scholarly journals Utjecaj interpretacija pojma periferijske umjetnosti Ljube Karamana i Miroslava Krleže na dalmatinsku povijesti umjetnosti

2021 ◽  
pp. 498-510
Author(s):  
Ivana Prijatelj Pavičić
Keyword(s):  
Interwar Period ◽  
Art History ◽  
Central European ◽  
Cultural Paradigm ◽  
Miroslav Krleza ◽  
History Of ◽  
Artistic Styles ◽  
Definition Of ◽  
True Center ◽  
External Forces

Although the so-called „Vienna school“ practised an universalist approach to history of arts, their prominent acters like Alois Riegel and Max Dvořák influenced the nationalist ideas among the Central European art historians in the interwar period. An evident example of such an influence is Croatian art historian Ljubo Karaman (1886‒1971) ‒ a Vienna student who studied the art relations between center and periphery from early 1930s on. His thoughts on this topic were collected in his 1963 book Problemi periferijske umjetnosti. O djelovanju domaće sredine u umjetnosti hrvatskih krajeva (Problems of Peripheral Art. On Influence of Local Surrounding on the Art of the Croatian Areas). Colonial character of the Karaman’s definition of the center/periphery relation is clear in his notion that the dissemination and assimilation of the artistic styles is always one-way: from developed center to the province. His definition of „peripheral art“ appeared as a reaction to the works of famous „Vienna school“ scholars from early 20th century (particularly Polish-Austrian art historian Strzygowski). It is based on the idea of external, political and artistic influences in Dalmatia as external forces of artistic exchange. A prominent writer and encyclopaedist Miroslav Krleža turned upside-down the idea of the artistic transfer from the advanced West toward underdeveloped East/Balkans as a periphery at the edge of civilisation. In his discussion on the Second Congress of writers in Zagreb he promoted the idea of the periphery as a true center. During 1950s, Krleža strongly influenced the formation of a new cultural paradigm, and forging of the new scientific paradigm within art history in Croatia. In her paper, the author explores how texts of the Croatian art-history scholars regarding ancient Dalmatian art were influenced by Karaman’s and Krleža’s ideas and concepts on peripheral, provincial, and border-line art.

Cheshire Cat and Mickey Mouse: analysis, interpretation and the art of the La Tène Iron Age

1970 ◽  
Vol 36 ◽  
pp. 261-279 ◽  
Author(s):  
J. V. S. Megaw
Keyword(s):  
Iron Age ◽  
Art History ◽  
Mickey Mouse ◽  
Classical Archaeology ◽  
Italian Physician ◽  
History Of Art ◽  
Prehistoric Art ◽  
History Of ◽  
Definition Of ◽  
Wilhelm Worringer

Nearly seventy years ago Wilhelm Worringer first wrote that ‘ultimately all our definitions of art are definitions of classical art’ (Worringer, 1953, 132). Today, the study of Western European art history, old or modern, the products of peasant craft-centres or urban ‘schools’, has in the course of time developed its own methodology and, almost, mystique. In contrast, the study of many branches of prehistoric art in Europe and elsewhere is all too often seen as a mere extension of the skilled but subjective approaches of classical archaeology without considering the suitability of the latter's application. The use of the classical art-historian's intuitive methods built up not just from visual exprience but a detailed background of literary, historical and philosophical studies must in fact be almost entirely denied the student of prehistoric or primitive art. It is perhaps only natural that principles of classical art history should be applied to later European prehistory, though it is often difficult to arrive at a precise definition of these principles. It was Johann Joachim Winckelmann who made the first systematic application of categories of style to the history of art (Gombrich, 1968, 319). Sir John Beazley, the greatest of all modern classical art historians followed in this tradition basing attributions ‘on the grounds of tell-tale traits of individual mannerisms’ (Carpenter, 1963, 115 ff.) a scheme first applied to painting less than a century ago by the Italian physician Giovanni Morelli (Gombrich, 1968, 309 ff.) and followed at the turn of the nineteenth century in the study of Italian painting (Lermolieff, 1892–3). With Beazley it is, however, difficult to follow step by step his methods of work.

scholarly journals "Criticism is about creating timeless acoustics": an interview with art historian Olga Balashova

2020 ◽  
pp. 133-137
Author(s):  
Anna Kaluher ◽  
Olga Balashova
Keyword(s):  
Art History ◽  
Art Criticism ◽  
Phenomenological Study ◽  
Research Priorities ◽  
Assistant Professor ◽  
Art Museum ◽  
Disciplinary Boundaries ◽  
National University ◽  
History Of ◽  
Definition Of

Olga Balashova - art historian, kmbs and KAMA lecturer, art critic, deputy director for the development of the National Art Museum of Ukraine (NAMU) in 2017-2020. The interview was recorded in February 2020 by assistant professor Anna Kaluger (Chair of Art History, Taras Shevchenko National University of Kyiv). This interview was conducted as part of the Ph.D. research "The structure of art criticism in Ukraine at the beginning of the XXI century." The discussion will focus on the definition of art criticism in the Ukrainian art context and its disciplinary boundaries. Olga Balashova talks about her career path as art historian and critic, determining for her theoretical influences, the school of art history at NAOMA, and her research priorities within the study of the history of criticism. Part of the interview focuses on the methods of teaching criticism in the humanities in the context of the internetization of criticism and the loss of its usual disciplinary basis - the history of art. It will also discuss the genre classification of criticism at the level of objects of study, in particular: the portrait of the artist, curatorial strategy, or phenomenological study of artistic events. The final part of the interview focuses on options for constructing the history of criticism in Ukraine: both the history of resources and the history of authors, the history of interpretations, and the history of methodological approaches.

Der Mitropa-Pokal und die Legende mit den roten Schlafwagen. Fußball, Raumkonstruktion und europäische Eisenbahnverkehrsgeschichte in den 1920er/ 1930er Jahren

STADION ◽  
2020 ◽  
Vol 44 (2) ◽  
pp. 338-365
Author(s):  
Stephan Krause ◽  
Dirk Suckow
Keyword(s):  
Central Europe ◽  
Interwar Period ◽  
Social Space ◽  
Historical Background ◽  
Primary Sources ◽  
Professional Football ◽  
International Treaty ◽  
Central European ◽  
Railway History ◽  
Definition Of

The Mitropa Cup founded in 1927 was the most important professional football tournament of the interwar period. It was organized by the international Mitropa Cup committee, which was formed of leading protagonists from Central Europe such as Hugo Meisl. This Central European Cup was played out between different combinations of the leading clubs from the participating countries: Austria, Czechoslovakia, Hungary, Italy, Romania, Yugoslavia, and Switzerland. German teams did not take part in the Mitropa Cup, because the DFB did not accept professional football teams at that time. With this sport historical background the study shows in which way the Mitropa Cup (as well as other tournaments) profoundly influenced the construction of economic and social space, and how it influenced the perception of the German Mitropa company. While it has been claimed that Meisl and his comrades could build on the sponsorship of the German restaurant and sleeping car company Mitropa, the parallel investigation of railway history through primary sources and sport history proves that no such relationship has existed, and furthermore, because of an international treaty the Mitropa was not allowed to provide services beyond Germany and several defined destinations. Thus, the discursive and spacial significance of both the Mitropa Cup’s football-based definition of Central Europe, and the Mitropa company as one of the two European players in sleeping and restaurant car services (the other being the French-Belgian CIWL/ISG), forms a historical coincidence.

Comparative Global Humanities After Man: Alternatives to the Coloniality of Knowledge

2019 ◽  
Vol 36 (5) ◽  
pp. 23-48
Author(s):  
Lisa Lowe ◽  
Kris Manjapra
Keyword(s):  
Political Theory ◽  
Interdisciplinary Research ◽  
Art History ◽  
Core Concept ◽  
Disciplinary Knowledge ◽  
The Core ◽  
History Of ◽  
The Subject ◽  
Definition Of

The core concept of ‘the human’ that anchors so many humanities disciplines – history, literature, art history, philosophy, religion, anthropology, political theory, and others – issues from a very particular modern European definition of Man ‘over-represented’ as the human. The history of modernity and of modern disciplinary knowledge formations are, in this sense, a history of modern European forms monopolizing the definition of the human and placing other variations at a distance from the human. This article is an interdisciplinary research that decenters Man-as-human as the subject/object of inquiry, and proposes a relational analytic that reframes established orthodoxies of area, geography, history and temporality. It also involves new readings of traditional archives, finding alternative repositories and practices of knowledge and collection to radically redistribute our ways of understanding the meaning of the human.

scholarly journals Artistic and stylistic features of men's costumes of the 1970s in R. Balayan's film "Flights in Dreams and Realities" (Polyoty vo sne i nayavu)

2021 ◽  
pp. 132-138
Author(s):  
Iryna Chubotina
Keyword(s):  
Art History ◽  
Cultural Context ◽  
Semantic Content ◽  
Clothing Design ◽  
Cultural Paradigm ◽  
Starting Point ◽  
History Of ◽  
World Cultural Heritage ◽  
Analytical Research

The purpose of the article is to reveal the artistic and stylistic features of men's costumes in R. Balayan film "Flights in Dreams and Reality" (Polyoty vo sne i nayavu) as significant for Ukrainian cinema and design of the 1970s-1980s. The proposed research contributes to the history of costume in cinema, considering it as an object of design in the context of the 1970s-1980s fashion, world and domestic cultural paradigm. Methodology. Work on the chosen topic involves the following theoretical methods: an analytical research method for generalization and delineation of issues; comparative analysis to identify the features of men's costume in cinema in the context of domestic and world cultural heritage; the art history method will serve to understand the contribution of the visual series in the film to modern design and culture in general. The scientific novelty of the study is to explain the correlation of men's costume in cinema and the fashion mainstream of the late 1970s - early 1980s on the example of the film "Flights in Dreams and Reality". It should be noted that previously the analysis of R. Balayan's work was primarily directed to find the origins of visual imagery and its semantic content; the place and role of costumes in his films, the socio-cultural context in which they were created were not previously considered in detail. Despite the numerous bibliography of materials devoted to the work of R. Balayan and especially "Flights…" (Может нужно было полное название "Flights in Dreams and Reality") which covered the most various artistic aspects, still such as an important component of R. Balayan's films as the costume has been practically ignored. Conclusions. Understanding of the role of costumes in domestic cinema on the example of the film "Flights in Dreams and Reality", which reflects not only the visual part of the film but also the cultural and artistic context of the film, gives a new starting point for studying the history of men's costume and its contribution to modern fashion. The laconism and harmony of figurative solutions of the 1970s experience their last years of popularity in the early 1980s, right before their disappearance, giving us an example of the perfect combination of simple form and deep filling, which can serve as an example to follow in modern men's clothing design.

scholarly journals Towards an Art History of the Parish Church, 1200–1399

2021 ◽  
Keyword(s):  
Middle Ages ◽  
Art History ◽  
Historical Study ◽  
Parish Church ◽  
Medieval Church ◽  
History Of ◽  
Parish Churches ◽  
Definition Of ◽  
Art And Architecture ◽  
Courtauld Institute

Estimated at numbering between eight and nine thousand, parish churches containing at least some medieval building fabric are ubiquitous in the English landscape. Yet, despite their quotidian familiarity, parish churches have not, by and large, been treated consistently or systematically as deserving of the attention of art historical study. This collection of essays comes out of a conference held at the Courtauld Institute of Art in June 2017 and focuses on the two centuries between 1200 and 1399. This period represents the most notable lacuna in scholarship, even though the parish church was fully solidified as an administrative category and arguably as a building type. Compared with the smaller corpus of the Romanesque period or the late medieval church after 1400, which draws on greater availability of documentary evidence in the form of churchwarden accounts, these two centuries have been historically understudied. The ten diverse essays contained within this volume explore the art and architecture of parish churches through a variety of lenses, methodologies, and perspectives, ranging from (re)considerations of the very definition of the parish church to phenomenological explorations of their component parts, as well as case studies of their decorative schemes. An Afterword by Paul Binski reflects upon his 1999 essay, ‘The English Parish Church and its Art in the Later Middle Ages: A Review of the Problem’ and considers the place of anthropology in our developed study of the parish church.

Georg Wilhelm Friedrich Hegel: Aesthetics

Philosophy ◽  
2017 ◽  
Author(s):  
Beat Wyss
Keyword(s):  
Middle Ages ◽  
Georg Wilhelm Friedrich Hegel ◽  
Art History ◽  
Aesthetic Experience ◽  
Aesthetic Judgment ◽  
Global History ◽  
Sociological Approach ◽  
History Of ◽  
Definition Of ◽  
Roman Antiquity

Georg Wilhelm Friedrich Hegel (b. 1770–d. 1831) developed his aesthetics by a series of lectures, held four times at Heidelberg and Berlin Universities. The text in three parts, titled Vorlesungen über die Ästhetik, got compiled and edited by Heinrich Gustav Hotho four years after Hegel’s death. So we have to get straight about the fact that a remarkable edifice of teachings, though lacking any written proof by its author, became a headstone of art history, literary studies, and philosophical aesthetics. Hegel’s approach is the first philosophical attempt to focus aesthetics specifically on art. He does so by a critique of moralist and sensualist positions that both hardly distinguish whether aesthetic experience is generated by natural or artificial phenomena. Hegel’s critical argument culminates in a refusal of Immanuel Kant’s idea about aesthetic judgment. The latter’s definition of beauty—as a cognition that pleases without a concept—performs, according to Hegel, a relapse into a fixed opposite between the subjectivity of thought and objective nature. According to Hegel, instead, artistic beauty is the mediating “middle” between spirit and nature. Hegel puts a “phenomenological” antithesis to Kant’s concept of transcendental perception. By the idea of artistic beauty, the realm of absolute spirit is entered. The lectures on aesthetics follow the hierarchical concept of perception, deployed in Hegel’s Encyclopedia of the Philosophical Sciences: the work of comprehension starts with the artistic mode of beholding, continues with the religious mode of imagination, and culminates in the philosophical mode of thinking. The “peripathetic” performative character is constitutive to Hegel’s aesthetics, as it mirrors the work of thinking as such. Hegel’s “world spirit” is literally wandering across three eras: the symbolic, the classical, and the romantic art forms, represented by the early ancient cultures from Persia, India, and Egypt; Greek and Roman Antiquity; and Occidental culture from the Middle Ages to modernity. By historicizing the meaning of art, Hegel relinquishes rule-based poetics and aesthetics in the classical tradition of rhetorics, laying so the foundation of a sociological approach to cultural phenomena. At the same time, his historico-philosophical aesthetics is a first attempt to draft a global history of art, though Eurocentrically limited, including the genres of architecture, sculpture, painting, music, and poetry.

scholarly journals “1945” as a Turning Point in German Art History? Challenging the Paradigm of Rupture and Discontinuity

2019 ◽  
pp. 123-135
Author(s):  
Christian Fuhrmeister
Keyword(s):  
Art History ◽  
National Socialism ◽  
Turning Point ◽  
Political Dimension ◽  
Holistic Understanding ◽  
German Art ◽  
History Of ◽  
History Of Art History ◽  
Definition Of ◽  
The Individual

The historiographical article looks at “1945” as a turning point, inquiring whether the end of both the Second World War and National Socialism also implied a radical break for art history in Germany. In evaluating both contemporary perspectives (like Herbert von Einem’s opening lecture of the First German Art Historians Meeting in 1948) and recent historiographical studies, the paper questions the concept of “Stunde Null” or “hour zero,” and intends to challenge the established paradigm of rupture and discontinuity. Arguing for a more nuanced and holistic understanding of the transformation processes in the postwar situation, three major reasons are identified why simplistic categorizations often prevail: (1) a very narrow definition of the art historian in the history of art history, (2) the disjunction between the humanities and the larger political context, which allow the individual to imagine himself/herself untainted and uncompromised by ideology, and (3) the high degree of continuity, in particular if compared to the radical changes that took place in 1933. The article thus resumes that the idea of “turning points” deserves further differentiation, and calls for the integration of the political dimension into historiography. Essentially, the challenge remains to distinguish between factual processes, false or fraudulent labelling, and symbolic gestures.

scholarly journals The Azerbaijan Theme in the Works of Fedor Modorov: An Art History Analysis

2020 ◽  
Author(s):  
Х.А. Зейналов
Keyword(s):  
Art History ◽  
Comparative Method ◽  
Historical Significance ◽  
Industrial Landscape ◽  
The People ◽  
History Analysis ◽  
History Of ◽  
The Rich ◽  
Historical Comparative ◽  
Definition Of

Цель настоящей статьи – исследование азербайджанских мотивов в творчестве известного русского живописца, народного художника РСФСР Федора Модорова. В середине 20-х гг. прошлого века Модоров, побывав в Азербайджане, создал ряд работ, посвященных нефтяной индустрии республики, а также истории и культуре азербайджанского народа. Несмотря на то, что от момента создания этих полотен прошел почти век, они до сих пор не были предметом отдельных изысканий. Автор попытался восполнить этот пробел – им осуществлена классификация относящихся к данной теме произведений художника, проведен их краткий искусствоведческий анализ и впервые дана оценка в художественном и историческом аспектах. В ходе исследования также было отмечено, что в наше время, когда культурные связи между Азербайджаном и Россией вступили в новую фазу, освещение их истории приобретает особое значение, позволяя народам обеих стран глубже узнать и оценить общее историко-художественное наследие. The aim of the article is an art history analysis of the works on the theme of Azerbaijan by the outstanding Russian painter, people’s artist of the RSFSR Fedor Alexandrovich Modorov (1890–1967). This analysis involves the establishment and refinement of the history of these works’ creation, the classification and definition of their historical and artistic significance. In the study, the author used the historical-comparative method to analyze Modorov’s works and compare them with works of other Russian artists. The research materials were Modorov’s paintings, as well as historical, biographical, and art studies by Soviet, Russian, and Azerbaijani researchers. The problem is characterized by an extremely poor degree of elaboration: on its own, the theme of Azerbaijan was not even distinguished by researchers who studied the artist’s works. Meanwhile, over the years of his creative business trip to Azerbaijan at the initiative of the Association of Artists of Revolutionary Russia in the 1920s–1930s, Modorov painted about 20 paintings and watercolors directly related to Azerbaijani themes. During the study, most of the artist’s works on the theme of Azerbaijan were examined, their historical and artistic significance was determined and substantiated, features associated with national specifics were identified and shown. The history of some paintings is clarified, the works are systematized by genre and theme. Modorov’s works are compared with other artists’ paintings on the topic. Modorov’s Azerbaijani series is divided into four groups according to the thematic principle: historical and revolutionary theme; industrial landscape; city landscape; national theme. Common features were revealed in the ideological, aesthetic, and artistic solutions of the paintings: they all show industrial achievements, development of public life and activities; convey the rich national color and character, everyday characteristics of the people; reflect the panorama of Baku and its historical and architectural monuments. The artistic and historical significance of these works is emphasized, despite the fact that about a hundred years have passed since their creation. It is noted that, at present, when the cultural ties between Azerbaijan and Russia have entered a new phase, coverage of the history of mutual cultural ties is of particular importance as it allows the peoples of both countries to more deeply learn and appreciate the common historical and artistic heritage.

scholarly journals Från den ”sionistiska ockupationsregimen” till ”judisk makt”

2020 ◽  
Vol 26 (3-4) ◽  
Author(s):  
Heléne Lööw
Keyword(s):  
Interwar Period ◽  
Language Use ◽  
Everyday Practice ◽  
Practical Action ◽  
Anti Semitism ◽  
Code Language ◽  
History Of ◽  
National Socialists ◽  
Definition Of ◽  
Resistance Movement

From the ”Zionist occupational government” to ”the Jewish power” – anti-Semitism within the Nordic Resistance MovementThe focus of the study has been on how anti-Semitism is expressed within the Nordic Resistance Movement (NMR), what language is used, in which contexts it occurs and what changes may have taken place. Anti-Semitism has always been the foundation of the NMR’s ideology, regardless of the name of the organization, or how they have chosen to define their ideology. Over the years, anti-Semitism has been expressed in different ways and with varying degrees of openness. During the 1990s, anti-Semitism was open and activist, but during the 2000s it somehow, diminished in terms of language use. During this period, the organization reverted, to a great extent, to the anti-Semitic code language of the earlier decades. Of course, this does not mean that anti-Semitism in any way lost its significance, only that it was expressed in a different way. During the 2010s, anti-Semitism has again become open, the use of the code language less and less frequent. Anti-Semitism within NMR is also strongly linked to practical activism in the form of various anti-Semitic actions and demonstrations. Although various actions are not at first sight perceived as anti-Semitic, they often are anti-Semitic. This applies, for example, to symbolic actions where various individuals, for example, on placards at demonstrations, are designated as ”traitors”. Some may be Jews, others not, but they are all seen as symbols of a ”Jewish power”, a kind of parade of ”Jews” and ”Spiritual Jews” which symbolize the supposed ”Jewish power” that NMR is fighting. We see here both ideology and practical action. In recent years, NMR has also increasingly returned to its origins, i.e. the Swedish national socialists during the interwar period, this is reflected in the language used and the importance attached to the history of the movement in a wider perspective. The NMR’s anti-Semitism is also an everyday anti-Semitism, in that it permeates the activists’ lives, how they interpret what is happening in the outside world. In the NMR, anti-Semitism is an everyday practice, to reconnect with Fein’s definition of anti-Semitism.

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