Vietnamese Artists in Paris

2018 ◽  
Author(s):  
Ann Proctor
Keyword(s):  
20Th Century ◽  
Cultural Influence ◽  
World's Fair ◽  
International Exhibitions ◽  
Art Works ◽  
Overseas Travel ◽  
French Colonial ◽  
The Aesthetic ◽  
Radical Transformation

Vietnam was a French colony when the artistic and cultural influence of Paris was at its peak. Despite this, few Vietnamese ventured to France in order to establish or further their artistic education. Reasons for this anomaly include the fact that prior to the middle of the 20th century few Vietnamese left the place where they were born, and that French colonial rule restricted overseas travel for their subjects. The very few artists who went to France were from privileged backgrounds, and generally traveled either under a scholarship or in association with international exhibitions, such as the Colonial Exhibition in Paris (1931) or the 1937 World’s Fair. Artists who moved overseas for political reasons rarely returned to Vietnam, but those who did return in the first half of the 20th century contributed to a radical transformation in Vietnamese painting and sculptural practice, moving Vietnamese art into a modern international framework. Changes occurred in the aesthetic and physical appearance of art works, the way arts education was received, the manner in which art works circulated, and ultimately in the societal role of the artist (prior to colonization, Vietnamese art was generally produced within specific guilds).

Gender and Its Representation in Contemporary Arts

2017 ◽  
Vol 6 (2) ◽  
pp. 11 ◽  
Author(s):  
Nihan Akdemir
Keyword(s):  
20Th Century ◽  
Contemporary Art ◽  
Social Function ◽  
Conscious Awareness ◽  
Aesthetic Appreciation ◽  
Human Beings ◽  
The Social ◽  
Art Practices ◽  
Art Works ◽  
The Aesthetic

The concept of gender is an important issue that has been over-emphasized in recent years with an increasing rate of violence against human beings, is perhaps an important issue that needs to be addressed much more. The similarity of the terms, gender and sex, suggests that these two concepts are the same. The elimination of this mistake and the transformation of the position into a conscious awareness are carried out with the awareness of social responsibility with contributions in different disciplines. At this point, an evaluation can be made on art and the social function of art can be mentioned because the art is an important way of communicating collective messages through the artists by their works. In the 20th century, and especially since the second half of the century, the content of art is as important as the aesthetic appreciation and this point can be seen at the art practices which multidisciplinary approaches get to the forefront. In this paper, the way of expression of the concept of gender in contemporary art has been researched through the social function of art. The methods of this work depend on literature and artwork sample researches. And the concept of gender has been primarily addressed. This concept has been studied in terms of art works, disciplines, forms of expression, and works of artists who find meaning and overlap. And the results show that the concept of gender has found its place in contemporary arts.

Handing out beauty: Gabriele D’Annunzio’s ritual squanderers

2017 ◽  
Vol 51 (2) ◽  
pp. 413-431
Author(s):  
Nicoletta Pireddu
Keyword(s):  
20Th Century ◽  
Social Practices ◽  
Symbolic Economy ◽  
The Aesthetic ◽  
Ethical Significance ◽  
Anthropological Discourse

D’Annunzio’s approach to beauty has largely unnoticed connections with the anti-modern anthropological discourse on symbolic economy that at the turn of the 20th century begins to reject instrumentality in life and representation. From the cultural primitivism of his time, D’Annunzio develops a consistent reflection on the aesthetic and ethical significance of ritual exchange that informs his search for a higher morality through art. Focusing on the nexus of art, giving, and temporality, this article addresses the intuitions and the contradictions of unconditional expenditure in D’Annunzio’s works, analyzing the leitmotif of the hand as an ambivalent carrier of lavishness and power. From Trionfo della morte to Il fuoco, from Le vergini delle rocce to his autobiographical writings, the implications of D’Annunzio’s argument contribute to an extended theoretical debate that interrogates the role of value in aesthetic and social practices—from Nietzsche, Mauss, and Bataille to Heidegger and Derrida. Can art’s luxurious dissipation truly break the circle of speculation and restitution?

‘Comunicare con il popolo’: Novel, Drama, and Music in Mazzini’s Work

2008 ◽  
Author(s):  
Carlotta Sorba
Keyword(s):  
20Th Century ◽  
Active Power ◽  
The Public ◽  
Political Role ◽  
The Arts ◽  
Close Analysis ◽  
The Social ◽  
Social Art ◽  
The Aesthetic

This chapter observes and relocates the role of the arts in Mazzini's political reflections, seeing in it a kind of prelude to the aesthetic dimension of politics generally explored in the 20th century. Through a close analysis of his large output of literary and musical criticism (1826–44), it shows how the language of the arts, and especially drama as ‘the social art par excellence’, was considered by the Italian thinker to be the main means to communicate to the public – in a forceful and emotional way – political and national goals. Mazzini believed that, in the specific case of Italy, opera, with its active power to move, thrill, and provoke enthusiasm in Italian theatres, could play a crucial political role.

scholarly journals Evolution of representation of the hands in plastic arts

2002 ◽  
Vol 10 (3) ◽  
pp. 15-24
Author(s):  
Trajano Sardenberg ◽  
Gilberto José Cação Pereira ◽  
Cleide Santos Costa Biancardi ◽  
Sergio Swain Müller ◽  
Hamilton da Rosa Pereira
Keyword(s):  
20Th Century ◽  
Hand Surgery ◽  
Scientific Texts ◽  
Plastic Arts ◽  
Art Works ◽  
History Of ◽  
Individual Ability ◽  
The Individual ◽  
Identification Techniques

The interaction between art and science was high during the Renaissance and it declined later to return significantly in the 20th century, mainly with the use of identification techniques, dating of art works and the development of new materials. The relationship between plastic arts and hand surgery is intense and artistic reproductions of hands are frequent in the illustration of scientific texts. With the objective of understanding the role of the hand in plastic arts, reproductions of works of art (sculptures and paintings) representative of several periods or styles in the history of art were analyzed emphasizing the study of the hands. Anatomical details, relationship with other structures of the human body, role in the composition and symbolic aspects of the hands were studied in historical and artistic contexts of art works in the Paleolithic period (pre-history) until the 20th century. The representation of the hands in plastic arts is directly related to the style or period of the work and to the individual ability of interpretation and execution by the artist.

scholarly journals Visual Tradisi dalam Karya Seni Lukis Kontemporer Sebagai Wujud Artistik Pengaruh Sosial Budaya

2014 ◽  
Vol 1 (2) ◽  
pp. 99-109
Author(s):  
Willy Himawan ◽  
Budi Adi Nugroho
Keyword(s):  
Visual Culture ◽  
Contemporary Art ◽  
Cultural Influences ◽  
Cultural Influence ◽  
Art Works ◽  
The Aesthetic

Penelitian ini bertujuan untuk memahami pengaruh sosial budaya pada senilukis kontemporer. Penelitian dilakukan dengan studi kasus pada dua senimankontemporer Bali yaitu Wayan Sudiarto dan Haryadi Suadi. Penelitian dilakukandengan mengamati unsur-unsur tradisi dan modern seperti otonomi, kebebasan,dan progresitivitas menjadi elemen yang penting dalam karya – karya keduaseniman. Berdasarkan penelitian dapat disimpulkan bahwa seni kontemporersecara khas mampu menunjukkan manifestasi estetik dan refleksi nilai yang bersifatkritis terhadap sistem ekonomi-sosial-kultural yang menghidupinya. Walau karyaSudiarta dan Haryadi saling bertolak belakang, namun kedua karya seniman tersebutmemperlihatkan bahwa visualisasi tradisi pada karya-karya seni lukis kontemporerterkait dengan aspek-aspek seni rupa yang menjadi bagian dari konsep konsepbudaya visual. Keberadaan tradisi atau unsur-unsur tradisi yang muncul dalamkarya-karya tersebut masih dibaca dalam ranah identitas dan keunikan tetapi belummenyentuh ke dalam makna yang terkandung di dalamnya. The Visual Tradition on Contemporary Art Works as the Artistic Form of Socio-Cultural Influence. This study aims to understand the socio-cultural influences oncontemporary paintings. It is a case study of two contemporary Balinese artists, i.e.Wayan Sudiarto and Haryadi Suadi. The study is conducted by observing the traditionand modern elements such as autonomy, freedom, and progressivity which become theimportant elements of both artists’ artworks. Based on the research, it can be concludedthat the contemporary art is typically able to demonstrate the aesthetic manifestationand reflection of values which are critical toward the system of economy-socio-cultural.Although the artworks of Sudiarta and Haryadi are in contradictory, but both of theartists’ works show the visualization of tradition on the works of contemporary paintingsassociated with the aspects of arts which are a part of the concepts of visual culture. Theexistence of the tradition or traditional elements appeared in these works are still readin the realm of identity and uniqueness, but they have not touched into the containedmeaning.

The Great Reform and the Fate of Capitalism in Russia (On the 150th Anniversary of the Emancipation Reform)

2011 ◽  
pp. 119-136
Author(s):  
M. Voeikov
Keyword(s):  
20Th Century ◽  
Historical Research ◽  
150Th Anniversary ◽  
In The Beginning

The paper deals with the problem of the establishment of capitalism in Russia in the late 19 - early 20th centuries. Using a wide array of historical research and documents the author argues that the thesis on the advanced state of capitalism in Russia in the beginning of the 20th century does not stand up to historical scrutiny, and the role of the famous Emancipation reform of 1861 appears to be of limited importance.

‘Wheels have been set in motion’: Geocentrism and Relativity in Tom Stoppard’s Rosencrantz and Guildenstern Are Dead

2018 ◽  
Author(s):  
Liliane Campos
Keyword(s):  
20Th Century ◽  
Film Adaptation ◽  
Frames Of Reference ◽  
Quantum Uncertainty ◽  
Galilean Relativity ◽  
Modern Physics ◽  
20Th Century Physics ◽  
Time Specific ◽  
Do So

By decentring our reading of Hamlet, Stoppard’s tragicomedy questions the legitimacy of centres and of stable frames of reference. So Liliane Campos examines how Stoppard plays with the physical and cosmological models he finds in Hamlet, particularly those of the wheel and the compass, and gives a new scientific depth to the fear that time is ‘out of joint’. In both his play and his own film adaptation, Stoppard’s rewriting gives a 20th-century twist to these metaphors, through references to relativity, indeterminacy, and the role of the observer. When they refer to the uncontrollable wheels of their fate, his characters no longer describe the destruction of order, but uncertainty about which order is at work, whether heliocentric or geocentric, random or tragic. When they express their loss of bearings, they do so through the thought experiments of modern physics, from Galilean relativity to quantum uncertainty, drawing our attention to shifting frames of reference. Much like Schrödinger’s cat, Stoppard’s Rosencrantz and Guildenstern are both dead and alive. As we observe their predicament, Campos argues, we are placed in the paradoxical position of the observer in 20th-century physics, and constantly reminded that our time-specific relation to the canon inevitably determines our interpretation.

ABOUT CUSTOMS BUSINESS IN TURKESTAN IN THE SECOND HALF OF THE 19th -EARLY 20th CENTURY

2020 ◽  
Vol 12 (3) ◽  
pp. 38-47
Author(s):  
Chinpulat Kurbanov ◽  
Keyword(s):  
20Th Century ◽  
Scientific Article ◽  
Early 20Th Century ◽  
The Future ◽  
History Of ◽  
Stage Development

The author in this scientific article examines the stage-by-stage development and formation of customs in Turkestan in the second half of the 19th -early 20th centuries. The author studied the history of customs in Turkestan and its role in establishing a single customs line in the future with neighboring khanates. The author focuses on the role of Russia in the establishment of a single customs line and the development of customs in Turkestan

Sign in / Sign up

Export Citation Format

Share Document