Malerei als Augentrug. Alexander Roslins Selbstporträt mit Marie-Suzanne Giroust-Roslin an der Staffelei

2020 ◽  
Vol 83 (4) ◽  
pp. 506-553
Author(s):  
Marianne Koos
Keyword(s):  
Art Criticism ◽  
Modern Art ◽  
Denis Diderot ◽  
Double Image ◽  
Second Moment ◽  
Depth Analysis ◽  
Figure Painting

AbstractThis article examines the unique self-portrait of Alexander Roslin and his artist wife, Marie- Suzanne Giroust-Roslin (1767, Stockholm, Nationalmuseum), in which a male painter for once leaves the place at the easel to a painting woman. This complex multi-figure painting not only commemorates the couple’s friendship with the sitter, Henrik Villhelm Peill. Rather, it is conceived as a double image of love and advertisement – especially for her art. Further, with this painting Roslin takes a programmatic stand for his own concept of painting as much as for that of his wife: Criticized by Denis Diderot in 1765 for not painting but – like women at the toilet table – literally applying makeup, in this selfportrait with his painting wife Roslin undertakes a conspicuous narrowing of these (so different) activities. Roslin takes up the reproach of beautiful appearance and deception in order to let this criticism collapse in a second moment in the artistic concept of the artful deception of the eye – in a deceptively real painting, which – unlike women’s makeup – negates all difference between being and appearance. An in-depth analysis of the extraordinarily refined self-portrait of Madame Roslin with the laughing self-portrait of Maurice-Quentin de La Tour supports this interpretation. In a broader perspective this study is understood as a contribution to the investigation into the metaphorization of painting layers, picture surfaces, and forms of color application in pre-modern art and art criticism.

To Ngoc Van (1906–1954)

2018 ◽  
Author(s):  
Phoebe Scott
Keyword(s):  
Visual Arts ◽  
Public Discourse ◽  
Art Criticism ◽  
First Generation ◽  
Modern Art ◽  
Colonial Period ◽  
The Public ◽  
Indochina War

To Ngoc Van was a notable Vietnamese painter, and one of the first generation of students to graduate from the École des Beaux Arts de l’Indochine, Hanoi, founded in 1925. He was known primarily for his works in oil, which captured the romantic subjects popular in Vietnamese painting of the 1930s and 1940s. As one of the first Vietnamese artists to write and publish art criticism in the local press, he was also influential in shaping the public discourse around Vietnamese modern art. Like many other intellectuals of his generation, he lived through the transition from the colonial period to the anti-colonial, Communist-led revolution, and consequently had to make profound changes to his ideas and practices. During the First Indochina War (1946–1954), he transformed his manner of painting to suit the new ideological environment, creating propaganda works to boost morale, as well as images of peasants and soldiers. However, he was still a strong advocate for the visual arts, and published passionate defenses of creative freedom, artistic education and the practice of modern Vietnamese lacquer painting, despite the ideological pressures of the period.

Nabaa, Nazir (1938--)

2018 ◽  
Author(s):  
Anneka Lenssen
Keyword(s):  
Communist Party ◽  
Rural Schools ◽  
Art Criticism ◽  
Modern Art ◽  
Fine Arts ◽  
Fine Art ◽  
Political Mobilization ◽  
Puppet Theater ◽  
1960S And 1970S ◽  
The 1960S

Nazir Nabaa, a respected Syrian painter, made his greatest contributions to Arab modern art in the 1960s and 1970s, when he contributed to the graphic identity of progressive political causes and the Palestinian liberation struggle. He joined the Syrian Communist Party in the 1954 and in 1959 was briefly jailed for this affiliation. After his release, he traveled to Cairo on a fellowship to study painting at the Faculty of Fine Arts, there developing a heroic realist style around social and labor themes. After returning to Syria in 1964, Nabaa taught drawing in rural schools and worked with myth and folklife. Moving to Damascus in 1968, he worked as an illustrator and became involved in creative projects in support of political mobilization, including poster design, puppet theater, fine art painting, and art criticism. Between 1971 and 1975, Nabaa studied in Paris at the Academy of Fine Arts. Upon his return, he joined the faculty of the College of Fine Arts in Damascus. His later paintings became more fantastical, combining goddess figures with still lifes of fruits, tapestries, and jewelry. He also developed a parallel corpus of abstract paintings based on the exploration of texture and color.

scholarly journals On Proto-Modernist Traits in Early Modern Art Theory

2018 ◽  
pp. 19
Author(s):  
Angelina Milosavljević
Keyword(s):  
Early Modern ◽  
Media Studies ◽  
Art Criticism ◽  
Modern Art ◽  
The Body ◽  
16Th Century ◽  
Art Theory ◽  
Giorgio Vasari ◽  
Specific Concentration ◽  
Contemporary Practice

Early modern art and art theory are still considered by historians and theorists of art mainly in terms of aesthetic principles in the service of the representation of political and ideological concepts. However, the body of early modern art and especially theory abounds with notions, which anticipate the modernist tendencies of self-criticism. In this paper, we would like to suggest that self-criticism also characterized pre-Modernist art, complemented by advanced art criticism, especially during the Mannerist era. We would like to point out that the notion of self-criticism equally applies to both early modern art and art theory in which the specific concentration on problems of construction and composition of painting based its foundations on abstract mathematical  rules, serving to justify and dignify the medium itself. Furthermore, this tendency divorced the art of painting, specifically, from the illusion of reality, thus entrenching it more firmly in its own area competence, to use Clement Greenberg’s phrase. We would also like to demonstrate that late 16th-century art theory pushed well beyond its time, especially the theory written by artists. Their programmatic reliance on pre-existing pictorial models allowed these artists-theorists to abandon the question of realism and naturalism for pure speculation, which could not have been achieved in contemporary practice. We would like to suggest that ideas of abstraction and speculation, so characteristic of Modernist art, featured well before Modernism in the writings of Mannerist artists and theorists Giorgio Vasari, Giovanni Paolo Lomazzo, and Federico Zuccari. Article received: March 26, 2018; Article accepted: April 10, 2018; Published online: September 15, 2018; Original scholarly paperHow to cite this article: Milosavljević, Angelina. "On Proto-Modernist Traits in Early Modern Art Theory." AM Journal of Art and Media Studies 16 (2018): 19−28. doi: 10.25038/am.v0i16.251

Hearsay

2017 ◽  
Author(s):  
Georgina Kleege
Keyword(s):  
Visual Art ◽  
Art Criticism ◽  
Denis Diderot ◽  
Works Of Art ◽  
Autobiographical Accounts ◽  
Mental Imaging

This chapter returns to Denis Diderot and speculates on how his life-long fascination with blindness may have influenced his theories on visual art. For example, why does he open “Notes on Painting” (1765) with a description of a blind woman? His Salon Reviews, which are considered by many to be foundational works of art criticism, employ a number of techniques to describe art work for people who could not see it for themselves. This chapter closely examines his account of his friendship with a young blind woman, Melanie de Salignac, and compares their conversations to autobiographical accounts of other blind writers, activists, scientists, and artists discussing their tactile perceptions and mental imaging.

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 The identification method of 6-7 year-old-children’s «duovector» giftedness in the art-creativity process

2018 ◽  
Vol 7 (4) ◽  
pp. 326-335
Author(s):  
Larisa Yuryevna Kalinina ◽  
Dmitriy Victorovich Ivanov
Keyword(s):  
Contemporary Art ◽  
Art Criticism ◽  
Modern Art ◽  
Reference Points ◽  
Creative Activity ◽  
New Knowledge ◽  
The World ◽  
The Aesthetic ◽  
Development And Validation ◽  
The Relationship

The paper deals with one of the aspects of early identification of giftedness: the establishment of the relationship between its types. The authors see a solution of the problem in the development and validation of the methodology based on the integrated modern scientific knowledge - psychological, pedagogical and art criticism, in the field of contemporary art. This technique is expected to meet the conditions of efficiency and accessibility in the application of teachers working with children. Clarifications have been made to the basic concept of giftedness for the paper. The authors propose a term describing the interrelated manifestation of two types of giftedness - duovector talent. The method is aimed at finding hidden signs of duovector giftedness: musical mathematics, in the field of fine art and sports, musical and linguistic. The basis of this approach is the idea of the dependence of the frequency and brightness of giftedness manifestations on the conditions, the most important of which is the aesthetic environment enriched with multi-modal material for creativity. At the same time, it is advisable to involve children in accessible and aesthetically valuable works of modern art, in the search for new knowledge in the same ways that adult authors of the XXI century use. Modeling directly perceived creative techniques and forms, the child masters the world, structures it non-linearly, on the principle of creating a rhizome. As a catalyst of creative activity, a set of tasks-subtests adapted to the age peculiarities of children is offered. The procedure of the experiment in a specially organized educational environment (an art workshop) is characterized. Plunging into the atmosphere of fruitful disorder, the child will act freely and directly, engaged in creativity as a game, creates an art product that has value as a marker of his talent. The content of creative tasks is presented, according to the results of work on which the diagnostic card is filled, in turn, which is the basis for the conclusions about the presence of the childs duovector talent. At this stage of the study, the authors have prepared a method for validation by comparing it with tests and subtests of other methods. The materials of the paper logically continue the research in the field of finding reference points for the development of individual educational routes of students, preparing them for lifelong learning.

scholarly journals Gênese da intelectualidade neoliberal segundo Michel Foucault

2019 ◽  
Vol 16 (31) ◽  
pp. 181
Author(s):  
Lucas Trindade da Silva
Keyword(s):  
Political Economy ◽  
Michel Foucault ◽  
Modern Art ◽  
Second Moment ◽  
Reason Of State ◽  
First Moment ◽  
Regime Of Truth

Após uma sumária revisão de algumas abordagens sobre a origem e o conceito de intelligentsia e intelectuais, este artigo busca demonstrar rapidamente, num primeiro momento, como Foucault concebe a racionalidade de governo moderna, a partir dos fisiocratas e da economia política, como corpo sistematizador de práticas e discursos de poder fundados em regimes de verdade, em contraste com uma arte de governar pré-moderna (mercantilismo, razão de Estado) ainda embaraçada com a afirmação do poder como regime de justiça. Num segundo momento, leremos o Nascimento da Biopolítica como uma detida análise da formação prático-discursiva de um novo regime de verdade no ordoliberalismo alemão e no  neoliberalismo francês estadunidense. Ao fim, reiteramos, em diálogo com a primeira parte do artigo, a razoabilidade de falarmos em uma intelectualidade ordo e neoliberal a partir dos estudos de Foucault.Palavras-chave: Intelligentsia. Intelectuais. Governamentalidade. Neoliberalismo.Genesis of neoliberal intellectuality according to Michel FoucaultAbstractAfter a brief review of some approaches to the origin and concept of intelligentsia and intellectuals, this article seeks to demonstrate, at a first moment, how Foucault conceives the modern rationality of government from the physiocrats and political economy as a systematizing body of practices and discourses of power based on regimes of truth, in contrast to a pre-modern art of governance (mercantilism, reason of state) still embarrassed with the assertion of power as a regime of justice. In a second moment, we will read The Birth of Biopolitics as a detained analysis of the practicaldiscursive formation of a new regime of truth in German ordoliberalism and French and American neoliberalism. Finally, we reiterate, in dialogue with the first part of the article, the reasonableness of speaking in an ordo and neoliberal intelligentsia based on Foucault’s studies.Keywords: Intelligentsia. Intellectuals. Governmentality. Neoliberalism.

PERFORMANCE AS A CONTEMPORARY ART PHENOMENON

2021 ◽  
Vol 1 (1) ◽  
pp. 148-156
Author(s):  
Yu. Yu. Padyan ◽  
Keyword(s):  
Contemporary Art ◽  
Art Criticism ◽  
Modern Art ◽  
Global Scale ◽  
Traditional Practices ◽  
Special Period ◽  
Scientific Heritage ◽  
Xxth Century ◽  
New Approaches ◽  
History Of

The end of the XIXth — beginning of the XXth centuries is a special period in the history of world art culture, characterized by the emergence of such trends as modernism, post-impressionism, avant-gardism, abstractionism, cubism, surrealism and many others. The motto of XXth-century art was "Art into Life". Often new trends became a response to the demand of the mass consumer. One of them was the art of performance. Appearing as a rejection of traditional practices of painting, sculpture and theater, performance organically incorporated wellknown and new approaches and technologies that caused an alternative way of working with space and time. It should be noted that historiography focuses on materials that explore the origins of performance and installation on a global scale. The most significant are the works by American, Western European and Polish authors. At the same time, the historiographic review showed a lack of a large scientific heritage of Russian artists in the field of performance: the process of forming modern art criticism, which would reflect the later history of performance than the first half of the XXth century, is still out of the researchers' sight.

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