Bibliographies thématiques / Figurative painting, British – 20th century

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Littérature scientifique sur le sujet « Figurative painting, British – 20th century »

Auteur : Grafiati

Publié le 25 juillet 2024

Mis à jour le 31 juillet 2025

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Articles de revues sur le sujet "Figurative painting, British – 20th century"

Cramer, Florian. "Hiding in Plain Sight. Amy Suo Wu’s The Kandinsky." INMATERIAL. Diseño, Arte y Sociedad 2, no. 4 (2017): 104–16. http://dx.doi.org/10.46516/inmaterial.v2.40.

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The history of 20th century painting conventionally identifies abstraction with modernism and the return of figuration with postmodernism. But abstraction ended much earlier, in a spy operation during World War II, when a British intelligence officer, in a stroke of genius, found abstract paintings to be the perfect carriers for secret messages transported across the ocean. For this purpose, he commissioned a painting to Wassily Kandinsky that included a secret message encoded – in the manner of flag signs or Morse code – into its seemingly abstract visual shapes. This anecdote explains stegan

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Xu, Jiangpeng. "The evolution of theChinese painting genre "Zhen-wu" in the XXth century." Культура и искусство, no. 11 (November 2024): 47–60. https://doi.org/10.7256/2454-0625.2024.11.72238.

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This article examines the development of Chinese figurative Zhen-wu painting in the 20th century, its transformation under the influence of both external factors and internal cultural and political changes. The object of the study is the painting of the Zhen-wu of the 20th century. Zhen-wu is one of the oldest genres of Chinese painting, which has undergone significant changes due to the reforms, cultural movements and political events of the 20th century. The subject of the study is the evolutionary processes that took place with Zhen-wu painting in China in the twentieth century. This study

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Platon, Liliana. "The figurative image in Moldovan painting from the early ‘80s of the 20th century." Arta 33, no. 1(AV) (2024): 118–25. https://doi.org/10.52603/arta.2024.32-1.13.

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The figurative painting from the years 1980-1985 outlines the first page in the evolution of the general stage of “new figurativism” in Moldovan plastic art. The period inscribes a new sub-stage with a unique character, manifested by the inclusion of neo-expressionist landmarks in figurative painting. These are associated with the trends of the sociocultural and artistic environment of the time interested in modern evolution associated with neighboring countries. The artists create a series of new plastic implementations that pursue the experimental involvement of plastic meanings. The plastic

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Abdokova, Marina B. "Portrait and landscape in Boris Zaitsev’s publicistic writings: style and ethos." RUDN Journal of Studies in Literature and Journalism 25, no. 1 (2020): 17–32. http://dx.doi.org/10.22363/2312-9220-2020-25-1-17-32.

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The article represents genre-style etymology of Boris Konstantinovich Zaitsev (1881-1972) publicistic legacy (that includes essays, profiles and critical notes). Style-forming expressions of this outstanding representative of 20th century Russian literary abroad are analyzed within the context of his ethical and philosophical principles. Zaitsev’s portrait and landscape sketches are considered for the first time as figurative-poetic and genre-compositional components of the artist's “visual palette”. One of the effective methods of comprehending the style and ethos of the writer is the disclos

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Ishchuk, E. N. "The Painting of the Japanese Nihonga School: Transformation of Style in the Second Half of the 20th Century." Secreta Artis 7, no. 2 (2025): 47–57. https://doi.org/10.51236/2618-7140-2024-7-2-47-57.

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The paper provides an overview of the development of the nihonga style, which integrates elements of traditional Japanese painting, and examines its transformation during the second half of the 20th century. It explores the preconditions for the emergence of the style, the origin of the term nihonga within the geopolitical context of Japan's historical evolution, as well as the shifts in the figurative paradigm, coloristic choices, and compositional approaches within works of this artistic movement. The article specifically highlights the bijinga genre as a case study. Additionally, it undersc

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Samokhin, Aleksandr V. "Stylistic and Figurative Synthesis in the Work of Masters of the Union of Russian Artists." Observatory of Culture 22, no. 2 (2025): 158–69. https://doi.org/10.25281/2072-3156-2025-22-2-158-169.

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The article deals with the peculiarities of the Union of Russian Artists, a significant association of early 20th century painters. The main attention is paid to the aspects of organizational and creative order, which can be defined by the concept of “synthesis”. This definition is key to the history of the Union for a number of reasons. First of all, the synthesis of creative forces was formed in the daily and exhibition activities of the Union, which united painters with different views on the meaning of their profession, as well as with different style and image preferences. The term “synth

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Gracheva, Svetlana M. "Portrait in Contemporary Russian Painting in the Context of World Art: A Typology of the Genre." Vestnik of Saint Petersburg University. Arts 11, no. 4 (2021): 636–48. http://dx.doi.org/10.21638/spbu15.2021.404.

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In Russian fine art, portrait painting has been traditionally distinguished by extraordinary variety and depth, reflecting the figurative and stylistic searches of artists of different periods. Russian art historians have comprehensively studied the portrait genre in the history of art. At the same time, the well-established classification of genres does not allow to take into account completely the variety of trends and approaches to the depiction of a person in contemporary art. The understanding of the portrait genre’s boundaries in contemporary art is extremely blurred. Sometimes it means

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Portnova, Irina V. "Russian Animalistic Art of the 20th Century as a Special Kind of Fine Art." Observatory of Culture 18, no. 5 (2021): 486–95. http://dx.doi.org/10.25281/2072-3156-2021-18-5-486-495.

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This article aims at analyzing the genre features of the 20th century animalistic art as a special, original phenomenon of Russian artistic culture. There are highlighted the aspects that make up its content basis. The author considers the issues of human perception of an animal, attitude to it, the system of views on the world of flora and fauna, the methods of interpretation of animals and birds. Together, they form the specific characteristics of animalistic art, which appeared in their organized and integral form in the 20th century. The article is relevant because the relationship between

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Kuznetsova, E. Yu, and S. V. Peshkov. "INDUSTRIAL GENRE IN THE VISUAL ARTS: KUYBYSHEV HYDROELECTRIC STATION IN PAINTINGS AND GRAPHICS." Topical Issues of Culture, Art, Education 40, no. 2 (2024): 25–36. http://dx.doi.org/10.32340/2949-2912-2024-2-25-36.

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The article examines the development and features of the industrial genre in Russian fine art in the context of the work of artists on the construction of the Kuybyshev hydroelectric station. The general features of the industrial genre of the mid-20th century are given, the works of painting and graphics dedicated to the construction of the Kuybyshev hydroelectric station are analyzed, reflecting and preserving the history for the younger generation of the following artists: A.K. Vingorsky, V.G. Gremitskikh, G.V. Filatov. In addition to the artistic analysis of the works, the article briefly

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Rosado-García, María Jesús, Renata Kubus, and María Jesús García-García. "The Artistic Vanguards and the Bridges: Innovation and Transversality of Engineering and Other Arts." Pertanika Journal of Social Sciences and Humanities 30, no. 4 (2022): 2037–58. http://dx.doi.org/10.47836/pjssh.30.4.29.

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This article critically reviews the development of painting art and the engineering of bridges in the first half of the 20th century. It shows that the expression of thought is directed towards innovation at a certain historical moment and non-imitation as a professional ethos. The vision is articulated through a multilevel perspective, including the social shaping of technology. The different milestones are chronologically compared following the Artistic Vanguards. It is shown that there was an accumulation of radical, disruptive innovation in the period between the World Wars. New tools to d

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Thèses sur le sujet "Figurative painting, British – 20th century"

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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Robb, Charles. "The Self as Subject and Sculpture." Thesis, Monash University, 2008. https://eprints.qut.edu.au/16903/1/16903.pdf.

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This paper analyses and contextualises the artist’s exploration of self-portraiture through the sculptural bust format. Conventionally, the portrait bust epitomises an antiquated view of the human subject as fixed, finite and knowable. The classicistic allusion of the form seems the perfect embodiment of a pre-modern and hopelessly idealised view of subjectivity and its capacity to be represented. This paper will show how, despite these impressions, the portrait bust is in fact a highly volatile sculptural form in which presence and absence are brought into question. When used as a vehicle

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Livres sur le sujet "Figurative painting, British – 20th century"

Michael, Walton, ed. Victoria Crowe: Painted insights. 2nd ed. Antique Collectors' Club, 2009.

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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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Billinge, Jennifer, and Mark Havill. Beyond Figurativism in Russian art of the second half of the 20th century. Edited by Gosudarstvennyĭ russkiĭ muzeĭ (Saint Petersburg, Russia). Russian Museum, 2014.

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McConkey, Kenneth. British impressionism. Phaidon, 1989.

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McConkey, Kenneth. British impressionism. Phaidon, 1998.

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McConkey, Kenneth. British impressionism. Abrams, 1989.

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Paulson, Ronald. Figure and abstraction in contemporary painting. Rutgers University Press, 1990.

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Edward, Lucie-Smith. The new British painting. Phaidon, 1988.

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Edward, Lucie-Smith. The new British painting. Phaidon, 1988.

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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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Chapitres de livres sur le sujet "Figurative painting, British – 20th century"

Polovinkina, Olga I. "“Invasion Anxiety” and the Idea of Englishness in English Literature of the Early 20th Century." In Beyond Borders: In Memory of Andrey Kofman. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2025. https://doi.org/10.22455/978-5-9208-0803-5-398-414.

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The article treats two novels, “The War in the Air” by H.G. Wells and “The Good Soldier” by F.M. Ford, as a sort of “invasion literature” described by C. Eby. In these novels “invasion” has a figurative sense of domination, of cultural absorption, the danger of which is imagined as coming from both Germany and the United States. The transposition of “invasion anxiety”, that was caused by the Franco- Prussian War, to anxiety about Americanization may seem metaphorical, but these are different stages of the same national anxiety about the possible loss of the British Empire’s place in the world

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