The Transition of Thai Traditional Art to Modern Art in the 1950s and 1960s

2017 ◽  
pp. 154-163
Author(s):  
Somporn Rodboon
Keyword(s):  
Modern Art ◽  
Traditional Art ◽  
The 1950S

Alive Still

2019 ◽  
Author(s):  
Cathy Curtis
Keyword(s):  
New York ◽  
Modern Art ◽  
Severe Form ◽  
The Other ◽  
Left Hand ◽  
Right Hand ◽  
The 1950S ◽  
Village Voice

In 1942, at age twenty, after a vision-impaired and rebellious childhood in Richmond, Virginia, Nell Blaine decamped for New York. Operations had corrected her eyesight, and she was newly aware of modern art, so different from the literal style of her youthful drawings. In Manhattan, she met rising young artists and poets. Her life was hectic, with raucous parties in her loft, lovers of both sexes, and freelance design jobs, including a stint at the Village Voice. Initially drawn to the rigorous formalism of Piet Mondrian, she received critical praise for her jazzy abstractions. During the 1950s, she began to paint interiors and landscapes. By 1959, when the Whitney Museum purchased one of her paintings, her career was firmly established. That year, she contracted a severe form of polio on a trip to Greece; suddenly, she was a paraplegic. Undaunted, she taught herself to paint in oil with her left hand, reserving her right hand for watercolors. In her postpolio work, she achieved a freer style, expressive of the joy she found in flowers and landscapes. Living half the year in Gloucester, Massachusetts, and the other half in New York, she took special delight in painting the views from her windows and from her country garden. Critics found her new style irresistible, and she had a loyal circle of collectors; still, she struggled to earn enough money to pay the aides who made her life possible. At her side for her final twenty-nine years was her lover, painter Carolyn Harris.

Cheong, Soo Pieng (1917–1983)

2018 ◽  
Author(s):  
Kelvin Chuah
Keyword(s):  
Subject Matter ◽  
Modern Art ◽  
Southeast Asian ◽  
Chinese Art ◽  
Western Art ◽  
The Subject ◽  
The 1950S ◽  
Female Bodies ◽  
Tropical Landscape ◽  
Art Techniques

Cheong Soo Pieng was a Chinese-born artist who became well known for his contributions to Singapore’s modern art. In Nanyang, Cheong’s Chinese art training was integrated with the lush tropical landscape and the arresting allure of local communal practices. Cheong was part of a group of artists who visited Bali, Indonesia, in 1952 in search of the Nanyang Style, which involved Southeast Asian themes visualized with Western art techniques. The resulting imagery in the works created by the artists was exhibited back in Singapore the following year in the hugely lauded exhibition Four Artists to Bali. This provided the stimulus for these artists to develop further this particular genre of art. For Cheong, his artistic excursions were not confined to Singapore. He also traveled to Sarawak, Borneo, in 1959 and resided in Europe from 1961 to 1963, where he held solo and group shows, and where he also dabbled with abstraction in his works. Cheong is recognized for his development of distinctive figural types known as "elongated figures": female bodies with elongated limbs. The figural types he developed in the 1950s were reassessed and reworked in the 1970s. These later works reflect a matured handling and refinement, reinforcing his personal stylization of the subject matter.

scholarly journals Primitive and Traditional Art in Modern Art Theory and Practice

2020 ◽  
Author(s):  
Marina Mikhailovna Novikova
Keyword(s):  
Subject Matter ◽  
Modern Art ◽  
Traditional Culture ◽  
Theory And Practice ◽  
Art Theory ◽  
Artistic Creativity ◽  
Traditional Art ◽  
The Subject ◽  
Symbolic Content ◽  
Formal Techniques

The article is devoted to identifying the points of contact between primitive and modern cultures. The subject matter is based on the theory and practice of artistic creativity, its origins and aesthetic potential. The article reveals the degree of influence of the figurative-semantic and symbolic content of primitive and traditional culture on modern artistic creativity: on stylistic, formal techniques, themes, images; in General, on artistic thinking.

scholarly journals A Whakapapa of Tradition: 100 years of Ngāti Porou Carving, 1830-1930

2017 ◽  
Author(s):  
Nēpia Mahuika
Keyword(s):  
Modern Art ◽  
Radical Change ◽  
Traditional Art ◽  
The Many ◽  
Art And Architecture ◽  
Radical Transformation

A DECADE AGO I asked one of our leading Ngāti Porou artists about his views on tradition and modernity. This was his reply: ‘Traditional art and modern art. For me there’s no such thing. It’s about continuum of movement because tomorrow my art will be tradition. I have frequently pondered that statement and its implications, seeking to find its resonances and deeper meaning in the many histories of indigenous negotiations in this country and beyond. For me, A Whakapapa of Tradition provides one of the most recent instalments relevant to this statement, contextualised in a discussion of how Ngāti Porou art and architecture underwent ‘radical’ change in the century from 1830-1930. Focusing on the Iwirakau school of carving based in the Waiapu valley, Ngarino Ellis (Ngāti Porou and Ngā Puhi) argues that during this time Māori art in Ngāti Porou territory underwent a radical transformation, in which the dominant forms of waka taua (war canoes), pātaka (decorated storehouses), and whare rangatira (chief’s houses), were replaced by whare karakia (churches), whare whakairo (meeting houses), and wharekai (dining halls).

PROSES KREATIF KOMUNITAS SENI NAN TUMPAH

2018 ◽  
Vol 7 (2) ◽  
pp. 174
Author(s):  
Meria Eliza ◽  
Ikhsan Satria Irianto
Keyword(s):  
Creative Process ◽  
Research Method ◽  
Modern Art ◽  
Community Art ◽  
Traditional Art ◽  
West Sumatra ◽  
Descriptive Approach ◽  
People’S Perceptions

AbstrakPenelitian ini bertujuan untuk mengetahui proses kreatif Komunitas Seni Nan Tumpah (KSNT) dan bagaimana persepsi masyarakat terhadap karya dan keberadaannya. KSNT merupakan kelompok seni terproduktif di Sumatra Barat yang karya-karyanya mendapatkan tanggapan berbeda dari masyarakat luas. Upaya untuk mengupas tentang proses kreatif dan keberadaan dari KSNT, metode penelitian yang digunakan adalah pendekatan deskriptif interpretatif. Berdasarkan hasil penelitian dapat diambil kesimpulan, pertama kecenderungan karya KSNT adalah mengolah seni tradisi sebagai material artistik garapan seni modern. Kedua, setiap karya KSNT mempertimbangkan jangkauan penontonnya, sehingga karya-karya KSNT dapat diterima dengan baik oleh masyarakat. Ketiga, keberadaan KSNT meningkatkan minat apresiasi seni masyarakat di Korong Kasai, Padang Pariaman.           Kata Kunci: komunitas seni nan tumpah, proses kreatif, masyarakat AbstractThis study aims to find out the creative process of the Komunitas Seni Nan Tumpah (KSNT) and how people's perceptions of their work and existence. KSNT is the most productive art group in West Sumatra whose works get different responses from the wider community. Efforts to explore the creative process and the existence of KSNT, the research method used is interpretive descriptive approach. Based on the results of the study, it can be concluded that the first tendency of KSNT's work is to process traditional art as an artistic material of modern art. Second, each KSNT work considers the audience's reach, so that KSNT's works can be well received by the community. Third, the existence of KSNT increased the interest in the appreciation of community art in Korong Kasai, Padang Pariaman.  Keywords: komunitas seni nan tumpah, proses kreatif, masyarakat

Bandung School

2018 ◽  
Author(s):  
Amanda Katherine Rath
Keyword(s):  
Communist Party ◽  
Modern Art ◽  
New Order ◽  
Art Practice ◽  
The 1950S ◽  
Institute Of Technology ◽  
Art School

The Bandung School refers to one of the streams of modern art in post-revolutionary Indonesia. It is associated primarily with the art school in what is known now as the Institute of Technology Bandung (ITB), and encompasses the works of the first generations of its students, many of whom became its first Indonesian instructors. Forerunners of the school include Mochtar Apin (1923–1994), But Mochtar (1930–1986), Ahmad Sadali (1924–1987), Sudjoko Danoesoebroto (1928–2006), Syafe’i Soemardja, Srihadi Sudarsono (1931--), Popo Iskandar (1927–2000), and A.D. Pirous (1933--), all of whom attended the school during the 1950s. As lecturers, professors and exhibiting artists, they came to define a modernist and universalist approach to art practice and style. This ultimately clashed with nationalist critics during the 1950s, who contended that their work lacked an Indonesian soul and did not reflect Indonesian experience. During the early 1960s, the Bandung School was increasingly under pressure and marginalized by its ideological opponents, most notably from the Communist Party. However, with the sweeping political changes of 1965–1967, the Bandung School artists and their aesthetic philosophy came to prominence in the emerging New Order.

Wanly, Seif (1906–1979)

2018 ◽  
Author(s):  
Nadia Radwan
Keyword(s):  
Modern Art ◽  
Fine Arts ◽  
The 1950S ◽  
Theater Performances

Born in Alexandria, Egypt, Seif Wanly is a leading figure of Egyptian modern art. Together with his younger brother, Adham Wanly, he was among the first Alexandrian artists to depict international subjects, such as circus, ballet, opera, music concerts, theater performances, and bull fighting. The Wanly brothers studied under the Italian painter Ottorino Bicchi (1878–1949) in 1929 before they established their own studio in Alexandria in 1935. During the 1950s, they traveled regularly to Europe and visited France, Italy, and Spain. In 1957, they were appointed professors at the Faculty of Fine Arts in Alexandria. Seif Wanly was a prolific artist and his work shared an affinity with the École de Barbizon, as well as with Cubism and Fauvism. When his brother Adham passed away in 1959, he went through a difficult period of his life, which was reflected in his work.

Nandakwang, Tawee (1925–1991)

2018 ◽  
Author(s):  
Charlotte Galloway
Keyword(s):  
Visual Arts ◽  
Emotional Response ◽  
Modern Art ◽  
Fine Arts ◽  
Natural World ◽  
Southeast Asian ◽  
The Subject ◽  
The 1950S ◽  
Northern City

Tawee Nandakwang was one of the pioneers of modern art in Thailand. Born in the northern city of Lamphun, he trained at Silpakorn University and also completed a diploma in painting at the Academy of Fine Arts in Rome in 1961. Nandakwang established his reputation as a leading artist early in his career, winning numerous prizes in the 1950s. Work from this period was heavily influenced by Impressionism and Cubism, drawing on familiar subjects such as portraits, landscape scenes and still lifes. He eventually settled into his own distinct style, which demonstrated a close interest in technique: each mark on the canvas was carefully considered. He had an affinity with the natural world and strove to create an aesthetic that did not mimic reality, but conveyed an emotional response to the scene. For example, flowers were not simply painted for their beauty; they became vehicles for conveying the changing atmospheric qualities of light and weather through the day. Buddhism was also an influence. There is a reflective quality in his paintings, in which feeling and impression override any direct rendering of the subject. Nandakwang was recognized for his innovation and skill, receiving several awards, including the Association of Southeast Asian Nations (ASEAN) Visual Arts (painting) Award in 1990. His works are represented in Thai and international collections.

Segal, Arthur (1875–1944)

2018 ◽  
Author(s):  
Erwin Kessler
Keyword(s):  
Modern Art ◽  
Political Engagement ◽  
Color Theory ◽  
Van Gogh ◽  
Traditional Art ◽  
Avant Garde ◽  
Vincent Van Gogh ◽  
Tristan Tzara ◽  
Art Scene ◽  
Art Colony

Arthur Segal was a Romanian artist born as Aron Sigalu to Jewish parents. He shifted his attention away from post-impressionist modernism around 1900 to focus on the radical avant-garde in the early 1920s, and then back to classicizing modernism in the 1940s. His work moved from traditional art-craft (painting, engraving) to modern and avant-garde practices (political engagement, teaching, curatorship, manifestos, theoretical writings, art-therapy). From 1892 to 1900 he studied in Berlin, Paris, and Munich. Segal was a student of Adolf Hölzel (founder of the art colony Neues Dachau), and much of his work was shaped by Hölzel’s color theory, where landscapes were formally structured as decorative grids rather than as phenomenal transcripts of ocular perception. In 1902–1903 he visited Italy and France, where he was influenced by the work of Vincent Van Gogh and Giovanni Segantini, whose naturalism and light-seeking divisionism he sought to appropriate in his own work. He exhibited with the Berliner Secession from 1909 onward, and co-founded the Neue Secession in 1910. Segal remained connected to the Romanian art scene, exhibiting with the TinerimeaArtistica group in 1910–1913. His 1910 Bucharest exhibition was heralded as ‘‘the first exhibition of modern art’’ in Romania (Segal 1974: 133). In 1914 Segal moved to Ascona, Switzerland, where he met Hans Arp, Hugo Ball, and Alexei Jawlensky, who were linked with the Monte Verita community. In 1916 Segal exhibited at Cabaret Voltaire alongside fellow Romanian Dadaists Tristan Tzara and Marcel Janco. In 1919 he joined the Novembergruppe, becoming one of its leaders.

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