Art Quiz: 20 Multiple Choice Trivia Quesrion About Impressionist
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Advances in Social Science, Education and Humanities Research, volume 144 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017) Social and Historical Environment of the Society of Moscow Artists Elena Lomova Moscow State Academic Art Institution named after V.I. Surikov Moscow, Russia Abstract—The article is concerned with the social and later became the first chairperson of the Society of Moscow historical conditions of forming the Society of Moscow Artists Artists (OMKh). Grabar shared similar vision of art as (OMKh), whose members had covered a long way from an painters from Mir Iskusstva, who popularized the epatage art group the Jack of Diamonds to the society standing individualism, the disengagement of art from political and at the origins of Socialist Realism. socials issues, and paid particular attention to the legacies of the past and especially to Russia‘s national cultural traditions. Keywords—OMKh; The Jack of Diamonds; futurists; The group‘s ‗leftists‘, where the ―Russian avant-garde‖ Socialist Realism; art societies in the 1920s and 1930s occupied a special place, had shaken even more the conventional assumptions about art, dramatically influencing I. INTRODUCTION further development of world art. th The first half of the 20 century was rich in the landmark Meantime, Russian art continued to shift away from the events that could not but influence art, one of the most reality to a non-figurative world, as if not wishing to reflect sensual areas of human activity, sensitive to the slightest horrors happening in the country. Whereas the artists from fluctuations in public life. We can trace their obvious Mir Iskusstva were dipping into the dreams of the past, the repercussions in art while considering the historical events of th avant-garde artists were generally anxious for the future and the early 20 century. -
Russian and Soviet Views of Modern Western Art
Russian and Soviet Views of Modern Western Art 1890s to Mid-1930s EDITED BY ILI A DORO NTC H E N KO V TRANSLATED BY CHARLESROUGLE CONSULTING EDITOR NINA GURIANOVA UNIVERSITY OF CALIFORNIA PRESS BERKELEY LOS ANGELES LONDON CONTENTS Preface and Acknowledgments xiii Introduction 1 RUSSIAN CRITICISM BEFORE THE REVOLUTION: 1890S-1917 I Facing Europe: Impressions, Contacts, and Criticisms 27 1 Mark Antokol'skii, "Notes on Art" (1897] 28 2 Igor' Grabar', "Decline or Renaissance? A Survey of Contemporary Trends in Art" (1897] 30 3 Vladimir Stasov, Nineteenth-Century Art: Painting (1901 ] 32 4 Vasily Kandinsky, "An Artist's Text" (1918] 34 5 Andrei Belyi, On the Border of Two Centuries (1930) 35 6 Pavel Muratov, "On Grand Art" (1907) 36 7 Sergei Diaghilev [and Dmitrii Filosofov], "The Bases of Artistic Judgment" (1899] .... 40 8 Sergei Diaghilev, "European Exhibitions and Russian Painters" (1896) 41 9 Sergei Diaghilev, "The Exhibition in Helsingfors" [18991 42 10 Vladimir Stasov, "Exhibitions" [1898] 43 11 Grigorii Miasoedov, Letter to Vladimir Stasov (1898) 45 12 Vladimir Stasov, "The Court of Miracles" (1899) 46 13 Igor'Grabar', "Around European Exhibitions" (1904) 48 14 Vasily Kandinsky, "A Letter from Munich" (1909-10) 50 11 Western Influences: Symbolism, Impressionism, Post-Impressionism, and the Golden Fleece Exhibitions 55 15 Ivan Konevskoi, "Bocklin's Painting" (1900) 57 16 Alexandre Benois, "Maurice Denis" (1901) 59 17 Igor' Grabar', "Around Europe" (1902) 61 18 Alexandre Benois, "An Artist's Conversations: 1. On Impressionism" (1899) -
AN ANALYTICAL STUDY of P. A. RENOIRS' PAINTINGS Iwasttr of Fint Girt
AN ANALYTICAL STUDY OF P. A. RENOIRS' PAINTINGS DISSERTATION SU8(N4ITTED IN PARTIAL FULFILMENT OF THE REQUIfJIMENTS FOR THE AWARD OF THE DEGREE OF iWasttr of fint girt (M. F. A.) SABIRA SULTANA '^tj^^^ Under the supervision of 0\AeM'TCVXIIK. Prof. ASifl^ M. RIZVI Dr. (Mrs) SIRTAJ RlZVl S'foervisor Co-Supei visor DEPARTMENT OF FINE ART ALIGARH MUSLIM UNIVERSITY ALIGARH (INDIA) 1997 Z>J 'Z^ i^^ DS28S5 dedicated to- (H^ 'Parnate ALIGARH MUSLIM UNIVERSITY CHAIRMAN DEPARTMENT OF FINE ARTS ALIGARH—202 002 (U.P.), INDIA Dated TO WHOM IT MAY CONCERN This is to certify that Sabera Sultana of Master of Fine Art (M.F.A.) has completed her dissertation entitled "AN ANALYTICAL STUDY OF P.A. RENOIR'S PAINTINGS" under the supervision of Prof. Ashfaq M. Rizvi and co-supervision of Dr. (Mrs.) Sirtaj Rizvi. To the best of my knowledge and belief the work is based on the investigations made, data collected and analysed by her and it has- not been submitted in any other university or Institution for any degree. Mrs. SEEMA JAVED Chairperson m4^ &(Mi/H>e& of Ins^tifHUion/, ^^ui'lc/aace' cm^ eri<>ouruae/riefity: A^ teacAer^ and Me^^ertHs^^r^ o^tAcsy (/Mser{xUlafi/ ^rof. £^fH]^ariimyrio/ar^ tAo las/y UCM^ accuiemto &e^£lan&. ^Co Aasy a€€n/ kuid e/KHc^ tO' ^^M^^ me/ c/arin^ tA& ^r€^b<ir<itlan/ of tAosy c/c&&erla6iafi/ and Aasy cAecAe<l (Ao contents' aMd^yormM/atlan&^ arf^U/ed at in/ t/ie/surn^. 0A. Sirta^ ^tlzai/ ^o-Su^benn&o^ of tAcs/ dissertation/ Au&^^UM</e^m^o If^fi^^ oft/us dissertation/, ^anv l>eAo/den/ to tAem/ IhotA^Jrom tAe/ dee^ o^nu^ l^eut^. -
Alexej Jawlensky's Pain
“. I CAME TO UNDERSTAND HOW TO TRANSLATE NATURE INTO COLOUR ACCORDING TO THE FIRE IN MY SOUL”: ALEXEJ JAWLENSKY’S PAINTING TECHNIQUE IN HIS MUNICH OEUVRE Ulrike Fischer, Heike Stege, Daniel Oggenfuss, Cornelia Tilenschi, Susanne Willisch and Iris Winkelmeyer ABSTRACT ingly, technological and analytical assessment is commissioned The Russian painter Alexej Jawlensky, who worked in Munich between to complement stylistic judgement with an objective critique 1896 and 1914, was an important representative of Expressionism and of materials, painting technique and the condition of question- abstract art in Germany. He was involved with the artistic group Der Blaue Reiter, whose members shared not only ideas about art but also an able items. The manifold particularities a painting may reveal interest in questions of painting technique and painting materials. This in respect to painting support, underdrawing, pigments, bind- paper aims to illuminate the working process of Jawlensky through ing media, paint application and consistency, later changes research into the characteristics of his painting technique. It examines and restorations, ageing phenomena, etc., present a wealth of the paint supports and painting materials in specific works of art from information and often a new understanding of the object. This Jawlensky’s Munich period. This technical examination, together with the evaluation of written sources reveals the manifold artistic and technologi- technology-based perspective may even significantly influence cal influences that contributed to the development and peculiarities of the art historical judgement, such as in the case of altered signa- Jawlensky’s art. Comparisons with selected works by Wassily Kandinsky ture or changes in appearance as a result of previous restoration and Gabriele Münter show the strong influence Jawlensky’s painting tech- treatments. -
ART CENTERS and PERIPHERAL ART [A LECTURE at the UNIVERSITY of HAMBURG, OCTOBER 15, 1982] Nicos Hadjinicolaou
DOCUMENT Downloaded from http://direct.mit.edu/artm/article-pdf/9/2/119/1846574/artm_a_00267.pdf by guest on 24 September 2021 ART CENTERS AND PERIPHERAL ART [A LECTURE AT THE UNIVERSITY OF HAMBURG, OCTOBER 15, 1982] nicos hadjinicolaou The title of my talk is “Art Centers and Peripheral Art.” The subject to which I have assigned this title touches several aspects of our discipline. I would briefl y like to raise several questions which have led me to the discussion of this topic. 1. Naturally, the most important, most complicated question for us art historians, but I believe also for historians in general—a problem, by the way, which we shall never “solve,” but answer differently depend- ing on our points of view—is the following: how and why does form change?1 Which available tools or means make it possible for art histori- ans to capture these changes? I think that the point I am hinting at here with “art centers and peripheral art” touches on this question: in the relationship of center and periphery, in the effect of an art center, and in the dissemination of its production to the periphery. In inundating and overpowering the art production of the periphery, the history of art is also being made.2 1 This has been, no doubt, the central question at least of German-language art history since the end of the 19th century (Heinrich Wölffl in, August Schmarsow, Alois Riegl). 2 This, too, cannot be emphasized enough. The history of art is created from (among other factors) the (unequal) interrelationship of periphery and center. -
An Imperial Collection: Exploring the Hammers' Icons Wendy Salmond Chapman University, [email protected]
Chapman University Chapman University Digital Commons Art Faculty Books and Book Chapters Art 2013 An Imperial Collection: Exploring the Hammers' Icons Wendy Salmond Chapman University, [email protected] Follow this and additional works at: http://digitalcommons.chapman.edu/art_books Part of the Art and Design Commons, Christian Denominations and Sects Commons, Christianity Commons, Fine Arts Commons, History of Christianity Commons, History of Religions of Western Origin Commons, Other History of Art, Architecture, and Archaeology Commons, Other Religion Commons, and the Slavic Languages and Societies Commons Recommended Citation Salmond, Wendy. "An Imperial Collection: Exploring the Hammers' Icons." In Rublev to Fabergé: The Journey of Russian Art and Culture to America, edited by John M. Nolan, Wendy Salmond, Edward Kasinec, and Donalynn Hess, 19-27. Bowling Green, SC: Bob Jones University Museum & Gallery, Inc., 2013. This Book is brought to you for free and open access by the Art at Chapman University Digital Commons. It has been accepted for inclusion in Art Faculty Books and Book Chapters by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. WENDY SALMOND CHAPMAN UNIVERSITY Y RUSSIAN ICONS PASSED through the hands of the entrepreneurial brothers mand and Victor Hammer in the 1930s and 1940s, entering America's museums d private collections at a time when the icon's artistic value was by no means ·versally acknowledged. These "Hammer icons" had an aura and mystique all their n.Whether attributed to the legendary Andrei Rublev or bathed in the glamorous 19 0111 = The Martyrs St. A.nthony, St. John, and St. -
Impressionism
IMPRESSIONISM Eugène Boudin (1824 – 1898) was one of the first French landscape painters to paint outdoors. Boudin was a marine painter, and expert in the rendering of all that goes upon the sea and along its shores. His pastels, summary and economic, garnered the splendid eulogy of Baudelaire; and Corot called him the "king of the skies.” He opened a small picture framing shop in Le Havre and exhibited artists working in the area, such as Jean-François Millet, and Thomas Couture who encouraged young Boudin to follow an artistic career. Boudin, The Beach at Villerville 1864 In 1857/58 Boudin befriended the young Claude Monet, then only 18, and persuaded him to give up his teenage caricature drawings and to become a landscape painter, instilling in the younger painter a love of bright hues and the play of light on water later evident in Monet's Impressionist paintings. They remained lifelong friends and Boudin joined Monet and his young friends in the first Impressionist exhibition in 1873. Boudin, Sailboats at Trouville 1884 Johan Jongkind (1819 – 1891) was a Dutch painter and printmaker. He painted marine landscapes in a free manner and is regarded as a forerunner of Impressionism, introducing the painting of genre scenes from the tradition of the Dutch Golden Age. From 1846 he moved to Paris, to further his studies. Two years later, he had work accepted for the Paris Salon, receiving acclaim from critic Charles Baudelaire and later on from Émile Zola. Returning to Rotterdam in1865 he moved back to Paris in1861, where he rented a studio Jongkind, in Montparnasse, the following year meeting in View from the Quai d'Orsay 1854 Honfleur Sisley, Boudin and the young Monet. -
Nicolas Tarkhoff (1871 - 1930)
RA Gallery Nicolas Tarkhoff (1871 - 1930) View from the atelier of the artist in Spring in Orsay 0 signed ‘N. Tarkhoff’ (lower right) oil on board 43 x 32.8 cm Sold The painting was executed circa 1911-1920 The authorship of the painting “View from the artist's atelier in Spring, Orsay” belongs to the brilliant, subtle, intelligent artist, one of the outstanding Russian Impressionists, “Russian Parisian”, Nicolas Tarkhoff. Undoubtedly, the one can compare this artist, who throughout his life never changed his unique painting style, with such famous Russian virtuosos as Konstantin Korovin (1861 - 1939) and Igor Grabar (1871 - 1960). These artists are also united by the fact, that most of their lives they painted in the style of Impressionism, — the occasion which is extremely rare in Russian art. A number of Russian painters of the first half of the XX century had such a period of creativity when they were fond of Impressionism; however, not always it was a successful experiment. Tarkhoff is an exception to this rule; he, a self-taught artist, was able to show his talent and individuality so vividly that his work was highly appreciated by the artist's contemporaries, such eminent cultural figures as Kazimir Malevich, Sergey Makovsky, Sergei Diaghilev, and Alexander Benois. Nicolas Tarkhoff turned out to be the only Russian artist with whom collaborated one of the most significant Parisian art dealers of the late XIX-early XX century, Ambroise Vollard — the same legendary art dealer who made a substantial contribution to the spread of modernist, in particular, impressionistic works among the largest and most important collections in the world, and also worked with such great artists as Manet, Cezanne, Degas, Matisse, Gauguin and many others. -
Exhibition - 15Th Jul
PICASSO BATHERS EXHIBITION - 15TH JUL. 2020 – 3TH JAN. 2021 PRESS KIT EXHIBITION CURATORS Sylvie RAMOND, Director General of Pôle des musées d’art de Lyon MBA MAC Chief Curator, Director Musée des Beaux-Arts de Lyon and Émilie Bouvard, Director of Collections and Scientific Programme, Fondation Giacometti, Paris The exhibition is organized in collaboration with the Musée national Picasso-Paris The exhibition is supported by the Club du musée Saint-Pierre, main sponsor of the exhibition. Cover : Pablo Picasso, Joueurs de ballon sur la plage, Dinard 15 août 1928. Huile sur toile. Paris, Musée national Picasso - Paris. © Succession Picasso 2020. Photo © RMN-Grand Palais (Musée national Picasso - Paris) /René-Gabriel Ojéda PICASSO. BATHERS 4 1. BATHERS AND MODERNITY 5 2. 1908. BATHERS IN THE WOOD 6 3. 1918-1924. ANCIENT SHORES, 7 MODERN SHORES THE FORESHORE 8 4. 1927-1929. METAMORPHOSES 9 5. 1930-1933. PLASTER, BRONZE, 10 AND BONE: THE THIRD DIMENSION 6. 1937. STONE BATHERS 12 7. 1938-1942. WAR BATHERS 14 8. 1955-1957. THE BATHERS 15 9. THE LAST BEACH GAMES 16 PICASSO AND LYON 17 PABLO PICASSO, BIOGRAPHY 18 Practical information 21 PICASSO. BATHERS Pablo Picasso was born in 1881 in Malaga, on the The exhibition is based around Woman Seated on the Mediterranean. He grew up on the Atlantic shore Beach of February 10, 1937, a painting by Picasso that in La Coruna, then in Barcelona. He lived in Paris was bequeathed to the Fine Arts Museum of Lyon from 1904 to 1948, and spent summers in Biarritz, in 1997 by the actress and collector Jacqueline Cannes, or Dinard. -
The University of Chicago Kazimir Malevich And
THE UNIVERSITY OF CHICAGO KAZIMIR MALEVICH AND RUSSIAN MODERNISM A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ART HISTORY BY DANIEL KALMAN PHILLIPS CHICAGO, ILLINOIS JUNE 2017 Copyright © 2017 by Daniel Kalman Phillips All rights reserved. TABLE OF CONTENTS LIST OF FIGURES ............................................................................................. iv ACKNOWLEDGEMENTS .............................................................................. viii ABSTRACT ............................................................................................................x INTRODUCTION MALEVICH, ART, AND HISTORY .......................................................................1 CHAPTER ONE MODERNISMS BEFORE SUPREMATISM........................................................18 CHAPTER TWO AN ARTIST OF THE NINETEENTH CENTURY ...............................................71 CHAPTER THREE SUPREMATISM IN 1915 ...................................................................................120 CHAPTER FOUR CODA: SUPREMATISMS AFTER SUPREMATISM .......................................177 WORKS CITED................................................................................................. 211 iii LIST OF FIGURES1 0.1 Kazimir Malevich, Black Square, 1915. 0.2 Kazimir Malevich, [Airplane Flying], 1915. 0.3 John Baldessari, Violent Space Series: Two Stares Making a Point but Blocked by a Plane (for Malevich), 1976. 0.4 Yves Klein, -
What Is to Be Done? Art Practice, Theory and Criticism in Russia
What is to Be Done? Art Practice, Theory and Criticism in Russia edited volume Deadline: Jul 15, 2018 Ludmila Piters-Hofmann What is to Be Done? Art Practice, Theory and Criticism in Russia during the Long Nineteenth Cen- tury Call for Article Proposals What is to be done? (Что делать?) – This question was pondered in academic circles as well as by art critics, writers, impresarios, and other members of the Russian intelligentsia during the long nineteenth century. Russian artists found themselves involved in a vivid and intergenerational dis- course at home but also confronted with artistic discussions in the West. Their interest in western European aesthetic and philosophical ideas is matched by an upsurge of national sentiment. As a result, a broad range of concepts is mirrored in Russian artistic theory and practice. Russian artists reflected upon the goals and methods of the Academy and its opponents such as the Peredvizhniki; they explored the ideas of different artistic movements, including romanticism, nat- uralism, realism, impressionism, and symbolism, and examined philosophical concepts such as idealism, positivism, theosophy, essentialism and nihilism. Furthermore, their creative work and impact on public and artistic education was shaped by collectors, impresarios, patrons, and art critics. Fyodor Dostoyevsky, Lev Tolstoy, Maxim Gorky, Alexandre Benois, Sergei Diaghilev, Pavel Tretyakov, Savva Mamontov, Igor Grabar, and Vladimir Stasov are some of the key figures who shaped the art theoretical debates of this time period. The essays in this volume will introduce new approaches to the ongoing debate on art practice, theory and criticism in Russia during the long nineteenth century, particularly highlighting the artists’ contextualization of western Euro- pean ideas and the role that the Russian intelligentsia played in this process. -
Ir IE ~.£. B) PICTURE MEMORY CONTEST BULLETIN
'ITIHI JE WNlI\YIE IB.~ TI 'ITV CQ) IF 'Ir IE ~.£. b) NO. 6914 JULY 15, 1969 PICTURE MEMORY CONTEST BULLETIN FOR USE IN THE Picture Memory Contest For Grades Four and Five BY MRS. BESSIE MAY HILL League Art Consultant The University lnterscho"lastic League, 1969-1970 and 1970-1971 Price 30 Cent8 BUREAU OF PUBLIC SCHOOL SERVICE DIVISION OF EXTENSION THE UNIVERSITY OF TEXAS AUSTIN Pronunciation of Artists' Names (Accent the capitalized syllable) Arledge-AR-lei Grabar-grah-BAR Boughton-BOU-ten Hassam-HAS-sam Braque-BROCK Hobbema-HOB-be-ma Brooke-BROOK Hogarth-HO-garth Buffet-huh-FAY Homer-HO-mer Church-CHURCH Hooch-HOKE Corot-ko-ROW Kemp-Welch-KEMP-WELCH Courbet-koor-BAY Lhermitte-ler-MEET Couse-COWS Lockwood-LOCK-wood Crivelli-cree-VEL-li Luini-LOO-i-ni Daumier-doe-mee-AY Martin-MAR-tin Davis-DAY-vis Miro-meh-ROW Degas-day-GAH Murillo-muh-RILL-o Dehn-DANE Reid-REED Delacroix-del-a-CRAH Reynolds-REN-nolds Dufy-duh-FEE Steele-STEEL Duveneck-DOO-ve-nek Vigee-Lebrun-ve-ZHA-le-BRUN Dyck-(V'an) DIKE Volk-VOLK Gainsborough-GAINS-huh-row Young-Hunter-YOUNG-HUN-ter Gogh-(van) GO STATEMENT ON EQUAL EDUCATIONAL OPPORTUNITY With respect to the admission and education of students, with respect to the availability of student loans, grants, scholarships, and job opportunities, with respect to the employment and promotion of teaching and nonteaching personnel, with respect to the student and faculty activities conducted on premises owned or occupied by the University, and with respect to student and faculty housing situated on premises owned or occupied by the University, The University of Texas at Austin shall not discriminate either in favor of or against any person on account of his or her race, creed, color, or national origin.