10 The Sales of Art Works from the Monastery of Sijena (Huesca) During the Twentieth Century: Late Gothic Painting

2018 ◽  
pp. 390-423
Keyword(s):  
Twentieth Century ◽  
Art Works

‘What is to become of the Crystal Palace?’ The Crystal Palace after 1851

After 1851 ◽  
2017 ◽  
Author(s):  
Kate Nichols ◽  
Sarah Victoria Turner
Keyword(s):  
Twentieth Century ◽  
Art World ◽  
The South ◽  
Crystal Palace ◽  
International Exhibitions ◽  
Art Works ◽  
Nineteenth And Twentieth Centuries ◽  
Sydenham Crystal Palace ◽  
Great Exhibition

This introductory chapter explores and establishes the Sydenham Crystal Palace in relation to existing scholarship on the Great Exhibition of 1851. The Sydenham Palace combined education, entertainment and commerce, and spans both nineteenth and twentieth centuries. We resituate it as an important location within the London art world and establish the broader connections it had with rival ventures such as the South Kensington Museum and the numerous international exhibitions in the period. We set out the new possibilities for the analysis of both nineteenth- and twentieth-century visual and material cultures opened up by this unique venue, problematising the periodisation of art works and attitudes into discretely ‘Victorian’ and ‘Edwardian’ categories.

scholarly journals Weighing Down the Landscape: The Quarry as a Site of Rural Modernity

2018 ◽  
pp. 69-83
Author(s):  
Samuel Shaw
Keyword(s):  
Twentieth Century ◽  
Close Relation ◽  
Art Galleries ◽  
Wide Range ◽  
Art Works ◽  
History Of ◽  
The Common ◽  
Late Nineteenth ◽  
A Site ◽  
Rural Industries

This chapter argues that late nineteenth- and early twentieth-century artists seem to have been especially attracted by quarries, treating them as a means of exploring modernity through the lens of rural romanticism. Quarries regularly appear in paintings in many of the artists associated with rural modernity: William Rothenstein, Edward Wadsworth, Walter Bell, Roger Fry, and J. D. Fergusson, among them. Appreciating that there is no single way of categorising and representing quarries, this chapter (the first ever study of this important subject) explores many of the common themes to be found in paintings of quarries in the first half of the twentieth century. It considers a wide range of artists and art-works — the majority of which are owned by rural art galleries — in close relation to the history of rural industries in such regions as Cornwall, West Yorkshire, and Edinburgh.

scholarly journals Philip Rieff’s typology of culture and its applicability to the literary hybridization of the theological ideas of humanity and spiritual progress (a Bulgarian case study)

2016 ◽  
Vol 16 ◽  
pp. 467-481
Author(s):  
Grażyna Szwat-Gyłybowa
Keyword(s):  
Twentieth Century ◽  
Walter Benjamin ◽  
Carl Schmitt ◽  
Art Works ◽  
The Subject ◽  
Human Thinking

Philip Rieff’s typology of culture and its applicability to the literary hybridization of the theological ideas of humanity and spiritual progress (a Bulgarian case study)The twentieth century has become in a special way a time of reflection on the theologi­cal roots of human thinking, including thinking in political terms; suffice it to mention such names as Walter Benjamin, Carl Schmitt and Erich Voegelin. One of the thinkers who joined the ongoing disputes was Philip Rieff, who in his book My Life Among the Deathworks (2006), took on the task of a controversial (according to many) revitalization of the Judeo-Christian paradigm. Reflecting on the subject of art works over several centuries, he abstracted typo­logical criteria allowing him to build a dichotomous model of art, as dedicated either to death (the non-Judeo-Christian variety) or to life (the Judeo-Christian variety). The paper attempts to verify his reasoning by reflecting on the theological models of humanity and spiritual progress in Teodora Dimova’s novel The Train to Emmaus (Vlakat za Emaus, 2014). O przydatności typologii Philipa Rieffa w badaniach nad literackimi hybrydyzacjami teologicznych idei człowieczeństwa i duchowego postępu (na jednym przykładzie bułgarskim)Wiek dwudziesty w szczególny sposób stał się czasem refleksji nad teologicznymi korze­niami ludzkiego myślenia, w tym myślenia w kategoriach politycznych; dość wspomnieć choćby nazwiska tak różnych myślicieli jak Walter Benjamin, Carl Schmitt, Erich Voegelin. Jednym z badaczy, który włączył się w toczące się dysputy był Philip Rieff, który w książce My Life Among the Deathworks (2006) podjął trud dyskusyjnej (zdaniem wielu) rewitalizacji paradygmatu judeochrześcijańskiego. Snując rozważania na temat dzieł sztuki na przestrzeni kilku wieków, wyabstrahował kryteria typologiczne, pozwalające budować dychotomiczny model sztuki jako dedykowanej śmierci (wariant antyjudeochrześcijański) lub życiu (wariant judeochrześcijański). Jego sposób rozumowania autorka poddaje próbie weryfikacji w reflek­sji nad teologicznym modelem człowieczeństwa i duchowego postępu w powieści Teodory Dimowej Влакът за Емаус (2014).

The Aura of Modernism

2005 ◽  
Vol 1 (1) ◽  
pp. 1-14 ◽  
Author(s):  
Marjorie Perloff
Keyword(s):  
Twentieth Century ◽  
The Internet ◽  
Academic Interest ◽  
Art Works ◽  
The Everyday ◽  
The Dead ◽  
The 1960S

Marjorie Perloff's wide-ranging essay reflects on the fate of Modernism in the twentieth century. She focuses in particular on claims that it was either elitist and authoritarian, and thus politically reactionary, or was caught up in processes of capitalist commodification, and therefore unable to resist the very alienation it diagnosed. In the period that ran from the 1960s to the early 1990s Modernism was typically seen as a failed project, which was compromised by its complicity with the bourgeois institution of art and by the reification of its art-works, seen now as the dead exhibits of a once resonant cultural moment. But it has become apparent that those who trumpeted the death of Modernism were premature with their obituary notices. Perloff traces some of the major shifts in recent critical work, and her essay questions earlier claims about Modernism's reactionary politics, anti-populism, and rejection of the everyday. She also draws attention to the non-academic interest in Modernism that is rife on the internet, where, in fulfilment of Benjamin's prophecy, the distinction between artist and public has broken down and the “pleasure of the text” takes precedence over concerns with ideology. Perloff suggests that although genres such as poems, paintings, and novels have to some extent been displaced by “differential text”, Modernism's established artefacts continue to “stay news” and to exert their strange auratic power.

scholarly journals Ivan Bahrianyi – The Editor and the Author of the Newspaper “Ukrainski Visti”/ “Ukrainian News” (1945–1963)

2019 ◽  
pp. 146-155
Author(s):  
Serhiy Коzak
Keyword(s):  
United States ◽  
Twentieth Century ◽  
World War Ii ◽  
The United States ◽  
National Council ◽  
World War ◽  
The Press ◽  
Art Works ◽  
History Of ◽  
Political Figure

The main objective of this study is to review the journalistic and editorial activities of Ivan Bahrianyi from the perspective of articles of the newspaper “Ukrainski Visti”/”Ukrainian News”, a unique edition published in Germany and the United States after World War II (1945-2000). One of the several methods of research was to analyze the publications of I. Bahrianyi and about I. Bahrianyi, which we found on the pages of this newspaper. In particular, in the course of this task, a new valuable fact about Ivan Bahrianyi’s collaboration with the edition for eighteen years (1945 – 1963) was obtained, the publications of this period were analyzed and the peculiarities of the newspaper’s functioning when it was headed by Ivan Bahrianyi were ascertained. It is revealed that on the pages of this edition I. Bahrianyi acted in several posts: as the author of journalistic articles and works of art, as the editor-in-chief, and as a prominent political figure of the Ukrainian diaspora (the chairman of the URDP, the head of the Ukrainian National Council). However, in whatever role Ivan Bahriany appeared on the pages of the newspaper (publicist, author of art works, public figure, editor), each of them was important and each of them can be considered as a separate cultural and spiritual property, but at the same time they all make up the phenomenon, which undoubtedly deserves a separate section in the history of the press of Ukrainian political emigration in the mid and the second half of the twentieth century.

Benjamin, Walter (1892–1940)

2018 ◽  
Author(s):  
Julian Roberts
Keyword(s):  
Twentieth Century ◽  
Social Theory ◽  
Walter Benjamin ◽  
Formal Analysis ◽  
Art Works

Walter Benjamin was one of the most influential twentieth-century philosophers of culture. His work combines formal analysis of art works with social theory to generate an approach which is historical, but is far more subtle than either materialism or conventional Geistesgeschichte (cultural and stylistic chronology). The ambiguous alignment of his work between Marxism and theology has made him a challenging and often controversial figure.

Introduction

Moonlighting ◽  
2019 ◽  
pp. 1-46
Author(s):  
Nathan Waddell
Keyword(s):  
Twentieth Century ◽  
Twentieth Century Literature ◽  
Early Twentieth Century ◽  
Art Works ◽  
Century Literature

This introductory chapter suggests that the customary critical focus on formal correspondences between literary and musical art works doesn’t help us grasp how the modernists knew that so many references to Beethoven’s life and music in and around 1900 were references to conventional ways of talking and writing about his life and music, references which had by that point long since become part of the cultural vernacular. It argues that once we allow for a modernist musicality in this sense, we open up the possibility of a new way of talking about the place of the Beethovenian in early twentieth-century literature—we make it feasible to see modernist writers not only as the inheritors of Beethovenian rebelliousness, but also as critics of the very rhetorical means with which the rebelliousness of Beethoven acquired legendary status.

scholarly journals A Lingering Lusotopia: Thinking the Planetary from Angola

ARTMargins ◽  
2014 ◽  
Vol 3 (1) ◽  
pp. 3-27
Author(s):  
Ros Gray
Keyword(s):  
Twentieth Century ◽  
Space Mission ◽  
The Sun ◽  
Art Works ◽  
Made In

The article considers two art works made in recent years in Angola: the exhibition Lion & Ox, which featured art works by António Ole and Art Orienté objet, and the installation Icarus 13 by Kiluanji Kia Henda. Both draw on twentieth century utopias still present in Angola and refer to Agostinho Neto, the poet who became Angola's first Marxist-Leninist president. While Lion & Ox explores Angolan nature structured through colonial taxonomies, Icarus 13 tells sci-fi narrative of an Angolan space mission to the Sun, suggesting a shift to a planetary imaginary. What does it mean, in the present conjuncture, to think the planetary from Angola?

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