scholarly journals ТВОРЧІСТЬ ВІКТОРА ЄФИМЕНКА В КОНТЕКСТІ РОЗВИТКУ УКРАЇНСЬКОЇ КНИЖКОВОЇ ГРАФІКИ (остання третина ХХ ст.)

2019 ◽  
pp. 144-151
Author(s):  
О. П. Спасскова
Keyword(s):  
Twentieth Century ◽  
Art History ◽  
Artistic Development ◽  
Artistic Process ◽  
Cultural Life ◽  
History Analysis ◽  
Socially Relevant ◽  
Main Thing ◽  
The Individual ◽  
The Relationship

The purpose of the work is to study the creativity of the Odessa graphic artist Viktor Efimenko (1933-1994) in the context of the development of Ukrainian book graphics of the last third of the twentieth century. The method The basis of our research is the historical-cultural, comparative-typological and figurative-stylistic research methods, which made it possible to achieve a holistic analysis of the graphic works of V. Efimenko. The main thing is the art history analysis of works of book and easel graphic. The last third of the twentieth century is marked by changes in the cultural life of the country. Ukrainian artists sought to join the European and world trends in artistic development, which was characterized by a variety of styles and methods. Despite the fact that state requirements and standards were of great importance, the artists tried to put in to practice the socially relevant topics of concern to them. Two directions of the master's creativity are considered: book and easel illustration. The relationship between the individual graphic style of V. Efimenko and the general artistic process is considered. On the basis of the artistic and stylistic analysis, the interrelation of V. Efimenko’s creativity with the Ukrainian and world artist revealed. It is revealed that the master's works are characterized by a deeply personal, philosophical reading of texts and their figurative reproduction in the language of graphics. It is noted that V. Efimenko could express his philosophical ideas thanks to his free possession of linocut and etching techniques.

scholarly journals Oblicza człowieka masowego — od totalitaryzmu do konsumpcjonizmu

2021 ◽  
Vol 43 (2) ◽  
pp. 263-272
Author(s):  
Jacek Kaczor
Keyword(s):  
Twentieth Century ◽  
Consumer Behavior ◽  
Consumer Goods ◽  
Consumer Society ◽  
Social Phenomenon ◽  
Mass Society ◽  
Specific Community ◽  
The Individual ◽  
The Masses ◽  
The Relationship

The article presents two figures of mass society that emerged in the twentieth century. The former revealed itself in the era of totalitarianism, while the latter resulted in the emergence of a consumer society. Neither of these figures are a necessary consequence of the processes leading to the rise of the masses as a social phenomenon. They have been created as a result of specific historical conditions. Consequently, mass society can take on any of these forms. They are also not disjoint, which means that authoritarian attitudes and consumer behavior can occur simultaneously. The relationship between the described attitudes adopted by the mass man occurs at the level of their attitude to freedom and democratic institutions. Modernity has resulted in the fact that the individual cannot cope with the freedom they gained as a result of being freed from tradition and religion. If they cannot free themselves an authority to show them how to live. This authority may also be of a group nature. Belonging to a specific community gives an individual a sense of bond and security. Freedom in a consumer society is primarily the freedom to choose consumer goods. In any case, democracy is not a valued form of managing society. Before the rise of totalitarianism, it did not ensure sufficient coherence and a sense of participation. At the same time, in the consumer society, its basic procedures began to trivialize and become part of marketing mechanisms.

scholarly journals Self-portrait in the painting of Irkutsk artists of the late twentieth century

2020 ◽  
pp. 320-336
Author(s):  
Алина Михайловна Свердлова-Александрова
Keyword(s):  
Twentieth Century ◽  
Creative Process ◽  
Art History ◽  
External Environment ◽  
Art Museum ◽  
Historical Events ◽  
Works Of Art ◽  
History Analysis ◽  
Late Twentieth ◽  
Late Twentieth Century

В статье рассматриваются автопортреты иркутских художников, созданные в период 1980–2000 гг. и хранящиеся в собрании Иркутского областного художественного музея имени В.П. Сукачева. Два последних десятилетия ХХ века стали временем глобальных общественных и политических перемен, последствия которых отразились на жизни граждан. Попытка сопоставления глубоко личных произведений искусства и исторических событий, происходящих параллельно их созданию, дает возможность оценить, как внешняя среда влияет на творческий процесс художника. Приведен искусствоведческий анализ автопортретов Г. Новиковой, В. Кузьмина, Н. Вершинина, Н. Башарина В. Смагина, Б. Десяткина, Л. Гимова, В. Чевелева. The article deals with self-portraits of Irkutsk artists created in the period of 1980–2000 and stored in the collection of the Irkutsk Regional Art Museum named after Vladimir Sukachev. The last two decades of the twentieth century were a time of global social and political changes, the consequences of which affected the lives of citizens. An attempt to compare deeply personal works of art and historical events that occur in parallel with their creation makes it possible to assess how the external environment affects the artist's creative process. An art history analysis of self-portraits of G. Novikovа, V. Kuzmin, N. Vershinin, N. Basharin, V. Smagin, B. Desyatkin, L. Gimov, V. Chevelev.

scholarly journals The Spanish Counter-Enlightenment: an Overview, 1774–1814

2019 ◽  
Vol 7 (1) ◽  
pp. 504-537
Author(s):  
Carolina Armenteros
Keyword(s):  
Twentieth Century ◽  
Social Thought ◽  
The State ◽  
General Overview ◽  
The Individual ◽  
Key Aspects ◽  
First Time ◽  
The Relationship

At once neglected and deeply controversial, the Spanish Counter- Enlightenment is crucial to understanding the development of Spanish politics and social thought until at least the mid-twentieth century. From Marcelino Menéndez Pelayo’s praise to Javier Herrero’s denigration to the more balanced assessments of present-day scholars, the movement continues to be a source of debate and varying evaluations. Still, key aspects of it remain to be known, including its anthropology, its approach to Enlightened political concepts, its inheritance from Salamanca scholastics and its ideas on interiority and the relationship between the individual and the state. This paper defines these aspects by examining the works of five of the Spanish Counter-Enlightenment’s major representatives: Fernando de Ceballos y Mier, (1732–1802), Vicente Fernández de Valcarce (1723–98), Lorenzo Hervás y Panduro (1735–1809), Francisco Alvarado (1756–1814) and Rafael de Vélez (1777–1850). The first aim is to identify what made the Spanish Counter- Enlightenment unique yet related to the French Counter-Enlightenment that nurtured and preceded it. The second aim is to provide a general overview of the movement even while introducing it to an Englishspeaking audience for the first time.

Human Figure as an Object: Vanja Bučan, photographer

2019 ◽  
pp. 28-32
Author(s):  
Miha Colner
Keyword(s):  
Mass Media ◽  
Everyday Life ◽  
Considerable Degree ◽  
Artistic Process ◽  
The Social ◽  
Mise En Scene ◽  
Scene Representation ◽  
Human Figure ◽  
The Individual ◽  
The Relationship

The article analyzes the artistic process of the Berlin-based photographer Vanja Bučan, who always manages to maintain at least some recognizable expression despite her varied approaches. Her works are visually rich, carrying complex meanings and associations. She chooses not to directly reflect the collective and the individual everyday life but depicts universal existentialist motifs where the social perspective is usually shown through metaphors and allegories. The centerpiece of her work is the relationship between culture and nature and between humans and their environment, as well as the ontology of image in mass media circulation. Her photography requires a considerable degree of cerebral activity and intuition in order to sense some of the fundamental questions of humankind in the Anthropocene. Keywords: Anthropocene, art photography, photographic mise-en-scene, representation of nature

‘LET US SWIM IN THE POOL OF LOVE’: LOVE LETTERS AND DISCOURSES OF COMMUNITY COMPOSITION IN TWENTIETH-CENTURY TANZANIA

2013 ◽  
Vol 54 (1) ◽  
pp. 103-122 ◽  
Author(s):  
Andreana C. Prichard
Keyword(s):  
Twentieth Century ◽  
Community Composition ◽  
National Imagination ◽  
The Family ◽  
Love Letters ◽  
Political Act ◽  
The Individual ◽  
Individual Self ◽  
The Relationship

AbstractThis article uses a series of love letters exchanged between an African Anglican priest and a teacher-in-training before their marriage to investigate the relationship between the fashioning of the individual self, marriage, and community at the dawn of Tanganyika's independence. When seen through marriage's historical position as an institution central to community composition, these letters illustrate how the family – and the intimate process of building families – could become an alternate site of national imagination. These two young lovers understood their marriage as an explicitly political act of community composition, and cast themselves as characters in the drama of national imagination. In negotiating their twentieth-century marriage, Rose and Gideon became political innovators, selecting, producing, and testing the content and boundaries of the nation.

Private Benefit, Public Finance?

2019 ◽  
pp. 60-76
Author(s):  
William Whyte
Keyword(s):  
Higher Education ◽  
Twentieth Century ◽  
The State ◽  
British Society ◽  
Late Twentieth ◽  
The Individual ◽  
Student Finance ◽  
The University ◽  
The Relationship ◽  
Late Twentieth Century

This chapter explores the way in which developments in the apparently rather narrow field of undergraduate finance tell us something about perceptions of the university in the late twentieth century and, more importantly, about how debates over higher education illuminate wider attitudes to the relationship between the individual, the state, and civil society. It also uses these debates—and the legislation they inspired—to discuss the difficulties the state and other actors faced in dealing with higher education in an era characterized by anxieties about Britain’s perceived decline, and about inequities in British society. The tangled and tortured development of student finance in the last four decades of the twentieth century illustrates the value of Jose Harris’s approach, whilst also enabling historians to trace the longer-lasting legacy of idealist thought.

Exhibition History and the Institution as a Medium

2015 ◽  
Vol 1 ◽  
Author(s):  
Stefano Collicelli Cagol
Keyword(s):  
Twentieth Century ◽  
Art History ◽  
Historical Narratives ◽  
The Past ◽  
Exhibition History ◽  
The Future ◽  
History Of ◽  
Recent Debate ◽  
The Relationship

The recent debate on the relationship between histories of exhibition and art history tends to consider the former as supplementary to the latter. While it is certainly not the case that art history of the second half of the twentieth century should be reduced to a history of exhibitions—given the variety of contexts in which artists have operated—exhibition histories should likewise not be addressed only to enrich art historical narratives, or be selected according to their relationship to an art historical canon. In fact, exhibition histories provide critical tools to approach history in itself: by revealing cultural debates of the past, they help retracing histories of ideas; their expanded field highlights the connections between art and other realms, such as commerce, and they reveal politics and policies of an institution, stressing the latter in order to create a narrative to understand the present and imagine the future.

Remembering and forgetting the arts of technical education

2020 ◽  
Vol 49 (2) ◽  
pp. 181-193
Author(s):  
John Pardy
Keyword(s):  
Twentieth Century ◽  
Social Memory ◽  
Technical Education ◽  
Social Imaginary ◽  
Content Type ◽  
Technical Schools ◽  
Cultural Life ◽  
National Imaginary ◽  
The Times ◽  
The Relationship

PurposeTechnical education in the twentieth century played an important role in the cultural life of Australia in ways are that routinely overlooked or forgotten. As all education is central to the cultural life of any nation this article traces the relationship between technical education and the national social imaginary. Specifically, the article focuses on the connection between art and technical education and does so by considering changing cultural representations of Australia.Design/methodology/approachDrawing upon materials, that include school archives, an unpublished autobiography monograph, art catalogues and documentary film, the article details the lives and works of two artists, from different eras of twentieth century Australia. Utilising social memory as theorised by Connerton (1989, 2009, 2011), the article reflects on the lives of two Australian artists as examples of, and a way into appreciating, the enduring relationship between technical education and art.FindingsThe two artists, William Wallace Anderson and Carol Jerrems both products of, and teachers in, technical schools produced their own art that offered different insights into changes in Australia's national imaginary. By exploring their lives and work, the connections between technical education and art represent a social memory made material in the works of the artists and their representations of Australia's changing national imaginary.Originality/valueThis article features two artist teachers from technical schools as examples of the centrality of art to technical education. Through the teacher-artists lives and works the article highlights a shift in the Australian cultural imaginary at the same time as remembering the centrality of art to technical education. Through the twentieth century the relationship between art and technical education persisted, revealing the sensibilities of the times.

scholarly journals The plot-composition organization of dramatic works of Ukrainian emigration writers in the middle of the twentieth century

2019 ◽  
Keyword(s):  
Twentieth Century ◽  
Dramatic Works ◽  
Structural Parts ◽  
The Individual ◽  
The Relationship

The article is devoted to the study of plot-composition organization of dramatic works of Ukrainian emigrants-writers in the middle of the twentieth century. It has been found out that the features of the plays’ structure are mostly experimental by nature, including the wide involvement of such components as the prologue, the epilogue, the interlude inserts and so on to the drama. The compositional possibilities of the works are outlined in L. Pirandello’s scheme “play-in-the-play”, which expresses the specificity of the epoch, demonstrates its disorder, as well as facilitates searches in both content and form. Reception of the framing, in violation of the logic of the portrayed events, reveals the relationship between the theater and the viewer (plays by I. Kostetskyi, I. Cholhan, A. Yuryniak and others are illustrative). It is emphasized that the introduction of the “master of ceremonies” (Prologue as an actor) in the text of the drama is intended to explain its plot-shaped paradigm, the accumulation of organizational components, which helps an adequate reception of the portrayed (mostly I. Cholhan's comedies). In such dramatic compositional parts as the prologue, the epilogue, the interludes the writers focus readers’ attention on topical issues of conceptual importance for understanding the epoch. The idea of a transformed prologue, more rarely an epilogue, is significant in emigration dramaturgy, because it declared as the sphere of the “presence” of the author, expresses the desire of the individual (the emigrant artist) to comprehend and express the understanding of the character. The interlude inserts broaden the concept of the work: they serve as an emotional accompaniment to the main events, focus the recipient on the ideological and philosophical essence of the play, combine structural parts of the text, activate the analytical readers’ perception of the work. It is proved that the search character of the analyzed plays is an indispensable feature of the dramatic acquisition of Ukrainian emigrants-writers of the middle of the twentieth century.

scholarly journals Creative dimensions of dniprovs's underground artists: Volodymyr Bublyk and Anatoly Sologub

2021 ◽  
Author(s):  
Volodymyr Malikov
Keyword(s):  
Key Words ◽  
Subject Matter ◽  
Art History ◽  
Art Criticism ◽  
Life Experience ◽  
Dominant Ideology ◽  
Artistic Process ◽  
Body Of Knowledge ◽  
History Analysis ◽  
Folk Tradition

The purpose of the article is to analyze the creative layer of the little-known Dnipro underground representatives in Ukrainian art criticism Volodymyr Bublyk (1950–2007) and Anatolii Solohub (1953–2014). As the methodology of scientific research was used an art history analysis based on the complex systematization, comparison, and generalization. The scientific novelty is in the introduction into scientific circulation of a significant part of the graphic heritage of Volodymyr Bublyk and Anatolii Solohub in the Dnipro region underground context of the 1980 s – 2000 s. Conclusions. An analysis of Volodymyr Bublyk and Anatolii Solohub’s work reveals a number of important aspects for characterizing the Dnipro “art of resistance”. The latter was formed in the conditions of a “closed” city, the impossibility of official exhibiting due to an alienated attitude towards the dominant ideology in the artistic process of that time. For many artists, these factors often became the cause of the existential catastrophe of every creative person. With contemporaries-brothers Volodymyr Loboda (1943), Serhii Aliev-Kovyka (1956), Oleksandr Nemiatyi (1954), the above-mentioned masters were related by the chosen format of radicalism, which was truly underground. However, the methods of creative communication of each person differed depending on the acquired life experience, the available body of knowledge, and personal temperament. The paintings of Volodymyr Bubluk combine the expression of images in a coloristic system that goes back to the aesthetics of the Fauves. A similar stylistic model of the master's painting can be delineated by the category of intuitive expressionism. The works of Anatolii Solohub are closely related to the folk tradition in their subject matter. The inner tension of his compositions, combined with unrestrained dynamics, strives for visual communication with the viewer. Key words: Dnipro underground, plein air, painting, graphics, sculpture, folk painting, art society "Steppe".

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