF CREATIVE AND PERSONAL RELATIONSHIPS." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 2 (2023): 127–40. http://dx.doi.org/10.28995/2073-6401-2023-2-127-140.

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T. Bogolyubov, one of the realist artists in the middle– second half of the 19th century, began his career as a romantic and a painter, who worked in line with academic traditions. Ayvazovsky’s work (along with the works of such masters as S. Shchedrin, K. Krugovikhin, A. Dorogov and M. Vorobyov) had a strong influence on the formation of the young artist in the second half of the 1840s – the first half of the 1850s. Subsequently, however, the enthusiastic attitude of Bogolyubov towards Ayvazovsky was replaced by sharp rejection of the famous artist both creatively and personally. The main rea

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4

Faris, Jaimey Hamilton. "Introduction to Special Issue." ARTMargins 4, no. 3 (2015): 3–16. http://dx.doi.org/10.1162/artm_e_00120.

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This introduction charts the emergence of the term Capitalist Realism at the intersection of the international postwar art movements of Pop, Fluxus, Nouveau Réalisme, happenings, and Anti-Art. It relates the independent coinage of Capitalist Realism by artists Gerhard Richter, Konrad Lueg, Sigmar Polke, and Manfred Kuttner in Germany in May 1963 with that of artist Akasegawa Genpei Japan in February 1964 and argues that they were both part of a broader interest in developing new strategies of artistic realism during the Cold War. The artists' sly and ironic appropriations of consumer objects a

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Potolsky, Matthew. "Decadence and Realism." Victorian Literature and Culture 49, no. 4 (2021): 563–82. http://dx.doi.org/10.1017/s1060150320000248.

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This essay proposes a new understanding of the widely recognized disdain for realism and the realist novel among decadent writers, a disdain most critics have interpreted as a protomodernist celebration of artifice. Focusing on Oscar Wilde's dialogue “The Decay of Lying,” the essay argues instead that decadent antirealism is antimodern, embodying a repudiation of contemporary society. Decadent writers regard realism not as hidebound and traditional, as twentieth-century theorists would have it, but as terrifyingly modern. Wilde looks back to neoclassical theories of mimesis and classical Repub

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Horstman, Fritz. "The Tethered Artist." Media-N 15, no. 1 (2019): 82–95. http://dx.doi.org/10.21900/j.median.v15i1.40.

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There is a long history of artists physically tethering themselves in order to draw attention to the lengths to which they will go in their practice, often with the implied message that they are conceptually straining at the tethers of convention. Beginning with a discussion of my recent Arctic underwater photography, this article looks at the use of tethers in my own work, as well as in that of several other historical artists. I argue that by highlighting any method of production within the artwork, and specifically a tether, artists are revealing a Realist impulse.

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Kuziv, Mykhailo, and Iryna Tiutiunnyk. "Artist of «troubled silence.» Mykola Bezdilny." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 133–38. http://dx.doi.org/10.32461/2226-3209.2.2021.239991.

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The purpose of the article is to highlight the peculiarities of the paintings of the amateur artist of the period of socialist realism Mykola Bezdilny and to draw parallels with the professional art of the 1970s and 1980s. Methodology. Methods of systematization, art analysis, historical and comparative methods are applied. The scientific novelty is to identify the influence of centralized creative structures of the second half of the twentieth century for the self-realization of artists who acquired creative skills in their own way. In particular, the figure of the artist Mykola Bezdilny was

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Preda, Caterina. "The Role of Artists' Collectives in Producing State Socialist Art in 1950s Romania the Bottom-Up, Pragmatic Professionalization of State Commissions." ARTMargins 9, no. 3 (2020): 29–52. http://dx.doi.org/10.1162/artm_a_00271.

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This article analyzes the collective basis of the establishment of the Socialist Realist model of production for the fine arts in Romania in the early 1950s. It discusses the unstudied case of the “artists' collectives” (of production) together with other collective forms, such as the collective studios and the guiding commissions. This is an archive-based study of cultural institutionalism of socialist regimes, based on the analysis of under-explored archival sources such as those of the Romanian Artists' Union (UAP) or the Artistic Fund (FP). Focusing on two specific case studies, those of t

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Liu, Tianquan. "Dialogue of Cultures in the Work of the Chinese Painter Jin Shangyi." Bulletin of the South Ural State University Series «Social Sciences аnd the Humanities» 23, no. 1 (2023): 56–63. http://dx.doi.org/10.14529/ssh230107.

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This article examines the work of the Chinese artist Jin Shangyi, one of the pioneers of oil painting in China. The creative experiments of the artist, his knowledge of European traditions in fine arts, and his assimilation of the Russian art school added the name of Jin Shangyi to the gallery of the best artists of modern China. This article considers the main domain of the artist’s work, mentions the most striking works in his artistic legacy, and analyzes the stages of his development. An important aspect in studying the artist’s work is an appeal to his literary notes, to analyze the creat

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Wango, Kamau. "Use of Realism as Social Commentary on Specific Subject Matter in Painting: An Analysis of the Realist Paintings of Zephania Lukamba, Kenyatta University, Nairobi, Kenya." East African Journal of Interdisciplinary Studies 7, no. 1 (2024): 64–79. http://dx.doi.org/10.37284/eajis.7.1.1927.

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The creation of any work of art often has a purpose or an intent. In this regard, artists endeavour to create pieces of artwork that bear or propagate certain meanings or points of view and also express some social phenomena that are unique to a particular environment or what has often been referred to as a catchment area. This is usually an important artistic undertaking because artists have the innate responsibility to observe certain social peculiarities and visually record them for all their worth. Some of these peculiarities are a reflection of society and its circumstantial behavioural t

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Obeidat, Abdullah, Qasem Shukran, and Alaa Saleh. "Hyperrealism and the Philosophy of Paradoxes in the Works of the American Artist Richard Estes." Dirasat: Human and Social Sciences 50, no. 1 (2023): 451–62. http://dx.doi.org/10.35516/hum.v50i1.4435.

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The research deals with the subject of hyper-realism and the philosophy of Contradictions in the works of the contemporary American artist Richard Estes , and aims to identify the features and nature of Contradictions in his works, their symbolic and philosophical connotations, and the contemporary issues associated with them. In order to achieve a broader understanding of this trend, a separate axis has been devoted to studying the history of the realist trend in art since the emergence of realism in the nineteenth century and through socialist realism to hyperrealism. The research also ident

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12

McH., B., and Jan Gorak. "God and Artist: American Novelists in a Post-Realist Age." Poetics Today 8, no. 2 (1987): 467. http://dx.doi.org/10.2307/1773069.

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Seed, David, and Jan Gorak. "God the Artist: American Novelists in a Post-Realist Age." Modern Language Review 84, no. 3 (1989): 731. http://dx.doi.org/10.2307/3732466.

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Klinkowitz, Jerome, and Jan Gorak. "God the Artist: American Novelists in a Post-Realist Age." American Literature 59, no. 4 (1987): 688. http://dx.doi.org/10.2307/2926642.

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15

CHAMETZKY, PETER. "ARTISTS AS AVATARS." Modern Intellectual History 11, no. 1 (2014): 237–52. http://dx.doi.org/10.1017/s1479244313000413.

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Are artists crazy? Are creators more likely to be mad, or madder, than the rest of us? Does mental distress deepen artistic vision? Correlate to genius? Is the drive to fashion a personal pictorial or plastic universe pathological? Bettina Gockel's hefty Tübingen Habilitationsschrift, “The Pathologizing of the Artist: Artist Legends in Modernity,” documents the significant amount of mental energy expended exploring these and related questions from the mid-nineteenth century into the 1920s. Matthew Biro's The Dada Cyborg argues that the Dadaists’ montages, assemblages, and raucous agitational a

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Leigh, Allison. "Il΄ia Repin in Paris: Mediating French Modernism." Slavic Review 78, no. 2 (2019): 434–55. http://dx.doi.org/10.1017/slr.2019.96.

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This article explores the development of a singular painting by Russia's most famous realist painter, Il΄ia Repin. First exhibited under the title Un café du boulevard, the work was conceived during Repin's stay in Paris from 1873–75. Repin himself described the work as “the main types of Paris in their most typical place,” but what he produced proves a departure for the young artist, not only in terms of its Parisian subject matter. Careful analysis of Repin's letters and the work itself shows him searching for a stylistic language that had universal translatability in this moment, one that h

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Potts, Alex. "Pictorial Realism in Peter Weiss’s The Aesthetics of Resistance." New German Critique 49, no. 3 (2022): 159–85. http://dx.doi.org/10.1215/0094033x-9965374.

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This article explores an often overlooked, broadly realist aspect of Weiss’s engagement with visual art in The Aesthetics of Resistance. Analysis of the role played in the novel by painted depiction usually focuses on dramatic stagings of figures engaged in violent struggle. The focus here is on a different kind of art depicting generic situations rather than singular events, one that closely echoes aesthetic and ideological priorities evident in the conception of Weiss’s novel. The pictorial realism that particularly drew his attention consisted both of modern social realism, where a politics

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Gade, Solveig. "THE PROMISE OF THE INDEX IN CONTEMPORARY DOCUMENTARY PERFORMANCE." Nordic Journal of Aesthetics 27, no. 55-56 (2018): 41–64. http://dx.doi.org/10.7146/nja.v27i55-56.110753.

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   This essay investigates the troubled status of the concept of the index and its concomitant notion of evidence within the context of a global, visual culture. Specifically, the essay centres on the notion of the index in an era, where the use of digital images claiming to truthfully represent war and conflict has become an increasingly important part of warfare. Focusing on two documentary works by respectively performance artist Rabih Mroué and visual artist Abu Lawrence Hamdan (Forensic Architecture), the article shows that whilst both artists rely on material documents

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Kort, Wesley A. "Review: God the Artist: American Novelists in a Post-Realist Age." Christianity & Literature 37, no. 2 (1988): 64–65. http://dx.doi.org/10.1177/014833318803700218.

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20

Alexandrova, Elmira K. "“Thinking About You, About Our Accidental ʽWritten Meeting’...”: Letters from P.A. Radimov to A.A. Izmailov (1915–1917)". Literary Fact 2, № 36 (2025): 92–109. https://doi.org/10.22455/2541-8297-2025-36-92-109.

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The present study is devoted to the publication of letters from P.A. Radimov (1887−1967), a peasant poet, a famous realist artist, one of the last Wanderers (Peredvizhnik), and the first chairman of the Association of Artists of Revolutionary Russia, to the A.A. Izmailov (1873–1921), famous journalist and literary critic. At the time of the writers’ epistolary acquaintance, Izmailov was an accomplished journalist, a popular parodist, and head of the literary-critical department of Birzhevye Vedomosti. Radimov was a successful young artist, performing with the Wanderers (Peredvizhnik), and an a

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Лук'янова, Ольга Сергіївна. "Скриптор чи візіонер? (До питання філософії творчості О. Забужко)". Літератури світу: поетика, ментальність і духовність 7 (30 червня 2016): 88–95. http://dx.doi.org/10.31812/world_lit.v7i0.1119.

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The following article is on the Oxana Zabuzhko’s creative work philosophy analysis (based on the «The Alien Woman» story). Rejecting the socialist-realist concept the writer tends to romantic interpretation of the artist role and the sources of creative work. Explication of the postmodern philosophema «death of the author» in Zabuzhko’s works occurs at the level of poetics.

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Romanova, E. O. "The Artist and His Circle. Russian Emigre Artist Eugene Klimoff." Art & Culture Studies, no. 2 (June 2023): 92–155. http://dx.doi.org/10.51678/2226-0072-2023-2-92-155.

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The article is devoted to the artist of the Russian emigre artistic circle Eugene E. Klimoff (1901–1990). A committed realist, as a painter and graphic artist, Klimoff worked in the field of landscape and portrait. The artist’s creative heritage includes many portraits of representatives of Russian artistic emigre circles, cultural and scientific figures, as well as landscapes of those places in which he happened to live during his life. These landscapes are autobiographical and belong to the category of historical evidence, acquiring special value after a hundred of years. A significant part

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Turchak, Lesia. "Illia Riepin's Work in the Context of Ukrainian and World Artistic Culture." Issues in Cultural Studies, no. 38 (October 29, 2021): 204–15. https://doi.org/10.31866/2410-1311.38.2021.245945.

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The purpose of the article is to reveal the contribution of the realist artist, teacher I. Riepin to the Ukrainian and world fine arts. The research methodology is based on the principles of consistency and historicism. The author of the article applies the following methods of scientific research: exploratory research, source studies, systematic and analytical, biographical methods. Scientific novelty. The article studies the work of I. Riepin as a representative of Ukrainian culture, since the ideology of the Russian Empire considered the artist’s activities in the context of Russian a

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ZAHAR, IWAN, KARNA MUSTAQIM, TENGKU FAUZAN TENGKU ANUAR, and YUHANIS IBRAHIM. "BUDAYA PERANAKAN DALAM KOMIK SENI PERTAHAN DIRI DALAM KARYA HASIL KERJA TIGA ARTIS TREND SETTER INDONESIA DALAM KOMIK SENI PERTAHAN DIRI." International Journal of Creative Future and Heritage (TENIAT) 10, no. 2 (2022): 75–87. http://dx.doi.org/10.47252/teniat.v10i2.957.

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Abstrak Otto Suastika, Ganesh, T.H., dan Hans Jaladara, yang merupakan keturunan Cina atau juga dikenali sebagai peranakan, merupakan tiga pencipta buku komik paling terkenal dalam genre ini. Mereka menetapkan “trend” pada tahun 1950-an hingga 1970-an. Matlamat kajian adalah untuk menentukan bagaimana ketiga-tiga penentu arah “trend” ini telah mempengaruhi pencipta buku komik yang lain. Temu bual mendalam dengan Hans Jaladara, Dwi Mastuti, Hasmi, Roby, dan Agus T Dermawan merupakan metodologi kajian. Walaupun dari budaya yang sama, gaya lakaran mereka nampak sangat berbeza. Kerana mereka beras

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Dozhidaeva, Olga. "“The Sadness of Loneliness”: The Influence of Matsuo Basho’s Poetry on the Creative Method of Evgeny A. Sudakov." Oriental Courier, no. 4 (2024): 0. https://doi.org/10.18254/s268684310033437-8.

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Evgeny A. Sudakov (1933–1977) was a Soviet artist from the Karelian ASSR. His acquaintance with Japanese art with the poetry of Matsuo Basho, played an important role in the development of his creative method. Under the influence of Eastern culture, he formed his own individual approach to work, different from the accepted socialist realist model. Inspired by the haiku of the Japanese poet, the artist created paintings imbued with the spirit of the East, in which there are motifs of flowers, birds, and oriental beauties. He also used various color and compositional solutions in his work, which

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Gorozhanin, A. V., A. G. Fedyakov, and V. E. Lovyagina. "Mystery of the illness of the great painter I. Repin. By the 180th anniversary." Burdenko's Journal of Neurosurgery 89, no. 1 (2025): 6. https://doi.org/10.17116/neiro2025890116.

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There was the 180th anniversary of Ilya Yefimovich Repin on August 5, 2024. He is the greatest Russian realist artist of the XIX century, a master of historical and genre painting, as well as outstanding portraitist. Repin’s biography is unique. He was a professor and then academician of the Imperial Academy of Arts, teacher, author of memoirs and essays on fine art. After the age of 40, the artist developed a disease with impaired function of the right hand. Therefore, he retrained to write with his left hand. Accurate lifetime and post-mortem diagnosis was not established. The appearance of

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Kiaer, Christina. "Lyrical Socialist Realism." October 147 (January 2014): 56–77. http://dx.doi.org/10.1162/octo_a_00166.

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The thirty-three-year-old artist Aleksandr Deineka was given a large piece of wall space at the exhibition 15 Years of Artists of the RSFSR at the Russian Museum in Leningrad in 1932. At the center of the wall hung his most acclaimed painting, The Defense of Petrograd of 1928, a civil-war-themed canvas showing marching Bolshevik citizens, defending against the incursions of the White armies on their city, arrayed in flattened, geometric patterns across an undifferentiated white ground. The massive 15 Years exhibition attempted to sum up the achievements of Russian Soviet art since the revoluti

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., I. Komang Wikrama, Drs I. Ketut Supir, M. Hum ., and Drs I. Nyoman Sila,M Hum . "PROFIL PELUKIS NUSA PENIDA." Jurnal Pendidikan Seni Rupa Undiksha 7, no. 2 (2017): 121. http://dx.doi.org/10.23887/jjpsp.v7i2.11454.

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Penelitian ini bertujuan untuk (1) mendeskripsikan biografi pelukis Nusa Penida, (2) mendeskripsikan konsep berkarya pelukis Nusa Penida, (3) mendeskripsikan tema dan gaya karya pelukis Nusa Penida. Sumber data berasal dari hasil observasi, wawancara langsung kepada pelukis Nusa Penida dan praktisi seni, dokumentasi, buku, katalog pameran dan koran. Hasil temuan dalam penelitian ini adalah: 1) biografi pelukis Nusa Penida meliputi, I Made Sumerta, pelukis yang menetap di Nusa Penida, lahir di Nusa Penida, 28 September 1974, I Putu Sudiana, pelukis yang menetap di luar Nusa Penida, lahir di Nus

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Bychkov, Victor. "The Russian Symbolist Viacheslav Ivanov on Aesthetic Experience as Religious." Religions 12, no. 2 (2021): 68. http://dx.doi.org/10.3390/rel12020068.

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Viacheslav Ivanov (1866, Moscow–1949, Rome) is one of the most prominent Russian symbolist poets and a leading theorist of symbolism at the beginning of the twentieth century. The article demonstrates that Ivanov understood art (and, more broadly, aesthetic experience) as one of the most effective forms of contact between the human being and the spiritual world, as well as with its first cause. Ivanov distinguishes between three “aesthetic principles” of the universe, which all together constitute “the beautiful”—the sublime, beauty, and the chaotic—and links them to the three stages of being

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Атрощенко, Ольга Дмитриевна. "Vasiliy D. Polenov's Gospel Stories in the Context of Religious Philosophy of the Second Half XIX - Early XX Centuries." Вестник церковного искусства и археологии, no. 3(4) (August 15, 2020): 160–72. http://dx.doi.org/10.31802/bcaa.2020.4.3.011.

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В статье рассматриваются отдельные аспекты творчества В. Д. Поленова в период работы над евангельской серией картин «Из жизни Христа». Уделяется внимание анализу мировоззрения художника и его современников, создающих произведения на евангельские темы во второй половине ХIХ - начале ХХ вв. Протест против сложившегося живописного канона, который использовали большинство художников-реалистов, поиски новых средств художественной выразительности в решении евангельских образов во многом определялись тем религиозным чувством, которое было присуще сознанию художников нового поколения. Самым актуальным

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Bowlt, John E. "Icarian Games: Iosif Chaikov and the Jewish Legacy." Experiment 18, no. 1 (2012): 166–93. http://dx.doi.org/10.1163/221173012x643099.

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Abstract The focus of this article is on the early, experimental sculpture of Iosif Chaikov, known for his Socialist Realist statues rather than for his avant-garde involvement. Chaikov’s Jewish lineage, his collaboration with the Kultur-Lige, his international training, and his cultivation of flight as a central theme are examined in an attempt to restore a more synthetic and comparative station to his oeuvre as a Soviet artist. Copious reference is made to his industrial or “Constructivist” themes of the 1920s and 1930s.

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Gorozhanin, A. V., A. G. Fedyakov, and V. E. Lovyagina. "Differential diagnosis of the disease of the great Russian artist I. Repin." Neuromuscular Diseases 14, no. 4 (2025): 51–57. https://doi.org/10.17650/2222-8721-2024-14-4-51-57.

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The year 2024 marks the 180th anniversary of the birth of the great artist Ilya Efimovich Repin, the brightest representative of the realist direction of academic art. The artist’s life was overshadowed by a disease that deprived him of the ability to work with his right hand. I.E. Repin, with an irresistible will to create, re-trained to paint with his left hand. Repin’s disease was not diagnosed both during his life and after his death. This article contains information about Ilya Repin’s disease and differential diagnosis with pathology, which can be followed by motor disorders of the hand

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Levinsohn, James Michael. "Title: “Unreal, Purely Formal Relations”: Realism in Christian Schad’s Drawings of Queer Nightspots for Ein Führer durch das ‘lasterhafte’ Berlin (1931)." Ikonotheka, no. 32 (January 18, 2024): 101–21. http://dx.doi.org/10.31338/2657-6015ik.32.6.

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Art historian Benjamin Buchloh influentially framed the career of German artist Christian Schad (1894–1982) as exemplifying the “return to realism” undertaken by many formerly avant-garde European artists post-World War I. In 1917, as an adherent of Zürich Dada, Schad created the first intentionally abstract photograms. However, by the 1920s, the newly Berlin-based Schad turned to copiously realistic paintings of urban modernity’s paradigmatic figures – including, uniquely among his fellow Neue Sachlichkeit painters, denizens of the German capital’s then-burgeoning queer social spaces. By anal

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Iarocci, Michael. "Goya on Sexual Violence: Testimony and Critique." Revista Canadiense de Estudios Hispánicos 46, no. 3 (2025): 615–31. https://doi.org/10.18192/rceh.v46i3.7079.

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This essay examines three prints from Goya’s Disasters of War to elucidate the complex moral analyses that the artist develops over the course of his famous print series. While the Disasters of War have often been understood as forms of historical testimony, the essay argues that the series is better understood within the eighteenth-century coordinates of critique and satire. It focuses on prints dedicated to sexual violence to underscore the dense layering of meanings that Goya achieves through: a) the sequential presentation of his image; b) the interplay between captions and images; and c)

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Marțole, Daniela Maria. "CAUGHT IN THE LABYRINTH OF INTERPRETATION. THE QUEST FOR IDENTITY IN A PORTRAIT OF THE ARTIST AS A YOUNG MAN AND LANARK." Messages, Sages and Ages 6, 2019, no. 2 (2019): 41–45. https://doi.org/10.5281/zenodo.3558433.

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This paper sets out to make a comparative study between James Joyce's A Portrait of the Artist as a Young Man and Alasdair Gray's Lanark, analysing the way in which the narrative structure in the two novels is used to organize the strategy for the delineation of the main characters. Thematically, both novels deal with artists' inner struggle to shape their identity and dwell upon a series of similarities such as the motifs of transformation and flight or the water symbolism. Although the two novels belong to different literary backgrounds, they both try to resist a coherent reading

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Virijevic, Mitrovic Vera. "Monumentalno u delu Bože Ilića." Zbornik Narodnog muzeja Niš 32 (June 7, 2023): 75–94. https://doi.org/10.5281/zenodo.14207541.

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Starting from the premise that the painting of Boža Ilić is a priori classified as social realism, then considering other perspectives and searching for the deeper layers of his opus, we are opening a discussion about redefining and revaluing it. It is necessary to define and classify the opus of this artist in a manner that penetrates the essence of the artistic and psychological values of his artwork, not solely political or utilitarian models. This paper offers a detailed analysis of some of his significant works of art and compares him with other authors of the earlier epochs, occasionally

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Cole, Brendan. "Jean Delville's La Mission de l'Art: Hegelian Echoes in fin-de-siècle Idealism." Religion and the Arts 11, no. 3-4 (2007): 330–72. http://dx.doi.org/10.1163/156852907x244557.

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AbstractJean Delville was not only a gifted painter, but also a prolific author, poet and polemicist. He is unique amongst his artistic contemporaries for having written extensively on the subject of Idealism in art. Idealist philosophy, as an intellectual influence, was fairly pervasive amongst contemporary non-realist authors, poets and painters; the core nineteenth-century influence in this regard was the writings of Arthur Schopenhauer. Delville, however, took a different path, particularly in his seminal book, La Mission de l'Art, and his various polemical essays on the subject, which ref

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Ольга, Зінчук. "Акварель у творчому доробку Ярослава Ульгурського (пам'яті Ярослава Ульгурського)". ВІСНИК Львівської національної академії мистецтв, № 34 (10 лютого 2018): 259–66. https://doi.org/10.5281/zenodo.1170652.

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The article is devoted to the research of the works of Lviv artist Yaroslav Ulhurskyi, namely, the study of his watercolor sheets in the context of the visualization features of the Ukrainian landscape art.The actuality of the proposed article is based on the fact that the paintings made by Y. Ulhurskyi in watercolor technique belong to high-specter samples, and the artist's experience in various techniques and genres is capacious. His artistic heritage represents genres of landscape and still life, portrait and iconic composition. The artist skillfully owns the technique of water paints,

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Dixon, Laurinda S. "Japan Meets Holland." Journal of Japonisme 6, no. 2 (2021): 159–84. http://dx.doi.org/10.1163/24054992-06020002.

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Abstract George Hendrik Breitner (1857–1923) was a Dutch Realist artist, whose works chronicle urban life in Amsterdam. But his paintings of a young woman, collapsed on a divan and wrapped in a luxuriant kimono, secured his reputation as an exponent of European Japonisme. The so-called ‘Kimono Girls’, completed between 1893 and 1896, are compelling evocations of female leisure, subsumed within an exotic melange of vivid color and pattern. More importantly, they are an amalgamation of several cultural contexts that characterized the volatile nineteenth century. European Japonisme, the revival o

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Houston, Andrew. "Views & Reviews." Canadian Theatre Review 122 (March 2005): 89–90. http://dx.doi.org/10.3138/ctr.122.019.

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In this issue devoted to an examination ofthe int ersection oftheatre and disability culture, I have chosen to revive a Canadian Theatre Reviewtradition and give myself carte blanche with the Views ’ Reviews section, in order to offer overdue coverage ofsome ofthe noteworthy texts I have received lately. I begin with this idea from Lukacs because of his unique vision of the role of the avant-garde artist in society and because his way of identifying the avantgarde so often reminds me of the process of reviewing and/or editing the reviews for this publication. For Lukacs, the avant-garde was pr

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Faruq, Hisyam, Bambang Witjaksono, and Wiyono Wiyono. "Perundungan Pada Anak Dan Remaja Sebagai Ide Penciptaan Seni Grafis." Fenomen: Jurnal Fenomena Seni 1, no. 1 (2023): 87–109. https://doi.org/10.24821/fenomen.v1i1.8901.

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Proses penciptaan karya seni berkaitan erat dengan pengalaman empiris penulis yang dialami seorang seniman. Kedekatan secara psikis dengan praktik perundungan memiliki potensi untuk menjadi ide dalam penciptaan, empiris yang melekat dengan gejolak rasa dan pemikiran yang berhubungan dengan rasa sedih dan kekecewaan yang masih mengakar hingga kini pada kehidupan sehari-hari. Upaya untuk mempresentasikan praktik perundungan, yaitu menghadirkan penggalan-penggalan kisah perundungan, dari kedua sudut pandang yaitu pelaku dan korban. Serta dampak laten yang terjadi pasca-perundungan ke dalam karya

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N.V., Yaremenko, and Kolomiets N.Ye. "ESCAPISM AS A WAY OUT “OVER THE EDGE” IN THE PROSE OF UKRAINIAN WRITERS OF THE MID-TWENTIETH CENTURY." South archive (philological sciences), no. 84 (December 23, 2020): 47–51. http://dx.doi.org/10.32999/ksu2663-2691/2020-84-7.

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The purpose of this study is to identify the features of the specifics of the artistic expression of escapism as a form of resistance to Soviet unification based on the prose by Yu. Yanovskyi, O. Dovzhenko, O. Honchar.Methods. The article applies a combined technique based on elements of hermeneutic and semiotic analysis, the method of typological comparison of literary facts. The authors also used the toolkit of structural analysis. Results. It has been established that during the socio-cultural situation of the middle of the twentieth century, when the development of literature was going thr

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Mammadova, F. "Artistic features of portrait works of people’s artist Huseyngulu Aliev." Culture of Ukraine, no. 72 (June 23, 2021): 62–70. http://dx.doi.org/10.31516/2410-5325.072.09.

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Achieving a realistic view of the image on canvas or paper is a key requirement of the portrait genre. Since the establishment of the professional school of painting, the portrait has attracted the attention of Azerbaijani artists and has been widely used in their work. Thus, in our miniatures of the Middle Ages, as well as among the paintings created in the XIX–XXI centuries, you can find beautiful, eye-catching portraits with high artistic value. Thus, the portrait has always occupied one of the main places in Azerbaijani painting. Of course, the main object of the portrait genre is a person

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Zhao, Shuai. "Philosophical Foundations of Contemporary Chinese Neorealism." Общество: философия, история, культура, no. 2 (February 21, 2024): 93–98. http://dx.doi.org/10.24158/fik.2024.2.12.

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Chinese new realism painting is formed under the interaction of western philosophy and Chinese native phi-losophy. Philosophical and cultural theories have had a significant impact on artists’ understanding of real-world problems and the way they conceive art. For some contemporary Chinese artists, philosophical and cul-tural theories have become an integral part of their professional outlook. Neorealist artists depict objective reali-ty according to their feelings, emotions and spiritual values. This paper points out three philosophical concepts that influence Neo-Realism philosophy: symbol p

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Islami, Melani Putri, and Asep Miftahul Falah. "Hijrah seni seniman muda: Analisis kritik seni pada karya lukis Yogi Ginanjar." Imaji: Jurnal Seni dan Pendidikan Seni 22, no. 1 (2024): 49–57. http://dx.doi.org/10.21831/imaji.v22i1.64422.

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Penelitian ini bertujuan untuk mengkaji proses hijrah seni seorang seniman muda, Yogie Ginanjar, melalui analisis mendalam terhadap karya-karya lukisnya. Metode penelitian yang digunakan adalah pendekatan Kritik Seni dengan menggunakan analisis konten visual dari sejumlah karya lukis Yogie Ginanjar. Tujuan dari penelitian ini adalah untuk memahami evolusi seni Yogie Ginanjar, termasuk perubahan gaya, teknik, dan tema dalam karyanya dari tahun 2013 - 2017.Hasil penelitian ini menunjukkan bahwa Yogie Ginanjar telah mengalami perkembangan seni yang menarik dalam perjalanan kreatifnya. Pada awal k

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Field, Douglas. "Mapping the International Underground: Jeff Nuttall and Global Counterculture." Bulletin of the John Rylands Library 93, no. 1 (2017): 1–21. http://dx.doi.org/10.7227/bjrl.93.1.1.

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Despite publishing nearly forty books between 1963 and 2003, Jeff Nuttall remains a minor figure in the history of the International Underground of the long 1960s. Drawing on his uncatalogued papers at the John Rylands Library, this article seeks to recoup Nuttall as one of the key architects of the International Underground. In so doing, my article argues that Nuttalls contributions to global counterculture challenge the critical consensus that British avant-garde writers were merely imitators of their US counterparts. By exploring the impact of Nuttalls My Own Mag (1963–67) and Bomb Culture(

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Hochscherf, Tobias. "Dänemark – Hollywood – Europa." European Journal of Scandinavian Studies 51, no. 2 (2021): 277–97. http://dx.doi.org/10.1515/ejss-2021-2037.

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Abstract Thomas Vinterberg is one of Scandinavia’s well-respected contemporary directors. His career is best noted for his involvement in the launch of the Dogma 95 Manifesto and it was his acclaimed Festen (DK 1998) that started the prolific film movement that followed. Yet, as this article shows, Vinterberg repeatedly tried to reinvent himself as an artist, taking on different genres, themes and aesthetic approaches. When his all-star science fiction film It’s All about Love (2003) and his pan-European co-productions met with the disapproval of critics and audiences alike, he returned to rea

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Hochscherf, Tobias. "Dänemark – Hollywood – Europa." European Journal of Scandinavian Studies 51, no. 2 (2021): 277–97. http://dx.doi.org/10.1515/ejss-2021-2037.

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Abstract Thomas Vinterberg is one of Scandinavia’s well-respected contemporary directors. His career is best noted for his involvement in the launch of the Dogma 95 Manifesto and it was his acclaimed Festen (DK 1998) that started the prolific film movement that followed. Yet, as this article shows, Vinterberg repeatedly tried to reinvent himself as an artist, taking on different genres, themes and aesthetic approaches. When his all-star science fiction film It’s All about Love (2003) and his pan-European co-productions met with the disapproval of critics and audiences alike, he returned to rea

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Tomczak, Karolina. "Panteon kultury polskiej (1953–1961) Xawerego Dunikowskiego – między artyzmem a rzeźbą zależną od ideologii." Prace Historyczne 150, no. 3 (2023): 577–602. http://dx.doi.org/10.4467/20844069ph.23.032.18537.

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The Pantheon of Polish Culture (1953–1961) by Xawery Dunikowski – Between Artistry and Sculpture Dependent on Ideology The text describes the post-war series of portrait sculptures by Xawery Dunikowski – which not often are a subject of substantial analysis – in which the artist refers to his pre-war Wawel Heads (1925–1928). The extended approach to the artistic merit of the work (style) has been augmented with its contextual setting (the circumstances of its creation, ideological references) to indicate the significant formal and thematic ambivalence of the cycle as well as its multifaceted q

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Howe, Steven. "For a Justice-to-Come: Milo Rau’s Utopian Realism." Seminar: A Journal of Germanic Studies 60, no. 2 (2024): 108–22. http://dx.doi.org/10.3138/seminar.60.2.2.

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One of the most prolific political theatre makers in Europe today, Milo Rau is known for his commitment to a realist art of possibility—a “Möglichkeitsrealismus,” as he defines it, devoted to opening space for envisioning possible alternatives to the status quo. Drawing on Ernst Bloch’s writings on utopia, this article argues for an understanding of Rau’s artistic practice as a kind of “concrete utopianism” that materially engages the world so as to imagine—and enact—new possibilities for improvement and transformation. Via a reading of Rau’s Kongo Tribunal (2015), an attempt is made to show h

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