Sickert, Walter (1860–1942)

2018 ◽  
Author(s):  
Tom Furness
Keyword(s):  
20Th Century ◽  
Subject Matter ◽  
New Age ◽  
Future Generations ◽  
Early 20Th Century ◽  
Pictorial Space ◽  
Edgar Degas ◽  
British Art

Walter Sickert is widely acknowledged as one of the most important figures in modern British art. He was instrumental in furthering acceptance of Impressionist art in Britain and in the progression of modern British painting during the pre-war period in his capacities as both a painter and a writer for periodicals such as New Age. Sickert’s works demonstrate an abiding interest in the surface of pictures and the essence of paint as a material. The painting Minnie Cunningham at the Old Bedford (1892) shows Sickert at the confluence of his two great influences. Inspired by the tutelage of Whistler, its thin washes of wet paint and a shallow pictorial space depict a theatrical subject matter much favored by Edgar Degas. A decade later, in early 20th-century London, Sickert found his place as the elder statesman amongst artists including Spencer Gore, Harold Gilman and Malcolm Drummond in the Camden Town Group and London Group. Through his teaching at, among others, the Westminster School of Art, he imparted his devotion to everyday, urban subjects and his dispassionate recording of visual fact to future generations of figurative artists including William Coldstream and David Bomberg.

scholarly journals Kryzys filozofii polityki

2011 ◽  
Vol 13 ◽  
pp. 23-42
Author(s):  
Barbara Markowska
Keyword(s):  
20Th Century ◽  
Subject Matter ◽  
Theoretical Consideration ◽  
Scientific Discipline ◽  
Operating Conditions ◽  
Decisive Factor ◽  
Early 20Th Century ◽  
Leo Strauss ◽  
Set Up ◽  
Scholarly Pursuit

The purport of the article is a reflection on the operating conditions of the philosophy of politics, beginning with its crisis, as described by Leo Strauss in the early 20th century and continuing up to the latest proposals, which emerged at the turn of the 20th and 21st centuries. First, the author poses a question regarding the essence of this crisis; was it related to the scientific paradigm of the philosophy of politics applied hitherto or, rather, to the very subject matter of this scholarly pursuit, which is to say, to politics itself. A scientific discipline must be able to delineate its subject matter and if the latter undergoes an unexpected modification, the former suffers a crisis. Was this what happened to politics itself? What was the decisive factor which caused it to escape a theoretical consideration that ceased to be a systematic reflection, in short, ceased to be science, only to become philosophy again, whereby the author understands ‘philosophy’ as a level of reflection such as to allow itself to posit subliminal questions purely in order to set up the determinants for further thinking as to what science is, what politics is and what makes politics different from non-politics.

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.

scholarly journals Kalendarze z kolekcji Ignacego Wolskiego w zbiorach Muzeum Narodowego w Krakowie

2019 ◽  
Vol 13 ◽  
pp. 223-255
Author(s):  
Agnieszka Lubera
Keyword(s):  
20Th Century ◽  
18Th Century ◽  
Future Generations ◽  
Early 20Th Century ◽  
National Museum ◽  
The Past ◽  
First Time

A small but valuable collection of calendars was donated to the National Museum in Krakow in 1896, 1898 and 1906 by Ignacy Wolski, a Warsaw bibliophile. In the article an overview of these publications is given for the first time. The donation consists of calendars diverse in form and content, published from the end of the 18th century to the early 20th century. Only ten of them were found during the research in the Museum. Most of the preserved calendars was marked with characteristic provenance stamps or stickers;a part of them has some historical notes written by Wolski. They are a great testimony of the past. Wolski’s motifs and idea behind collecting calendars and leaving these publications for future generations in the Museum were also presented in the article.

Ashcan School

2018 ◽  
Author(s):  
Lara Kuykendall
Keyword(s):  
New York ◽  
20Th Century ◽  
Subject Matter ◽  
Public Spaces ◽  
Early 20Th Century ◽  
Popular Entertainment ◽  
Ashcan School ◽  
American Artists ◽  
George Bellows ◽  
Total Freedom

The Ashcan School was a group of American artists that began exhibiting together in the early 20th century and advocated for total freedom in style and subject matter. Also known as Urban Realists because of their focus on urban, public spaces including trains, streets and parks, restaurants and bars, and other spaces of popular entertainment, Ashcan members included Robert Henri, John Sloan, George Luks, William Glackens, Everett Shinn, and George Bellows. "Ashcan" was initially a pejorative term applied to the group because they employed dark colors and painterly, unblended brushstrokes, which were thought to make their works appear dirty or unfinished. The Ashcan School was initially associated with a secessionist art group called The Eight, which also included postimpressionists Arthur B. Davies, Maurice Prendergast, and Ernest Lawson. The Eight rebelled against the National Academy of Design, the principal art school and host of prestigious juried exhibitions in New York, because they sought greater stylistic freedom and more control over their exhibition opportunities. Implicitly, the Ashcan painters also rebelled against The Ten, a group of American Impressionists, because they thought their predecessors’ works were too delicate in style and genteel in subject matter.

Social Practices of Confucianism at the Early 20th Century: Kang Youwei and the “Heaven People”. Kang Youwei. Datong shu, Sixth Part, Fragments, Trans. from Chinese into Russian and Comm. by Dmitry E. Martynov

2021 ◽  
pp. 199-203
Author(s):  
Dmitry E. Martynov ◽  
◽  
Yulia A. Martynova ◽  
Keyword(s):  
20Th Century ◽  
Gender Inequality ◽  
Russian Translation ◽  
Social Practices ◽  
Future Generations ◽  
Early 20Th Century ◽  
The Family ◽  
Kang Youwei ◽  
Ancient Times ◽  
And Gender

Readers are invited to the first Russian translation of extracts from the first chap­ter of the sixth part Datong shu(“The Book of the Great Unity”) by Kang Youwei (1858–1927). Kang Youwei proposed an original project for the radical liberation of humanity, in which the traditional mechanisms of family, marriage and gender inequality and coercion will be eliminated, and the state will take care of each person at every stage of his life. Kang Youwei adhered to the view that the main goal of a person's life is to achieve a state of happiness and satisfy all emerging needs. Congenital hedonism is in conflict with the need to reproduce. According to Kang Youwei, the institution of the family was created in ancient times and is the product of violence and suppression. In the future, free partnership will be re­lieved of the burdens of raising and educating future generations.

scholarly journals “Jephthah’s Daughter” by Amy Beach: the Biblical World in the Words of a Woman

ICONI ◽  
2019 ◽  
pp. 59-67
Author(s):  
Sofiya V. Sysolyatina ◽  
Keyword(s):  
New England ◽  
20Th Century ◽  
Old Testament ◽  
Subject Matter ◽  
Turn Of The Century ◽  
Early 20Th Century ◽  
Equal Rights ◽  
American Composers ◽  
Religious Subject ◽  
The Subject

The article examines from the positions of musical content by means of analysis of the musical and poetical the composition “Jephthah’s Daughter” by Amy Beach, an American composer of the late 19th and early 20th century, a member of the “Boston six” — a group of American composers of the turn of the century, also known as the New England School, among which Amy Beach was the only woman. “Jephthahʼs Daughter” is a concert aria for voice and orchestra, which is interesting in the context of the composer’s musical legacy, as well as an exemplary composition of its era. The aria is devoted to the Biblical subject matter or, more precisely, the well-known Old Testament plot of the sacrifi ce of the daughter of the Israelite judge Jephthah. Besides the analysis of the musical fabric, the article examines the author’s approach to the subject of the principle of the choice of the material and the work with the textual sources — the Biblical story and the French poem, which comprised the basis of the aria’s text. As a result, the conclusion is arrived at about the composer’s artistic intentions and about the conceptual component of the work. The article contains information about Amy Beach’s biography, her artistic approach, her attitude to religious subject matter and social problems of the society contemporary to her, in particular, the issues of equal rights for women.

Takarazuka Revue Company (1913--)

2018 ◽  
Author(s):  
Masaaki Nakano
Keyword(s):  
20Th Century ◽  
Subject Matter ◽  
Musical Theater ◽  
Early 20Th Century ◽  
Television Programs ◽  
Training School ◽  
Communication Satellite ◽  
Hyogo Prefecture

The popular Takarazuka Revue Company, based in Takarazuka, Hyogo Prefecture, is the oldest established musical theater company in Japan. The performers are unmarried women; if a dancer marries, she must retire from the company. The Takarazuka Revue Company—actually five separate troupes—is managed by the Hankyu Railway Corporation. It has a training school with a dormitory system and exclusive theaters, publishes magazines, broadcasts television programs, and owns the Communication satellite channel. The Takarazuka Revue Company can be viewed as an example of the modernization and Westernization of Japanese theater and the industrialization of its business during the early 20th century by rejecting the traditional kabuki style as well as introducing female performers to the Japanese stage and adopting Western subject matter and theatrical practices by establishing multiple performance groups to meet audience demands.

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