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Artigos de revistas sobre o tema "Art, indic – 20th century – exhibitions"

Autor: Grafiati

Publicado: 29 de julho de 2024

Última modificação: 31 de julho de 2025

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1

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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Vavroušková, Stanislava. "Ways to understand India: The Czech experience." Acta Orientalia Vilnensia 9, no. 2 (2008): 125–32. http://dx.doi.org/10.15388/aov.2008.2.3705.

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Oriental Institute of the Czech Academy of SciencesTo promote and further the understanding of India in the Czech Republic, Czech Indologists (in addition to their academic activities) publish articles, analyses and books on Indian history, culture and politics in the Czech language and deliver lectures intended for the general public. They continue in the tradition of the founders of Czech Indian studies (e.g. Vincenc Lesný, Moritz Winternitz), who were active in the first half of the 20th century. The Indian Association, founded in 1934 and affiliated with the Oriental Institute in Prague, p

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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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4

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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Krzysztofowicz-Kozakowska, Stefania. "„Raumkunst” autorstwa Teodora Axentowicza." Lehahayer 8 (December 19, 2021): 185–90. http://dx.doi.org/10.12797/lh.08.2021.08.06.

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Raumkunst by Teodor Axentowicz Three exhibition arrangements analysed in the article – the halls of Polish artists on the exhibitions in St. Louis (1904), London (1906) and XI International Biennial of Art in Venice (1914) – allow us to consider Teodor Axentowicz as a precursor of the new form of organisation of the exhibition space within the Polish culture. This form was a pattern for the subsequent architects of exhibitions belonging to the Society of Polish Artists “Art”. Projects of Axentowicz perfectly fitted to the modern style of exhibition interior arrangement, which was promote

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Rosso, Aluminé. "The cinefication of museums: from exhibitions to films. The case of Tate Modern." Digital Age in Semiotics & Communication 5 (December 30, 2022): 35–61. http://dx.doi.org/10.33919/dasc.22.5.3.

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Since the end of the 20th century, museum institutions have been adopting the logic of communication, promotion, and administration typical of cultural industries, mainly Cinema. In 1994, Andreas Huyssen argued that the museum, as an elitist place of preservation of canon and high culture, gave way to the museum as a mass medium. Cinema became the paradigm of contemporary cultural activities whose new exhibition practices respond to the changing expectations of the public and their constant search for stellar events.Since the end of the 20th century, museum institutions have been adopting the

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Kossowska, Irena. "Cultural Diplomacy and Informal Artistic Relations in East Central Europe in the 20th Century: A Global Perspective." Arts 14, no. 2 (2025): 41. https://doi.org/10.3390/arts14020041.

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The contributors to this Special Issue engage in a critical debate on key questions arising from discourses on the history and socio-political foundations of international traveling art exhibitions and cultural exchange [...]

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Gerasimova, Natalia V. "Exhibitions of Art Works from Private Collections of Kazan in the Second Half of 19th — Beginning of 20th Century." Observatory of Culture 21, no. 2 (2024): 214–23. http://dx.doi.org/10.25281/2072-3156-2024-21-2-214-223.

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The article uses the example of Kazan to reveal the process of organizing and holding exhibitions of artworks from private collections in the Russian pre-revolutionary province. Addressing this topic, which has not been sufficiently studied in the history of Russian art, is relevant because it expands the understanding of the phenomenon of exhibition activity, which is one of the most important aspects of artistic life in Russia. The source base of the present study is the catalogues of four exhibitions of paintings from private collections held from 1873 to 1916, as well as publications in th

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Ittu, Gudrun-Liane. "Siebenbürgisch-deutsche Künstlerinnen vom Ende des 19. und Anfang des 20. Jahrhunderts." Studia Universitatis Babeș-Bolyai Historia Artium 65, no. 1 (2020): 127–55. http://dx.doi.org/10.24193/subbhistart.2020.07.

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"Transylvanian German women artists from the end of the 19th and beginning of the 20th century. The paper is aiming at analyzing the life and art of a group of six German women artists from Transylvania, the first ones who studied abroad, real forerunners for the next generation of female plastic artists. Emancipated ladies, determined to become artists and earn their own money, the gifted women studied in Budapest, Vienna, Munich or Paris. Only Molly Marlin did not come back home, while the others had a prodigious artistic and pedagogical activity, being present at the annual exhibitions, tog

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Bennett, Theodore. "Tortured genius: The legality of injurious performance art." Alternative Law Journal 42, no. 1 (2017): 24–28. http://dx.doi.org/10.1177/1037969x17694791.

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In the 20th century, a distinct subset of performance art emerged in which the artist is deliberately physically injured as part of their performance. While such performances are now a settled type of artistic expression their legal status is unclear. This article examines the legality of such performances under the Australian criminal law. Focusing on common law principles, it compares injurious performance art to the legally recognised category of ‘dangerous exhibitions’ and ultimately argues that such performances will only be lawful if it can be clearly demonstrated that they have public u

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Weibel, Peter. "Music, Machines, Media and the Museum." Organised Sound 14, no. 3 (2009): 231–35. http://dx.doi.org/10.1017/s1355771809990197.

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The ZKM|Center for Art and Media in Karlsruhe is called Center because it is a museum and more than a museum. As a museum it has a classical museological function as a support and distribution system: Collection and archive, exhibitions and events. But in addition to it, the ZKM has two institutes for research, development and production (Institute for Music and Acoustics and Institute for Visual Media). The ZKM is a center for all media and for all art forms created in the 20th century. The machine based moving image has shifted the image from the classical position as space based art to time

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Dane, William J. "Public art libraries and artists and designers: a symbiotic scheme for success." Art Libraries Journal 12, no. 3 (1987): 29–34. http://dx.doi.org/10.1017/s0307472200005277.

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The inter-relationship between art librarians and artists/designers in the public library sector in America has been a reality since the early 20th century when libraries were organized into subject departments. This specialized clientele is eclectic and ranges from novices to the most accomplished artists and includes architects, art directors, illustrators, calligraphers, craftspeople and photographers in addition to painters, sculptors and graphic artists. Materials and services in public art libraries are highly diversified and the literature of other disciplines is also readily available.

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Mount, Sigrid Docken. "Evolutions in exhibition catalogues of African art." Art Libraries Journal 13, no. 3 (1988): 14–19. http://dx.doi.org/10.1017/s0307472200005769.

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Since their appearance in the early 20th century, catalogues prepared for exhibitions of African art have undergone a gradual transformation. Beginning as mere checklists many of these publications have, in the 1970s and 80s, evolved into major scholarly works whose significance transcends their original purpose as guides to the exhibitions. Changes occurring over the years are traced through examination of the form and content of representative catalogues and by review of the reception by art historians of many of these works into the corpus of literature of African art. The growing importanc

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Linden, Diana L. "Modern? American? Jew? Museums and Exhibitions of Ben Shahn's Late Paintings." Prospects 30 (October 2005): 665–84. http://dx.doi.org/10.1017/s0361233300002222.

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The year 1998 marked the centennial of the birth of artist Ben Shahn (1898–1969). Coupled with the approach of the millennium, which many museums celebrated by surveying the cultural production of the 20th century, the centennial offered the perfect opportunity to mount a major exhibition of Shahn's work (the last comprehensive exhibition had taken place at the Jewish Museum in New York City in 1976). The moment was also propitious because a renewed interest in narrative, figurative art, and political art encouraged scholarly and popular appreciation of Ben Shahn, whose reputation within the h

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Shalinskyi, Ihor, and Andrii Zabuzhko. "CONTEMPORARY ART AND ART MANAGEMENT INITIATIVES IN THE CONTEXT OF LOCAL SOCIAL TRANSFORMATIONS IN UKRAINE: THE CASE OF THE TEPLE MISTO PLATFORM." Art Research of Ukraine, no. 23 (November 28, 2023): 129–36. http://dx.doi.org/10.31500/2309-8155.23.2023.299212.

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Most of the art projects related to modern art take place in the capital. Other Ukrainian cities mostly have few powerful centers for the promotion of modern art and few active representatives of art management. However, such initiatives outside the capital can have a significant impact on social transformations. The purpose of this article is to analyze the activity of art management of the public platform of Ivano-Frankivsk Teple Misto in the field of contemporary art. In the last nine years, this platform has implemented numerous projects that are aimed at social transformations in the urba

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Calo, Mary Ann. "A Community Art Center for Harlem: The Cultural Politics of “Negro Art” Initiatives in the Early 20th Century." Prospects 29 (October 2005): 155–83. http://dx.doi.org/10.1017/s0361233300001721.

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During the interwar decades, African American artists grew in number and visibility, and a wide range of publications featured stories on so-called Negro art. Notices on Negro art exhibitions and educational initiatives appeared in the black press and the mainstream mass media, as well as in special interest publications ranging from Art News to the Club Candle (the newsletter of the New Rochelle Women's Club). Though small in number, collectively these events served as opportunities to measure the overall progress or pulse of the African American artist.

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Khandelwal, Vishal. "On the Aspirations of Architecture and Design in 20th-Century South Asia." ARTMargins 12, no. 2 (2023): 81–94. http://dx.doi.org/10.1162/artm_r_00352.

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Abstract This review compares The Museum of Modern Art's exhibition “The Project of Independence: Architectures of Decolonization in South Asia, 1947-1985” (2022) to Farhan Karim's Of Greater Dignity Than Riches: Austerity and Housing Design in India (2019). These two examples’ distinct approaches to architecture and design in twentieth-century South Asia are conditioned by their respective formats and scopes. Both the exhibition and the book draw attention to the ideas, ambitions, and aspirations undergirding architecture and design in the region, and as expressed by agents including architec

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Rusakov, Serhii. "Establishment of the Art Market in the Context of Ukrainian Historical and Cultural Tradition." Studia Warmińskie 59 (December 31, 2022): 111–24. http://dx.doi.org/10.31648/sw.8330.

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The origins of the art market in Ukraine are analyzed on the basis of the life of artists, art exhibitions, art salons and creative circles of the 17th - early 20th centuries. The author researches the socio-cultural processes of different periods of Ukrainian culture that influenced the phenomenon of the art market, in particular its educational and commercial aspects. The peculiarity of the art market in Ukraine is connected with the popularization of young Ukrainian artists, the creation of favorable conditions for the realization of their talent, the unification of artistic forces from dif

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Park, Hyesung. "Rethinking the 20th-Century Korean Embroidery from Gender Perspectives." Korean Journal of Art History 320 (December 31, 2023): 65–98. http://dx.doi.org/10.31065/kjah.320.202312.003.

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The rupture in the history of Korean embroidery is generally perceived as a severance from the traditional embroidery, made due to the Japanese colonial rule. However, it cannot be denied that the narrative of modern and contemporary Korean art history, mainly constructed around artistic movements and groups, also played a major part. The dispute encompasses the fundamental question of whether embroidery can be seen as a form of fine art from the perspective of modernist aesthetics, and the matter of hierarchy between different crafts. Also inherent are the tensions between contradictory value

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Pawłowska, Aneta. "African Art: The Journey from Ethnological Collection to the Museum of Art." Muzeológia a kultúrne dedičstvo 8, no. 4 (2020): 161–76. http://dx.doi.org/10.46284/mkd.2020.8.4.10.

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This article aims to show the transformation in the way African art is displayed in museums which has taken place over the last few decades. Over the last 70 years, from the second half of the twentieth century, the field of African Art studies, as well as the forms taken by art exhibitions, have changed considerably. Since W. Rubin’s controversial exhibition Primitivism in 20th Century Art at MoMA (1984), art originating from Africa has begun to be more widely presented in museums with a strictly artistic profile, in contrast to the previous exhibitions which were mostly located in ethnograph

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Zhu, Shiyi. "Pictorial Modernism(s) in an Interdisciplinary and Cross-Cultural Context." Caietele Echinox 47 (December 1, 2024): 190–207. https://doi.org/10.24193/cechinox.2024.47.12.

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This paper delves into the reception and adaptation of Modernism in early 20th-century China, emphasizing the role of Chinese literary magazines and art publications in disseminating Western avant-garde art. Publications such as Eastern Miscellany and Yishu Xunkan played pivotal roles in introducing movements like Post- Impressionism, Cubism, and Futurism. The paper highlights how Chinese literary figures and art critics not only translated Western art terms but also engaged deeply with the philosophical and aesthetic principles underlying these movements. By examining key exhibitions and inte

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Ştefănescu, Mircea. "The Beginnings of The Modern Art." Review of Artistic Education 18, no. 1 (2019): 255–61. http://dx.doi.org/10.2478/rae-2019-0028.

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Abstract At the beginning of the 20th century visual artists found in the art the perfect field to experiment with different materials, combinations of new shapes and proportions to create new artistic currents. But this new trend has questioned the relation of classical arts with its perennial values which can not be overlooked, however radical the desire of young artists to “break” definitively with the past. Thus, in this new artistic context, many of the old art flagship techniques have been questioned and, as is always the case for predicting the “future of art”, the new artistic tendenci

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Sabinina, Anastasia A. "Project of The All-Slavic Art and Industry Exhibition in St. Petersburg: 1902–1912." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 71 (2024): 225–33. http://dx.doi.org/10.37816/2073-9567-2024-71-225-233.

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The paper examines the All-Slavic Art and Industry Exhibition. Preparations took 10 years: from 1902 to 1912. Using archival materials and early 20th century periodicals, the author analyses the exhibition as part of a global trend toward national and international art exhibitions and as a reflection of the St. Petersburg art scene at the turn of the 20th century, which welcomed contemporary art from various countries: from Germany to Japan. The exhibition was organized by the Petersburg Slavic Benevolent Society, which established a dedicated Exhibition Committee. The committee secured permis

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Федорук, Олександр. "The Kyiv artistic life in the late 19th and early 20th centuries. Polish discourse." CONTEMPORARY ART, no. 18 (November 29, 2022): 307–20. http://dx.doi.org/10.31500/2309-8813.18.2022.273817.

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The article focuses on the problem of the local isolation of art at the turn of the 19th-20th century and the role of Ukrainian-Polish creative contacts in establishing Ukrainian artistic discourse. The works of K. Pryzhikhovskyi, A. Kendzerskyi, P. Vasylchenko, K. Ivanytska, artists who are half-forgotten today, were discerned by the importance of experience exchange and the need to find new imagery. The aforementioned artists performed together with I. Rashevskyi, M. Pymonenko, and Ya. Stanislavskyi. The connection of the latter with Ukraine is studied in particular through his pedagogical a

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Albano, Caterina. "The Exhibition as an Experiment: An Analogy and Its Implications." Journal of Visual Culture 17, no. 1 (2018): 97–116. http://dx.doi.org/10.1177/1470412918763446.

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The analogy of the exhibition as an experiment suggests innovative curatorial approaches that challenge institutional practices. This analogy has however a historical precedence in modernism when it became paradigmatic of the exhibitions at the Museum of Modern Art in New York in the 1940s, defining the curatorial approach of its founding director Alfred J Barr. This article considers this early use of the analogy of the exhibition as an experiment and further reflects on its redefinition at the turn of the 20th century by examining how both the notions of the exhibition and of the experiment

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Metlenga, Weronika. "Sztuka performansu po "The Artist Is Present". Kontynuacja działań Mariny Abramović w twórczości jej uczniów." Panoptikum, no. 21 (December 18, 2019): 149–62. http://dx.doi.org/10.26881/pan.2019.21.09.

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Performance art, recognized in the second half of the 20th century as niche and alternative, is currently perceived as one of the most popular genres of contemporary art. The difference that has raised due to the development of performance art is evident not only in the way a performance is created, but mainly in changing the perception of the work of art. The opening of the Marina Abramović Institute and the performance The Artist Is Present, became the main turning point showing this change. The aim of this article is to present how the art of Marina Abramović, which she consistently created

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Kim, Seorim, and Kyoo Yun Cho. "Satire and Propaganda of Soviet Posters: The Artistic Representation of Laughter and Disgust in Deni’s Works." Institute for Russian and Altaic Studies Chungbuk University 25 (August 31, 2022): 99–128. http://dx.doi.org/10.24958/rh.2022.25.99.

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First appeared for commercial purposes in the early 20th century, Russian posters developed into independent art through the First World War and the Bolshevik Revolution. The early 20th century was the most productive period for Russian Art, as various experiments were conducted in the coexistence and competition of various painting trends. Amid the turbulent conditions leading to the revolution, civil war, and establishment of the Soviet Union, the integration of various artists’ experiments with the revolution is reflected in the form and content of posters produced at the time. Viktor Deni,

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Chernysheva, Anna Igorevna. "N. N. Zeddeler and A. P. Somova-Zeddeler: the forgotten names of early 20th century Russian art. Japonism in Russian printmaking at the beginning of 20th century." Secreta Artis 5, no. 1 (2022): 6–23. http://dx.doi.org/10.51236/2618-7140-2022-5-1-6-23.

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The term japonism refers to a movement within 20th-century Russian art that has so far been insufficiently explored. In the meantime, its popularity at the turn of the 19th and 20th centuries coincided with the extraordinary blossoming of Russian color printmaking. N. N. Zeddeler and A. P. Somova were among those artists, who, along such revered masters like A. P. Ostroumova-Lebedeva and V. D. Falileeva, made a substantial contribution to the development of this art style. To date, their work has not received close attention from researchers. Likewise, there is no literature that would provide

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Barashkov, V. V. "The Formation of Artistic Competence in the Evangelical Church in Germany in the XX – Early XXI Century." Bulletin of Irkutsk State University. Series Political Science and Religion Studies 35 (2021): 115–24. http://dx.doi.org/10.26516/2073-3380.2021.35.115.

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In various Protestant denominations (particularly in the Evangelical Church in Germany) the demand for the formation of artistic competence has been growing since the mid 20th century. The celebration of the 500th anniversary of the Reformation in Germany in 2017 contributed to a new round of discussion of this issue. Luther's attitude to artistic images has been reevaluated. Interconnectedness of the word and image in the process of religious communication has been emphasized. The autonomy of art and freedom of creative expression of an artist in the dialogue with religion (in the form of exh

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Kulakova, Olga Yu. "Dutch Flower Still Life of 17th Century: Interest and Oblivion through the Centuries." Observatory of Culture 18, no. 5 (2021): 496–505. http://dx.doi.org/10.25281/2072-3156-2021-18-5-496-505.

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Over three and a half centuries, the genre of flower still life created by Dutch artists experienced ups of interest and oblivion. There were the maximum assessment of society in the form of high fees of the 17th century artists; the criticism of connoisseurs and art theorists; the neglect in the 19th century and the rise of auction prices and close attention of art critics, manifested from the middle of the 20th century to the present day. In the middle of the 17th century, there was already a hierarchy of genres, based on both the subject and the size of the paintings, which was reflected in

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Turchak, Lesia. "Ukraine at the Venice Biennale." Bulletin of KNUKiM. Series in Arts, no. 38 (August 16, 2018): 290–300. https://doi.org/10.31866/2410-1176.38.2018.141831.

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The purpose of the article. The research is devoted to the study of the facts of the spread of Ukrainian fine arts in the world art space in the 20th and 21st century. The purpose of the article is to consider the presentation of Ukrainian art projects of the period of independence of Ukraine in the context of the Venice Biennale. The research methodology consisted in using general scientific methods as well as theoretical and practical approaches to analyze the Ukrainian art projects. The scientific novelty of the work lies in the systematization of research

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Volgusheva, Alla O., and Svetlana A. Vorobyova. "Proletarian Culture and Leftist Trends in Russia at the Beginning of the 20th Century." Observatory of Culture 20, no. 2 (2023): 212–22. http://dx.doi.org/10.25281/2072-3156-2023-20-2-212-222.

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The low level of development of this topic in Russian historiography can be explained by the fact that, most often, this problematics is considered through the prism of general issues of culture of the Soviet period, party and state cultural policy, aspects of intelligentsia studies.This study aims at identifying the artistic concept of the leftist direction in the visual arts of the early 20th century, considering its variability, showing its origins, relations with the Soviet government and within the artistic environment, analyzing the reasons for its prohibition and exodus for many decades

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Dyadyk, Natalia. "Art of the second half of XX — early XXI centuries as visual philosophy." Socium i vlast 4 (2021): 95–106. http://dx.doi.org/10.22394/1996-0522-2021-1-95-106.

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Introduction. The article is focused on studying the area of intersection of contemporary art and philosophy, it is a continuation of the research project on conceptual art and its intersection with philosophy, which we started earlier. By conceptual art, we mean art aimed at intellectual comprehension of what has been seen, art that appeals to thinking and generates philosophical meanings. But if earlier we explored conceptual cinema and mainly visual art of the early 20th century, then in this article we want to turn to the visual art of the second half of the 20th century — the beginning of

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Чирков, В. Ф., та О. М. Галыгина. "Мифологическое наполнение произведений «сибирской неоархаики»: к вопросу об изучении художественного направления". Iskusstvo Evrazii [The Art of Eurasia], № 1(36) (31 березня 2025): 210–39. https://doi.org/10.46748/arteuras.2025.01.013.

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Об интересе к мифологии в современном отечественном искусстве говорит рост числа философских и искусствоведческих публикаций на эту тему. Причины интереса очевидны, в различных регионах страны проходят выставки мифологического и архаического профилей. Одним из самых заметных, длящихся не одно десятилетие, является художественное направление, утверждающее себя под названием «сибирская неоархаика». Истоки направления находятся в глубокой истории, первые же собственно профессиональные изобразительные опыты относятся к середине – второй половине XIX столетия. Терминологически первое название «сиби

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Vignioli, Marcela. "Lola Mora in Tucumán: Personal Costs and Benefits of Creating Public Art, 1890-1904." Ameryka Łacińska Kwartalnik analityczno-informacyjny, no. 116 (June 30, 2022): 89–104. http://dx.doi.org/10.7311/20811152.2022.116.06.

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From a traditional perspective, women who have triumphed in the arts, literature, or science have been seen as an anomaly or “exceptional women” by historians. In 1895, only a third of girls under 14 could read in the small provincial town of Tucuman, in northern Argentina. However, Lola Mora displayed her sculptures in her first exhibitions in the same year. Her career as a sculptor was legitimized and recognized in her hometown Argentina, after spending years in Europe developing her talent. Her career as an artist has historically been seen as a distinct rarity, and few people have attempte

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Fedotova, E. D. "Серия акварелей «Campi Phlegraei» английского мецената и итальянского художника века Просвещения". Iskusstvo Evrazii [The Art of Eurasia], № 1(20) (31 березня 2021): 260–69. http://dx.doi.org/10.46748/arteuras.2021.01.018.

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The article is devoted to the history of a unique collection made by famous American patron and curator Peggy Guggenheim. For several decades, she has been gathering works by European Cubists, Abstractionists and Surrealists, creating the huge collection of the 20th century art. But she made the most significant contribution to the development and popularization of modernism by organizing the «Art of this Century» gallery in New York. This gallery hosted for the first time exhibitions of artists who later became known as abstract expressionists. Their work loudly declared itself on the interna

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Yartseva, O. A. "Коллекция Пегги Гуггенхайм". Iskusstvo Evrazii [The Art of Eurasia], № 1(20) (31 березня 2021): 270–79. http://dx.doi.org/10.46748/arteuras.2021.01.019.

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The article is devoted to the history of a unique collection made by famous American patron and curator Peggy Guggenheim. For several decades, she has been gathering works by European Cubists, Abstractionists and Surrealists, creating the huge collection of the 20th century art. But she made the most significant contribution to the development and popularization of modernism by organizing the «Art of this Century» gallery in New York. This gallery hosted for the first time exhibitions of artists who later became known as abstract expressionists. Their work loudly declared itself on the interna

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Kharitonova, Natalya Stepanovna. "Interaction of Artistic Culture of Russia and Scandinavian Countries at the turn of the 19th-20th Centuries." Journal of Flm Arts and Film Studies 7, no. 2 (2015): 97–104. http://dx.doi.org/10.17816/vgik7297-104.

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The author examines similarity of historical and cultural development of Russia and Scandinavian countries. Cultural ties between the two domains evolved over many centuries. The most intensive period of development of Russian-Scandinavian artistic contacts stretched from mid-1880s-1890s up to the end of the first decade of the 20th century. In 1890s Russian painters considered achievements of Scandinavian colleagues as an example of a quest for progress, a creative approach to finding ones way in development of fine arts. At the same period in Russia a number of major international art exhibi

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Ponamarchuk, Igor. "Kyiv Association of Artists in the context of consolidation of the artistic forces of Kyiv in turn of the 19-20th cc." Text and Image: Essential Problems in Art History, no. 2 (2018): 68–83. http://dx.doi.org/10.17721/2519-4801.2018.2.04.

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The article is based on the statutory materials and catalogs of the exhibitions of artistic works which were held in Kyiv in the late nineteenth and early twentieth centuries. It reveals the basic principles of activity of the Kyiv artistic associations. The author focuses his attention on the main trends in the development of the exhibition activities in Kyiv during the specified period. In this article we can see the preconditions of the unifying processes in the local artistic environment, the role of the Peredvizhniki (“The Wanderers”) as well as exhibition events of the Kyiv Drawing Schoo

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Agranovsky, N. S. "The Leonardo da Vinci Society’s “Exhibition of Posters and Placards” (1906): History, Context, Impact." Art Studies Journal, no. 2 (June 2024): 296–323. https://doi.org/10.51678/2073-316x-2024-2-296-323.

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In the article, the author reconstructs the exhibition that had considerable impact on the history of Russian poster graphics, but which is mostly forgotten in academic studies so far. Held at the end of a decade that saw three international exhibitions (1897–1900), it was not only the sole show of foreign posters in the Russian Empire in the 20th century, but also it summed up the modernist turn in the Russian school of poster art, confirming its newly gained self-reliance. As part of the Leonardo da Vinci Society’s ambitious agenda, the exhibition also documents contemporary literary and art

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Kakinuma, Marie. "ESTELLA KATZENELLENBOGEN IN DER PROVENIENZFORSCHUNG." Zwitscher-Maschine. Journal on Paul Klee / Zeitschrift für internationale Klee-Studien 15 (June 1, 2024): 36–46. https://doi.org/10.5281/zenodo.11394536.

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Estella Katzenellenbogen (1886–1991) was one of the most important collectors and patrons of fine art in the first half of the 20th century. She is also known as a collector of works by Paul Klee, but the disposition of her collection through exhibitions, sales, and donations currently raises question in both provenance research and gender studies. In my article, I will briefly outline her collection, then using primary sources, I will describe her period of exile in Switzerland and the USA, which has not yet been sufficiently researched. Finally, I will point to a future possibility for

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Kharitonova, Natalya Stepanovna. "Silver Age. Interference of the Russian and German Cultures." Journal of Flm Arts and Film Studies 6, no. 4 (2014): 86–95. http://dx.doi.org/10.17816/vgik6486-95.

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The author explores the specific interaction of Russian and German art, their differences, forces of attraction and direct contact. Only conscious and meaningful differences could have reveal the strength and true value of each culture and, most importantly, become a pretext for new and creative quest for ones own way in art. Two-sided interest of Russian and German cultures implies a two-way process mutually contributed and enriched on both parts. The fact that Russian and German art at the turn of the 19th-20th centuries was developing under different conditions does not mean that the exchan

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Majewski, Piotr. "Constructing the canon: exhibiting contemporary Polish art abroad in the Cold War era." Ikonotheka, no. 30 (May 28, 2021): 135–53. http://dx.doi.org/10.31338/2657-6015ik.30.7.

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The article focuses on the attempts of constructing and presenting the canon of Polish modern and contemporary art in the West after World War II. Initially, the leading role was played by Colourists – painters representing the tradition of Post-Impressionism. After 1956 the focus shifted towards artists who drew in their practice on tachisme and informel. However, the most enduring effects brought the consistent promotion of the interwar Polish Constructivism and its postwar followers. The article discusses the subsequent stages of this process, from the famous exhibition at the Paris Galerie

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Matějová, Judita. "Muzejní časopis Mittheilugen des Mährischen Gewerbe-Museums in Brünn (1883–1918) v kontextu časopisů uměleckoprůmyslových muzeí v českých zemích." Acta Musei Nationalis Pragae – Historia litterarum 67, no. 3-4 (2023): 131–37. http://dx.doi.org/10.37520/amnpsc.2022.031.

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The article focuses on the museum journal Mittheilungen des Mährischen Gewerbe-Museums in Brünn, one of the important source materials for research on the arts and crafts of the last third of the 19th century and the early 20th century not only in Moravia but also in the cultural areas of the Austrian monarchy. The journal was published in the Moravian Industrial Museum in Brno in 1883–1918, when the museum was headed by two important directors – August Prokop (1883–1893) and Julius Leisching (1893–1922). Under the influence of the latter, the museum became the press authority of the Associati

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Maznichenko, Olena, and Anna Moskalenko. "Design of exhibition halls in historical buildings of the 20th century." Scientific journal “Library Science Record Studies Informology” 26, no. 1 (2024): 6–14. http://dx.doi.org/10.63009/cac/1.2024.06.

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The article raises the issue of adapting the space of historic buildings for exhibition installations, as the exhibition is one of the modern effective ways to demonstrate the cultural and historical heritage of society. Historical monuments are a valuable architectural heritage, so when designing an exhibition space in them, it is necessary to take into account all aspects that will ensure the preservation of the building’s authenticity. The purpose of the article is to study and analyse the methods of designing exhibition halls in 20th-century buildings. The following methods are used: the h

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Manucharova, D. A. "Portrait Works by Olga Della-Vos-Kardovskaya in the Context of the Russian Art of the 1900s-1930s." Art & Culture Studies, no. 2 (June 2024): 220–49. http://dx.doi.org/10.51678/2226-0072-2024-2-220-249.

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The article focuses on portrait works by Olga Della‐Vos‐Kardovskaya — from her first significant paintings in this genre (e.g. Portrait of Nikolay Gumilev, 1908, State Tretyakov Gallery) to the last ones dating back to the late 1930s. This aspect of the master’s activity has not yet been the subject of a comprehensive research. Meanwhile, there has been a growing interest in the creative work of Olga Della‐Vos‐Kardovskaya, which is evidenced by the fact that her paintings are presented at many major exhibitions in Russia. First of all, these include her portraits, which reflect various trends

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