Bibliografías temáticas / Art, British – 20th century – Exhibitions

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Literatura académica sobre el tema "Art, British – 20th century – Exhibitions"

Autor: Grafiati
Publicado: 27 de julio de 2024
Última modificación: 31 de julio de 2025

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Artículos de revistas sobre el tema "Art, British – 20th century – Exhibitions"

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WESSELING, H. L. "Editorial: the American Century in Europe." European Review 12, no. 2 (2004): 123–26. http://dx.doi.org/10.1017/s1062798704000122.

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In 1999, the Whitney Museum of American Art had a very successful exhibition called The American Century. Indeed, there were two exhibitions, The American Century, Part I about the first half of the 20th century and Part II dealing with the following 50 years. The presentation was divided up into decades, each of them having its own motto. The one for the 1950s was: ‘America takes command’. This may sound rather martial but the motto is indeed very appropriate, as one could argue that as from then on American leadership also included cultural leadership.The name of the exhibition, ‘The America
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Abdullah, Sarena, and Yuen Beng Lee. "The Malayan Landscape Paintings." SPAFA Journal 9 (January 21, 2025): 18–37. https://doi.org/10.26721/spafajournal.6mq21e13an.

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Landscape paintings were one of the earliest visual art renditions of the Malay land in Malaysia. Traveller artists who arrived in Malaya and Singapore during the 18th and 19th centuries illustrated various subject matters that they observed. The most common examples included tropical flora and fauna, various views and landscapes, British residences, and so on. The theme of a tremendously fertile land with beautiful natural resources and prosperous economic activities is among the few themes and representations that were drawn or painted by early Malayan artists in the early 20th century. Land
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Orlova, E. V. "Из истории Людвиг Музеум – от коллекции к музею". Iskusstvo Evrazii [The Art of Eurasia], № 1(20) (31 березня 2021): 164–75. http://dx.doi.org/10.46748/arteuras.2021.01.012.

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The article is devoted to the founding of the Museum Ludwig in Cologne and presents an analysis of the process of building this museum of contemporary art in dynamics — from the beginning of the collection within the walls of the Wallraf-Richartz Museum to gaining the status of an independent exhibition giant. The study provides an overview of the collection and its sources, identifies individual significant works of art, accompanied by art history descriptions, and sets out the reasons and the chronicle of the separation of the Museum Ludwig from the Wallraf-Richartz Museum. The museum, estab
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van der Wateren, Jan. "National Library Provision for Art in the United Kingdom: The Role of the National Art Library." Alexandria: The Journal of National and International Library and Information Issues 6, no. 3 (1994): 173–92. http://dx.doi.org/10.1177/095574909400600303.

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From its beginnings in 1836 as the library of the Government School of Design, the National Art Library (NAL) in the UK was intended to have an impact on design in the country. After the Great Exhibition of 1851 it former part of what was to become known as the Victoria and Albert Museum (V & A). By the 1850s it had already adopted the title of National Art Library, although it was called the V & A Museum Library between 1908 and 1985. By 1853 collections aimed to cover the arts and trades comprehensively, and by 1869 the NAL aimed also at comprehensive access to individual objects cre
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Nikitin, Yury, Vasiliy Goryunov, Vera Murgul, and Nikolay Vatin. "Research on Industrial Exhibitions Architecture." Applied Mechanics and Materials 680 (October 2014): 504–9. http://dx.doi.org/10.4028/www.scientific.net/amm.680.504.

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All-Russian and regional exhibition architecture in the second half of the 19th century through the early 20th century had varied distinct differences in style and design. Temporality of exhibition architecture in those days contributed to a variety of experiments made for pavilions in the context of styles and structures. There was a high demand for the Russian style to be applied for pavilions both in Russia and abroad. First search and application experience in respect to the modern art principles are connected with exhibition architecture. These experiments in the national architecture and
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Albert, Samuel David. "The “Disappearing” of Croatian Art in Hungarian Art Exhibitions at the Turn of the 20th Century." Arts 14, no. 2 (2025): 33. https://doi.org/10.3390/arts14020033.

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This article examines the place of Croatian art within Hungarian art exhibitions around the turn of the century. Over close to a decade, from the 1896 Millennial Exhibition until the 1904 St. Louis World’s Fair, the way Croatian art was displayed within Hungarian exhibitions had changed. While it might seem that the ultimate absence of Croatian art in later Hungarian displays is an example of Hungarian chauvinism, the opposite is the case: Croatian art still continued to be displayed, but not as a subsidiary of Hungarian art.
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Šeparović, Ana. "Feministički iskazi u kritičkoj recepciji skupnih izložbi hrvatskih umjetnica." Ars Adriatica 8, no. 1 (2018): 195–210. http://dx.doi.org/10.15291/ars.2762.

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This paper discusses the reception discourse related to three waves of group exhibitions by Croatian women artists in the 20th century, with a focus on feminist strategies used in advocating and empowering women’s art. The considered body of texts includes reviews of the first exhibition – the Intimate Exhibition at the Spring Salon of 1916 – the exhibitions of the Club of Women Artists held in 1928-1940, and the exhibitions celebrating Women’s Day from 1960 until 1991. Although taking place in different circumstances and socio-political contexts, all these exhibitions generated public debates
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Beck, Mirja. "A Lived Experience—Immersive Multi-Sensorial Art Exhibitions as a New Kind of (Not That) ‘Cheap Images’." Arts 12, no. 1 (2023): 16. http://dx.doi.org/10.3390/arts12010016.

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This article analyzes the phenomenon of multi-sensorial, digital, and immersive art exhibitions of popular artists, which has been widely neglected in academic research, from a historical perspective. Reflecting the significance of lived experience in art consumption, this 21st-century phenomenon can be confronted productively with early-20th-century art reproductions. The article focuses on the characteristics of both popular phenomena and on their advertisement, as well as on the discourse around them, documenting reactions from resistance to persistence and accommodation. The analysis shows
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Pasitska, Oksana. "«TRADE LOCAL, BUY LOCAL, BE LOCAL»: AGRICULTURAL EXHIBITIONS AND FAIRS IN HALYCHYNA IN THE 20-30S OF THE 20TH CENTURY." Contemporary era 8 (2020): 19–27. http://dx.doi.org/10.33402/nd.2020-8-19-27.

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The article focuses on the exhibition activities of the Ukrainians, which were reflected upon in periodicals. In particular, it analyzes the organizational aspects and features of fairs and exhibitions of the agricultural products that were held upon the initiative of economic institutions and public organizations such as «Silskyi Hospodar» («The Farmer»), «Maslosoiuz», «Tsentrosoiuz», RSUK («The Auditing Union of Ukrainian Cooperatives»), «Soiuz ukrainok» («The Union of Ukrainian Women»), «The Ukrainian Folk Art» («Ukrainske narodne mystetstvo»), «The Hutsul Art» («Hutsulske mystetstvo»), «Th
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SUVOROVA, Anna A. "Outsider Аrt in Art Museum: from “Comparative Material” to Art History (Case of the Museum of Modern Art)". International Journal of Cultural Research, № 3 (2023): 6–21. http://dx.doi.org/10.52173/2079-1100_2023_3_6.

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The article investigates transformations of the discourse of Outsider Art in the culture of the 20th – early 21st centuries through the perspective of its institutionalization and museumification. The article provides a critical analysis of the curatorial strategies of the Museum of Modern Art (New York, NY), as well as other American art institutions (National Art Gallery (Washington, DC), Brookline Museum (New York, NY), etc.), the structure of exhibitions and permanent expositions, curatorial texts of projects dedicated to outsider art. The study of the curatorial strategies of MoMA in the
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Tesis sobre el tema "Art, British – 20th century – Exhibitions"

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Manasseh, Cyrus. "The problematic of video art in the museum (1968-1990)." University of Western Australia. Faculty of Architecture, Landscape and Visual Arts, 2008. http://theses.library.uwa.edu.au/adt-WU2009.0004.

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This thesis discusses how museum structures were redefined over a twenty-two year period in specific relation to the impetus of Video Art. It contends that Video Art would be instrumental in the evolution of the contemporary art museum. The thesis will analyse, discuss and evaluate the problematic nature and form of Video Art within four major contemporary art museums - the Museum of Modern Art (MoMA) in New York, the Georges Pompidou National Centre of Art and Culture in Paris, the Tate Gallery in London and the Art Gallery of New South Wales (AGNSW) in Sydney. By addressing some of the probl
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Jeffery, Celina. "Leon Underwood and primitivism in 20th century British art." Thesis, University of Essex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.394120.

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Huang, Michelle Ying Ling. "The reception of Chinese painting in Britain, circa 1880-1920 : with special reference to Laurence Binyon." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1020.

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The British understanding of Chinese painting owed much to Laurence Binyon (1869-1943) who enriched the British Museum’s collections of Oriental painting, and for almost forty years, published widely and delivered lectures in Britain and abroad. Binyon’s legacy is to be found in several archival resources scattered in Britain, America, Japan and China. This dissertation is a study of the reception of Chinese painting in early twentieth century Britain, and examines Binyon’s contribution to its appreciation and criticism in the West. By examining the William Anderson collection of Japanese and
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이윤영 and Yoon Yung Lee. "The Joseon Fine Art Exhibition under Japanese colonial rule." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/196493.

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At the turn of the twentieth century, as Japan expanded its territory by colonizing other Asian nations, the Japan-Korea Annexation Treaty was signed in 1910 and Korea lost its sovereignty. In political turmoil, the formation of national and cultural identity was constantly challenged, and the struggle was not argued in words alone. It was also embedded in various types of visual cultures, with narratives changing under the shifting political climate. This thesis focuses on paintings exhibited in the Joseon Mijeon (조선미술전람회 The Joseon Fine Art Exhibition) (1922-1944), which was supervised by th
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Silverthorne, Diane. "New spaces of art, design and performance : Alfred Roller and the Vienna Secession 1897-1905." Thesis, Royal College of Art, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.602330.

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Ferris, Natalie. "'Ludic passage' : abstraction in post-war British literature, 1945-1980." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:5b3034e6-3a32-4684-b8a0-eb91cfc756c6.

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This thesis traces a line of literary experimentation in post-war British literature that was prompted by the aesthetic, philosophical and theoretical demands of abstraction. Spanning the period 1945 to 1980, it observes the ways in which certain aesthetic advancements initiated new forms of literary expression to posit a new genealogy of interdisciplinary practice in Britain. It is the first sustained chronological study to consider the ways in which a select number of British poets, authors and critics challenged the received views of their post-war moment in the discovery of the imaginative
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Collins, Curtis J. 1962. "Sites of Aboriginal difference : a perspective on installation art in Canada." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38172.

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This dissertation traces the presence of installation-based practices among artists of Aboriginal ancestry via selected exhibitions across Canada. It begins with a methodological perspective on Canadian art history, federal law, and human science, as a means of establishing a contextual backdrop for the art under consideration. The rise of an Indian empowerment movement during the twentieth century is then shown to take on an international voice which had cultural ramifications at the 1967 Canadian International and Universal Exhibition. Nascent signs of a multi-mediatic aesthetic are distingu
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Brown, Carol. ""Museum spaces in post-apartheid South Africa": the Durban Art Gallery as a case study." Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1006231.

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This dissertation examines the history of the Durban Art Gallery from its founding in 1892 until 2004, a decade after the First Democratic Election. While the emphasis is on significant changes that were introduced in the post-1994 period, the earlier section of the study locates these initiatives within a broad historical framework. The collecting policies of the museum as well as its exhibitions and programmes are considered in the light of the institution 's changing social and political context as well as shifting imperatives within a local, regional and national art world. The Durban Art
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Lloyd, Johannah M. "The province of art : the aesthetic in the advent of modernism to London, 1910-1914." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63769.

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Kroeter, Chloe Melinda. "Art and activism : promoting change through British periodical illustration, 1893-1914." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648341.

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Libros sobre el tema "Art, British – 20th century – Exhibitions"

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London), 20th Century British Art Fair (Exhibition) (1991. The 20th century British Art Fair. Royal College of Art, 1991.

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P, Compton Susan, Ades Dawn, and Royal Academy of Arts (Great Britain), eds. British art in the 20th century: The modern movement. Prestel-Verlag, 1986.

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Ontario, Art Gallery of. 20th-century British art from the collection of the Art Gallery of Ontario. Art Gallery of Ontario, 1987.

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British International Miniature Print Exhibition (1st 1989 City of Bristol Museum and Art Gallery). First British International Miniature Print Exhibition. The Council, 1989.

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Andrea, Rose, and British Council, eds. Coastlines: An exhibition of 20th century paintings of the British coastline. British Council, 1992.

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1957-, Watkins Jonathan, Mac Giolla Léith Caoimhín, and Tate Britain (Gallery), eds. Days like these: Tate Triennial Exhibition of Contemporary British Art 2003. Tate Pub., 2003.

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Anne, Goodchild, Graves Art Gallery, and Geffrye Museum, eds. The absent presence: The uninhabited interior in 19th and 20th century British art. Sheffield City Art Galleries, 1991.

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Dean, Tacita. Tacita Dean: 11.03.2006-14.05.2006. Nasjonalmuseet for kunst, arkitektur og design, 2006.

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Geoffrey, Rayner, Chamberlain Richard, Stapleton Annamarie, and Fine Art Society, eds. Austerity to affluence: British art & design, 1945-1962. Merrell Holberton, 1997.

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Museum of Fine Arts, Houston., ed. End game: British contemporary art from the Chaney family collection. Museum of Fine Arts, 2008.

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Capítulos de libros sobre el tema "Art, British – 20th century – Exhibitions"

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Arnold, Dana. "What language does British architecture speak?" In British Architecture. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/actrade/9780192898210.003.0005.

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Abstract This chapter elaborates on how architecture can project a British identity at home and abroad. It primarily focuses on international exhibitions, showing how architecture has morphed from being an expression of empire into an agent of soft power. In 1951 the Festival of Britain showcased collective and individual British achievements, and was intended as a visible sign of national confidence. The chapter provides further detail of the enduring legacy of international exhibitions and World’s Fairs as celebrations of Western colonialism and how these have changed tone since becoming Wor
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Mackenzie, John M. "Arts of Empire and of Nations." In A Cultural History of the British Empire. Yale University Press, 2022. http://dx.doi.org/10.12987/yale/9780300260786.003.0005.

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This chapter briefly considers the origins of imperial art in the eighteenth century, followed by its full flowering in the nineteenth before national artistic responses disrupted the heroic traditions. The chapter turns to the American colonies, where portraiture as settlers sought to demonstrate their self-confidence and the ‘civilised’ nature of their lifestyles. Next, the chapter considers the fragmentation of imperial art as the art of the Dominions became profoundly about portraying aspects of difference, even if early manifestations were expressed through a powerfully romantic lens. The
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"Unknown maker from British Raj, Krishna with Milkmaids, early 20th century." In The Starr Collection of Portrait Miniatures, 1500–1850: The Collections of The Nelson-Atkins Museum of Art Supplement: Starr Miniatures in Other Collections. The Nelson-Atkins Museum of Art, 2024. http://dx.doi.org/10.37764/8322.5.4622.

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Yaşdağ, Meltem. "Orientalist Museum Exhibitions in UK as a New Media at the Turn of the 21st Century." In Advances in Media, Entertainment, and the Arts. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-7180-4.ch017.

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In this chapter, the author examined the orientalist themed museum exhibitions totally held in Britain after 2000 to understand the real intention behind their thematic artifact selection and their effect on people as becoming media tool. These were “Turks: A Journey of a Thousand Years, 600-1600” in 2005, “The Lure of the East: British Orientalist Painting” in 2008, and recent “Inspired by the East: How the Islamic World Influenced Western Art” in 2019, respectively. The author analyzed the criticisms in newspapers and magazines as well as curators' interviews and catalogs for the museum exhi
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Grunenberg, Christoph. "American Gothic Art." In American Gothic Culture. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474401616.003.0009.

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This essay surveys the gothic in American art from its earliest influence by 18<sup>th</sup>- and 19<sup>th</sup>-century British culture to gothic boom in late 20th- and early 21st-century culture. The gothic links not only to goth subculture of the 1980s but also to multiple expressions in film, music, fashion, design and architecture. This cross-pollination between art, literature and more ephemeral forms of gothic popular culture is a a typical product of postmodernism. American gothic has become a ubiquitous signifier for dark moods in times of change and crisis as expressed in a contempo
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Cleaver, Laura. "Medieval Illuminated Manuscripts and Modern Cultural Identities in England and Flanders." In The Literature and History of Anglo-Dutch Relations, Medieval to Modern. British AcademyLondon, 2024. https://doi.org/10.5871/bacad/9780197267752.003.0022.

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Abstract This chapter traces the development of the modern idea of ‘Flemish’ art, against which ‘English’ art was to be defined, to the early 20th century. The broad usage of the idea is current in the many books with (sub)titles such as Splendours of Flanders and The Triumph of Flemish Manuscript Painting. In such books the notion of Flanders is elastic enough to stretch to manuscripts from what in late medieval times were predominantly French-speaking areas such as Artois and Hainaut. The modern reinvention of ‘Flemish’ art, accompanied by exhibitions which gathered ‘Flemish treasures’ from
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Regina Baggio Osinski, Dulce, and Ricardo Carneiro Antonio. "Children’s Art Exhibitions in Brazil: A Modern Badge for the New Man." In Pedagogy - Challenges, Recent Advances, New Perspectives, and Applications [Working Title]. IntechOpen, 2021. http://dx.doi.org/10.5772/intechopen.99161.

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In this article we analyze, within the context of the decades between 1940 and 1960, children’s art exhibits as a strategy for asserting the importance of Art in educating and developing a child’s personality, using newspaper articles, pictures, children’s drawings, reports and other institutional documents as sources. The artistic vanguards of the early 20th century, advocates of the artist’s self expression, and the acknowledgement – by Psychology and Pedagogy – of the specificities of being a child have resulted both in the defense of the child’s freedom of artistic expression, and in a ren
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Bromley, Michael, and Karen Hasin-Bromley. "Galleries without Walls: Art and the Mechanical Mass Culture of the Press." In The Edinburgh History of the British and Irish Press, Volume 2. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474424882.003.0042.

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This chapter explores how a huge increase in the production and consumption of printed paper products in the nineteenth century provided an environment for the growth of popular printed illustration in parallel with an expanding consumerism. Art defined narrowly offered a ready-made basis for massification through print. Art moved from galleries and exhibitions into newspapers and magazines, advertising, packaging, labels and prints and posters. This provided a confluence of aesthetics and connoisseurship with commercialism, and of ‘improvement’ with consumption which impacted on the art world
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Whitehouse, Deja. "Concerning the Spiritual in Art." In The Lady and the Beast. Oxford University PressNew York, NY, 2024. http://dx.doi.org/10.1093/9780197645178.003.0006.

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Abstract This chapter explores Harris’s early artistic influences, with specific reference to their spiritual and mystical undercurrents. A discussion of late nineteenth- and early twentieth-century British art is presented, with an assessment of how female artists were perceived in middle-class society and of the opportunities available to them. Particular influences such as the fourth dimension and surrealism are examined. Harris’s artistic evolution is analysed, taking into account her lack of formal training, and comparisons drawn with fellow Tarot artists Pamela Colman Smith and Ithell Co
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Myrone, Martin. "Exhibitions Culture, Consumerism and the Romantic Artist." In The Edinburgh Companion to Romanticism and the Arts. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474484176.003.0011.

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The flourishing of public exhibitions and gallery displays in London and around Britain from the 1760s to the 1830s has been subject to intensive academic scrutiny. Art exhibitions have been located at the heart of the major cultural transformations of the era, including the emergence of the ‘public sphere’, female spectatorship and cultural engagement, and the ascent of visually-orientated consumerism. This chapter charts the character and chronological framework of exhibitions culture in the Romantic period. It considers the ascendance of the Royal Academy, the brief flourishing of literary
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Actas de conferencias sobre el tema "Art, British – 20th century – Exhibitions"

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Đukić, Aleksandra, Jelena Marić, Eva Vaništa Lazarević, Biserka Mitrović, and Emilija Jović. "METHODOLOGICAL APPROACH: STUDENTS’ VISIONS AND CONCEPTS FOR PLANING THE SUSTAINABLE EXPO CENTER IN BELGRADE." In 20th SCIENTIFIC-PROFESSIONAL CONFERENCE WITH INTERNATIONAL PARTICIPATION “URBANISM AND SUSTAINABLE DEVELOPMENT”. Serbian Town Planner Association, 2024. http://dx.doi.org/10.46793/urbanizam24.177dj.

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The "EXPO" exhibition represents a famous world exhibition with a tradition of over 150 years. This event, led by the French Bureau International des Expositions, will be organized in Belgrade in 2027. A large influx of tourists, new construction, and recognizable mega-projects of architecture are an integral part of large organizations like this one. Therefore, the topic of planning an alternative version of the exhibition "EXPO 2027 - EXPO 2027" is an integral part of the task for students of the fourth year of integrated academic studies at the University of Belgrade, Faculty of Architectur
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Gao, Chen, Xiatong Li, and Peiyun Wu. "Linguistic Patterns in English Versions of Tao Te Ching Reflect British Politics from 19th to 20th Century." In 2021 International Conference on Education, Language and Art (ICELA 2021). Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220131.157.

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Петрухина, О. В. "INSTALLATIONS AND EXHIBITIONS USING KINETIC AND PROJECTION TECHNOLOGIES IN THE USSR." In Месмахеровские чтения — 2024 : материалы междунар. науч.-практ. конф., 21– 22 марта 2024 г. : сб. науч. ст. / ФГБОУ ВО «Санкт-Петербургская государственная художественно-промышленная академия имени А. Л. Штиглица». Crossref, 2024. http://dx.doi.org/10.54874/9785605162926.2024.10.10.

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Инсталляция громко заявила о себе в начале XX в. Возможность объединить в инсталляции методы и средства различных видов искусств позволила художнику- концептуалисту выйти на новые высоты образности в диалоге со зрителем, а включение в инсталляцию проекционных технологий и динамики дало дополнительные ресурсы «погружения» в атмосферу мероприятия. В работе рассмотрено творчество наиболее значимых художников, работавших с инсталляцией в СССР. The installation loudly declared itself at the beginning of the 20th century. The opportunity to combine methods and means of various types of art in the in
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Alsuwailem, Majed, and Bertrand Williams-Rioux. "Integrated Oil Companies and the Quest for Energy Transition." In SPE Annual Technical Conference and Exhibition. SPE, 2022. http://dx.doi.org/10.2118/210465-ms.

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Abstract Integrated oil and gas (O&amp;G) companies operate vertically integrated businesses that span the O&amp;G value chain. In this way, they can leverage expertise across multiple domains rather than just focusing on exploration and production (E&amp;P). Examples of such companies include British Petroleum (BP), Cenovus Energy, Chevron, Eni, Imperial Oil, ExxonMobil, Repsol, Royal Dutch Shell, Suncor Energy and TotalEnergies. Integrated O&amp;G companies played a central role in advancing energy availability and economic growth during the twentieth century. However, these companies now fa
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Dumont d'Ayot, Catherine. "Machines à exposer." In LC2015 - Le Corbusier, 50 years later. Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.1025.

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Résumé: Ateliers d’artistes, appartements et villas de collectionneurs, pavillons, scénographies et musées : l’exposition est un fil rouge de l’œuvre de Le Corbusier. Le rapport que l’homme entretient à l’œuvre d’art et les modalités de ce rapport sont des éléments fondateurs de son architecture et occupent une position primordiale dans sa vision de la ville. De la ziggourat du Musée mondial en 1929, jusqu’aux projets des années 1960 comme le Centre d’Art international à Erlenbach ou le Musée du XXe siècle pour Nanterre, les musées sont des pièces incontournables des ses grands plans d’urbanis
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Котломанов, А. О. "TECHNOLOGIES OF METAMODERNISM: PROJECTIONS OF THE THEORETICAL ASPECTS. HENRY MOORE’S “IDEAS FOR SCULPTURE” – BETWEEN ART AND DESIGN." In Искусство и дизайн: история и практика. Crossref, 2024. http://dx.doi.org/10.54874/9785605162995.2024.9.06.

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В контексте антиномии искусства и дизайна представляется уместным критически взглянуть на художественное наследие XX столетия с позиции метамодернистского подхода (в буквальном смысле этого понятия). Таким образом, наследие модернизма, его практики и теоретические позиции будут переосмыслены относительно, с одной стороны, традиции, с другой стороны — терминологии прикладного искусства и дизайна. В этом отношении ярким примером синтеза искусства и дизайна представляются рисунки выдающегося британского скульптора Генри Мура, известные как «идеи для скульптуры». In the context of the antinomy of
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