scholarly journals DEVELOPMENT OF ART COLLECTING IN UKRAINE: HISTORICAL, CULTURAL AND SOCIAL PRECONDITIONS DURING XVII–XVIII CENTURIES

2021 ◽  
Vol 5 (43) ◽  
Author(s):  
N. Shpytkovska
Keyword(s):  
Cultural Values ◽  
Scientific Article ◽  
Left Bank ◽  
Art Collecting ◽  
Art Collectors ◽  
History Of Art ◽  
Ruling Elites ◽  
History Of ◽  
The Individual ◽  
Geographical Context

The scientific article is dedicated to the study of the origins and features of the art collecting at the territory of modern Ukraine. Socio-cultural, geo-political and historical preconditions of the XVII–XVIII centuries became subject for consideration while making conclusions as to why and when art collecting became widespread among the ruling elites and noble families of the region.The article examines the history of such collections, their main characteristics and components at the time when Ukraine was divided into Left-bank and Right-bank.The research identifies main types of artistic practices widespread at that time in Ukraine, which served as the source of collectibles for private and primary institutional collections. The article considers differences of art collecting phenomenon caused by geographical context (Right-bank, Left-bank Ukraine) and by changes in political and religious factors, all having impact on the behaviour and preferences of collectors. The research covers names of well-known art collectors and demonstrates examples of collections, which laid the foundation for the transformation of collecting from the individual accumulation and preservation of cultural values to the formation of museum-level collections of national and worldwide importance.Keywords: collecting, art collecting, collectors, the phenomenon of art collecting, the history of art collecting.

scholarly journals Development of Art Collecting in Ukraine: Historical, Cultural, and Social Background During Late 17th–18th Centuries

2021 ◽  
pp. 182-191
Author(s):  
Natalia Shpytkovska
Keyword(s):  
Cultural Values ◽  
Social Background ◽  
Left Bank ◽  
Art Collecting ◽  
Art Collectors ◽  
Ruling Elites ◽  
History Of ◽  
Religious Factors ◽  
The Individual ◽  
Geographical Context

The article studies the origins and features of the art collecting at the territory of modern Ukraine. Socio-cultural, geo-political and historical backsground of the 17th–18th centuries became subject for consideration while making conclusions regarding the reasons and period when art collecting became widespread among the ruling elites and noble families of the region. The history of such collections is examined, their main characteristics and components at the time when Ukraine was divided into Left-bank and Right-bank Ukraine were observed.The research identifies main types of artistic practices widespread at that time in Ukraine, which served as the source of collectibles for private and primary institutional collections. The article considers differences of art collecting phenomenon caused by geographical context (Right-bank, Left-bank Ukraine) and by the changes in political and religious factors that all had impacted behavior and preferences of collectors. The research covers main well-known art collectors and demonstrates examples of collections, which laid the foundation for the transformation of collecting from the individual accumulation and preservation of cultural values to the formation of museum-level collections of national and worldwide importance.

scholarly journals Transauthorial Screendance: Stravinsky’s Exquisite Corpse, or Brief Notes on Creating an International Omnibus Project

2014 ◽  
Vol 5 ◽  
Author(s):  
Marisa C. Hayes
Keyword(s):  
Cultural Landscape ◽  
Multiple Generations ◽  
Moving Images ◽  
Rite Of Spring ◽  
History Of Art ◽  
History Of ◽  
The Individual ◽  
Exquisite Corpse ◽  
Le Sacre Du Printemps

In honor of the first centenary surrounding the pivotal composition and ballet <em>Le Sacre du Printemps (The Rite of Spring)</em> in 2013, Franck Boul&egrave;gue and I coordinated a collective screendance project entitled <em>Sacre/il&egrave;ge(s)</em>. Created in collaboration with 65 international artists, we sought to explore the ongoing presence of <em>Le Sacre du Printemps</em>&nbsp;internationally and to harness its wide reaching artistic influence in order to create an omnibus cycle of films. While hundreds of stage versions of <em>Le Sacre du Printemps</em>&nbsp;exist, it has rarely been imagined for the screen and is normally identified with an individual artist's vision (Stravinsky's music, Nijinsky or Pina Bausch's choreography, among others). Diverging from these familiar components seemed a fitting tribute to a production whose original look and sound shook the cultural landscape of its era, affecting multiple generations of artists thereafter. This provided the impetus for our first foray into transauthorial screendance and raised a number of questions on the nature of collaboration, community, and authorship: What forms of collaboration are possible for the screen today? Does collaboration itself form a community? Does collaboration represent a compromise on the part of the individual artist or does it simply construct a larger authorial composite? Despite the significance of these questions throughout the history of art&mdash;and moving images in particular&mdash;these subjects are rarely addressed or explored at screendance platforms today.

scholarly journals Medijacijska funkcija umjetničke kritike između povijesti i suvremenosti

Ars Adriatica ◽  
2012 ◽  
pp. 269
Author(s):  
Nataša Lah
Keyword(s):  
New York ◽  
Cultural Values ◽  
Cultural Context ◽  
Art Criticism ◽  
Critical Evaluation ◽  
Sudden Expansion ◽  
Work Of Art ◽  
Cultural Paradigm ◽  
History Of Art ◽  
History Of

The importance of questioning the mediatory role of art criticism was established by theory in the 1960s, when it began to erode the boundary between works of art and objects which are not art but which have been institutionalized as legitimate artworks by theoreticians, critics, museums, art galleries and a narrow but well-versed public audience. The postmodern period has further exacerbated this crisis by annulling the meaning and significance of all dominant theoretical tendencies. Such circumstances have shown that art criticism, by losing a firm theoretical and axiological stronghold, has neglected its fundamental function of initiating and articulating, theoretically interpreting and mediating current artistic practices and the contemporary life of the art world. Curatorial practices in these new circumstances have imposed thematic and evaluative orientation points on art criticism while institutional art theories have conversely encouraged the paradigm shift which has caused art criticism to lose its original purpose. Operating mostly in the sphere of the mass media, and in harmony with its function, art criticism has focused on documenting and bringing into the public arena those works which have already been evaluated in advance by conceptual curatorial practice. Given that such projects addressed mostly narrow professional circles and the activities of the relevant institutions, the wider cultural context of following and evaluating current artistic production was lost. Art criticism found itself in an unfavourable position, squeezed between the demands of its mother discipline (history of art) for a normative and established scholarly apparatus, and the counter-demands of the media within which it operates. Therefore, its mediatory role was neutralized.Recent professional activities across the world, including two large international conferences - What is Critique? held in New York in 2010, and the Art and Reality organized at Saint Petersburg in 2011 and focusing on aspects and trends in twentieth-century art criticism point to a re-awakening of interest in the revitalization of the purpose and meaning of art criticism.Our contribution to this subject orientates itself methodologically according to the postulates of the relativistic and moderately-analytical Anglo-Saxon aesthetics of Nelson Goodman, which argue for the influence of culture on reception. By adjusting to the (culturally conditioned) shift away from investigating the purpose, value and significance of a work of art towards the purpose, significance and value of the representation itself, the mediatory function of art criticism includes the reception of the cultural paradigm a work of art is presenting. The demand for a mediatory function for art criticism is also based on the consequences of the turbulent events of nineteenth-century art, when provocation against good taste as such caused a sudden expansion of mutually exclusive theoretical paradigms. In this sense, mediation also implies that art criticism is rooted in the history of the discipline. One of the pre-requisites for the understanding of such a suggestion is found in works such as Lionello Venturi’s History of Art Criticism and Oskar Bätschmann’s Einführung in die kunstgeschichtliche Hermeneutik: Die Auslegung von Bildern (Introduction to Art Historical Hermeneutics). In the case of Venturi we highlight in particular the tendency to link the art historical discipline and art criticism in such a way as to return art criticism to historical problems (understanding of the origin of a work of art), and history of art to forming judgements (the critical evaluation of a work of art). In the case of Bätschmann, we underline his analysis of the iconoclastic relationship of culture towards those types of artistic imagination for which no conditions for understanding are available. Both suggestions demonstrate the significance of art criticism’s mediatory role, on the one hand between history and contemporaneity, and on the other between art and audience.Such a role includes the question of competency in mediation, for which a static reception from the position of only one theoretical paradigm or one system of cultural values is not enough. Competency in mediation, apart from implying insight into the pluralism of social values in all their antinomies, and the pluralism of opinions and beliefs (in which ideologies always have a tendency to mobilize all interpretations directed to them), it also implies a critic’s ability to adjust to different methodologies. This does not support acting without a disciplinary focus but the possibility of adapting to a number of different central points within the discipline which may multiply or expire. In this case, competency in mediation is preceded by the detection of an artistic and cultural paradigm, but also by an authoritative application of theoretical and conceptual strongholds, varying from case to case, always recurring and always authentic.

scholarly journals Jaime Siles/x

2012 ◽  
Vol 1 (18) ◽  
pp. 249
Author(s):  
Aurora Egido
Keyword(s):  
Walter Benjamin ◽  
Art Collecting ◽  
Avant Garde ◽  
Poetic Discourse ◽  
History Of Art ◽  
History Of ◽  
Aby Warburg ◽  
Manipulation Experiment

Se trata de componer un discurso poético partiendo de las palabras del propio autor. Pero, en este caso, el contrafactor no vuelve ni a lo divino, ni a lo humano la obra de Jaime Siles, sino que trata de componer una semblanza aproximada a partir de algunos de sus textos. Ya Marino habló de la licitud de robare, con tal de que lo sustraido se engastara de manera diferente para cobrar un nuevo significado. La operación es tan arriesgada como quien rompe un vitral de colores para componer otro distinto con los cristales rotos. Tal efecto de violencia se inserta en los parámetros de una era en la que triunfan lo fragmentario y la composición de imágenes heterogéneas (por no hablar de montaje literario, ya se trate de Walter Benjamin o de Benjamin Fondane). Si Aby Warburg (Atlas Menmosyne, 1924 y 1929) trató de transformar la historia del arte reuniendo las imágenes en paneles móviles, que se podían montar y desmontar a conveniencia, ¿por qué no hacerlo con un autor que tanto sabe del Barroco, de las vanguardias y de la posmodernidad? Se trata de un experimento de manipulación no engañosa, sin más ambición que la de reordenar las palabras y las cosas en el espacio de la lectura, donde estas adquieran siempre una dimensión personal y dificilmente transferible.  The question is to compose a poetic discourse from the words of the author himself. But, in this case, the contrafactor doesn’t change the work of Jaime Siles nor “a lo divino”, nor “a lo humano”, but tries to compose an approximate semblance from some of his texts. Marino talked about the legality of robare, as long as it is crimped differently to take on a new meaning. The operation is as risky as one who breaks a glass window to compose a different one with the broken glasses. Such an effect of violence is inserted in the parameters of an era in which succeed the fragmentary and the composition of heterogeneous images (not to mention the literary montage of Walter Benjamin or Benjamin Fondane). If Aby Warburg (Atlas Menmosyne, 1924 and 1929) attempted to transform the history of art collecting images on removable panels that could be assembled and disassembled for convenience, why not do it with an author who knows both the Baroque, the avant-garde and postmodernism? This is a not misleading manipulation experiment, with no other ambition than to rearrange the words and things in the space of reading, where they always acquire a personal and hardly transferable dimension.

The Taste of Angels: A History of Art Collecting from Rameses to Napoleon

1951 ◽  
Vol 9 (3) ◽  
pp. 274
Author(s):  
Richard H. Howland ◽  
Francis Henry Taylor
Keyword(s):  
Art Collecting ◽  
History Of Art ◽  
History Of

scholarly journals Horrors of War in the Context of the Fine Arts Transformation of the XX Century

2020 ◽  
Vol 4 (4) ◽  
pp. 147-157
Author(s):  
E. O. Grantseva
Keyword(s):  
20Th Century ◽  
Fine Arts ◽  
Traumatic Experience ◽  
History Of Emotions ◽  
Artistic Process ◽  
Cultural Transformations ◽  
History Of Art ◽  
History Of ◽  
Post War ◽  
The Individual

The article is dedicated to the outlook on the socio-cultural transformations of the 20th century brought by global conflicts. The main attention is paid to the problems arisen from overcoming traumas by the means of art and to the influence the traumatic experience has had on the transformation of the artistic language. The themes of the horrors of war, war and post-war experience and reflections acquire special significance in the artistic culture of the 20th century, with traumas brought by both world wars and other conflicts giving rise not only to emotional responses to ongoing disasters, but also being a catalyst for global reshaping of artistic content, form and industry, expressed in the visual revolution. In this regard, the paper turns to the essential cultural characteristics of the art of this period, to consider the similarities and differences in the individual trends that followed the general trend. Then, revealing the specifics of the artistic process, considered within the framework of the historical and cultural approach, the reasons that determined the global transformations of art were discovered. In this work, the issues mentioned above are perceived at the junction of the problems studied in the history of emotions and the history of art. So is the conceptual focus of this interdisciplinary text. Such an approach not only attempts to consider the visual revolution through the prism of personal experience, to link the transformation of visual expression with the inner state of a person and one’s perceptions of current events. It also underlines the specificities of historiography, represented both by research on the history of art and by works related to such a direction of historical science as the history of emotions. The main results of the research are as follows. Works of art related to the experience and display of the horrors of war, on the one hand, help to understand and survive the traumatic experience, telling about it in a metaphorical form, and on the other hand, embodying these goals, they radically change the artistic language in the context of the visual revolution of the 20th century.

Jewish Art Collectors in Poland and the Works of Maksymilian Gierymski before World War II

2020 ◽  
Vol 16 (1) ◽  
pp. 51-67
Author(s):  
Aleksandra Krypczyk-De Barra
Keyword(s):  
Nineteenth Century ◽  
World War Ii ◽  
Turning Point ◽  
Cultural Institutions ◽  
World War ◽  
Art Collecting ◽  
Art Collectors ◽  
Jewish Art ◽  
History Of ◽  
Polish Art

From the end of the nineteenth century and up to the beginning of World War II, many of Maksymilian Gierymski’s (1846-1874) works were part of the collections of respected Jewish collectors, including Maksymilian Adam Oderfeld, Edward Rejcher, Stanisław Rotwand, Adolf Peretz, and Abe Gutnajer. They combined buying Polish art with providing financial support for many Polish cultural institutions. Thanks to these collectors the Polish public had better knowledge of Gierymski’s art. They bought his works at a time when the best examples of his oeuvre were abroad. 1939 was a tragic turning point for their activity. Collections were destroyed or stolen, including Gierymski’s work, and most of these items were not catalogued. Nevertheless, the collectors’ knowledge, passion, and expertise raised the bar for standards in Polish art collecting generally. The forgotten activity of Poland’s Jewish collectors is an essential part of the history of nineteenth-century Polish art.

scholarly journals The work of Pieter Post in the context of the development of classicism in Dutch painting of the 17th century

2021 ◽  
pp. 164-168
Author(s):  
Ol’ga A. Korol’kova ◽  
Keyword(s):  
Main Part ◽  
17Th Century ◽  
Russian Art ◽  
Dutch Art ◽  
History Of Art ◽  
History Of ◽  
Human Figure ◽  
The Individual ◽  
Artistic Heritage ◽  
Individual Style

The author studied the pictorial heritage of the Dutch artist and architect of the 17th century Pieter Post. In the scientific works of Russian art critics, the master’s work is mentioned in the context of his collaboration with the famous architect Jacob van Campen, even though Post is no less significant in the history of art. This article proposes to concentrate on the analysis of the artist’s canvases, tracing the evolution of his creative manner, which was formed under the influence of the art of the Italians and landscape painters of Holland, which is especially noticeable in the first paintings of Post. With the development of skill, the artist acquires his own style, characterized by an attempt to symmetrically build a composition, the predominance of line over color, the specificity of the interpretation of the human figure, which is due to the spread of the ideas of classicism in Dutch art. The main part of the artistic heritage of Pieter Post is made up of architectural monuments created in the classicist style, however, based on the study of the master’s painting, one can trace the stages of the formation of classicism in Holland in the 17th century and the formation the individual style of Post.

Investigating the Relationship Between Self-Esteem and Stigma Among Young Adults With History of Suicide Attempts

Crisis ◽  
2016 ◽  
Vol 37 (4) ◽  
pp. 265-270 ◽  
Author(s):  
Meshan Lehmann ◽  
Matthew R. Hilimire ◽  
Lawrence H. Yang ◽  
Bruce G. Link ◽  
Jordan E. DeVylder
Keyword(s):  
Young Adults ◽  
Suicide Attempts ◽  
Self Esteem ◽  
High Risk Population ◽  
High Functioning ◽  
People With Mental Illness ◽  
History Of ◽  
The Individual ◽  
The Impact ◽  
The Relationship

Abstract. Background: Self-esteem is a major contributor to risk for repeated suicide attempts. Prior research has shown that awareness of stigma is associated with reduced self-esteem among people with mental illness. No prior studies have examined the association between self-esteem and stereotype awareness among individuals with past suicide attempts. Aims: To understand the relationship between stereotype awareness and self-esteem among young adults who have and have not attempted suicide. Method: Computerized surveys were administered to college students (N = 637). Linear regression analyses were used to test associations between self-esteem and stereotype awareness, attempt history, and their interaction. Results: There was a significant stereotype awareness by attempt interaction (β = –.74, p = .006) in the regression analysis. The interaction was explained by a stronger negative association between stereotype awareness and self-esteem among individuals with past suicide attempts (β = –.50, p = .013) compared with those without attempts (β = –.09, p = .037). Conclusion: Stigma is associated with lower self-esteem within this high-functioning sample of young adults with histories of suicide attempts. Alleviating the impact of stigma at the individual (clinical) or community (public health) levels may improve self-esteem among this high-risk population, which could potentially influence subsequent suicide risk.

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