PRACTICE OF IRVING JOHN GILL MODERNISM

The article is devoted to the work of Irving John Gill during his heyday, and then in conditions when the principles of modernism discovered by him, due to the lack of society’s need for new architecture in the United States, were not needed in this country - from 1909 until his death in 1936. New technologies used by Gill in the construction of public and residential buildings from concrete are described as well as his unsuccessful participation in the Panama-California World Exhibition of 1915-191, the construction near Los Angeles of the “ideal” city of Torrance and end-of-life projects. The reasons why Gill did not become the leader of the American and one of the leaders of world architecture are discussed, and his work is still controversial.

Theatre Photography in Nineteenth Century France: Document, Archive or Pure Fiction?

"Indoor performance photography, which was born in France on the occasion of the Paris World Exhibition in 1889, remains a problematic theatrical and media object to this day. But at the Belle Epoque and until the Second World War at least, it requires to be approached with all the more caution because it is always the fruit of multiple manipulations, either at the time of the making of the shots (mandatory posing of actors, specific lighting, etc.), or at the time of their “post-production” (printing, but especially edition in review or volume). A complex and particularly rich object that must be studied in its context (publications or archives), stage photography is then offered as much as a document to be deciphered as a fiction to be deconstructed. Keywords: theatre photography, France, Belle Epoque, document, photographic archives. "

Bryher’s Family Closet

This chapter traces Bryher’s “illegitimate” roots, vaguer than H.D.’s, in spite of her family’s amassed wealth. Her father, an accounting genius, married Bryher’s mother, Hannah Glover, when he had not yet achieved his fame in shipping lines. One of the many invisible women in the working class and in this book, possibly a milliner, Hannah’s origins are shrouded in mystery. John became Sir John Ellerman, his shipping lines buttressing England’s imperial reach. Sir John was suspected of being Jewish, though it cannot be confirmed. Bryher grew up in a house of secrecy but idealized her childhood; her parents, as if they were on the run, took her on many exotic travels. She was in Paris for the 1900 World Exhibition and rode a camel in Egypt. She modeled her inner life on boys’ books.

Viennese vase painted in Dresden (architectural, artistic, stylistic, morphological and structural features)

The article examines the architectural, artistic, stylistic, morphological and structural features of an old porcelain vase from a private Odessa collection. The unpainted vase was made in 1860s at Vienna Porcelain Manufactory. This vase was painted in Helena Wolfsohn’s studio in Dresden between 1864 and 1878 (?). Helena Wolfsohn lived and worked in a significant center of European civilization, culture and arts of her time. The images are painted on the vase using the technique of manual overglaze painting. Amazingly arranged bouquets of flowers are painted on the turquoise background of the oval-shaped body of the vase, and gallant scenes in the Watteau style are depicted on the white parts of the body. On the bottom of the vase base an underglaze blue mark is applied: a shield. The painting of the vase is notable for a vivid pictorial effect, a successful composition, harmony and restraint of color shades. Similar vases painted at Helena Wolfsohn’s studio were exhibited at the International Exhibition in Sydney (1879) and at the World Exhibition in Melbourne (1880). Decorative porcelain vases play an important role in creating the architectural and artistic ensemble of the interior, whose main compositional principle is architectonics.

Showcasing the Empire

The second half of the nineteenth century and the first half of the twentieth were remarkable for large-scale international exhibitions of agricultural products, manufactured goods, technological inventions, and artworks that were staged in major cities in purpose-built buildings and visited by very large numbers of people. These events were demonstrations of national pride, functioned as engines of modernity, and promoted the global exchange of knowledge, global competition, and global trade. The chapter discusses how Napoleon III used the Paris exhibitions of 1855 and 1867 to promote himself and his Empire and how Franz Joseph engaged in international diplomacy during the Viennese world exhibition on 1873. Pedro II used his prestige to promote Brazilian exhibits in Paris in 1862 and 1857, in Vienna in 1873 and in Philadelphia in 1876.

THE WORLD EXHIBITION IN PARIS (1900) IN THE PAGES OF THE RUSSIAN PRESS

Авторы обратились к российской прессе 1900 г. и проанализировали, как на страницах различных изданий была представлена Всемирная выставка (Париж, 1900). В статье использованы малоизвестные публикации в ряде российских журналов: «Огонёк», «Нива», «Мир искусства», «Вестник Европы» и др. The authors turned to the Russian press in 1900 and analyzed how the World Exhibition (Paris, 1900) was presented in the pages of various publications. The article uses little-known publications in a number of Russian magazines: «Ogonyok», «Niva», «Mir Iskusstva», «Vestnik Evropy», etc.

DESIGNING THE ARCHITECTURE OF THE FIRST UKRAINIAN NATIONAL THEATER PAVILION FOR THE WORLD EXHIBITION

The paper presents the design search for the architecture of the Ukrainian pavilions for world theater forums and, in particular, the design decision for the architecture of the First Ukrainian National Theater Pavilion at the Prague Quadrennial 2019.

HISTORY OF PHOTOGRAPHY ON THE EXAMPLE OF SELECTED PHOTOGRAPHIC TECHNIQUES. A PHOTOGRAPH AS AN OBJECT

In the first part of the paper, the focus is on historical and technical aspects of the invention of photography, beginning with the first research works conducted by J.N. Niépce up to the patenting of daguerreotype in 1839 by L. Daguerre. In the further section of the paper emphasis is put on the fast spread of photography; short profiles of the first Polish photographers who contributed to promoting photography: J. Giwartowski, K. Beyer, W. Rzewuski, and M. Strasz, are given. Furthermore, the early-19th-century discourse between the artistic and photographic circles is briefly discussed, with some comments by e.g. E. Delacroix, P. Delaroche, Ch. Baudelaire, L. Daguerre quoted. Subsequently, the early displays of photographs in exhibitions and museums are described, e.g. during the 1851 First World Exhibition in London and at the South Kensington Museum in 1858. What follows this is a presentation of selected photographic techniques, shown against the events related to given inventions, e.g.: daguerreotype, salt print, techniques based on the collodion process, compounds of dichromates and chromates, calotype, cyanotype. Further, source reference is given to describe potential threats related to the degradation, damage, and a possible repair of images recorded in photographs. Another section of the paper is dedicated to presenting artistic movements in photography which formed in the late 19th century. The final part speaks of the questions related to e.g. storage humidity and temperature, display of photographic objects that are in museum collections, and pH of materials and frames; the author also reflects on the need to digitize collections.

The Role of the Documents and Published Sources in Assessment and Attribution: The Case Study of the Malachite History

The newly developed high-tech methods of attribution and assessment have sometimes been viewed as replacements for more traditional approaches. This article uses three case studies to examine the role of documents and published resources as the important sources of information for the attribution of malachite pieces commissioned to the European artists by Nikolay Demidov. The first case highlights the role of archival documents in the identification of the elements and complete reconstruction of an important table centrepiece. The second example uses the materials published by the media of different countries made accessible by the digitalization process, and the placement of this digital copy in the open databases. With the support from the three articles published in the English, French and Vatican journals, it was possible to identify author, date of creation and the relation to the client for one pair of columns, which are the first example of the architectural use of malachite. The third case shows the role of iconographic sources – original pieces and printed graphics – in the attribution of the pieces from the presumably lost collection of Russian malachite created for the First World’s Exhibition in London in 1851. In conclusion, the author discusses the importance of the traditional methods of assessment and attribution based on the documents and printed sources. Keywords: malachite, stonecutting art, Demidov family, Thomire, Sibilio, private malachite manufacture of Demidov, The World Exhibition in London (1851)