Disturbed by Something Deeper: The Native Art of John Joseph Mathews

2000 ◽  
Vol 35 (2) ◽  
pp. 162-173
Author(s):  
Louis Owens
Keyword(s):  
Native Art ◽  
John Joseph Mathews

Native Art as Art History: Meaning and Time from Unwritten Sources

1987 ◽  
Vol 21 (4) ◽  
pp. 7-36 ◽  
Author(s):  
Joan M. Vastokas
Keyword(s):  
Art History ◽  
Native Art

Totem Poles: A Recent Native Art of the Northwest Coast of America

1930 ◽  
Vol 20 (2) ◽  
pp. 258 ◽  
Author(s):  
Marius Barbeau
Keyword(s):  
Northwest Coast ◽  
Native Art

Encyclopedia of Native Art: Worldview, Symbolism & Culture in Africa, Oceania & Native North America

2001 ◽  
Vol 22 (2) ◽  
pp. 61 ◽  
Author(s):  
Hope B. Werness
Keyword(s):  
North America ◽  
Native Art ◽  
Native North America

Selected Works for Keyboard, Part 2

10.31022/c002 ◽  
1975 ◽  
Author(s):  
Armand-Louis Couperin
Keyword(s):  
Special Interest ◽  
Native Art ◽  
Classical Style

The music of this distant cousin of Couperin le Grand illuminates every facet of the transition from the native art of French harpsichordists to the early international classical style. Couperin's special interest in new instrumental sounds, coinciding with the gradual ascendancy of the piano over the harpsichord, is beautifully demonstrated in the music and detailed preface of this edition.

Agafonov’s Early Kharkiv Creative Period: Dialogue with the Theatre

2020 ◽  
Vol 2020 (3) ◽  
pp. 82-93
Author(s):  
V. Chechyk ◽  
Keyword(s):  
Art History ◽  
Artistic Practice ◽  
Partial Reconstruction ◽  
Theatrical Space ◽  
Native Art ◽  
History Of ◽  
Artistic Values ◽  
First Time ◽  
History Of Formation

This article is dedicated to the study of the nature of E. Agafonov’s creative ties with the theater – a topic that has been insufficiently covered in the native art history. The author’s field of view is set in the artist’s early Kharkiv period, marked as the years of 1905–1913. The article focuses on the exceptional role of E. Agafonov in the organization and the artistic practice of the first modernist theater “Blakytne Oko” in Kharkiv (1909–1911). Agafonov belonged to the constellation of masters who was very sensitive to the problem of evolving the artistic speech. He viewed the theater as a convincing platform for promoting and approving of the latest artistic values, discovered by Impressionism and Post-Impressionism. Experiments in easel art (with color, plastic, line, techniques, materials, etc.), largely inspired by the work of D. Burliuk (1906–1908), were directly reflected in Agafonov’s stage practice, namely in numerous designs of the modernist productions based on plays by M. Maeterlinkc, A. Schnitzler, S. Pshybyshevsky and O. Blok. In turn, it was established that theatrical motives were reflected in E. Agafonov’s easel art, as well as in the art of the students of his artistic studio – O. Rybnikov, I. Terentyev, M. Sinyakova, and K. Storozhnichenko. In this regard, a special attention is given to the linocuts by F. Nadezhdin. It was found that the program of “total” design of theatrical space (stage and auditorium), as well as the implementation of production ideas in the cabaret theater “Blakytne Oko” were the result of the master’s fascination with the concepts of artistic synthesis, actualized in the era of Modern. Agafonov moved from dramatization of paintings (of A. Beklin, F. Malyavin, and O. Rodin) to staging experimental show-programs like “The Evening of Autumn”, “Visiting Pierrot” and “In the Middle of Nowhere”, partial reconstruction of which was undertaken for the first time by the author of the article. Agafonov was close to the idea of artistic synthesis, identified by him in F. Malyavin’s paintings, in V. Komissarzhevska’s theatre and I. Duncan’s choreography. The study of E. Agafanov’s theatrical art expands the understanding of the history of formation and development of Ukrainian scenography at the beginning of the twentieth century.

Native Art in the Moro Country

1902 ◽  
Vol 10 (6) ◽  
pp. 345
Author(s):  
George Reece
Keyword(s):  
Native Art

John Joseph Mathews: Life of an Osage Writer by Michael Snyder

2019 ◽  
Vol 54 (1) ◽  
pp. 81-83
Author(s):  
Frances W. Kaye
Keyword(s):  
John Joseph Mathews

The Shot

2017 ◽  
Author(s):  
Troy Rondinone
Keyword(s):  
Los Angeles ◽  
Native Art ◽  
The World ◽  
The 1950S

This chapter focuses on George Parnassus who, by the late 1950s, had become one of the most powerful figures in boxing. He came to be known as a specialist in developing Latino talent. In 1957 the Olympic Auditorium's matchmaker, Babe McCoy, lost his license (for fixing fights), and Parnassus, whose reputation by then had garnered him great local respect, was recruited as his replacement. Parnassus was looking for the next Latino sensation. He had managed Los Angeles native Art “The Golden Boy” Aragon in the 1950s, had set him up for a losing title fight against Carmen Basilio in 1958, and then watched him get handed down in the ranks. In Gaspar, Parnassus saw a big, popular score. He saw the first Mexican welterweight champion of the world. Working deals was Parnassus' forte, and he would need to work one with Kid Paret to make this happen.

The trickster shift: humour and irony in contemporary native art

2000 ◽  
Vol 37 (06) ◽  
pp. 37-3156-37-3156
Keyword(s):  
Native Art
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