Jader, Khalid al- (1922–1988)

2018 ◽  
Author(s):  
Tiffany Renee Floyd
Keyword(s):  
Saudi Arabia ◽  
20Th Century ◽  
Fine Arts ◽  
High Standard ◽  
National Committee ◽  
Islamic Art ◽  
Active Participant ◽  
Artistic Production ◽  
College Of Law ◽  
Village Life

Dr Khalid al-Jader was born in Baghdad, Iraq. He had a distinguished career as an Iraqi artist, scholar, and administrator throughout the mid-20th century. He gained degrees in both law and art by studying at the Institute of Fine Arts and the College of Law in Baghdad simultaneously. He then traveled to Paris in 1954 where he subsequently received a PhD in Islamic Art from the Sorbonne and joined the Salon de Paris. After returning to Baghdad, al-Jader held several prominent institutional positions, including deanship at the Institute of Fine Arts and the Academy of Fine Arts, which he helped to found. He was also the chair of the National Committee for Plastic Art with UNESCO. As an administrator, he was known to hold his students and employees to a high standard and was meticulous in his responsibilities. Adding to this impressive résumé, al-Jader was also an active participant in several art groups, such as the Pioneers, the Impressionists, and the Society of Iraqi Plastic Artists. Palestinian writer Jabra Ibrahim Jabra described al-Jader’s artistic production as having a distinct Iraqi nature; indeed, his canvases are focused on the urban inlets of Baghdad, as well as the crannies of Iraqi village life. He interprets these scenes through sweeping brushstrokes, as well as quick, concentrated strokes of color. Al-Jader exhibited his own work extensively both locally and internationally. His works have been displayed in France, Germany, Saudi Arabia, Poland, Russia, Poland, and Denmark.

Mansour, Sliman (b.1947, Palestine)

2018 ◽  
Author(s):  
Sarah Ann Rogers
Keyword(s):  
Fine Arts ◽  
Olive Tree ◽  
The Political ◽  
Art Making ◽  
Artistic Production ◽  
Orange Tree ◽  
Political Act ◽  
First Intifada ◽  
Village Life ◽  
Palestinian Woman

Born in 1947 in Birzeit, Palestine (north of Ramallah), Sliman Mansour studied fine arts at the Bezalel Art Academy in Jerusalem. Since the 1970s, his works on paper have contributed to the development of a visual iconography of the Palestinian struggle: the orange tree (symbol of the 1948 Nakba), the olive tree (symbol of the 1967 war), traditional Palestinian embroidery, village life, and the Palestinian woman as the maternal figure of Palestine. In 1987, together with artists Vera Tamari, Tayseer Barakat, and Nabil Anani, Mansour founded New Visions, a collective formed in response to the first intifada (1987–1993). Boycotting art supplies imported from Israel, the artists instead worked with natural materials (coffee, henna, and clay), thereby tying the process of art making to the land and its struggle. In doing so, art no longer merely represented the political. Instead, artistic production itself became a political act. Mansour is known for using mud as a medium. By layering and moulding mud into figural compositions on wooden frameworks, Mansour deploys the literal land to artistically depict Palestine, its history, and its people.

The formation of an Islamic art library collection in an American museum

1996 ◽  
Vol 21 (2) ◽  
pp. 24-26 ◽  
Author(s):  
Deirdre E. Lawrence
Keyword(s):  
20Th Century ◽  
Full Range ◽  
Islamic Art ◽  
American Museum ◽  
Library Collection ◽  
The Public ◽  
Artistic Production ◽  
Bibliographic Records ◽  
Individual Support ◽  
Personal Library

The Brooklyn Museum’s collection of Islamic art, gathered from early in the 20th century, represents the full range of Islamic artistic production, with objects dating from the earliest periods of Islam through the 20th century, from Spain and India, and executed in a variety of media. An extensive library collection of over 5,000 titles has been developed since the establishment of the Museum Libraries in 1923. The collection was enhanced by the acquisition of the personal library of Charles Edwin Wilbour, and by the bequeathing of the library of Charles K. Wilkinson, and it continues to benefit from the generosity of foundation and individual support. The Library is open to the public by appointment, and bibliographic records of its collection are entered on RLIN.

From the history of manufacturing Romanian nai at the turn of 20–21 centuries

2018 ◽  
pp. 71-74
Author(s):  
A. Drutsé
Keyword(s):  
20Th Century ◽  
Fine Arts ◽  
Research Interest ◽  
Modern World ◽  
Music Theater ◽  
Technical Improvement ◽  
Performance Skills ◽  
Doctoral Candidate ◽  
History Of ◽  
And Performance

The modern world popularity of the nai — a traditional Romanian instrument — has identified interest in writing this article. This problematic constitutes the circle of our research interest as a doctoral candidate, but also as a concert performer, a graduate of the Academy of Music, Theater and Fine Arts. One of the most interesting aspects of the study of nai is its technical improvement since 60s of the 20th century, which led to the acquisition of a number of new, innovative skills and performance skills. In this article we have identified some pages of the modern history of the manufacture of this ancient instrument associated with these processes.

Artists and War Art

2020 ◽  
Author(s):  
Margaret George ◽  
Victoria Young
Keyword(s):  
20Th Century ◽  
Late 19Th Century ◽  
Artistic Style ◽  
Art Of War ◽  
News Reports ◽  
Artistic Production ◽  
The Subject ◽  
Entire World ◽  
Visual Record ◽  
War Art

A war artist is one who captures the subject of war in some type of artistic form. Since the beginning of time, artists have recorded scenes of war as a visual record of a culture’s existence and tribulations. Images of battles, ship portraits, leaders, and soldiers made up the bulk of war images until the late 19th century. The creators of the majority of these works are unknown, but when the entire world first went to war in 1914, nations hired official war artists to depict the action, including warplanes, tanks, and other newly developed technologies, among other aspects, as subject matter. These artists were mostly men, who were on the front lines sketching, painting, and photographing the action, collecting the visuals of war that they might then collate into an official work for a nation. As the 20th century progressed into our current era, images became immediately accessible on television and film, in news reports, and in live streams, as reporters embedded themselves with soldiers. Official war artists still exist in several nations, as do official collections of artwork created by them. We also have vibrant unofficial images of war produced by soldiers and prisoners for their own purposes, or by people protesting war itself. In compiling this bibliography, we sought to convey the breadth of war art mainly in 2-D media in chronology, type, artistic style, and maker, including voices of artists whenever possible. We also considered how artists from differing sides in battle impact each other’s artistic production. Being an artist who depicts war is a challenge. How do you convey honor and brutality, tradition and modernity, glory and defeat? How do you watch devastation around you and provide witness as you record the intensity and sadness of death? Combat artists of a particular country create art that reveals their experience of war. Is it personal? Or should it only be a documentary? The complexities found in creating the art of war are many, yet without these works there are centuries of battle we would not understand from social, political, or technological viewpoints.

How Classical is Ariadne's Parrot? Southall's Painting and Its Literary Registers

Ramus ◽  
2010 ◽  
Vol 39 (1) ◽  
pp. 53-72
Author(s):  
Paula James
Keyword(s):  
20Th Century ◽  
Fine Arts ◽  
Literary Representations ◽  
Art Gallery

In this article I suggest ways in which a gorgeously crafted, colourful, compelling 20th century painting of an abandoned Ariadne highlights both her tragic and comic presence in classical literary representations. Joseph South-all's 1925-6 work Ariadne in Naxos (tempera on linen, 83.5 × 101.6 cm), reproduced below, can be viewed in all its glory in the Birmingham City Art Gallery (bequeathed by the artist's widow, Anne Elizabeth, in 1948) but it was featured to fine effect in the 2007 exhibition The Parrot in Art: From Dürer to Elizabeth Butterworth, Barber Institute of Fine Arts, University of Birmingham. It was in this psittacine (psittaceous?) context that I first encountered Ariadne's parrot so the bird perhaps loomed larger in the painting than it might as a stand-alone Southall on its home ground in the Gallery.

Cultivating Taste, Creating the Modern Subject: Sawt el-Fannan and Art Criticism in 1950s Egypt

2008 ◽  
Vol 42 (1-2) ◽  
pp. 26-31 ◽  
Author(s):  
Dina A. Ramadan
Keyword(s):  
Art Criticism ◽  
Fine Arts ◽  
Departure Point ◽  
Artistic Production ◽  
Modern Subject ◽  
Art Scene ◽  
History Of ◽  
Great Sense ◽  
And Function ◽  
The Voice

This paper is born of two somewhat separate but interrelated concerns: the oft-repeated assertion that there exists no history of art criticism in Egypt, and the greatly felt “absence” of an archive, an organized system of collecting and cataloguing dedicated to the fine arts in Egypt. It is with these two concerns in mind that I propose we approach the journal Sawt el-Fannan (The Voice of the Artist), for it was in response to these perceived shortcomings that this publication—a self-proclaimed pioneer in the field of Egyptian art criticism–was first produced in 1950. Despite the thriving Egyptian art scene of the time (or what is repeatedly referred to by journal contributors as al-nahda al-fanniyya al-haditha), such a movement was seen to lack a certain credibility and effectiveness, of being in danger of a short life in the absence of the appropriate reflection, recording, and documentation. In other words, the establishment of Sawt el-Fannan took place with a great sense of urgency on the part of contributors that reflects much of what was seen to be at stake in the existence of a modern art scene in Egypt. Therefore a close examination of the editorial vision behind Sawt el-Fannan is an important departure point for understanding the ways in which art criticism was being imagined during this period. By delineating the parameters of what Sawt el-Fannan considered to be this field known as “art criticism” or al-naqd al-fanni, we can begin to identify some of the functions it was expected to fulfill, and by extension, begin to address the place and function of art in Egypt at the time. I want to suggest that through its expansive understanding of its field, Sawt el-Fannan produces a complicated and multi-faceted relationship between artistic production and art criticism, one in which its role is both reflective and productive. As will become apparent, the notion of “taste” or al-hassa al-dhawqiyya is central to the objectives of Sawt el-Fannan; what such a publication is ultimately invested in are the wider discourses involved in cultivating a bourgeois artistic awareness and aesthetic sensibilities, what Bourdieu would call cultural competence, as part of the larger project of constructing the modern subject in Egypt.

scholarly journals Artistic explorations of Lviv artists of decorative and applied arts in small-scale plastics of the second half of the 20th century: image of a human being

2021 ◽  
Vol IX(258) (47) ◽  
pp. 10-14
Author(s):  
V. Honcharuk
Keyword(s):  
20Th Century ◽  
Art Criticism ◽  
Fine Arts ◽  
Decorative Arts ◽  
Small Scale ◽  
Human Being ◽  
Applied Art ◽  
Wide Range ◽  
Characteristic Features

The present article examines the special characteristics of the development of small-scale sculpture as an independent phenomenon in Lviv fine arts of the second half of the 20th century within the framework of the interpretation of a human being image, since the following problem has not been sufficiently studied in Ukrainian art criticism. In particular, the research focuses on the specific features of artistic experiments of the representatives of decorative and applied art in the field of anthropomorphic sculpture; traces characteristic features of conceptual and modelling solutions; identifies artistic and stylistic features and peculiarities of the representation of a human being image. The author stresses upon the role of Lviv Ceramic and Sculpture Factory that largely set trends in the development of small-scale sculpture. In addition, as based on works of famous representatives of Lviv school of decorative arts, the author identifies the variety of interpretations and wide range of modelling means as well as traces the most vivid anthropomorphic designs.

scholarly journals La recuperación de los centros históricos durante el Franquismo. El caso de Jaén

Imafronte ◽  
2020 ◽  
pp. 29-58
Author(s):  
José Manuel Almansa Moreno
Keyword(s):  
20Th Century ◽  
National Economy ◽  
Special Function ◽  
Fine Arts ◽  
Directorate General ◽  
History Of ◽  
Siglo Xx ◽  
The City ◽  
Santa Maria ◽  
Modern Image

PRUEBA - A mediados del siglo XX se inicia la revalorización de los centros históricos en Es- paña, especialmente de aquellas ciudades vinculadas con la historia de nuestro país, buscando desarrollar su potencial turístico como pieza clave para mejorar la economía nacional y ofrecer una imagen de modernidad en el extranjero.En esa labor tiene especial importancia la Sección de Ordenación de Ciudades de Interés Artístico Nacional, organismo dependiente de la Dirección General de Arquitectura, cuyos arquitectos son los encargados de diseñar proyectos de mejora y embellecimiento urbano, los cuales generalmente se complementaban con otras intervenciones acometidas en los edificios monumentales por otras instituciones (como, por ejemplo, la Dirección General de Bellas Artes o los cabildos municipales).A través de este estudio pretendemos analizar las intervenciones acometidas en la ciudad de Jaén durante la década de los 60 y 70, proyectos urbanísticos llevados a cabo si- guiendo otros ejemplos en la provincia como las reformas acometidas en Úbeda y Baeza una década antes, y que pretendían embellecer espacios tan emblemáticos como la Plaza de Santa María y el histórico barrio de la Magdalena. In the middle of the 20th. century began the revaluation of the historical centers in Spain, especially those cities linked to the history of the country, seeking to develop their tourist potential as a key piece to improve the national economy and to offer a modern image abroad. In this work it has special function the Section of Ordination of Cities of National Artistic Interest, organism dependent of the Directorate General of Architecture, whose architects are in charge of designing projects of improvement and urban beautification, which were generally complemented by other interventions in monumental buildings by other institutions (such as the Directorate General of Fine Arts). Through this study we intend to analyze the interventions undertaken in the city of Jaén during the decades of the ' 60s and ' 70s, urban projects carried out following other examples in the province as the reforms undertaken in Úbeda and Baeza a decade before, and which sought to beautify so emblematic as the Square of St. Mary and the historic district of the Magdalene.  

Sign in / Sign up

Export Citation Format

Share Document