THE BODY OF RAPHAELLE PEALE: STILL LIFE AND SELFHOOD, 1812-1824. (Ahmanson-Murphy fine arts imprint). Alexander Nemerov

Author(s):  
Tom Riedel
Keyword(s):  
The Body ◽  
2016 ◽  
Vol 12 (8) ◽  
pp. 74
Author(s):  
Sanit Phinsakul ◽  
Nirat Soodsang ◽  
Niwat Pattana

<p>The objective of this research was to investigate the history and analyze the style of pottery products of Ban Tao Hai in Phitsanulok province. The research procedure took on documentary study appeared with the stories of pottery products of Ban Tao Hai, and explore pottery products of Ban Tao Hai in the museums and those discovered in Phitsanulok province. Data analysis focused on the history, styles, decorative patterns, and marks or symbols observed. Research result demonstrated that the pottery products of Ban Tao Hai were located in the ancient kiln sites at Ban Tao Hai currently situated in the area of Ta Pakao Hai temple and Ta Pakao Hai school at Hua Raw sub-district, Amphur Muang, Phitsanulok province. It is a cluster of large kilns stacked up and lined up along the Nan River, the kilns with high-technology. The products were either earthenware or large stoneware such as jars, jugs, basins, and bowls. According to the survey and excavation on 2 April 1984 by the regional Office of Fine Arts of Sukhothai and Phitsanulok, a stack of 2 kilns was discovered, i.e. the brick-built crossdraft kilns in similar sizes called Phitsanulok Kiln 1 (PK.1) and Phitsanulok Kiln 2 (PK.2). Ban Tao Hai pottery products that the researcher found were kept in the museum and in the community, altogether 80 pieces. Most of them were not in perfect condition, and only some with perfect condition were in good storage. These 80 pieces were in 6 categories: 1) wide-mouth jar, 16 pieces; 2) flaring-mouth jar, 17 pieces; 3) basin, 2 pieces; 4) round-bottom pot, 3 pieces; 5) jarlet, 33 pieces; and 6) mortar, 9 pieces. Among them, 17 pieces were decorated with applied spiral design (Lai Kod Hoi) so called “Lai Ou”, 27 pieces with excised and impressed designs, and another 36 pieces were undecorated. They comprised 26 glazed and 54 unglazed pieces. One of the unique features of Ban Tao Hai pottery was the marks or symbols made by the potters on the body of workpieces. The study revealed 22 marked and 54 unmarked pieces of pottery.</p>


Slavic Review ◽  
1968 ◽  
Vol 27 (1) ◽  
pp. 71-84 ◽  
Author(s):  
Raymond Hutchings

In this Article I shall examine the visual form or appearance (shape, size, and other visible qualities) of Soviet socially produced things (excluding any detailed consideration of trends in the fine arts or of individual craftsmanship) in relation to forces in Soviet ideology which seem to have influenced this form or appearance. (I do not attempt to describe all influences which bear on Soviet design, which would require a much more complex approach and a more extended treatment.) My definition of Soviet “ideology” would be the same as Professor Meyer's: the body of doctrine that is taught by the Communist Party to all Soviet citizens. Whether or not this doctrine is true, or thought to be true, as well as why it is propagated, or whether this would be a complete definition—these questions are considered to be irrelevant in the present context.


Author(s):  
A. Nikitin

V. Bystriakov – Honored Worker of Arts of Ukraine, member of the National Union of Artists of Ukraine, creative work is well-known to the general public, and teaching activity occupies an important place in the work of the department of drawing of the National Academy of Fine Arts and Architecture. In the work of the artist, he combined his own experience and achievements of artists of past generations, it has always been and is open to creative experiments. His creative pursuits and teaching methods are important for understanding the history of artistic education, in particular the teaching of the drawing, since it reflects the main directions and peculiarities of artistic education of the second half of the 20th and the beginning of the 21st century. In his work V. Bystriakov determined that the minimum means can be achieved maximum expressiveness, to achieve a strong life experience in the work. His paintings are characterized by ease, transparency, artistry of performance, understanding of the proportion of proportion and composition. Professor V. Bystryakov's pedagogical credo is a responsible attitude to his work, professionalism in any field of occupation – whether it is drawing or painting. The main objective of the teacher in the mandatory requirements of the classical school, he believes, is to enable the student to identify his own creative vision of a task. The main thing is not to «kill» the desire to create. Among students V. Bystriakov a teachers of the academy M. Kochubei, V. Kyrychenko, Yu. Maistrenko-Vakulenko, who already convey their creative experience to students. A special place in the work of V. Bystriakov is dedicated to the Chernobyl tragedy. The tragic event for Ukraine and the world has brought to life a cycle of pictures: «Girlfriends», «When the birds do not sing», «Evacuation», «Bright still life in the dark room», «The cry of Jeremiah», «And the third angel sounded», «Sunflowers», «Spas», and also a series of paintings «And fell on the star of the earth». In each work the cycle has its own language, artistic means, its philosophical interpretation, is subject to the disclosure of the main theme – Chornobyl. V. Bystriakova's creativity characterizes him as a talented master with personal beliefs and views. He does not stay away from the problems of modern life, in particular the ecology of the environment, touches in his works important issues that make us think over the routine of life processes, through the extrapolation of the inner sense and understanding of reality. He inspires reflections on the present in his various spiritual and social aspects. Knows good and evil through the prism of confession of the soul. Combining and interweaving the images of fictional illusions and real heroes, generalizes and reproduces the experience gained in his works. The artist's paradigm is based on the principles of symbolism and surrealism. In the principles and approaches of the author to the creation of works can be traced laconic language of poster art. Using various authoring techniques, he reveals to the viewer his tension and a peculiar vision of the world, reflects internal excitement, experiences, painful. The existence in works of the existence, embodied in details and symbols, prompts philosophical reflections on life, the search for truth, comprehension and perception of the viability of nature. V. Bystriakov is an artist and a teacher, who, through a practical component, passes on his experience to students nowadays.


Author(s):  
Pedro Bessa ◽  
Mariana Assunção Quintes dos Santos

This paper aims to reflect on a hypothetical threshold-space between contemporary dance and performance art, questioning at the same time the prevalence of too strict a boundary between them. To this end, a range of works involving hybridization of artistic languages ​​were selected and analyzed, from Signals (1970) by American dancer and choreographer Merce Cunningham to Café Müller (1978) by German choreographer Pina Bausch. Both dance and performance art are ephemeral arts or, according to the classical system, arts of time as opposed to the arts of space - painting, sculpture and architecture. They have also been called allographic arts, performative arts or, perhaps more specifically, arts of the body (Ribeiro, 1997). Unlike traditional fine arts, which materialize in a physical object other than the body, unlike video-art and cinema, arts without originals, mediated by the process of “technical reproducibility” (Benjamin, 1992), performative arts require the presence of a human body - and the duration of the present - as a fundamental instrument for their realization. In that sense, the paper also focuses on the ephemerality factor associated with dance and performing arts, and the consequent devaluation these have suffered vis-à-vis other artistic practices, considered to be academic and socially more significant.


Author(s):  
Anneka Lenssen

Louay Kayyali was one of the leading painters of the emergent Syrian art scene during the 1960s and 1970s. His most admired works depict individual laborers as "types," illustrating the tragic humanism of everyday life. Kayyali began his career in Aleppo, exhibiting academic portraits and still life paintings locally. In 1956, he won a fellowship to study at the Academy of Fine Arts in Rome, where he became interested in fresco and other traditional techniques. After completing his studies in 1961, Kayyali settled in Damascus and joined the faculty at the new College of Fine Arts. For a period of five years, he exhibited his portrait types, flowers, and architectural landscapes—rendered in simple lines and color stains on pressed chipboard—regularly, to acclaim from collectors. From 1965 onward, Kayyali began to struggle with mental illness. In this later period, he turned to more overtly politicized themes, including a series of dramatic charcoal drawings of citizens under siege, which was sponsored by the Syrian government as a touring exhibition in support of the Arab liberation cause. He also continued to produce paintings of fishermen, street sellers, and mothers as representations of the social themes then preoccupying him.


Keruen ◽  
2021 ◽  
Vol 71 (2) ◽  
Author(s):  
M.M. Kelsinbek ◽  
◽  

This article reveals the national features of the fine arts of Kazakhstan on the basisofstudy of paintings by Kazakh artists created in the genre of still life.A thorough study of the painting of objects makes it possible to understand the importance of this genre of fine art for the development of cultural paradigms in general. It is in the Kazakh still life in which for the first time an interest in the artistic understanding of national values arose, and the first steps are taken to transfer national features in new types of art.


Porta Aurea ◽  
2018 ◽  
pp. 33-61
Author(s):  
Anna Sobecka

Daniel Schultz (1615–1683) was one of the most important painters of his time, highly regarded among the Polish nobility and patricians of his native city of Gdańsk. Schultz’s game and animal pieces resemble works of Flemish artists. His earliest animal picture Trophies in the Pantry is perhaps most Southern Netherlandish in character. Fred G. Meijer attributed to Schultz a painting on the subject of hunting, bearing the monogram “DS” and dated 1649. Schultz also executed a smaller painting, which is a depiction of a fox (or rather a dog) head shown in profile and a bunch of grapes, with some killed birds. Furthermore, two other animal paintings by Schultz are known from the National Museum in Gdańsk. In 2014, a pair of pendant paintings of dead birds appeared on the art market. Their similarity to the Medicean Trophies led the experts of the Artcurial auction house to ascribe them to Schultz. As one compares them with some other works by the Gdańsk artist, the resemblance is even more pronounced. Both paintings are now in a Polish private collection. In the Museum of Fine Arts in Gent there are two other paintings attributed to Frans Snyders and Jan Fyt which could have been painted by Daniel Schultz. The focus on perfectly studied animals, framing of the composition, and a summary treatment of the background are characteristic of him. The ‘Ds 16__’ monogram bears the painting from the Kuscovo Palace (Moscow), which depicts A Heron, a Bittern and a Rabbit. Schultz was the first artist in the territories associated with the Polish-Lithuanian Commonwealth to create independent animal and still life paintings. Possibly a pupil of Elias Vonck, the Amsterdam master active in Prussia, Schultz was also influenced by Antwerp masters such as Frans Snyders and Johannes Spruyt. Schultz’s interest for animal themes and still life may have been connected with characteristic features of the culture of Gdańsk, such as, for instance, a penchant for hunting, viewed both as a pastime and a subject for art. Gdańsk citizens enjoyed the right to hunt as of 1588, earlier than any other European bourgeoisie. Most signed works by Schultz are his depictions of animals. Tis could be an indirect suggestion about the identity of the recipients of Schultz’s depictions of the animal world. As stated above, the Gdańsk citizens had a predilection for hunting pieces; they also cared more than courtiers about the fact that such representations were authored by a Gdańsk artist.


Author(s):  
Botir Boltabaevich Baymetov ◽  
◽  
Xusan Xolmuratovich Muratov ◽  

The article discusses the key aspects that students need to pay attention to in the process of teaching independent work. Improving the methodology of drawing in the development of students' creative abilities and the use of theoretical laws of fine arts in the process of training, focuses on students gaining theoretical knowledge and practical skills in the process of developing the ability to see and describe the shape of the body from a distance.


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