scholarly journals Reliance and Confinement: Washington Allston’s Dual Attitudes Towards European Ideals in His Paintings

2021 ◽  
Vol 14 ◽  
pp. 224-232
Author(s):  
Muzhi Liu
Keyword(s):  
Proper Place ◽  
Artistic Creation ◽  
Artistic Style ◽  
Religious Paintings ◽  
Artistic Work ◽  
American Romanticism ◽  
Dramatic Departure

The paper examines the dual attitudes reflected in the artistic work of Washington Allston. Born in 1779 and died in 1843, Allston is a famous American painter and poet whose artworks are greatly shaped by European philosophical concepts and artistic traditions. Allston's inheritance of such traditions could be mainly reflected by the deliberate representation of the concept of sublimity and divinity in his artistic creation. This could be readily seen from Allston’s artistic techniques, by which he better instills his aesthetics into his religious paintings while arousing greater empathy among the audience. However, against the background of American Romanticism, Allston was faced with the conflict between conforming to the European aesthetic standards in terms of “general air” and tradition, and the dramatic departure of objects from their “proper place”. As a result, Allston resorted to the institutional liberation, thus forming his distinct artistic style with an evident feature of dual attitudes.

The Soul of the Leningrad Blockade: Leonid Chupiatov’s Bogomater of the Protecting Veil

2019 ◽  
Author(s):  
Leslie O'Bell
Keyword(s):  
Present Essay ◽  
Religious Paintings ◽  
Artistic Work ◽  
Religious Image ◽  
Traditional Image

The present essay is the first article devoted to the religious paintings of the Soviet artist Leonid Chupiatov (1890–1941), with special attention to his Veil of the Mother of God over the Dying City, created during the desolate Leningrad siege winter of 1941-42. Dmitry Likhachev memorably called this work the “soul of the siege.” The article analyzes what it offers the viewer directly, as a modern version of the traditional image. It goes on to place the painting in the context of Chupiatov’s religious production, both during the siege and previous to it and to explore the circumstances which ensured its preservation against all odds. An apocalyptic context which challenges even divine compassion and saving grace, one which recapitulates the forty days of Christ in the desert—such is the immediate context of Chupiatov’s icon of the Protecting Veil in his artistic work from the winter of 1941–42. In the end, the survival of this powerful image becomes comprehensible through the connections of a fragmented religious-philosophical confraternity. The article thus represents a step towards finally acknowledging the presence of the religious image in the artistic response to the Leningrad siege.

scholarly journals Juri Lotman on proper name

2002 ◽  
Vol 30 (2) ◽  
pp. 577-591
Author(s):  
Ülle Pärli ◽  
Eleonora Rudakovskaja
Keyword(s):  
Natural Language ◽  
Proper Names ◽  
Specific Power ◽  
Contemporary Culture ◽  
Artistic Creation ◽  
Personal Names ◽  
Individual System ◽  
Proper Name ◽  
Artistic Work ◽  
Moscow School

The article treats the concept of proper name in Juri Lotman’s semiotics, taking into account also studies in the same field by other authors of the Tartu-Moscow school (V. Ivanov, B. Ogibenin, V. Toporov, B. Uspenski). Focus is laid at three sub-topics: name and myth, name and text, name and artistic creation. One of the sources of treating proper name for both the program article by J. Lotman and B. Uspenski (“Myth — Name — Culture”), and works by several other semioticians of the Tartu–Moscow school is confidence in the connection between proper name and mythical (a-semiotic) thought: semiosis equals here with nomination. Proper name plurality, different re-namings affirm the continuing importance of mythical thinking in later culture. Proper names (such as personal names, place names) belong, in addition to natural language, also into a certain individual system, forming thus an interlinguistic layer located on the boundary of language. J. Lotman stresses that art has a specific power of uniting general and proper name (proper name characterized here by individuality, explosiveness). An artistic work is even doubly of proper name character: both the act of creation and its reception are by nature individual and unrepeated. In the opinion of the authors the treatment of proper name by the Tartu-Moscow school contains fruitful and promising standpoints for the analysis of contemporary culture that, however, have been applied unjustifiably little.

scholarly journals 00:16:46. La creación artística como generadora de perdurables reminiscencias . / 00:16:46 The artistic creation as a generator of enduring reminiscences.

2018 ◽  
Author(s):  
Jesús Caballero Caballero
Keyword(s):  
Personal Reflection ◽  
Artistic Creation ◽  
Artistic Work

Esta comunicación se articula en base a una experiencia artística llevada a cabo como resultado de un trabajo de investigación que propone explorar la idea de recuerdo, la teoría de la reminiscencia y la lucha personal de combatir el devenir obligado de la memoria.Una experiencia artística, como autoexploración, que ofrece un producto artístico como resultado y método mediante una reflexión personal sobre el devenir o involución de las imágenes que se van desdibujando en nuestra memoria.Las obras intentan y proponen mitigar el dolor natural, inducido y obligado, que supone y origina la, cada vez más, difuminada pérdida.00:16:46 The artistic creation as a generator of enduring reminiscences.In this small investigation we will deepen on the idea of remembrance, the theory of the reminiscence and the intimate fight in battling the forced becoming of memory. An autoexploration based on the (auto)experience that concludes with the artistic work as consequence of personal reflection on the evolution (or regression) of the images that are getting blurred in our memory. The work tries, attempts and proposes as finality, the mitigation of the natural, induced and obliged pain, which supposes and originates the increasingly diffused loss.

scholarly journals The Great Theater of the World by Elżbieta Wittlin Lipton

2020 ◽  
Vol 46 (3 (177)) ◽  
pp. 51-60
Author(s):  
Justyna Budzik
Keyword(s):  
United States ◽  
North American ◽  
Total Work ◽  
Artistic Style ◽  
The World ◽  
Artistic Work

The paper takes as its focus the theatrical oeuvre of Elżbieta Wittlin Lipton – a Polish émigré artist and the daughter of an eminent Polish émigré writer Józef Wittlin. It presents a concise introduction to the artistic work of Wittlin Lipton – her costume and set designs – which she has been creating on the European (Spain) and North American continents (United States) since late seventies of the previous century onwards. Biographical facts have been outlined here along with the most charactristic features of her artistic style, with a special emphasis laid on the Spanish genius loci which should be regarded as the most outstanding trait of her total work. The paper constitutes a part of a book devoted to the life and artistic achievements of Elżbieta Wittlin Lipton which the author of this manuscript has been currently writing.

scholarly journals The Artistic Characters and Applied Materials of Buddhist Temples in Kabul and Tapa Sardar (Sardar Hill) Ghazni of Afghanistan

2019 ◽  
Vol 7 (2) ◽  
pp. 1-10
Author(s):  
Mohammad Towfiq Rahmani
Keyword(s):  
Artistic Style ◽  
Buddhist Temple ◽  
Artistic Work ◽  
Artistic Works ◽  
Religious Thoughts ◽  
Made In

Kabul and Ghazni Buddhist Temple expresses Kushani Buddhist civilization in Afghanistan and also reflexes Buddhist religion’s thoughts at the era with acquisitive moves. The aim of this article is introducing artistic characters of Kabul Buddhist temples and Tapa Sardar Hill of Ghazni Buddhist Temple in which shows abroad effects of Buddhist religion in Afghanistan history and the importance of this issue is to determine characters of temple style with applied materials. The results of this research can present character of Buddhist Temples in Afghanistan, thoughts of establishment and artificial difference with applied materials.Buddhist religion in Afghanistan penetrated and developed based on Mahayana religious thoughts. Artistic work of Kabul and Tapa Sardar Hill of Ghazni Buddhist Temples are different from the point of artistic style and material applied; Bagram Artistic works are made in style of Garico Buddhic and Garico Kushan but Tapa Narenj Hill artistic works are made based on Buddhist regulation and are seen as ethnical and Hellenistic style. There are similarities among Bagram and Tapa Sardar Hill of Ghani Buddhist Temples but most differentiates are set on statues in which Tapa Sardar Hill of Ghazni statue is lied in which is different from sit and stand still statues of Bagram. The writer suggests mend and remake of Kabul and Ghazni Buddhist works to maintain Buddhist artistic history in Afghanistan.

Celluloid Bohemia? Ken Russell's Biopics of Visual Artists

2015 ◽  
Vol 12 (4) ◽  
pp. 479-495 ◽  
Author(s):  
Vito Adriaensens ◽  
Steven Jacobs
Keyword(s):  
Visual Artists ◽  
Artistic Creation ◽  
Dante Gabriel Rossetti ◽  
Critical Commentary ◽  
Artistic Genius ◽  
Genre Conventions

Few directors are so closely associated with the genre of the artist biopic as Ken Russell who made several films dedicated to composers, dancers and writers. Only three of these, however, have visual artists as their protagonists: Always on Sunday (1965), Dante's Inferno (1967) and Savage Messiah (1972), dealing with Henri ‘Le Douanier’ Rousseau, Dante Gabriel Rossetti and Henri Gaudier-Brzeska respectively. There has also been relatively little critical commentary on these films compared with the discussion devoted to Russell's films dealing with the lives of composers. This article attempts to remedy this situation by considering the ways in which Russell tackles some of the thematic and formal challenges inherent to the genre of the artist biopic, such as the representation of the artist's personality, the visualisation of the process of artistic creation, and the relation between the style of the film and that of the artist portrayed. We will argue that, to a large extent, Russell's protagonists in these films conform to the romantic stereotype of the tormented and alienated artist. However, and perhaps contrary to what one would associate with the director, we will demonstrate that Russell's biopics also demystify this cult of artistic genius by focusing on the mundane or laborious activities involved in the process of artistic creation, which is at odds with genre conventions that normally glorify this process.

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