FEATURES OF THE INDUSTRIAL THEME DEVELOPMENT IN THE CREATIVITY OF DAGESTAN ARTISTS

2020 ◽  
pp. 92-96
Author(s):  
Zaripat Abdullaevna Akhmedova
Keyword(s):  
Visual Arts ◽  
Fine Art ◽  
Complete Study ◽  
Post War

The author of the article considers the industrial theme as one of the important themes in the genre of house-hold paintings in the visual arts of Dagestan. The analyzed works reveal the peculiarities and diversity in the development of the theme during its formation, and in the post-war period. The scientific turnover includes previously unexplored works, which are of particular interest for a more complete study of genre (household) paintings in Dagestan fine art.

scholarly journals Digitizing artist periodicals: new methodologies from the Digital Humanities for Analysing Artist Networks

2014 ◽  
Vol 39 (4) ◽  
pp. 6-11
Author(s):  
Thomas Crombez
Keyword(s):  
Visual Arts ◽  
Small Groups ◽  
Digital Humanities ◽  
First Generation ◽  
Digital Archive ◽  
Avant Garde ◽  
Socially Engaged Art ◽  
The Sixties ◽  
New Methodologies ◽  
Post War

The research project Digital Archive of Belgian Neo-Avant-garde Periodicals (DABNAP) aims to digitize and analyse a large number of artists’ periodicals from the period 1950–1990. The artistic renewal in Belgium since the 1950s, sustained by small groups of artists (such as G58 or De Nevelvlek), led to a first generation of post-war artist periodicals. Such titles proved decisive for the formation of the Belgian neo-avant-garde in literature and the visual arts. During the sixties and the seventies, happening and socially-engaged art took over and gave a new orientation to artist periodicals. In this article, I wish to highlight the challenges and difficulties of this project, for example, in dealing with non-standard formats, types of paper, typography, and non-paper inserts. A fully searchable archive of neo-avant-garde periodicals allows researchers to analyse in much more detail than before how influences from foreign literature and arts took root in the Belgian context.

Post-War Blues (1945–1947)

2016 ◽  
Author(s):  
James King
Keyword(s):  
New York ◽  
New York City ◽  
Visual Arts ◽  
York City ◽  
Modern Art ◽  
Museum Of Modern Art ◽  
Post War ◽  
Similar Kind ◽  
At Home

This chapter details events in Roland Penrose's life from 1945 to 1947. Lee and Roland flew to New York City on 19 May 1946. Roland was elated to have the opportunity to rekindle his relationship with the Museum of Modern Art's (MOMA) director Alfred H. Barr, Jr., who likely warned him about the dangers he would face if he backed any kind of proposal to open a museum of modern art in London. Roland was taken with MOMA's collection: ‘Realizing that it was on a far greater scale that anything that could be dreamt of in London, consistently indifferent to all matters concerning the visual arts and still enfeebled by the war, this achievement nevertheless roused in me a longing to attempt some similar kind of folly at home’. Barr would also have expressed his gratitude to Roland for allowing his Picassos to be sent to MOMA during the war.

scholarly journals Reviewing the Inclusion of Artists’ Holograms in the Permanent Collections of Fine Art Museums

Arts ◽  
2019 ◽  
Vol 8 (4) ◽  
pp. 147
Author(s):  
Sydney Dinsmore
Keyword(s):  
Visual Arts ◽  
Fine Art ◽  
Art Museum ◽  
Massachusetts Institute Of Technology ◽  
Large Collection ◽  
Artistic Activity ◽  
Primary Practice ◽  
Institute Of Technology ◽  
First Time ◽  
Looking Glass

Opening in 1976 with the exhibition, “Through the Looking Glass”, the Museum of Holography (MOH) emphasized from the beginning the importance of artistic holography with the inclusion of several holograms by artists whose primary practice was holography, articulating for the first time a distinction between artists, scientists and technicians. While the scientific and engineering principles underlying the technology could educate a public, holograms made by artists provided the visual syntax for the creative possibilities holography could offer. The MOH continued to encourage and support artists’ work throughout its history, amassing a large collection of holograms representative of the most prolific period of artistic activity from the mid 1970s to the mid 1980s. The Massachusetts Institute of Technology Museum (MIT Museum) in Boston acquired the entire archive including artistic and technical holograms as well as all related materials when the MOH closed in 1992. This paper will seek to explore whether the medium of holography within the visual arts has led to fine art museum acquisitions in the intervening decades.

The right space: 150 years of housing a national gallery's library and archive collection

2017 ◽  
Vol 43 (1) ◽  
pp. 24-30
Author(s):  
Andrea Lydon
Keyword(s):  
Visual Arts ◽  
Fine Art ◽  
National Gallery ◽  
The Right ◽  
Future Plans ◽  
Archive Material

The National Gallery of Ireland is the country's premier art institution. It houses the nation's collection of fine art in addition to a collection of library and archive material relating to the visual arts. The library and archive collections play an invaluable role supporting the work of the gallery and are regularly consulted by external researchers. Surprisingly, for more than a century there was no dedicated library space allocated to this collection. This article explores the development of the collection and the space it has occupied within the Gallery over the last 150 years, chronicling the challenges the gallery has faced housing this growing collection. This article outlines the situation today and concludes with an outline of the gallery's future plans for the library and archive in its efforts to create a space that will be a fitting home for this remarkable collection.

Educating gravure art

2020 ◽  
Vol 43 (2) ◽  
pp. 105-111
Author(s):  
B. Naimanov ◽  
◽  
B. Ospanov ◽  
Keyword(s):  
Visual Arts ◽  
Fine Arts ◽  
Fine Art ◽  
Creative Activity ◽  
Graphic Arts ◽  
Visual Material ◽  
Black And White ◽  
Production Activity

The article tells about the art of gravure, which is a part of the art of graphic, as well as about artists who have devoted themselves to the study of this type of art and the study of aspects of this area of fine art, as well as the study of art in the works of these artists. For a deeper understanding of graphic arts, visual material is needed. Gravure in the field of graphics occupies one of the main positions in the visual arts. With the help of this simple black-and-white graphic, artists achieve mastery by depicting and expressing what they saw in life in their works, and in doing so they develop fine arts. The article also says that gravure has specific features as one of the types of production activity, a unique way of creative activity.

Natural Beauty, Fine Art and the Relation between Them

Kant-Studien ◽  
2018 ◽  
Vol 109 (1) ◽  
pp. 72-100 ◽  
Author(s):  
Aviv Reiter ◽  
Ido Geiger
Keyword(s):  
Visual Arts ◽  
Natural Kinds ◽  
Fine Art ◽  
Necessary Condition ◽  
Sufficient Condition ◽  
Spatial Form ◽  
Copernican Revolution ◽  
Natural Beauty ◽  
Aesthetic Pleasure ◽  
Natural Forms

Abstract: We defend three principal claims concerning natural beauty, artistic beauty and the relation between them. 1) Aesthetic pleasure in nature is typically and paradigmatically occasioned by the spatial form of natural kinds. 2) Breaking with a long-standing tradition, Kant claims that the presentation of such beautiful natural forms is not the end of the representational visual arts. Most art presents aesthetically the idea of humanity in our person. This is Kant’s Copernican revolution in the philosophy of fine art. 3) Although the representation of nature is not a sufficient condition of beauty in the representational visual arts, it is nonetheless a necessary condition of it.

scholarly journals Religious Motifs in Polish Contemporary Art Using the Crucifixion: An Outline of the Problem

2020 ◽  
Vol 28 (1) ◽  
pp. 149-166
Author(s):  
Beata Bigaj-Zwonek
Keyword(s):  
Twentieth Century ◽  
Contemporary Art ◽  
Visual Arts ◽  
Social Problems ◽  
Human Condition ◽  
Artistic Expression ◽  
The Political ◽  
Artistic Practice ◽  
The World ◽  
Post War

Sacred motifs have a long tradition in art and ample figurative representation. They have been present in the visual arts for numerous reasons, from the need to identify faith to artistic expression based on commonly-known truths and stories saturated with meaning. In the art of the twentieth century, Christian motifs were often an excuse to speak about the world, its threats and fears, and the human condition. Polish artists frequently availed themselves of religious symbols and systems in the post-war era, and during the political transforma­tion of the 1980s, they became a way to articulate uncertainty, expectation, and hope for change. Today, the religious trope is a pretext for artistic commentary on religion, social problems, and internal issues of the creators themselves. The article explores the causes and the nature of artistic practice rooted in Christian iconography in Polish contemporary art, with a particular emphasis on the motif of the crucifixion.

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