Nguyễn Phan Chánh (1892–1984)

2018 ◽  
Author(s):  
Ann Proctor
Keyword(s):  
Modern Art ◽  
Fine Arts ◽  
80Th Birthday ◽  
Museum Of Fine Arts ◽  
Village Life

Nguyễn Phan Chánh (also known as Hô`ng Nam) was a member of the first class of students at the École des Beaux-Arts d’Indochine, Hanoi, in 1925. Born in Hà Tĩnh Province, Chánh received a Sino-Vietnamese education prior to studying in Hanoi (1925–1930). He is known for scenes of village life painted on silk, previously considered a medium for ancestor portraits. Many of his early paintings included poems written in Sino-Vietnamese calligraphy. He developed a distinctly modern Vietnamese style of silk painting, using areas of flat color echoing the manner of local prints, to create tender paintings of subtle colors. His women are generally depicted in clothes typical of those dating prior to the introduction of the modern ao dai. During his lifetime his paintings were included in a number of overseas and local exhibitions. The Game of Squares (1931) was well received when it was exhibited in Paris in 1931. As one of the originators of Vietnamese modern art, Chánh lived through difficult war-years, at times painting patriotic, but never bellicose works. He taught art intermittently and was a member of the Vietnamese Fine Arts Association (1957–1983). In 1972, for his 80th birthday, a retrospective exhibition of his work took place at the Museum of Fine Arts, Hanoi.

Seeing Christ, Reading Nature

Nuncius ◽  
2017 ◽  
Vol 32 (3) ◽  
pp. 514-555
Author(s):  
Denis Ribouillault
Keyword(s):  
Early Modern ◽  
Modern Art ◽  
Fine Arts ◽  
Dual Nature ◽  
Book Of Nature ◽  
Museum Of Fine Arts ◽  
Detailed Interpretation ◽  
Hermeneutic Process

This paper provides a detailed interpretation of a little-known yet extraordinary painting from the Montreal Museum of Fine Arts, Christ in a Landscape by Jan Swart van Groningen (ca. 1530–1540). This work is a perfect illustration of the importance of the popular Christian metaphor of the “Book of Nature” in early modern art, especially in the Reformed circles to which Swart likely belonged. Beyond offering an explanation for the presence of some strange aspects of the landscape (a snail, shells and colored pearls, unicorns, rocks with anthropomorphic features, etc.), the article explores the ways in which the elements of the landscape engaged the viewer in a hermeneutic process, a process of interpretation and reflection on the mysteries of nature and faith. The painting is a meditation on kenosis – the dual nature of Christ as both divine and human, and thus belonging to Nature just like the most insignificant of its creatures.

Checking library collection enables to analyze its composition as exemplified by the Pushkin State Museum of Fine Arts Research Library

2020 ◽  
Author(s):  
Olga Parkhomenko ◽  
Keyword(s):  
Fine Arts ◽  
Research Library ◽  
Museum Collection ◽  
Library Collection ◽  
State Museum ◽  
Book Collections ◽  
Museum Of Fine Arts

The Library of the Pushkin State Museum of Fine Arts is rich in rare and unique publications, and those of memorial value. The collection checking envisages visual revision and analysis of every book, and during this process the specialists revealed a number of valuable publications for further research. Also all registered publication went through the stage of initial collection specification (e.g., Rumyantsev museum collection, collection of the New Western Arts Museum, memorial libraries, etc). Currently, this information has been being entered into the e-catalog. This will enable to verify special arrays within the Research Library’s collection and simplify investigations into historical and memorial book collections and individual valuable publications.

Examination of Condition of Historical Transparent Structures of the Pushkin State Museum of Fine Arts

2020 ◽  
pp. 63-69 ◽  
Author(s):  
Alexander V. Spiridonov ◽  
Nina P. Umnyakova ◽  
Boris L. Valkin
Keyword(s):  
Cultural Heritage ◽  
Fine Arts ◽  
Comprehensive Examination ◽  
State Museum ◽  
Museum Of Fine Arts

The article describes the results of the second part of examination related to transparent structures of the Pushkin State Museum of Fine Arts: the lantern lights. The structures are cultural heritage of federal importance and are subject to state preservation. Based on the results of comprehensive examination, the conclusions were made that these structures are in unsatisfactory condition and materials were prepared for development of recommendations concerning their restoration.

EXHIBITION AS A GENRE OF PLASTIC ART: "DIOR"

2020 ◽  
pp. 138-150
Author(s):  
Mariya T. Maistrovskaya ◽  
◽  
Keyword(s):  
Visual Art ◽  
Spatial Organization ◽  
Fine Arts ◽  
Environmental Design ◽  
Exhibition Design ◽  
Fine Art ◽  
Museum Of Fine Arts ◽  
Artistic Images ◽  
Fashion Designers

The article is the second part of the research that consider and analyze two exhibitions held in recent years at the A.S. Pushkin Museum of Fine Arts named, “Chanel: according to the laws of art” (2007) and “Dior: under the sign of art” (2011), dedicated to the largest fashion designers of our time. The original concepts and artistic solutions of the exhibition design of these exhibitions became events not only in the fashion world, but also in the art of the exhibitiaon. These exhibitions presented various exhibition solutions, vivid artistic images, expressive spatial organization, conceptual and scenographic arrangement of copyright collections in the context of high fine art. The most important conceptual component of the exhibitions was to present the art of fashion designers, juxtaposing, giving rise to associations and building analogies and contexts with visual art, against which unique collections were exhibited and in the circle. With this single conceptual view of their work, and the single space of the museum in which the exhibitions were held, the artistic and architectural strategy of the exhibitions was diametrically opposite, revealing the palette and variety of artistically expressive means and modern exhibition design. Both exhibitions were created by modern foreign curators and designers and represent talented and creative exposition projects, the analysis of which can be useful for domestic environmental design as vivid examples of the exposition as a genre of plastic art, which is considered the modern museum and exhibition exposition at its highest and creative forms.

Rekonstruktion des Ursprungs und Neudatierung zweier magischer Gemmen mit Hilfe einer Zauberzeichensequenz

2020 ◽  
Vol 147 (2) ◽  
pp. 153-163
Author(s):  
Kirsten Dzwiza
Keyword(s):  
Comparative Study ◽  
Fine Arts ◽  
17Th Century ◽  
The State ◽  
Roman Period ◽  
16Th Century ◽  
New Findings ◽  
State Museum ◽  
Museum Of Fine Arts ◽  
First Time

SummaryThere are only a few sequences of ancient magic signs known to us today that have been preserved on multiple artefacts. A previously unnoticed sequence of 17 signs on a gem in the Museum of Fine Arts in Vienna occurs with minor but significant variations on two other gems in the State Museum of Egyptian Art in Munich. The Viennese gem is dated to the 16th century and is documented as a drawing in a 17th century publication. The first Munich gem has been assigned to the Graeco-Roman period. The second gem, which, according to the inventory card of the museum, also belongs to the Graeco-Roman period, is published here for the first time. A comparative study of the three gems and the drawing has lead to a number of new findings, including the re-dating of the Munich gems.

The origins of the Hungarian sword style

Antiquity ◽  
1977 ◽  
Vol 51 (203) ◽  
pp. 211-220 ◽  
Author(s):  
Miklós Szabó
Keyword(s):  
Fine Arts ◽  
Hungarian Academy ◽  
Museum Of Fine Arts ◽  
Academy Of Sciences

Dr Szabó, who is on the staff of the Hungarian Museum of Fine Arts, is by training a classical archaeologist and art historian. In recent years he has been concerned with a re-evaluation of eastern Celtic art and is one of the editors of the great newCorpus of Celtic Material in Hungarybeing prepared under the auspices of the Hungarian Academy of Sciences. The text of Dr Szabó's paper was first delivered to the Vth International Celtic Congress held in Penzance in April 1975.

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