THE AESTHETIC SIGNIFICANCE OF DRAWINGS ON LOCATION AND WATERCOLORS BASED ON THE MATERIALS OF DAGESTAN GRAPHICS OF THE 1960s

2021 ◽  
pp. 71-76
Author(s):  
Timur Saidovich Gamidov
Keyword(s):  
Fine Art ◽  
The 1960S ◽  
The Aesthetic ◽  
Pencil Drawing

The article analyses works on location in the heritage of Dagestan masters of fine art. The article reveals the ideological, substantive and aesthetic significance of pencil drawing on location and other types of graphics. Examples of works by famous artists of the 1960s, which differ in brightness and novelty of execution, are giv-en.

Concrete Monsters of the Welfare State: Discussions of Brutalist Architecture on Social Media

2021 ◽  
pp. 120633122110193
Author(s):  
Max Holleran
Keyword(s):  
Social Media ◽  
Welfare State ◽  
Large Scale ◽  
Eastern European ◽  
Municipal Governments ◽  
Online Social Media ◽  
1960S And 1970S ◽  
The 1960S ◽  
The Aesthetic ◽  
The Welfare State

Brutalist architecture is an object of fascination on social media that has taken on new popularity in recent years. This article, drawing on 3,000 social media posts in Russian and English, argues that the buildings stand out for their arresting scale and their association with the expanding state in the 1960s and 1970s. In both North Atlantic and Eastern European contexts, the aesthetic was employed in publicly financed urban planning projects, creating imposing concrete structures for universities, libraries, and government offices. While some online social media users associate the style with the overreach of both socialist and capitalist governments, others are more nostalgic. They use Brutalist buildings as a means to start conversations about welfare state goals of social housing, free university, and other services. They also lament that many municipal governments no longer have the capacity or vision to take on large-scale projects of reworking the built environment to meet contemporary challenges.

scholarly journals SEMANTICS OF POEM IN «DIV TICS OF POEM IN «DIVANI LUGATI-T-TURK»

2021 ◽  
pp. 36-45
Author(s):  
Qosimjon SODIQOV ◽  
Govhar RAHMATOVA
Keyword(s):  
World Literature ◽  
Fine Art ◽  
Oral Poetry ◽  
Verbal Art ◽  
Specific Expression ◽  
Artistic Value ◽  
Aesthetic Taste ◽  
History Of ◽  
Extensive Information ◽  
The Aesthetic

Lyric songs depict how rich is the aesthetic taste of the Turkic peoples and their special love for verbal art for a long period, and the fact that they possessed artistic resources capable of competing with the most agile peoples of their time. Moreover, these songs illustrate the artistic views of the Turks. Pure lyrical experiences, with their novelty, the richness of images, and unique pathos, have always engaged the reader. The poetry of the Turkic peoples is studied as a separate phenomenon in the history of world literature. Mahmud Kashgari’s Divani lugat at-Turk provides extensive information about the foundations of Turkish poetry and its scope. We can see the first paradigms of lyric poetry in the oral poetry of the Turkic peoples in the Divani lugat at-Turk. As a great linguist of his time and an advanced thinker – Kashgari proves each word with its specific expression or a piece of poetry. Each poem in his work is unique regarding its artistic value and semantics. We can see this, especially in these lyrical poems. Even simple episodes in lyrical songs demonstrate the ability of our ancestors to express thoughts beautifully. The lyrical passages in the Divani lugat at-Turk consist of the description of the mistress, the sad moments of the separation of beloved ones, and the poems addressed to his beloved one. The issue of fine art and its location is noteworthy in them. The devices used in them play an essential role as the initial version in the context of the literature of the Turkic peoples. The author cites some examples of such poetic art: tashbih, oxymoron, metaphor, tajnis, repetition, hyperbole (mubalaga), irsali masal, etc. These devices were actively reflected in all types of poetry of the later period. This article discusses the semantics of lyrical poems in the Divani lugat at-Turk and reveals their fine art.

William Morris’s ‘Work-Pleasure’: Literature, Science and Fine Art

2018 ◽  
pp. 163-185
Author(s):  
Philipp Erchinger
Keyword(s):  
Nineteenth Century ◽  
Fine Arts ◽  
Experimental Methods ◽  
Fine Art ◽  
Arts And Crafts ◽  
Arts And Crafts Movement ◽  
William Morris ◽  
Narrow Sense ◽  
The Arts ◽  
The Aesthetic

This chapter seeks to elucidate nineteenth-century conceptions of art as fine art. Taking its cue from Raymond Williams’s account of a divorce of (fine) art from (technical) work, the chapter pursues various attempts to define the aesthetic specificity of the fine arts, including literature in the narrow sense, in relation to other ways of exercising skill, including the use of experimental methods in the sciences. In this way, it seeks to show that the idea of the aesthetic, despite all attempts to purify it, remained deeply entangled in a net of work, in which experiences of pleasure (or beauty) and playfulness had not yet been separated from material practices of making useful things. As is further explained, the idea of a mutual inclusiveness of pleasure and use was pivotal to the arts and crafts movement, especially to the creative practice of William Morris. Finally, the chapter pursues Morris’s concept of “work-pleasure”, as derived from his News from Nowhere, through a wider debate about the complex relations between the sciences and the (fine) arts.

Introduction

2018 ◽  
pp. 1-22
Keyword(s):  
Second World War ◽  
Individual Psychology ◽  
Political Commitment ◽  
Jean Paul ◽  
Intellectual Milieu ◽  
1960S And 1970S ◽  
The 1960S ◽  
The Aesthetic ◽  
Second World

This introductory chapter describes the life and career of Luigi Nono (1924–1990). It also provides an overview of the present volume. Born on January 29, 1924, in Venice, Nono's education and musical apprenticeship took place during the crucial years of the Second World War and its immediate aftermath, in a family and intellectual milieu which were solidly middle class while being fundamentally hostile to fascism. In 1950, Nono approached his first orchestral composition, Variazioni canoniche sulla serie dell'op. 41 di Arnold Schönberg—Schoenberg's opus 41. During the 1960s and 1970s, political commitment, social conflict, denunciation, and the treatment of individual psychology always in relation to the collective drama became constants of Nono's production as the concept of engagement took on for him the value of a “moral imperative” (Jean-Paul Sartre) to match the aesthetic imperative.

Nabaa, Nazir (1938--)

2018 ◽  
Author(s):  
Anneka Lenssen
Keyword(s):  
Communist Party ◽  
Rural Schools ◽  
Art Criticism ◽  
Modern Art ◽  
Fine Arts ◽  
Fine Art ◽  
Political Mobilization ◽  
Puppet Theater ◽  
1960S And 1970S ◽  
The 1960S

Nazir Nabaa, a respected Syrian painter, made his greatest contributions to Arab modern art in the 1960s and 1970s, when he contributed to the graphic identity of progressive political causes and the Palestinian liberation struggle. He joined the Syrian Communist Party in the 1954 and in 1959 was briefly jailed for this affiliation. After his release, he traveled to Cairo on a fellowship to study painting at the Faculty of Fine Arts, there developing a heroic realist style around social and labor themes. After returning to Syria in 1964, Nabaa taught drawing in rural schools and worked with myth and folklife. Moving to Damascus in 1968, he worked as an illustrator and became involved in creative projects in support of political mobilization, including poster design, puppet theater, fine art painting, and art criticism. Between 1971 and 1975, Nabaa studied in Paris at the Academy of Fine Arts. Upon his return, he joined the faculty of the College of Fine Arts in Damascus. His later paintings became more fantastical, combining goddess figures with still lifes of fruits, tapestries, and jewelry. He also developed a parallel corpus of abstract paintings based on the exploration of texture and color.

Belkhodja, Néjib (1933–2007)

2018 ◽  
Author(s):  
Jessica Gerschultz
Keyword(s):  
Modern Art ◽  
Mixed Media ◽  
Cultural Patrimony ◽  
International Language ◽  
Arabic Script ◽  
The 1960S ◽  
The Aesthetic

Néjib Belkhodja was a Tunisian artist credited for leading Tunisian modern art in a new direction in the 1960s. He attended the Lycée Carnot and the École des Beaux-Arts in Tunis. Along with artists Nja Mahdaoui and Hédi Turki, Belkhodja was influential in his pursuit of abstraction and an "authentic" and "universal" visual grammar. To these ends, he formed the Groupe des Six in 1964. He rejected what he perceived to be the aesthetic limitations and folkloric dimensions of the École de Tunis, instead seeking to rearticulate tunisianité (Tunisian cultural patrimony), within an international language of modern art. Throughout his career, Belkhodja’s artwork united the geometry, signs, and symbols of the medina of Tunis with the forms and rhythms of Arabic script. Belkhodja’s focus on the medina led his work to be called "urban constructivism" by writer Ali Louati. In addition to paintings on canvas, he created mixed-media works and reverse-glass paintings in the 1970s and 1980s. Belkhodja exhibited widely in Tunis and abroad, participating in biennales in Paris, Palermo, and Alexandria, and received prizes in Tunisia, Italy, Egypt, and France. In 1991 Belkhodja and Iraqi artist Dia Azzawi exhibited together at the Galerie des Arts d’el Menzah in Tunis.

Secessionist Movement

2018 ◽  
Author(s):  
Michael Johnson
Keyword(s):  
Fine Art ◽  
Art Nouveau ◽  
Avant Garde ◽  
The Status ◽  
The Aesthetic ◽  
Secessionist Movement ◽  
Applied Arts ◽  
Modern Movement

The Secessionist Movement is the name applied to a range of artistic splinter groups that began to emerge in the 1890s. Objecting to what they saw as the inherent conservatism of established academies, these groups ‘seceded’ or broke away from their parent institutions and launched their own, avant-garde approach. The first secessionist group appeared in Munich in 1892 under the leadership of Franz von Stuck and Wilhelm Trübner. Among the most influential secessionist groups was that founded in Vienna by a coalition of artists, architects and designers who resigned from the Association of Austrian Artists in 1897. United by the urge to elevate the applied arts to the status of fine art, members of the Vienna Secession produced exquisite work across a spectrum of creative disciplines. The aesthetic initially resembled the curvilinear Art Nouveau style, but it increasingly moved towards abstraction and geometric simplicity. The founding of the Vienna Secession thus marked the beginning of a new artistic era in Austria and heralded the birth of the Modern Movement.

Racial Recalibration

2015 ◽  
Vol 1 (3) ◽  
pp. 285-309
Author(s):  
Margaret Rhee
Keyword(s):  
Ethnic Identity ◽  
New Media ◽  
Asian American ◽  
Racial Formation ◽  
Emergent Technologies ◽  
Technological Developments ◽  
Racial Knowledge ◽  
The 1960S ◽  
The Aesthetic ◽  
Artistic Career

Widely recognized as the first video artist, Nam June Paik’s artistic career from the 1960s onwards is often understood through his pioneering appropriation of technological developments such as the television and video. Paik foresaw not only the aesthetic potential of video, but also other emerging technologies, such as robotics. While his work in robotic art is less commonly analyzed, it sheds significant light on his position not only as a foremost artist of new media but also on discussions concerning his ethnic identity. This essay demonstrates how, in the 1964 creation of robot K-456 and tv Bra for Living Sculpture, the artist deployed the strategy of racial recalibration—a racial formation that occurs through aesthetic tinkering, hacking, and recreating with emergent technologies that re-wires racial knowledge of the Asian American as robot.

A Tour of the Senses

2019 ◽  
Author(s):  
Carolyn Korsmeyer
Keyword(s):  
Emotional Responses ◽  
Fine Art ◽  
Art World ◽  
The Senses ◽  
The Aesthetic

Abstract Traditionally, the bodily senses of smell, taste, and touch have been designated ‘nonaesthetic’ senses and their objects considered unsuited to be fashioned into works of fine art. Recent innovations in the art world, however, have introduced scents, tastes, and tactile qualities into gallery exhibits, movements that, at least superficially, appear parallel to philosophical revaluations of the senses. This paper investigates the aesthetic scope of the five external senses, addressing some standard arguments about the limits of the ‘lower’ senses. I defend the artistic scope of the bodily senses by appealing to cross-modal perception and to the sensuous aspects of appreciative emotional responses to art.

Slow Fade to?: Advertising in Ebony Magazine, 1957–1989

1995 ◽  
Vol 72 (2) ◽  
pp. 426-435 ◽  
Author(s):  
Michael Leslie
Keyword(s):  
Content Analysis ◽  
Paired Samples ◽  
The 1960S ◽  
The Aesthetic ◽  
Ebony Magazine

This research investigated the changing image of blacks in advertisements in Ebony magazine from late 1950 to late 1980. Content analysis of paired samples from three decades revealed significant differences in the mix of products advertised as well as in the aesthetic qualities of models used in the ads. This research also found that while the Black Revolt of the 1960s “blackened” Ebony's ads, the fair-skinned, Eurocentric model had begun to reassert itself as the somatic norm for Ebony advertising by the late 1980s.

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