The Presence of the Past and the Shadows of Futurity: Petrarch, Vernacular Art Criticism, and the Anticipation of the Connoisseur

Mediaevalia ◽  
2016 ◽  
Vol 36 (1) ◽  
pp. 147-185
Author(s):  
Karen Elizabeth Gross
Keyword(s):  
Art Criticism ◽  
The Past ◽  
Vernacular Art

Le « Musée de poche »: collection productrice d'un patrimoine artistique

2019 ◽  
Vol 58 (3) ◽  
pp. 382-395
Author(s):  
Colette Leinman
Keyword(s):  
Cultural Heritage ◽  
Contemporary Art ◽  
Art Criticism ◽  
Socialist Realism ◽  
Abstract Art ◽  
Discursive Analysis ◽  
The Past ◽  
Art Writing ◽  
The Future ◽  
Post War

In 1955 a polychrome and affordable collection of writers' biographies was created, allowing a large and young audience to easily access contemporary art, especially abstract art. This is hardly a given in the context of post-war, where the return to classical French aesthetics clashes with Socialist Realism. This study of ‘The Pocket Museum’ (1955–1965), shows how the collection fits into art writing, between art criticism and poetic writing, and how it enables the reader to discover abstract works. An ideal place for mediation and transmission, the collection, as an editorial strategy, helps to transform these new aesthetic creations into a national cultural heritage. Through a discursive analysis of ten books from the collection, three processes that have contributed to the promotion of abstract art are highlighted: the legitimacy of the author's discourse, whether he is an art critic, a poet, writer or journalist; the representation of the artist in question, whose difficult path is both stereotyped and singular, but always valorized; and finally, a series of analogies between abstract art and nature or comparisons with music, or else metaphorical expressions manifesting the ‘collapse of time’ where the universality of abstract art is part of the past, the present and the future.

scholarly journals THE IDENTITY AS AN ART PHENOMENON

2021 ◽  
Vol 5 (43) ◽  
Author(s):  
A. Zinenko
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Art Criticism ◽  
Organizational Design ◽  
Cross Cultural ◽  
Research Subject ◽  
Art Theory ◽  
Teaching Activities ◽  
Hermeneutic Phenomenological ◽  
The Past

The research subject is the study of the Phenomenon of identity and its reflection in contemporary Ukrainian art. The purpose of the work is to investigate the specifics of the Phenomenon's reflection of identity in contemporary Ukrainian art. The work methodology is based on chronological and scientific comprehensiveness, art history, historical, philosophical, and culturological approaches, ontological, axiological, hermeneutic, phenomenological, cross-cultural, and method of art analysis. The work results allow us to understand the evolution of researchers' views in various fields on the Phenomenon of identity and its application in contemporary art approaches. The results' scope is today's artistic practices, history, art theory, and art criticism, teaching activities for students and graduate students of creative specialties. Findings. The Phenomenon of identity in contemporary art means that problem of its reflection in the art exists and begins to be understandable. Some conclusions about the correctness of the direction of practices and patterns to a new search identity approach can be made considering foreign experience. Simultaneously, a society that interacts with contemporary art in the latest cultural projects and what principles of such participation should be taken into account in organizational, design, exhibition, and interpretive activities. The proof that modern contemporary art in its various manifestations is deeply rooted in the socio-cultural process, and therefore has different forms of identity, is closely connected with the past and present of Ukraine. Appeal to the past in art - preserving memory, rethinks symbols and signs, gives new life to archaic images and techniques; art is turned to the present, reflecting on reality. Presenting society's moods and problems accumulate the achievements of Ukraine as an independent country.Keywords: contemporary art, identity, Ukraine, the beginning of XXI century. 

What is Theology?

Philosophy ◽  
1954 ◽  
Vol 29 (108) ◽  
pp. 54-64
Author(s):  
John Hartland-Swann
Keyword(s):  
Art Criticism ◽  
Religious Experiences ◽  
Recent Issue ◽  
The Past

Professor Lewis's paper, which appeared in a recent issue of this journal, raised many interesting problems. I propose, however, to deal only with the principal question which Mr. Lewis himself stated as follows: Just what is theology, what does it do? Mr. Lewis's own answer as to what it does—or rather what it should do to-day—an answer which came rightly enough at the end of his paper, was, briefly, that theology should become creative as opposed to static. That is to say, it should, on the analogy of art criticism, “‘render’ the religious experiences of the past by performing upon them as a whole, and with all the help which careful scholarship can provide, an operation not dissimilar to that performed in the complete symbolism of the original experience upon the elements of more overt meaning within it.”

scholarly journals PREREQUISITES AND PLOT-COMPOSITIONAL FEATURES OF THE DIRECTION OF SURREALISM IN THE VISUAL ARTS

2020 ◽  
Vol 4 (10(79)) ◽  
pp. 10-15
Author(s):  
S. Krykbayeva ◽  
L. Bakirova ◽  
K. Zhedelov
Keyword(s):  
Visual Arts ◽  
Art Criticism ◽  
Turning Point ◽  
Past Century ◽  
Holistic View ◽  
Traditional Art ◽  
The Past ◽  
Death Time ◽  
Original Culture ◽  
Modern Era

The article reveals the preconditions for the emergence and features of surrealism as an artistic direction. The rejection of the traditions of realism, the autonomy of the artist's personality, irony, playfulness in creativity, the scandalous and shocking nature of his presentation are due to the turning point of the era. The study of surrealism is aimed at forming a systematic, holistic view of the art of the past century in the reader, developing his own position in relation to its diverse innovations. The influence of scientific art criticism in the field of surrealism on the formation of aesthetic views of modern Kazakhstani artists is considered. Philosophy, art or the real sciences: life, death, time, memory, war, love - these topics are always relevant for all areas of humanity and worldview. Describes traditional and modern artistic techniques used in the author's works of art based on the symbolic texts of surrealism. In today's era of globalization, when the country seeks to rethink its original culture and form a national idea and ideology, one of the most pressing problems of the modern era is the study of the origins and nature of our national traditional art. 

scholarly journals FEMINIST ART GRIZELDY POLLOK AS A CHALLENGE TO THE ART OF THE PAST

2021 ◽  
Vol 17 (1) ◽  
pp. 40-44
Author(s):  
Olena Zarytska
Keyword(s):  
Art Criticism ◽  
Theoretical Work ◽  
Feminist Art ◽  
Van Gogh ◽  
Freudian Psychoanalysis ◽  
The Past ◽  
1960S And 1970S ◽  
The 1960S ◽  
Methodological Eclecticism ◽  
Death Of The Author

The theoretical work of one of the founders and leading figures of modern feminist art Griselda Pollock is considered. Representing researchers whose ideas were shaped by the radical cultural and social revolution of the 1960s and 1970s, she belongs to the second generation of feminist art criticism. The author points to the eclectic methodological position of G. Pollock, which combines a number of areas associated with its "radicalism" in relation to the classical areas of art history and social thought. In particular, it is Marxism, poststructuralism of R. Bart and M. Foucault, Freudian psychoanalysis etc. Methodological eclecticism G. Pollock suggests that the leading in her work is her ideological attitude, rather than research position. Although G. Pollock's theoretical constructions are formally based on specific biographical and art studies of artists of the past, methodological eclecticism does not allow to characterize them as scientific or at least consistently logical in their construction. The author concludes that substantively, the concept of G. Pollock is based on the interpretation of female (and male) principles in the artist's work as a gender category, defined by the prevailing social roles and stereotypes in society. G. Pollock uses the concept of "bourgeoisie" in relation to the culture of the masculine society of the past; attempts to develop the concept of "death of the author" by R. Bart in the interpretation of the socially determined figure of the artist (on the example of W. Van Gogh); quite arbitrarily uses the apparatus of Freudian psychoanalysis to read ("deconstruct") works of art, in particular, paintings by W. Van Gogh and A. de Toulouse-Lautrec. Thus, G. Pollock turns feminist art criticism into an ideological platform for the development of a range of ideological and theoretical currents, united by their radicalism and opposition to classical art and the ideological foundations of modern civilization as a whole.

One Eye is Usually Centred Horizontally (and near the Golden Section Vertically) in Portraits over the Past 500 Years

Perception ◽  
1997 ◽  
Vol 26 (1_suppl) ◽  
pp. 18-18
Author(s):  
C W Tyler
Keyword(s):  
Normal Distribution ◽  
Art Criticism ◽  
Golden Section ◽  
Golden Ratio ◽  
Bimodal Distribution ◽  
Eye Position ◽  
Height Distribution ◽  
The Past ◽  
Single Person

Although the eyes are a key feature of facial portraits, compositional rules for the placement of the eyes relative to the frame are obscure. Two hypotheses of eye position in the portrait frame were compared: that the pair of eyes were symmetrically placed or that one eye was centred in the frame. Portraits were defined as paintings of a single person from the waist up without other dominant objects or animals in the scene. From all artists represented in seven source-books on portraiture over the past five centuries (eg from van Eyck to Picasso), the first portrait in which both eyes were visible was analysed (170 portraits). Horizontal and vertical eye and mouth positions were measured as a proportion of frame width and height. The eyes in portraits tend to cluster horizontally around the centre vertical, with one eye centred in a normal distribution with a sigma of only ±5% of the frame width. The binocular mean had a bimodal distribution implying that one or other eye was usually centred. Conversely, the eye height distribution was not centred vertically but peaked close to the classic golden ratio of 0.618 (where the smaller portion has the same ratio to the larger as does the larger to the whole), with virtually no eyes below the vertical centre. The mouth distribution was much broader than that of the centred eye. The eye centring with an accuracy of ∼1 eye width seems not to be mentioned in art criticism, which suggests that unconscious functions operate in our aesthetic judgements.

Unbinding from Humanity: Nandipha Mntambo’s Europa and the Limits of History and Identity

2020 ◽  
Vol 14 (3) ◽  
pp. 310-336
Author(s):  
Ewa Domańska
Keyword(s):  
Visual Culture ◽  
South African ◽  
Art Criticism ◽  
Life Sciences ◽  
Historical Thinking ◽  
Philosophy Of History ◽  
Culture Studies ◽  
Visual Culture Studies ◽  
The Past ◽  
The One

Abstract This article shows that the question of “Historical Thinking and the Human” demands expanding the field of the philosophy of history. What I propose is to investigate the issue from two perspectives: firstly, by positioning it in the broader philosophical context, one that increasingly transcends the boundaries of the humanities to enter the realm of the life sciences; and secondly, by drawing on a wider range of analytical material than has usually been the case in classic works in the philosophy of history. I will critically reflect upon history’s anthropocentric biases, highlighting the need to develop an alternative to history. My thinking is aligned, on the one hand, with notions of the agency of images that have emerged from art criticism and visual culture studies (W.J.T. Mitchell), and, on the other hand, with the idea of theriomorphism, which I explore in terms of new animism, new totemism and philosophical ethology (Roberto Marchesini). In my analysis of works by the South African artist Nandipha Mntambo (cowhides and Europa), I argue that a future-oriented redefinition of the human should transcend the limited categories that have emerged within the framework of history understood as a Eurocentric approach to the past rooted in Greco-Judaic-Christian tradition.

Two Kinds of Historicism: Resurrection and Restoration in French Historical Painting

2010 ◽  
Vol 4 (2) ◽  
pp. 154-171 ◽  
Author(s):  
Stephen Bann
Keyword(s):  
Nineteenth Century ◽  
Art History ◽  
Art Criticism ◽  
Clear Distinction ◽  
Dream Work ◽  
History Painting ◽  
Rhetorical Devices ◽  
The Past ◽  
Paris Salon ◽  
Historical Detail

AbstractThe historicist approach is rarely challenged by art historians, who draw a clear distinction between art history and the present-centred pursuit of art criticism. The notion of the ‘period eye’ offers a relevant methodology. Bearing this in mind, I examine the nineteenth-century phase in the development of history painting, when artists started to take trouble over the accuracy of historical detail, instead of repeating conventions for portraying classical and biblical subjects. This created an unprecedented situation at the Paris Salon, where such representations of history could be experienced as a collective ‘dream-work’, in Freud’s sense. In France, this new pictorial language dates back to the aftermath of the Revolution, and the activities of the ‘Lyon School’. Two artists, Richard and Révoil, were its leading proponents. However their initial closeness has obscured the differences in their approach to the past. Substituting for Freud’s ‘condensation’ and ‘displacement’ the concepts of ‘Resurrection’ and ‘Restoration’, I analyse the pictorial language of the two painters, taking two works as examples. The conclusion is that Révoil, also a collector, was a precursor of the historical museum, which convinces through accumulating objects. Richard, however, employs technical and rhetorical devices to evoke empathetic reactions, and anticipates the illusionism of cinema.

scholarly journals American Art Criticism between the Cultural and the Ideological (II)

2015 ◽  
Vol 25 (1) ◽  
pp. 20-36
Author(s):  
Gabriel C. Gherasim
Keyword(s):  
United States ◽  
Art Criticism ◽  
American Art ◽  
The United States ◽  
Historical Evolution ◽  
The Past ◽  
Cultural Ideologies ◽  
The Arts ◽  
Canadian Studies ◽  
Pluralist Approach

Abstract For the past 150 years, American art and art criticism have undergone important cultural and ideological transformations that are explanatory both of their historical evolution and of the possibility of being divided into several stages. In my interpretation, art criticism cuts across the historical evolution of art in the United States, according to the following cultural and ideological paradigms: two predominant cultural ideologies of art between 1865-1900 and 1960-1980, respectively; two other aesthetic and formalist ideological shifts in the periods between 1900- 1940 and 1940-1960, respectively, and one last pluralist approach to the arts after 1980. Even if this conceptualisation of art criticism in America might seem risky and oversimplifying, there are conspicuous and undeniable arguments supporting it. In a previous study published by American, British and Canadian Studies, I provided conceptual justifications both for the criteria dividing the cultural and the ideological within the overall assessment of American art by art critics and for the analysis and interpretation of the first two important temporal periods in the field of art criticism, 1865-1900 and 1908-1940. The present study continues by analyzing the cultural and ideological stances of American art criticism after 1940 and argues for certain paradigmatic shifts from one period to another.

Observations of the continuum near the galactic centre

1967 ◽  
Vol 31 ◽  
pp. 405
Author(s):  
F. J. Kerr
Keyword(s):  
Galactic Centre ◽  
The Past ◽  
Centre Region ◽  
The Continuum

A continuum survey of the galactic-centre region has been carried out at Parkes at 20 cm wavelength over the areal11= 355° to 5°,b11= -3° to +3° (Kerr and Sinclair 1966, 1967). This is a larger region than has been covered in such surveys in the past. The observations were done as declination scans.

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