Art Criticism and Avant-Garde: André Lhote’s Written Works

2007 ◽  
pp. 15-29
Keyword(s):  
Art Criticism ◽  
Avant Garde

scholarly journals CONCEPT OF THE STUDY OF ART BY R.J. COLLINGWOOD AS AN OBJECT OF THEORETICAL ANALYSIS

2020 ◽  
pp. 36-40
Author(s):  
M. V. Ternova
Keyword(s):  
Theoretical Analysis ◽  
Art History ◽  
Art Criticism ◽  
The Other ◽  
Historical Period ◽  
Rudyard Kipling ◽  
Cultural Traditions ◽  
Avant Garde ◽  
History Analysis ◽  
The One

The article analyzed concept of the study of art by Robin George Collingwood (1889-1943), a well-known English neo-hegelian philosopher. His significant part of the theoretical heritage is connected with the explanation of the nature of art and with the consideration of its condition during the period of the changing Oscar Wilde era to the era of Rudyard Kipling. The circle of problem such as content and form, character, image, mimesis, reflection, emotion, art and "street man" identified. All of them in Collingwood's presentation and interpretation significantly expanded the space of research not only English, but also European art criticism. The concept of study of art is "built" on the basis of an active understanding of historical and cultural traditions accented. The concept of art criticism of R.G. Collingwood – a famous English philosopher of the XIX-XX centuries, on the one hand, has self-importance, and on the other, although based on the traditions of contemporary humanities, still expands art history analysis of aesthetics through aesthetics and psychology. Recognizing the exhaustion of the English model of romanticism, R.G. Collingwood tries to outline the prospects for the development of art in the logic of the movement "romanticism – realism – avant-garde", which leads to the actualization of the problem of "mimesis – reflection". At the same time, the theorist's attention is consciously concentrated around the concept of "subject", the understanding of which is radically changing at the turn of the XIX-XX centuries. Theoretical material in the presentation of R.G. Collingwood is based on the work of Shakespeare, Reynolds, Turner, Cezanne, whose experience allows us to focus on the problem of "artist and audience". It is emphasized that Collingwood's position is ahead of its time, stimulating scientific research in the European humanities. The existence of indicative tendencies, which are distinguished in the logic of European cultural creation of the historical period, is emphasized.

Abundance 1961–1971

2012 ◽  
Keyword(s):  
United States ◽  
Art Criticism ◽  
The United States ◽  
Pop Art ◽  
Avant Garde ◽  
Clement Greenberg

This section focuses on Lawrence Alloway's life as an art critic in the period 1961–1971, beginning with his travel to the United States in 1961 and his dispute with Clement Greenberg with regards to art criticism, particularly of junk art. It also considers Alloway's writings on American Pop art, the mounting of the exhibition Six Painters and the Object and Six More in 1963, Alloway's relationship with Alexander Liberman and Paul Feeley, his views on abstraction and iconography as well as newness and avant-garde art, his reviews of a number of films and his pluralism.

Art and/or Revolution: The Matter of Painting in Postwar Japan

ARTMargins ◽  
2013 ◽  
Vol 2 (1) ◽  
pp. 37-57 ◽  
Author(s):  
Pedro Erber
Keyword(s):  
Art Criticism ◽  
Abstract Expressionism ◽  
Subsequent Development ◽  
The United States ◽  
The Political ◽  
Individual Freedom ◽  
Postwar Art ◽  
Avant Garde ◽  
Postwar Japan ◽  
Japanese Art

Japanese art critics of the 1950s perceived the locus of a new materialist aesthetics in the new trends of informal abstraction emanating from the United States and France. This revealed a stark contrast with the idea of individual freedom that informed North-American discourse on Abstract Expressionism. Focusing on the writings of Miyakawa Atsushi, Haryū Ichirō, and Segi Shinichi, this article explores the political significance of the question of matter in Japanese postwar art criticism and indicates its importance for the subsequent development of avant-garde art in 1960s Japan.

scholarly journals PHILOSOPHICAL STATUS OF ARTISTIC AVANT-GARDE

2021 ◽  
pp. 35-40
Author(s):  
N.G. Krasnoyarova
Keyword(s):  
Cultural Values ◽  
Art Criticism ◽  
Avant Garde ◽  
Philosophy Of Culture

The article asserts the exhaustion of art criticism and culturological approaches to the artistic avant-garde. The context of the philosophy of culture as an actual section of philosophy makes it possible to reveal the essential moments of culture as a whole in the artistic avant-garde and to manifest the function of the avant-garde as a special “new phenomenon” imparting dynamism to culture in ways of accepting or rejecting cultural values.

Film criticism and the legitimization of a New Wave in contemporary Greek cinema

2020 ◽  
Vol 6 (1) ◽  
pp. 29-49 ◽  
Author(s):  
Eirini Sifaki ◽  
Anastasia Stamou
Keyword(s):  
Content Analysis ◽  
Media Coverage ◽  
Art Criticism ◽  
Film Industry ◽  
Film Criticism ◽  
New Wave ◽  
Cultural Products ◽  
Avant Garde ◽  
Greek Society ◽  
The Social

Contemporary Greek cinema garnered a great reputation in recent years, including Oscar nominations, numerous awards and distinctions in international festivals and also worldwide media coverage. The emergence of a new group of filmmakers whose creativity and avant-garde aesthetics were stimulated and heightened by the social and economic crisis was first marked by media critics (film critics and cultural journalists). As journalistic art criticism plays a prominent role in the legitimization of cultural products and artistic genres, this article examines the way in which professional film critics and journalists, both in Greece and abroad, described, evaluated and labelled the ‘Greek New Wave’. In line with cultural evaluation theories, we conducted a content analysis of film criticism articles in order to explore how professionals have reviewed and deployed their arguments towards this new phenomenon. Our results indicate that film criticism decisively influenced the Greek New Wave’s shaping and legitimization in the film industry. Even though film critics and journalists hesitated to adhere to a specific name for this phenomenon in Greek cinema, their discourses and interpretations have been based on the films’ break with previous film practices and representations of Greek society and the paradox between a ‘collapsing country’ and a flourishing arthouse cinema.

Art After Deskilling

2010 ◽  
Vol 18 (2) ◽  
pp. 77-96 ◽  
Author(s):  
John Roberts
Keyword(s):  
Art History ◽  
Art Criticism ◽  
Modern Art ◽  
Ideology Critique ◽  
Advanced Level ◽  
Avant Garde ◽  
Modern Period ◽  
The 1960S ◽  
Radical Transformation ◽  
Artistic Skill

The absence of would-be palpable skills in contemporary and modern art has become a commonplace of both conservative and radical art-criticism. Indeed, these criticisms have tended to define where the critic stands in relation to the critique of authorship and the limits of ‘expression’ at the centre of the modernist experience. In this article, I am less interested in why these criticisms take the form they do – this is a matter for ideology-critique and the sociology of criticism and audiences – than in the analysis of the radical transformation of conceptions in artistic skill and craft in the modern period. This will necessitate a focus on modernism and the avant-garde, and after, as it comes into alignment with, and retreat from, the modern forces of production and means of reproduction. Much, of course, has been written within the histories of modernism, and the histories of art since, on this process of confrontation and exchange – that is, between modern art’s perceived hard-won autonomy and the increasing alienation of the artist, and the reification of art under the new social and technological conditions of advanced capitalist competition – little, however, has been written on the transformed conditions and understanding of labour in the artwork itself (with the partial exception of Adorno). This is because so little art-history and art-criticism – certainly since the 1960s – has been framed explicitly within a labour-theory of culture: in what ways do artists labour, and how are these forms of labour indexed to art’s relationship to the development of general social technique (the advanced level of technology and science as it expressed in the technical conditions of social reproducibility)? In this article, I look at the modern and contemporary dynamics of this question.

scholarly journals Ramón Gaya: "Creo que soy poeta pintando"

Monteagudo ◽  
2021 ◽  
pp. 191-208
Author(s):  
Elide Pittarello
Keyword(s):  
Water Flow ◽  
Art Criticism ◽  
Philosophy Of Art ◽  
Avant Garde ◽  
Verbal Language ◽  
Verbal Creativity ◽  
Logical Negation ◽  
Linguistic Strategy ◽  
The Aesthetic ◽  
First Time

Simónides de Ceos, que definió la poesía una pintura que habla y la pintura una poesía muda, contribuyó al origen de la filosofía del arte, base de la moderna estética occidental. Para el filósofo italiano Benedetto Croce el arte es la síntesis estética de la intuición y la expresión a través del lenguaje lírico. Encarna las representaciones de la belleza, un evento universal, ajeno a la Historia y a la crítica de arte. De manera más radical, Ramón Gaya rechazó este mismo saber de una manera más radical desde que era un jovencísimo pintor, decepcionado por las vanguardias. Su planteamiento de la obra de arte se aproxima a una actitud mística. Emerge cuando se enfrenta a la pintura de Velázquez en España, antes de exiliarse en México. Este sentimiento trascendente se agudiza cuando visita Venecia por primera vez, en 1952, y asocia la pintura con el agua que fluye. Es el primer paso de su identificación sagrada de las artes –pintura, poesía, escultura y música– con la Naturaleza y sus elementos cosmológicos. La experiencia veneciana posibilita una nueva creatividad icónica y verbal. La pintura conlleva siempre una enigmática dualidad, manteniendo rasgos de su procedencia misteriosa. Los poemas que Ramón Gaya le dedica al Crepúsculo de Miguel Ángel son una muestra de su intermedialidad heterodoxa, donde a la técnica de lo diáfano en pintura corresponde el uso de la negación lógica por escrito. Esta estrategia lingüística es afín a la de los ensayos que tratan del mismo tema.   Simonides of Ceos, who defined poetry as a speaking picture and painting a mute poetry, contributed to the rise of philosophy of art, the basis of modern Western aesthetics. For the Italian philosopher Benedetto Croce art is the aesthetic synthesis of intuition and expression through lyrical language. It embodies the representations of beauty, a universal event that doesn’t concern History nor art criticism. In a more radical way, Ramón Gaya refused this same knowledge since he was a very young painter, disappointed by avant-garde. His approach to works of art is close to a mystic attitude. It emerges when he faces Velázquez’s painting in Spain, before going into exile in Mexico. His transcendental feeling increases when he visits Venice for the first time, in 1952, and he associates painting with water flow. It is the first step of a sacred identification of arts –painting, poetry, sculpture and music– with nature and its cosmological elements. The Venetian experience gives birth to a new iconic and verbal creativity. Painting always involves an enigmatic duality, keeping features of its mysterious source. The poems that Ramón Gaya dedicated to Michelangelo's Dusk are a specimen of his unconventional intertermediality, where the diaphanous technique in painting corresponds to the use of logical negation in the verbal language. This linguistic strategy is in line with the essays dealing on the same topic.

Summary and Conclusion

2012 ◽  
Keyword(s):  
High Pressure ◽  
Art History ◽  
Art Criticism ◽  
Avant Garde ◽  
Post Modernism ◽  
Stark Contrast ◽  
The 1960S

For Lawrence Alloway, the 1960s was ‘a period of exceptional high pressure, affluence, creativity, [and] confidence’, which was in stark contrast to the 1970s. This changed outlook in art was implied in the subtitle of Alan Sondheim's 1977 book on the contemporary avant-garde, Post-Movement Art in America. This section focuses on Lawrence Alloway's life as an art critic, beginning with his commitment to pluralism and his attitude towards Post-Modernism. It also discusses his views on art history and art criticism, his reputation as an art critic and the legacy of his pluralism.

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