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1
Belting, Hans. "The Museum of Modern Art and the History of Modernism." Nka Journal of Contemporary African Art 2020, no. 46 (May 1, 2020): 100–114. http://dx.doi.org/10.1215/10757163-8308222.
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Right from its opening in 1929, the Museum of Modern Art (MoMA) recreated modern art as a new myth that was rescued from European history and thus became accessible as an independent value for an American audience. Paradoxically, the myth stemmed from the opinion that modern art’s history seemed to have expired in pre-war Europe. Upon MoMA’s completion of a major expansion project in 2004, there was considerable anticipation about how the museum would represent its own history and raise its profile in a new century. As it turned out, the museum opted for a surprisingly retrospective look, since its curators were tempted to exhibit its own collection, so unique up until the sixties, in the new exhibition halls. This launched a dilemma for MoMA, as it became a place for past art with little space for new art. In an in-depth analysis of what constitutes “modern” art in the context of the preeminent questions circulating in the art world during this time—When was modern art? and Where was modern art?—the author presents a focused chronology of the administration of MoMA under the museum’s first director, Alfred Hamilton Barr Jr. (1929–43), and, later, William Rubin, director of the Department of Painting and Sculpture (1968–88), with regard to their influence on the museum’s mission, exhibitions, and international profile. The author concludes with commentary on contemporary changes in art geography and contemplation on the effect on artists of the emergence of a global art market.
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Padyan, Yu Yu. "PERFORMANCE AS A CONTEMPORARY ART PHENOMENON." Arts education and science 1, no. 1 (2021): 148–56. http://dx.doi.org/10.36871/hon.202101017.
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The end of the XIXth — beginning of the XXth centuries is a special period in the history of world art culture, characterized by the emergence of such trends as modernism, post-impressionism, avant-gardism, abstractionism, cubism, surrealism and many others. The motto of XXth-century art was "Art into Life". Often new trends became a response to the demand of the mass consumer. One of them was the art of performance. Appearing as a rejection of traditional practices of painting, sculpture and theater, performance organically incorporated wellknown and new approaches and technologies that caused an alternative way of working with space and time. It should be noted that historiography focuses on materials that explore the origins of performance and installation on a global scale. The most significant are the works by American, Western European and Polish authors. At the same time, the historiographic review showed a lack of a large scientific heritage of Russian artists in the field of performance: the process of forming modern art criticism, which would reflect the later history of performance than the first half of the XXth century, is still out of the researchers' sight.
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Rosenthal, Nicolas G. "Rewriting the Narrative." California History 96, no. 4 (2019): 54–77. http://dx.doi.org/10.1525/ch.2019.96.4.54.
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A vibrant American Indian art scene developed in California from the 1960s to the 1980s, with links to a broader indigenous arts movement. Native American artists working in the state produced and exhibited paintings, prints, sculptures, mixed media, and other art forms that validated and documented their cultures, interpreted their history, asserted their survival, and explored their experiences in modern society. Building on recent scholarship that examines American Indian migration, urbanization, and activism in the twentieth century, this article charts these developments and argues that American Indian artists in California challenged and rewrote dominant historical narratives by foregrounding Native American perspectives in their work.
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Rozenberg, Natalia. "A NON-CLASSICAL CLASSIC, A LOOK AT THE ART OF S. ERZYA (1876-1959) FROM THE 21 ST CENTURY." Herald of Culturology, no. 3 (2021): 71–82. http://dx.doi.org/10.31249/hoc/2021.03.05.
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For the first time in Russian art history, the article attempts to show the integrity of the art of the Russian-Argentine sculptor S. Erzya on the basis of an art history analysis of his most famous works created in Italy, Russia and Argentina. The features of his personal and creative development are revealed in the context of socio-cultural events, which were distinguished by a stormy, sometimes catastrophic nature. The youthful ideals of Tolstoyism in the mind of a mature master acquire the features of a worldview that asserts the priority of the ideals of moral and spiritual perfection, the devotion to which was almost invariably paid with the price of life. A documentary confirmation of Erziʼs words is given in the entry of his secretary, L. Orsetti. People who knew Erza intimately in Italy, Russia, and Argentina also wrote about their commitment to these ideals. The theme of sacrifice, the suffering path unites both his biblical works and things of revolutionary themes. Their success is described in the article not only on the basis of periodicals, but also for the first time with the involvement of exhibition catalogues. In Argentina, Erzya created monumental portraits of the spiritual leaders of mankind - these portraits by the sculptor himself were collected in a special exhibition in his house: Moses, Beethoven, Tolstoy, N. Gogol. The motives of beauty and birth, the continuation of the human race are embodied by Erzya in the famous female images «Nude», «Eve», «Motherhood», «Dance». The plastic beauty and the mystery of the transformation of the female body fascinated the audience at the exhibitions of the sculptor's works and were evidence of the change in his somatic perception in Argentina. Thus, in the art of Erzi in Argentina, the intuition and emotional supernormality inherent in the cultural consciousness of Latin Americans are manifested. The sculptor's attitude to the material he chose for a particular work was dictated by the concept. His rare ability to work in any material - cement, marble, bronze, wood-makes him stand out among modern sculptors. He followed the Michelangelo tradition in the processing of the marble block and became the only master to conquer the hard species of tropical trees. Today it is obvious that the legacy of the sculptor-thinker Erzya is not fully appreciated.
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Carrier, David. "The Aesthete in Pittsburgh: Public Sculpture in an Ordinary American City." Leonardo 36, no. 1 (February 2003): 35–39. http://dx.doi.org/10.1162/002409403321152284.
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There is a great deal of public art in Pittsburgh. Surveying some examples of this public sculpture suggests some general lessons about the role of such art. Art in public spaces needs to be accessible to the public. One way to make it so is to present local history, commemorating local sports heroes, politicians or artists. Public art also needs to be placed in a way that is sensitive to local history. Most public art in Pittsburgh is not successful because it does not deal with the interesting history of that city. Much sculpture that is successful in a museum is not good public art, and some successful public art in Pittsburgh does not belong in a museum.
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Meldesh, G. "Synthesis of academic and modern practices of learning sculpture in creative universities of kazakhstan." Pedagogy and Psychology 46, no. 1 (March 31, 2021): 41–47. http://dx.doi.org/10.51889/2021-1.2077-6861.05.
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The article put attention on the need for a methodological collaboration analysis of the academic and modern types of teaching sculpture in the specialized creative colleges and universities of the Republic of Kazakhstan in the modern educational and aesthetic discourse. The main research problem focuses on identifying and characterizing the most relevant educational theoretical and practical methods that can significantly increase the level of domestic art education in the art of sculpture. The author believes that a comprehensive scientific analysis of the educational potential of the Kazakhstani aesthetic originality of modern sculpture, its history and technical and technological features will give a possibility to understand deeply and see the big picture of the art education role in the general socio-cultural canvas of sovereign Kazakhstan. At the moment, the Kazakhstani art education system is on a peripeteia and it is necessary to clear the choice between academic and contemporary art practices or their harmonious synthesis. This work is devoted to these question’s analysis and the author's research work disclosure.
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ÖZDEMİR, Soner. "ARTIFICIAL LIGHT SOURCE AS A COMPONENT CONSTITUTING THE SCULPTURE." IEDSR Association 6, no. 15 (September 20, 2021): 235–45. http://dx.doi.org/10.46872/pj.351.
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Light, which is the main source in which plastic arts produce meaning by processing it, indirectly takes place in all works of art with its different colors and tones throughout the history of art. With the use of new materials and techniques in art with the modern period, it is seen that the light itself, that is, the light source, is also included in art works as a medium. This situation allowed the artists to create brand new perceptions and effects. With the second half of the 20th century, the use of artificial light source in sculpture as an element belonging to the sculpture is encountered. Some of the artists selected as examples in this study were chosen in terms of being the first example in terms of the material they used, the way they used the light source and the diversity of the content they produced with these materials. Light, which is one of the primary conditions for perception in sculpture; In this study, the material forming the sculpture, such as transparency and reflection, is not based on its interaction with its structure, but as an element that forms a part or whole of the sculpture. It is aimed to show the effect of using artificial light source in sculpture on expression and perception through selected examples.
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Berthoud, Luiza Esper. "Art History and Other Stories." ARS (São Paulo) 18, no. 38 (April 30, 2020): 197–217. http://dx.doi.org/10.11606/issn.2178-0447.ars.2020.162471.
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Through the analysis of one erroneous piece of art criticism, an essay by Goethe that re-imagines a lost ancient sculpture, I demonstrate the difficulty that the discipline of art history has with conceptualizing the experience of art making and how one ought to respond to it. I re-examine the relationship between art making and art appreciation informed by ideas such as the Aristotelian view of Poiesis, Iris Murdoch’s praise of art in an unreligious age, and Giorgio Agamben’s call for the unity between poetry and philosophy. I also argue that much of modern art criticism has forgotten Arts’ earlier conceptual vocation, and propose methods of appreciating art that are in themselves artistic.
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B.K., Jyoti Prakash. "Nepali Painting: Traditional Motifs in Modern Art." Journal of Advanced Academic Research 3, no. 1 (February 11, 2017): 173–76. http://dx.doi.org/10.3126/jaar.v3i1.16626.
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Art is mirror of society. Human Civilization developed through art. Philosopher Langinus said that the power of the art is to create sublime to viewers. There is lot of philosophy in art history but still no any conclusion or scientific answer about the art but art is more contemporary due to the globalization and individual expression. In the case of Nepali art, before the "Kirat" and "Lichhabi" period had also some paintings and sculpture. Because of the weak surface we didn't have any paintings but can know from the petrography of Lichhabi period. In the world the ancient time had been found to be developing from religious and cultural development. It is absolutely relevant to be saying that the Nepali paintings were also the cause of the religious development. The history of the Nepali painting had been developed on religious base from the history to contemporary situation. So the main objective of the research is to find the core relation between traditional and modern painting.
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Marshall, Jennifer. "Common Goods: American Folk Crafts as Sculpture at the Museum of Modern Art, New York City, 1932—33." Prospects 27 (October 2002): 447–65. http://dx.doi.org/10.1017/s0361233300001289.
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During New York City's newly opened Museum of Modern Art's (MoMA's) fourth exhibition season of 1932–33, while director and intellectual leader Alfred H. Barr, Jr. was on sabbatical leave in Europe, interim director Holger Cahill mounted a show of 18th- and 19th-century American arts and crafts. Offered for sale in New England as antiques at the time of the show, the items on display in Cahill's American Folk Art: The Art of the Common Man in America 1750–1900 obscured the divisions between the avant-garde and the traditional, between high art and the everyday object. In an exhibit of items not easily categorized as modern nor properly considered art, MoMA admitted such local antiques and curiosities as weather vanes and amateur paintings into spaces otherwise reserved for the likes of Cézanne and Picasso.
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Stefanou, Maria Ioanna, and Ulf Ziemann. "Neuroaesthetical Changes in Sculpture: The Case of Yannoulis Halepas (1851–1938)." European Neurology 82, no. 4-6 (2019): 116–23. http://dx.doi.org/10.1159/000505546.
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The theoretical conceptualization of artistic ingenuity and creativity, as reflections of the highest-level cognitive functions in the human brain, has recently evolved from a purely philosophical pursuit to a compelling neuroscientific undertaking. Changes in artistic style have been extensively studied in association with brain dysfunction in the presence of neurological and psychiatric diseases in famous artists. This paper presents the case of Yannoulis Halepas (1851–1938), who is widely regarded as the most influential sculptor of modern Greek art. At the age of 27, already at the peak of his fame, Halepas abruptly abandoned the sculpture world after developing schizoaffective disorder, only to resurge onto the art scene after an almost 40-year-long hiatus with a fundamentally reformed artistic style. Two distinct periods have preoccupied art critics: Halepas’s early premorbid years (1870–1878), which were imbued with the principles of neoclassicism, and the later postmorbid years (1918–1938), which mark the artist’s transcendence to expressionism and contemporary art. From a neuroaesthetical perspective, the extensive and multifaceted oeuvre that Halepas produced in his lifetime allows a close study of his artistic development throughout and beyond mental disease. In addition, his lifework is a unique account in the history of art of the struggle of artistic genius with the limits of the rational mind and its conscious reality.
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Guha–Thakurta, Tapati. "“For the Greater Glory of Indian Art”: The Life of an Endangered Art Treasure in Modern India." International Journal of Cultural Property 11, no. 1 (January 2002): 1–27. http://dx.doi.org/10.1017/s0940739102771555.
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The essay narrates the biography of a single art object—acclaimed in recent history as a “masterpiece” of ancient Indian sculpture—to invoke the larger spectrum of practices and discourses that came to constitute the field of art history in modern India. It explores the shifting locations and aesthetic trajectories that marked the transformation of this artifact from a curious archaeological “antiquity” into a national “art-treasure” and icon of Indian femininity, and later even into “a travelling emissary of ancient Indian art and culture.” On the one hand, the spectrum of travels of this object provides an ideal instance for mapping over the twentieth century the changing colonial, national and international stature of Indian art. On the other hand, its career also pointedly reveals the clash of contending claims and the politics of “return” and “restitution” that have attended the nationalization and artistic consecration of many such objects.
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Squire, Michael. "GREEK SCULPTURE AND MODERN ART - E. Prettejohn The Modernity of Ancient Sculpture. Greek Sculpture and Modern Art from Winckelmann to Picasso. Pp. xvi + 332, ill. London and New York: I.B. Tauris, 2012. Paper, £18.99 (Cased, £54.50). ISBN: 978-1-848-85903-6 (978-1-848-85902-9 hbk)." Classical Review 63, no. 2 (September 12, 2013): 605–7. http://dx.doi.org/10.1017/s0009840x1300142x.
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Pollier, Pascale. "Artem Medicalis – My ouroboros journey in art and science." Journal of EAHIL 15, no. 4 (December 10, 2019): 7–12. http://dx.doi.org/10.32384/jeahil15351.
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Artistic scientific research is, I believe, one of the ways out of the cul-de-sac that modern art brought us into during the latter part of the twentieth century. By returning to serious scientific and anatomical study, doors opened to a new discipline altogether. My personal journey as a medical artist took me from scientific wonder and intense interest in alchemy, through artistic anatomical research, on to functional medical illustration and back to conceptual art and sculpture. Having completed a course in forensic facial reconstruction I developed the idea of making a reconstruction of Andreas Vesalius’s face. Thus, began a quest to find the lost grave of the great anatomist. We have not found it yet but have already changed history.
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Whiting, Cécile. "Philip Johnson." Journal of the Society of Architectural Historians 75, no. 3 (September 1, 2016): 318–38. http://dx.doi.org/10.1525/jsah.2016.75.3.318.
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In the late 1950s and 1960s, before it became a norm to situate contemporary art in public spaces, Philip Johnson employed a model for relating contemporary architecture and art, proposing mutual enhancement based on juxtaposition and contrast over independence or integration. In Philip Johnson: The Whence and Whither of Art in Architecture, Cécile Whiting examines two examples of Johnson's use of contemporary art: the New York State Theater at Lincoln Center and the New York State Pavilion at the 1964–65 New York World's Fair. Whiting discusses the ways in which the commissioned art contrasted with the structures and orchestrated the movement of visitors. Johnson's use of painting and sculpture in and on these two buildings blurred lines—not only the line between art and architecture but also that between high art and popular commerce. As demonstrated in these works, modern art and architecture could engage in a rapprochement without effacing the creative tension between them.
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Peck, L. V. "Uncovering the Arundel Library at the Royal Society: changing meanings of science and the fate of the Norfolk donation." Notes and Records of the Royal Society of London 52, no. 1 (January 22, 1998): 3–24. http://dx.doi.org/10.1098/rsnr.1998.0031.
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Thomas Howard, Earl of Arundel, was the most important collector in early 17th Century Britain. Much attention has been paid to his collections of painting and sculpture, his patronage of painters such as Rubens and Van Dyck and architects such as Inigo Jones, and his search through Greece and Turkey for antiquities. Little, however, has been written on the Arundel Library, which was equally famous. The cause is not hard to find: the library has been dispersed whereas the marbles and antiquities have found a home at Oxford, the manuscripts at the British Library and the College of Arms, and the paintings and sculpture remain identifiable whether at Arundel Castle or in British, continental or American museums. Yet the Arundel Library is of great significance: to the history of book–collecting by the great bibliophiles Willibald Pirckheimer and Arundel himself; to the study of the reading practices and libraries of members of the Howard family, possibly including Henry Howard, Earl of Surrey, and, certainly, his son, Henry Howard, Earl of Northampton; and, more generally, to the history of the book in the Renaissance and early modern Europe and the concomitant study of communities of readers.
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Peremislov, I. A., and L. G. Peremislov. "JAPANESE AESTHETICS IN AMERICAN SILVER MASTERPIECES." Arts education and science 1, no. 2 (2021): 79–88. http://dx.doi.org/10.36871/hon.202102010.
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Japanese culture with its unique monuments of architecture, sculpture, painting, small forms, decorative and applied arts, occupies a special place in the development of world art. Influenced by China, Japanese masters created their own unique style based on the aesthetics of contemplation and spiritual harmony of man and nature. In the context of "Japan's inspiration" the work refers to the influence of the art of the Land of the Rising Sun on American decorative arts and, in particular, on the silver jewelry industry in trends of a new aesthetic direction of the last third of the XIXth century, the "Aesthetic movement". The article provides a brief overview of the history of the emergence and development of decorative silver art in the United States. The important centers of silversmithing in the USA and the most important American manufacturers of the XIXth century are described in more detail. The article also touches on the influence of Japanese aesthetic ideas on European creative groups and on the formation of innovative ideas in European decorative arts. At the same time, an attempt is made to trace the origin, development trends, evolution and variations of "Japanesque" style in American decorative and applied art, in particular, in the works of Edward Moore and Charles Osborne (Tiffany & Co jewelry multinational company).
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Mitrović, Slađana. "The Wound in Visual Art." Monitor ISH 17, no. 2 (November 3, 2015): 73–94. http://dx.doi.org/10.33700/1580-7118.17.2.73-94(2015).
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The fine arts abound in images of the pierced, wounded, tortured, dismembered, crippled or decapitated body in all historical periods. The iconography of the wound is of long standing, and the passion for depicting open bodies can only be compared to the enthusiasm for the nude. In the history of painting and sculpture, the wounded body is most often represented in renditions of Christ’s Passion and Christian martyrs, as well as of Biblical stories about decapitation and slaughter. The topic of the wound has proved relevant to modern and contemporary art as well. In the second half of the 20th century, around 1965, when the Viennese Actionism appeared, as well as between 1968 and 1974, the two milestone dates of body art, artists engaged in performative practices, shattering the notions of the wounded or penetrable body which dominated at the time. What they exposed was the anxious image of the artist’s body. By analysing the art photos by Rudolf Schwarzkogler, the paper shows how the wound is materialised as a topic of visual art.
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Peremyslov, I. A., and L. G. Peremyslova. "JAPANESE AESTHETICS IN MASTERPIECES OF AMERICAN SILVER." Arts education and science 1, no. 1 (2021): 89–96. http://dx.doi.org/10.36871/hon.202101010.
Full textAbstract:
Japanese culture with its unique monuments of architecture, sculpture, painting, small forms, decorative and applied arts, occupies a special place in the development of world art. Influenced by China, Japanese masters created their own unique style based on the aesthetics of contemplation and spiritual harmony of man and nature. In the context of "Japan's inspiration" the work refers to the influence of the art of the Land of the Rising Sun on American decorative arts and, in particular, on the silver jewelry industry in trends of a new aesthetic direction of the last third of the XIXth century, the "Aesthetic movement". The article provides a brief overview of the history of the emergence and development of decorative silver art in the United States. The important centers of silversmithing in the USA and the most important American manufacturers of the XIXth century are described in more detail. The article also touches on the influence of Japanese aesthetic ideas on European creative groups and on the formation of innovative ideas in European decorative arts. At the same time, an attempt is made to trace the origin, development trends, evolution and variations of "Japanesque" style in American decorative and applied art, in particular, in the works of Edward Moore and Charles Osborne (Tiffany jewelry multinational company).
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Portnova, Irina V. "Russian Animalism in Relation to Other Genres of Fine Art in the History of Russian Culture of the 18th—19th Centuries." Observatory of Culture 17, no. 6 (February 10, 2021): 606–15. http://dx.doi.org/10.25281/2072-3156-2020-17-6-606-615.
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The article deals with the historical-cultural topic of relations of the Russian animalism with other genres of fine art of the 18th and 19th centuries. When the features of animalistic art were identified as a peculiar and characteristic phenomenon open to interaction, animalism became an original page of Russian culture. The author refers to this topic in connection with the small number of complex studies in the field of animalism. The purpose of the article is to consider the specific features of animalism, as a characteristic original phenomenon of Russian artistic culture, in the context of the existing genre system of the two designated periods. The relevance of the article lies in the fact that the issues of interaction and integration are very significant in historical and modern artistic practice. The demonstration of such “communications” on the example of Russian animalistic painting, graphics, and sculpture further enriches and diversifies the sphere of Russian art, giving it the character of integrity and national color.The article presents a review of Russian and foreign literature on this topic, indicates that animalism entered the system of genres of Russian art of the 18th—19th centuries as a special “genus” of it, showing an independent status. For two centuries, artists set their task to create an animal’s image in the sphere of the natural reality they observed. The nature they perceived and the animals in it were reflected in different genres of fine art. In the 18th century, when the Academy of Arts and related classes were organized in Russia, animals and birds began to be depicted in historical, battle, landscape paintings, and still lifes. Wild and domestic animals appeared in paintings by foreign and Russian masters. In the 19th century, the horse became one of the most preferred characters in portraiture and sculpture (along with the historical and landscape genre). The author concludes that the historical realities of that time highlighted that image and determined the formation of a separate “hippic genre”.
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Szafrański, Wojciech. "‘NATIONAL COLLECTIONS OF CONTEMPORARY ART’: PROGRAMME OF THE MINISTER OF CULTURE AND NATIONAL HERITAGE TO FINANCE PURCHASES OF CONTEMPORARY ART WORKS IN 2011–2019 PART 1. HISTORY: FINANCING." Muzealnictwo 62 (September 13, 2021): 227–35. http://dx.doi.org/10.5604/01.3001.0015.2686.
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The ‘National Collections of Contemporary Art’ Programme run by the Ministry of Culture and National Heritage (MKiDN) in 2011–2019 constituted the most important since 1989 financing scheme for purchasing works of contemporary art to create and develop museum collections. Almost PLN 57 million from the MKiDN budget were allocated by means of a competition to purchasing works for such institutions as the Museum of Modern Art in Warsaw (MSN), Museum of Art in Lodz (MSŁ), Wroclaw Contemporary Museum (MNW), Museum of Contemporary Art in Cracow (MOCAK), or the Centre of Polish Sculpture in Orońsko (CRP). The programme in question and the one called ‘Signs of the Times’ that had preceded it were to fulfil the following overall goal: to create and develop contemporary art collections meant for the already existing museums in Poland, but particularly for newly-established autonomous museums of the 20th and 21st century. The analysis of respective editions of the programmes and financing of museums as part of their implementation confirms that the genuine purpose of the Ministry’s ‘National Contemporary Art Collections’ Programme has been fulfilled.
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Шипицин, Антон, and Anton Shipitsin. "Urban sculpture and cultural code of Volgograd in the context of branding the territory." Universities for Tourism and Service Association Bulletin 10, no. 4 (December 19, 2016): 89–97. http://dx.doi.org/10.12737/23656.
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The sculpture and monuments of Volgograd are discussed in the article as cultural and symbolic objects expressing the local identity and the defining image of the city, and also as resources for branding areas. Field studies and analysis of publications in print and electronic media showed that in the period from 2006 to 2016. in Volgograd, it was installed about 50 different sculptural forms and art objects – sculptures, memorials, monuments, small architectural forms. The author carried out a content analysis of the sculptural text and made the classification of monuments installed over the last 10 years. There were identified dominant themes and motifs, proving the irreducibility of the identity of Volgograd to a common denominator with a predominance of heroic discourse of the Soviet past. Specific examples show that the development of object environment of Volgograd clarifies three main trends: the assertion of the identity of the city-hero, stream professional-corporate symbols, representation of the images of the pre-Soviet past, first of all, an appeal to the history and culture of Tsaritsyn. The empirical material of Volgograd highlights the key functions of modern urban sculptures and monuments: monumental, memorial, axiological, aesthetic, social, advertising, entertainment, cultural and educational. It’s stated that creation and promotion of a positive image of Volgograd as a modern city of cultural innovations is difficult in the absence of a developed strategy of cultural policy aimed at the use of intelligent, creative, real assets and the search for alterna- tive symbolic models.
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Benedicta Maier, Mary. "Does Artwork Have to be Beautiful?" Aristos: A biannual journal featuring excellent student works 1, no. 2 (September 2015): 1–7. http://dx.doi.org/10.32613/aristos/2015.1.2.6.
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Beauty’s relation to art work is a contentious problem for the philosophy of art. The problem is not new to the history of philosophy. Hume and Kant attempted to tackle the question in the modern era. Contemporary philosophers have broadened the definition of art to include works that stretch modern philosophers’ conceptions. With philosophers shifting their definition from the object to the subject, they have effectively marginalized beauty in place of another good or valued concept. Considering the status quo, this paper argues that beauty is a necessary condition for art work. It argues that philosophers have a problem when their broad definition of art disregards the beautiful to incorporate art work that is intentionally ugly or is only considered art work because of its being on display. Comparing the focus of other philosophical disciplines with philosophy of art’s focus on beauty, it argues that philosophy of art blurs its vision when it directs its gaze to that other than to its proper transcendental. Examining the intelligent and elevating characteristics of the art form of sculpture, the paper compares two famous works: Michelangelo’s Pietà and Warhol’s Brillo Boxes. Because the sculptor is able to communicate the beauty of creation through his art work, a philosophy of art that changes its questions to incorporate existing objects that are deemed “art” has not fully addressed the problem of beauty’s place in art work.
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Ballard, Susan, and Liz Linden. "Spiral Jetty, geoaesthetics, and art: Writing the Anthropocene." Anthropocene Review 6, no. 1-2 (April 2019): 142–61. http://dx.doi.org/10.1177/2053019619839443.
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Despite the call for artists and writers to respond to the global situation of the Anthropocene, the ‘people disciplines’ have been little published and heard in the major journals of global environmental change. This essay approaches the Anthropocene from a new perspective: that of art. We take as our case study the work of American land artist Robert Smithson who, as a writer and sculptor, declared himself a ‘geological agent’ in 1972. We suggest that Smithson’s land art sculpture Spiral Jetty could be the first marker of the Anthropocene in art, and that, in addition, his creative writing models narrative modes necessary for articulating human relationships with environmental transformation. Presented in the form of a braided essay that employs the critical devices of metaphor and geoaesthetics, we demonstrate how Spiral Jetty represents the Anthropocenic ‘golden spike’ for art history, and also explore the role of first-person narrative in writing about art. We suggest that art and its accompanying creative modes of writing should be taken seriously as major commentators, indicators, and active participants in the crafting of future understandings of the Anthropocene.
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Fredriksson, Martin. "The Avant-Gardist, the Male Genius and the Proprietor." Nordlit 11, no. 1 (May 1, 2007): 275. http://dx.doi.org/10.7557/13.1785.
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As the title suggests, this article will deal not only with the avant-garde and the romantic idea of geniality but also with the much more mundane concept of literary property. Even though the law might seem alien to the lofty ideals of the avant-garde artist, the construction of the creative genius and the birth of copyright will eventually prove to be quite closely connected. But before I move on to the legal part I would like to start with the essentials: with the author, or the artist. The American artist John de Andreas sculpture The Artist and his model from 1980 is probably one of the most revealing pictures of the avant-gardist selfconception ever made. This is a picture of the artist at work, but I will argue it can also be regarded as a legal character. What meets the eye is however very far from the law as we know it. de Andreas sculpture is a self-portrait of the artist at work: a highly naturalistic full-scale portrait of two people. One of them is a naked woman, resting casually on a white socket and looking down on the other who is a fully dressed man. As the title clearly states, the sculpture depicts the classical relation between The Artist and his Model, and it is no coincidence that the artist has a male pronoun and the model a female body. The roles of the artist and his model are traditional stereotypes which we can find in most books on art history - one is an artist and the other is a model; one is a man and the other is a woman; one is dressed and the other one is undressed.
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Škoda, Zdeněk. "Art competitions at the Olympic Games 1912-1948 and the Czechoslovak participation." Studia sportiva 14, no. 1 (September 1, 2020): 42–46. http://dx.doi.org/10.5817/sts2020-1-5.
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The article deals with the art competitions that appeared on the program of modern Olympic Games between 1912 and 1948. It reveals the philosophical background of their existence within the Summer Olympics and their relation to the idea of kalokagathia. The article describes the reasons for their origin and how the founder of the modern Olympic movement Pierre de Coubertin succeeded in pushing this idea forward. There were five artistic disciplines: fine arts, music, sculpture, literature, and architecture. I will briefly introduce the history of art competitions in chronological order, show how their popularity gradually increased but I will also reveal the reasons the art competitions were removed from the program of the Olympic Games in the 1950s of the 20th century. Czech and Czechoslovak artists were frequent participants in the competitions. Except for Antwerp 1920 and Amsterdam 1928, they represented Czechoslovakia in large numbers until the time of the first Olympic Games after World War II in London 1948. In total, works by more than 50 Czechoslovak artists were presented and some were remarkably successful. Two composers Josef Suk and Jaroslav Křička and a sculptor Jakub Obrovský were even awarded Olympic medals in the 1930s. We will take a closer look at these achievements and present their works. The article aims to present a lesser known but important place of art competitions in the history of the modern Olympic movement and to recall the achievements of Czech and Czechoslovak artists.
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ROLLS, ALISTAIR. "Primates in Paris and Edgar Allan Poe’s Paradoxical Commitment to Foreign Languages." Australian Journal of French Studies 58, no. 1 (April 1, 2021): 76–87. http://dx.doi.org/10.3828/ajfs.2021.07.
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Drawing on recent innovations in detective criticism in France, this article broadens the quest to exonerate Poe’s famous orang-utan and argues that the Urtext of modern Anglo-American crime fiction is simultaneously a rejection of linguistic dominance (of English in this case) and an apologia for modern languages. This promotion of linguistic diversity goes hand in hand with the wilful non-self-coincidence of Poe’s detection narrative, which recalls, and pre-empts, the who’s-strangling-whom? paradox of deconstructionist criticism. Although “The Murders in the Rue Morgue” is prescient, founding modern crime fiction for future generations, it is entwined with a nineteenth-century tradition of sculpture that not only poses men fighting with animals but also inverts classical scenarios, thereby questioning the binary of savagery versus civilization and investing animals with the strength to kill humans while also positing them as the victims of human violence.
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Abd El Baset, Hussein, and Fakhriya Al-Yahyai. "The Language of Visual Communication between the Variable Culture and Beliefs in Light of Art Formation." Journal of Arts and Social Sciences [JASS] 9, no. 2 (October 1, 2018): 79. http://dx.doi.org/10.24200/jass.vol9iss2pp79-87.
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Physical language takes on a universal dimension, where people can communicate through it as an understandable language related to the different environments and elements associated with man, animal, and plant, for forms that have meaning for the public and individuals because they have different thoughts and cultures. The art is a rich material for the transmission of ideas and beliefs, a material for recording history and everyday life, within its formal and spontaneous framework, and a material for the documenting of human relations. It contributed to the direction of public thought in a cultural or ideological framework. It was possible to exploit the color and the sculptural modeling as a strong means that varies between the even and sculptural within the framework of official sculpture in a changing relationship throughout history to take a modern form that is related to modernity and the wide impact under technological development. This research aims to review the aspects of communication, and the influence of art through ancient civilizations to contemporary time.
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Castoriadis, Cornelius, and Andrew Cooper. "Window into chaos." Thesis Eleven 148, no. 1 (October 2018): 77–88. http://dx.doi.org/10.1177/0725513614535698.
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This is the first English translation of a remarkable two-part lecture given by Cornelius Castoriadis at the École des hautes etudes en sciences sociales in January 1992. The lecture features within a series on social transformation and the task of creative forms of labour. In this installment Castoriadis explores the significance of art through a creative reading of Aristotle's famous definition of tragedy in the Poetics. He rejects Aristotle's dependence on the mimetic tradition in search for a vision of art as the unveiling of the creative resources that lie within the human being. Yet he retains Aristotle's vivid depiction of art as a form of production that is at once cognitive, emotive and social. Art, for Castoriadis, affects a transformation on the level of imagination that opens us anew to the fundamental questions of human being and doing. Through his extensive knowledge of western forms of artistic production Castoriadis draws lucid connections between Aristotle, Shakespeare, Kant, Hegel, Greek sculpture, renaissance painting, modern literature and folk music to explore the work of art as a ‘window into chaos’, a creative production that gives form to what cannot be formed: the ground of creativity at the heart of the imagination.
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Михайлова, Р. Д., and С. С. Кисіль. "ПРО ОБРАЗНО-ЗМІСТОВНІ ДОМІНАНТИ ПЕЙЗАЖНОЇ АЛЕЇ В м. КИЄВІ." Art and Design, no. 3 (December 5, 2019): 97–105. http://dx.doi.org/10.30857/2617-0272.2019.3.10.
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Purpose. An analysis of figurative and informative accents of the Landscape Alley with graphic and design tools in the context of modern improvement of the historical landscape of Kyiv. Methodology. Research was conducted to study the object on the basis of historical and art history, functional, architectural and planning, landscape analysis. For a general assessment of the territory, field surveys, analysis of scientific, journalisticsources and design studies of previous years were carried out. Results. The figurative and meaningful dominants of the Landscape Alley in the historical landscape of Kyiv are determined. The essence and features of art and design tools are revealed during the shaping of its art elements, by combining sculpture with design art. It has been established that the Landscape Alley in Kyiv is an example of a new design thinking of fine art, as an option for designing a recreation zone of a metropolis and is determined by symbiosis: landscape, modern urbanism, traditions of fine art and modern design.Scientific novelty. For the first time, the meaning of the figurative and artistic solution for the arrangement of the Landscape Alley, the product of the collaboration of artists and design, was revealed. As a result, the historical landscape has been turned into a modern gaming, entertaining and comfortable recreational space. The content, role and significance of compositions of park sculptures, art objects of sculptural monumental and decorative plastic in the urban environment are determined.Practical significance. The scientific and practical results of the study can be used in the implementation of landscape-recreational design of urban areas – theme parks, squares, with the development of elements of improvement in them; in computer-aided design of the landscape and the subject environment with it; in the practice of image creation in art and design.
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Petersen, Anne Ring, and Karen-Margrethe Simonsen. "Relationel komparatisme." K&K - Kultur og Klasse 47, no. 127 (June 11, 2019): 29–50. http://dx.doi.org/10.7146/kok.v47i127.114741.
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This article addresses a question crucial to contemporary cultural analysis: the question of how to compare and what to compare in a globalized world. Modern comparativism has effectively undermined the very foundation of historical comparativism, i.e. the idea of confined and segregated (national) cultures and Eurocentric perspectives and perceptions of what is historically significant, and what is not. The article opens with a discussion of some important critical revisions of comparative methodologies in the fields of comparative literature and art history, and then moves on to call for a relational comparativism that is attentive to three aspects: context, dynamics/agency and circulation. To indicate what the implications of a relational comparativism might be, we conclude with two case studies of the autobiography The Interesting Narrative of the Life of Olaudah Equiano (1789) and the commemorative sculpture I Am Queen Mary (2018) by artists Jeannette Ehlers and La Vaughn Belle. Both works are related to the history of slavery; a history that in significant ways points to the need for rethinking comparativism.
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Kang, Manpreet Kaur. "Bharatanatyam as a Transnational and Translocal Connection: A Study of Selected Indian and American Texts." Review of International American Studies 13, no. 2 (December 31, 2020): 61–86. http://dx.doi.org/10.31261/rias.9884.
Full textAbstract:
Bharatanatyam is a classical dance form derived from ancient dance styles, which is now seen as representative of Indian culture. In India, it is the most popular classical dance form exerting a great impact not only on the field of dance itself, but also on other art forms, like sculpture or painting. The Indian-American diaspora practices it both in an attempt to preserve its culture and as an assertion of its cultural identity. Dance is an art form that relates to sequences of body movements that are simultaneously aesthetic and symbolic, and rooted in specific cultures. It often tells a story. Different cultures observe different norms and standards by which dances should be performed (as well as by whom they should be performed and on what occasions). At the same time, dance and dancers influence (and are influenced by) different cultures as a result of transcultural interactions. Priya Srinivasan’s Sweating Saris: Indian Dance as Transnational Labor is a particularly valuable source wherein its author critically examines a variety of Indian dance forms, especially Bharatanatyam, tracing the history of dance as well as the lived experience of dancers across time, class, gender, and culture. With the help of this text, selected journal articles, and interviews with Bharatanatyam dancers in India and the US, I explore larger issues of gender, identity, culture, race, region, nation, and power dynamics inherent in the practice of Bharatanatyam, focusing on how these practices influence and, in turn, are influenced by transnational and translocal connections.
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Beniakh, Nataliia. "Glass Art Department at Lviv National Academy of Arts: unique centre of contemporary glassmaking." Bulletin of Lviv National Academy of Arts, no. 41 (December 26, 2019): 53–56. http://dx.doi.org/10.37131/2524-0943-2019-41-04.
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The preconditions for the emergence of professional art education in the field of art glass in Lviv and Galicia are considered. The history of artistic glass and its influence on the development of the modern center in Lviv on the basis of the Lviv National Academy of Arts is analyzed. The history of the Department began in 1961 with an experiment, when at Lviv State Institute of Applied and Decorative Art (today Lviv National Academy of Arts) a small department of plastic and glass art was opened. Full formation of the unit took place in 1963–1964 and corresponded to the needs of provision with the specialists of experimental workshop of glass art of Lviv Experimental Ceramic and Sculpture Factory of those times. The curriculum of basic art disciplines is formed in accordance with the specificity of the material – glass art and is focused on consideration of the importance of imaginative or constructive thinking, according to selected specialized direction. For decades, the staff of the Glass Department keep contact with glass artists in the whole world, participates in organization of international symposiums and exhibitions, meetings with students, lectures, workshops with the participation of the most famous artists in the world. Since 1989, the teachers and staff of the Department have been actively participating in the organization of International Symposiums of Blown Glass that are the most long-lasting continuous forums of glass artists in the world nowadays. On the base of the Department, mini-symposiums for students took place, and in 2013 and 2016, a scientific and creative workshop (glass-melting furnace) became the main base for the work of famous glass artists from different countries of the world. Every three years the students have an opportunity to observe the work of the most world well-known glass artists from various countries, participate in workshops and lectures. The purpose of the article is to analyze the activities of the Department of Art Glass of the Lviv National Academy of Arts in the modern studio movement.
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Harrod, William Owen. "The Vereinigte Staatsschulen für freie und angewandte Kunst and the Mainstem of German Modernism." Architectural History 52 (2009): 233–69. http://dx.doi.org/10.1017/s0066622x00004202.
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In 1936, Nikolaus Pevsner asserted at the Royal Society of Arts in London that the Weimar Republic had produced two great modern schools of art: Walter Gropius’ Bauhaus and Bruno Paul’s Vereinigte Staatsschulen für freie und angewandte Kunst (Unified State Schools for Fine and Applied Art) in Berlin. Pevsner was outspoken in commending the ‘atmosphere of youth, conquest, thrill’ that pervaded the Bauhaus in emulation of the passionate and revolutionary spirit of its founder. But he was troubled by the shortcomings of its programme. By contrast, Pevsner praised the Vereinigte Staatsschulen for restoring the essential ‘balance between painting and sculpture on the one hand, and handicraft and design on the other’ (Fig. 1). Unlike the Bauhaus, Pevsner concluded, the Vereinigte Staatsschulen ‘represented a success in almost every respect’. Yet, despite its importance to the dissemination of the Modern Movement, the Vereinigte Staatsschulen has been largely forgotten in the English-speaking world, while the Bauhaus has been long been regarded as the epitome of twentieth-century modernism, and, particularly in popular culture, even of the very concept of modernity. Nevertheless the interwoven stories of the Vereinigte Staatsschulen and the Bauhaus, and of their directors, serve to illuminate the complexity of the unwritten history of the Modern Movement.The Vereinigte Staatsschulen and the Bauhaus were, as Pevsner noted, parallel developments. Both emerged from the artistic reform movements that characterized the final years of the German Empire, and which found their culmination in the Deutscher Werkbund. The faculty of Vereinigte Staatsschulen sustained the unbroken history of its progenitor institutions, reflecting a broad and inclusive Modern Movement that echoed the often-contentious composition of the Werkbund itself. The Bauhaus faculty sought, ultimately unsuccessfully, to effect a clear and decisive break from a similar historical context. Notwithstanding its brilliant achievements, the Bauhaus ultimately represents but a single, exclusive branch of the history of the Modern Movement. The Vereinigte Staatsschulen reflects the broader currents that engendered twentieth-century modernism.
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Kang, Manpreet Kaur. "Bharatanatyam as a Transnational and Translocal Connection: A Study of Selected Indian and American Texts." Review of International American Studies 13, no. 2 (December 31, 2020): 61–86. http://dx.doi.org/10.31261/rias.9884.
Full textAbstract:
Bharatanatyam is a classical dance form derived from ancient dance styles, which is now seen as representative of Indian culture. In India, it is the most popular classical dance form exerting a great impact not only on the field of dance itself, but also on other art forms, like sculpture or painting. The Indian-American diaspora practices it both in an attempt to preserve its culture and as an assertion of its cultural identity. Dance is an art form that relates to sequences of body movements that are simultaneously aesthetic and symbolic, and rooted in specific cultures. It often tells a story. Different cultures observe different norms and standards by which dances should be performed (as well as by whom they should be performed and on what occasions). At the same time, dance and dancers influence (and are influenced by) different cultures as a result of transcultural interactions. Priya Srinivasan’s Sweating Saris: Indian Dance as Transnational Labor is a particularly valuable source wherein its author critically examines a variety of Indian dance forms, especially Bharatanatyam, tracing the history of dance as well as the lived experience of dancers across time, class, gender, and culture. With the help of this text, selected journal articles, and interviews with Bharatanatyam dancers in India and the US, I explore larger issues of gender, identity, culture, race, region, nation, and power dynamics inherent in the practice of Bharatanatyam, focusing on how these practices influence and, in turn, are influenced by transnational and translocal connections.
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BROWN, CHRISTOPHER. "The Renaissance of Museums in Britain." European Review 13, no. 4 (October 2005): 617–36. http://dx.doi.org/10.1017/s1062798705000840.
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In this paper – given as a lecture at Netherlands Institute for Advanced Study in the summer of 2003 – I survey the remarkable renaissance of museums – national and regional, public and private – in Britain in recent years, largely made possible with the financial support of the Heritage Lottery Fund. I look in detail at four non-national museum projects of particular interest: the Horniman Museum in South London, a remarkable and idiosyncratic collection of anthropological, natural history and musical material which has recently been re-housed and redisplayed; secondly, the nearby Dulwich Picture Gallery, famous for its 17th- and 18th-century Old Master paintings, a masterpiece of 19th-century architecture by Sir John Soane, which has been restored, and modern museum services provided. The third is the New Art Gallery, Walsall, where the Garman Ryan collection of early 20th-century painting and sculpture form the centrepiece of a new building with fine galleries and the forum is the Manchester Art Gallery, where the former City Art Gallery and the Athenaeum have been combined in a single building in which to display the city's rich art collections. The Ashmolean Museum in Oxford, of which I am Director, is the most important museum of art and archaeology in England outside London and the greatest University Museum in the world. Its astonishingly rich collections are introduced and the transformational plan for the museum is described. In July 2005 the Heritage Lottery Fund announced a grant of £15 million and the renovation of the Museum is now underway.
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de Rosset, Tomasz F. "THE COLLECTION OF FELIKS JASIEŃSKI’S DONATION – THE FIRST TWO VOLUMES." Muzealnictwo 58, no. 1 (July 3, 2017): 0. http://dx.doi.org/10.5604/01.3001.0010.1579.
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These are the first two volumes out of the ten planned by the National Museum in Cracow, which together will constitute the publication of the body of work donated to the museum by Feliks “Manggha” Jasieński. One volume presents the collector’s creative biography and the history of his various collections. There are also attempts to interpret the nature of the content of his collections, mainly woodcuts and other Japanese objects, as well as modern Polish art, paintings, engravings (together with a set of European engravings) and decorative arts. The second volume is the first part of a monumental catalogue of the collection which covers drawings, watercolours and pastels by Polish artists. The subsequent eight volumes are envisaged to cover particular parts of this extensive collection (of Polish, European and Eastern paintings, drawings, sculpture, engravings and decorative arts). This enormous undertaking marks the 100th anniversary of Jasieński’s donation (1920–2020), and, as Zofia Gułubiew put it, is intended to visualise and fix the extent and variety of the collection in the public’s awareness. The publishing project by the National Museum in Cracow is extremely valuable, and it should be hoped that it will succeed as intended.
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Dubiński, Krzysztof, and Ewa Katarzyna Świetlicka. "LEOPOLD BINENTAL AND THE HISTORY OF HIS COLLECTION." Muzealnictwo 58, no. 1 (June 21, 2017): 109–22. http://dx.doi.org/10.5604/01.3001.0010.1024.
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Leopold Jan Binental (1886–1944) was a musicologist and journalist, and an indefatigable promoter of Frederic Chopin’s compositions and researcher into his life story in the inter-war period. He wrote and published a great deal in professional periodicals as well as in the national and foreign popular press, mainly in France and Germany. Until 1939, he was a regular music critic for "Kurier Warszawski". He was thought to be a competent and respected Chopinologist, and his reputation in Europe was confirmed by the monograph Chopin published in Warsaw (1930 and 1937) and in Paris (1934) and the album Chopin. On the 120th anniversary of his birth. Documents and mementoes (Warsaw 1930 and Leipzig 1932) presenting Chopin’s mementoes, prints, drawings, handwritten musical notes and letters. He initiated and co-organised famous exhibitions about Chopin in the National Museum in Warsaw (1932) and the Polish Library in Paris (1932 and 1937). He was Executive Secretary on the Management Board of the Fryderyk Chopin National Institute created in 1934. Binental amassed a private collection of Chopin’s manuscripts and mementoes which is highly regarded in musicological circles. He also collected works of art; his collection comprised ancient, Middle Eastern and modern European ceramics, medieval sculpture and tapestries, goldsmithery and Judaica. After the outbreak of war in autumn 1939, Binental took certain steps to secure his collections. Three chests with ceramics and works of art were deposited in the National Museum in Warsaw. However, it is not known what happened to the collection of Chopin’s objects. At the beginning of 1940, Binental and his wife managed to leave Poland and reach France, where his daughter lived. In 1944 he was arrested by Gestapo and sent to Auschwitz from which he did not return. After the war, at the request of his daughter Krystyna, some of the works of art deposited in the collections of the National Museum were found. With her approval, they are currently to be found in public collections in Poland, although the fate of his Chopin collection remains unknown. Every now and then, some proof appears on the world antiquarian market that the collection has not been damaged, despite remaining missing.
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Pearson, Christopher. "Le Corbusier and the Acoustical Trope: An Investigation of Its Origins." Journal of the Society of Architectural Historians 56, no. 2 (June 1, 1997): 168–83. http://dx.doi.org/10.2307/991282.
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Le Corbusier's later theory and production were largely informed by two important considerations: his idea of "ineffable space" (l'espace indicible), and his singular conception of "acoustics," which he apparently used as a troping or analogical tool in his design method. Le Corbusier was to describe the chapel at Ronchamp (1950-1954), for example, as a building that employed an "acoustic component in the domain of form," and suggested that the project began by taking into account "the acoustic of the landscape." The sources of this cryptic appeal to "acoustics" can be identified with some precision. Its initial possibilities were discovered during Le Corbusier's youthful visit to the Acropolis. During his Purist period the same conceit, now transmuted into a trope of "radiation," was applied to the way works of art interacted with their architectural surroundings. The acoustical analogy, drawing parallels between the emission of sound, light, and psychic energy, was fully established in his competition entry for the League of Nations Headquarters of 1927, a project examined here in some depth. It was in theorizing the role of sculpture in modern architecture-as well as the role of architecture in its landscape setting-that Le Corbusier first came to his paradigmatic trope, which thus finds its origins much further back than his late "synthetic" projects, where it was ultimately to achieve its most effective manifestations.
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Agratina, Elena E. "Jean-Honoré Fragonard: The New in the Notions of “Sketchiness” and “Completeness”." Observatory of Culture 18, no. 2 (May 31, 2021): 174–85. http://dx.doi.org/10.25281/2072-3156-2021-18-2-174-185.
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The second half of the 18th century was a time of active changes in the perception of art, rethinking many concepts and phenomena. One of them was the pictorial sketch, which transformed from a preparatory stadium work into an independent, complete piece of art. Many art theorists and critics, as well as painters themselves had contributed to this rethinking. Many young artists, bored of historical painting and indifferent to all the academic principles, were searching for new media of expressiveness, using the sketch-like pictorial manner to give their works a new dynamism and an impression of “easy production”. The article is dedicated to J.-H. Fragonard (1732—1806), an artist in whose works the “sketchiness” became a conscious artistic method used in small-format pieces, in large-scale canvases, and even in panels. The use of such a technique in grand scale works is considered to be an extreme unconventionality, which, however, was not appreciated by Fragonard’s contemporaries and even by scholars of the next two centuries. Fragonard’s series of ‘Fantasy Portraits’ attracted enough investigators’ attention, but his series ‘Progress of Love’ has only recently begun to be recognized by researchers as an unusual and bold for that time artistic experience. Based on the analysis of the artist’s selected works, the author builds her original research, designed to highlight Fragonard’s special role in the evolution of art on the way from the Modern Period to Contemporary History. The relevance of the present article is caused by too little examination of this topic: minimal in Russia and relatively small in France. Besides consultation with research literature, this required the author to constantly directly refer to the 18th-century sources, such as treatises by art connoisseurs and scholars, art criticism, and catalogues of exhibitions arranged by the Royal Academy of Painting and Sculpture or the Académie de Saint-Luc.
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Wang, Yu, and Zhengding Liao. "Porcelain interior plastic of the 1950s in museums and private collections in China." Issues of Museology 12, no. 1 (2021): 58–67. http://dx.doi.org/10.21638/spbu27.2021.106.
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In the two decades since the establishment of the people’s Republic of China, the challenges facing porcelain production have changed significantly. Porcelain production is one of the most important and oldest traditions in China. In the 1950s, porcelain craftsmen became involved in the creation of new forms of interior plastics. Many of the pieces they created are now part of museum collections and represent the history of the development of Chinese interior porcelain. Using the example of three museums and three reference monuments, the article examines the key trends in the development of porcelain art and stylistic changes that occurred during this period. The following museums have been selected as examples to showcase the specifics of Chinese porcelain art from this period: the China Ceramic and Porcelain Museum located in Jingdezhen City, which is the country’s first major art museum specializing in ceramics; the Chinese Fine Arts Museum in Beijing, which specializes in collecting, researching and displaying works of Chinese artists of modern and contemporary eras; and the Guangdong Folk Art Museum, which specializes in collecting, researching and displaying Chinese folk art. All of these museums are engaged in collecting porcelain, including interior porcelain plastics from the mid-20th century. In the collections of the aforementioned museums, three works were selected for analysis. These are three paired compositions created in the second half of the 1950s: the sculpture “An Old Man and a Child with a Peach” by Zeng Longsheng, “Good Aunt from the Commune” by Zhou Guozhen and “Fifteen coins. The rat case” by Lin Hongxi. These porcelain compositions reveal close relations with Chinese national culture and not only reflect various scenes, but are also aimed at expanding the role of porcelain in decorating residential interiors.
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Orlova, E. V. "Из истории Людвиг Музеум – от коллекции к музею." Iskusstvo Evrazii [The Art of Eurasia], no. 1(20) (March 31, 2021): 164–75. http://dx.doi.org/10.46748/arteuras.2021.01.012.
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The article is devoted to the founding of the Museum Ludwig in Cologne and presents an analysis of the process of building this museum of contemporary art in dynamics — from the beginning of the collection within the walls of the Wallraf-Richartz Museum to gaining the status of an independent exhibition giant. The study provides an overview of the collection and its sources, identifies individual significant works of art, accompanied by art history descriptions, and sets out the reasons and the chronicle of the separation of the Museum Ludwig from the Wallraf-Richartz Museum. The museum, established in 1976, presents German art from the first half of the 20th century, American and British pop art of the 1960s, Russian avant-garde, photorealism and contemporary art from the last third of the 20th century. It has departments of painting, sculpture, graphics and art photography. The role of the famous German patrons and collectors of Peter and Irene Ludwig in the formation and replenishment of the museum's funds is noted. Статья посвящена основанию Музея Людвига в Кёльне и представляет анализ процесса построения этого музея современного искусства в динамике — от начала формирования коллекции в стенах Музея Вальрафа-Рихарца до обретения статуса самостоятельного экспозиционного гиганта. В исследовании даны обзор коллекции и источники ее формирования, указаны отдельные крупные произведения искусства, сопровожденные искусствоведческим описанием, а также изложены причины и хроника выделения Музея Людвига из состава Музея Вальрафа-Рихарца. Вновь образованный в 1976 году музей представляет искусство Германии с первой половины XX века, американский и британский поп-арт 1960-х годов, русский авангард, фотореализм и актуальное искусство последней трети ХХ века. В нем созданы отделы живописи, скульптуры, графики и художественной фотографии. Отмечена роль известных немецких меценатов и собирателей Петера и Ирены Людвиг в формировании и пополнении фондов музея.
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Jagodzińska, Katarzyna. "MUSEUMS BEYOND WALLS IN THE CONTEXT OF THE THIRD PLACE’S CONCEPT." Muzealnictwo 59 (July 17, 2018): 123–31. http://dx.doi.org/10.5604/01.3001.0012.1965.
Full textAbstract:
The article focuses on museums’ activity that reaches beyond the walls of their premises in the context of a concept of the so-called third place. The third place – as a gathering place which is neither one’s home, i.e. first place, nor workplace, i.e. second place – was described by an American sociologist Ray Oldenburg in 1999 in his book The Great Good Place: Cafes, Coffee Shops, Bookstores, Bars, Hair Salons, and Other Hangouts at the Heart of a Community. Three study cases have been used in the article: Museum Forum (project carried out by the National Museum in Kraków), Bródno Sculpture Park (project co-conducted by the Museum of Modern Art in Warsaw), and the method of work implemented by the Ethnographic Museum in Kraków, including in particular the project Dzikie Planty (Wild “Planty” Park). I discuss assumptions the projects have been based on, how they fit in an overall strategy of the museums, and reasons why they have been undertaken. Finally, I wonder whether having been conducted in a fully accessible public space and conducive to users’ interaction make it justified to categorise them as the third places in the meaning given by Oldenburg. Although Oldenburg’s concept has been regarded by museum theorists as not applicable to museums, I have come to the conclusion that projects conducted by museums in a non-committal context of an open space meet the conditions the third places do.
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Leventi, Iphigeneia. "MARBLE SCULPTURES FROM PHTHIOTIS IN THE LAMIA ARCHAEOLOGICAL MUSEUM." Annual of the British School at Athens 108 (November 2013): 275–321. http://dx.doi.org/10.1017/s0068245413000099.
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Marble statuettes, now in the Lamia Archaeological Museum, that date to the Classical and above all the Hellenistic periods, and a Hellenistic votive relief depicting Herakles are presented here. This study investigates the relations between the local workshop in central Greece which produced them and the major Classical and Hellenistic sculptural centres of Athens and of the Aegean islands, Asia Minor and the kingdoms of the Greek East generally. A marble statuette of a goddess which may represent Artemis from Melitaia, and a marble statuette of a seated girl of unknown provenance are dated to the Classical period. The subjects portrayed in the Late Hellenistic material show a typical repertory, marble statuettes of Aphrodite or Aphrodite-like figures, and a statuary group of Eros and Psyche in marble, unusual for this period. The ways in which the local sculptors of the Late Hellenistic period in the area of modern Phthiotis adopted the typological and stylistic trends current in the great cosmopolitan centres are a major concern here. In the Hellenistic period, the production of marble statuettes for making offerings at public and domestic sanctuaries and for decorating opulent villas was in vogue, and a common formal language was created especially for small-scale sculpture in the eastern Mediterranean and the new art markets of Italy. The vehicles by which these artistic influences were transmitted to the sculptural production of central Greece will also be investigated.
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Sikorski, Tomasz. "„Klatka Ezry”. Między poezją a polityką." Studia nad Autorytaryzmem i Totalitaryzmem 38, no. 3 (July 11, 2017): 53–73. http://dx.doi.org/10.19195/2300-7249.38.3.4.
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EZRA’S CAGE”. BETWEEN POETRY AND POLITICSEzra Pound 1885–1975 was, next to Thomas Stearns Eliot, the most prominent American poet of modernist. He was considered the creator of vorticism and imagism — modern trends in art and world culture. In his works he reached to different eras and cultural trends. He was as well fascinated by medieval Provençal, Spanish and Italian literature, and Japanese art of haiku. On his work also had an impact scholasticism, Confucianism and Far East literature. In addition to poetry, Pound was also involved in literary criticism, painting and sculpture, he wrote historiosophical essays and dramas. The greatest fame brought him, however, written for many years, „Canto”. During his stay in the British Isles he also dealt with politics and economics. He was considered a supporter of the theory of Social Credit of Hugh Douglas Clifford, aBritish engineer and economic theorist. In the early twenties Pound went to Italy. Here he became fascinated with fascism and the person of Benitto Musollini. In his works including his poetic works appeared clear fascist and anti-Semitic accents. He criticized Jewish international financiers and banking critique of usury. During World War II he gave propaganda „talks” in the Italian radio. He praised the organization of the fascist state and fascism as an idea, and at the same time warned the threat from international Jewish conspiracy. His views meant that he was accused of collaboration and treason. He was arrested and imprisoned in the US prison camp near Genoa. He spent almost amonth in aclosed cage. During his stay in the camp he had nervous breakdown. After transportation to the United States for many years he was locked out in hospital for mentally ill. After leaving the hospital, he returned to public space. Still creative, he was nominated for the most prestigious literary awards. His works have been translated into many languages around the world, including Polish. He died in Italy in 1975.
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Lah, Nataša. "Prilog širenju teorijske domene u povijesnom prostoru povijesti umjetnosti." Ars Adriatica, no. 3 (January 1, 2013): 243. http://dx.doi.org/10.15291/ars.472.
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In the European cultural tradition of the second half of the nineteenth century, the framework of the discipline of art history was outlined through a clearly defined set of boundaries of its research into objects, space and time. By identifying itself as a history of European architecture, painting, sculpture and the applied arts, art history excluded the art of the primitive, Oriental, American and Asian, both early and moredeveloped civilizations from the remit of its research and study (Dilly). However, a scholarly paradigm which was postulated like this could not be applied to the study and assessment of numerous twentieth-centuryartistic practices which were based on the exploration of cultures as systems of discourse and ideology. In other words, a shattering shift within the discipline was caused by the epochal change of what a paradigm is: as suggested by T. S. Kuhn, it is understood as thenormative content of the topic under discussion. Such an understanding of a paradigm indirectly influences scholarly processes because it dictates what is to be researched, which questions are to be asked and how they are to be formulated, and how research findings are to be interpreted. Scholarly interest has turned from a chronological study of the development of artistic styles, schools and movements in the history ofEuropean art towards contextual research into the same topics which are set within a spatial and chronological framework of a series of discontinued revolutions in world views. The difficulty of applying a traditional scholarly apparatus to new models was also transferred in the field of aesthetics, which resulted in a complete rejection of the evaluation of art as judgement of taste, as it was specifically perceived in this philosophical (sub) discipline from Baumgarten (1750) onwards. To some degree, aesthetics was replaced by an interdisciplinaryunderstanding of art theory which developed from various autonomous disciplines which are nonetheless mutually interconnected through their research processes, that is, the social sciences and humanities such as history of art, art criticism, sociology of art, psychology of art, semiotics and semiology of art, philosophy of art and aesthetics. In such a context,our interest is directed towards the understanding of a theoretical field which has been defined as the history of art history, since it outlines the journey of a discipline, in Udo Kultermann’s book of the same name which is on the reading list for the course in art theory in Croatian academic art-historical circles. The study of that section of the book which describes the history of art history in the classical period, has demonstrated that the explanations and conclusions contained in it are in contrast to the explanations and conclusions of prominent art theorians, especially those who studied the history of aesthetics and classical philology. We can note the differences on two levels. The first is the methodology of scholarly research, while the second is based on a different perception of the boundaries of the domain of art-historical theory. Kultermann relies on a strict division with regard to content and methodology between art istory,philosophy (aesthetics) and historiography, and so, following from this, it appears that classical art history almost did not even exist. On the other hand, the theory of art takes into consideration the nature of classical historiographic standards, the aim of which was to provide examples of the normative content of philosophy, that is, the testimonies of its credibility and manifestation. Such an approach takes into account thecontent norms of the preserved classical sources about art, and through it, our perception of the position of art in that period focuses on the theoretical insights which are more encompassing than those encountered in the aforementioned section of Kultermann’s book. Based on this, we suggest that the evaluation of material should follow the methodological standards of art theory in such a way that individual artistic eras are understood and interpreted as historical periods which were unifiedthrough invariable paradigms which were always new and which integrated a large number of artistic concepts and ideas but which, nonetheless, possessed a general value in a specific period. According to Bihalji-Merin, we act like this out of gratitude towards an academicdiscipline which creates an orderly knowledge since the “images which lead us, constructed from a mythical tradition, disperse slowly and instead of them, a critical, human system of thought is formed.” Such aprocess focuses primarily on the revision of a number of hitherto unrevised prejudices towards theory.However, this is not done on the ruins of the historical legacy of art history but on its foundations.
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Haigler, Daniella. "Collections Access and Custom Storage Solutions at the Smithsonian’s Museum Support Center." Biodiversity Information Science and Standards 2 (July 17, 2018): e26223. http://dx.doi.org/10.3897/biss.2.26223.
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The National Museum of Natural History is committed to long-term stewardship of collections and to supporting their use by scientists and the general public. This stewardship role is unique among other US natural history museums. As the nation’s natural history museum, the National Museum of Natural History has a mandated commitment to conserve and protect its collections in a manner that will assure their continued accessibility by future generations and maintain the National Museum of Natural History mission. A significant number of objects from the National Museum of Natural History are permanently stored at the Museum Support Center in Suitland, MD. This space not only includes collections from the National Museum of Natural History (NMNH), but also the Museum Conservation Institute (MCI), the National Museum of American History (NMAH), the Hirshhorn Museum and Sculpture Garden (HMSG), the Freer Sackler Gallery (FSG) and the National Museum of African Art (AfA) as well as several other museums. In terms of collections access and use, the museum support center has a team, Collections Support Services (CSS), dedicated to collections’ long-term care and preservation. Collections Support Services provides access and support for the 730,000 square feet of collections housed at MSC. CSS staff perform a variety of technical and labor tasks related to the cleaning, preparation, packing, transport, unpacking, and permanent storage of objects and specimens. This includes building custom aluminum pallets for oversized objects and whale skull cradles. Moreover, while the use of palletized storage is not a new concept in museum storage, the construction of Pod 4 at the Museum Support Center in Suitland, MD posed some unique challenges for the permanent storage of oversized collections. Pod 4 provides continuous rows of 2', 4' and 8' deep cantilevered open racking from floor to ceiling (22 feet high), and allows palletized objects to be moved and placed in the racking via forklift. Traditional wooden pallets are unacceptable by archival standards, as they are acidic by nature, bulky, heavy, not fire-retardant, and prone to pest infestation. Collections Support Services circumvented these issues by establishing an innovative system of customized aluminum pallets for collections’ long-term care and preservation. These pallets are durable and lightweight, and must pass several quality control tests that include dropping and jarring. They are also designed with multiple functions in mind for ease of use, storage, transport, and maintenance.
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Stančius, Antanas. "HISTORICAL, SOCIAL AND AESTHETICAL DISCOURSE IN THE ARCHITECTURE OF VILNIUS FOUNTAINS / ISTORINIS, SOCIALINIS IR ESTETINIS DISKURSAS VILNIAUS FONTANŲ ARCHITEKTŪROJE." Mokslas – Lietuvos ateitis 8, no. 1 (April 28, 2016): 123–30. http://dx.doi.org/10.3846/mla.2016.874.
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This article attempts to review connections between Vilnius city culture and water, as an architectural mean. It aims to determine social and aesthetical aspects of water in development of Vilnius architecture in the context of cultural flux and changing urbanistic concepts. The main research methods are the interpretation of texts, historical reflection and analysis of cartographic material. In Vilnius architecture, water reflects functional principles and artistic conceptions of various historical periods. The usage of water as an aesthetic means was commenced in Renaissance Vilnius sculpture fountains. During the Soviet period, regardless of the heritage and historical traditions, geometrically developed city structure destroyed individual character and aesthetic charm. By absolutizing of geometric forms, modern urbanists deprived the city of life and individuality. Aesthetic value of water had been annulled and fountains were designed solely on the basis of technical and ideological considerations. In the discourse of modern Lithuanian urbanism, return to the aesthetic dimension of water is observed along with innovative management schemes and technologies, ecology and art. In the conclusion it is revealed, that throughout history, it has formed only weak link between water and cultural identity. This resulted, that water, as architectural tool for social influence, was used more by external forces, rather than for internal Lithuanian cultural purposes. In the meantime, the discourse is forming, which could result in future developments of the issue. Straipsnyje bandoma apžvelgti Vilniaus miesto kultūros ir vandens, kaip architektūrinės priemonės sąsajas. Iškeliamas tikslas nustatyti vandens socialinius ir estetinius aspektus Vilniaus miesto architektūros raidoje, besikeičiant urbanistikos koncepcijoms ir kintant kultūrinėms vertybėms. Pagrindiniai tyrimo metodai – tekstų interpretacija, istorinė refleksija bei kartografinės medžiagos analizė. Vanduo Vilniaus architektūroje atspindi įvairių laikotarpių funkcionalumo principus ir menines koncepcijas. Renesanso laikotarpiu Vilniaus skulptūriniuose fontanuose vandenį pradėta naudoti kaip estetinę priemonę. Sovietiniu periodu, neatsižvelgiant į praeities paveldą ir istorines tradicijas, geometriškai plėtojama miesto struktūra naikino individualų charakterį ir estetinį žavesį. Tuometinė urbanistika suabsoliutino geometrines formas, atimdama miestams gyvybę ir žmonių bendrumą. Vandens estetinė reikšmė buvo anuliuota, fontanai projektuojami remiantis techniniais bei ideologiniais motyvais, tačiau neapsieita ir be užslėptos, metaforinės prasmės. Šiuolaikiniame lietuviškame urbanistikos diskurse grįžtama prie estetinės dimensijos, prie vandens valdymo schemų su naujomis technologijomis, ekologija ir menu. Išvadose atskleidžiama, kad istorijos eigoje nusistovėjo silpnas ryšys tarp vandens ir kultūrinio tapatumo, todėl ši architektūrinė priemonė, kaip socialinis įtaigos įrankis, sąmoningai taikyta veikiau išorinių jėgų, nei vidinėms lietuviškos kultūros reikmėms. Nepaisant to, pastaruoju metu formuojasi diskursas, kuris gali turėti potencialo ateities pokyčiams.
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György, Horváth. "Adalékok Kondor Béla sors-történetéhez." Művészettörténeti Értesítő 69, no. 2 (March 30, 2021): 171–256. http://dx.doi.org/10.1556/080.2020.00011.
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In the course of my research in archives – in search of documents about the history of the Art Foundation of the People’s Republic (from 1968 Art Fund) – while leafing through the sea of files in the National Archives of Hungary (MNL OL) year after year, I came across so-far unknown documents on the life and fate of Béla Kondor which had been overlooked by the special literature so far.Some reflected the character of the period from summer of 1956 to spring 1957, more precisely to the opening of the Spring Exhibition. In that spring, after relieving Rákosi of his office, the HWP (Hungarian Workers’ Party, Hun. MDP) cared less for “providing guidance for the arts”, as they were preoccupied with other, more troublesome problems. In the winter/spring after the revolution started on 23 October and crushed on 4 November the echelon of the HSWP (Hungarian Socialist Workers’ Party, Hun. MSzMP) had not decided yet whether to strike a league with extreme leftist artistic groups or to pay heed to Memos Makris (Hun. Makrisz Agamemnon), the ministerial commissioner designing the reform of the artists’ association and organizing the Spring Exhibition and to leave the artists – so-far forced into the strait-jacket of socialist realism – alone. I found some documents which shed bright light on the narrow-mindedness of the dogmatic artistic policy trying to bend the artists toward its goals now with the whip, now with milk cake.I start the series of recovered documents with a ministerial file dated summer 1956 on the decision to purchase Kondor’s diploma work (the Dózsa cycle). The next piece of good news is a record of the committee meeting in February 1957 awarding Kondor a Derkovits scholarship. This is followed by ministerial letters – mirrors of the new artistic policy – by a changed, truly partyist scholarship committee which apparently revel in lecturing talented Kondor who was not willing to give up his sovereignty, so his works were often refused to be bought on state funds for museums.In addition to whip-lashing documents, I also present a few which offered some milk cake: a letter inviting him to a book illustrating competition called by the Petőfi Literary Museum and one commissioning him to make the sheets on the Heves county part of a “liberation album”.Next, I put forth a group of illumining documents – long known but never published in details: the files revealing the story of the large panels designed for the walls of the “Uranium city” kindergarten in Pécs and those revealing the preparations for the exhibition in Fényes Adolf gallery in 1960 and the causes of the concurrent tensions – including texts on decisions to hinder the publication of Lajos Németh’s catalogue introduction.The last group includes futile efforts by architects to get Kondor commissions for murals. They give information on three possible works. Another for Pécs again (this time with Tibor Csernus), for works for a “men’s hostel” and on the failure of the possibility. The other is about works for Kecskemét’s Aranyhomok Hotel, another failure. The third is about a glass window competition for a new modern hotel to be built in Salgótarján, to which Kondor was also invited, but the jury did not find his work satisfactory in spite of the fact that the officials representing the city’s “party and council” organs, and the powerful head of the county and town, the president of the county committee of the HSWP all were in favour of commissioning him.Mind you, the architects’ efforts to provide the handful of modern artists with orders for “abstract” works caused headache for the masterminds of controlled art policy, too. On the one hand, they also tried to get rid of the rigidity of the ideologically dogmatic period in line with “who is not against us, is with us”, the motto spreading with political détente, and to give room to these genres qualified as “decoration”. On the other hand, they did not want to give up the figurative works of socialist contents, which the architects wanted to keep away from their modern buildings. A compromise was born: Cultural Affairs and the Art Fund remained supporters of figurative works, and the “decorative” modern murals, mosaics and sculptures were allowed inside the buildings at the cost of the builders.Apart from architects, naturally there were other spokesmen in favour of Kondor (and Csernus and the rest of the shelved artists). In an essay in Új Irás in summer 1961 Lajos Németh simply branded it a waste to deprive Kondor of all channels except book illustration, while anonymous colleagues of the National Gallery guided an American curator to him who organized an exhibition of Kondor’s graphic works he had packed into his suitcase in the Museum of Modern Art in Miami.From the early 1963 – as the rest of the explored documents reveal – better times began in Hungarian internal and cultural politics, hence in Béla Kondor’s life, too. The beginning is marked by a – still “exclusive” – exhibition he could hold in the Young Artists’ Studio in January, followed by a long propitiatory article urging for publicity for Kondor by a young journalist of Magyar Nemzet, Attila Kristóf. Then, in December Kondor became the Grand Prix winner of the second Graphic Biennial of Miskolc.From then on, the documents are no longer about incomprehensible prohibitions or at time self-satisfying wickedness, but about exhibitions (the first in King Stephen Museum, Székesfehérvár), prizes (including the Munkácsy Prize in April 1965), purchases, the marvellous panel for the Grand Hotel on Margaret Island, the preparations for the Venice Biennale of 1968, the exhibition in Art Hall/Műcsarnok in 1970 and its success, and Kondor’s second Munkácsy Prize.Finally, I chanced upon a group of startling and sofar wholly unknown notes which reveals that Béla Kondor was being among the nominees for the 1973 Kossuth Prize. News of his death on 12 December 1972, documents about the museum deposition of his posthumous works and the above group of files close the account of his life.I wrote a detailed study to accompany the documents. My intention was not to explain them – as they speak for themselves – but to insert them in the life-story of Kondor, trying to find out which and how, to what extent contributed to the veering of his life-course and to possibilities of publicity for his works. I obviously included several further facts, partly in the main body of the text, and partly in footnotes. Without presenting them here, let me just pick one or two.Events around the 1960 exhibition kindled the attention not only of the deputy minister of culture György Aczél, but also of the Ministry of the Interior: as Anikó B. Nagy dug out, they asked for an agent’s report on who Kondor was, what role he was playing among young writers, architects, artists, the circle around Vigilia and the intellectuals in general. Also: what role did human cowardice play in banning the panels for the Pécs kindergarten, and how wicked it was – with regulations cited – to ask back the advance money from an artist already hardly making a living with the termination of the Der ko vits scholarship. Again: what turn did modern Hungarian architecture undergo in the early sixties to dare and challenge the still prevalent culture political red tape? It was also a special experience to track down and describe the preparations for the Hungarian exhibition of the Venice Biennial of 1968 and to see how much caution and manoeuvring was needed even in those milder years to get permission for Béla Kondor (in the company of Tibor Vilt and Ignác Kokas) to feature in the pavilion. Finally, it was informative to follow the routes of Kondor’s estate as state acquisitions and museum deposits after his death which foiled his Kossuth Prize.
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Pittarello, Elide. "Ramón Gaya: "Creo que soy poeta pintando"." Monteagudo, no. 26 (March 12, 2021): 191–208. http://dx.doi.org/10.6018/monteagudo.472781.
Full textAbstract:
Simónides de Ceos, que definió la poesía una pintura que habla y la pintura una poesía muda, contribuyó al origen de la filosofía del arte, base de la moderna estética occidental. Para el filósofo italiano Benedetto Croce el arte es la síntesis estética de la intuición y la expresión a través del lenguaje lírico. Encarna las representaciones de la belleza, un evento universal, ajeno a la Historia y a la crítica de arte. De manera más radical, Ramón Gaya rechazó este mismo saber de una manera más radical desde que era un jovencísimo pintor, decepcionado por las vanguardias. Su planteamiento de la obra de arte se aproxima a una actitud mística. Emerge cuando se enfrenta a la pintura de Velázquez en España, antes de exiliarse en México. Este sentimiento trascendente se agudiza cuando visita Venecia por primera vez, en 1952, y asocia la pintura con el agua que fluye. Es el primer paso de su identificación sagrada de las artes –pintura, poesía, escultura y música– con la Naturaleza y sus elementos cosmológicos. La experiencia veneciana posibilita una nueva creatividad icónica y verbal. La pintura conlleva siempre una enigmática dualidad, manteniendo rasgos de su procedencia misteriosa. Los poemas que Ramón Gaya le dedica al Crepúsculo de Miguel Ángel son una muestra de su intermedialidad heterodoxa, donde a la técnica de lo diáfano en pintura corresponde el uso de la negación lógica por escrito. Esta estrategia lingüística es afín a la de los ensayos que tratan del mismo tema. Simonides of Ceos, who defined poetry as a speaking picture and painting a mute poetry, contributed to the rise of philosophy of art, the basis of modern Western aesthetics. For the Italian philosopher Benedetto Croce art is the aesthetic synthesis of intuition and expression through lyrical language. It embodies the representations of beauty, a universal event that doesn’t concern History nor art criticism. In a more radical way, Ramón Gaya refused this same knowledge since he was a very young painter, disappointed by avant-garde. His approach to works of art is close to a mystic attitude. It emerges when he faces Velázquez’s painting in Spain, before going into exile in Mexico. His transcendental feeling increases when he visits Venice for the first time, in 1952, and he associates painting with water flow. It is the first step of a sacred identification of arts –painting, poetry, sculpture and music– with nature and its cosmological elements. The Venetian experience gives birth to a new iconic and verbal creativity. Painting always involves an enigmatic duality, keeping features of its mysterious source. The poems that Ramón Gaya dedicated to Michelangelo's Dusk are a specimen of his unconventional intertermediality, where the diaphanous technique in painting corresponds to the use of logical negation in the verbal language. This linguistic strategy is in line with the essays dealing on the same topic.