Pavel Chistiakov and Jan Ciągliński: New Approaches to Art Pedagogy in Nineteenth- and Early Twentieth-Century Russia

2019 ◽  
Vol 46 (4) ◽  
pp. 305-319
Author(s):  
Isabel Wünsche
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Art Education ◽  
Modern Art ◽  
Fine Arts ◽  
Avant Garde ◽  
The Arts ◽  
Academic System ◽  
Imperial Academy ◽  
Art Pedagogy

Abstract This essay looks at art education in Russia in the nineteenth century, specifically at artist-training practices at institutions such as the Imperial Academy of Fine Arts and the Imperial Society for the Encouragements of the Arts in St. Petersburg. Particular emphasis is on the role and significance of Pavel Chistiakov and Jan Ciągliński, charismatic teachers who developed their distinct art-pedagogical systems as an alternative to the existing academic system and paved the way for the emergence of modern art and the avant-garde in Russia.

Moving Modernism

2020 ◽  
Author(s):  
Nell Andrew
Keyword(s):  
Twentieth Century ◽  
Interwar Period ◽  
Significant Role ◽  
Modern Art ◽  
Modern Dance ◽  
Turn Of The Century ◽  
Avant Garde ◽  
The Arts ◽  
Lumiere Brothers ◽  
Twentieth Century Europe

This book reenacts the simultaneous eruption of three spectacular revolutions—the development of pictorial abstraction, the first modern dance, and the birth of cinema—which together changed the artistic landscape of early twentieth-century Europe and the future of modern art. Rather than seeking dancing pictures or pictures of dancing, however, this study follows the chronology of the historical avant-garde to show how dance and pictures were engaged in a kindred exploration of the limits of art and perception that required the process of abstraction. Recovering the performances, methods, and circles of aesthetic influence of avant-garde dance pioneers and experimental filmmakers from the turn of the century to the interwar period, this book challenges modernism’s medium-specific frameworks by demonstrating the significant role played by the arts of motion in the historical avant-garde’s development of abstraction: from the turn-of-the-century dancer Loïe Fuller, who awakened in symbolist artists the possibility of prolonged vision; to cubo-futurist and neosymbolist artists who reached pure abstraction in tandem with the radical dance theory of Valentine de Saint-Point; to Sophie Taeuber’s hybrid Dadaism between art and dance; to Akarova, a prolific choreographer whose dancing Belgian constructivist pioneers called “music architecture”; and finally to the dancing images of early cinematic abstraction from the Lumière brothers to Germaine Dulac. Each chapter reveals the emergence of abstractionas an apparatus of creation, perception, and reception deployed across artistic media toward shared modernist goals. The author argues that abstraction can be worked like a muscle, a medium through which habits of reception and perception are broken and art’s viewers are engaged by the kinesthetic sensation to move and be moved.

Painting

2017 ◽  
Author(s):  
George Pattison
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Middle Ages ◽  
Modern Art ◽  
Early Twentieth Century ◽  
The Arts ◽  
Christian Culture ◽  
Romantic Movement ◽  
The Middle Ages

In the wake of the Romantic movement, Christian theologians gave renewed attention to the arts, including painting, which entered one of its most turbulent phases in the nineteenth century. The chapter examines the revalorization of the Middle Ages as the epitome of a Christian culture; symbolism, especially as represented in the English painter G. F. Watts; and the emergence of French modernism as a secularizing tendency. Constructively, the chapter demonstrates that the nineteenth century can still provide a significant resource for reflection on theology and painting. Critically, it finds nineteenth-century theology was unprepared for the dramatic convulsions of the early twentieth century that would transform the landscape of modern art.

Multisensory Modalities and Modernist Translation

CounterText ◽  
2016 ◽  
Vol 2 (3) ◽  
pp. 283-306
Author(s):  
Tamara Brzostowska-Tereszkiewicz
Keyword(s):  
Twentieth Century ◽  
Reader Response ◽  
Sensory Integration ◽  
Cultural Anthropology ◽  
Sensory Perception ◽  
Cross Cultural ◽  
Avant Garde ◽  
Artistic Production ◽  
High Modernism ◽  
The Arts

Multisensory and cross-modal perception have been recognised as crucial for shaping modernist epistemology, aesthetics, and art. Illustrative examples of how it might be possible to test equivalences (or mutual translatability) between different sensual modalities can be found in theoretical pronouncements on the arts and in artistic production of both the avant-garde and high modernism. While encouraging multisensory, cross-modal, and multimodal artistic experiments, twentieth-century artists set forth a new language of sensory integration. This article addresses the problem of the literary representation of multisensory and cross-modal experience as a particular challenge for translation, which is not only a linguistic and cross-cultural operation but also cross-sensual, involving the gap between different culture-specific perceptual realities. The problem of sensory perception remains a vast underexplored terrain of modernist translation history and theory, and yet it is one with potentially far-reaching ramifications for both a cultural anthropology of translation and modernism's sensory anthropology. The framework of this study is informed by Douglas Robinson's somatics of translation and Clive Scott's perceptive phenomenology of translation, which help to put forth the notion of sensory equivalence as a pragmatic correspondence between the source and target texts, appealing to a range of somato-sensory (audial, visual, haptic, gestural, articulatory kinaesthetic, proprioceptive) modalities of reader response.

scholarly journals Alexandra Ekster’s Contribution to Ukrainian and World Art Culture

2021 ◽  
pp. 219-228
Author(s):  
Lesia TURCHAK
Keyword(s):  
Art Education ◽  
Research Methodology ◽  
Art History ◽  
Historical Data ◽  
Methodological Approach ◽  
Fine Arts ◽  
Creative Activity ◽  
Teaching Activity ◽  
Avant Garde ◽  
The Subject

The work of Ukrainian artists who have contributed to Ukrainian and international art, is not sufficiently disclosed. Their creative search impresses with versatility, interesting decision, continues to impress and inspire contemporaries. Purpose of the article — to find out the contribution of the Ukrainian avant-garde artist, set designer, teacher Oleksandra Ekster, to the Ukrainian and international fine arts. Oleksandra Ekster’s work has been the subject of research for decades. Scientists are interested in the painter’s art search, her contribution to Ukrainian avant-garde, scenography reforms, and teaching activity. Some sources may state that Ekster is a representative of Russian avant-garde. However, the artist grew up in Kyiv, obtained art education and promoted with her work not only Ukrainian but world avant-garde as well. The research of modern scientists (H. Kovalenko, D. Horbachova, T. Filevska, N. Stoliarchuk, M. Yur and others) makes it possible to review the artist’s life and artistic journey as well as her contribution to art history. The research methodology consists of a range of methods: historical, biographical, theoretical. The abovementioned methodological approach allows studying the question of historical data relating to the events in Ukraine that led to the emigration waves, finding out certain biographical facts and analyzing the artist’s creative activity.

Steeped in Modernism: The Teapot as Manifesto in Early 20th Century Art

2016 ◽  
Author(s):  
Maya Bielinski
Keyword(s):  
Twentieth Century ◽  
20Th Century ◽  
Political History ◽  
Modern Art ◽  
The Other ◽  
Early 20Th Century ◽  
Avant Garde ◽  
Small Window ◽  
Time Period ◽  
20Th Century Art

The art manifesto, a written political, social, and artistic proclamation of an artistic movement, surged in popularity among avant‐garde art groups in the first half of the twentieth century. Many of the manifestos featured declarations for the synthesis of art and life as well as a call for social and political power for artists of both 'high' and 'low' art forms. Concurrently, new artistic interpretations of the humble teapot became suddenly ubiquitous. This inquiry explores how the teapot emerged as a dominant symbol for the goals of Modern Art movements, and includes an analysis of the teapot's socio‐political history, its ambiguous status between high and low art, and its role in the commercial sphere. By examining the teapots of Suprematism's Kazimir Malevich, Constructivism's Mariane Brandt,and Surrealism's Meret Oppenheim, this presentation will track ideas of functionality, the teapot as symbol, and aesthetics from 1923 to 1936. This small window in time offers an analysis of the extraordinary developments in teapots, and perhaps a glimpse of the paralleled momentum that occurred more generally in design, architecture, and the other arts in this time period.

Carmelo Bene e la decostruzione delle arti del secondo Novecento

2018 ◽  
Vol 4 (1) ◽  
Author(s):  
Cosetta Saba
Keyword(s):  
Twentieth Century ◽  
Modern Art ◽  
Interdisciplinary Practice ◽  
The Arts ◽  
The Sixties ◽  
First Results ◽  
Extended Field ◽  
The Subject

This essay collects the first results of a reflection launched in the context of the Conference "The Arts of the 1900s and Carmelo Bene" curated by Edoardo Fadini and based in Turin, at the Gallery of Modern Art, between 24 and 26 October 2002. The intent is to focus on how in the first phase of the interdisciplinary practice of Carmelo Bene, between the Sixties and the Seventies, an aesthetic reflection and a deconstructive attitude emerge that involve questions (such as the subject, subjectivity and singular / plural dimension of art) that were being defined in the philosophical field and in the extended field of art during the second half of the twentieth century.

William Morris’s ‘Work-Pleasure’: Literature, Science and Fine Art

2018 ◽  
pp. 163-185
Author(s):  
Philipp Erchinger
Keyword(s):  
Nineteenth Century ◽  
Fine Arts ◽  
Experimental Methods ◽  
Fine Art ◽  
Arts And Crafts ◽  
Arts And Crafts Movement ◽  
William Morris ◽  
Narrow Sense ◽  
The Arts ◽  
The Aesthetic

This chapter seeks to elucidate nineteenth-century conceptions of art as fine art. Taking its cue from Raymond Williams’s account of a divorce of (fine) art from (technical) work, the chapter pursues various attempts to define the aesthetic specificity of the fine arts, including literature in the narrow sense, in relation to other ways of exercising skill, including the use of experimental methods in the sciences. In this way, it seeks to show that the idea of the aesthetic, despite all attempts to purify it, remained deeply entangled in a net of work, in which experiences of pleasure (or beauty) and playfulness had not yet been separated from material practices of making useful things. As is further explained, the idea of a mutual inclusiveness of pleasure and use was pivotal to the arts and crafts movement, especially to the creative practice of William Morris. Finally, the chapter pursues Morris’s concept of “work-pleasure”, as derived from his News from Nowhere, through a wider debate about the complex relations between the sciences and the (fine) arts.

The Artist’s Experience of Migration

2017 ◽  
Author(s):  
Sharon Hecker
Keyword(s):  
Nineteenth Century ◽  
Modern Art ◽  
Avant Garde ◽  
Transnational Mobility ◽  
Art Scene

This chapter looks at the shift in Medardo Rosso's position from an outsider in his own country to a foreigner in France. Rosso's move to Paris belongs to the wider phenomenon of increased migration by artists to the principal metropolis of modern art toward the end of the century. It also confirms his awareness of a new kind of transnational mobility. Tracing Rosso's trajectory as a form of self-exile characteristic of cultural anarchists, the chapter examines his hopeful but obstacle-ridden expatriation and his struggle to make avant-garde sculpture in the epoch and city dominated by Rodin. Paris at the end of the nineteenth-century offered Rosso new opportunities, such as a vibrant art scene, a burgeoning market for serial sculpture, and a network of sophisticated artists, collectors, and critics.

Avant-garde

2018 ◽  
Author(s):  
Irene Gammel
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Radical Innovation ◽  
Late Nineteenth Century ◽  
Avant Garde ◽  
Early American ◽  
Dialectical Relationship ◽  
English Speaking ◽  
Late Nineteenth ◽  
Different Cultures

The term "avant-garde" has a double meaning, denoting first, the historical movements that started in the late nineteenth century and ended in the 1920s and 1930s, and second, the ongoing practices of radical innovation in art, literature, and fashion in the later twentieth century (often inspired by the historical avant-garde and referred to as the neo-avant-garde). Within the context of modernism, historical avant-garde movements (such as Dada, Futurism, Vorticism, Anarchism, and Constructivism) radicalized innovations in aesthetic forms and content, while also engaging viewers and readers in deliberately shocking new ways. Locked in a dialectical relationship between the avant-garde and modernism, as Richard Murphy has written (1999: 3), the historical avant-garde accelerated the advent of modernism, which routinely appropriated and repackaged avant-garde experimentation in tamer forms. As the Latinate term "avant-garde" took root first France and Italy, and later in Germany and English-speaking countries, the trajectory of the avant-garde’s relationship with, or opposition to, modernism has been theorized in a myriad of different, even conflicting, ways across different cultures. Is the avant-garde an extension of, or a synonym for, modernism (as suggested in some early American criticism) or are the two concepts in opposition to each other (as proposed in Italian and Spanish criticism)?

Primitivism

2018 ◽  
Author(s):  
Priyanka Basu
Keyword(s):  
Twentieth Century ◽  
Modern Art ◽  
Small Scale ◽  
The Arts ◽  
Artistic Styles ◽  
Modes Of Thought ◽  
Cultural Features ◽  
Hybrid Forms

Primitivism in modern art designates a range of practices and accompanying modes of thought that span the period from the mid-nineteenth to the mid-twentieth century and cut across manifold artistic styles and groups. This entry presents instances of Primitivism from this period that are representative of its features. Modern artistic Primitivism refers, above all, to the ways in which Western artists valorized and drew upon aspects of so-called ‘primitive’ art and cultures in their works, ideas and lifestyles. They employed selective formal and thematic elements that they believed were characteristic of the arts and cultures of not only small-scale, native, non-Western peoples, but also of larger-scale, more highly organized non-Western societies, Western pre-Renaissance and non-classical styles and European vernacular means of expression. Even more frequently, these artists freely intermixed such elements and invented others that suited their conceptions of the ‘primitive’, generating hybrid forms and cultural features.

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