Ernst Hans Josef Gombrich 1909–2001

2003 ◽  
Author(s):  
Michael Podro
Keyword(s):  
20Th Century ◽  
Visual Arts ◽  
Art History ◽  
Academic World ◽  
Wide Audience ◽  
General Audience ◽  
Two Factors ◽  
The Status ◽  
Basic Concepts ◽  
The Uk

Ernst Gombrich was a prominent art historian in the UK and probably its best known humanist scholar during the last forty years of the 20th century. The status derived from two apparently unrelated features of his work: he wrote deliberately for a wide audience, most obviously in his highly successful Story of Art first published in 1950, while his standing in the academic world, both within and beyond the field of art history, was established by Art and Illusion published in 1960; here he reconstructed some of the basic concepts in which the development of the visual arts could be discussed, introducing into the literature of art history a greatly enriched understanding of perceptual psychology. The two factors — his address to a general audience and his conceptual innovations in Art and Illusion — were intimately related because his use of experiments from the perceptual psychologists, appealing to effects which his readers and lecture audiences could test on themselves, lessened the sense that art was an arcane activity isolated from our everyday world.

Modern Perspectives in Art History: An Anthology of 20th Century Writings on the Visual Arts

Art Journal ◽  
1972 ◽  
Vol 32 (1) ◽  
pp. 108
Author(s):  
John Moffitt ◽  
W. Eugene Kleinbauer
Keyword(s):  
20Th Century ◽  
Visual Arts ◽  
Art History

scholarly journals Information as Work and as Value

2017 ◽  
Vol 15 (2) ◽  
pp. 816-847
Author(s):  
Marcos Dantas
Keyword(s):  
Information Theory ◽  
Intellectual Property ◽  
Production Process ◽  
20Th Century ◽  
Information Value ◽  
Present Stage ◽  
Capitalist Production ◽  
The Status ◽  
Basic Concepts ◽  
Artistic Work

This article suggests an approach to Marx's capital valorisation theory supported by a dialectical information theory as developed by physicians, biologists and also communication theorists during the second half of the 20th century. It suggests that it is possible to link the basic concepts of information, as science has established it, to Marx's basic concepts of capital. Based on this foundation, this article also tries to explain how capital, in its development, has evolved to discharge redundant or repetitive jobs but has become increasingly dependent on random or creative ones. Because of this circumstance, in its present stage, the capitalist production process creates value in many concrete forms of semiotic information. Because information cannot be reduced to the status of a commodity, as the theory explains, capitalist states and corporations are improving and hardening the intellectual property laws in order to appropriate the information value created by "creative" or "artistic" work.

“In a strange feast hangoverˮ: the drama of the Russian intelligentsia of the early 20th century

2020 ◽  
pp. 21-33
Author(s):  
Farida Akhunzyanova
Keyword(s):  
20Th Century ◽  
Art History ◽  
Spiritual Development ◽  
Human Life ◽  
Early 20Th Century ◽  
Cultural Codes ◽  
The World ◽  
The Status ◽  
Russian Intelligentsia ◽  
Methodological Approaches

The Russian intelligentsia at the beginning of the 20th century is characterized by a steady need for unity with the world. This need takes on an intertextual character, flowing into the interaction of ideas and cultural codes leading to the attainment of the status of Homo Cosmicus. One of these codes is a feast. The purpose of the author of the article is to reconstruct the lifecreation of the Russian intelligentsia at the beginning of the 20th century through the prism of an ancient feast. It seems that in the conditions of intense spiritual searches, in the struggle to find wholeness and completeness of human life, turning to antiquity became a truly metaphysical idea, where the feast was a significant cultural constant. In the process of moving to the highest point of spiritual development, the antique feast metaphorically reflects the cosmos of being, just as the violation of the order of the feast reflects the violation of the order of being. This is what happens in Russian reality in the first half of the 20th century, where against the backdrop of tragic historical events, the Platonic “feastˮ turns into the vulgar “feastˮ of Petronius. After the revolution of 1917 the intelligentsia, with its own aspirations, found itself at a feast alien to itself, where it could not find a place, and the “hangover” became too heavy and turned into a real drama. Methodological approaches to the problem under study are based on the theoretical basis of modern scientific knowledge, which includes concepts and methods of philosophy (N. A. Berdyaev, P. A. Florensky, D. S. Merezhkovsky, V. V. Rozanov, Vl. S. Solovyov), cultural studies (I. A. Edoshina, M. S. Kagan, Yu. M. Lotman, N. O. Osipova), art history (I. A. Azizyan, A. Payman, A. A. Rusakova, D. V. Sarabyanov), intelligentsia studies (V. S. Memetov, S. M. Usmanov).

scholarly journals Из истории Людвиг Музеум – от коллекции к музею

2021 ◽  
pp. 164-175
Author(s):  
E.V. Orlova
Keyword(s):  
20Th Century ◽  
Contemporary Art ◽  
Art History ◽  
Pop Art ◽  
Avant Garde ◽  
German Art ◽  
The Status ◽  
Museum Of Contemporary Art ◽  
The 1960S

The article is devoted to the founding of the Museum Ludwig in Cologne and presents an analysis of the process of building this museum of contemporary art in dynamics — from the beginning of the collection within the walls of the Wallraf-Richartz Museum to gaining the status of an independent exhibition giant. The study provides an overview of the collection and its sources, identifies individual significant works of art, accompanied by art history descriptions, and sets out the reasons and the chronicle of the separation of the Museum Ludwig from the Wallraf-Richartz Museum. The museum, established in 1976, presents German art from the first half of the 20th century, American and British pop art of the 1960s, Russian avant-garde, photorealism and contemporary art from the last third of the 20th century. It has departments of painting, sculpture, graphics and art photography. The role of the famous German patrons and collectors of Peter and Irene Ludwig in the formation and replenishment of the museum's funds is noted. Статья посвящена основанию Музея Людвига в Кёльне и представляет анализ процесса построения этого музея современного искусства в динамике — от начала формирования коллекции в стенах Музея Вальрафа-Рихарца до обретения статуса самостоятельного экспозиционного гиганта. В исследовании даны обзор коллекции и источники ее формирования, указаны отдельные крупные произведения искусства, сопровожденные искусствоведческим описанием, а также изложены причины и хроника выделения Музея Людвига из состава Музея Вальрафа-Рихарца. Вновь образованный в 1976 году музей представляет искусство Германии с первой половины XX века, американский и британский поп-арт 1960-х годов, русский авангард, фотореализм и актуальное искусство последней трети ХХ века. В нем созданы отделы живописи, скульптуры, графики и художественной фотографии. Отмечена роль известных немецких меценатов и собирателей Петера и Ирены Людвиг в формировании и пополнении фондов музея.

Живопись и графика П. И. Емчегировой 1930–1950-х гг. (по материалам музейных и частных коллекций)

2020 ◽  
Vol 13 (5) ◽  
pp. 1378-1388
Author(s):  
Svetlana G. Batyreva ◽  
Keyword(s):  
20Th Century ◽  
Visual Arts ◽  
Interdisciplinary Research ◽  
Art History ◽  
Fine Arts ◽  
National Museum ◽  
Applied Art ◽  
Unique Nature ◽  
Visual Artist ◽  
Artistic Images

Goals. The article aims at examining visual arts of pre-war Kalmykia and the deportation period (1943‒1957) through the example of P. I. Emchegirova (1907–1992) ― first ethnic Kalmyk female painter ― and her works. The artistic path remains understudied and is of special interest due to a unique nature of art pieces. Studies of the cultural heritage are complicated by the absence of documents and archival sources completely lost during the Siberian deportation. Materials and Methods. The work analyzes paintings, drawings and pieces of applied art created by P. I. Emchegirova virtually for over half a century and stored at the Palmov National Museum of Kalmykia, State Vladimir Suzdal Museum Reserve, and in family archives. The analysis of artistic images created by P. I. Emchegirova involves methods of art history, cultural studies, and ethnology. Results. The paper introduces data on previously unknown works of the visual artist that significantly extend the thematic range developed by Kalmyks painters in the 1930s–1950s, reveal ethnic specifics in P. I. Emchegirova’s activities, and deepen the understanding of local arts as an integral part to 20th-century Kalmykia’s history and culture. The study also attempts at historical and cultural reconstructions to somewhat restore lost fine arts, which may classify the former as an interdisciplinary research. There are also some data on the painter’s heritage from 1957 onwards.

EAST INDIAN AND OTHER DOCKS IN LONDON: IMPERIAL ARCHITECTURE, COLONIAL TRADE AND POSTCOLONIAL MEMORY

2020 ◽  
pp. 190-205
Author(s):  
S. E. Sidorova ◽  
Keyword(s):  
20Th Century ◽  
Industrial Revolution ◽  
Historical Memory ◽  
Visual Image ◽  
East Indian ◽  
Architectural Representation ◽  
The World ◽  
The Status ◽  
Postcolonial History ◽  
The City

The article concentrates on the colonial and postcolonial history, architecture and topography of the southeastern areas of London, where on both banks of the River Thames in the 18th–20th centuries there were located the docks, which became an architectural and engineering response to the rapidly developing trade of England with territories in the Western and Eastern hemispheres of the world. Constructions for various purposes — pools for loading, unloading and repairing ships, piers, shipyards, office and warehouse premises, sites equipped with forges, carpenter’s workshops, shops, canteens, hotels — have radically changed the bank line of the Thames and appearance of the British capital, which has acquired the status of the center of a huge empire. Docks, which by the beginning of the 20th century, occupied an area of 21 hectares, were the seamy side of an imperial-colonial enterprise, a space of hard and routine work that had a specific architectural representation. It was a necessary part of the city intended for the exchange of goods, where the usual ideas about the beauty gave way to considerations of safety, functionality and economy. Not distinguished by architectural grace, chaotically built up, dirty, smoky and fetid, the area was one of the most significant symbols of England during the industrial revolution and colonial rule. The visual image of this greatness was strikingly different from the architectural samples of previous eras, forcing contemporaries to get used to the new industrial aesthetics. Having disappeared in the second half of the 20th century from the city map, they continue to retain a special place in the mental landscape of the city and the historical memory of the townspeople, which is reflected in the chain of museums located in this area that tell the history of English navigation, England’s participation in geographical discoveries, the stages of conquering the world, creating an empire and ways to acquire the wealth of the nation.

Art, History, and Postwar Fiction

2018 ◽  
Author(s):  
Kevin Brazil
Keyword(s):  
Visual Arts ◽  
Art History ◽  
Visual Art ◽  
New Left ◽  
Doris Lessing ◽  
William Gaddis ◽  
Continuity And Change ◽  
Historical Developments ◽  
The Cold War ◽  
The Relationship

Art, History, and Postwar Fiction explores the ways in which novelists responded to the visual arts from the aftermath of the Second World War up to the present day. If art had long served as a foil to enable novelists to reflect on their craft, this book argues that in the postwar period, novelists turned to the visual arts to develop new ways of conceptualizing the relationship between literature and history. The sense that the novel was becalmed in the end of history was pervasive in the postwar decades. In seeming to bring modernism to a climax whilst repeating its foundational gestures, visual art also raised questions about the relationship between continuity and change in the development of art. In chapters on Samuel Beckett, William Gaddis, John Berger, and W. G. Sebald, and shorter discussions of writers like Doris Lessing, Kathy Acker, and Teju Cole, this book shows that writing about art was often a means of commenting on historical developments of the period: the Cold War, the New Left, the legacy of the Holocaust. Furthermore, it argues that forms of postwar visual art, from abstraction to the readymade, offered novelists ways of thinking about the relationship between form and history that went beyond models of reflection or determination. By doing so, this book also argues that attention to interactions between literature and art can provide critics with new ways to think about the relationship between literature and history beyond reductive oppositions between formalism and historicism, autonomy and context.

scholarly journals The Brown Seaweeds of Scotland, Their Importance and Applications

Environments ◽  
2021 ◽  
Vol 8 (6) ◽  
pp. 59
Author(s):  
Omar Al-Dulaimi ◽  
Mostafa E. Rateb ◽  
Andrew S. Hursthouse ◽  
Gary Thomson ◽  
Mohammed Yaseen
Keyword(s):  
Waste Treatment ◽  
Biological Activities ◽  
Chemical Diversity ◽  
Great Opportunity ◽  
Brown Seaweeds ◽  
Extraction And Separation ◽  
The Status ◽  
Potential Applications ◽  
The Uk ◽  
Phytochemical Profiles

More than 50% of the UK coastline is situated in Scotland under legislative jurisdiction; therefore, there is a great opportunity for regionally focused economic development by the rational use of sustainable marine bio-sources. We review the importance of seaweeds in general, and more specifically, wrack brown seaweeds which are washed from the sea and accumulated in the wrack zone and their economic impact. Rules and regulations governing the harvesting of seaweed, potential sites for harvesting, along with the status of industrial application are discussed. We describe extraction and separation methods of natural products from these seaweeds along with their phytochemical profiles. Many potential applications for these derivatives exist in agriculture, energy, nutrition, biomaterials, waste treatment (composting), pharmaceuticals, cosmetics and other applications. The chemical diversity of the natural compounds present in these seaweeds is an opportunity to further investigate a range of chemical scaffolds, evaluate their biological activities, and develop them for better pharmaceutical or biotechnological applications. The key message is the significant opportunity for the development of high value products from a seaweed processing industry in Scotland, based on a sustainable resource, and locally regulated.

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