Emjaroen, Pratuang (1935--)

2018 ◽  
Author(s):  
Thanom Chapakdee
Keyword(s):  
Visual Art ◽  
Social Problems ◽  
Van Gogh ◽  
Traditional Art ◽  
Vincent Van Gogh ◽  
Visual Artist ◽  
Silver Medal

Pratuang Emjaroen is a member of a wave of self-taught artists in Thailand who gained renown in the 1970s. His works are driven by his concerns about the vicissitudes of life, social problems, nature and Buddhism. A prolific artist, he created a large variety of works throughout his career. Pratuang began his career working as a painter of cinema billboards and movie posters. Inspired by the biographic film Lust for Life (1956), about Vincent Van Gogh, Pratuang developed an interest in becoming a visual artist and began studying painting independently. Being a self-taught artist could have been an obstacle to his career in challenging Thailand’s traditional art institutions. Fortunately, Pratuang was able to overcome this in developing his own inimitable style in painting, drawing and poetry. Having struggled to become a renowned artist, Pratuang established the Dhamma Group in 1971, and was able to convince many artists to join, thereby increasing his own reputation. In 1967, he won the Silver Medal from the National Exhibition of Arts, and in 1968, 1974 and 1995 won Bronze Medals. Pratuang received the National Artist of Thailand Award in Visual Art in 2005.

Segal, Arthur (1875–1944)

2018 ◽  
Author(s):  
Erwin Kessler
Keyword(s):  
Modern Art ◽  
Political Engagement ◽  
Color Theory ◽  
Van Gogh ◽  
Traditional Art ◽  
Avant Garde ◽  
Vincent Van Gogh ◽  
Tristan Tzara ◽  
Art Scene ◽  
Art Colony

Arthur Segal was a Romanian artist born as Aron Sigalu to Jewish parents. He shifted his attention away from post-impressionist modernism around 1900 to focus on the radical avant-garde in the early 1920s, and then back to classicizing modernism in the 1940s. His work moved from traditional art-craft (painting, engraving) to modern and avant-garde practices (political engagement, teaching, curatorship, manifestos, theoretical writings, art-therapy). From 1892 to 1900 he studied in Berlin, Paris, and Munich. Segal was a student of Adolf Hölzel (founder of the art colony Neues Dachau), and much of his work was shaped by Hölzel’s color theory, where landscapes were formally structured as decorative grids rather than as phenomenal transcripts of ocular perception. In 1902–1903 he visited Italy and France, where he was influenced by the work of Vincent Van Gogh and Giovanni Segantini, whose naturalism and light-seeking divisionism he sought to appropriate in his own work. He exhibited with the Berliner Secession from 1909 onward, and co-founded the Neue Secession in 1910. Segal remained connected to the Romanian art scene, exhibiting with the TinerimeaArtistica group in 1910–1913. His 1910 Bucharest exhibition was heralded as ‘‘the first exhibition of modern art’’ in Romania (Segal 1974: 133). In 1914 Segal moved to Ascona, Switzerland, where he met Hans Arp, Hugo Ball, and Alexei Jawlensky, who were linked with the Monte Verita community. In 1916 Segal exhibited at Cabaret Voltaire alongside fellow Romanian Dadaists Tristan Tzara and Marcel Janco. In 1919 he joined the Novembergruppe, becoming one of its leaders.

scholarly journals Loving Vincent: Online Exhibition as an Innovative Form of Presenting Visual Art in Ukraine

2021 ◽  
pp. 145-152
Author(s):  
Iryna Chmelyk
Keyword(s):  
Visual Art ◽  
Main Idea ◽  
Van Gogh ◽  
Feature Film ◽  
Vincent Van Gogh ◽  
Animated Films ◽  
Art Works ◽  
Art Research ◽  
Insight Into

The article considers the online exhibition and art events Loving Vincent as the relevant forms of exhibition of art works, the main idea of which is to promote the work of Vincent van Gogh and the art of the animated films in Ukraine. The aim of the paper isto highlight the importance of the latest forms of visual art representation in Ukraine on the example of the online exhibition Loving Vincent and a number ofrelated events dedicated to the world’s first full-length eponymous animated feature film about the life of Vincent van Gogh. The role of Ukrainian artists in the process of working on the film is also highlighted. The methodology of work includes a set of culturological and art research methods and approaches. In particular, empirical observations, analysis of the source base and video materials contribute to the comprehensive coverage of the process of organization and realization of the Loving Vincent exhibition. The interviews with the organizers, screenwriters, and artists helped to get a deep insight into the specifics of working on the film. Descriptive and analytical methods contributed to the formation of a comprehensive view regarding the innovative forms of representation of visual artworks in Ukraine. On the basis of factual material, a synthetic comprehension of problems and prospects of development ofsuch newest exposition forms as virtual excursions and online exhibitions were formed. Emphasis is also made on the participation of Ukrainian artists in the largescale international art projects that leads to the creation and development of new opportunities of the representation of contemporary art

Vincent Van Gogh and the elusive diagnosis of vestibular migraine

2021 ◽  
pp. 110747
Author(s):  
Soumit Dasgupta ◽  
Robby Vanspauwen ◽  
Enis Alpin Guneri ◽  
Marco Mandala
Keyword(s):  
Vestibular Migraine ◽  
Van Gogh ◽  
Vincent Van Gogh

scholarly journals Temporality as Bergsonian Critique in the Advertising and Visual Art of Bertram Brooker

2014 ◽  
Vol 39 (3) ◽  
Author(s):  
Adam Lauder
Keyword(s):  
Visual Art ◽  
Henri Bergson ◽  
Advertising Strategies ◽  
Time Concepts ◽  
Visual Artist ◽  
Metaphysical Tradition

This article explores time concepts derived from Henri Bergson as adapted by Canadian marketing theorist and visual artist Bertram Brooker (1888–1955) in articles and textbooks published during the 1920s and early 1930s. Inspired by Bergson’s critique of the Western metaphysical tradition, Brooker proposed innovative, participatory advertising strategies based on the French philosopher’s non-rational conception of time and the co-evolution of bodies and media. The author argues that the Toronto artist-advertiser’s descriptions of radio as offering the possibility of an interactive and synesthetic alternative to conventional print-based forms of advertising indirectly influenced Harold Innis’ redemptive gloss on the latent dialogism of radio. A critique of Brooker’s and Innis’ respective articulations of “oral” media as foreshadowing the contemporary economy of televisual “flow” is also posited.Cet article explore les concepts temporels du philosophe français Henri Bergson ainsi qu’ils étaient adaptés par le théoricien du marketing et artiste Bertram Brooker (1888- 1955) dans ses articles et manuels des années 1920 et début des années 1930. La critique de la tradition métaphysique occidental affirmé par Bergson en a inspiré Brooker, qui a proposé des stratégies de publicité participatives fondées sur sa conception non-rationnel de temps aussi que sa conception de la co-évolution des corps et des médias. Cet article propose que la représentation de la radio en tant qu’un objet interactif et synésthetique soutenu par l’artistedirecteur de publicité a influencé indirectement l’interprétation rédemptrice de Harold Innis au sujet du dialogisme de la radio. Une critique des déclarations de Brooker et Innis sur les médias « orale » en tant que préfigurant de l’économie contemporaine de « flux » télévisuel est aussi offert.

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