scholarly journals Style between alienation and westernization in contemporary painting

Al-academy ◽  
2021 ◽  
Keyword(s):  
Contemporary Painting

Kazimir Malevich: Economy as the Fifth Dimension

2019 ◽  
Vol 29 (6) ◽  
pp. 215-228
Keyword(s):  
Karl Marx ◽  
Dialectical Materialism ◽  
Economic Base ◽  
Surplus Value ◽  
Bourgeois Society ◽  
Fifth Dimension ◽  
Fourth Volume ◽  
Contemporary Painting ◽  
New Criterion ◽  
The Impact

This paper deals with the impact that Karl Marx"s Das Kapital (and especially its fourth volume, the theory of Surplus Value) had on the category of economy in Kazimir Malevich"s output. In a series of texts, Malevich proclaims economy the new criterion of art and the Black Square its embodiment in contemporary painting. While the author was analyzing Marx"s views on labor and human nature, echoes of them turned up in Malevich"s manifestos and philosophical essays where the artist pondered the idea of the liberation of creative exaltation. The article others an interpretation of the creative process itself from the standpoint of economy, which for Malevich provided an opportunity to lay down the foundation for a new kind of art that was consistent with the prevailing ideology. The author points out that while Malevich was in Vitebsk he studied Marx"s works with idea of incorporating economic studies into art: his speculations on the relationships between the ideological superstructure and the practical, economic base were written in the manner of Marxist philosophy and provided the basis for his main essays, The World as Non-Objectivity (1923) and Suprematism: Thee World as Non-Objectivity or Eternal Rest (1923-1924). They defined the new art as an independent ideological superstructure positioned “outside of other contents and ideologies.” Parallel to that, the author examines the correspondence between Malevich"s theory of the surplus element and Marxist doctrines on surplus value. It is also shown that Malevich hoped to prove that, as in dialectical materialism, his new surplus element opens the way to a new artistic structure that is emerging from the womb of the old system in the same way that communism comes about as a kind of heterogeneous body from within the underpinnings of bourgeois society.

The ‘Zen’ in the western monochrome

2020 ◽  
Vol 6 (1-2) ◽  
pp. 55-78
Author(s):  
Simon Morley
Keyword(s):  
Zen Buddhism ◽  
Historical Context ◽  
The Other ◽  
Binary Opposition ◽  
Middle Way ◽  
The 1950S ◽  
The One ◽  
Contemporary Painting ◽  
The Impact

I look at the impact of Zen Buddhism on western painters during the 1950s and 1960s, focusing on the monochrome in particular, in order to create a historical context for the consideration of transcultural dialogue in relation to contemporary painting. I argue that a consideration of Zen can offer a ‘middle way’ between conceptions of the monochrome (and art in general) often hobbled by models of interpretation that function within a binary opposition between ‘literalist/sensory’ on the one hand, and ‘intellectual/non-sensory’ readings on the other.

scholarly journals AUTHOR’S TECHNOLOGY OF THE MAKING A MODERN ICON BASED ON THE EUROPEAN PAINTING TECHNIQUES

2020 ◽  
Author(s):  
Andriy Demyanchuk ◽  
Keyword(s):  
Fine Arts ◽  
Chemical Properties ◽  
Theoretical Research ◽  
Sacred Art ◽  
Technological Processes ◽  
Physico Chemical ◽  
Egg Tempera ◽  
Historical Comparative ◽  
Contemporary Painting ◽  
Artistic Analysis

The purpose of the study pertains to the technology and techniques of ancient and modern icon painting. In particular, their principal processes that are presented on the basis of the author's experience and practical application tested by the well-known scientists-fine art experts. Methodology. The study was conducted using a complex of methods, such as historical, comparative, typological, analysis and generalizations, descriptive, visual, technological (chemical properties and physico-chemical processes); documentary (official and unofficial recorded information, books, manuscripts, etc.); artistic and stylistic (analysis of the manner of individual masters, their schools, separate fine arts periods); philosophical (metaphysical method: essence and phenomenon; substance and form); theological (church canons; divinity of the icon); method of artistic analysis. Research results. A unique author's technology of producing icons was developed and described on the basis of the study of the best methods of ancient and modern technological processes. This technology has been tested by the well-known students of the sacred art. Scientific novelty of the obtained results is that valuable materials dealing with the use of the ancient techniques and technological processes in modern sacred art have been contributed to the Ukrainian fine arts science, particularly, icon painting using the ancient egg-tempera techniques (taking into account the author's experience). Recommendations. The study of the ancient techniques and technological processes and their application in contemporary painting still require further theoretical research.

Zola and the Science of Painting

2021 ◽  
Vol 60 (3) ◽  
pp. 295-306
Author(s):  
Robert Lethbridge
Keyword(s):  
Scientific Theory ◽  
Art Criticism ◽  
Scientific Progress ◽  
Second Empire ◽  
The Novel ◽  
Radical Revision ◽  
Contemporary Painting

The article explores a paradox in Zola's writing: the resistance to advances in scientific theory by the author of Du Progrès dans les sciences et dans la poésie (1864), as the first of many such assimilations of scientific progress and artistic trends. This is exemplified by the challenge posed to his Naturalist aesthetic by Michel-Eugène Chevreul's seminal De la loi du contraste simultané des couleurs (1839), popularised during the period of Zola's most sustained art criticism. This radical revision of the science of optics is increasingly accommodated in contemporary painting, from 1880 onwards, at the very moment of Zola's disenchantment with Impressionism. Although L'Œuvre, his novel of 1886, is set in the Second Empire (consistent with the historical limits of Les Rougon-Macquart), Zola inserts into his narrative the theory of complementary colours, the awkward anachronism notwithstanding, to explain his fictional painter's creative impotence. In relation to the latter, the article looks in detail at the genesis and textual details of a key passage in the novel in which Zola's irony at the expense of Chevreul's theories is almost explicit. At least as telling is his response to unsolicited advice about them: ‘J’ai plus de confiance dans l'observation directe que dans la théorie’. One could hardly conjure up a more succinct summary of Zola's unreconstructed approach to the science of painting which simultaneously testifies to his own principles of representation.

Contemporary Impressions, Kitsch Aesthetics

2017 ◽  
pp. 201-227 ◽  
Author(s):  
Jesse Matz
Keyword(s):  
Cutting Edge ◽  
The Other ◽  
Contemporary Painting

How the impressionist optic persists apparently unchanged in the very different forms of contemporary painting by Peter Doig and Thomas Kinkade—one a cutting-edge post-conceptual artist, the other the “artist in the mall,” but both kitsch in ways that transform the meaning of that term.

Art Forgeries and their Prevention

1969 ◽  
Vol 4 (3) ◽  
pp. 364-370
Author(s):  
G. Tedeschi
Keyword(s):  
Art Markets ◽  
Art Business ◽  
Business World ◽  
Depressive Effect ◽  
Reasonable Care ◽  
The Past ◽  
Works Of Art ◽  
Contemporary Painting

The forgery of works of art, particularly pictures, is a serious evil that besets the art business world, quite apart from its depressive effect generally. The phenomenon is not new, but never before has it been more prejudicial, perhaps because contemporary painting is far easier to imitate than that of the past, and because of the increasing flow of money into the art markets. These two elements encourage the temptation to forgery, whilst the demand for pictures would possibly be even greater were it not for this nightmare that haunts likely purchasers.How can the world's art markets be restored to health? Clearly this problem can be tackled by a variety of means. It would resolve itself or would not exist were people honest and upright. The situation would be ameliorated if art buyers were more circumspect in their purchases and the experts consulted to confirm the authenticity of pictures were able to express firm opinions and were more of one mind among themselves. The question, however, may well be considered from another angle, to see whether an answer can be found—or at least considerably facilitated—even if the standard of reasonable care and the expertise of the experts remain as they are at present. We do not have in mind here the criminal and civil sanctions that already exist. Nor shall we inquire into the possibilities of the assistance which may be had from increasing the severity of such sanctions. We shall not examine nostrums but means of prevention.

A DRAWING BY FRANCESCO PATRIZI (1826–1905) OF THE EXCAVATION OF THE TOMB OF THE SEMPRONII IN THE VIGNA CASALI 1871–2

2020 ◽  
Vol 88 ◽  
pp. 237-258
Author(s):  
David R. Marshall
Keyword(s):  
Contemporary Painting

This paper discusses a drawing in the Lanciani collection representing the excavations of a tomb at the Vigna Casali in 1871–2. This tomb had a rich collection of antiquities, including important sarcophagi now in the J. Paul Getty Museum, the Nelson-Atkins Museum and the Ny Carlsberg Glyptothek. The drawing, which is wrongly catalogued as depicting the Vigna Casati, has not hitherto been connected with these finds. It was made on site by Francesco Patrizi (1826–1905), a supporter of contemporary painting, amateur artist, and owner of the Villa Patrizi not far away. This article correlates the information contained in the drawing with contemporary descriptions of the excavations and a measured drawing made for the Casali family at the time, in order to understand better what the site contained.

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