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Journal articles on the topic 'Western art'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

WILLIAMS, ALASTAIR. "Intertextuality in Western Art Music:Intertextuality in Western Art Music." Music Theory Spectrum 28, no. 2 (2006): 316–20. http://dx.doi.org/10.1525/mts.2006.28.2.316.

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2

Texter, Merry. "Western Art Music." Music Educators Journal 81, no. 3 (1994): 6. http://dx.doi.org/10.2307/3398755.

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3

Balm, Roger, and Malcolm Andrews. "Landscape and Western Art." Geographical Review 90, no. 4 (2000): 649. http://dx.doi.org/10.2307/3250790.

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4

Sutton, Denys. "Japan and Western art." Asian Affairs 19, no. 3 (1988): 289–97. http://dx.doi.org/10.1080/03068378808730317.

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5

Dicke, Marcel. "Insects In Western Art." American Entomologist 46, no. 4 (2000): 228–37. http://dx.doi.org/10.1093/ae/46.4.228.

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6

Verdon, Timothy. "Mary in Western Art." IKON 10 (January 2017): 27–34. http://dx.doi.org/10.1484/j.ikon.4.2017003.

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7

MILLER, RICHARD C. "Locating East Asia in Western Art Music:Locating East Asia in Western Art Music." Music Theory Spectrum 28, no. 1 (2006): 127–31. http://dx.doi.org/10.1525/mts.2006.28.1.127.

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8

Ossaiga, Udoka Peace. "Western Classicism and Western Art Music Conducting in Southern Nigeria." African Journal of Humanities and Contemporary Education Research 15, no. 1 (2024): 271–81. http://dx.doi.org/10.62154/g9yckh64.

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Western conducting involves the use of diverse forms of body language to direct ensembles. Although conducting originated in the Middle Ages, its standardization in eighteenth-century classical Europe has left observable classical principles that now define the art, even in twenty-first century southern Nigeria where Western conducting is utilized to direct Western art music. Although the use of Western conducting to direct European art music predates the twenty-first century, how Western conducting reflects classicism and its spirits has not engrossed adequate scholarly discourse, especially

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9

PAN, LUOMING. "Western graffiti art VS Chinese "contemporary calligraphy" art." Convergence of Humanities, Social Science an Art’s Academy 4, no. 3 (2020): 69–86. http://dx.doi.org/10.37846/soch.4.3.69.

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10

Sandweiss, Martha A., and Kevin Mulroy. "Western Amerykanski: Polish Poster Art and the Western." Western Historical Quarterly 31, no. 4 (2000): 515. http://dx.doi.org/10.2307/970133.

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Zaborowska, Magdalena Z., and Kevin Mulroy. "Western Amerykanski: Polish Poster Art and the Western." Slavic and East European Journal 45, no. 4 (2001): 781. http://dx.doi.org/10.2307/3086153.

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12

Walls, A. F. "The Western Discovery of Non-Western Christian Art." Studies in Church History 28 (1992): 571–81. http://dx.doi.org/10.1017/s0424208400012699.

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Christianity is in principle perhaps the most syncretistic of the great religions. Unlike Hinduism, it does not have a unifocal religious culture belonging to a particular soil; nor, like Islam, does it have common sacred language and a recognizable cultural framework across the globe. Historically, Christian expansion has been serial, moving from one heartland to another, fading in one culture as it is implanted in another. Christian expansion involves the serial, generational, and vernacular penetration of different cultures.

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13

Chang, Yongsock. "The Broadening of Art Perspectives in an Art Course of Non-Art Major Students through a Korean Art Teacher’s Asian Art Viewpoint." Asian Qualitative Inquiry Association 2, no. 1 (2023): 51–68. http://dx.doi.org/10.56428/aqij.2023.2.1.51.

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This research explores how Multicultural and Asian art affects college students in a U.S. university. The students did not major in art, and they chose art as elective subjects. The art course consisted of art theory and practice based on DBAE(Discipline-Based Art Education). In the art class, some non-white students always enrolled in the course. The researcher found that DBAE was satisfactory but sometimes inappropriate because DBAE is rooted in Western high art. The researcher changed the art studio class with a multicultural perspective, especially Asian art because he wanted to introduce

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14

Groff, David H., and Susan Mullin Vogel. "Baule: African Art, Western Eyes." International Journal of African Historical Studies 32, no. 2/3 (1999): 432. http://dx.doi.org/10.2307/220355.

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15

Lopasic, Alexander, and Susan M. Vogel. "Baule: African Art, Western Eyes." Journal of the Royal Anthropological Institute 5, no. 3 (1999): 481. http://dx.doi.org/10.2307/2661302.

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16

Bickford, Kathleen E., and Cherise Smith. "Art of the Western Sudan." Art Institute of Chicago Museum Studies 23, no. 2 (1997): 104. http://dx.doi.org/10.2307/4104378.

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17

Vogel, Susan Mullin. "Baule: African Art Western Eyes." African Arts 30, no. 4 (1997): 64. http://dx.doi.org/10.2307/3337555.

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18

Förster, Till, Susan Mullin Vogel, and Till Forster. "Baule African Art/Western Eyes." African Arts 31, no. 3 (1998): 16. http://dx.doi.org/10.2307/3337573.

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19

Adams, Monni. "Baule African Art/Western Eyes." African Arts 31, no. 3 (1998): 72. http://dx.doi.org/10.2307/3337579.

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20

BECKER, JUDITH. "Is Western Art Music Superior?" Musical Quarterly LXXII, no. 3 (1986): 341–59. http://dx.doi.org/10.1093/mq/lxxii.3.341.

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21

Flam, Jack. "On Color in Western Art." Art Bulletin 73, no. 2 (1991): 344. http://dx.doi.org/10.2307/3045804.

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22

Christiane, Wagner. "The Democratization of Art: Media and the Art of Publishing on Art." Art Style, Art & Culture International Magazine 5, no. 5 (2020): 93–113. https://doi.org/10.5281/zenodo.6371473.

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Art Style | Art & Culture International Magazine Abstract The historical approach to democratic ideals is based on the relationship between art, technique, and industry in its creative conception and the cultural influences of its practice in the process of economic, social, and political development. However, in order to better understand this relationship, this article seeks to understand the place of art and communication in the origins of Western knowledge through a brief retrospective of the evolution of verbal and visual languages. Through this panorama, essential to the meaning of a

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23

Robertson, Tracee W. "Western Art, Western History: Collected Essays by Ron Tyler." Great Plains Quarterly 41, no. 1-2 (2021): 152–53. http://dx.doi.org/10.1353/gpq.2021.0011.

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24

Dippie, Brian W. "Western Art, Western History: Collected Essays by Ron Tyler." Southwestern Historical Quarterly 123, no. 3 (2020): 376–77. http://dx.doi.org/10.1353/swh.2020.0014.

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25

Keser, Nimet, and Inan Keser. "Different political impacts on making of Western-style art and on art education in Turkey." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (2016): 26–35. http://dx.doi.org/10.18844/gjhss.v2i1.274.

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26

Evans, Roger. "The Healing Presence of Art – A History of Western Art in HospitalsThe Healing Presence of Art – A History of Western Art in Hospitals." Nursing Standard 27, no. 12 (2012): 25. http://dx.doi.org/10.7748/ns2012.11.27.12.25.b1440.

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27

Evans, Roger. "The Healing Presence of Art – A History of Western Art in HospitalsThe Healing Presence of Art – A History of Western Art in Hospitals." Nursing Management 20, no. 1 (2013): 8. http://dx.doi.org/10.7748/nm2013.04.20.1.8.s3.

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28

Liljeblad, Jonathan. "China, western art museums, and dissident art via social networks." Poster 3, no. 1 (2015): 7–18. http://dx.doi.org/10.1386/post.3.1-2.7_1.

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29

Barton, C. Michael, G. A. Clark, and Allison E. Cohen. "Art as information: Explaining Upper Palaeolithic art in western Europe." World Archaeology 26, no. 2 (1994): 185–207. http://dx.doi.org/10.1080/00438243.1994.9980272.

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30

YILMAZ, Burhan. "RIFLE IN THE WESTERN PAINTING ART." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 8, no. 4 (2018): 615–26. http://dx.doi.org/10.7456/10804100/00.

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31

Dunsby, Jonathan, and Yannis Rammos. "Onset asynchrony in Western art music." Quodlibet. Revista de Especialización Musical, no. 76 (December 17, 2021): 126–58. http://dx.doi.org/10.37536/quodlibet.2021.76.1465.

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Melodic onset asynchrony, whereby the upper or some component of a musical simultaneity may strike the ear ahead of other sounds, is a common feature in the performance of Western art music. It seems to be of high aesthetic value in the history of pianism, often harnessed to the seemingly contradictory “bass lead” that prevailed in the early 20th century, though in fact the two are far from exclusive. Departing from an application of Brent Yorgason’s taxonomy of “hand-breaking” (2009) to canonical, composed examples of onset asynchrony from Beethoven, Schumann, and Liszt, we examine timbral, o

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32

Hamilton, Andy, and Roger Scruton. "The Aesthetics of Western Art Music." Philosophical Books 40, no. 3 (1999): 145–59. http://dx.doi.org/10.1111/1468-0149.00149.

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33

Gage, John. "Color in Western Art: An Issue?" Art Bulletin 72, no. 4 (1990): 518. http://dx.doi.org/10.2307/3045760.

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34

King, Lindsay M., and Russell T. Clement. "Western European Art Foundations and Publishing." Journal of Academic Librarianship 37, no. 1 (2011): 5–8. http://dx.doi.org/10.1016/j.acalib.2010.10.001.

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35

Bloom, Jonathan M. "Strapwork Designs in Western Islamic Art." Beiträge zur islamischen Kunst und Archäologie 3, no. 1 (2012): 150–62. http://dx.doi.org/10.29091/9783954909544/010.

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36

NICHOLS, ROGER L. "Western Attractions." Pacific Historical Review 74, no. 1 (2005): 1–18. http://dx.doi.org/10.1525/phr.2005.74.1.1.

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North America,and in particular the United States, has fascinated Europeans as the place of the "exotic other " for at least the last two centuries. This article surveys American and European art, novels,radio programs, Western films, and television Westerns from the 1820s to the present. It posits that the presence of Indians, fictional Western heroes,gunmen,and a perceived general level of violence made frontier and Western America more colorful and exciting than similar circumstances and native people in other parts of the world. This resulted in a continuing interest in the fictional aspec

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37

Coombes, Rebecca. "Relative values: the words about ‘non-western’ art." Art Libraries Journal 20, no. 3 (1995): 19–25. http://dx.doi.org/10.1017/s0307472200009469.

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A survey of holdings of non-Western art in British, and some North American, art libraries has by and large confirmed that it is poorly represented, and that contemporary non-Western art is especially neglected. Libraries’ freedom to acquire material in this broad area may be restricted or defined by curricula, the interests of clients, and the availability of material, yet libraries which allow themselves to be thus constrained present a distorted and impoverished view of world art. Library classification schemes tend to favour Western art, with non-Western art sometimes being relegated to ‘c

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38

Perdoux, Martin. "Art beyond Humanism: Non-Western influences on an Art Therapist's Practice." Art Therapy 13, no. 4 (1996): 286–88. http://dx.doi.org/10.1080/07421656.1996.10759239.

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39

Tao, Zihan. "Analysis of the influence of Western art trend on modern illustration." BCP Social Sciences & Humanities 20 (October 18, 2022): 214–17. http://dx.doi.org/10.54691/bcpssh.v20i.2200.

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After a hundred years of history, western art trends have become colorful and permeated the world. It breaks the traditional aesthetic concept and exerts an indelible influence on modern illustration creation. This paper analyzes the influence of Western art thoughts on modern illustration by studying the representative art schools in Contemporary Western art thoughts.

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40

Tao, Zihan. "Analysis of the Influence of Western Art Trend on Modern Illustration." Highlights in Art and Design 3, no. 2 (2023): 73–75. http://dx.doi.org/10.54097/hiaad.v3i2.10490.

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After a hundred years of history, western art trends have become colorful and permeated the world. It breaks the traditional aesthetic concept and exerts an indelible influence on modern illustration creation. This paper analyzes the influence of Western art thoughts on modern illustration by studying the representative art schools in Contemporary Western art thoughts.

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41

Qu, Lingyun, and Hongmei Liu. "Research on the Development of Chinese Painting Under the Influence of Western Art Thought in the 1980s." Humanities and Social Science Research 8, no. 1 (2025): p104. https://doi.org/10.30560/hssr.v8n1p104.

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This paper aims to study the profound impact of Western art thought on the development of Chinese painting in the 1980s. By analyzing the emergence of Western modernism and postmodernism, the study explores how these artistic trends were introduced into China during the 1980s and significantly influenced the form, ideas, and content of Chinese painting. First, the paper reviews the main characteristics of Western art thought and analyzes the channels through which these ideas spread within the Chinese art community, as well as the awakening of artists’ self-awareness. Next, it focuses on discu

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42

Fuxin, Wang. "The Combination of Chinese and Western Sculpture Art and the Future Direction." Economics, Law and Policy 6, no. 3 (2024): p55. http://dx.doi.org/10.22158/elp.v6n3p55.

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Sculpture art is the physical form of human emotion overflow. Sculpture is an important part of Chinese and Western culture. Whether ancient or modern, the creation of sculpture reflects the cultural spirit of the times. Due to the different cultural backgrounds, the themes of Chinese and Western sculpture art show great differences. The different cultures of China and the West determine that there are great differences between Chinese and Western sculpture art. With the development of economic globalisation, the collision and fusion of Chinese and Western cultures have prompted Chinese contem

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43

Chen, Ziyuan. "Chinese Calligraphy: An Ancient Art in the Modern Era." SHS Web of Conferences 159 (2023): 02003. http://dx.doi.org/10.1051/shsconf/202315902003.

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Chinese calligraphy is an ancient character writing art. It germinated in the Shang Dynasty, reached its peak in the Tang Dynasty, and did not form a new calligraphy style for more than one thousand years. There are many similarities between Chinese calligraphy and western painting, including similarities in abstraction and symbolism. When the country went through the modernization of the 20th century, the western influence gradually increased, and the Chinese calligraphy art gradually formed new art forms such as hard pen calligraphy. At the same time, calligraphy art has also inspired and in

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44

Laing, Ellen Johnston, and Michael Sullivan. "The Meeting of Eastern and Western Art." Journal of the American Oriental Society 110, no. 4 (1990): 747. http://dx.doi.org/10.2307/602914.

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45

Claßen, Erich, Karin Kindermann, and Andreas Pastoors. "Djara – Cave Art in Egypt’s Western Desert." Archéo-Nil. Revue de la société pour l'étude des cultures prépharaoniques de la vallée du Nil 19, no. 1 (2009): 47–66. http://dx.doi.org/10.3406/arnil.2009.979.

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46

Yang, Mina, Yayoi Uno Everett, and Frederick Lau. "Locating East Asia in Western Art Music." American Music 23, no. 3 (2005): 395. http://dx.doi.org/10.2307/4153060.

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47

Mack, Dieter, Yayoi Uno Everett, and Frederick Lau. "Locating East Asia in Western Art Music." Lied und populäre Kultur / Song and Popular Culture 48 (2003): 339. http://dx.doi.org/10.2307/4147858.

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48

Kolt, Robert Paul. "Nationalism in Western art music: a reassessment." National Identities 17, no. 1 (2014): 63–71. http://dx.doi.org/10.1080/14608944.2014.920806.

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49

Törmä, Minna. "Chinese Landscape Painting as Western Art History." Konsthistorisk Tidskrift/Journal of Art History 80, no. 3 (2011): 184–86. http://dx.doi.org/10.1080/00233609.2011.583679.

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50

Allen, Nancy S. "History of Western sources on Japanese art." Art Libraries Journal 11, no. 4 (1986): 8–13. http://dx.doi.org/10.1017/s0307472200004867.

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Learning about Japanese art has been difficult for Westerners. Limited access, language barriers, and cultural misunderstanding have been almost insurmountable obstacles. Knowledge of Japanese art in the West began over 150 years before the arrival of Commodore Perry in 1853. Englebert Kaempfer (1657-1716), sent to Japan as a physician for the Dutch East India Company, befriended a young assistant who provided information for a book on Japanese life and history published in 1727. By 1850, more ethnographic information had been published in Europe. Catalogs of sales of Japanese art in Europe ex

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