American Art, (The Pelican History of Art)

1979 ◽  
Vol 61 (1) ◽  
pp. 154
Author(s):  
James M. Dennis ◽  
John Wilmerding
Keyword(s):  
American Art ◽  
History Of Art ◽  
History Of

scholarly journals Drips, Scratches, and Strokes: The New Language of Expressionism from Edvard Munch to Willem de Kooning

Elements ◽  
2008 ◽  
Vol 4 (2) ◽  
Author(s):  
Svetlana Turova
Keyword(s):  
Sick Child ◽  
Abstract Expressionism ◽  
American Art ◽  
The Unconscious ◽  
Abstract Expressionist ◽  
Willem De Kooning ◽  
History Of Art ◽  
History Of ◽  
Gaping Mouth ◽  
Specific Comparison

Whether on oddly-shaped pillows, shrieking dolls, or basic coffee mugs, the emaciated protagonist with a gaping mouth and the swirling landscape of Edvard Munch's <em>The Scream </em>is one of today's most widespread images. Though Munch died just as abstract expressionism was being born, his emphasis on the highly personal and the unconscious through abstraction, brushwork, and intensely evocative colors link him closely to this important American art movement. Through the specific comparison of the oeuvre of Munch and the abstract expressionist Willem de Kooning, this essay will examine how and why the Norwegian painter became known as the "father of expressionism" in the history of art. <em>The Scream</em> is not central to this discussion, but instead will be looked at in conjunction with other early paintings and prints, such as <em>The Sick Child</em> and <em>The Kiss. </em>These works and others reveal Munch's artistics philosophy and technique and allow us to draw broader connections to future movements, neo-dadaism and expressionism among them.

Modernism and World Art, 1950–72

ARTMargins ◽  
2019 ◽  
Vol 8 (2) ◽  
pp. 55-76
Author(s):  
Nikolas Drosos
Keyword(s):  
Twentieth Century ◽  
Modern Art ◽  
American Art ◽  
Global Perspective ◽  
The Other ◽  
Soviet Bloc ◽  
Universal History ◽  
History Of Art ◽  
History Of ◽  
The One

Focusing on a series of exhibitions of modern art from the 1950s to the early 1970s, this article traces the frictions between two related, yet separate endeavors during the first postwar decades: on the one hand, the historicizing of modernism as a specifically European story; and on the other, the constitution of an all-encompassing concept of “World Art” that would integrate all periods and cultures into a single narrative. The strategies devised by exhibition organizers, analyzed here, sought to maintain the distance between World Art and modernism, and thus deferred the possibility of a more geographically expansive view of twentieth-century art. Realist art from the Soviet bloc and elsewhere occupied an uneasy position in such articulations between World Art and modernism, and its inclusion in exhibitions of modern art often led to the destabilizing of their narratives. Such approaches are contrasted here with the prominent place given to both realism and non-Euro-American art from the twentieth century in the Soviet Universal History of Art, published from 1956 to 1965. Against the context of current efforts at a “global” perspective on modern art, this article foregrounds the instances when the inner contradictions of late modernism's universalist claims were first exposed.

Editors’ Introduction: Christianity and Latin American Art

2014 ◽  
Vol 18 (1-2) ◽  
pp. 1-4 ◽  
Author(s):  
Ronald R. Bernier ◽  
Rachel Hostetter Smith
Keyword(s):  
Latin America ◽  
Los Angeles ◽  
Latin American ◽  
American Art ◽  
Latin American Art ◽  
The Arts ◽  
History Of Art ◽  
History Of

‭This brief introduction discusses the need for scholars to turn their attention to the intersections between art and Christianity in Latin America, and traces the origins of this special double-issue of Religion and the Arts to a one-day scholarly symposium entitled “Christianity and Latin American Art: Apprehension, Appropriation, Assimilation.” This symposium was sponsored by the Association of Scholars of Christianity in the History of Art (ASCHA), and held at the Cathedral of Our Lady of the Angels in Los Angeles, California, in February 2012.‬

Editors’ Introduction

2018 ◽  
Vol 22 (1-2) ◽  
pp. 1-7
Author(s):  
James Romaine ◽  
Rachel Hostetter Smith
Keyword(s):  
Nineteenth Century ◽  
American Art ◽  
Special Issue ◽  
British Art ◽  
History Of Art ◽  
History Of ◽  
Renaissance Florence ◽  
American Artists ◽  
The Ideal

Abstract Framing the eleven essays in this special double issue, this introduction opens a discussion, continued throughout the issue, on the pervasive impulse toward and elastic meaning of the ideal of paradise which was of particular interest to nineteenth-century British and American artists. It describes the arc of the issue, which is organized into three parts: on British art, American art, and architectural projects. It is bracketed by an essay that looks back to the influence of Renaissance Florence on nineteenth-century British and Americans and a postscript on paradisiacal themes in the work of two contemporary British and American artists. The genesis of this special issue is the 2016 symposium Picturing Paradise in Nineteenth Century British and American Art: Past, Lost, Regained organized by the Association of Scholars of Christianity in the History of Art.

War of Perception, Perception of Time

2018 ◽  
Vol 12 (2) ◽  
pp. 252-267
Author(s):  
Kuniichi Uno
Keyword(s):  
Michel Tournier ◽  
Crucial Question ◽  
History Of Art ◽  
The World ◽  
History Of ◽  
Desert Island ◽  
Perception Of Time

For Gilles Deleuze's two essays ‘Causes and Reasons of Desert Islands’ and ‘Michel Tournier and the World Without Others’, the crucial question is what the perception is, what its fundamental conditions are. A desert island can be a place to experiment on this question. The types of perception are described in many critical works about the history of art and aesthetical reflections by artists. So I will try to retrace some types of perception especially linked to the ‘haptic’, the importance of which was rediscovered by Deleuze. The ‘haptic’ proposes a type of perception not linked to space, but to time in its aspects of genesis. And something incorporeal has to intervene in a very original stage of perception and of perception of time. Thus we will be able to capture some links between the fundamental aspects of perception and time in its ‘out of joint’ aspects (Aion).

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