Nielsen, Saul and David and the Symbolist Movement

2020 ◽  
Vol 6 ◽  
Author(s):  
Marie-Louise Zervides
Keyword(s):  
Modern Art ◽  
Art Scene

This article explores the position of Nielsen and his first opera Saul and David in the European symbolist movement of the 1890s. Through a study of Nielsen’s published letters and diary entries from the period, it is possible to present the composer’s wide interest in art and engagement with artists – both in Denmark and on his extensive European travels – at a time when symbolism was dominating the modern art scene. Furthermore, one can trace artistic strategies in Nielsen’s early work – in this case, the opera Saul and David – that correspond to different ideas of symbolism. This includes combining archaic materials with contemporary techniques, as well as creating a subjective expression through mood and simplified, non-naturalistic styles.

The Artist’s Experience of Migration

2017 ◽  
Author(s):  
Sharon Hecker
Keyword(s):  
Nineteenth Century ◽  
Modern Art ◽  
Avant Garde ◽  
Transnational Mobility ◽  
Art Scene

This chapter looks at the shift in Medardo Rosso's position from an outsider in his own country to a foreigner in France. Rosso's move to Paris belongs to the wider phenomenon of increased migration by artists to the principal metropolis of modern art toward the end of the century. It also confirms his awareness of a new kind of transnational mobility. Tracing Rosso's trajectory as a form of self-exile characteristic of cultural anarchists, the chapter examines his hopeful but obstacle-ridden expatriation and his struggle to make avant-garde sculpture in the epoch and city dominated by Rodin. Paris at the end of the nineteenth-century offered Rosso new opportunities, such as a vibrant art scene, a burgeoning market for serial sculpture, and a network of sophisticated artists, collectors, and critics.

Israeli Art Discourse and the Jewish Voice

Images ◽  
2010 ◽  
Vol 4 (1) ◽  
pp. 109-131 ◽  
Author(s):  
David Sperber
Keyword(s):  
Modern Art ◽  
Jewish Tradition ◽  
Art Scene

AbstractIsraeli critical art discourse reflects both opposition to Jewish tradition and its enduring influence. Even when artists employ Jewish sources, scholars and critics often detach their art from the traditionalist world. In this essay, the sociological concepts of “hybridization” and “purification” are therefore presented as fundamental processes underpinning the mainstream discourse of Israeli art.This essay demonstrates how while processes of rift and reconstitution with respect to Jewish tradition inform the Israeli art scene, Israeli art discourse, like modern art discourse in general, seeks to set itself apart from the worlds of religion and faith. This essay explains that a byproduct of this phenomenon is that those artists most squarely identifiable as “religious” are largely invisible to, and ignored by, the discourse.

Prelapsarian landscapes and post-diluvian politics in mid-century Iraqi art

2021 ◽  
Vol 15 (1-2) ◽  
pp. 67-83
Author(s):  
Huma Gupta ◽  
Suheyla Takesh
Keyword(s):  
Modern Art ◽  
National Development ◽  
Status Quo ◽  
Guiding Principle ◽  
Political Transformations ◽  
Surrounding Environment ◽  
Modes Of Representation ◽  
Art Scene ◽  
State Patronage ◽  
The Status

The 1950s was a decade marked by radical artistic, environmental and political transformations in Iraq. The decade began with an elite-driven programme of national development and ended in a popular anti-monarchic revolution on 14 July 1958. Between these competing visions of development and revolution, members of the Baghdad modern art scene negotiated between a drive towards institutionalization and state patronage with more radical critiques of the status quo. In 1950, for instance, the artist Faiq Hassan founded The Pioneers (Ar-Ruwwād) collective. It grew out of La Société Primitive, which Hassan originally established under the guiding principle that art should be taken outside the studio and into the streets. Their objective was to paint ‘directly from the surrounding environment’ (Floyd n.d.). But what exactly did Iraqi artists consider to be the environment? This article addresses this question by examining the divergent modes of representation adapted by mid-century Iraqi artists to reflect their environmental imaginations. These imaginations ranged from romantic depictions of prelapsarian landscapes to devastating floods, migration and dispossession faced by the majority of the country’s poorer inhabitants who disproportionately bore the consequences of environmental catastrophes and interventions alike.

Segal, Arthur (1875–1944)

2018 ◽  
Author(s):  
Erwin Kessler
Keyword(s):  
Modern Art ◽  
Political Engagement ◽  
Color Theory ◽  
Van Gogh ◽  
Traditional Art ◽  
Avant Garde ◽  
Vincent Van Gogh ◽  
Tristan Tzara ◽  
Art Scene ◽  
Art Colony

Arthur Segal was a Romanian artist born as Aron Sigalu to Jewish parents. He shifted his attention away from post-impressionist modernism around 1900 to focus on the radical avant-garde in the early 1920s, and then back to classicizing modernism in the 1940s. His work moved from traditional art-craft (painting, engraving) to modern and avant-garde practices (political engagement, teaching, curatorship, manifestos, theoretical writings, art-therapy). From 1892 to 1900 he studied in Berlin, Paris, and Munich. Segal was a student of Adolf Hölzel (founder of the art colony Neues Dachau), and much of his work was shaped by Hölzel’s color theory, where landscapes were formally structured as decorative grids rather than as phenomenal transcripts of ocular perception. In 1902–1903 he visited Italy and France, where he was influenced by the work of Vincent Van Gogh and Giovanni Segantini, whose naturalism and light-seeking divisionism he sought to appropriate in his own work. He exhibited with the Berliner Secession from 1909 onward, and co-founded the Neue Secession in 1910. Segal remained connected to the Romanian art scene, exhibiting with the TinerimeaArtistica group in 1910–1913. His 1910 Bucharest exhibition was heralded as ‘‘the first exhibition of modern art’’ in Romania (Segal 1974: 133). In 1914 Segal moved to Ascona, Switzerland, where he met Hans Arp, Hugo Ball, and Alexei Jawlensky, who were linked with the Monte Verita community. In 1916 Segal exhibited at Cabaret Voltaire alongside fellow Romanian Dadaists Tristan Tzara and Marcel Janco. In 1919 he joined the Novembergruppe, becoming one of its leaders.

Afterword

2017 ◽  
Author(s):  
Sharon Hecker
Keyword(s):  
Nineteenth Century ◽  
Modern Art ◽  
Art Scene ◽  
The World ◽  
Art Historians ◽  
The Many

This concluding chapter explains how Medardo Rosso's posthumous reputation is another story that remains to be told. Except for a handful of enlightened art historians, such as Carola Giedion-Welcker and H. W. Janson, who included Rosso in their histories of modern art, Rosso was forgotten by the world after his death. In 1963 he was suddenly propelled back onto the international art scene by Margaret Scolari Barr, who wrote the first English monograph on Rosso. Since the 1970s, Rosso has been fully reclaimed by Italy and reframed within the nineteenth-century Italian Scapigliatura movement, a tale of local origins that Rosso himself had denied. Today, due to the many international artists inspired by Rosso's work, he has become the only Italian sculptor of his time to be globalized.

The Role of the Advisor for the Gallery Guggenheim Jeune Establishment in London (1938–1939). The Cultural Stage at London in the End of the 30th Years of the XX Century and the Place of Peggy Guggenheim in it

2018 ◽  
Vol 2 (1) ◽  
Author(s):  
Mila Stareyshinska-Angelova ◽  
Keyword(s):  
Modern Art ◽  
Art Gallery ◽  
Art Scene ◽  
The Status ◽  
Short Time

The presented research aims to study the work of Peggy Guggenheim as a gallerist. In 1938, she opened her first art gallery named Guggenheim Jeune in London. The status of the gallery is private, commercial and independent. The gallery is inaugurated in January 1938 and closed in June 1939. For the short time the gallery has been operating, it has contributed to the development of the London modern art scene. The work of Peggy Guggenheim and the management of her gallery during this period were determined by her advisors, who played a key role in the formation of the gallery and the development of her career as a gallerist.

Moscow Merz and Russian Rhythm

Experiment ◽  
2017 ◽  
Vol 23 (1) ◽  
pp. 117-126
Author(s):  
Miriam Häßler
Keyword(s):  
Twentieth Century ◽  
Modern Art ◽  
Russian Civil War ◽  
Art Exhibition ◽  
Comprehensive Overview ◽  
Russian Art ◽  
Art Scene ◽  
Remarkable Event ◽  
History Of

Abstract The Erste Russische Kunstausstellung [First Russian Art Exhibition] of 1922 was a remarkable event not only for Berlin’s art lovers at that time, but also for the history of twentieth century art. Held at Galerie van Diemen, the show gave a comprehensive overview of Russia’s artistic achievements from late Tsardom to the Russian Civil War. Of all styles in the exhibition, the non-objective art movements of suprematism and constructivism provoked the greatest sensation among the visitors, many of whom were Western artists. Relating Russia’s variations of non-objectivity with their—assumed—political notions, Western modernists reacted in various ways. This article aims at tracking the long-lasting vestiges of the Erste Russische Kunstausstellung in the personal and artistic developments of two key-figures of Germany’s modern art scene: Kurt Schwitters and Hans Richter. While the role of El Lissitzky, who designed the catalogue’s cover, has already been canonized, this article wants to highlight lesser-regarded aspects.

scholarly journals Contemporary Lithuanian Artists: Career Opportunities

2017 ◽  
Vol 13 (1) ◽  
pp. 88-110
Author(s):  
Vilma Mačianskaitė
Keyword(s):  
Modern Art ◽  
Art Market ◽  
Art Gallery ◽  
Art Galleries ◽  
Career Opportunities ◽  
Art Scene ◽  
Main Factors ◽  
Global Art ◽  
The Relationship ◽  
Contemporary Artists

Summary By analysing the careers of internationally recognized artists from Lithuania and the relationship between Lithuanian contemporary artists and art galleries and museums, the author explores the challenges faced by today’s artists and hypothetically underlines the principles that could be useful for them in seeking to enter into the global art scene. The essay analyses the lack of cooperation between artists and galleries, and the representation of artists in Lithuanian museums, which is considered to be the base of a contemporary artist’s career. The essay assesses the influence of the main participants in the art market upon artists’ careers, by investigating the Lithuanian art market’s position after the restoration of independence in 1990. Twenty Lithuanian artists, major galleries or representatives of museums (such as the National Art Gallery and the MO Museum, formerly known as the Modern Art Centre) were interviewed for the purposes of this study. This examination of the Lithuanian art market reveals the peculiarities that artists have encountered, and could help international art market players to better understand the problems that the Lithuanian art market is facing. The author seeks to identify the main factors helping artists to navigate the global art scene and the global art market.

Rewriting the Narrative

2019 ◽  
Vol 96 (4) ◽  
pp. 54-77
Author(s):  
Nicolas G. Rosenthal
Keyword(s):  
Twentieth Century ◽  
Native American ◽  
American Indian ◽  
Modern Society ◽  
Mixed Media ◽  
The State ◽  
Historical Narratives ◽  
Recent Scholarship ◽  
Art Scene ◽  
The 1960S

A vibrant American Indian art scene developed in California from the 1960s to the 1980s, with links to a broader indigenous arts movement. Native American artists working in the state produced and exhibited paintings, prints, sculptures, mixed media, and other art forms that validated and documented their cultures, interpreted their history, asserted their survival, and explored their experiences in modern society. Building on recent scholarship that examines American Indian migration, urbanization, and activism in the twentieth century, this article charts these developments and argues that American Indian artists in California challenged and rewrote dominant historical narratives by foregrounding Native American perspectives in their work.

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