Revelation and Validation

2016 ◽  
Vol 1 (2) ◽  
pp. 186-203
Author(s):  
Petra Ten Doeschate-Chu
Keyword(s):  
Twentieth Century ◽  
Chinese Art ◽  
Early Twentieth Century ◽  
Far Eastern

This article is about Matisse’s interest in Japanese and Chinese art, two artistic traditions that had a significant impact on his artistic thinking at the beginning and the end of his career, respectively. It analyzes the importance of Far-Eastern art and theory for Matisse’s modernism against the backdrop of the transformation (and ultimate decline) of Japonisme in the early twentieth century and the attendant revival of interest in Chinese art.


Stealing Words, Transplanting Images

2018 ◽  
Vol 68 (2) ◽  
pp. 191-214
Author(s):  
Yu-jen Liu
Keyword(s):  
Twentieth Century ◽  
National Culture ◽  
Visual Representations ◽  
Institutional Setting ◽  
Chinese Art ◽  
Cultural Significance ◽  
Authoritative Knowledge ◽  
Early Twentieth Century ◽  
Art Objects ◽  
Victoria And Albert Museum

Abstract This article explores how the category “Chinese art” was articulated and consolidated in the early twentieth century by focusing on Stephen Bushell's Chinese Art, the first book in English defined in terms of this category. Bushell's monograph highlights the intercultural character of the category, which was transformed in its content and cultural significance, when ostensibly the same authentic knowledge, articulated in verbal and visual representations, was moved from China to Europe and back again. The article starts by examining how Bushell's insider knowledge of Chinese art was transformed to fit the institutional setting of the Victoria and Albert Museum. It then explores how the authoritative knowledge of Chinese art communicated in Bushell's book was appropriated in China by the journal Guocui xuebao 國粹學報 (Journal of National Essence) in the context of attempts to revive national culture. Both cases involved hitherto unnoticed repetitions of text and images. By analyzing the mechanism informing these repetitions, this article reveals the entangled history behind the distinctive articulations of “Chinese art” in Britain and in China. Moreover, the analysis shows how the same elements, whether words or pictures, acquired a substantially different significance as they moved between cultures. This is exemplified by the formulation of the newly emergent classifying category Zhongguo meishupin 中國美術品 (“Chinese art objects”) in Guocui xuebao.

Roger Fry, Chinese Art and The Burlington Magazine

2015 ◽  
Author(s):  
Ralph Parfect
Keyword(s):  
Twentieth Century ◽  
Chinese Art ◽  
The Past ◽  
Language Discourse ◽  
Early Twentieth Century ◽  
The Arts ◽  
The Subject ◽  
Late Nineteenth ◽  
Textual Strategies ◽  
Western Historiography

The Burlington Magazine for Connoisseurs was founded in 1903 by a group of art theorists, scholars and historians that included Roger Fry, later a co-editor of the magazine for almost ten years (1909-1919). On Fry’s death in 1934, the magazine itself described him as ‘the man who in the past did most to establish it and mould its character’. Part of this character was a consistent attention to Chinese art that he shared with fellow Bloomsbury writers, artists and intellectuals. This chapter illuminates Fry’s practice as a theorist and an editor interested in the arts of China by examining how these were represented and discussed in the Burlington Magazine under his auspices. It focuses especially on the kinds of language, discourse and textual strategies of sinophile contributors such as Arthur Waley, Lawrence Binyon, Perceval Yetts and R.L. Hobson. The chapter locates their approaches to Chinese art within a longer-term Western historiography of China and its culture(s), as well as within late-nineteenth and early-twentieth century discourses such as aestheticism, scientism and orientalism. It thus attempts to unpack the ideological implications of the ‘connoisseurship’ professed by the magazine’s title as applied to the subject of Chinese art.

Some Polish Composers of To-Day

Tempo ◽  
1948 ◽  
pp. 25-28
Author(s):  
Andrzej Panufnik
Keyword(s):  
Twentieth Century ◽  
Fertile Soil ◽  
Early Twentieth Century ◽  
Progressive Group ◽  
Karol Szymanowski

It is ten years since KAROL SZYMANOWSKI died at fifty-four. He was the most prominent representative of the “radical progressive” group of early twentieth century composers, which we call “Young Poland.” In their manysided and pioneering efforts they prepared the fertile soil on which Poland's present day's music thrives.

V1214: Edward Loughborough Keyes: An Early Twentieth Century Leader In Urology

2004 ◽  
Vol 171 (4S) ◽  
pp. 320-320
Author(s):  
Peter J. Stahl ◽  
E. Darracott Vaughan ◽  
Edward S. Belt ◽  
David A. Bloom ◽  
Ann Arbor
Keyword(s):  
Twentieth Century ◽  
Early Twentieth Century

New insights into the controversy surrounding marine biological laboratory (Marine Station) facilities in the Firth of Clyde in the early twentieth century

2015 ◽  
Vol 42 (1) ◽  
pp. 165-170
Author(s):  
P. G. Moore
Keyword(s):  
Twentieth Century ◽  
Early Years ◽  
Marine Biological Laboratory ◽  
Biological Station ◽  
Marine Biological ◽  
Biological Laboratory ◽  
Early Twentieth Century ◽  
Marine Station ◽  
Regius Professor ◽  
Adjacent Island

Three letters from the Sheina Marshall archive at the former University Marine Biological Station Millport (UMBSM) reveal the pivotal significance of Sheina Marshall's father, Dr John Nairn Marshall, behind the scheme planned by Glasgow University's Regius Professor of Zoology, John Graham Kerr. He proposed to build an alternative marine station facility on Cumbrae's adjacent island of Bute in the Firth of Clyde in the early years of the twentieth century to cater predominantly for marine researchers.

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