Ensor, James Sydney Edouard (1860–1949)

2018 ◽  
Author(s):  
Herwig Todts
Keyword(s):  
World War I ◽  
Subject Matter ◽  
Fine Arts ◽  
Political Satire ◽  
Seaside Resort ◽  
Francisco Goya ◽  
Hieronymus Bosch ◽  
Religious Subject ◽  
The 1960S ◽  
Artistic Career

Prior to the outbreak of World War I, James Ensor (b. 1860 Ostend, Belgium–d. 1949 Ostend, Belgium) worked during the summer months in a souvenir shop owned by his family in the Belgian seaside resort of Ostend. His artistic career took place in the political, financial and cultural capital of Brussels, which was a train ride away from his home. From 1877 to 1880 he attended the Academy of Fine Arts in Brussels, where he participated in Les XX group, La LibreEsthétique artistic society, and the Galérie Georges Giroux. He took part in the cultural life and nightlife of Brussels, where he met literary friends, art lovers, and his mistress Augusta Boogaerts. Ensor believed that the capital sin of producing aesthetic banality could be successfully combated by constantly exploring new subject matter, genres, techniques, materials, styles, and artistic disciplines (he wrote articles and composed music as well). Ensor explored the possibilities of any specific artistic project usually by radicalizing an existing model. His desire to experiment with Realism, Symbolism, Impressionism, Rembrandt’s light, the grotesque repertoire of Hiëronymus Bosch and Francisco Goya, or the farces of Pieter Brueghel resulted in iconographic and stylistic incoherent drawings and paintings with a surreal character. Occasionally Ensor used line, form, brush strokes, and color in an almost autonomous manner. He often employed one of his favored images, the mask, as an ambiguous and psychologically affecting motif (usually as an instrument of unmasking). Since the 1960s, scholars have investigated the subversive function of Ensor’s combination of social and political satire, religious subject matter and a highly private iconography.

THE CHANGING OF SANTRI’s PREFERENCE TOWARDS STUDIES AND PROFESSIONS: A Case Study at Pondok Pesantren Alhikmah 2 Brebes, Central Java

Al-Qalam ◽  
2017 ◽  
Vol 23 (2) ◽  
Author(s):  
Hayyadin Ode
Keyword(s):  
Subject Matter ◽  
Central Java ◽  
Religious Subject

<p>This research aimed to figure out the santri’s preference toward studies and professions in which conduct study at pesantren. Common perceived and stated also at Government Ordinancenumber 55, 2007, that pesantren purposes was to reproduce Islamic scholar (ulama). However, through this study, it proved that not all santri wanted to be ulama, most of them wanted to be a scientist. This study was a case study, conducted in 2015 at Pesantren Alhikmah2 Brebes. Data collected using questionnaire, interview, and document. Those all derived from santris, Kyais, and teachers (asatidz). The research concluded as showed from questionnaire that santri’s  preferences toward study has gotten  changing to general subject matters instead of religious subject matters; and the santri’s professions and jobspreference has gotten changing to the jobs and professions that based on general subject matter, instead of choose to be ulama (Islamic scholar) most of santri wanted to be scientists, or researchers, or doctors as well as athlete.</p>

ON THE METHODS OF O. N. LOSHAKOV IN TEACHING EASEL PAINTING From his experience at the Vladivostok Art School in 1960–1962

2021 ◽  
Vol 1 (3) ◽  
pp. 16-21
Author(s):  
A. V. Khairulina ◽  
Keyword(s):  
Fine Arts ◽  
Far East ◽  
Positive Influence ◽  
Educational Process ◽  
The Far East ◽  
Shikotan Island ◽  
History Of ◽  
The 1960S ◽  
Moscow School ◽  
Art School

The article explores the first pedagogical experience of Academician of the Russian Academy of Arts, Honored Artist of the Russian Federation, Professor Oleg Nikolaevich Loshakov in Vladivostok. The work provides a brief overview on the history of the formation of professional arts education in the Far East. Positive influence of Oleg Loshakov — graduate of the Moscow State Academic Art Institute named after V. I. Surikov on improving the quality of the educational process at the Vladivostok Art School is noted. He contributed greatly to the development of fine arts in Primorsky Krai as a teacher and representative of the Moscow School of Painting. Further creative activity of O. N. Loshakov who painted landscapes on Shikotan Island together with a group of young artists that were his first graduates is described. The materials of the article expand the range of ideas about the artist's work in the Far East, and reveal new aspects of his landscape paintings of the 1960s. Special consideration is given to the monumental landscape in the master's work. The relevance of the topic is determined by the lack of materials devoted to the period of O. N. Loshakov's formation as a teacher and artist.

scholarly journals Italian Thrilling Spectacle Between Aesthetics, Ethics, and Ideology. Popular Genres of Italian Cinema in the 1960s and 1970s in Czechoslovak Film and Non-Film Periodicals (1960–1989)

2017 ◽  
Vol 65 (4) ◽  
pp. 361-372
Author(s):  
Jan Švábenický
Keyword(s):  
Subject Matter ◽  
Critical Discourse ◽  
Historical Period ◽  
Italian Cinema ◽  
Periodical Press ◽  
Cultural Phenomenon ◽  
1960S And 1970S ◽  
The 1960S

Abstract This study examines journalistic, publicist, and critical discourse in relation to the popular genres in the Italian cinema of the 1960s and 1970s in Czechoslovak film and non-film periodical press. Of interest are mainly comprehensive texts that analyse Italian popular genres as a genre system and a specific corpus of films that belong to the same genre. Czech and Slovak translations of foreign studies and texts (with the exception of some examples), interviews with Italian filmmakers, short glosses, or informative texts are beyond the scope of this research. This study reflects critical, journalistic, and publicist interpretations and views by Czechoslovak press of popular genres in national Italian cinema in the selected historical period. Research is divided into two parts that develop specific aspects of these analytic questions. The first part analyses texts about this subject matter in various film a and non-film periodicals, including newspapers and journals with emphasis on long studies and interpretations of a few categories of popular genres viewed in the extensive context of their national, socio-cultural, iconographic, and industrial aspects. The second part deals only with the popular genre of western all’italiana (western in Italian style), which represented an international cinematic and socio-cultural phenomenon in the 1960s and 1970s and was of the greatest interest to Czechoslovak critics, journalists, and publicists in relation to popular genres of Italian cinema in general.

scholarly journals Co to znaczy być artystą/artystką?

2017 ◽  
Vol 61 (1) ◽  
pp. 71-99
Author(s):  
Marek Krajewski ◽  
Filip Schmidt
Keyword(s):  
Visual Arts ◽  
Visual Art ◽  
Fine Arts ◽  
Nationwide Survey ◽  
Social World ◽  
Decision Makers ◽  
The Social ◽  
The Common ◽  
Artistic Career ◽  
Depth Interviews

Who is an artist? Questions over how to define this role divided the makers of the project The Invisible Visual: Visual Art in Poland—Its State, Role, and Significance. The authors’ sources of data were the results of a nationwide survey, a survey of graduates of the Polish Academy of Fine Arts in the years 1975–2011, and in-depth interviews with seventy individuals in the field of visual arts. The authors were able to establish, first, that persons working in the art field give different definitions from those beyond its bounds; second, that artists, decision-makers, curators, and critics try to defend the sense and autonomy of their activities against ways of thinking and acting that are typical of other areas of the social world (while they are themselves engaged in disputes over who has a right to call him- or herself an artist and what is and isn’t good art); and third, being an artist is marked by a difficult-to-cross boundary, as is shown by the common necessity of supplementing artistic work by other sources of income and the high risk of failure in an artistic career.

My Dad. Life and Art of Teacher and Artist Sergiy Solodovnyk

2021 ◽  
Vol 2021 (02) ◽  
pp. 329-344
Author(s):  
S. Solodovnyk ◽  
Keyword(s):  
Personality Traits ◽  
Subject Matter ◽  
Fine Arts ◽  
Work Of Art ◽  
Artistic Creation ◽  
Talented People ◽  
The World ◽  
The Subject ◽  
Life Path

This article dwells upon the life path and the art of an artist and teacher, professor of Kharkiv Art and Industrial Institute (now Kharkiv State Academy of Design and Fine Arts) – Sergiy Solodovnyk (1915–1991) – my Dad. It is described in what way important events or important meetings with talented people can influence the development of personality, the formation of the artist’s and teacher’s views upon the methods of teaching and drawing and imagery in Arts, also the choice of the subject matter and genre. In artistic creation, both innate personality traits and those acquired in the process of studying the world, through which the artist passes in the process of creating a work of art and his formation as a person, as a lecturer or Teacher, are of great importance. The influence of his personality upon the students of several generations. His great importance in my life as a wise, delicate and caring dad. It is underlined in this article that good, honest deeds, love to people, homeland and to his direction in Art, sensitive attitude to the youth will always find reflection in human souls.

Reconnecting Dance and Physical Education through Dance Science

2022 ◽  
Vol 79 (1) ◽  
Author(s):  
Melonie B. Murray ◽  
Steven Ross Murray
Keyword(s):  
Physical Education ◽  
International Association ◽  
Academic Discipline ◽  
Fine Arts ◽  
Education Programs ◽  
Academic Field ◽  
Dance Training ◽  
And Performance ◽  
The 1960S ◽  
Performance Projects

This article traces the development of dance as an academic discipline from its infancy in physical education programs to its present state, noting the significance of the burgeoning field of dance science and how it is a catalyst for the reconnecting of dance to physical education. The academic discipline of dance originated in the early 20th century in American academe, particularly in women’s physical education programs. By the 1920s, dance emerged as a discrete discipline with Margaret H’Doubler’s founding of the first baccalaureate degree in dance at the University of Wisconsin. By the 1960s, the academic discipline of dance had shifted from its original mission of movement education for everyone to focus more on professional dance training for highly skilled performers. This philosophical shift saw many dance programs move from homes in physical education to the fine arts. During this time, dance also saw an increasing disciplinary emphasis on choreographic and performance projects, a trend still evident today. Dance science began to develop as an academic field in the early 1980s, and shortly after publications and conferences in the area were born. The professional association the International Association for Dance Medicine and Science was founded in 1990. With dance science’s emergence, dance and physical education began to realign, albeit often in departments of kinesiology. Today, with the development of dance science as a burgeoning field, dance and kinesiology are coming full circle, rejoining through their historical roots.

Gill, Eric (1882–1940)

2018 ◽  
Author(s):  
Tracy Bergstrom ◽  
Ruth Cribb
Keyword(s):  
20Th Century ◽  
Subject Matter ◽  
Arts And Crafts ◽  
Early 20Th Century ◽  
Arts And Crafts Movement ◽  
Popular Press ◽  
Working Relationship ◽  
The Arts ◽  
Religious Subject ◽  
Public Architecture

Eric Gill was a sculptor, typeface designer, printmaker and craftsman associated with the Arts and Crafts movement whose greatest influence was on the development of modern British sculpture in the early 20th century. As an advocate of hand-making in small workshops, he is considered one of the main proponents of the method of direct carving. Through his close working relationship with Jacob Epstein between 1910 and 1912, and receiving support from Roger Fry, Gill’s sculptures were received as representing modernity through direct carving, the simplification and flattening of line and form, and the use of British stones. Gill’s work as a typographer, letter cutter, wood engraver, and essayist also placed him at the heart of many modern movements in Britain during his lifetime, including the Society of Wood Engravers. As a writer and prolific sculptor for public architecture in the 1930s, he became prominent in the popular press. As a Catholic convert, his views and the religious subject matter of his art have complicated his status in the art historical canon. Since his death, his influence and importance have been predominately attributed to his letter cutting and typography.

Drysdale, Russell (1912–1981)

2018 ◽  
Author(s):  
Anne Gray
Keyword(s):  
World War Ii ◽  
Indigenous People ◽  
Subject Matter ◽  
New South ◽  
New South Wales ◽  
World War ◽  
Railway Stations ◽  
South Wales ◽  
The Subject ◽  
The 1960S

Russell Drysdale was an Australian artist who created an original vision of the Australian landscape from the 1940s to the 1960s, portraying the emptiness and loneliness of the Australian outback and country townships in his paintings, drawings, and photographs. During World War II, he depicted everyday subjects, including groups of servicemen waiting at railway stations. He traveled numerous times to the interior of Australia, including a trip to record the drought devastation in South Western New South Wales in 1944, where he created images that convey the environmental degradation of the landscape. In 1947, he explored the Bathurst region with Donald Friend where he discovered Sofala and Hill End, an area that served as the subject matter for his art for a number of years. Drysdale painted many images of deserted country towns as well as brooding landscapes peopled with stockmen and station hands. In his paintings of Aborigines, Drysdale expressed a deep concern for the Indigenous people, often placing them within his paintings in a manner that conveys a sense of dispossession. His work was singled out by Kenneth Clark in 1949 as being among the most original in Australian art, and his exhibition at the Leicester Galleries, London, in 1950 convinced British critics that Australian artists had an original vision.

Soonponsri, Kamchorn (1937--)

2018 ◽  
Author(s):  
Charlotte Galloway
Keyword(s):  
Los Angeles ◽  
Fine Arts ◽  
Active Role ◽  
Art Exhibition ◽  
Master Of Fine Arts ◽  
Student Protests ◽  
Democratic Government ◽  
The 1960S ◽  
Privately Owned ◽  
Politically Active

Born in Lopburi, Thailand, Soonponsri graduated from Silpakorn University in 1962, and completed a Master of Fine Arts in sculpture and painting at the Otis Art Institute, Los Angeles in 1971. Throughout his career he has pushed the boundaries of institutional convention. While abstraction was popular with younger Thai artists such as Soonponsri in the 1960s, the National Exhibition of Art and Silpakorn University still favored more traditional works and approaches. Breakaway exhibitions arose, and Soonponsri was involved in one of the early shows held at the privately owned Bangkapi Gallery in 1964. He took on a politically active role following the pro-democracy student protests of 1973. Soonponsri became chairman of the Artists’ Front of Thailand, founded in 1974 with the aim of harnessing art in the quest to obtain democratic government. He was an organizer of the first Open Art Exhibition of Thailand, held in 1979 as a further challenge to the National Exhibition of Art. His activism contributed to significant change, and he later became a jury member for a revitalized National Art Exhibition. Soonponsri’s works are abstracted and emotive. In the early 1990s he was a lecturer at Silpakorn University with other well-known artists such as Ithipol Thangchalok.

Tantisuk, Sawasdi (1925--)

2018 ◽  
Author(s):  
Charlotte Galloway
Keyword(s):  
Fine Arts ◽  
Natural World ◽  
Buddhist Philosophy ◽  
Urban Life ◽  
Art Practice ◽  
Oil Paintings ◽  
Western Art ◽  
Outdoor Scenes ◽  
The 1960S

Born in Thonburi, Thailand, Sawasdi Tantisuk is a contemporary of Tawee Nandakwang; both artists were trained at Silpakorn University and the Academy of Fine Arts in Rome. As a prominent figure in early Thai modernism, Tantisuk favored watercolor, as its unforgiving and immediate characters resonated with his approach to art practice, which drew on the Buddhist philosophy wherein each action—in this case, brushstroke—cannot be undone. Tantisuk’s early works were in the impressionist genre, but following his four years in Rome, his work became more abstracted and geometric as he absorbed some of the major trends in Western art, with color and texture being characteristics of many oil paintings of the 1960s. As his career progressed, abstraction remained his favored approach to painting, though he maintained some realist elements in his watercolor outdoor scenes. Tantisuk used color to evoke emotion in his works, depicting both the serenity and wonder of the natural world and the bustle of Thai urban life. A consistent painter, he has received many awards throughout his career and has remained involved with the art profession. He received an Honorary PhD from Silpakorn University in 1991, and was Thailand’s National Artist (painting) that same year.

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