scholarly journals “…Undeniably FInest Choice of Frame” ( on the Question of PIcture Framing by I. E. Repin)

Secreta Artis ◽  
2021 ◽  
Vol 4 (3) ◽  
pp. 62-81
Author(s):  
Oksana Aleksandrovna Lysenko
Keyword(s):  
Art Exhibitions ◽  
Scholarly Literature ◽  
Decorative Art ◽  
Critical Commentary ◽  
First Time

Numerous paintings by I. E. Repin in the collections of the Russian Museum, Tretyakov Gallery, Ateneum are distinguished by interesting, richly decorated, at times unique frames. The vast majority of these decorative art pieces have not been studied. Not only the creator of the sketch and the framemaker are left undisclosed, but also those who stood behind the choice of the frame – the artist himself or, rather, the buyer, customer. The contemporary ideas regarding Repin’s frames have largely been influenced by a highly critical commentary of Y. D. Minchenkov, which he recorded in his memoirs dedicated to artists – members of the Association of Traveling Art Exhibitions. Yet, the frames of Repin, which we have successfully identified and attributed, make us doubt the objectivity of Minchenkov's words. The question of Repin's contribution to the art of picture framing has not yet been considered in the works of specialists. Nonetheless, the original decor of the frames for such paintings as “Sadko” give grounds to assume that they were created according to the artist's drawings. Remarkably, a number of the artworks considered in the article have been introduced into scholarly literature for the first time.

scholarly journals Jean-Honoré Fragonard’s Work and the Theatre Culture of the 18th Century

2019 ◽  
Vol 16 (4) ◽  
pp. 406-417
Author(s):  
Elena E. Agratina
Keyword(s):  
18Th Century ◽  
Fine Arts ◽  
Constant Attention ◽  
Decorative Art ◽  
Street Theater ◽  
Long Time ◽  
Relationship Of ◽  
First Time ◽  
The Relationship ◽  
Opera Productions

The article, for the first time, exami­nes the work of the master of the 18th century Jean-Honoré Fragonard (1732—1806) within the context of the theatre culture of that time. Being a student of François Boucher (1703—1770), who was working as a theater decorator for a long time, Fra­gonard from his youth had the opportunity to join the world of theater. The painter’s passion for the stage greatly influenced the thema­tic and figu­rative composition of his works. Early histo­rical pain­tings of Fragonard, such as “Jeroboam Sacrifi­cing to Idols” (1752, School of Fine Arts, Paris), were crea­ted under the influence of Baroque thea­ter and decorative art and opera productions. Undoubtedly, Fragonard’s familiarity with theatre was promoted by his long stay in Italy, where the famous families of theater decorators Bibiena and Galliari was wor­king at that time. The article pays special attention to the process of planning and execution of the painting “The High Priest Coresus Sacrificing Himself to Save Callirhoe” (1765, Louvre), made not without regard to the opera “Callirhoe”, popular in Paris in the 18th century. It was theater that inspired the master to create his famous costume series of “Fantasy Portraits”, one of which depicted Marie-Madeleine Guimard (1743—1816), who not only had posed for the artist, but also ordered him to design her own mansion conceived as a temple of Terpsichore, the Muse of dance. In addition, Fragonard was the author of several panoramic genre paintings conveying the atmosphere of the then popular street theater. Works of this brilliant master exem­plify the relationship of arts that determined the nature of the cultural environment of that era and requires constant attention from modern researchers.

Visual Arts Festivals and Globalisation, The rise of biennials

2016 ◽  
Author(s):  
Monica Sassatelli
Keyword(s):  
Contemporary Art ◽  
Media Coverage ◽  
Global Scale ◽  
Art World ◽  
Art Exhibitions ◽  
Global Culture ◽  
The World ◽  
The Media ◽  
Cultural Power ◽  
First Time

Biennials or biennales are periodic, independent and international art exhibitions surveying trends in contemporary art; since the 1990s they have proliferated across the globe. Biennials are much more than curated displays, they constitute ‘festival-exhibitions’ working as “a public model and a shifting backdrop against which the meanings of contemporary art are constructed, maintained and sometimes irrevocably altered” (Ferguson et al., 2005: 48). Whilst most contemporary post-traditional festivals (Giorgi and Sassatelli, 2011) have ancient roots, it is only in recent years that they have become an almost ubiquitous fixture of cultural calendars in cities around the world. This current proliferation is even more striking for art biennials. They arguably originate from the Venice Biennale, held for the first time in 1895, but have long exceeded their European, Western origin to establish a global format. Up to the 1980s they were only reproduced in a handful of examples; today biennials and derivates (triennials and others) have become key institutional nodes linking production, consumption and distribution of contemporary art. With now over 150 biennials around the world, we are increasingly likely to encounter contemporary art through their mediation, directly as visitors or more indirectly via the nebula of critical discourse and more generally the media coverage they generate. The phenomenon attracting attention has become not just the biennials but more specifically the biennalisation of the art world. The term biennalisation is used within the art world itself as shorthand to refer to the proliferation and standardisation of biennial exhibitions under a common (if rather loose) format. Sociologically, biennalisation can thematise the shifting set of cultural classifications, practices and values that differentiate the contemporary art world, affecting both its content (now sometimes referred to as biennial art) and the type of rationale and experience it crystallises. As phenomena that increasingly represent themself “on a global scale” (Vogel 2010), biennials offer a unique vantage point to access what is often termed ‘global culture’. However, they remain rarely empirically studied in clearly defined contexts, especially beyond affirmation or negations of their measurable impact (Buchholz and Wuggenig, 2005). Reprising within the art world unsolved dilemmas in the analysis of cultural globalisation, alleged optimists see in biennials the “embracing of a democratic redistribution of cultural power” (De Duve 2009: 45); whilst pessimists point rather to the “recognition of a new form of cultural hegemony and re-colonization” (2009: 45). This chapter traces the rise of the biennial, across time and space, providing contextualisation and interpretation for what are now often hyperbolic accounts of “hundreds of biennials” (Seijdel 2009: 4) across the globe.

scholarly journals Sci-Hub provides access to nearly all scholarly literature

eLife ◽  
2018 ◽  
Vol 7 ◽  
Author(s):  
Daniel S Himmelstein ◽  
Ariel Rodriguez Romero ◽  
Jacob G Levernier ◽  
Thomas Anthony Munro ◽  
Stephen Reid McLaughlin ◽  
...  
Keyword(s):  
United States ◽  
Research University ◽  
The United States ◽  
The Other ◽  
University Of Pennsylvania ◽  
Major Research ◽  
Scholarly Literature ◽  
Internet Connection ◽  
The University ◽  
First Time

The website Sci-Hub enables users to download PDF versions of scholarly articles, including many articles that are paywalled at their journal’s site. Sci-Hub has grown rapidly since its creation in 2011, but the extent of its coverage has been unclear. Here we report that, as of March 2017, Sci-Hub’s database contains 68.9% of the 81.6 million scholarly articles registered with Crossref and 85.1% of articles published in toll access journals. We find that coverage varies by discipline and publisher, and that Sci-Hub preferentially covers popular, paywalled content. For toll access articles, we find that Sci-Hub provides greater coverage than the University of Pennsylvania, a major research university in the United States. Green open access to toll access articles via licit services, on the other hand, remains quite limited. Our interactive browser at https://greenelab.github.io/scihub allows users to explore these findings in more detail. For the first time, nearly all scholarly literature is available gratis to anyone with an Internet connection, suggesting the toll access business model may become unsustainable.

The Right to Vote in Nigeria: A Critical Commentary on the Open Ballot System

1994 ◽  
Vol 38 (2) ◽  
pp. 173-180 ◽  
Author(s):  
Epiphany Azinge
Keyword(s):  
Direct Consequence ◽  
The North ◽  
Critical Commentary ◽  
Right To Vote ◽  
The Right ◽  
Political Right ◽  
First Time

The right to vote in Nigeria has a rather chequered history. Universal adult suffrage became a reality in Nigeria in the 1979 elections when women in the North were allowed for the first time to participate in elections. Originally the right to vote was thought of as a direct consequence of property interests rather than adhering to the person as a political right. It was only gradually that the vote was altered from a property and income right to a political right.

scholarly journals “…People Would Seek for Light and Find Joy in Art”: the First World War and Revolution in the Krasnoyarsk Art Life

2019 ◽  
pp. 1035-1047
Author(s):  
Marina V. Moskaljuk ◽  
Lilia R. Stroy
Keyword(s):  
First World War ◽  
World War ◽  
Art Exhibitions ◽  
The First World War ◽  
City Culture ◽  
History Of ◽  
Art Community ◽  
First Time ◽  
The City ◽  
First World

The article is devoted to the art processes that took place in Siberia, Krasnoyarsk, during 1914–1920. The main methodology of scientific study on the creative component of the city during the First World War and Revolution is based on the principles of historicism, objectivity, a systematic approach and unique archival data that allowed reconstructing the history of the art life in the city during the First World War and learning about war prisoner artists who brought the traditions of European art into the Krasnoyarsk creative architectonics. For the first time ever, there was found information not used earlier in the analysis of art processes; the data found incorporated the names of professional masters and amateur artists from Germany, Austria, Hungary, Slovenia, who were in military captivity and worked as designers, organized art exhibitions, taught drawing and interacted with local art community. The authors conclude that the selected directions of the creative process formed the art life of the city during the First World War and Revolution, with the participation of foreign masters not only enriching the city culture, but also helping people survive in one of the most dramatic periods of world history

scholarly journals Sci-Hub provides access to nearly all scholarly literature

2018 ◽  
Author(s):  
Daniel S Himmelstein ◽  
Ariel R Romero ◽  
Jacob G Levernier ◽  
Thomas A Munro ◽  
Stephen R McLaughlin ◽  
...  
Keyword(s):  
Open Access ◽  
Business Model ◽  
Research University ◽  
Major Research ◽  
Scholarly Literature ◽  
Internet Connection ◽  
First Time

The website Sci-Hub enables users to download PDF versions of scholarly articles, including many articles that are paywalled at their journal’s site. Sci-Hub has grown rapidly since its creation in 2011, but the extent of its coverage was unclear. Here we report that, as of March 2017, Sci-Hub’s database contains 68.9% of the 81.6 million scholarly articles registered with Crossref and 85.2% of articles published in toll access journals. We find that coverage varies by discipline and publisher and that Sci-Hub preferentially covers popular, paywalled content. For toll access articles, green open access via licit services is quite limited, while Sci-Hub provides greater coverage than a major research university. Our interactive browser at https://greenelab.github.io/scihub allows users to explore these findings in more detail. For the first time, nearly all scholarly literature is available gratis to anyone with an Internet connection, suggesting the toll access business model will become unsustainable.

scholarly journals A Study of Cape Verdeanness In Postcolonial Cape Verdean Poetry

2013 ◽  
Author(s):  
David Alpert
Keyword(s):  
Social Sciences ◽  
Cultural Identity ◽  
Cape Verdean ◽  
Colonial Era ◽  
Scholarly Literature ◽  
Cultural Productions ◽  
The Social ◽  
First Time

<p>Cape Verdeanness is another name for Cape Verdean cultural identity. Postcolonial Cape Verdeanness refers to Cape Verdeanness as it has expressed itself since July 5, 1975, the first day of Cape Verdean independence. Postcolonial Cape Verdeanness has previously been described at length in the social sciences scholarship. Postcolonial Cape Verdeanness has previously been implicitly rather than explicitly represented in descriptions of postcolonial Cape Verdean poetry in the scholarly literature.</p> <p>This study is a first of its kind consideration of postcolonial Cape Verdeanness. It is also the first time Cape Verdeanness of any kind has been explicitly represented by means of a review of Cape Verdean cultural productions. The methods of this study include a review of the findings of the social sciences regarding postcolonial Cape Verdeanness, a review of the scholarly literature on postcolonial Cape Verdean poetry, and an analysis of a group of postcolonial Cape Verdean poems, including contributions from both the Cape Verdean Islands and the Cape Verdean diaspora.</p> <p>The findings of this study are that postcolonial Cape Verdean poetry provides a significant lens into postcolonial Cape Verdeanness that both overlaps and complements the lens on Cape Verdeanness provided by the social sciences. Furthermore, postcolonial Cape Verdeanness demonstrates a rupture from colonial-era Cape Verdeanness. Because of this rupture, Cape Verdeanness has now expanded to reflect universal concerns in addition to specifically Cape Verdean ones.</p>

Gilding Kepler’s cosmology

2021 ◽  
Vol 52 (1) ◽  
pp. 3-32
Author(s):  
Noam Andrews
Keyword(s):  
Decorative Art ◽  
Art Object ◽  
First Time ◽  
Scientific Ambition

The article explores Johannes Kepler’s abortive attempts to produce an opulent, decorative art object to accompany the publication of his first treatise, Mysterium Cosmographicum (1596). It was Kepler’s hope that this Credentzbecher, so-called because it was designed to resemble a large, ceremonial chalice, would valorize the significance of what he believed to be an epoch-defining discovery concerning the proportional nature of the planetary intervals and serve as a personal introduction to his local sovereign, Duke Friedrich I of Württemberg (1557–1608). The correspondences of Kepler and his circle, some of which have been reproduced and translated here for the first time, reveal in excruciating detail the struggles to negotiate the demands, and exacting standards, of the Stuttgart court and Kepler’s difficulty working with the local goldsmiths employed by the court to enact his vision. Though met with skepticism and destined for failure, the model, its design, and the misunderstandings its failure revealed, poignantly display the sometimes-insurmountable gap between artisanal knowledge and scientific ambition.

scholarly journals ЖАНР ХУАНЯО і БУКЕТИ БАРОКО: МЕТАМОРФОЗИ БУТТЯ

2019 ◽  
pp. 89-96
Author(s):  
Юеге Лай
Keyword(s):  
Practical Significance ◽  
Chinese Painting ◽  
Careful Study ◽  
Still Life ◽  
Decorative Art ◽  
The World ◽  
Depth Study ◽  
Artistic Image ◽  
First Time ◽  
Artistic Analysis

The purpose of the study is to identify the figurative and symbolic parallels of the depiction of flowers in the art of China and Europe. Methodology. The study made use of the methods: historical-cultural, comparative, artistic-stylistic, iconological, iconographic. Results. It is shown that in the art of China and Europe, the image of flowers is interconnected with the embodiment of the ideal, beautiful. In our figurative and artistic analysis of the masterpieces of Chinese painting, it is shown that the masters of the “flowers and birds” genre, in the content and form of embodiment, follow the law of the universe formed in Taoism, according to which a cycle occurs in life, as in nature. In the genre of European floral still life of the 17th century, a philosophical, cognitive attitude of a person to the real world surrounding him is expressed. For the Dutch and Flemish still life, associated with the spiritual culture of Christianity, instructive meaning is important. Artists glorify the beauty of the world created by the Creator and, at the same time, adjusts the viewer to reflect on the transience of life. It can be seen that the formation of the European flower still life as an independent genre was influenced by the fine and decorative art of China, in particular, the “flowers and birds” (huanyao) genre. Common features with the style of gunbi (thorough paintbrush) are manifested in a careful study of colors, in a harmonious combination of realistic authenticity with the decorative and linear conventionality of the artistic image. The image of flowers in European painting and art in China is associated with the idea of harmony of the world, presented in the elements. The Baroque floral still life, like the huanyao genre, contain a deep symbolic meaning. The scientific novelty of the publication lies in the fact that for the first time it compares the huanyao genre with baroque bouquets, figurative and symbolic parallels of the image of flowers in the art of China and Europe are found. Practical significance validated the possibility of using the results of the study to develop textbooks and programs for the in-depth study of the art of China and Europe.

scholarly journals Kursk Exhibitions of Kazimir Malevich: An Attempt of Reconstruction

2021 ◽  
pp. 182-219
Author(s):  
A.S. Sokolova ◽  
Keyword(s):  
Art Exhibitions ◽  
Local Newspapers ◽  
White Horse ◽  
History Of ◽  
First Time ◽  
Critical Reviews

The article focuses on the Kursk exhibitions with the participation of Kazimir S. Malevich, the history of their organization, exhibitors, reaction of critics. Notes in the local newspapers and magazines and preserved exhibition catalogs became the main sources of the research. This documents show that Malevich began to exhibit his works at the first exhibitions of the Kursk artistic community. Critical reviews give an idea of the titles of his paintings, the impression they made, or simply record participation. These texts can supplement the information of modern researchers about some facts of the artist’s biography. The paper is the first attempt to describe art exhibitions of 1910 and 1913 in details. Special attention in the text is paid to description of exhibition of the Association of Kursk Artists in 1910, where Malevich showed for the first time some paintings of “white series”, for example Rest (Otdyh), Bathing (Kupanie) and White Horse (Belaya loshad’). The exposition of “Cubists, Futurists and Ko”, which became part of the XIV exhibition of the Association of Kursk Artists, is introduced to the scientific audience for the first time. The author tried to find out the names of the exhibitors and the number of works, based on reviews in newspapers and photographs from the archive of Oleg Radin (Kursk). Malevich brought to Kursk at least 23 paintings. Some of these works were presented at the Oslinyj Hvost exhibition in Moscow in 1912, but the artist changed the composition of his paintings.

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