Russian Art of the Avant-Garde: Theory and Criticism 1902-1934. Edited and translated by John E. Bowlt. The Documents of 20th-century Art Series. New York: The Viking Press, 1976. xl, 360 pp. Illus. $20.00.

Slavic Review ◽  
1977 ◽  
Vol 36 (1) ◽  
pp. 162-164
Author(s):  
Robert C. Williams
Keyword(s):  
New York ◽  
20Th Century ◽  
Russian Art ◽  
Avant Garde ◽  
Theory And Criticism ◽  
20Th Century Art

National Institute of Art and Design named after Kamoliddin Behzod

2019 ◽  
Vol 5 (4) ◽  
pp. 104-108
Author(s):  
Dilzoda Alimkulova
Keyword(s):  
20Th Century ◽  
Art And Design ◽  
Avant Garde ◽  
History Of ◽  
20Th Century Art

The art of Uzbekistan of the first decade of 20th century (1920-30s) is worthily recognized as the brightest period in history of Uzbek national art. We may observe big interest among the artwork which was created during the years of Independence of Uzbekistan towards the art of 20th century and mainly it may be seen in form, style, idea and semantics. Despite the significant gap between the 20th century art tendencies and Independence period, there is very big influence of avant-garde style in works of such artists as Javlon Umarbekov, Akmal Ikramjanov, Alisher Mirzaev, Tokhir Karimov, Daima Rakhmanbekova and others.

Steeped in Modernism: The Teapot as Manifesto in Early 20th Century Art

2016 ◽  
Author(s):  
Maya Bielinski
Keyword(s):  
Twentieth Century ◽  
20Th Century ◽  
Political History ◽  
Modern Art ◽  
The Other ◽  
Early 20Th Century ◽  
Avant Garde ◽  
Small Window ◽  
Time Period ◽  
20Th Century Art

The art manifesto, a written political, social, and artistic proclamation of an artistic movement, surged in popularity among avant‐garde art groups in the first half of the twentieth century. Many of the manifestos featured declarations for the synthesis of art and life as well as a call for social and political power for artists of both 'high' and 'low' art forms. Concurrently, new artistic interpretations of the humble teapot became suddenly ubiquitous. This inquiry explores how the teapot emerged as a dominant symbol for the goals of Modern Art movements, and includes an analysis of the teapot's socio‐political history, its ambiguous status between high and low art, and its role in the commercial sphere. By examining the teapots of Suprematism's Kazimir Malevich, Constructivism's Mariane Brandt,and Surrealism's Meret Oppenheim, this presentation will track ideas of functionality, the teapot as symbol, and aesthetics from 1923 to 1936. This small window in time offers an analysis of the extraordinary developments in teapots, and perhaps a glimpse of the paralleled momentum that occurred more generally in design, architecture, and the other arts in this time period.

Davis, Stuart (1892–1964)

2018 ◽  
Author(s):  
Annika Marie
Keyword(s):  
New York ◽  
20Th Century ◽  
Urban Life ◽  
Abstract Art ◽  
Early 20Th Century ◽  
Street Life ◽  
American Modernism ◽  
Urban Street ◽  
Avant Garde ◽  
Ashcan School

Stuart Davis was a painter, printmaker, muralist, and arts activist who played a prominent role in the development of American modernism in the first half of the 20th century. Visually, he brought the formal and technical experimentation of the European avant-garde to depictions of the modernity of the American metropolis. As a prolific writer and powerful spokesman, Davis was a committed cultural advocate, working to explain and defend modern abstract art, promoting artists’ rights, and arguing for the democratization of culture and art’s formative impact on society. Davis’s early style relates to the Ashcan School, an early 20th-century brand of realism that combines a direct, spontaneous, journalistic naturalism with everyday scenes of urban street life. The turning point for the young Davis was the New York Armory Show of 1913. Through the exhibit Davis was exposed to Fauvism, Expressionism, Cubism, and Dada. However, Davis’s embrace of the formal rigor of European abstraction did not lead him to purely non-objective painting. Maintaining that form and content were equally important, he argued that European modernism’s visual fragmentation, instability, and simultaneity provided the visual means by which to express contemporary American urban life.

The Anthropology of Art, After the End of Art: Contesting the Art-Culture System

2019 ◽  
Vol 48 (1) ◽  
pp. 317-334
Author(s):  
Eugenia Kisin ◽  
Fred R. Myers
Keyword(s):  
New York ◽  
20Th Century ◽  
Culture System ◽  
Public Culture ◽  
Metropolitan Museum ◽  
Art World ◽  
Crisis Of Representation ◽  
Anthropology Of Art ◽  
20Th Century Art ◽  
Multiple Intersections

We focus on the anthropology of art from the mid-1980s to the present, a period of disturbance and significant transformation in the field of anthropology. The field can be understood to be responding to the destabilization of the category of “art” itself. Inaugural moments lie in the reaction to the Museum of Modern Art's 1984 exhibition “Primitivism” in 20th Century Art, the increasing crisis of representation, the influence of “postmodernism,” and the rising tide of decolonization and globalization, marked by the 1984 Te Maori exhibition at the Metropolitan Museum in New York. Changes involve boundaries being negotiated, violated, and refigured, and not simply the boundaries between the so-called “West” and “the rest” but also those of “high” and “low,” leading to a re-evaluation of public culture. In this review, we pursue the influence of changing theories of art and engagements with what had been noncanonical art in the mainstream art world, tracing multiple intersections between art and anthropology in the contemporary moment.

scholarly journals Коллекция Пегги Гуггенхайм

2021 ◽  
pp. 270-279
Author(s):  
O.A. Yartseva
Keyword(s):  
New York ◽  
20Th Century ◽  
Significant Contribution ◽  
Art Scene ◽  
History Of ◽  
First Time ◽  
20Th Century Art

The article is devoted to the history of a unique collection made by famous American patron and curator Peggy Guggenheim. For several decades, she has been gathering works by European Cubists, Abstractionists and Surrealists, creating the huge collection of the 20th century art. But she made the most significant contribution to the development and popularization of modernism by organizing the «Art of this Century» gallery in New York. This gallery hosted for the first time exhibitions of artists who later became known as abstract expressionists. Their work loudly declared itself on the international art scene and won worldwide recognition. В фокусе внимания автора статьи — история создания уникального собрания произведений искусства ХХ века, принадлежавшего известной американской меценатке и куратору Пегги Гуггенхайм. На протяжении нескольких десятилетий она коллекционировала картины европейских кубистов, абстракционистов и сюрреалистов. Но самый значительный вклад в развитие и популяризацию модернизма она внесла, организовав в Нью-Йорке галерею «Искусство этого века», в которой впервые были проведены выставки художников, позже ставших классиками абстрактного экспрессионизма США, магистрального направления, громко заявившего о себе на международной художественной сцене и завоевавшего всемирное признание.

scholarly journals A. M. REMIZOV’S “THEORY OF RUSSIAN LITERARY STYLE” (1930S‒1950S)

2021 ◽  
Vol 19 (1) ◽  
pp. 347-374
Author(s):  
Alla Gracheva
Keyword(s):  
20Th Century ◽  
Music Teacher ◽  
Russian History ◽  
Unsuccessful Attempt ◽  
Literary Style ◽  
Russian Art ◽  
Avant Garde ◽  
Conceptual Apparatus ◽  
Russian Literary ◽  
The Face

The article analyzes the stages of development of A. M. Remizov’s “theory of Russian literary style” (“teoriya russkogo lada”) in the 1930s–1950s. In the 1930s, the opportunities for the writer to present his aesthetic views in an open journalistic form narrowed down significantly. Remizov was forced to popularize his theory and the name of its “founder” — protopope Avvakum in works devoted to other topics (Knigopisets i shtanba, Po sledam protopopa Avvakuma v SSSR, etc.). In these years, the conceptual apparatus of the theory has taken shape, the semantics of the term “theory of Russian literary style” was detailed. In 1946, Remizov made the last, unsuccessful attempt to publish an introduction to his theory in the form of a manifesto (Na russkiy lad, 1946). The exposition of this theory’s postulates was an indispensable part of most of Remizov’s works of the late 1940s-1950s. Plyashuschiy Demon (The Dancing Demon), an avant-garde book, reveals the ongoing confrontation between the supporters and opponents of the “theory of Russian literary style” up to the 20th century through a historical kaleidoscope of characters from different periods of Russian history. Related novels. i. e. Uchitel muzyki (The Music Teacher) and Podstrizhennymi glazami (By Cropped Eyes) are devoted to examining the mystery of the formation of a writer's personality, and reflect the Russian art life in the 19th-20th centuries and in the first wave of Russian emigration. The writer's emerging personality, the formation of its aesthetic foundation is historically and culturally justified in both books. The writer in question is a follower of “theory of Russian literary style.” This very theme is one of the central topics in Remizov's latest work — his book about himself Litso pisatelya (The Face of a Writer).

scholarly journals Tuwim’s Dialogues with Banality

2017 ◽  
Vol 36 (6) ◽  
pp. 219-231
Author(s):  
Tomasz Bocheński
Keyword(s):  
20Th Century ◽  
Human Being ◽  
Avant Garde ◽  
Colloquial Language ◽  
Creative Person ◽  
Original Speech ◽  
In The Beginning ◽  
20Th Century Art ◽  
Mass Form

The article examines the relation between Tuwim’s poetry and modern colloquial language. The avant-garde artists for whom in the beginning of the 20th-century art was an elite occupation, treated every-day speech as a mass form of communication. Tuwim’s poetry was frequently criticised for banality. Matywiecki presents the poet as a hero fighting with the demon of commonness. The crucial thesis of the article is that banality which is modified in a creative way says more about the epoch than elitist visions. In his poetry, satire and cabaret work Tuwim transformed triviality into dialog and a common human being into a creative person. Transition of the street talk into original speech is the defence against reducing individual being to cliché which means the fear of 20th-century killing ideologies.

scholarly journals Серия акварелей «Campi Phlegraei» английского мецената и итальянского художника века Просвещения

2021 ◽  
pp. 260-269
Author(s):  
E.D. Fedotova
Keyword(s):  
New York ◽  
20Th Century ◽  
Significant Contribution ◽  
Art Scene ◽  
History Of ◽  
First Time ◽  
20Th Century Art

The article is devoted to the history of a unique collection made by famous American patron and curator Peggy Guggenheim. For several decades, she has been gathering works by European Cubists, Abstractionists and Surrealists, creating the huge collection of the 20th century art. But she made the most significant contribution to the development and popularization of modernism by organizing the «Art of this Century» gallery in New York. This gallery hosted for the first time exhibitions of artists who later became known as abstract expressionists. Their work loudly declared itself on the international art scene and won worldwide recognition. Статья посвящена серии акварелей «Campi Phlegraei», исполненной итальянским художником Пьетро Де Фабрисом (годы жизни не известны) во время научной экспедиции лорда Уильяма Гамильтона (1730–1803), посланника Великобритании, к кратеру Везувия. Оба они — художник и У. Гамильтон, меценат и коллекционер, увлеченно занимавшийся вулканологией, были яркими фигурами истории и культуры века Просвещения. Их сотрудничество является подтверждением научных и художественных достижений культуры Италии в век «просвещенного абсолютизма», когда в Королевстве обеих Сицилий правила династия испанских Бурбонов.

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