scholarly journals Attribution of Works by Vladimir Grinberg and Alexander Vedernikov: The Problem of the Artist’s Signature

2021 ◽  
Vol 23 (4) ◽  
pp. 96-116
Author(s):  
Alexandra I. Strukova ◽  
◽  
◽  
Keyword(s):  
Everyday Life ◽  
School Community ◽  
Significant Part ◽  
Professional Communication ◽  
Controversial Issues ◽  
Black Background ◽  
Old Masters ◽  
Post War ◽  
The 1960S ◽  
Private Collections

This article considers the phenomenon of the authors’ signatures of Vladimir Grinberg (1896—1942) and Alexander Vedernikov (1898—1975), two representatives of the Leningrad Landscape School community in the 1930s—1940s. During this period, they entered a single circle of friendly and professional communication and experienced mutual influences. The artists’ work is considered more broadly and goes beyond their participation in the community. The goal of the article is to single out the most significant periods of their activity, trace changes in the authors’ handwriting from decade to decade, pay attention to the period of apprenticeship and formation of the artists, and focus on controversial issues in the attribution of their paintings and drawings. A study of all the works by Grinberg and Vedernikov currently identified in museum and private collections, makes it possible to trace the changes in the authors’ styles and discover the artistic landmarks of the masters. Grinberg’s manner repeatedly transformed. The neoclassical stylistics of his works of the late 1910s and citation of paintings by the old masters gave way to modest still lifes in the 1920s. After landscapes and scenes of everyday life on a black background in the early 1930s, there was a lightening of the colour scheme during his work on the New Leningrad series in the middle of the decade. In the early 1940s, Grinberg began to paint very broadly, generalising and simplifying the images. This scandalising manner has parallels with the style of the 1960s. Vedernikov was influenced by the art of French post-impressionists. Also, he took interest in the art of Russian folk crafts in the post-war period, more particularly, in Gorodets painting. The article pays much attention to Grinberg’s and Vedernikov’s lithographs. A significant part of their works has been catalogued and published, which facilitates dating and attribution, but much remains unknown (for example, an episode in Vedernikov’s work associated with the unification of the Masters of Analytical Art). In the article, the author describes the marking of works in detail, the placement and outline of the signatures, and traces the changes in them, which will help determine the range of works and authorship more accurately.

Ambivalent Relationships: London's Youth Culture and the Making of the Multi-Racial Society in the 1960s

2018 ◽  
Vol 11 (1) ◽  
pp. 4-26 ◽  
Author(s):  
Felix Fuhg
Keyword(s):  
Working Class ◽  
Social Life ◽  
Youth Culture ◽  
Global Culture ◽  
Local Conditions ◽  
White Working Class ◽  
Ambivalent Relationship ◽  
Post War ◽  
The 1960S ◽  
Class Youth

The emergence and formation of British working-class youth cultures in the 1960s were characterized by an ambivalent relationship between British identity, global culture and the formation of a multicultural society in the post-war decades. While national and local newspapers mostly reported on racial tensions and racially-motivated violence, culminating in the Notting Hill riots of 1958, the relationship between London's white working-class youth and teenagers with migration backgrounds was also shaped by a reciprocal, direct and indirect, personal and cultural exchange based on social interaction and local conditions. Starting from the Notting Hill Riots 1958, the article reconstructs places and cultural spheres of interaction between white working-class youth and teenagers from Caribbean communities in London in the 1960s. Following debates and discussions on race relations and the participation of black youth in the social life of London in the 1960s, the article shows that British working-class youth culture was affected in various ways by the processes of migration. By dealing with the multicultural dimension of the post-war metropolis, white working-class teenagers negotiated socio-economic as well as political changes, contributing in the process to an emergent, new image of post-imperial Britain.

Short Films from a Small Nation

2018 ◽  
Author(s):  
C. Claire Thomson
Keyword(s):  
Public Information ◽  
Industrial Process ◽  
Actor Network Theory ◽  
Documentary Films ◽  
Wide Range ◽  
Short Films ◽  
Post War ◽  
The 1960S ◽  
Art And Architecture

The first book-length study in English of a national corpus of state-sponsored informational film, this book traces how Danish shorts on topics including social welfare, industry, art and architecture were commissioned, funded, produced and reviewed from the inter-war period to the 1960s. For three decades, state-sponsored short filmmaking educated Danish citizens, promoted Denmark to the world, and shaped the careers of renowned directors like Carl Th. Dreyer. Examining the life cycle of a representative selection of films, and discussing their preservation and mediation in the digital age, this book presents a detailed case study of how informational cinema is shaped by, and indeed shapes, its cultural, political and technological contexts.The book combines close textual analysis of a broad range of films with detailed accounts of their commissioning, production, distribution and reception in Denmark and abroad, drawing on Actor-Network Theory to emphasise the role of a wide range of entities in these processes. It considers a broad range of genres and sub-genres, including industrial process films, public information films, art films, the city symphony, the essay film, and many more. It also maps international networks of informational and documentary films in the post-war period, and explores the role of informational film in Danish cultural and political history.

State-run celebration of Liberation Day in Czechoslovakia (based on audiovisual sources)

2019 ◽  
pp. 251-268
Author(s):  
Timur Gimadeev
Keyword(s):  
Political Development ◽  
Communist Regime ◽  
Political Regime ◽  
The Political ◽  
Historical Experience ◽  
History Of ◽  
Post War ◽  
The 1960S ◽  
The Military

The article deals with the history of celebrating the Liberation Day in Czechoslovakia organised by the state. Various aspects of the history of the holiday have been considered with the extensive use of audiovisual documents (materials from Czechoslovak newsreels and TV archives), which allowed for a detailed analysis of the propaganda representation of the holiday. As a result, it has been possible to identify the main stages of the historical evolution of the celebrations of Liberation Day, to discover the close interdependence between these stages and the country’s political development. The establishment of the holiday itself — its concept and the military parade as the main ritual — took place in the first post-war years, simultaneously with the consolidation of the Communist regime in Czechoslovakia. Later, until the end of the 1960s, the celebrations gradually evolved along the political regime, acquiring new ritual forms (ceremonial meetings, and “guards of memory”). In 1968, at the same time as there was an attempt to rethink the entire socialist regime and the historical experience connected with it, an attempt was made to reconstruct Liberation Day. However, political “normalisation” led to the normalisation of the celebration itself, which played an important role in legitimising the Soviet presence in the country. At this stage, the role of ceremonial meetings and “guards of memory” increased, while inventions released in time for 9 May appeared and “May TV” was specially produced. The fall of the Communist regime in 1989 led to the fall of the concept of Liberation Day on 9 May, resulting in changes of the title, date and paradigm of the holiday, which became Victory Day and has been since celebrated on 8 May.

Conclusion

2017 ◽  
Author(s):  
Aled Davies
Keyword(s):  
International Monetary System ◽  
The State ◽  
Real Economy ◽  
Social Democratic ◽  
Monetary System ◽  
1960S And 1970S ◽  
Post War ◽  
The 1960S ◽  
City Of London ◽  
The City

The aim of this book has been to evaluate the relationship between Britain’s financial sector, based in the City of London, and the social democratic economic strategy of post-war Britain. The central argument presented in the book was that changes to the City during the 1960s and 1970s undermined a number of the key post-war social democratic techniques designed to sustain and develop a modern industrial economy. Financial institutionalization weakened the state’s ability to influence investment, and the labour movement was unable successfully to integrate the institutionalized funds within a renewed social democratic economic agenda. The post-war settlement in banking came under strain in the 1960s as new banking and credit institutions developed that the state struggled to manage. This was exacerbated by the decision to introduce competition among the clearing banks in 1971, which further weakened the state’s capacity to control the provision and allocation of credit to the real economy. The resurrection of an unregulated global capital market, centred on London, overwhelmed the capacity of the state to pursue domestic-focused macroeconomic policies—a problem worsened by the concurrent collapse of the Bretton Woods international monetary system. Against this background, the fundamental social democratic assumption that national prosperity could be achieved only through industry-led growth and modernization was undermined by an effective campaign to reconceptualize Britain as a fundamentally financial and commercial nation with the City of London at its heart....

The Politics of Banking and Social Democracy

2017 ◽  
Author(s):  
Aled Davies
Keyword(s):  
Banking System ◽  
Social Democracy ◽  
The Political ◽  
Social Democratic ◽  
Industrial Economy ◽  
The Social ◽  
1960S And 1970S ◽  
Post War ◽  
The 1960S ◽  
Political Demand

This chapter concerns the politics of managing the domestic banking system in post-war Britain. It examines the pressures brought to bear on the post-war settlement in banking during the 1960s and 1970s—in particular, the growth of new credit creating institutions and the political demand for more competition between banks. This undermined the social democratic model for managing credit established since the war. The chapter focuses in particular on how the Labour Party attempted in the 1970s to produce a banking system that was competitive, efficient, and able to channel credit to the struggling industrial economy.

Introduction

2018 ◽  
Author(s):  
Jenny Andersson
Keyword(s):  
Cold War ◽  
Critical Systems Thinking ◽  
Critical Systems ◽  
Political Ideologies ◽  
The Future ◽  
History Of ◽  
Post War ◽  
The 1960S ◽  
The Cold War ◽  
Future Visions

The book proposes that the Cold War period saw a key debate about the future as singular or plural. Forms of Cold War science depicted the future as a closed sphere defined by delimited probabilities, but were challenged by alternative notions of the future as a potentially open realm with limits set only by human creativity. The Cold War was a struggle for temporality between the two different future visions of the two blocs, each armed with its set of predictive technologies, but these were rivaled, from the 1960s on, by future visions emerging from decolonization and the emergence of a set of alternative world futures. Futures research has reflected and enacted this debate. In so doing, it offers a window to the post-war history of the social sciences and of contemporary political ideologies of liberalism and neoliberalism, Marxism and revisionist Marxism, critical-systems thinking, ecologism, and postcolonialism.

The ‘civic religion’ of the Resistance in post-war Italy

Modern Italy ◽  
2000 ◽  
Vol 5 (2) ◽  
pp. 113-132 ◽  
Author(s):  
Stephen Gundle
Keyword(s):  
Mass Culture ◽  
Significant Degree ◽  
Artistic Representations ◽  
The First World War ◽  
Civic Religion ◽  
Post War ◽  
Economic Boom ◽  
The 1960S ◽  
High Degree ◽  
First World

SummaryThe problem of the legitimacy or otherwise of the Resistance tradition in post-war Italy has been addressed in recent years mainly in terms of the role of the partisan struggle and its political legacy. This article aims to assess the tradition in terms of commemorative practices, rituals, artistic representations and monuments. It seeks to evaluate whether the Resistance gave rise to a civic religion that may be compared to those which existed in the Liberal period, based on the heroic struggles and figures of the Risorgimento, and the Fascist period, which drew on the feelings of loss and injustice that followed the First World War. It is argued that, although the Resistance lacked, prior to the 1960s, a high degree of official sponsorship, it did acquire some of the features of a civic religion. Its appeal was mainly limited to the regions administered by the Left which had seen a significant degree of Resistance activity in 1943-5. Even here, however, it was difficult to sustain the tradition as a key feature of community life during and after the economic boom: the eclipse of public culture, the decline of public mourning and the development of commercial leisure and mass culture all served to deprive it of meaning. Although intellectuals, politicians and ex-partisans reacted to this situation, the visual and rhetorical languages associated with the commemoration of the Resistance became increasingly divorced from everyday life and dominant social values.

The foundations and prerequisites of imagology

2021 ◽  
pp. 65-74
Author(s):  
Valerii P. Trykov ◽  
Keyword(s):  
Social Engineering ◽  
Dominant Strategy ◽  
The Other ◽  
Special Role ◽  
The West ◽  
European Culture ◽  
Post War ◽  
The 1960S ◽  
The One ◽  
Eu Project

The article examines the conceptual foundations and scientific, sociocultural and philosophical prerequisites of imagology, the field of interdisciplinary research in humanitaristics, the subject of which is the image of the “Other” (foreign country, people, culture, etc.). It is shown that the imagology appeared as a response to the crisis of comparatives of the mid-20th century, with a special role in the formation of its methodology played by the German comparatist scientist H. Dyserinck and his Aachen School. The article analyzes the influence on the formation of the imagology of post-structuralist and constructivist ideological-thematic complex (auto-reference of language, discursive history, construction of social reality, etc.), linguistic and cultural turn in the West in the 1960s. Shown is that, extrapolated to national issues, this set of ideas and approaches has led to a transition from the essentialist concept of the nation to the concept of a nation as an “imaginary community” or an intellectual construct. A fundamental difference in approaches to the study of an image of the “Other” in traditional comparativism and imagology, which arises from a different understanding of the nation, has been distinguished. It is concluded that the imagology studies the image of the “Other” primarily in its manipulative, socio-ideological function, i.e., as an important tool for the formation and transformation of national and cultural identity. The article identifies ideological, socio-political factors that prepared the birth of the imagology and ensured its development in western Humanities (fear of possible recurrences of extreme nationalism and fascism in post-war Europe, the EU project, which set the task of forming a pan-European identity). It is concluded that the imagology, on the one hand, has actualized an important field of scientific research — the study of the image of the “Other”, but, on the other hand, in the broader cultural and historical perspective, marked a departure not only from the traditions of comparativism and historical poetics, but also from the humanist tradition of the European culture, becoming part of a manipulative dominant strategy in the West. To the culture of “incorporation” into a “foreign word” in order to understand it, preserve it and to ensure a genuine dialogue of cultures, the imagology has contrasted the social engineering and the technology of active “designing” a new identity.

scholarly journals Zofia Dwornik: Becoming a Female Film Editor

Panoptikum ◽  
2020 ◽  
pp. 63-76
Author(s):  
Paulina Kwiatkowska
Keyword(s):  
Professional Life ◽  
Creative Activity ◽  
First Choice ◽  
The 1950S ◽  
Post War ◽  
The 1960S

In this article the author intends to recall the figure of Zofia Dwornik, one of the most appreciated and nowadays rather forgotten female film editors of post-war communist Poland. For the twenty-five years of her creative activity, Dwornik cooperated in the production of more than thirty films with the most important directors of the Polish cinema in the 1950s, 60s and 70s. In the Polish post-war cinema, the profession of film editor was strongly feminised. In the case of Dwornik, her decision to choose this particular profession was, however, based on additional objective considerations, closely related to the context of the Stalinist period in Poland, and was not her first choice of career – she had wanted to become a film director. In this article the author takes a closer look not so much at the achievements of Dwornik in the 1960s and 70s, but at the complex circumstances that influenced her later career. Therefore, the author tries to reconstruct the most important moments in Dwornik’s student and professional life in the first years after WWII and analyse one of the film études she made at the Film School in Łódź, in order to examine the reasons for her decision to become a film editor. This allows also to formulate some hypotheses how her career might have developed, had she been given the chance to graduate and try her hand at directing.

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