Journal articles on the topic 'Still-life in art'
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1
Hassler, Donald M. "Still Life Art." Academic Questions 31, no. 4 (October 16, 2018): 517–18. http://dx.doi.org/10.1007/s12129-018-9746-9.
2
Ruprecht, Louis A. "Still Life." liquid blackness 6, no. 1 (April 1, 2022): 140–65. http://dx.doi.org/10.1215/26923874-9546602.
Abstract:
Abstract This essay explores the subtle interplay between sculptural bodies and animate bodies by exploring several “moments” in the history of classical and neoclassical aesthetics. These exemplary moments include the ancient Roman period (Pliny's reflections on Greek sculpture); the eighteenth and nineteenth centuries (Winckelmann's reflections on Greek sculpture and later Italian excavations at Pompeii); the twentieth century (Nazi adaptations of ancient Greek sculpture in Munich); and the twenty-first century (recurring discussion of polychromatic Greek art). Given that most of the art under discussion was “pagan,” this slippage between sculptural bodies and animate bodies highlights the presence of desire, specifically a desire for forbidden bodies.
3
Winstead, Ted. "Still Life with Movement: Video as Art." Imagine 5, no. 5 (1998): 18–19. http://dx.doi.org/10.1353/imag.2003.0114.
4
Bekkerman, Sonya. "Mikhail Larionov's Still Life with Crayfish." Gastronomica 2, no. 4 (2002): 10–12. http://dx.doi.org/10.1525/gfc.2002.2.4.10.
Abstract:
Mikhail Larionov's Still-Life with Crayfish is a result of the artist sintense engagement with Russian folk art traditions. In attempting to liberate Russian art from the influence of the West, Larionov discovered new formal languages by looking to his heritage and bringing into his paintings images derived from icons, lubki (popular prints) as well as painted shop signs and children sart. Although Larionov did not spearhead the Russian crafts revival, his participation became critical for its dissemination. Still-Life with Crayfish exemplifies Larionov's insistence on russifying Western forms. The lessons of Czanne and the bold experiments of the Fauves figure prominently;however, the artist's conception of line, depth and color is a clear reference to lubki. The strident palette reflects Eastern influences, and the feast itself conveys an essentially Russian character. Larionov spassionate interest in creating new art forms inclined him to draw upon a diversity of sources. His admiration for the stability and timelessness of Russian peasant culture, life and art played a critical role in developing his oeuvre and allowed him to create a distinctive style independent of the West without wholly rejecting it.
5
Moyle, Peter B., and Marilyn A. Moyle. "Fish imagery in art 62: Chase'sfish and still life." Environmental Biology of Fishes 40, no. 2 (June 1994): 158. http://dx.doi.org/10.1007/bf00002542.
6
Vallance, Elizabeth (Beau). "Exploring Visual Culture Downtown: Shop Windows as Still Life." Visual Arts Research 35, no. 1 (July 1, 2009): 35–49. http://dx.doi.org/10.2307/20715486.
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Abstract That aesthetic experience can be encountered almost anywhere enables use of a wide range of everyday encounters with visual culture in teaching art; vernacular still-life arrangements can be a rich resource in teaching students to see as artists see. Here, I make this argument through one case, the looking-and-writing assignments in an undergraduate elementary-education course. I propose a framework for including shop-window designs as visual-culture teaching resources, arguing that the artful compositions in shop windows can introduce and explore traditional subjects in painting. The article addresses two questions: (a) Can art-novice students respond to shop-window compositions with innovative interpretations, using art-appropriate terms? (b) Does student interpretation of paintings as commercial communication encourage defensible interpretations of artworks? After a brief review of some still-life principles, Dewey’s concept of aesthetic experience, and a concept of how framing operates conceptually in the museum setting, some examples of art-novice interpretations of downtown imagery provide the background to questions for further research.
7
Grube, Vicky. "Beyond Still Life: Collecting the World in Small Handfuls." Visual Arts Research 34, no. 1 (July 1, 2008): 99–108. http://dx.doi.org/10.2307/20715465.
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Abstract This study uses portraiture methodology to understand how ideas travel among preschool children in an art studio. The researcher, also the art teacher, is watchful of the children’s feelings, perspectives, and experiences, and analyzes her data through the writing. The researcher sees children co-constructing knowledge, negotiating truth, and redefining themselves while their relationships deepen. Buber and Husserl’s reflections concerning our search for an identical other are layered in with anecdotal episodes of the researcher and the children. Relationships, influenced by the cultural and practical world, are in constant flux. External needs and desires impact subjective experiences, and pairs — once engaged in shared consciousness — rebound, searching for a mirror more in focus. In the preschool art studio, intersubjectivity, married somehow to repetition, sets forth the proliferation of ideas.
8
Pichkur, M. "Digital still life painting: art production, composition, imitation and stylization." Art and education, no. 4 (2020): 42–49. http://dx.doi.org/10.32405/2308-8885-2020-4(98)-42-49.
9
Oh, Seung-Hyun, and Gi-Hyung Kwon. "Hair Art Character Applying the Still Life of Paul Cezanne." Korean Society of Beauty and Art 21, no. 2 (June 20, 2020): 227–39. http://dx.doi.org/10.18693/jksba.2020.21.2.227.
10
King, Julia A. "Still Life with Tobacco: The Archaeological Uses of Dutch Art." Historical Archaeology 41, no. 1 (March 2007): 6–22. http://dx.doi.org/10.1007/bf03376990.
11
Hiiop, Hilkka, Andres Uueni, Anneli Randla, and Alar Läänelaid. "Still Life with Grapes and Nest." Baltic Journal of Art History 20 (December 27, 2020): 197–211. http://dx.doi.org/10.12697/bjah.2020.20.08.
Abstract:
A complex conservation process revealed the layer of the painting inits original subtlety and delicate retouchings recreated the integralsurface of the painting. As a result, we can confirm that it is a paintingof high artistic quality dating most probably from the middle ofthe 17th century, painted on an oak panel of German origin. Weremain doubtful about the Internet auction suggested authorship,as the painting does not reach the artistic quality of Jan DavidszDé Heem, a top rank artist from the Netherlands. It is possible tocontinue with the art-historical analysis (and other investigations)of the painting, to find further proof for the hypothetical dating andmaybe even reach an attribution but we must not forget to ask thequestions whether and to whom it would be necessary. What matters
for the owner of the painting is the fact that an artwork which decorates
the wall of his home has both aesthetic and historical value –
even without knowing its exact date or the painter.
12
Thomas, KErstin. "The Still Life of Objects – Heidegger, Schapiro, and Derrida reconsidered." eitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 60. Heft 1 60, no. 1 (2015): 81–102. http://dx.doi.org/10.28937/1000106256.
Abstract:
Kerstin Thomas revaluates the famous dispute between Martin Heidegger, Meyer Schapiro, and Jacques Derrida, concerning a painting of shoes by Vincent Van Gogh. The starting point for this dispute was the description and analysis of things and artworks developed in his essay, “The Origin of the Work of Art”. In discussing Heidegger’s account, the art historian Meyer Schapiro’s main point of critique concerned Heidegger’s claim that the artwork reveals the truth of equipment in depicting shoes of a peasant woman and thereby showing her world. Schapiro sees a striking paradox in Heidegger’s claim for truth, based on a specific object in a specific artwork while at the same time following a rather metaphysical idea of the artwork. Kerstin Thomas proposes an interpretation, which exceeds the common confrontation of philosophy versus art history by focussing on the respective notion of facticity at stake in the theoretical accounts of both thinkers. Schapiro accuses Heidegger of a lack of concreteness, which he sees as the basis for every truth claim on objects. Thomas understands Schapiro’s objections as motivated by this demand for a facticity, which not only includes the work of art, but also investigator in his concrete historical perspective. Truth claims under such conditions of facticity are always relative to historical knowledge, and open to critical intervention and therefore necessarily contingent. Following Thomas, Schapiro’s critique shows that despite his intention of giving the work of art back its autonomy, Heidegger could be accused of achieving quite the opposite: through the abstraction of the concrete, the factual, and the given to the type, he actually sets the self and the realm of knowledge of the creator as absolute and not the object of his knowledge. Instead, she argues for a revaluation of Schapiro’s position with recognition of the arbitrariness of the artwork, by introducing the notion of factuality as formulated by Quentin Meillassoux. Understood as exchange between artist and object in its concrete material quality as well as with the beholder, the truth of painting could only be shown as radically contingent. Thomas argues that the critical intervention of Derrida who discusses both positions anew is exactly motivated by a recognition of the contingent character of object, artwork and interpretation. His deconstructive analysis can be understood as recognition of the dynamic character of things and hence this could be shown with Meillassoux to be exactly its character of facticity – or factuality.
13
Gutgesell, Natalie. "THE BALTIC PORTRAIT AND STILL LIFE PAINTER ALEXANDRA VON BERCKHOLTZ (1821–1899)." Baltic Journal of Art History 18 (December 30, 2019): 249–94. http://dx.doi.org/10.12697/bjah.2019.18.08.
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The Baltic artist Alexandra von Berckholtz was among the mostimportant portrait painters of her time. However, her works haddisappeared from art-historical memory because, after her death, theywere sold and spread all over the world. An international researchproject started in 2014 was able to rediscover her works and her lifestory.Von Berckholtz was given her first art lessons in 1841 by the courtpainter Louis Wagner in Karlsruhe, Germany. From 1847 until 1854she studied in Paris at the studio of the history painter Joseph-NicolasRobert-Fleury, who had considerable influence on her pictorialstyle which combined realism and idealism. Another significantinfluence was Richard Lauchert, a former student and close friendof Franz Xaver Winterhalter. Von Berckholtz’s numerous travels,e.g. to Switzerland, France, and the Czech Republic, were also arich source of inspiration. She changed the conventions of nobilityportrait and concentrated on still lifes in her later work, in whichshe reflected the Dutch style of the Baroque period. Alexandra vonBerckholtz associated with important personalities from the fieldsof art, music, politics, and technology, and was socially active.
14
Тихомиров, Андрей Генрихович. "Musical Classics: Museum, Archive or Still Life?" Музыкальная академия, no. 1(777) (March 31, 2022): 184–91. http://dx.doi.org/10.34690/229.
Abstract:
Эссе написано в качестве ответа на полемические размышления В. В. Задерацкого «Звуковой фон жизни и мы». Автор разделяет обеспокоенность Задерацкого коммерциализацией академического музыкального искусства. Согласен он и с его критикой авангарда. Концентрация представителей этого направления на изобретении новых музыкальных технологий приводит к тому, что достижения авангарда быстро устаревают, как любая техника. Кроме того, автор относится критически к отказу ряда композиторов от музыкальной диалектики в пользу бесконечного варьирования комфортных для слуха созвучий, несмотря на то что такая музыка находит позитивный отклик у части современной публики, желающей получать от музыкального произведения необременительно-приятные переживания и ощущение сопричастности к духовному действу. В этой ситуации возникает вопрос о судьбе классической музыки, искусства, призванного вызывать сильные и глубокие эмоции. Автор считает утопией мысль Задерацкого о миссии музыкантов как создателей «музея классической музыки», поскольку музыкальный язык подвержен старению в большей степени, нежели язык визуальных искусств. В наше время этот процесс ускорился: классика все больше отдаляется от современного музыкального языка, носителем которого являются бытовые жанры. Лекарством для распадающейся связи времен могло бы стать регулярное появление в афишах концертных организаций и оперных театров современных произведений, авторы которых, по примеру классиков, соблюдают баланс между элементами звукового фона жизни (по крайней мере, трех активных поколений) и базовыми принципами музыкального мышления, выработанными композиторами прошлого. In his response to the polemical reflections of Vsevolod Zaderatsky “The sound background of life and us,” the author of the essay shares the concern about the commercialization of academic musical art. Also, he agrees with Zaderatsky in his criticism of the avant-garde. The concentration of its representatives on the invention of new musical technologies leads to the fact that the achievements of the avant-garde quickly become obsolete, like any technique. In addition, the author criticizes the refusal by a number of composers from musical dialectics in favor of the endless variation of harmonies comfortable for the ear despite the fact that such music finds a positive response from a part of the modern public who wants to receive from a musical work an easy and pleasant experience and a feeling of spiritual involvement. In this situation, the question arises about the future of the classical art, music that evokes strong and deep emotions. The author considers Zaderatsky's idea about the mission of musicians (proposal to create a “museum of classical music”) as a utopia, since the musical language is subject to aging to a greater extent than the language of visual arts. In our time, this process has accelerated: the academic music is increasingly moving away from the modern musical language, as it is presented in everyday genres. The cure for the disintegrating connection of times could be the regular appearance in the repertoire of concert organizations and opera houses of such modern works, where, following the example of the classics, the authors would maintain a balance between the elements of the sound background at least of three living generations and the basic principles of musical thinking, elaborated by composers of the past.
15
Kholmuratovich, Muratov Khusan. "Methodology of Improving Independent Learning Skills of Future Fine Art Teachers (On the Example of Still Life in Colorful Paintings)." International Journal of Psychosocial Rehabilitation 24, no. 5 (March 31, 2020): 2043–48. http://dx.doi.org/10.37200/ijpr/v24i5/pr201880.
16
Kulakova, Olga Yu. "Dutch Flower Still Life of 17th Century: Interest and Oblivion through the Centuries." Observatory of Culture 18, no. 5 (October 29, 2021): 496–505. http://dx.doi.org/10.25281/2072-3156-2021-18-5-496-505.
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Over three and a half centuries, the genre of flower still life created by Dutch artists experienced ups of interest and oblivion. There were the maximum assessment of society in the form of high fees of the 17th century artists; the criticism of connoisseurs and art theorists; the neglect in the 19th century and the rise of auction prices and close attention of art critics, manifested from the middle of the 20th century to the present day. In the middle of the 17th century, there was already a hierarchy of genres, based on both the subject and the size of the paintings, which was reflected in the price. Still lifes and landscapes were cheaper than allegorical and historical scenes, but there were exceptions, for example, in the works of Jan Brueghel the Elder and Jan Davidsz. de Heem. Art theorists Willem van Hoogstraten and Arnold Houbraken, resting upon academic tastes, downplayed the importance of still-life painting. Meanwhile, the artists themselves, determining the worth of their paintings, sought for maximum naturalism, and such paintings were sold well.In the 20th century, this genre attracted the attention of collectors in Europe and the United States. A revival of interest in Dutch still lifes in general, and in flower ones in particular, began in the 20th century, the paintings rose in price at auctions, and collecting them became almost a fashion. Art societies and art dealers of the Netherlands and Belgium organized several small exhibitions of still lifes. The course for studying symbolic messages in still lifes, presented by Ingvar Bergström, is continued by Eddie de Jong, who emphasizes the diverse nature of symbolism in Dutch painting of the 17th century. Svetlana Alpers, on the contrary, criticizes the iconological method and presents the Dutch painting of that period as an example of visual culture. Norman Bryson’s view of Dutch still lifes is formed against the background of the development of a consumer society, economic prosperity and abundance. Finally, there has been an increasing interest in the natural science aspects of flower still-life painting in the researches of the last twenty years. Curiosity, skill, and admiration for nature are the impulses that can still be felt in the images of bouquets and fruits.
17
Meng, Hao. "The Development of Still-life Painting in China in the Second Half of the Twentieth Century Under the Influence of Russian-Soviet and Western Art." Философия и культура, no. 9 (September 2022): 121–32. http://dx.doi.org/10.7256/2454-0757.2022.9.38692.
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Still life as an independent painting genre in Chinese fine art was formed in the second half of the XX century under the strong influence, first of all, of Western European and Russian, and then American art. This relatively short period of time includes several periods at once, in which one or another influence dominated. However, it was the integration of the ideas and principles of foreign art schools that allowed Chinese masters to develop those features of the artistic and figurative language that determined the features of the genre of still life in the space of modern art. The object of the article is the process of development of Chinese still life in the second half of the twentieth century, the subject is a set of expressive and artistic means used by Chinese artists to create a still life under the influence of foreign artistic trends. This article aims to determine the place and features of the genre of still life in the works of Chinese painters of the second half of the XX century, as well as to characterize the conformity of this genre to the trends of Russian and Soviet, as well as European art. The study concluded that this genre received rapid development in the second half of the XX century, which occurred under continuous foreign artistic influence. The occupation of a strong position in the space of Chinese art by still life and the formation of its original character with national specifics occurred at the end of the twentieth century.
18
Benzecry, Claudio E. "Book Review: Still Life. Ecologies of the Modern Imagination at the Art Museum." Cultural Sociology 15, no. 3 (May 29, 2021): 459–60. http://dx.doi.org/10.1177/17499755211019685.
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Pristianto, Arief, Tanto Harthoko, and Arti Wulandari. "SAMPAH POLA KONSUMTIF DALAM KARYA FOTOGRAFI STILL LIFE." spectā: Journal of Photography, Arts, and Media 2, no. 1 (February 16, 2019): 25–34. http://dx.doi.org/10.24821/specta.v2i1.2465.
Abstract:
AbstrakSampah menjadi persoalan yang tidak pernah selesai, dari zaman purba hingga sekarang, keberadaannya semakin banyak dan mulai tidak terkendali. Berbagai berita baik di media cetak maupun elektronik selalu menawarkan bermacam-macam produk yang menggiurkan masyarakat untuk melakukan peran konsumtif, dan akan berbahaya jika masyarakat tidak menyadari bahwa dari sisa konsumtif akan terjadi sampah. Penciptaan karya fotografi ini bertujuan untuk memunculkan foto-foto tentang sampah pola konsumtif dari penulis. Berdasarkan atas pola konsumtif tersebut diperoleh data otentik tentang perilaku konsumsi diri sendiri yang kemudian dikonstruksi menjadi rancangan untuk pemotretan. Foto yang dihasilkan merupakan karya seni fotografi still life dalam ranah fotografi kontemporer. Karya-karya yang dihasilkan menunjukkan bahwa kamera bukan hanya merepresentasikan ide dan perilaku kelompok manusia, melainkan juga dapat merepresentasikan pola tindakan biologis manusia.Kata kunci: sampah, pola konsumtif, still life, fotografi seni AbstractWaste of Consumptive Behavior in Still Life Photography. Waste becomes a never ending issues, from the ancient times to the present, it is getting more and more and even it is getting out of hand. Various news either in printed and electronic media has always offered a variety of tantalizing products to perform the role of the consumer society, and it will be dangerous if people are not aware that the residual consumption will end up as wastes.The creation of this photography work aims to bring photographs of waste as a result of author’s consumptive behavior.Based on the mentioned consumptive behavior, a set of authentic data about own consumptive behavior was collected and constructed as master plan for the photography creation. Resulting photographs show thay thay belong to the genre of still life photography in the domain of contemporary photography. The photographs proved that camera was not only able to represent ideas and the habit of certain people, but also to represent the pattern of human’s biological life. Keywords: waste, consumptive behavior, still life, fine art photography
20
Ben-Ur, Aviva. "Still Life: Sephardi, Ashkenazi, and West African Art and Form in Suriname's Jewish Cemeteries." American Jewish History 92, no. 1 (2004): 31–79. http://dx.doi.org/10.1353/ajh.2005.0020.
21
Lutz, Raechel. "“Still Life with Vitamins: Art and Science at the 1939 New York World’s Fair”." Environmental History 21, no. 2 (January 27, 2016): 365–78. http://dx.doi.org/10.1093/envhis/emv187.
22
Tsamakis, Konstantinos, and Ioannis Karakis. "Neuroscience and art." Acta medico-historica Adriatica 20, no. 1 (2022): 155–73. http://dx.doi.org/10.31952/amha.20.1.8.
Abstract:
The objective of this article is to highlight the bidirectional relationship between neuroscience and art in the life and times of the most preeminent sculptor in modern Greek history, Yannoulis Chalepas. Analysis of biographical sources and testimonies on the life and works of Yannoulis Chalepas was performed. Findings are discussed in relation to the neuropsyc-hiatric maladies that he faced in his lifespan and their impact on his art. Yannoulis Chalepas’ life and art are trichotomized in a charismatic, premorbid era (1851-1877), a prolonged, medieval, morbid period (1878 1917), and a transfigurative, post morbid era (1918-1938). The amalgamate of medical evidence suggests that Yannoulis Chalepas suffered from schizophrenia. That was reflected in his art through two distinct periods of artistic productivity and stylistic creativity. The bidirectional relationship between neuroscience and art in the history of humanity is also exemplified in the legacy of Yannoulis Chalepas. The borderland of artistic ingenuity with aberrant behavior, the misconceptions of neurocognitive disorders with psychosis along with their associated social stigma, the effect of artistic expression in the manifestation of psychiatric disease, as well as its healing and often transformative power are concepts that still tantalize equally scientists and artists around the globe.
23
Petit, Laurence. "Inscribing Colors and Coloring Words: A. S. Byatt's "Art Work" as a "Verbal Still Life"." Critique: Studies in Contemporary Fiction 49, no. 4 (July 2008): 395–412. http://dx.doi.org/10.3200/crit.49.4.395-412.
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Azatyan, Vardan, Frederic J. Schwartz, T. J. Clark, Sami Khatib, Miško Šuvaković, and Ursula Frohne. "Art and Scholarship in Moments of Historical Danger." ARTMargins 10, no. 3 (October 2021): 159–90. http://dx.doi.org/10.1162/artm_a_00304.
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Abstract Consider the nature and function of art and art historical scholarship in the present: Is there still a line—even fine or porous—securing the fragile autonomy of the arts and humanities from commodification in late capitalism? Can art still serve as a negative and critical mirror for reality under the seemingly complete commodification and technological mediation of social life? Is there any real need for art and art historical scholarship even to exist today? Can the arts and humanities serve an emancipatory social agenda, and, if so, how? What role might the humanist ideals once shared by liberals and communists play in the reformulation of art and scholarship today?
25
Лай, Юеге. "ЖАНР ХУАНЯО і БУКЕТИ БАРОКО: МЕТАМОРФОЗИ БУТТЯ." Art and Design, no. 3 (December 5, 2019): 89–96. http://dx.doi.org/10.30857/2617-0272.2019.3.9.
Abstract:
The purpose of the study is to identify the figurative and symbolic parallels of the depiction of flowers in the art of China and Europe. Methodology. The study made use of the methods: historical-cultural, comparative, artistic-stylistic, iconological, iconographic. Results. It is shown that in the art of China and Europe, the image of flowers is interconnected with the embodiment of the ideal, beautiful. In our figurative and artistic analysis of the masterpieces of Chinese painting, it is shown that the masters of the “flowers and birds” genre, in the content and form of embodiment, follow the law of the universe formed in Taoism, according to which a cycle occurs in life, as in nature. In the genre of European floral still life of the 17th century, a philosophical, cognitive attitude of a person to the real world surrounding him is expressed. For the Dutch and Flemish still life, associated with the spiritual culture of Christianity, instructive meaning is important. Artists glorify the beauty of the world created by the Creator and, at the same time, adjusts the viewer to reflect on the transience of life. It can be seen that the formation of the European flower still life as an independent genre was influenced by the fine and decorative art of China, in particular, the “flowers and birds” (huanyao) genre. Common features with the style of gunbi (thorough paintbrush) are manifested in a careful study of colors, in a harmonious combination of realistic authenticity with the decorative and linear conventionality of the artistic image. The image of flowers in European painting and art in China is associated with the idea of harmony of the world, presented in the elements. The Baroque floral still life, like the huanyao genre, contain a deep symbolic meaning. The scientific novelty of the publication lies in the fact that for the first time it compares the huanyao genre with baroque bouquets, figurative and symbolic parallels of the image of flowers in the art of China and Europe are found. Practical significance validated the possibility of using the results of the study to develop textbooks and programs for the in-depth study of the art of China and Europe.
26
Aditia, Dio Rama, Zulisih Maryani, and Oscar Samaratungga. "MOBIL MAINAN DIECAST SKALA 1:24 DALAM FOTOGRAFI STILL LIFE." spectā: Journal of Photography, Arts, and Media 1, no. 1 (February 13, 2018): 13–22. http://dx.doi.org/10.24821/specta.v1i1.1894.
Abstract:
Mobil mainan merupakan suatu benda yang biasa dimainkan oleh anak-anak. Akan tetapi berbeda halnya dengan mobil mainan jenis diecast, yakni mobil mainan yang terbuat dari logam kemudian dicetak ke dalam bentuk yang diinginkan. Mobil mainan diecast yang memiliki berbagai macam ukuran tidak hanya dimainkan oleh anak-anak karena pada perkembangannya diecast menjadi karya seni yang menarik untuk dikoleksi dan dipajang salah satunya mobil dengan ukuran skala1:24. Dengan demikian muncul keinginan untuk menampilkan mobil mainan diecast dalam bentuk karya fotografi. Alasan pemilihan ukuran skala 1:24 adalah ukurannya yang terbilang sedang dan mempunyai detail kemiripan yang cukup baik sehingga cocok digunakan untuk foto stilllife. Selain itu, ukuran mobil mainan diecastskala 1:24 juga cenderung kurang diminati oleh para kolektor shingga diharapkan penciptaan karya seni ini dapat meningkatkan minat para kolektorterhadap diecastskala 1:24. Teknik fotografi still life merupakan salah satu metode dalam fotografi yang digunakan untuk keperluan komersial. Teknik still life digunakan untuk mempermudah penataan objek yang dikombinasikan dengan diorama. Kemudian penataan cahaya dan komposisi dalam teknik ini mampu menjadikan sebuah objek menjadi lebih bernilai jual. Ditambah dengan teknik olah digital focus stacking yang membantu menguatkan detail dari sebuah produk mobil mainan. Penciptaan karya fotografi ini bertujuan untuk menampilkan sebuah mobil mainan yang menyerupai mobil sesungguhnya sehingga dapat menarik perhatian penikmat foto dan juga pencinta mobil mainan diecast khususnya yang berskala 1:24. Hasil dari penciptaan karya seni ini didapatkan bahwa mobil mainan yang semula hanya benda mati saja, melalui fotografi dapat diciptakan menjadi sebuah karya seni visual yang tampak lebih nyata. Mobil mainan diecast merek Welly ini banyak ditemukan hasil pengecatan yang kurang maksimal. Akan tetapi, penggunaan set diorama sebagai elemen pendukung sangat membantu untuk menguatkan kesan lebih nyata sehingga secara umum penciptaan karya seni ini dapat menambahkan nilai jual pada mobil mainandiecast skala 1:24.Kata kunci: mobil mainan, diecast skala 1:24, fotografi, stilllife Abstract Diecast Toycar 1:24 Scale in Still Life Photography. A toy car is an object commonly played by children. Diecast is way a different type of toycar which is made of metal and then formed into the desired shape. Diecast cars with variety of sizes not only played by children because in its development the diecast is becoming into an interesting work of art to be collected and displayed, one of them is with a scale of 1:24. Thus, it seems interesting to feature diecast toycars in the form of photography works. The reason for choosing scale of 1:24 is because this size is quite moderate and the detail similarity is good enough so that it will be suitable to be used in still life photography. In addition to that, the size of the 1: 24 scale diecast toycar also tends to be less desirable by collectors so it is expected that the creation of this artwork can increase the interest of collectors for the 1:24 scale diecast. Still life photography technique is one of the methods in photography used for commercial purposes. Still life technique is used to facilitate the arrangement of objects to be combined with diorama. Then, the arrangement of light and composition in this technique can make an object becomes more valuable. Coupled with the technique of digital focus stacking that helps strengthen the details of a toycar product. The creation of this photography work aims to showcase a toycar that resembles a real car so as to attract the attention of photo enthusiasts as well as diecast car enthusiasts especially for 1: 24 scale. The result of the creation of this artwork shows that toycars which were originally only inanimate objects, through photography can be made into a work of visual art that looks more real. The paintings in Welly diecast toyscars are found not really good enough. However, the use of diorama sets as a supporting element is helpful to reinforce a more realistic impression so that in general the creation of this work can add a commercial value to a 1:24 scale diecast toycar. Keywords: toycar, diecastscale 1:24, photography, still life
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Sujjapun, Ruenruthai. "Literature for Life." MANUSYA 3, no. 2 (2000): 92–107. http://dx.doi.org/10.1163/26659077-00302008.
Abstract:
“Literature for life” is a unique type of Thai contemporary literature . It has risen to prominence in the history of Thai contemporary literature in at least two periods. The first period was between A.D.l947 and 1957 and the second was the October 14, 1973–October 6, 1976 era. Literature for life was influenced by the concept of “art for life’s sake,” which was much discussed in literary magazines between 1947 and 1957, particularly by Asni Phonlachan, who criticized traditional Thai literature from the point of view of “art for life’s sake” and Udom Sisuwan, who saw Sri Burapha’s novels as “literature for life”. The concept of “art for art’s sake” influenced not only critics but also writers during that decade. Literature for life returned to popularity in the period between October 14, 1973 (2516) and October 6, 1976 (2519) because of political conflict. Young activist writers expressing their beliefs in the need for social change made literature for life the mainstream of Thai literature during that time. Nowadays, political ideology being no longer so prominent an issue, literature for life is less powerful but still exits.
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Sievers, Wiebke. "How Turkish is it? Art and culture in Vienna." Migration Letters 11, no. 3 (September 15, 2014): 329–40. http://dx.doi.org/10.33182/ml.v11i3.227.
Abstract:
The Viennese Turkish community constitutes 4% of all people residing in Vienna. This considerable presence has also brought with it many artistic and cultural activities. In this paper I question how far these activities have diversified Viennese cultural life. The results are two-fold: my quantitative analysis of public-funding data shows that Viennese Turkish artistic activities are still perceived as a marginal addendum to Viennese cultural life. However, as my qualitative analysis of selected activities highlights, they have contributed to making the diversity of both Austrian and Turkish cultures visible, albeit only in the margins, rather than in the center of Viennese cultural life.
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Athanasopoulou-Kypriou, Spyridoula. "and/Or the Art of Living." Samuel Beckett Today / Aujourd'hui 15, no. 1 (November 1, 2005): 311–23. http://dx.doi.org/10.1163/18757405-015001027.
Abstract:
Taking exception to the psychoanalytic and theological interpretations, I stress the play's resistance to interpretation and suggest that the play might well be about the art of living in a meaningless world. Borrowing the term 'semiotic chora' from Julia Kristeva, I read as a representation and dramatization of the space where subjectivity has not yet been constructed and thus many possibilities are still open. I also suggest that the play offers a therapeutic journey to the abject elements of human life.
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Levantesi, Susanna, Andrea Nigri, and Gabriella Piscopo. "Longevity risk management through Machine Learning: state of the art." Insurance Markets and Companies 11, no. 1 (November 25, 2020): 11–20. http://dx.doi.org/10.21511/ins.11(1).2020.02.
Abstract:
Longevity risk management is an area of the life insurance business where the use of Artificial Intelligence is still underdeveloped. The paper retraces the main results of the recent actuarial literature on the topic to draw attention to the potential of Machine Learning in predicting mortality and consequently improving the longevity risk quantification and management, with practical implication on the pricing of life products with long-term duration and lifelong guaranteed options embedded in pension contracts or health insurance products. The application of AI methodologies to mortality forecasts improves both fitting and forecasting of the models traditionally used. In particular, the paper presents the Classification and the Regression Tree framework and the Neural Network algorithm applied to mortality data. The literature results are discussed, focusing on the forecasting performance of the Machine Learning techniques concerning the classical model. Finally, a reflection on both the great potentials of using Machine Learning in longevity management and its drawbacks is offered.
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Shi, Jian He, and Xian Wei Wu. "On the Central Concept of Architectural Philosophy: Art." Applied Mechanics and Materials 174-177 (May 2012): 1892–94. http://dx.doi.org/10.4028/www.scientific.net/amm.174-177.1892.
Abstract:
Aesthetic taste as the main value of life is the central task of building arts. Artistic characteristics of architecture reflect human glory and always exist in our thousands of years of architectural history. The art pursuit of architecture is still the focus for the public especially architects. Therefore, the central concept of the construction philosophy is the art of architecture.
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Varshney, Lovely. "The Importance and Value of Art, Design in Development of Society." ECS Transactions 107, no. 1 (April 24, 2022): 8197–201. http://dx.doi.org/10.1149/10701.8197ecst.
Abstract:
Art has been present for many years in our society. Therefore, even when man was not civilized, it was still with human. However, many of us don’t take art very seriously. We think it’s something anyone can do. But art needs lots of creativity and is vital for our society for the following reasons. As: natural behavior, Media for communication, cultural awareness, attracts tourism, child development, and improved academic performance etc. It is possible to develop a strong sense of community belonging with the help of art. Art is a very valuable part of our culture. Can you imagine a world without art? It’s unpleasant. Because art is helpful in the development of our life from the first stage of our childhood and is always helpful in some form or the other in life. Through this paper it can be said that our society gets a strong development from art.
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Oltmishev, Tohir T., and Abdurakhim R. Ibragimov. "SECRETS OF MONA LIZA?" CURRENT RESEARCH JOURNAL OF HISTORY 03, no. 02 (February 1, 2022): 1–8. http://dx.doi.org/10.37547/history-crjh-03-02-01.
Abstract:
Leonardo da Vinci, the founder and typical representative of the Upper Renaissance style, tried his hand at many forms of art, advancing advanced ideas in mathematics, mechanics, and physics. Each of his works is based on the study of life, warmed by the heart of the artist and expresses his attitude to life. Her masterpiece, Monna Lisa, still haunts all art lovers. It is unknown at this time what he will do after leaving the post.
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Rotté, Joanna. "Questions of Life and Art: Recollecting Harold Clurman." New Theatre Quarterly 8, no. 31 (August 1992): 241–48. http://dx.doi.org/10.1017/s0266464x00006862.
Abstract:
When Harold Clurman died in 1980, he was almost as old as the century, but still in harness – perhaps the most venerable as well as the most versatile polymath of the American theatre. His life in the theatre extended from acting with the Theatre Guild in the ‘twenties, through his creation and direction of the Group Theatre in the ‘thirties, to a distinguished post-war career as free-lance director, highly respected theatre critic – first for the New Republic, then since 1953 for The Nation – and also theatre historian and university teacher. It was in this last role that, as a student, Joanna Rotté met Harold Clurman in 1969, and in the article which follows she blends personal recollections of an enduring friendship with a wider-ranging assessment of the qualities that distinguished Clurman as a critic and a human being. Joanna Rotté presently chairs the Theatre Department at Villanova University, Pennsylvania.
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Arjun, Banagi Yathiraj, Bhaskaran Unnikrishnan, John T. Ramapuram, Rekha Thapar, Prasanna Mithra, Nithin Kumar, Deepak Madi, Vaman Kulkarni, Ramesh Holla, and Bhagawan Darshan. "Factors Influencing Quality of Life among People Living with HIV in Coastal South India." Journal of the International Association of Providers of AIDS Care (JIAPAC) 16, no. 3 (August 6, 2015): 247–53. http://dx.doi.org/10.1177/2325957415599213.
Abstract:
Background: Antiretroviral therapy (ART) has increased life expectancy of HIV/AIDS patients, but the quality of life (QOL) still remains the same. Methods: In this cross-sectional study, 356 people living with HIV (PLHIV) were interviewed to assess their QOL using WHOQOL-HIV BREF questionnaire. The association between QOL with sociodemographic, clinical and cohabitation status of the participants was tested using ANOVA and Student t-test, and p value < .05 was considered statistically significant. Results: Physical domain of QOL showed maximum score of 16.4, while a minimum score of 12.2 was seen in social relationship domain. Participants with higher socioeconomic status (SES) and self-motivated to take ART had shown better scores across all the domains of QOL ( p < .05). Conclusion: In our study, quality of life was high among males, younger patients, married participants, higher socioeconomic status, longer duration of ART, self-motivation to take ART, absence of opportunistic infection, and with higher CD4 count.
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van Gastel, Joris. "Campania Felix?" Nuncius 32, no. 3 (2017): 615–39. http://dx.doi.org/10.1163/18253911-03203005.
Abstract:
Neapolitan still life painting, even though Italy’s most prolific “school” of the genre, has attracted little theoretical analysis. Where scholars have considered the genre almost exclusively in terms of stylistic developments and questions of attribution, this paper, alternatively, draws inspiration from insights formulated largely outside the field of art history: Umberto Eco’s characterization of still life paintings as “visual lists” and Michele Rak’s characterization of seventeenth-century literature in the Neapolitan dialect as “literary still lifes.” Building on these insights, this paper aims to explore the ways in which Neapolitan still life painting was anchored in local literary traditions and how, moreover, these literary traditions help us to understand the way in which these paintings resonate with the specific social and political situation that characterized Spanish Naples.
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Saviello, Julia. "Tobacco’s Appeal to the Senses and the Early Modern Smoker’s Still Life." Ikonotheka, no. 29 (September 16, 2020): 123–50. http://dx.doi.org/10.31338/2657-6015ik.29.4.
Abstract:
Smell and taste – of the five senses these are the two most strongly stimulated by smoking tobacco. The article presents an in-depth analysis of the reflection of both these forms of sensory perception in textual and visual sources concerning the early consumption of the herb. In a first step, tobacco’s changing reception, first as medicine and then as stimulant, is traced through the years of its increasing distribution in Europe, starting in the middle of the 16th century. As this overview reveals, at that time the still little known substance gave rise to new forms of sense perception. Following recent studies on smell and gustation, which have stressed the need to take into account the interactions between these senses, the article probes the manifold stimulation of the senses by tobacco with reference to allegorical representations and genre scenes addressing the five senses. The smoking of tobacco was thematized in both of these art forms as a means of visualizing either smell or taste. Yet, these depictions show no indication of any deliberate engagement with the exchange of sense data between mouth and nose. The question posed at the end of this paper is whether this holds true also for early smoker’s still lifes. In the so-called toebakjes or rookertjes, a subgenre of stilllife painting that, like tobacco, was still a novelty at the beginning of the 17th century, various smoking paraphernalia – such as rolled or cut tobacco, pipes and tins – are arrayed with various kinds of foods and drinks. Finally, the article addresses a selection of such smoker’s still lifes, using the toebakje by Pieter Claesz., probably the first of its kind, as a starting point and the work by Georg Flegel as a comparative example. Through their selection of objects, both offer a complex image of how tobacco engages different senses.
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Sakse, Līga. "PRINCIPLES AND LOGIC OF THE DEPICTION OF FLOWERS IN VANITAS PHOTOGRAPHY." Culture Crossroads 12 (November 10, 2022): 72–84. http://dx.doi.org/10.55877/cc.vol12.125.
Abstract:
Art must reflect something that cannot be called trivial or perceived by rational means, as well as what we cannot experience in reality – the borderline between life and non-existence, death among other things. Certainly, ways of depiction vary – there are works of art where the temporariness of life and the inevitability of death have been modelled as a type of a game and there are also those works of art that bear an indirect reminder of death – through allegories or metaphors. Vanitas belongs to the latter. Vanitas is an allegorically presented still life that emerged as an independent genre in about 1550 and became most widespread in the 16th and 17th centuries in Belgium and Flanders. Traditionally the composition of a still life of this type included a human skull, a burnt-out candle, small cut flowers as well as other objects that all seemed to say – everything and anything is transient. The purpose of the paper is to undertake the comparative analysis of vanitas still lives by artists from the USA, Japan and Germany. The photographs of flowers will be used to read the cultural historical message contained in them as well as the technical means of expression used in photography that are enhanced by a profoundly personal depiction. The perceivable designation created by the photographer and the aesthetic object registered by the collective consciousness will be defined and described taking into consideration, as far as possible, the social context that has led to the creation of the given artefact. Works of art will be summarised according to different principles of depiction and the main trends that are reflected in contemporary art photography and have not been encountered before will be outlined. It will result in a general overview through applying acceptable norms that will make it possible to determine whether the picture is or is not contemporary as well as to establish criteria characterising the concept of the contemporary.
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Iacob, Anisia. "Lipsius’ De constantia, 17th Century Still Life Painting and the Use of Constancy Today." Studia Universitatis Babeș-Bolyai Philosophia 65, Special Issue (November 20, 2020): 35–53. http://dx.doi.org/10.24193/subbphil.2020.spiss.03.
Abstract:
"Lipsius’ De constantia, 17th Century Still Life Painting and the Use of Constancy Today. The present article revisits the main ideas from Justus Lipsius’ De constantia in the light of the present ongoing pandemic. Through his interest for the Stoics, Lipsius was able to contribute to a more general and European interest towards this topic, reviving the Stoic philosophy under the name of Neostoicism. The influence of his ideas can be seen in some art production, especially the one that is connected to the places where Lipsius lived and it is a testimony to their popularity and the various ways of transmitting them. Even if the Stoic ideal remains an ideal, the Neostoicism of Justus Lipsius is meaningful in as much as any philosophy that deals with crises because it can help us view the text from both its relevancy and our recent general experience. The isolation, the anxiety, the uneasiness and fear are emotions that have been more or less present in our lives during this pandemic and they require a solution. Constancy is the solution that Justus Lipsius proposes. Keywords: Justus Lipsius, Neostoicism, Still Life Painting, Pandemic, Moral Philosophy, Crisis Philosophy."
40
Li, Huizi. "On the Leadership Training of Chinese music teachers -- Taking Teacher A as an example." BCP Social Sciences & Humanities 18 (June 30, 2022): 310–18. http://dx.doi.org/10.54691/bcpssh.v18i.1127.
Abstract:
With a unique system of symbols, the music art is a special form of art. The symbolic system based on the musical structure cannot find its prototype in the real life of the human. It is different from the symbolic system of the literature and poetry with the established system of language words as well as that of the plastic art with the concrete medium in the real life. Hence, the room for imagination, experience and comprehension created by the appreciation of music works is much broader and freer than that of the appreciation of literature, poetry and painting. Although it can not provide us with a concrete view of the real world just like the language art, it can still present a world of infinite broadness and richness in the emotional realm. In other words, it can trigger an emotional change in a rapid and direct manner. The strong emotional experience can give us an in-depth reflection on the life and ourselves.
41
Bravo, Nassim, and Fernanda Rojas. "Repetition and the Art of Writing Novels." Kierkegaard Studies Yearbook 27, no. 1 (July 14, 2022): 49–72. http://dx.doi.org/10.1515/kierke-2022-0004.
Abstract:
Abstract In this paper we wish to analyze how Kierkegaard understood the art of writing novels, that is, as a way to express and develop the life-view of the author. We would like to argue that this notion, presented for the first time in From the Papers of One Still Living (1838), was put into practice in the short novel Repetition (1843), in which Kierkegaard used the biblical story of Job to explain the development of selfhood through the existential category of repetition. According to Kierkegaard, true repetition—which is the central category of the life-view he is trying to convey—helps the individual “recollect” the past correctly so he or she can reconcile with the present and grow into the future.
42
Asdiansyah, Asdiansyah, Mustaji Mustaji, and Nurmida Sitompul. "Pengaruh Project Based Learning An Minat Belajar Terhadap Hasil Belajar Menggambar Bentuk (Still Life) dalam Pelajaran Visual Art." Edcomtech Jurnal Kajian Teknologi Pendidikan 5, no. 2 (October 1, 2020): 119–28. http://dx.doi.org/10.17977/um039v5i22020p119.
43
Walker, T. "'Even a still life is alive': Visual Art and Bloomsbury Aesthetics in the Early Poetry of Louis MacNeice." Cambridge Quarterly 38, no. 3 (August 4, 2009): 196–213. http://dx.doi.org/10.1093/camqtly/bfp011.
44
Beichler, Helmut, Ruth Kutalek, and Thomas E. Dorner. "People Living with HIV and AIDS: Experiences towards Antiretroviral Therapy, Paradigm Changes, Coping, Stigma, and Discrimination—A Grounded Theory Study." International Journal of Environmental Research and Public Health 20, no. 4 (February 9, 2023): 3000. http://dx.doi.org/10.3390/ijerph20043000.
Abstract:
Background: The experiences in coping with HIV/AIDS from people living with HIV (PLWH) in Austria, Munich, and Berlin regarding adherence, antiretroviral therapy (ART), stigmatization, and discrimination were the main focus of this study. Therapy adherence is the cornerstone for PLWH to reduce disease progression and increase life expectancy combined with a high quality of life. The experience of stigmatization and discrimination in different life situations and settings is still experienced today. Aims: We aimed to examine the subjective perspective of PLWH concerning living with, coping with, and managing HIV/AIDS in daily life. Methods: Grounded Theory Methodology (GTM) was used. Data collection was conducted with semi-structured face-to-face interviews with 25 participants. Data analysis was performed in three steps, open, axial, and selective coding. Results: Five categories emerged, which included the following: (1) fast coping with diagnosis, (2) psychosocial burden due to HIV, (3) ART as a necessity, (4) building trust in HIV disclosure, (5) stigmatization and discrimination are still existing. Conclusion: In conclusion, it can be said that it is not the disease itself that causes the greatest stress, but the process of coping with the diagnosis. Therapy, as well as lifelong adherence, is hardly worth mentioning today. Much more significant is currently still the burden of discrimination and stigmatization.
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Korniev, A., and Zhe Zhang. "The world of things in traditional Chinese painting." Culture of Ukraine, no. 78 (December 23, 2022): 119–25. http://dx.doi.org/10.31516/2410-5325.078.15.
Abstract:
The relevance of the article. The formation of genre and the principles of genre classification in the art of East Asian countries is one of the least researched problems in the theory and history of art. It is generally accepted that still life appeared in the art of China as a result of the influence of the Euro-pean artistic system. Meanwhile, motifs related to the depiction of elements of the subject environment can be traced in other genres of Chinese painting. In modern artistic practice, still life is considered mainly as an element of academic education, but its creative potential remains little realized. Therefore, the relevance of the research is determined by the needs of both theory and artistic practice.
The purpose of the article is to determine the main approaches to the depiction of things, their typological complexes, their role and significance in Chinese classical art.
The methodology. In the research we used general scientific and special research methods. In particular, methods of systematization, content analysis and typology were applied; methods of formal, stylistic, semantic, comparative analysis.
The results. The article outlines the main approaches to studying the origins of still life as a genre in the Chinese artistic tradition. As a result of the analysis of samples of easel and decorative painting, the main models of the representation of things were revealed, their typology, role and means of representation in the visual and content structure of the works were determined. The semantic aspects of pictorial motifs and their connections with the development of handicrafts, Confucian education, tastes and values of the privileged top of society and the development of collecting, are highlighted.
The scientific novelty. For the first time, in the work we touched upon the issue of the formation of still life as a genre and its origins in Chinese painting, highlighted the previous artistic experience of depicting objects of the material environment, defined the main thematic complexes, established their role and significance in classical works.
The practical significance. The results of the research can be used in the development of educational courses in the history of art and provide the necessary material both for creative experiments and for the development of various projects in the field of visual arts.
Conclusions. The results of the analysis of various materials of fine art allow us to claim that in Chinese classical art, other, different from European, options for the representation of the world of things were formed. Typologically, they are represented by three models: a “portrait” of a thing (a close-up of one object with a careful depicting of form and decoration), a thing as a component of a portrait, a catalogue of things (a decorative composition on the theme “4 treasures of a scientist”, “4 noble arts”, “100 antiquities”). In all models, the depicted objects act as personifications of material and spiritual values of society, a sign of Confucian virtues, and as benevolent symbols. The “100 antiquities” complex, which was formed by XVIII century, combined previous lists of valuable things and became a reflection of craft achievements, educational tradition and awareness of its value, and the development of collecting.
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Ramos Monteiro, Lúcia. "Remaking a European, Post-catastrophic Atmosphere in 2000s China: Jia Zhangke’s Still Life, Iconology and Ruins." Cinémas 25, no. 2-3 (March 23, 2016): 97–117. http://dx.doi.org/10.7202/1035774ar.
Abstract:
Jia Zhangke’s Still Life (Sānxiá hǎorén, 2006) was shot in Fengjie, shortly before its flooding brought about by the construction of the Three Gorges Dam, the world’s largest hydropower station in terms of capacity. The film remakes the post-apocalyptic atmosphere found in European films made after the Second World War. From a web of cinephilic, intermedial and intertextual references, which inscribes Still Life in a local and global history of art and of film, this text compares the way Jia films his characters in a disappearing Fengjie with sequences from Roberto Rossellini’s Germany Year Zero (Germania anno zero, 1948) and Michelangelo Antonioni’s Red Desert (Il deserto rosso, 1964). While remaking the composition of ruins framing Edmund, in the first case, and in the second, a complex relation between background and figure in a deserted industrial landscape, Still Life creates a strange temporality, combining the imminence of a future catastrophe with the memory of past ones.
47
Ye, X. W., Y. H. Su, and J. P. Han. "A State-of-the-Art Review on Fatigue Life Assessment of Steel Bridges." Mathematical Problems in Engineering 2014 (2014): 1–13. http://dx.doi.org/10.1155/2014/956473.
Abstract:
Fatigue is among the most critical forms of damage potentially occurring in steel bridges, while accurate assessment or prediction of the fatigue damage status as well as the remaining fatigue life of steel bridges is still a challenging and unsolved issue. There have been numerous investigations on the fatigue damage evaluation and life prediction of steel bridges by use of deterministic or probabilistic methods. The purpose of this review is devoted to presenting a summary on the development history and current status of fatigue condition assessment of steel bridges, containing basic aspects of fatigue, classical fatigue analysis methods, data-driven fatigue life assessment, and reliability-based fatigue condition assessment.
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Bessonova, Albina. "Legends and Facts About the Life of M. A. Dostoevsky in Darovoe (1837—1839)." Неизвестный Достоевский 8, no. 1 (March 2021): 42–60. http://dx.doi.org/10.15393/j10.art.2021.5261.
Abstract:
The history of the Dostoevsky estate Darovoe, which is an important period in the life of Fyodor Dostoevsky, still contains unresolved issues. The most ambiguous is the fate of the writer's father, who ended his days in Darovoe. The cause of the tragic death of M. A. Dostoevsky and the place of his burial are still controversial. The document from the State Archive of the Tula region, published for the first time, allows to dispel all doubts about the location of the grave of M. A. Dostoevsky. The article examines the history of the issue, including oral tradition, analyzes well-known documentary sources, and the entry in the metric book of the Holy Spirit Church of the village Monogarovо in 1839 confirms the testimony of A. M. Dostoevsky about the burial of his father in the churchyard. The fact of M. A. Dostoevsky's affair with the house serf Ekaterina Alexandrova is questioned, since it was based on rumors and undocumented. The author analyzes the oral tradition phenomenon and its influence on the formation of the image of M. A. Dostoevsky as a cruel landowner killed by peasants out of revenge. New archival documents allow us to revise the stereotypes that have become entrenched in Dostoevsky studies.
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Pavlić, Goran. "Materijalna baza proizvodnje – nekoliko napomena o virtualnosti." Život umjetnosti, no. 104 (July 2019): 126–43. http://dx.doi.org/10.31664/zu.2019.104.08.
Abstract:
The difference between the “real,” “authentic” life and its mere representation has saturated the philosophical discourse from its very onset. Debord’s The Society of the Spectacle usually gets categorized as a further elaboration on this issue. The essential misapprehension of such an understanding lies in the disregard of Debord’s constitutive thesis: “the spectacle is not a collection of images; it is a social relation between people that is mediated by images.” (§ 4) In cultural perspectives, the “real” material dynamics of life – relations between people – is replaced by a purported exchange of images which lack any authenticity. The concept of cognitive capitalism (Vercellone, 2005), with its theses on the contemporary domination of information and knowledge within capitalist reproduction, further validates this opposition. According to Doogan’s (2009) thoroughly researched and empirically founded insights, our world is still heavily dominated by crude material production which precludes any notion of a new, post-Fordist, virtual, immaterial, post-work stage of capitalism. Similarly, Huws (2003, 2014) warns of the dubious status of the concepts of fluid identities, or hybrid subjectivities, and stresses the prevalence of class and gender issues which still substantially affect the working spheres. Drawing on Davis’s (2013) insights on the necessity of class analysis for the comprehension of the artistic field, I will present the modes in which “creativity” functions as a neoliberal buzzword. More specifically, I will outline the ways in which systemic exploitation, as an intrinsic feature of capitalism, still structures the dynamics of the art field, particularly areas that are fashionably known as “creative industries”.
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Heckenberg, Kerry. "A taste for art in colonial Queensland: The Queensland Art Gallery Foundational Bequest of Thomas Lodge Murray-Prior." Queensland Review 25, no. 1 (June 2018): 119–36. http://dx.doi.org/10.1017/qre.2018.11.
Abstract:
AbstractThis study arose from an encounter with some paintings (still lives, Madonnas and other religious or genre scenes of mainly seventeenth-century Northern European origin) at the Queensland Art Gallery in 2012. They were intriguing because they were part of a bequest by squatter and colonial parliamentarian Thomas Lodge Murray-Prior (1819–92), which formed the nucleus of the original Queensland Art Gallery collection when it opened in 1895. Little is known about them, but they raise questions: What part did they play in the life of the donor? Did he collect them merely to burnish his reputation? Were they hung in a town house or in the bush? How did they enter the collection of the Queensland Art Gallery and what reception did they receive? What subsequent use has been made of them? This article examines the collection and the role it played in Murray-Prior's life, arguing that it is a coherent collection of Northern European art and more than a status symbol. Furthermore, it has much to say about a period that saw the development of art collecting and exhibiting. As such, it is the perfect foundation for an art gallery in colonial Australia.