scholarly journals The Evolution of Symbolist Ideas in the Zolotoe Runo Magazine

2020 ◽  
Vol 4 (3) ◽  
pp. 158-167
Author(s):  
V. D. Ryabchenko
Keyword(s):  
Aesthetic Movement ◽  
Public Recognition ◽  
Art Historians ◽  
Art Magazine ◽  
History Of

The article treats the role art magazine Zolotoe runo played in history of symbolist’s theoretical ideas. By 1906, symbolism as a philosophical and aesthetic movement enters a crisis stage (and, then, a renaissance) — the pioneering movement has become utterly formal, tendentious, and has even acquired public recognition, which contradicts the modernist spirit. Zolotoe runo turns into a platform for the adversaries of outdated, decadent or individual symbolism, changing the symbolist nature and landscape. V. F. Khodasevich suggests that not only hasn’t symbolism been yet studied, but it also doesn`t seem to have been even read. This phenomenon and its notion deserve proper research. The scientific community’s interest in this movement is growing, as the importance of symbolism comes to light, and it becomes more evident that it was not only a milestone in history, but it also predetermined many trends in the development of culture and art up to the present day. Apart from that, the extreme heterogeneity within the symbolist movement and its paradoxical and unexpected metamorphoses are rarely understood. Nonetheless, through the analysis of such magazines as Zolotoe runo, and by drawing upon the research of cultural scientists, art historians and literary critics, we can clarify the features of symbolism, contradictory and holistic at the same time.

Imaging Protestant Piety: The Icons of Warner Sallman

1993 ◽  
Vol 3 (1) ◽  
pp. 29-47 ◽  
Author(s):  
David Morgan
Keyword(s):  
Original Intent ◽  
Biographical Research ◽  
Authorial Intent ◽  
Art Historians ◽  
History Of ◽  
Humanist Tradition

Traditionally, art historians have relied on iconography, biography, and connoisseurship as the fundamental means of studying images. These approaches and methods stress the singularity of an image, its authenticity, and its authorship; therefore, they reflect an enduring debt to the humanist tradition of individualism. The image is understood principally as the product of the unique and privileged inspiration of an individual artist and is regarded as a measure of this individual's genius. Iconographical and biographical research secure authorial intent; connoisseurship authenticates the work. While this scholarly apparatus certainly offers the art historian indispensable tools, it is important to understand that its commitment to original intent is singularly ill-equipped to assess the reception of images, the ongoing history of response that keeps images alive within a culture from generation to generation.

Hans Sedlmayr (1896–1984): Structural Approach and Pre-Modern Values

2021 ◽  
Vol 5 (3) ◽  
Author(s):  
Angel Angelov ◽  
Keyword(s):  
Art History ◽  
Modern Art ◽  
Socialist Realism ◽  
Public Debate ◽  
Structural Approach ◽  
Sacred Text ◽  
Modern Conception ◽  
Art Historians ◽  
History Of

The prevailing part of art historians, critics and theoreticians from the mid-1950s even until today feels related to the means of expression of the modernist art trends from the last decade of 19th c. until the end of 1960-s. Modernism has become a sacred text, whose complexity should be interpreted, but not criticized. Sedlmayr’s conception of art is built on moral, religious, aesthetic and political grounds, which are the very reason for the actuality of his works – both in the specialized sphere of art history and in the wider public debate on values. That is why I will analyse his structural approach mainly in relation to his anti-modern conception of art. This is the task of this study. Sedlmayr’s effort to turn art history into a “strict science” is an independent part of his scientific pursuit; it is in relation, but is not subordinate to his conception of modern art. Those publications of his are discussed but only in the specialized literature on history of the methods in humanities, while his conception against modern art acquires an exceptional popularity. Because of that reason his theoretic contribution to the study of art remains in a penumbra. I argue that Sedlmayr’s conception has the following coinciding points with the official understanding of art in the time of socialism: – A denial to estimate art with aesthetic criteria, which the ideologists of socialist realism define as formalism, and Sedlmayr as aesthetism; – In socialism art should represent a positive ideal; Sedlmayr calls this ideal “human measure”; – Art should habituate to morals; – A conviction that the modern art from the end of 19th c. on is decadent; – A criticism against the “dehumanization” of art.

scholarly journals Library and publishing complex of university — union as fundament for raising of efficience

2020 ◽  
pp. 102-105
Author(s):  
P.A. Zakharov ◽  
◽  
E.N. Kasyanchuk
Keyword(s):  
Organizational Structure ◽  
Business Processes ◽  
Publishing House ◽  
Educational Environment ◽  
Information Resources ◽  
Parallel Optimization ◽  
Automated Systems ◽  
Resource Center ◽  
Public Recognition ◽  
History Of

Presented is experience of Siberian Federal University in reforming organizational structure of educational supporting departments. History of creation, formation, reforming of the library and publishing complex of university is submitted. Considered is specificity of work of scientific library and publishing house of university. The article describes creation of the resource center as division of the library and publishing complex, responsible for automation and technical support of key business processes. The authors рresent approaches to improving activities of the scientific library and publishing house of university. It is indicated, that automated systems “University Book Provision”, “Publishing of Works of Authors of the Siberian Federal University” have been developed for coordination of activities between divisions. Library and publishing council functions to regulate and coordinate activities of library and publishing processes, integrate them into scientific and educational environment of university. It is noted, that automation of business processes made possible to ensure efficiency of division’s work with parallel optimization of the staffing table. It is emphasized, that unification of the library and the publishing house into one structure made it possible to resolve issue of obtaining information resources. Experience of Siberian Federal University proved to be successful, and that is proved by public recognition, victory of scientific library of Siberian Federal University at All-Russian competition of library innovations and use of practice of Siberian Federal University by other universities of the country.

scholarly journals Temptation, Resistance, and Art Objects: On the Lack of Material Theory within Art History before the Material Turn

2019 ◽  
pp. 5-23
Author(s):  
Charolotta Krispinsson
Keyword(s):  
Visual Culture ◽  
Art History ◽  
Scientific Discipline ◽  
Self Control ◽  
Simple Fact ◽  
Culture Studies ◽  
Visual Culture Studies ◽  
Art Historians ◽  
History Of ◽  
Material Turn

Niccolò di Pietro Gerini's painting “The Temptation of Saint Anthony” (1390-1400) serves as a point of departure for this essay. It depicts Saint Anthony during a lapse of self-control as he attempts to resist an alluring mound of gold. Since the mound is in fact made of genuine gold leaves applied to the painting's surface, it works both as a representation of temptation as well as an object of desire affecting the beholder. The aim of this essay is to explore different approaches to materiality before the material turn within the art history discipline by examining two opposing directions within the writing and practice of art history:  the tradition of connoisseurship; and the critique of the fetish within the theoretical apparatus of new art history and visual culture studies of the 1980s and 90s. As an expression of positivism within art history, it is argued that connoisseurship be considered within the context of its empirical practices dealing with objects. What is commonly described as the connoisseur's “taste” or “love for art” would then be just another way to describe the intimate relationship formed between art historians and the very objects under their scrutiny. More than other humanist disciplines, art history is, with the possible exception of archaeology, an object-based discipline. It is empirically anchored in the unruly, deep sea of objects commonly known as the history of art. Still, there has been a lack of in-depth theoretical reflection on the materiality of artworks in the writings of art historians before the material turn. The question however, is not ifthis is so, but rather, why?In this essay, it is suggested that the art history discipline has been marked by a complicated love-hate relationship with the materiality of which the very objects of study, more often than not, are made of; like Saint Anthony who is both attracted to and repelled by the shapeless mass of gold that Lucifer tempts him with. While connoisseurship represents attraction, resistance to the allure of objects can be traced to the habitual critique of fetishism of the first generations of visual culture studies and new art history. It reflects a negative stance towards objects and the material aspect of artworks, which enhanced a conceived dichotomy between thinking critically and analytically in contrast to managing documents and objects in archives and museum depositories. However, juxtaposing the act of thinking with the practice of manual labour has a long tradition in Western intellectual history. Furthermore, it is argued that art history cannot easily be compared to the history of other disciplines because of the simple fact that artworks are typically quite expensive and unique commodities, and as such, they provoke not just aesthetic but also fetishist responses. Thus, this desire to separate art history as a scientific discipline from the fetishism of the art market has had the paradoxical effect of causing art historians to shy away from developing methodologies and theory about materiality as an act of resistance. 

New technologies for data and image storage and their application to the history of art

1982 ◽  
Vol 7 (2) ◽  
pp. 67-81 ◽  
Author(s):  
Michael Greenhalgh
Keyword(s):  
New Technologies ◽  
New Technology ◽  
Point Of View ◽  
Image Storage ◽  
General Terms ◽  
History Of Art ◽  
Art Historians ◽  
History Of ◽  
The Subject

In general terms, this paper is about the possibilities newly available to art historians, because of the new cheapness, of computing, and the problems which still exist in the areas of data and image storage, retrieval and display. First it tries to assess the technology from a layman’s point of view, then ventures into the contentious matter of how many art historians (in these days of reduced funding) are either able or willing to take advantage (if there are advantages) of new technology. Threading throughout the paper are doubts about whether the use of computers can or will advance the study of the subject (as opposed to making that study easier), and about whether the finance for some of the hardware mentioned could ever be raised by any non-scientific department.

Considering the future of art bibliography: the FAB initiative

2011 ◽  
Vol 36 (3) ◽  
pp. 10-14 ◽  
Author(s):  
Kathleen Salomon
Keyword(s):  
United States ◽  
Art History ◽  
The United States ◽  
History Of Art ◽  
The Future ◽  
Art Historians ◽  
History Of ◽  
Review Current ◽  
Research Institute ◽  
Current Practices

The Future of Art Bibliography (FAB) initiative developed out of various conversations among colleagues in the United States and Europe. Events in the art historical community, including limited funding resources for art libraries and projects internationally, and the cessation of the Getty’s support for the production of the Bibliography of the history of art (BHA) provided the catalyst for the Kress Foundation grant to the Getty Research Institute. A series of international meetings of art librarians, art historians, publishers and information specialists ensued. The goal was to review current practices, take stock of changes, and seriously consider developing more sustainable and collaborative ways of supporting the bibliography of art history in the future.

Book reviews: Outrunning the dominant males

1994 ◽  
Vol 48 (2) ◽  
pp. 327-328
Keyword(s):  
Final Section ◽  
Short History ◽  
75Th Anniversary ◽  
Scientific Careers ◽  
Animal Physiology ◽  
Public Recognition ◽  
History Of

Women Physiologists , edited by Lynn Bindman, Alison Bruding and Tilli Tansey. Portland Press, 1993. £16.95. ISBN 1-85578-021-6. The Physiological Society originated as a scientific dining club in 1879 for men interested in animal physiology. It was not until 1915 that the first woman was elected as a member, and it is the 75th anniversary of this event that is marked by this book, which consists of brief biographies of 18 women physiologists whose scientific careers are outlined. As an introduction there is a short history of women and the Physiological Society. The next section is devoted to those - 8 out of the 18 - who received public recognition in the form of F.R.S. and/or D.B.E.: they are considered at greater length. All the biographies are written by women, themselves physiologists of high standing, who knew their subjects personally or through close associates. (The final section has details of each contributor.)

Approaching the Mughal Past in Indian Art Criticism: The case of MARG (1946 –1963)

2012 ◽  
Vol 47 (1) ◽  
pp. 167-203
Author(s):  
DEVIKA SINGH
Keyword(s):  
Cultural Identity ◽  
Art History ◽  
Art Criticism ◽  
Art Journal ◽  
Art Historians ◽  
History Of ◽  
The 1960S ◽  
Art And Architecture ◽  
Indian Art ◽  
Contemporary Artists

AbstractThe paper examines the model value of the Mughal period in MARG, the leading art journal of 1940s and 1950s India. It combines a discussion of some of the key historiographical questions of Indian art history and the role played by specific art historians, including European exiles who were among the contributors to the journal, with broader questions on the interaction of national cultural identity with global modernism. In this context, the Mughal period—celebrated in MARG for its synthesis of foreign and indigenous styles—was consistently put forward as an example for contemporary artists and architects. From its inception in 1946 until the 1960s the review favoured a return to the spirit of India's prestigious artistic past, but not to its form. Its editorials and articles followed a clearly anti-revivalist and cosmopolitan line. It aimed at redressing misunderstandings that had long undermined the history of Indian art and surmounting the perceived tensions in art and architecture between a so-called Indian style and a modern, international one.

scholarly journals Is Art History of China Useless in a Pandemic?

2020 ◽  
Vol 10 ◽  
Author(s):  
Feng He Schöneweiß
Keyword(s):  
Case Studies ◽  
Art History ◽  
Real Life ◽  
Chinese Art ◽  
Life Crisis ◽  
Cultural Aspects ◽  
The Core ◽  
Chinese Studies ◽  
Art Historians ◽  
History Of

The study of Chinese art has long been a specialised field bridging the disciplines of art history and Chinese studies. This essay challenges, as always in a real-life crisis, the usefulness of art history of China in the current Covid-19 pandemic. The agency of art historians is put under the historiographical grill. Through two brief case studies, the essay argues that art historians, though as mortal and fragile, are actually professionally equipped to strike the core consequences of the pandemic in its social, political, and cultural aspects.

scholarly journals Contribution of the Galician Bishop Cosme to the establishment of the Ecumenical Church in Ukraine in the XII century

2013 ◽  
pp. 124-131
Author(s):  
I. Koval ◽  
L. Borusevych ◽  
A. Solovey
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Whole Body ◽  
Ancient History ◽  
12Th Century ◽  
Art Historians ◽  
History Of

The historic figure of the prominent ecclesiastical figure of the princely Rus-Ukraine, the associate of the ruler of the Galician principality, Yaroslav Osmomysl (1153-1187), Bishop Kosmi (Kuzma), was always in the sight of historians, religious scholars, archaeologists and art historians. True, its reading was usually done in the context of the study of the history of the origin of the Galician diocese in the middle of the 12th century. The problem of the founding of this diocese has a rather significant historiography. In the middle of the nineteenth century, thanks to the search of the Lviv priest A. Petrushevich, it was possible to establish the main stages of its ancient history. In the years 1854-1860, about. A. Petrushevich published the "Galician Historical Collection", which contained his articles on the Galician Cathedral Church, its bishops and metropolitans. The history of the diocese was investigated in the second half of the nineteenth century. Yu Peles, M. Tikhomirov and I. Rudovich. Important pages about her past were supplemented in the twentieth century. historians M. Hrushevsky, I. Nazarko, K. Panas, S.Mudry, Yu.Fedorov, Z. Fedunkov, religious scholars - S.Kyyak and I.Skochilas, archaeologists Y.Pasternak, V.Petegirich, Yu.Lukomsky, art historians Pelensky, M. Figol, V. Vuytsik. During this time, a whole body of research has been created, which is dedicated to the study of the imprint of the Galician bishop Cosmi. He is represented by the scientific works of M. Hrushevsky, P. Gaydukov, Y.Pasternak, R.Michailova, V. Yanin.

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