Filla, Emil (1882–1953)

2018 ◽  
Author(s):  
Eleanor Moseman
Keyword(s):  
Twentieth Century ◽  
The Netherlands ◽  
Early Career ◽  
Pablo Picasso ◽  
Left Behind ◽  
Founding Member ◽  
Early Twentieth Century ◽  
Theo Van Doesburg ◽  
De Stijl

Emil Filla (b. 4 April 1882 in Chropyně in Moravia; d. 6 October 1953 in Prague) is regarded as one of the main leaders of Czech Cubism in early twentieth-century Prague. Best known for paintings that interpret Pablo Picasso and Georges Braque in a Czech context, Filla also produced accomplished sculptures, drawings, and prints. His early career was inaugurated by exhibiting with the group Osma (The Eight) (active 1907–8), of which he was a founding member. In 1909 he joined the Mánes Society and became co-editor of its journal Volné Směry (Free Directions) (ed. 1909–11). Filla was a founding member and leading figure of Skupina výtvarných umělců (the Group of Fine Artists) (active 1911–14) and assumed editorship of the group’s journal Umělecký Měsíčník (published 1911–14). From 1914 to 1920 Filla resided in the Netherlands, where he was active in anti-war politics. In 1920 Filla returned to Prague and resumed work with the Mánes Society. He collaborated with Piet Mondrian and Theo Van Doesburg on the first issue of De Stijl in 1917. After 1920 he left behind the analytic and synthetic cubist aesthetic for which he is best known and turned to figural themes. He was briefly influenced by Surrealism in the 1930s as a result of his friendship with Czech Surrealist and Devětsil member Jindřich Štyrský.

scholarly journals "... the menace posed to public healthy "insantiary pahs": Sir Māui Pōmare's clean up of Māori architecture

2011 ◽  
Vol 8 ◽  
pp. 47-57
Author(s):  
Tyson Schmidt
Keyword(s):  
Twentieth Century ◽  
Architectural History ◽  
Traditional Practices ◽  
Direct Impact ◽  
Full Spectrum ◽  
Left Behind ◽  
Early Twentieth Century

Apirana Ngata, Te Puea Hērangi and Wiremu Rātana each left behind what Deidre Brown calls "a major architectural movement" – Ngata staged an architectural renaissance based on traditional practices, Te Puea looked to develop a blending of building practices, and Rātana pointed to a new direction altogether. Sir Māui Pōmare, however, left no distinctive architecture that embodied his views of his people's future, and has largely been overlooked in New Zealand's architectural history as a result. Pōmare's crusade to improve the health of Māori communities, however, did have a pervasive and direct impact on Māori architecture. His beliefs and actions provide an important counterpoint to those of his contemporaries, helping us understand the full spectrum of architectural actions taken by Māori in the early twentieth-century. This paper examines Sir Māui Pōmare's work and its architectural impact, placing it in the context of other influential Māori architectural movements of the time.

van Doesburg, Theo (1883–1931)

2018 ◽  
Author(s):  
Michael Johnson
Keyword(s):  
Twentieth Century ◽  
Crucial Role ◽  
Avant Garde ◽  
Visual Style ◽  
Dutch Painter ◽  
Architecture And Design ◽  
Theo Van Doesburg ◽  
De Stijl

Theo van Doesburg was a Dutch painter, designer, and art theorist. As the founder and major polemicist of the avant-garde movement known as De Stijl (The Style), he was instrumental in developing an abstract style based on primary colors and geometry. Tirelessly promoting De Stijl across Europe, van Doesburg played a crucial role in the development of Modernist art, architecture and design in the first half of the twentieth century. Born Christian Emil Marie Küpper in Utrecht, van Doesburg was the son of the photographer Wilhelm Küpper. His pseudonym was developed from the name of his stepfather, Theodorus Doesburg, whom he regarded as his natural father. Van Doesburg became a painter around 1900. His early work was influenced by Post-impressionism and Fauvism, but in 1915 he discovered the work of Piet Mondrian and underwent a profound transition. Mondrian had developed an austere visual style based on primary colors and orthogonal grids. This convinced van Doesburg to pursue spiritual harmony based on mathematical order.

“The Letter Said That My Wife Had Died”

2020 ◽  
pp. 39-56
Author(s):  
Marìa Bjerg
Keyword(s):  
Twentieth Century ◽  
Marital Relations ◽  
Left Behind ◽  
Early Twentieth Century ◽  
European Immigrants ◽  
Late Nineteenth ◽  
Positive Feelings ◽  
A Site ◽  
Shed Light

Based on two trials for bigamy involving European immigrants in late nineteenth- and early twentieth-century Argentina, this chapter illustrates how emotions affected transnational marital relations and how different meanings of love, and its mutations into myriad less positive feelings, shaped migration. In the context of migration and family—a site of intimacy and affection, but also one of disagreement, contest, deceit, and heartbreak—the experience of bigamists and their betrayed spouses reveal the multiple complexities of leaving one’s family and of being left behind, and shed light on the encounter of immigrants with the emotional standards of the Argentine society.

scholarly journals Costly tolerance

2016 ◽  
Vol 72 (1) ◽  
Author(s):  
Leo Koffeman
Keyword(s):  
Twentieth Century ◽  
The Netherlands ◽  
Political Life ◽  
Church Members ◽  
Infant Baptism ◽  
Early Twentieth Century ◽  
Reformed Churches

Tolerance is an aspect of the balance between power and freedom. This contribution starts from a decision taken by the general synod of the Reformed Churches in the Netherlands, in 1914, on the issue of church members who did not recognise infant baptism. The synod decided that – on certain conditions – ‘tolerance can be practiced’ towards such members. This contribution analyses and evaluates this decision, with particular attention for the distinction made between fundamental and non-fundamental faith issues. It shows how this decision is related to the broader context of early twentieth century political life in the Netherlands (the ‘Pacification of 1917’), and it concludes with some thoughts on the costliness of true tolerance.

Introduction: Gertrude Stein’s Transmasculinity

2018 ◽  
pp. 1-38
Author(s):  
Chris Coffman
Keyword(s):  
Twentieth Century ◽  
Ernest Hemingway ◽  
Theoretical Framework ◽  
Pablo Picasso ◽  
Nodal Points ◽  
Early Twentieth Century ◽  
Carl Van Vechten ◽  
The Relationship

The Introduction provides an overview of Gertrude Stein’s Transmasculinity as well as a theoretical framework for understanding the relationship between Stein’s writings and her gender. By using psychoanalysis to complicate historicist imperatives and engaging recent debates over queer temporalities and relationalities, the Introduction lays the groundwork for the book’s argument that Stein ultimately rejected early twentieth-century gender formations in favor of a flexible, feminist, and anti-identitarian mode of transsubjectivity inscribed in texts that cross genres. Pushing back against formalist and materialist critiques of biographical interpretation, the Introduction also makes the case for readings that trace visual artworks’ and her writings’ roles as nodal points for intersubjective desire. The Introduction concludes with an overview of the book’s seven chapters and coda: four chapters that identify signs of Stein’s transmasculinity in her writings and others’ representations of her; three that track her masculine homosocial bonds with Pablo Picasso, Ernest Hemingway, and Carl Van Vechten; and a coda that points to possibilities for examining the implications of Stein’s masculine homosocial bonds with Vichy collaborator Bernard Fäy.

Apollinaire, Guillaume (1880–1918)

2018 ◽  
Author(s):  
Tara S. Thomson
Keyword(s):  
Twentieth Century ◽  
Early Years ◽  
Pablo Picasso ◽  
Visual Poetry ◽  
Henri Matisse ◽  
Avant Garde ◽  
Guillaume Apollinaire ◽  
Early Twentieth Century ◽  
Spanish Flu ◽  
Poetry Collection

Guillaume Apollinaire (1880–1918) was a poet, literary and art critic, playwright, novelist, editor, and journalist. Born in Rome to a Polish-Russian mother and an unknown father, Apollinaire’s birth name was Guglielmo Alberto Wladimiro Alessandro Apollinare de Kostrowitzky, though his family called him Wilhelm (the German form of the Italian Guglielmo). After spending his early years moving throughout Monaco, France, Belgium, and Germany, he finally settled in Paris in 1902, adopting the pen name Guillaume Apollinaire. Apollinaire became a prominent cultural figure in Paris and was a key player in the literary and artistic avant-garde movements of the early twentieth century, particularly Cubism and Surrealism. Apollinaire first gained literary recognition for his poetry collection Alcools (1913) but is best known for inventing calligrams, a form of visual poetry. While Apollinaire was primarily a poet, he earned his living as a journalist and art critic. In his articles and reviews he championed avant-garde art, and was friends with such artists as Pablo Picasso and Henri Matisse. Apollinaire fought for France in WWI and returned home in 1916 after receiving a head wound. He survived the war but died of Spanish Flu in 1918.

Introduction

2018 ◽  
Author(s):  
Eileen Ryan
Keyword(s):  
Twentieth Century ◽  
National Identity ◽  
North Africa ◽  
Religious Identity ◽  
Political Legitimacy ◽  
Left Behind ◽  
Early Twentieth Century ◽  
Imperial Expansion ◽  
Italian Unification

Italian imperialism in the early twentieth century left behind a legacy that is seldom far below the surface in postcolonial Libya. The ability to trace a lineage of resistance conferred political legitimacy in the formation of a national identity. In Italy today the legacies of imperial expansion are less accessible but no less important. The decision to occupy Libya occurred at a pivotal moment in the development of Italian national identity in the decades after Italian unification. Debates over an Italian approach to expansion in Muslim North Africa served as an opportunity to define the nature of religious identity in the nation as Italy attempted to join the ranks of the European imperial powers.

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