DOCSLIB.ORG

Van Gogh Museum Journal 2002

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Van Gogh Museum Journal 2002 Van Gogh Museum Journal 2002 bron Van Gogh Museum Journal 2002. Van Gogh Museum, Amsterdam 2002 Zie voor verantwoording: http://www.dbnl.org/tekst/_van012200201_01/colofon.php © 2012 dbnl / Rijksmuseum Vincent Van Gogh 7 Director's foreword In 2003 the Van Gogh Museum will have been in existence for 30 years. Our museum is thus still a relative newcomer on the international scene. Nonetheless, in this fairly short period, the Van Gogh Museum has established itself as one of the liveliest institutions of its kind, with a growing reputation for its collections, exhibitions and research programmes. The past year has been marked by particular success: the Van Gogh and Gauguin exhibition attracted record numbers of visitors to its Amsterdam venue. And in this Journal we publish our latest acquisitions, including Manet's The jetty at Boulogne-sur-mer, the first important work by this artist to enter any Dutch public collection. By a happy coincidence, our 30th anniversary coincides with the 150th of the birth of Vincent van Gogh. As we approach this milestone it seemed to us a good moment to reflect on the current state of Van Gogh studies. For this issue of the Journal we asked a number of experts to look back on the most significant developments in Van Gogh research since the last major anniversary in 1990, the centenary of the artist's death. Our authors were asked to filter a mass of published material in differing areas, from exhibition publications to writings about fakes and forgeries. To complement this, we also invited a number of specialists to write a short piece on one picture from our collection, an exercise that is intended to evoke the variety and resourcefulness of current writing on Van Gogh. The picture we offer in this publication, however, is far from complete. For example, we have not provided a detailed account of technical research into Van Gogh's paintings, a line of enquiry that has become increasingly important in recent years, providing insights into the way the artist worked and helping to clarify issues of authenticity. Nevertheless, our survey suggests that interest in Van Gogh remains not only undiminished but has even intensified since 1990. It is also possible to identify a number of trends. It would appear, for example, that scholars are paying more attention to the original source material, striving for greater accuracy as the details of the artist's life and his oeuvre are pieced together. At the same time, there is an increasing focus on the context in which Van Gogh worked and on studying the development of his art in relation to his contemporaries. The Van Gogh and Gauguin exhibition is just one prominent example of this. As with so many fields of research, the more new information that comes to light on Van Gogh, the more one becomes aware of the gaps in our knowledge. It is clear that there is work enough to keep us busy far beyond the next 30-year period. The Van Gogh Museum intends to continue to play a key role in research on Van Gogh, through its own projects and offering opportunities, such as this publication, to stimulate the work of outside specialists. This edition of the Journal, then, is not just a tribute to an artist whose work remains alive and provocative a century and a half after his birth, but also to all those scholars who have dedicated their time and energy over the years to evolving a closer understanding of his art. This year, the format of the Journal has been altered slightly, in that there is no introduction reporting on the previous year's activities at the Van Gogh Museum. From 2004 this summary will appear in a separate publication, our new annual report. Please contact the editors should you wish to receive a copy. Van Gogh Museum Journal 2002 John Leighton Director Van Gogh Museum Journal 2002 8 [Van Gogh 150] fig. 1 Portrait of Camille Pissarro, from sale Collection Coray Stoop, Lucerne (Theodor Fischer) and Amsterdam (A. Mak), 29 July 1925, lot 107 Van Gogh Museum Journal 2002 9 When myth seems stronger than scholarship: Van Gogh and the problem of authenticity Stefan Koldehoff+ Whenever in the past months and years the name of Vincent van Gogh has been mentioned in the international press, the reason was not necessarily a large exhibition or a spectacular record sale at an auction. The biggest headlines have always been reserved for allegedly new revelations in the debate on the authenticity of the artist's works. Frequently, the theories proffered from various sides in this debate have indeed been closely bound up with precisely those events which in themselves have a strong public appeal, namely exhibitions and auctions. This article examines the authenticity debate both as an art-historical necessity and as a media-psychological phenomenon. It also seeks to determine the extent to which the Van Gogh myth, which was deliberately generated soon after his death, must be made responsible for the fakes that have cropped up again and again over the course of the past century. For the last 15 or so years, in widening the scope of their research to include the sociological and commercial aspects of art, a number of art historians have examined the interaction between art, the art market, collectors and the public. In 1987, Nicholas Green identified those factors responsible for the changing strategies of the art market in the second half of the 19th century in France: ‘[...] the rapid rise in particular forms of modern art [...]; the role of journalism and historical expertise in securing the cultural and investment value of art works; and, crucially, the strange alliances between speculative collectors, critics and dealers. In fact, though unnamed, the operations of the latter were ever-present throughout all this enthusiastic hype and precious connoisseurship.’1 The following year, Robert Jensen likewise saw the shift of the art scene from the Salons and public exhibitions to private galleries at the beginning of the 20th century as the cause of fundamental changes to art marketing during its early development: ‘In our century, alliance with a private gallery became considerably more important for an artist's career than membership in a Secession or graduating from one of the state art academies.’2 The strategies used by art dealers to promote the artists they represented as unique contemporary figures - and in such a way that they became firmly lodged in the awareness of potential collectors - were formulated by Jensen, again very pointedly, six years later: ‘To market modernism artists, their dealers, critics, and historians required above all to establish its historical legitimacy. The historiographic enterprise was as much a part of merchandising Impressionism as the increasingly refined practices of art dealers to promote not only individual paintings but whole careers, and to do so not only through conventional publicity, but through carefully constructed exhibitions and a mode of personal persuasions + Parts of this article will be published in more comprehensive form in a book to appear in March 2003 (Dumont, Cologne). 1 Nicholas Green, ‘Dealing in temperaments: economic transformation of the artistic field in France during the second half of the 19th century,’ Art History 10 (March 1987), p. 60. 2 Robert Jensen, ‘The avant-garde and the trade in art,’ Art Journal (Winter 1988), p. 361. Van Gogh Museum Journal 2002 that variously appealed to the speculative and/or connoisseurship skills of the potential client, the amateur.’3 The challenge, therefore, was to make one's own artist stand out against the mass of other artists in the market, either by (prematurely) establishing him as a historical figure, or by promoting him as someone absolutely singular to his time. To this end, the biographical and sociologi- 3 Idem, Marketing modernism in fin-de-siècle Europe, Princeton 1994, p. 3. Van Gogh Museum Journal 2002 10 cal aspects of the artist's life were made increasingly important, to such an extent that in some cases the artist's biography was considered just as significant as his work - provided, of course, it was able to set him apart from the rest. This certainly applied to Van Gogh in the years following his death, perhaps more so than to any other artist of classic modernism. His biography rapidly became a sales-promoting myth, touting him as the lone wolf whose art nobody understood and who, for this reason, (allegedly) sold only one painting during his lifetime. Whilst reliable research has meanwhile succeeded in disproving most such legends, the art world and the art market have refused to be robbed of their illusions without putting up a fight. What they have sought to preserve is the aura of the most expensive painter of all times, one whose name still guarantees high circulation figures in media. The outcome of the discussion is, in the final analysis, reminiscent of the quintessential message of Umberto Eco's novel Foucault's pendulum: one has only to believe strongly enough in one's theory and one will always find the matching proof - not to mention the means of making it public. Anyone who has paid close attention to the relevant specialist literature knows that time and again careful corrections have been made to Vincent van Gogh's oeuvre. The acceptance or rejection of works have in the past been based on painstaking examinations of style and analyses of material, on a reconstruction of the respective picture's provenance, and on comparison with works of unquestionable authenticity. During the past ten years, however, the discussion on the authenticity of certain Van Gogh works has clearly been gathering momentum, not least through the active participation of the press, radio and television.
Load more

Recommended publications
  • Downloaded from Brill.Com10/04/2021 08:07:20AM This Is an Open Access Chapter Distributed Under the Terms of the CC BY-NC-ND 4.0 License
    INTERNATIONAL JOURNAL FOR HISTORY, CULTURE AND MODERNITY www.history-culture-modernity.org Published by: Uopen Journals Copyright: © The Author(s). Content is licensed under a Creative Commons Attribution 4.0 International Licence eISSN: 2213-0624 L’Art pour l’Art or L’Art pour Tous? The Tension Between Artistic Autonomy and Social Engagement in Les Temps Nouveaux, 1896–1903 Laura Prins HCM 4 (1): 92–126 DOI: 10.18352/hcm.505 Abstract Between 1896 and 1903, Jean Grave, editor of the anarchist journal Les Temps Nouveaux, published an artistic album of original prints, with the collaboration of (avant-garde) artists and illustrators. While anar- chist theorists, including Grave, summoned artists to create social art, which had to be didactic and accessible to the working classes, artists wished to emphasize their autonomous position instead. Even though Grave requested ‘absolutely artistic’ prints in the case of this album, artists had difficulties with creating something for him, trying to com- bine their social engagement with their artistic autonomy. The artistic album appears to have become a compromise of the debate between the anarchist theorists and artists with anarchist sympathies. Keywords: anarchism, France, Neo-Impressionism, nineteenth century, original print Introduction While the Neo-Impressionist painter Paul Signac (1863–1935) was preparing for a lecture in 1902, he wrote, ‘Justice in sociology, har- mony in art: same thing’.1 Although Signac never officially published the lecture, his words have frequently been cited by scholars since the 1960s, who claim that they illustrate the widespread modern idea that any revolutionary avant-garde artist automatically was revolutionary in 92 HCM 2016, VOL.
    [Show full text]
  • 1 Tomasz Dziewicki University of Warsaw Intensivism As a Tool of An
    III. International Forum for doctoral candidates in East European art history, Berlin, 29th April 2016, organized by the Chair of Art History of Eastern and East Central Europe, Humboldt University Berlin Tomasz Dziewicki University of Warsaw XXXXXXXXXXXXXXXXXXXXXXXX Intensivism as a Tool of an Art Historian In 1897 in Warsaw, the art critic, Cezary Jellenta, published in a weekly magazine "Głos" the article titled Intensivism. This article in its times did not influence on a polish art, but nowadays a category of intensivism created by Jellenta can be seen as an useable tool from the point of view a art historian. Jellenta noticed in his article a new trend in painting of the end of the century. In his mind modern art turned to a subjective way of perception of reality. Presentation of ordinary objects and phenomena, which are known by a viewer, in work of art tends to experience them anew. The art critic maintained a role of personal experience of powers of nature through a painting and the fact that this power may be embodied with the soul of an artist. At the beginning of his paper he refered to anachronistic examples of Andreas Achenbach's and Anders Zorn's work but also pointed out Arnold Böcklin, Władysław Podkowiński or Józef Pankiewicz as founders of the new movement. Jellenta paid attention to a modern composition, simplification and painting synthesis, which enable to express reality better and deeper. He applies a category, separated plastically and semantically from a representation, of main motif , which, as Jellenta wrote, "tunes our soul". In fact it is an attempt to transfer the music theory of Leitmotif by Richard Wagner on the ground of the painting.
    [Show full text]
  • Photographs of Paintings on Sale
    THE METROPOLITAN MUSEUM OF ART PHOTOGRAPHS OF PAINTINGS ON SALE NEW YORK 1928 The photographs listed in this pamphlet are on sale as follows: UNMOUNTED MOUNTED Sheet Dull or Dull or Size Glossy Gray Sepia Glossy Gray Sepia $. 15 $. 15 $. 20 4X 5 IO $. 8x 6o Io .40 . 50 . 50 . Mailing charges, 4x5, unmounted, $. o5, mounted, $. so; 8x Io, unmounted, $. Io, mounted, $. 15. ENLARGEMENTS ENLARGEMENTS UNMOUNTED MOUNTED ON MUSLIN Sheet Size Gray Sepia Gray Sepia IIX 14 $1.50 2.00 2.25 $2.75 14x17 3.00 3.50 4.00 4.50 18X zz 4.00 5.00 5.50 6.5o 20 X 24 5.00 6. oo 7.00 8.00 Mailing charges on enlargements vary according to size of enlargement and distance. The following symbols are used in the text: *pas- tel, **=water-color. Orders should be addressed to the Secretary of the Museum, and accompanied by post-office order or check drawn to The Metropolitan Museum of Art. Stamps are acceptable with small orders. H. W. KENT, Secretary PHOTOGRAPHS OF PAINTINGS Arranged Alphabetically according to Schools AMERICAN ABBEY, EDWIN A. BLAKELOCK, R. A. Dirge of Three Queens- Indian Encampment King Lear Pipe Dance ALEXANDER, JOHN BLASHFIELD, E. H. Ring Carry On Study in Black and Green BLUM, ROBERT Walt Whitman Ameya ALLSTON, WASHINGTON Street Scene, Ikao Deluge BOGERT, GEORGE Spanish Girl Chile Church, Isle of Wight AMERICAN SCHOOL October Moonlight Sarah Cornell Clarkson BOGGS, FRANK Miss Foote On the Thames Col. Marinus Willett BOHM, MAX AMES, JOSEPH Evening Meal James Topham Brady Nature and Imagination BAKER, GEORGE BRIDGES, CHARLES John F.
    [Show full text]
  • Immunity from Seizure
    THE NATIONAL GALLERY IMMUNITY FROM SEIZURE PICASSO: CHALLENGING THE PAST 25 February – 7 June 2009 The National Gallery, Trafalgar Square, London, WC2N 5DN IMMUNITY FROM SEIZURE IMMUNITY FROM SEIZURE The National Gallery is able to provide immunity from seizure under part 6 of the Tribunals, Courts and Enforcement Act 2007. This Act provides protection from seizure for cultural objects from abroad on loan to temporary exhibitions in approved museums and galleries in the UK. The conditions are: The object is usually kept outside the UK It is not owned by a person resident in the UK Its import does not contravene any import regulations It is brought to the UK for public display in a temporary exhibition at a museum or gallery The borrowing museum or gallery is approved under the Act The borrowing museum has published information about the object For further enquiries, please contact [email protected]. Protection under the Act is sought for the objects listed in this document, which are intended to form part of the forthcoming exhibition, ‘Picasso: Challenging the Past’. Copyright Notice: no images from these pages should be reproduced without permission. The National Gallery, Trafalgar Square, London, WC2N 5DN IMMUNITY FROM SEIZURE PICASSO: CHALLENGING THE PAST 25 February – 7 June 2009 Protection under the Act is sought for the objects listed below: Pablo Picasso (1881 - 1973) © The Metropolitan Museum of Art, New York / Succession Picasso / DACS 2009 X6164 La Coiffure 1906 Place of manufacture: Paris or Gosol Painting Oil on canvas
    [Show full text]
  • Vincent Van Gogh the Starry Night
    Richard Thomson Vincent van Gogh The Starry Night the museum of modern art, new york The Starry Night without doubt, vincent van gogh’s painting the starry night (fig. 1) is an iconic image of modern culture. One of the beacons of The Museum of Modern Art, every day it draws thousands of visitors who want to gaze at it, be instructed about it, or be photographed in front of it. The picture has a far-flung and flexible identity in our collective musée imaginaire, whether in material form decorating a tie or T-shirt, as a visual quotation in a book cover or caricature, or as a ubiquitously understood allusion to anguish in a sentimental popular song. Starry Night belongs in the front rank of the modern cultural vernacular. This is rather a surprising status to have been achieved by a painting that was executed with neither fanfare nor much explanation in Van Gogh’s own correspondence, that on reflection the artist found did not satisfy him, and that displeased his crucial supporter and primary critic, his brother Theo. Starry Night was painted in June 1889, at a period of great complexity in Vincent’s life. Living at the asylum of Saint-Rémy in the south of France, a Dutchman in Provence, he was cut off from his country, family, and fellow artists. His isolation was enhanced by his state of health, psychologically fragile and erratic. Yet for all these taxing disadvantages, Van Gogh was determined to fulfill himself as an artist, the road that he had taken in 1880.
    [Show full text]
  • Visual Focus of Attention Actively Associates Relevancy in Eye
    Journal of Business Theory and Practice ISSN 2372-9759 (Print) ISSN 2329-2644 (Online) Vol. 3, No. 2, 2015 www.scholink.org/ojs/index.php/jbtp Visual Focus of Attention Actively Associates Relevancy in Eye Movements Gufran Ahmad1* 1 College of Computer Sciences and Information Systems, Jazan University, Jazan, Saudi Arabia * Gufran Ahmad, E-mail: [email protected] Abstract Advancements in the studies of eye movements have excelled beyond frontiers and transited into the phase of next generation splendidly. The business applications, like online shopping, advertisement, web designing, search engine optimization, of eye movement studies in real world scenarios have started to dominate as well. Tracking of eye movements can communicate the underlying mechanism of visual perception and dynamics of humans’ cognition that are of prime concerns for a number of social, economic, and scientific purposes. In this study, we conducted a series of eye tracking experiments to verify our hypothesis that during human eye movements, the visual focus of attention dynamically associated relevant constituents of artistic portrait. We collected the eye movement data of participants who regarded artistic portraits during active viewing. The trails produced from eye tracking system during portrait viewing traced connected focuses of attention in eye movements based on relevancy in visual contexts. These experimental facts validated the hypothesis that visual focus of attention actively associated relevancy in eye movements. Keywords associative relevancy, cognition, eye movements, visual focus of attention 1. Introduction and Background Eye movement is one of the research studies which have prospered rapidly due to immense demands and interests of interdisciplinary researches, like human and developmental psychology, psycholinguistic and readings, neuroscience, vision research, usability studies, business marketing and advertising research, ophthalmology, human computer interaction, etc.
    [Show full text]
  • AMNH Digital Library
    ^^<e?& THERE ARE THOSE WHO DO. AND THOSE WHO WOULDACOULDASHOULDA. Which one are you? If you're the kind of person who's willing to put it all on the line to pursue your goal, there's AIG. The organization with more ways to manage risk and more financial solutions than anyone else. Everything from business insurance for growing companies to travel-accident coverage to retirement savings plans. All to help you act boldly in business and in life. So the next time you're facing an uphill challenge, contact AIG. THE GREATEST RISK IS NOT TAKING ONE: AIG INSURANCE, FINANCIAL SERVICES AND THE FREEDOM TO DARE. Insurance and services provided by members of American International Group, Inc.. 70 Pine Street, Dept. A, New York, NY 10270. vww.aig.com TODAY TOMORROW TOYOTA Each year Toyota builds more than one million vehicles in North America. This means that we use a lot of resources — steel, aluminum, and plastics, for instance. But at Toyota, large scale manufacturing doesn't mean large scale waste. In 1992 we introduced our Global Earth Charter to promote environmental responsibility throughout our operations. And in North America it is already reaping significant benefits. We recycle 376 million pounds of steel annually, and aggressive recycling programs keep 18 million pounds of other scrap materials from landfills. Of course, no one ever said that looking after the Earth's resources is easy. But as we continue to strive for greener ways to do business, there's one thing we're definitely not wasting. And that's time. www.toyota.com/tomorrow ©2001 JUNE 2002 VOLUME 111 NUMBER 5 FEATURES AVIAN QUICK-CHANGE ARTISTS How do house finches thrive in so many environments? By reshaping themselves.
    [Show full text]
  • The Discomfort of Evening
    MARIEKE LUCAS RIJNEVELD The Discomfort of Evening Translated by Michele Hutchison Restlessness gives wings to the imagination. MAURICE GILLIAMS It is written, ‘I am making all things new!’ But the chords are a clothesline of grief, Razor-sharp gusts snap the faith Of he who would flee this cruel start. Ice rain beats blossom to a glassy pulp, A cur shakes his pelt bone-dry in the violence. from THE COLLECTED POEMS OF JAN WOLKERS (2008) Contents Title Page Epigraph PART I 1 2 3 4 PART II 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 PART III 1 2 3 4 5 6 7 8 9 10 11 12 13 About the Author Copyright PART I 1 I was ten and stopped taking off my coat. That morning, Mum had covered us one by one in udder ointment to protect us from the cold. It came out of a yellow Bogena tin and was normally used to prevent dairy cows’ teats from getting cracks, calluses and cauliflower-like lumps. The tin’s lid was so greasy you could only screw it off with a tea-towel. It smelled of stewed udder, the thick slices I’d sometimes find cooking in a pan of stock on our stove, sprinkled with salt and pepper. They filled me with horror, just like the reeking ointment on my skin. Mum pressed her fat fingers into our faces like the round cheeses she patted to check whether the rind was ripening. Our pale cheeks shone in the light of the kitchen bulb, which was encrusted with fly shit.
    [Show full text]
  • 1 1 December 2009 DRAFT Jonathan Petropoulos Bridges from the Reich: the Importance of Émigré Art Dealers As Reflecte
    Working Paper--Draft 1 December 2009 DRAFT Jonathan Petropoulos Bridges from the Reich: The Importance of Émigré Art Dealers as Reflected in the Case Studies Of Curt Valentin and Otto Kallir-Nirenstein Please permit me to begin with some reflections on my own work on art plunderers in the Third Reich. Back in 1995, I wrote an article about Kajetan Mühlmann titled, “The Importance of the Second Rank.” 1 In this article, I argued that while earlier scholars had completed the pioneering work on the major Nazi leaders, it was now the particular task of our generation to examine the careers of the figures who implemented the regime’s criminal policies. I detailed how in the realm of art plundering, many of the Handlanger had evaded meaningful justice, and how Datenschutz and archival laws in Europe and the United States had prevented historians from reaching a true understanding of these second-rank figures: their roles in the looting bureaucracy, their precise operational strategies, and perhaps most interestingly, their complex motivations. While we have made significant progress with this project in the past decade (and the Austrians, in particular deserve great credit for the research and restitution work accomplished since the 1998 Austrian Restitution Law), there is still much that we do not know. Many American museums still keep their curatorial files closed—despite protestations from researchers (myself included)—and there are records in European archives that are still not accessible.2 In light of the recent international conference on Holocaust-era cultural property in Prague and the resulting Terezin Declaration, as well as the Obama Administration’s appointment of Stuart Eizenstat as the point person regarding these issues, I am cautiously optimistic.
    [Show full text]
  • 7. Headings Etc with Properties Title
    Vincent van Gogh Summary of Van Gogh’s life Vincent van Gogh (30 March 1853 – 29 July 1890) was a Dutch Post- Impressionist painter who is among the most famous and influential figures in the history of Western art. In just over a decade he created about 2,100 artworks, including around 860 oil paintings. They include landscapes, still lifes, portraits and self-portraits, and are characterized by bold colors and dramatic, impulsive and expressive brushwork that contributed to the foundations of modern art. His suicide at 37 followed years of mental illness and poverty. Van Gogh was unsuccessful during his lifetime, and was considered a madman and a failure. He became famous after his suicide, and exists in the public imagination as the quintessential misunderstood genius, the artist "where discourses on madness and creativity converge". His reputation began to grow in the early 20th century as elements of his painting style came to be incorporated by the Fauves and the German Expressionists. He attained widespread critical, commercial and popular success over the ensuing decades, and is remembered as an important but tragic painter, whose troubled personality typifies the romantic ideal of the tortured artist. Some highlights of van Gogh’s work Artwork title Year created Location Van Gogh Museum, The potato Eaters 1885 Amsterdam Fishing Boats on the Van Gogh Museum, Beach at Saintes- June 1888 Amsterdam Maries Van Gogh Museum, Bedroom in Arles October 1888 Amsterdam Van Gogh Museum, Sunflowers 1889 Amsterdam Museum of Modern The Starry Night 1889 Art, New York City Van Gogh’s life in more detail Early years Vincent van Gogh was born on 30 March 1853 in Groot-Zundert, in the southern Netherlands.
    [Show full text]
  • Adaptive Sparse Coding for Painting Style Analysis
    Adaptive Sparse Coding for Painting Style Analysis Zhi Gao1∗, Mo Shan2∗, Loong-Fah Cheong3, and Qingquan Li4,5 1 Interactive and Digital Media Institute, National University of Singapore, Singapore 2 Temasek Laboratories, National University of Singapore 3 Electrical and Computer Engineering Department, National University of Singapore 4 The State Key Laboratory of Information Engineering in Surveying, Mapping, and Remote Sensing, Wuhan University, Wuhan, China 5 Shenzhen Key Laboratory of Spatial Smart Sensing and Services, Shenzhen University, Shenzhen, China fgaozhinus, [email protected], [email protected], [email protected] Abstract. Inspired by the outstanding performance of sparse coding in applications of image denoising, restoration, classification, etc, we pro- pose an adaptive sparse coding method for painting style analysis that is traditionally carried out by art connoisseurs and experts. Significantly improved over previous sparse coding methods, which heavily rely on the comparison of query paintings, our method is able to determine the au- thenticity of a single query painting based on estimated decision bound- ary. Firstly, discriminative patches containing the most representative characteristics of the given authentic samples are extracted via exploit- ing the statistical information of their representation on the DCT basis. Subsequently, the strategy of adaptive sparsity constraint which assigns higher sparsity weight to the patch with higher discriminative level is enforced to make the dictionary trained on such patches more exclu- sively adaptive to the authentic samples than via previous sparse coding algorithms. Relying on the learnt dictionary, the query painting can be authenticated if both better denoising performance and higher sparse representation are obtained, otherwise it should be denied.
    [Show full text]
  • Detki V Kletke: the Childlike Aesthetic in Soviet Children's Literature and Unofficial Poetry
    Detki v kletke: The Childlike Aesthetic in Soviet Children's Literature and Unofficial Poetry The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Morse, Ainsley. 2016. Detki v kletke: The Childlike Aesthetic in Soviet Children's Literature and Unofficial Poetry. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493521 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Detki v kletke: The Childlike Aesthetic in Soviet Children’s Literature and Unofficial Poetry A dissertation presented by Ainsley Elizabeth Morse to The Department of Slavic Languages and Literatures in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of Slavic Languages and Literatures Harvard University Cambridge, Massachusetts April 2016 © 2016 – Ainsley Elizabeth Morse. All rights reserved. Dissertation Advisor: Professor Stephanie Sandler Ainsley Elizabeth Morse Detki v kletke: The Childlike Aesthetic in Soviet Children’s Literature and Unofficial Poetry Abstract Since its inception in 1918, Soviet children’s literature was acclaimed as innovative and exciting, often in contrast to other official Soviet literary production. Indeed, avant-garde artists worked in this genre for the entire Soviet period, although they had fallen out of official favor by the 1930s. This dissertation explores the relationship between the childlike aesthetic as expressed in Soviet children’s literature, the early Russian avant-garde and later post-war unofficial poetry.
    [Show full text]