Yorozu, Tetsugorô [萬 鉄五郎] (1885–1927)

2018 ◽  
Author(s):  
Eve Loh Kazuhara
Keyword(s):  
Fine Arts ◽  
Cultural Property ◽  
Literati Painting ◽  
Avant Garde ◽  
White Horse ◽  
Critical Attention ◽  
The Government

Yorozu Tetsugorô was a Yôga [Western-style] painter associated with the avant-garde movement during the Taishô period (1912–1926). His foray into art began when he started studying Ôshita Tôjirô’s A Guide to Watercolors [大下藤次郎]. Prior to enrolling at the Tokyo School of Fine Arts in Western-style painting, he attended meetings and study sessions at the Hakubakai [White Horse Society; 白馬会] (1896–1911). In 1907, he entered the Tokyo School of Fine Arts and graduated in 1912. A Nude Beauty (1912), his graduating work, garnered significant critical attention. The work is considered the pioneering work of Japanese Fauvism, and is now designated an Important Cultural Property in Japan. Yorozu’s works from this period demonstrate the influence of both Fauvism and Cubism upon his craft. His landscapes and portraits were well received at the Nikakai [Second Section Association] (1914–present), which showcased younger and more avant-garde artists’ works. Yorozu left Tokyo following complications with his health, but continued to exhibit at the Nikaten when possible. Although he was unsuccessful at his attempts to exhibit at the government-sponsored Teiten, Yorozu continued artistic explorations in Nanga [literati painting] and Nihonga [Japanese-style painting]. He passed away in 1927, and is often considered the pioneering artist of Japanese Cubism and Fauvism.

scholarly journals Museum libraries in Spain: A case study at state level

2020 ◽  
pp. 016555152091765
Author(s):  
Silvia Cobo-Serrano ◽  
Rosario Arquero-Avilés ◽  
Gonzalo Marco-Cuenca
Keyword(s):  
Fine Arts ◽  
State Level ◽  
Social Recognition ◽  
Cultural Property ◽  
Research Centre ◽  
Essential Information ◽  
Library Management ◽  
University Teachers ◽  
Strategic Issue ◽  
The Government

Special libraries are essential information and documentation centres for university teachers and researchers due to the quality and richness of their collections. In Spain, it is estimated that there are 2456 special libraries, although many are unknown either generally or among information professionals. These include museum libraries, which are important centres with valuable collections of bibliographic heritage for the area of Humanities and Social Sciences. The aim of this research is to gain an understanding of the real state of these information units and promote the social value of museum libraries in Spain. To do this, a survey was sent to the libraries of state-owned and -managed museums under the General Directorate of Fine Arts and Cultural Property (Ministry of Culture and Sports) of the Government of Spain. This general objective will be accompanied by a review of the scientific literature on various aspects of museum libraries at national and international level. After addressing the research methodology, the results obtained will be discussed and will include the following topics: collection management, library services and staff, economic and technological resources and finally, library management. Conclusions include recommendations for museum librarians and reveal that institutional cooperation is a strategic issue to improve both museum libraries visibility and their social recognition as cultural and research centre.

Using graphics editors as a means of developing students' creative abilities

2021 ◽  
pp. 384-393
Author(s):  
Olga Viktorovna Gavrilova
Keyword(s):  
Information Technology ◽  
Fine Arts ◽  
Technology Program ◽  
Brain Functioning ◽  
Avant Garde ◽  
Ancient Egyptian ◽  
Prior Art ◽  
Large Numbers ◽  
History Of ◽  
The Media

This article discusses a very well-known and frequently used technique for an implementation of a variety of artistic projects - a collage created by means of information technology. The article tells about using collage in higher education for teaching graphics, in particular, raster editors. Graphics editors such as Adobe Photoshop or GIMP are included in the Computer Science and Information Technology program. Students get the opportunity to create graphic images regardless of their prior art education. The introduction of the topic "Creating a collage by means of a raster editor" introduces a creative element into IT disciplines and develops the student's associative thinking at the level of brain functioning. As a rule, raster editors are used to edit an image, not to create it. Therefore, preparation for these classes encourages students to search for the necessary visual material on the Internet. In order to obtain more personal images, a deep study of photography techniques is required. It is also useful to study the history of photo and film collages, their texture and structure. The scope of the collage use is various. This is psychology, teaching foreign languages and, of course, fine arts. Advertising posters that we see in large numbers in the media and transport are also collages. The article traces the history of collage creation from ancient Egyptian history to modern advertising products. It is especially interesting to study the time when collage became a conscious technique. This is a great layer of avant-garde art.

scholarly journals Alexandra Ekster’s Contribution to Ukrainian and World Art Culture

2021 ◽  
pp. 219-228
Author(s):  
Lesia TURCHAK
Keyword(s):  
Art Education ◽  
Research Methodology ◽  
Art History ◽  
Historical Data ◽  
Methodological Approach ◽  
Fine Arts ◽  
Creative Activity ◽  
Teaching Activity ◽  
Avant Garde ◽  
The Subject

The work of Ukrainian artists who have contributed to Ukrainian and international art, is not sufficiently disclosed. Their creative search impresses with versatility, interesting decision, continues to impress and inspire contemporaries. Purpose of the article — to find out the contribution of the Ukrainian avant-garde artist, set designer, teacher Oleksandra Ekster, to the Ukrainian and international fine arts. Oleksandra Ekster’s work has been the subject of research for decades. Scientists are interested in the painter’s art search, her contribution to Ukrainian avant-garde, scenography reforms, and teaching activity. Some sources may state that Ekster is a representative of Russian avant-garde. However, the artist grew up in Kyiv, obtained art education and promoted with her work not only Ukrainian but world avant-garde as well. The research of modern scientists (H. Kovalenko, D. Horbachova, T. Filevska, N. Stoliarchuk, M. Yur and others) makes it possible to review the artist’s life and artistic journey as well as her contribution to art history. The research methodology consists of a range of methods: historical, biographical, theoretical. The abovementioned methodological approach allows studying the question of historical data relating to the events in Ukraine that led to the emigration waves, finding out certain biographical facts and analyzing the artist’s creative activity.

The 1970s and the gendered spaces of the counter tradition

2018 ◽  
Author(s):  
Leah Modigliani
Keyword(s):  
Feminist Theory ◽  
Gendered Spaces ◽  
Avant Garde ◽  
Critical Attention ◽  
History Of

Vancouver artists’ concerns with discourses of theatricality and female gendered spaces are argued as important links between the defeatured landscapes of the 1968-1971 period and the development of large narrative photographs after 1975. The importance of Marcel Duchamp’s readymades to this historical thread are covered in detail, including the documented impact of his work Étant donnés: 1. La chute d/eau, 2. Le gaz d’éclairage(1946-66) on Jeff Wall’s transition towards the tableau format. Using Étant donnés as a fruitful formal and conceptual segue, the feminist content in several of Jeff Wall and Ian Wallace’s works from the mid-to-late 1970s are analysed. This demonstrates how both artists actively integrated feminist theory and ideas into their visual work, even as they directed critical attention away from it by instead stressing their works relationship the history of European avant-garde critique within modernism.

Pettoruti, Emilio (1892–1971)

2018 ◽  
Author(s):  
Roxanne Doyen
Keyword(s):  
Modern Concept ◽  
Major Influence ◽  
Pablo Picasso ◽  
14Th Century ◽  
Avant Garde ◽  
La Plata ◽  
The Government ◽  
Geometric Layout ◽  
Light Color ◽  
The City

Emilio Pettoruti was born in the city of La Plata, Argentina, the modern, geometric layout of which would make appearances in his art later in his life. In 1913, Pettoruti received a scholarship from the government of Argentina and traveled to Italy. He studied Italian art of the 14th century and also got to know a number of avant-garde artists involved with Futurism. Pettoruti decided to extend his time in Europe by working in different countries. In Paris, he became acquainted with artists such as Pablo Picasso, Kees van Dongen, and Juan Gris, who had a major influence on his artwork. He participated in an exhibition in Herberth Walden’s famous Der Sturm Gallery in Berlin in 1923 and became a well-known modern artist. The avant-garde magazine Martín Fierro defined Pettoruti’s artwork (as they did the art of Pettoruti’s friend, Xul Solar) as Criollismo, a term from literature, which entails the use of a realist style to portray scenes and customs of one’s native country. Pettoruti’s style is a modern concept of harmony, order, geometric forms, and a combination of science and the spiritual. Technique, light, color, and movement are the most important characteristics of his art.

Matsumoto, Shunsuke (松本竣介, 1912–1949)

2018 ◽  
Author(s):  
Takuya Tsunoda
Keyword(s):  
High School ◽  
Fine Arts ◽  
Urban Landscapes ◽  
Pacific War ◽  
Oil Painting ◽  
Avant Garde ◽  
The Pacific ◽  
Literary Arts ◽  
Spinal Meningitis ◽  
Professional Artist

Matsumoto Shunsuke was an oil painter and essayist active in the years up to and through the Pacific War. His best-known paintings, most of which feature figures in urban landscapes, include several self-portraits such as Standing Figure (1942). Matsumoto contracted spinal meningitis at the age of eleven, which eventually led to the loss of his hearing, an event that steered him towards the career of professional artist, and encouraged him to become immersed in reading and the literary arts. Later, it also rendered him ineligible for the draft. At seventeen he dropped out of high school and moved to Tokyo, where he studied oil painting at the Pacific School of Fine Arts (Taiheiyô Bijutsu Gakkô) for three years. In 1935 he became a member of the avant-garde NOVA Art Society, the first of several exhibition collective and artist groups in which he would participate. Other groups including the Nikakai, the Nine-Room Society (Kyûshitsukai), and the Newcomers Painting Society (Shinjin Gakai). Like Ai Mitsu, Asô Saburô, and others with whom he associated, Matsumoto expanded his style to accommodate expanded Japanese interest in Abstraction and Surrealism during the 1930s, but he largely retained his interest in painting intimate portraits, set in non-idealized cityscapes, throughout his career.

Rivera, Diego (1886–1957)

2018 ◽  
Author(s):  
June I. K. Black
Keyword(s):  
Mexico City ◽  
Fine Arts ◽  
Preparatory School ◽  
Liberal Politics ◽  
Diego Rivera ◽  
Avant Garde ◽  
National School ◽  
The Family ◽  
San Carlos

Diego Rivera was an artist born in 1886 in the Mexican city of Guanajuato. The family relocated to Mexico City in 1892 as a consequence of the liberal politics of Rivera’s father. In the capital, Rivera was educated at the National Preparatory School and the National School of Fine Arts (formerly known as the Academy of San Carlos), where he studied under Félix Parra, Santiago Rebull, and José María Velasco. In 1904, he met Dr. Atl, who was likely the first to encourage Rivera to explore Modernism. By utilizing the multifaceted, compressed, and interlocking planes characteristic of Cubism together with the naturalistic forms more common to academic art, his works represent a peculiar blend of the academic and the avant garde.

Young Vietnamese Artists Association [Hội Họa Sĩ Trẻ Việt Nam]

2018 ◽  
Author(s):  
Thuy N. D. Tran
Keyword(s):  
Driving Force ◽  
Visual Art ◽  
Fine Arts ◽  
Avant Garde ◽  
South Vietnam ◽  
Recent Graduates ◽  
Artistic Styles ◽  
The Republic ◽  
Cultural Internationalism

The Young Vietnamese Artists Association (YVAA; 1966–75) was an avant-garde artist collective founded in Saigon in November 1966 in the Republic of Vietnam (South Vietnam; 1954–75). Also referred to as the Society of Saigonese Young Artists, the majority of its members were under the age of thirty and were recent graduates of the National College of Fine Arts, Saigon (est. 1954) and the Fine Arts College of Hue (est. 1957). The YVAA’s mission was to foster a new direction for visual art in Vietnam that would better reflect the cultural internationalism and modernization of the era. While YVAA artists experimented with a variety of artistic styles, abstract works influenced by the modernist styles found in the School of Paris—including Lyrical Abstraction, Cubism, Fauvism, and Naive Art—were prevalent. Initiated by art collector Dr Nguyễn Tấn Hồng and artist Ngy Cao Uyên (YVAA’s founding president), the Association’s founding members were mainly painters and sculptors: Vị Ý, Cù Nguyễn, Âu Như Thụy, Nguyễn Trung, Trịnh Cung, Nguyên Khai, Hiếu Đệ, Nguyễn Phước, Mai Chửng, Đinh Cường, Nghiêu Đề, Nguyễn Lâm, Hồ Hữu Thủ, and Hồ Thành Đức. With frequent sponsorships from the Goethe Institut and the Alliance Française, the YVAA became a driving force behind Saigon’s arts scene.

scholarly journals The Sex Side of Civil Liberties:United States v. Dennettand the Changing Face of Free Speech

2012 ◽  
Vol 30 (2) ◽  
pp. 325-386 ◽  
Author(s):  
Laura M. Weinrib
Keyword(s):  
Free Speech ◽  
Civil Liberties ◽  
The Body ◽  
Executive Board ◽  
Sexual Autonomy ◽  
Avant Garde ◽  
Political Views ◽  
The Government ◽  
American Civil Liberties Union

It was the policy of the American Civil Liberties Union (ACLU) during the 1920s to contest only those obscenity regulations that were “relied upon to punish persons for their political views.” So stated a 1928 ACLU bulletin, reiterating a position to which the organization had adhered since its formation in 1920. For the majority of the ACLU's executive board, “political views” encompassed the struggle for control of the government and the economy, but not of the body. The early ACLU was not interested in defending avant-garde culture, let alone sexual autonomy.

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