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Relevant bibliographies by topics / Women in art. Painting, American. Painting, Modern / Journal articles

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Journal articles on the topic 'Women in art. Painting, American. Painting, Modern'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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1

Simpson, Pamela H., and Kirsten Swinth. "Painting Professionals: Women Artists and the Development of Modern American Art, 1870-1930." Woman's Art Journal 25, no. 1 (2004): 51. http://dx.doi.org/10.2307/3566502.

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Dabakis, Melissa, and Kirsten Swinth. "Painting Professionals: Women Artists & the Development of Modern American Art, 1870-1930." Journal of American History 89, no. 3 (2002): 1077. http://dx.doi.org/10.2307/3092424.

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3

Schriber, Abbe. "Mapping a New Humanism in the 1940s: Thelma Johnson Streat between Dance and Painting." Arts 9, no. 1 (2020): 7. http://dx.doi.org/10.3390/arts9010007.

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Thelma Johnson Streat is perhaps best known as the first African American woman to have work acquired by the Museum of Modern Art. However, in the 1940s–1950s she inhabited multiple coinciding roles: painter, performer, choreographer, cultural ethnographer, and folklore collector. As part of this expansive practice, her canvases display a peculiar movement and animacy while her dances transmit the restraint of the two-dimensional figure. Drawing from black feminist theoretical redefinitions of the human, this paper argues that Streat’s exploration of muralism, African American spirituals, Nati

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Broos, Ben. "The wanderings of Rembrandt's Portrait of Aeltje Uylenburgh." Oud Holland - Quarterly for Dutch Art History 123, no. 2 (2010): 89–107. http://dx.doi.org/10.1163/003067212x13397495480745.

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AbstractFor more than a century the only eyewitness account of Rembrandt's Portrait of an old woman (fig. 1) was a description made by Wilhelm Bode in 1883. At the time, he was unable to decipher the date, 1632; nor did he know anything about Aeltje Uylenburgh or the history of the panel. However, the painting's provenance has since been revealed, and it can be traced back in an almost unbroken line to its commission, a rare occurrence in Rembrandt's oeuvre. A pendant portrait, now lost, featured the preacher Johannes Sylvius, who is also the subject of an etching by Rembrandt dating from 1633

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Kitahara, Megumi. "Transcending Borders in the Work of Fumie Taniguchi." Asian Diasporic Visual Cultures and the Americas 6, no. 1-2 (2020): 92–109. http://dx.doi.org/10.1163/23523085-00601006.

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Fumie Taniguchi was a nihonga painter whose modern portraits of women enjoyed widespread acclaim within art circles during the 1930s. Although she moved to America shortly after Japan lost the war and spent the latter half of her life there, her existence was suddenly forgotten. There are almost no extant examples of Taniguchi’s paintings from her American period, however, her autobiographical novels that appeared in Japanese American fanzines provide significant clues that help to trace her life. Through these publications and oral interviews with her family members, this article seeks to int

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Belova, Darya Nikolaevna. "Female Images in Chinese and Japanese painting." Культура и искусство, no. 5 (May 2021): 114–38. http://dx.doi.org/10.7256/2454-0625.2021.5.35526.

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This article analyzes female images in Chinese and Japanese painting (Bijin-ga). The subject of this research is the depiction of Chinese beautiful women on the scrolls of the X &ndash; XVII centuries and Japanese woodblock printing of the XVII &ndash; XIX centuries. Attention is given to the works of modern artists. It is noted that the aesthetic ideals are oriented towards the perception of beauty in the context of national culture of China and Japan, which undergo changes in each era, nurtured by Buddhism, Shintoism, Taoism and Confucianism, which contributed to the development of f

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Sammern, Romana. "Red, White and Black: Colors of Beauty, Tints of Health and Cosmetic Materials in Early Modern English Art Writing." Early Science and Medicine 20, no. 4-6 (2015): 397–427. http://dx.doi.org/10.1163/15733823-02046p05.

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Alongside Richard Haydocke’s translation of Giovanni Paolo Lomazzo’s treatise on painting (1598), the article examines concepts of color concerning cosmetics, painting and complexion as they relate to aesthetics, artistic and medical practice in the sixteenth and seventeenth centuries. Beginning with white and red as ideal colors of beauty in Agnolo Firenzuola’s Discourse on the beauty of women (1541), the essay places color in relation to major issues in art, medicine and empiricism by discussing beauty as a quality of humoral theory and its colors as visual results of physiological processes

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Koos, Marianne. "Malerei als Augentrug. Alexander Roslins Selbstporträt mit Marie-Suzanne Giroust-Roslin an der Staffelei." Zeitschrift für Kunstgeschichte 83, no. 4 (2020): 506–53. http://dx.doi.org/10.1515/zkg-2020-4004.

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AbstractThis article examines the unique self-portrait of Alexander Roslin and his artist wife, Marie- Suzanne Giroust-Roslin (1767, Stockholm, Nationalmuseum), in which a male painter for once leaves the place at the easel to a painting woman. This complex multi-figure painting not only commemorates the couple’s friendship with the sitter, Henrik Villhelm Peill. Rather, it is conceived as a double image of love and advertisement – especially for her art. Further, with this painting Roslin takes a programmatic stand for his own concept of painting as much as for that of his wife: Criticized by

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Clarke, David. "The All-Over Image: Meaning in Abstract Art." Journal of American Studies 27, no. 3 (1993): 355–75. http://dx.doi.org/10.1017/s0021875800032072.

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It is the contention of Clement Greenberg that the development of modern painting can be seen as a self-critical process whereby this art entrenches itself more firmly in its area of competence. The area of competence of each art, according to Greenberg, coincides with all that is unique to the nature of its medium. Each art form, then, has an essence (albeit one which is only revealed over time) and the constitutive limitations peculiar to painting are considered by Greenberg to be “the shape of the support, the properties of pigment” and above all “the flat surface.” At first sight such a fo

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Stolte, Sarah Anne. "Hustling and Hoaxing: Institutions, Modern Styles, and Yeffe Kimball’s “Native” Art." American Indian Culture and Research Journal 43, no. 4 (2019): 77–92. http://dx.doi.org/10.17953/aicrj.43.4.stolte.

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This article considers the artistic career of self-identified Osage painter Yeffe Kimball (1906–1978). Following the stylistic trends of modern American Indian painting as largely defined by non-Native critics and a male-dominated art world, Kimball’s works were accepted into major exhibits. How Kimball was able to “pass” as an American Indian artist is the core of a larger narrative—one that demonstrates and provokes critique of how her fraud took advantage of, but also contributed to strengthening, an exclusionary, devaluative settler-colonial dynamic of expropriation that continues into the

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Hibberts, Stephen, Howell G. M. Edwards, Mona Abdel-Ghani, and Peter Vandenabeele. "Raman spectroscopic analysis of a ‘ noli me tangere ’ painting." Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences 374, no. 2082 (2016): 20160044. http://dx.doi.org/10.1098/rsta.2016.0044.

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The discovery of an oil painting in seriously damaged condition with an important historical and a heterodox detail with possible origins in the late fifteenth century has afforded the opportunity for Raman microscopic analysis prior to its restoration being undertaken. The painting depicts a risen Christ following His crucifixion in a ‘ noli me tangere ’ pose with three women in an Italian terrace garden with a stone balustrade overlooking a rural landscape and an undoubted view of late-medieval Florence. The picture has suffered much abuse and is in very poor condition, which is possibly att

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Wang, Yang. "Envisioning the Third World: Modern Art and Diplomacy in Maoist China." ARTMargins 8, no. 2 (2019): 31–54. http://dx.doi.org/10.1162/artm_a_00234.

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In the mid-1950s, China conducted robust cultural exchange with the Third World in tandem with a parallel political program to influence non-aligned nations in contestation to the Soviet Union and Western powers. This article examines this underrecognized facet of Maoist-era art through the international engagements of two Xi'an artists, Shi Lu (1919–1982) and Zhao Wangyun (1907–1977), who traveled to India and Egypt as cultural attaché of the Chinese state. By tracing the travels of the two artists in light of their artistic and theoretical formulations, this article argues that contact with

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Rutkoff, Peter M., and William B. Scott. "Appalachian Spring: A Collaboration and a Transition." Prospects 20 (October 1995): 209–25. http://dx.doi.org/10.1017/s0361233300006062.

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In late October, 1944, the Martha Graham Dance Company performed Appalachian Spring at the Library of Congress, establishing Graham as the master of modern dance. The significance of Appalachian Spring, however, went well beyond Graham's artistic development. Notwithstanding its traditional theme, Appalachian Spring heralded an important shift in American art. Following the Second World War a large segment of New York City artists abandoned the effort, so dominant in the interwar years, to create an explicitly “American” art in favor of a “modernist” aesthetic, best exemplified in abstract exp

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Fagg, John. "Near Vermeer: Edmund C. Tarbell's and John Sloan's Dutch Pictures." Modernist Cultures 11, no. 1 (2016): 86–117. http://dx.doi.org/10.3366/mod.2016.0127.

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This article considers drawings and paintings made by the American artists Edmund Tarbell and John Sloan in relation to the art of the seventeenth-century Dutch Republic. Claims about, interpretations of, and enthusiasm for ‘Dutch Pictures’ were prominent features of the transatlantic artworld in the years around 1900. Art critics, including George Moore, Charles Caffin, James Gibbons Huneker and Frank Jewett Mather, discussed the relationship between historical Dutch painting and contemporary art, while American collectors and museums purchased and displayed large numbers of paintings by Remb

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Dal Lago, Francesca. "The “Global” Contemporary Art Canon and the Case of China." ARTMargins 3, no. 3 (2014): 77–97. http://dx.doi.org/10.1162/artm_r_00095.

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This essay reviews the book Contemporary Chinese Art: Primary Documents edited by Wu Hung and published by the New York Museum of Modern Art in 2010, as part of an ongoing series aiming to introduce art critical texts produced in non-mainstream art locales to an English-speaking audience. Gathering a large number of translated critical essays, the book outlines the production of Chinese Contemporary Art since what is normally accepted as its onset in the late 1970s. This essay argues that this process of definition, legitimized by the prominent publisher of this book, amounts to a form of cano

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Whiting, Cécile. "More Than Meets the Eye: Archibald Motley and Debates on Race in Art." Prospects 26 (October 2001): 449–76. http://dx.doi.org/10.1017/s0361233300001009.

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In 1933, Archibald J. Motley Jr., an African-American artist from Chicago who enjoyed a moderate level of national and international renown, issued his only formal public statement concerning the relationship he perceived between his art and race. His words, resonating with confidence, assert his conviction that painting could capture the truth of race through pigment. Reproduced opposite this declaration,Bluesof 1929 (Figure 1), which depicts well-coiffed men and women dancing in the Petite Cafe in Paris to tunes played by musicians seated in the foreground, would seem to reinforce Motley's p

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Tarasova, M. V., A. A. Sitnikova, and M. G. Smolina. "Laszlo Moholy-Nagy: the directions of creative work and the influence on the development of art of the 20th century." Siberian Journal of Anthropology 4, no. 4 (2020): 248–68. http://dx.doi.org/10.31804/2542-1816-2020-4-4-248-268.

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The creative work of the Hungarian theoretician and artist Laszlo Moholy-Nagy has recently become an object of reevaluation and scrutinous investigation. Laszlo Moholy-Nagy is also considered one of the forerunners of conceptual art. In a way, he also foresaw the "visual turn" of culture, which she made at the beginning of the 21st century, and he viewed his works in part as "exercises" in vision for a person of the future. Although today it is obvious that the art of L. Moholy-Nagy had a significant impact on the work of contemporary artists, a detailed analysis and understanding of the essen

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18

Fowler, Cynthia. "Herman Trunk’s Cubist Crucifix: A Case Study." Religion and the Arts 15, no. 5 (2011): 628–47. http://dx.doi.org/10.1163/156852911x596264.

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Abstract American modern artist Herman Trunk (1894–1963) serves as a noteworthy case study in a consideration of the relationship between religion and American modern art in the first half of the twentieth century. One of his few overtly religious works, Crucifix (c. 1930), stands out for its intriguing convergence of a most important Catholic subject with Cubist art. This essay examines Trunk’s Cubist Crucifix in relation to other Crucifix and Crucifixion paintings created around the same time period. Trunk’s Crucifix is unique among abstract paintings of religious subjects in the artist’s di

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19

Belting, Hans. "The Museum of Modern Art and the History of Modernism." Nka Journal of Contemporary African Art 2020, no. 46 (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, sinc

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20

Atallah, Nadine. "La participation de l’Égypte à la IIème Biennale de São Paulo (1953-1954)." Manazir Journal 1 (October 1, 2019): 45–68. http://dx.doi.org/10.36950/manazir.2019.1.1.4.

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This article introduces in detail the genesis of Egypt’s first participation in the São Paulo Biennial (1953-1954). The story begins with a spontaneous application from a Swiss painter settled in Egypt after having lived in Brazil: Irmgard Micaela Burchard Simaika (1908-1964). Her request soon leads to the project of composing an official delegation to represent the country, at a time when Egypt was going through a period of political change, as the republic was proclaimed in June 1953. Within an artistic landscape deprived of specialized administration, the exhibition’s preparation was associ

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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 cause

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22

Khandekar, Nisha. "GLOBALIZATION AND WARLI TRIBAL ART." International Journal of Research -GRANTHAALAYAH 7, no. 11 (2019): 116–21. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3718.

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The globalization has negatively impacted upon the tribal economies, culture and identities. The expansion of the art world under this version of globalization means that freedom of expression among artists is compromised under the pressure to conform to the market in order to succeed financially. The present scenario may change the true reflection of old culture and tradition of the Warli tribe. Because of the commercialization the transformation occurred, and they are venturing into mainstream society for the sake of their art. It has now become the commercial activity of Warli men. Because

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Honey, Maureen. "Women and Art in the Fiction of Edith Wharton." Prospects 19 (October 1994): 419–50. http://dx.doi.org/10.1017/s0361233300005172.

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Edith Wharton's treatment of the artist has received considerable critical attention, particularly in light of her focus on male artists and the disparity between her early short stories that are dominated by tales about artists and her novels that center on other subjects. Some of these studies have looked at the writer as artist and Wharton's views on the art of writing. While such a focus can be justified by the numerous writers who people Wharton's fiction, it is instructive to examine other dimensions of her reference to art and artists, especially painting, as a way of illuminating the c

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Weinberg, Robert. "The Awakening of Spirit: Artistic and Thematic Influences on the Evolution of Mark Tobey’s ‘White Writing’." Baha'i Studies Review 21, no. 1 (2015): 87–99. http://dx.doi.org/10.1386/bsr.21.1.87_1.

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This paper is a distillation of the author’s dissertation submitted for the Degree of Master of Arts by Research in History of Art: Renaissance to Modernism to the School of Humanities at the University of Buckingham in September 2016. The dissertation sought to answer the question, ‘What were the artistic and thematic influences on the evolution of the “white writing” style of the American painter, Mark Tobey?’ Tobey’s distinctive approach to abstraction brought him great acclaim and considerable success in the middle decades of the 20th century but today barely receives a footnote or a few b

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Grove, Kevin G. "George Tooker’s Altarpiece of Protest." Religion and the Arts 23, no. 5 (2019): 537–60. http://dx.doi.org/10.1163/15685292-02305004.

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AbstractRenowned American protest painter George Tooker’s sacramental art opens new perspectives on the relation of the sacramental economy to modern cultural critique. Differing from extant scholarship and taking into account preparatory drawings, this article claims that George Tooker’s The Seven Sacraments altarpiece is best understood in continuity with the rest of the artist’s protest painting. This interpretation does not diminish the religious or conciliatory significance of Tooker’s masterwork but rather draws out its unique voice as a way of protesting the alone-while-together structu

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Phillippy (author, first book), Patricia, Aileen Ribeiro (author, second book), Ann Hollinshead Hurley (author, third book), and Katherine Acheson (review author). "Painting Women: Cosmetics, Canvases & Early Modern Culture; Fashion and Fiction: Dress in Art and Literature in Stuart England; John Donne's Poetry and Early Modern Visual Culture." Renaissance and Reformation 31, no. 2 (2008): 134–40. http://dx.doi.org/10.33137/rr.v31i2.9192.

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Koshelev, Georgy, and Alexandra Spiridonova. "Alexander Melamid’s Portraiture of the 2010s." Scientific and analytical journal Burganov House. The space of culture 16, no. 2 (2020): 33–46. http://dx.doi.org/10.36340/2071-6818-2020-16-2-33-46.

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The article focuses on a comprehensive study of Alexander Melamid’s portraiture included in his first independent project after thirty years of collaborative creativity with Vitaly Komar. Throughout the entire thirty-year period of cooperation, the painters signed their works with the Komar and Melamid trademark making it difficult to determine the artists’ individual characters. A detailed analysis of the solo works of the 60-70s, before the beginning of collaborative creativity, is presented; it helps us to detect individual traits in the works of the duet and to better identify the artists’

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Gas Barrachina, Silvia. "Revisión de la figura femenina en la España Moderna a través de su representación en la pintura = Review of the female figure in Modern Spain through her representation in painting." FEMERIS: Revista Multidisciplinar de Estudios de Género 3, no. 1 (2018): 49. http://dx.doi.org/10.20318/femeris.2018.4073.

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Resumen. El arte, en este caso la pintura, constituye una fuente histórica que permite el estudio de la situación de las mujeres en determinados contextos históricos. Ninguna obra es creada de forma inocente, sino que está condicionada por la mirada de la persona que la produce. La pintura, en su dimensión vitalista, comprende una respuesta estética a una realidad en la que infieren de forma consciente o inconsciente la identidad del artista, así como el espacio político, social y económico en el que se desarrolla. De la misma forma ocurre con la repetición de temáticas y modelos de representa

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Roberts, Jodi. "Diego Rivera: Moscow Sketchbook." October 145 (July 2013): 85–114. http://dx.doi.org/10.1162/octo_a_00149.

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Diego Rivera made the following sketches during a seven-to-eight-month stay in the Soviet Union between 1927 and 1928. A prominent member of the Partido Comunista de México (Communist Party of Mexico), Rivera traveled to Moscow to participate in the tenth-anniversary celebrations of the 1917 Revolution. Word of Rivera's dedication to muralism as a politically potent art form preceded his arrival, and he quickly became embroiled in debates about Soviet art's ideological aims and physical characteristics. He lectured on monumental painting at the Komakademiia (Communist Academy) and joined the O

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Župan, Ivica. "Majstor mirenja, spajanja i kombiniranja suprotnosti." Ars Adriatica, no. 2 (January 1, 2012): 257. http://dx.doi.org/10.15291/ars.454.

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Igor Rončević has been painting for a very long time with the consciousness that his painterly signature can be constructed from a series of disparate fragments, and so his collage paintings are composed of elements or stylistic details thanks to which his canvas has become a place where ambivalent worlds meet - an ntersection of their paths. Rončević is therefore, a painter of ludic individualism, but, at the same time, painter with wide erudition and above all, a curious pirit, who, in a unique way - in different clusters of itations - applies and joins together experiences from he entire hi

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Jabbar, Amjed L. "The Manipulation of History and Memory in Contemporary American Poetry: A Study of Ekphrasis in the Poetry of Jorie Graham." Al-Adab Journal 2, no. 111 (2015): 45–62. http://dx.doi.org/10.31973/aj.v2i111.1596.

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Ekphrasis enables poets to invade the most difficult and sensitive areas of thought without the pressure of direct expression. Ekphrastic poetry has a tendency to draw together contradictions; the work of art acting as intermediary between points of opposition, tension and contrast. The presence of the ekphrastic object in a poem is an acknowledgement of the unbridgeable hermeneutic gap between poetry, history and the real, indeed it often acts as the marker that exposes this gap. Also in a practical way, through both its critical and art-historical backgrounds, the practice of ekphrasis is lo

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Mark, Reet. "Endel Kõksi abstraktsetest maalidest." Baltic Journal of Art History 11 (November 30, 2016): 125. http://dx.doi.org/10.12697/bjah.2016.11.07.

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The artist Endel Kõks (1912–1983) is a member of the same generation of Estonian art classics as Elmar Kits and Lepo Mikko. After Kits’s and Kõks’s debut at the exhibition of the Administration of the Cultural Endowment’s Fine Art Foundation (KKSKV) in Tallinn in 1939, the three of them started to be spoken about as the promising Tartu trio. In 1944, Endel Kõks ended up in Germany as a wounded soldier, while Kits and Mikko remained in Estonia. The Kõks’s works that have surreptitiously arrived in his homeland are incidental and small in number. Thus, without any proof, an image developed or wa

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MORGAN, JO-ANN. "Thomas Satterwhite Noble's Mulattos: From Barefoot Madonna to Maggie the Ripper." Journal of American Studies 41, no. 1 (2007): 83–114. http://dx.doi.org/10.1017/s0021875806002763.

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With emancipation a fait accompli by 1865, one might ask why Kentucky-born Thomas Satterwhite Noble (1835–1907), former Confederate soldier, son of a border state slaveholder, began painting slaves then. Noble had known the “peculiar institution” at first hand, albeit from a privileged position within the master class. As a result, his choice to embark upon a career as a painter using historical incidents from slavery makes for an interesting study. Were the paintings a way of atoning for his Confederate culpability, a rebel pounding his sword into a paintbrush to appease the conquering North?

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KONSON, GRIGORIY R., and IRINA A. KONSON. "HANDEL’S OPERAS IN THE CONTEXT OF CONTEMPORARY DIRECTING: ON THE IMPLEMENTATION OF FILM COMPOSITION PRINCIPLES IN OPERA PERFORMANCES." ART AND SCIENCE OF TELEVISION 16, no. 2 (2020): 101–25. http://dx.doi.org/10.30628/1994-9529-2020-16.2-101-125.

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The article was inspired by the authors’ reviews of modern productions of Handel’s Baroque operas in 2019, presented in the three German cities: Halle, Bad Lauchstädt and Bernburg. Halle, where Georg Friedrich Handel (1685–1759) was born, is also a venue of the annual International Handel Festival, dedicated to the works of the great Saxon and his contemporaries. The concept of the festival in 2019, Sensitive, heroic, sublime: Handel’s women, was devoted to studying the female images embodied in his operas. In considering the scientific and artistic concept, the authors concluded that the dire

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Nikolić, Jovana. "Symbolism and imagination of the medieval period: The lady and the unicorn in the works of Gustave Moreau." Kultura, no. 168 (2020): 51–68. http://dx.doi.org/10.5937/kultura2068051n.

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The French Symbolist painter Gustave Moreau often used the motifs of fantastic beings and animals in his works, amongst which the unicorn found its place. Moreau got the inspiration for the unicorn motif after a visit to the Cluny Museum in Paris, in which six medieval tapestries with the name "The Lady and the Unicorn" were exhibited. Relying on the French Middle Age heritage, Moreau has interpreted the medieval legend of the hunt for this fantastic beast (with the aid of a virgin) in a new way, close to the art of Symbolism and the ideas of the cultural and intellectual climate of Paris at t

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Boylan, Alexis L. "Neither Tramp Nor Hobo: Images of Unemployment in the Art of the Ashcan School." Prospects 30 (October 2005): 433–50. http://dx.doi.org/10.1017/s0361233300002118.

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This short notice, entitled “When a ‘Hobo’ Works,” which appeared in the New York Times, July 13, 1912, might seem overwrought to contemporary readers in its definitive nature. The need to delineate work and nonwork, however, was quite serious business for Americans in the first decades of the 20th century. During this period, as evidenced in newspaper and journal articles, legislation, and popular culture, there was growing apprehension about the perceived differences and slippage among the ideas of the tramp, the hobo, the vagrant, the unemployed worker, and the worker. Most of this conversa

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Ognieva, T. K. "FEATURES OF THE DEVELOPMENT OF CONTEMPORARY CHINESE, KOREAN AND JAPANESE ART AND CINEMA." UKRAINIAN CULTURAL STUDIES, no. 1 (6) (2020): 69–83. http://dx.doi.org/10.17721/ucs.2020.1(6).15.

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The article analyzes the conditions and factors that influenced the formation of contemporary art and cinema in China, South Korea and Japan. We can determine the peculiarities of the development of Chinese contemporary art, such as the desire of the first artists, after the Cultural Revolution, to reflect its flux and effects as much as possible. Further, artistic tendencies become diverse: the commercial component and a certain element of the state of affairs are viewed in the works of art by Chinese authors, but the desire for self-expression in different ways testify to the progressive phe

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Sikorski, Tomasz. "„Klatka Ezry”. Między poezją a polityką." Studia nad Autorytaryzmem i Totalitaryzmem 38, no. 3 (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 h

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Mykhailova, O. V. "Woman in art: a breath of beauty in the men’s world." Aspects of Historical Musicology 17, no. 17 (2019): 163–80. http://dx.doi.org/10.34064/khnum2-17.11.

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Background. А history of the development of the human community is at the same time a history of the relationship between men and women, their role in society, in formation of mindset, development of science, technology and art. A woman’s path to the recognition of her merits is a struggle for equality and inclusion in all sectors of public life. Originated with particular urgency in the twentieth century, this set of problems gave impetus to the study of the female phenomenon in the sociocultural space. In this context, the disclosure of the direct contribution of talented women to art and th

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Corke-Webster, James. "Roman History." Greece and Rome 65, no. 2 (2018): 259–66. http://dx.doi.org/10.1017/s0017383518000207.

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Identity studies live. This latest batch of publications explores what made not just the Romans but the Italians, Christians, and Etruscans who they were. We begin with both age and beauty, the fruits of a special exhibition at the Badischen Landesmuseum Karlsruhe in the first half of 2018 into the most famous of Roman predecessors, the Etruscans. Most of the exhibits on display come from Italian museums, but the interpretative essays that break up the catalogue – which are also richly illustrated – are by both Italian and German scholars. These are split between five overarching sections cove

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Krishnan, S. "The World Could End Cervical Cancer if It Tried: Embracing the Power of Youth." Journal of Global Oncology 4, Supplement 2 (2018): 126s. http://dx.doi.org/10.1200/jgo.18.35500.

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Background and context: The human papillomavirus (HPV) is a ubiquitous virus that causes many cancers: cervical, oropharyngeal, anal, penile, vaginal and vulvar cancers, the most serious consequence being cervical cancer that takes the life of a woman between the ages of 35-60 every two minutes in this world. There are existing tools to prevent this cancer today: at the primary prevention level, the HPV vaccines that are up to 90%-97% preventive; at the secondary level, simple screening tests including Pap test, HPV DNA testing, and VIA; and at tertiary level, effective early treatment of prec

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Ewals, Leo. "Ary Scheffer, een Nederlandse Fransman." Oud Holland - Quarterly for Dutch Art History 99, no. 4 (1985): 271–90. http://dx.doi.org/10.1163/187501785x00134.

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AbstractAry Scheffer (1795-1858) is so generally included in the French School (Note 2)- unsurprisingly, since his career was confined almost entirely to Paris - that the fact that he was born and partly trained in the Netherlands is often overlooked. Yet throughout his life he kept in touch with Dutch colleagues and drew part of his inspiration from Dutch traditions. These Dutch aspects are the subject of this article. The Amsterdam City Academy, 1806-9 Ary Scheffer was enrolled at the Amsterdam Academy on 25 October 1806, his parents falsifying his date of birth in order to get him admitted

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Bielik-Zolotariova, N. A. "Choral dramaturgy of the opera «The Way of Taras» by O. Rudianskyi: symbolism of chronotope." Aspects of Historical Musicology 18, no. 18 (2019): 25–39. http://dx.doi.org/10.34064/khnum2-18.02.

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Background. The last quarter of the 20th century – the beginning of the 21st century, marked in Ukraine by significant social changes, actualized the necessity to turn to eternal spiritual values of national culture, among which Taras Shevchenko’s creativity takes leading positions. During this time, a number of works appeared in Ukrainian musical and stage art that supplemented the domestic “Shevchenkiana” (a total of the works devoted to Shevchenko): the operas by O. Zlotnik, V. Gubarenko, H. Maiboroda, L. Kolodub). The tradition of embodying the image of T. Shevchenko was creatively develop

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"Painting professionals: women artists & the development of modern American art, 1870-1930." Choice Reviews Online 39, no. 09 (2002): 39–5001. http://dx.doi.org/10.5860/choice.39-5001.

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Turnock, Julie. "Painting Out Pop." M/C Journal 2, no. 4 (1999). http://dx.doi.org/10.5204/mcj.1764.

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Film directors in American cinema have used the artist (painter, singer, thespian, writer, etc.) as a vehicle for auteurist identification in feature bio-pics for decades. The portrayal of the protagonists in these films usually falls victim to the "Van Gogh" syndrome, that is, the insistance on the creative inner turmoil, the solitary, misunderstood genius, and brave rebellion of its central character. This approach, however, breaks down completely when confronted with the void that is the historical figure known as "Andy Warhol." The popular image of Warhol, his studied superficiality, unapo

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Dabakis, Melissa. "Melissa Dabakis. Review of "At Home in the Studio: The Professionalization of Women Artists in America" by Laura R. Prieto and "Painting Professionals: Women Artists and the Development of Modern American Art, 1870-1930" by Kirsten Swinth." caa.reviews, October 24, 2002. http://dx.doi.org/10.3202/caa.reviews.2002.75.

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"Kirsten Swinth. Painting Professionals: Women Artists and the Development of Modern American Art, 1870–1930. (Gender and American Culture.) Chapel Hill: University of North Carolina Press. 2001. Pp. xv, 305. Cloth $45.00, paper $18.95 and Laura R. Prieto. At Home in the Studio: The Professionalization of Women Artists in America. Cambridge: Harvard University Press. 2001. Pp. xii, 292. $39.95." American Historical Review, December 2002. http://dx.doi.org/10.1086/ahr/107.5.1571.

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Lipiński, Filip. "Inscribed Canvases. The Emergence of the Textual in American Painting." Empatyczne obrazy/Empathic Images, no. 26 (2020). http://dx.doi.org/10.36854/widok/2020.26.2169.

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Using Craig Owens’ argument about the repression of the discursive in modernist art, the article provides an analytical and theoretical account of the complex and changing relationship between the visual and the textual in American painting since c. 1950. The article focuses on the status of verbal inscriptions on a canvas, their function, meaning, and relation to the medium of painting. In the introductory section of the text special attention to the poststructuralist, expanded understanding of such notions as “text” and “writing” and its consequences in visual arts as well as the unresolvabl

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Iezzi, Adriana. "The Kwanyin Clan: Modern Literati Graffiti Writers." 55 | 2019, no. 1 (June 27, 2019). http://dx.doi.org/10.30687/annor/2385-3042/2019/01/013.

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After illustrating the varied artistic production of the Kwanyin Clan, one of the most important Chinese graffiti crews, this paper analyses six of their main artworks in detail (styles, techniques, aesthetic conceptions and artworks texts). In these artworks, the Kwanyin Clan tried for the first time to merge Euro-American graffiti practice with the ancient traditional arts practiced and appreciated by the Chinese literati (calligraphy, poetry, painting, seals and ceramics). Comparing the Kwanyin Clan members to ‘modern literati writers’, the present article shows how this crew succeeded in r

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Morris, Justin J. "‘We at least had our Ancient Trees’: The Development of Myth and Identity in Nineteenth Century American Painting." Constellations 1, no. 2 (2010). http://dx.doi.org/10.29173/cons8052.

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Modern history has looked on the United States of America as a country with a very distinct and proud national heritage and identity, though this was not always so. When founded in 1776, America was a nation that had not yet developed the identity and customs that would soon come to define the country nationally and internationally. The articulation of this distinct identity fell to the artist class and, in particular, first and second generation American painters. Painters such as Thomas Eakins, Thomas Cole, and the Hudson River School of artists pulled from their natural surroundings to crea

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