Russian Avant-Garde, 1904-1946 Books and Periodicals
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Fine Art Papers Guide
FINE ART PAPERS GUIDE 100 Series • 200 Series • Vision • 300 Series • 400 Series • 500 Series make something real For over 125 years Strathmore® has been providing artists with the finest papers on which to create their artwork. Our papers are manufactured to exacting specifications for every level of expertise. 100 100 Series | Youth SERIES Ignite a lifelong love of art. Designed for ages 5 and up, the paper types YOUTH and features have been selected to enhance the creative process. Choice of paper is one of the most important 200 Series | Good decisions an artist makes 200SERIES Value without compromise. Good quality paper at a great price that’s economical enough for daily use. The broad range of papers is a great in determining the GOOD starting point for the beginning and developing artist. outcome of their work. Color, absorbency, texture, weight, and ® Vision | Good STRATHMORE size are some of the more important Let the world see your vision. An affordable line of pads featuring extra variables that contribute to different high sheet counts and durable construction. Tear away fly sheets reveal a artistic effects. Whether your choice of vision heavyweight, customizable, blank cover made from high quality, steel blue medium is watercolor, charcoal, pastel, GOOD mixed media paper. Charcoal Paper in our 300, 400 and 500 Series is pencil, or pen and ink, you can be confident that manufactured with a traditional laid finish making we have a paper that will enhance your artistic them the ideal foundation for this medium. The efforts. Our papers are manufactured to exacting laid texture provides a great toothy surface for specifications for every level of expertise. -
Russian Arts on the Rise
Arts and Humanities Open Access Journal Proceeding Open Access Russian arts on the rise Proceeding Volume 2 Issue 1 - 2018 The fifth Graduate Workshop of the Russian Art and Culture Miriam Leimer Group (RACG) once again proofed how vivid the art and culture of Free University of Berlin, Germany Russia and its neighbours are discussed among young researchers. th Though still little represented in the curricula of German universities Correspondence: Miriam Leimer, 5 Graduate Workshop of the Russian Art and Culture Group (RACG), Free University of the art of Eastern Europe is the topic of many PhD theses. But also in Berlin, Germany, Email [email protected] a broader international context-both in the East and the West-Russian art has gained importance in the discipline of art history. Received: December 22, 2017 | Published: February 02, 2018 The Russian Art and Culture Group that was founded in 2014 by Isabel Wünsche at Jacobs University Bremen provides an international platform for scholars and younger researchers in this The second panel “Intergenerational Tensions and Commonalities” field. At least once a year members of the group organize a workshop focused on the relation between the representatives of the different to bring together recent research-mostly by PhD candidates as well as succeeding art movements at the turn of the century. Using the by already well-established academics. example of Martiros Saryan, an Armenian artist, Mane Mkrtchyan from the Institute of Arts at the National Academy of Sciences of For the first time the workshop did not take place in Bremen the Republic of Armenia shed light on Russia’s Symbolism. -
Dino Rosin Fine Art Sculptor in Glass;
Dino Rosin Fine Art Sculptor in Glass; By Debbie Tarsitano This past January I was privileged to teach encased flamework design at the Corning Museum School’s Studio. Before traveling to Corning I looked through the course catalogue to see who else was teaching during the week I would be there. There was the name, “Dino Rosin,” and his class “solid sculpture.” As I looked at the small photo of his work in the Corning catalogue, I thought to myself, “I wished I could take his class.” That lone picture in the Corning catalogue told me that here was an artist who understood the true meaning of sculpture. Dino Rosin was born in Venice, Italy on May 30, 1948 and his family moved to the island of Murano while he was still a baby. At age 12 Dino left school to work as an apprentice at the prestigious Barovier and Toso glassworks. In 1963 at age 15, Dino joined his older brothers Loredano and Mirco in their own glass studio “Artvet.” Two years later Loredano and Dino joined Egidio Costantini of Fucina Degli Angeli; while working at this renowned studio, Dino and Loredano collaborated with Picasso and other well-known artists of the time. In 1975, Loredano Rosin opened his own studio and Dino, then aged 27, joined his brother’s new venture, supporting him whole-heartedly. Dino progressed and matured as an artist as he worked alongside his brother Loredano to keep the studio strong. Dino perfected his skills in every area of the studio from mixing batch, the raw materials of glass making, to creating new designs. -
Pushkin and the Futurists
1 A Stowaway on the Steamship of Modernity: Pushkin and the Futurists James Rann UCL Submitted for the Degree of Doctor of Philosophy 2 Declaration I, James Rann, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 3 Acknowledgements I owe a great debt of gratitude to my supervisor, Robin Aizlewood, who has been an inspirational discussion partner and an assiduous reader. Any errors in interpretation, argumentation or presentation are, however, my own. Many thanks must also go to numerous people who have read parts of this thesis, in various incarnations, and offered generous and insightful commentary. They include: Julian Graffy, Pamela Davidson, Seth Graham, Andreas Schönle, Alexandra Smith and Mark D. Steinberg. I am grateful to Chris Tapp for his willingness to lead me through certain aspects of Biblical exegesis, and to Robert Chandler and Robin Milner-Gulland for sharing their insights into Khlebnikov’s ‘Odinokii litsedei’ with me. I would also like to thank Julia, for her inspiration, kindness and support, and my parents, for everything. 4 Note on Conventions I have used the Library of Congress system of transliteration throughout, with the exception of the names of tsars and the cities Moscow and St Petersburg. References have been cited in accordance with the latest guidelines of the Modern Humanities Research Association. In the relevant chapters specific works have been referenced within the body of the text. They are as follows: Chapter One—Vladimir Markov, ed., Manifesty i programmy russkikh futuristov; Chapter Two—Velimir Khlebnikov, Sobranie sochinenii v shesti tomakh, ed. -
Cubo-Futurism
Notes Cubo-Futurism Slap in theFace of Public Taste 1 . These two paragraphs are a caustic attack on the Symbolist movement in general, a frequent target of the Futurists, and on two of its representatives in particular: Konstantin Bal'mont (1867-1943), a poetwho enjoyed enormouspopu larityin Russia during thefirst decade of this century, was subsequentlyforgo tten, and died as an emigrein Paris;Valerii Briusov(18 73-1924), poetand scholar,leader of the Symbolist movement, editor of the Salles and literary editor of Russum Thought, who after the Revolution joined the Communist party and worked at Narkompros. 2. Leonid Andreev (1871-1919), a writer of short stories and a playwright, started in a realistic vein following Chekhov and Gorkii; later he displayed an interest in metaphysicsand a leaning toward Symbolism. He is at his bestin a few stories written in a realistic manner; his Symbolist works are pretentious and unconvincing. The use of the plural here implies that, in the Futurists' eyes, Andreev is just one of the numerousepigones. 3. Several disparate poets and prose writers are randomly assembled here, which stresses the radical positionof the signatories ofthis manifesto, who reject indiscriminately aU the literaturewritt en before them. The useof the plural, as in the previous paragraphs, is demeaning. Maksim Gorkii (pseud. of Aleksei Pesh kov, 1�1936), Aleksandr Kuprin (1870-1938), and Ivan Bunin (1870-1953) are writers of realist orientation, although there are substantial differences in their philosophical outlook, realistic style, and literary value. Bunin was the first Rus sianwriter to wina NobelPrize, in 1933.AJeksandr Biok (1880-1921)is possiblythe best, and certainlythe most popular, Symbolist poet. -
Best Management Practices for Fine Art Painting Studios
NARRAGANSETT BAY COMMISSION Environmental, Health & Safety MANAGEMENT BEST PRACTICES for FINE ART PAINTING STUDIOS The purpose of this brochure is to guide you in protecting your health and preserving the environment as you work with various supplies and materials in your studio. It is also intended to help you save money and to comply with existing environmental regulations. Following these guidelines will keep you and your environment safe. Sources of health & safety information on the Internet for artists Disposal of household hazardous waste in RI: www.rirrc.org/site/ecodepot/eco_depot_broc.pdf A searchable health & safety database by medium: www.ci.tuc- son.az.us/arthazards/home.html List of references and more: www.library.unisa.edu.au/internet/pathfind/arthazards.htm Comprehensive list of articles covering many mediums: www.croetweb.com/outreach/croetweb/ links.cfm?topicID=2 List of books, periodicals and organizations: http://wally.rit.edu/pubs/guides/healthhaz.html Comprehensive list of articles: www.library.wwu.edu/ref/subjguides/art/arthazards.html Article entitled Art Painting and Drawing www.uic.edu/sph/glakes/harts/HARTS_library/paintdrw.txt Very comprehensive list of resources for many media: www.trueart.info/hazards.htm Safety Primer with references: www.ianr.unl.edu/pubs/consumered/nf126.htm Safety Primers: www.artspaceseattle.org/solutions/safety.html www.uwlax.edu/ehs/arthaz.html www.gamblincolors.com/safety.html Paint MSDSs available under Health & Safety section: www.winsornewton.com/index2.php Studio Ventilation: -
Printmaking Through the Ages Utah Museum of Fine Arts • Lesson Plans for Educators • March 7, 2012
Printmaking through the Ages Utah Museum of Fine Arts • www.umfa.utah.edu Lesson Plans for Educators • March 7, 2012 Table of Contents Page Contents 2 Image List 3 Printmaking as Art 6 Glossary of Printing Terms 7 A Brief History of Printmaking Written by Jennifer Jensen 10 Self Portrait in a Velvet Cap , Rembrandt Written by Hailey Leek 11 Lesson Plan for Self Portrait in a Velvet Cap Written by Virginia Catherall 14 Kintai Bridge, Province of Suwo, Hokusai Written by Jennifer Jensen 16 Lesson Plan for Kintai Bridge, Province of Suwo Written by Jennifer Jensen 20 Lambing , Leighton Written by Kathryn Dennett 21 Lesson Plan for Lambing Written by Kathryn Dennett 32 Madame Louison, Rouault Written by Tiya Karaus 35 Lesson Plan for Madame Louison Written by Tiya Karaus 41 Prodigal Son , Benton Written by Joanna Walden 42 Lesson Plan for Prodigal Son Written by Joanna Walden 47 Flotsam, Gottlieb Written by Joanna Walden 48 Lesson Plan for Flotsam Written by Joanna Walden 55 Fourth of July Still Life, Flack Written by Susan Price 57 Lesson Plan for Fourth of July Still Life Written by Susan Price 59 Reverberations, Katz Written by Jennie LaFortune 60 Lesson Plan for Reverberations Written by Jennie LaFortune Evening for Educators is funded in part by the StateWide Art Partnership and the Professional Outreach Programs in the Schools (POPS) through the Utah State Office of Education 1 Printmaking through the Ages Utah Museum of Fine Arts • www.umfa.utah.edu Lesson Plans for Educators • March 7, 2012 Image List 1. Rembrandt Harmensz van Rijn (1606-1669), Dutch Self Portrait in a Velvet Cap with Plume , 1638 Etching Gift of Merrilee and Howard Douglas Clark 1996.47.1 2. -
The Native American Fine Art Movement: a Resource Guide by Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba
2301 North Central Avenue, Phoenix, Arizona 85004-1323 www.heard.org The Native American Fine Art Movement: A Resource Guide By Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba HEARD MUSEUM PHOENIX, ARIZONA ©1994 Development of this resource guide was funded by the Nathan Cummings Foundation. This resource guide focuses on painting and sculpture produced by Native Americans in the continental United States since 1900. The emphasis on artists from the Southwest and Oklahoma is an indication of the importance of those regions to the on-going development of Native American art in this century and the reality of academic study. TABLE OF CONTENTS ● Acknowledgements and Credits ● A Note to Educators ● Introduction ● Chapter One: Early Narrative Genre Painting ● Chapter Two: San Ildefonso Watercolor Movement ● Chapter Three: Painting in the Southwest: "The Studio" ● Chapter Four: Native American Art in Oklahoma: The Kiowa and Bacone Artists ● Chapter Five: Five Civilized Tribes ● Chapter Six: Recent Narrative Genre Painting ● Chapter Seven: New Indian Painting ● Chapter Eight: Recent Native American Art ● Conclusion ● Native American History Timeline ● Key Points ● Review and Study Questions ● Discussion Questions and Activities ● Glossary of Art History Terms ● Annotated Suggested Reading ● Illustrations ● Looking at the Artworks: Points to Highlight or Recall Acknowledgements and Credits Authors: Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba Special thanks to: Ann Marshall, Director of Research Lisa MacCollum, Exhibits and Graphics Coordinator Angelina Holmes, Curatorial Administrative Assistant Tatiana Slock, Intern Carrie Heinonen, Research Associate Funding for development provided by the Nathan Cummings Foundation. Copyright Notice All artworks reproduced with permission. -
Aria Amenities Fine Art Brochure
YOUR GUIDE TO EXPLORING THE Reproduced by permission of the Henry Moore Foundation The first major permanent collection of art in Las Vegas to be integrated into a public space, the ARIA Fine Art Collection is one of the world’s largest and most ambitious corporate collections. The ARIA Fine Art Collection features work by acclaimed painters, sculptors and installation artists, including Maya Lin, Jenny Holzer, Nancy Rubins, Claes Oldenburg and Coosje van Bruggen, Frank Stella, Henry Moore, James Turrell and Richard Long, among others. The ARIA Fine Art Collection encompasses a multitude of styles and media engaging visitors on a visual and intellectual level. Some were existing pieces, carefully chosen for their artistic value and cultural significance; others are site-specific installations for which the artist commanded their vision over the space. Fully integrated into the architecture and design of the ARIA Campus, guests can interact with important works of art in the living, breathing spaces of ARIA’s public areas, hotels and residential common spaces. From vibrant and ornate to intimate and serene, these works were strategically placed to fascinate and educate guests. For more information about the ARIA Fine Art Collection, please visit Aria.com/fineart. Please do not touch the artwork. 11 6 12 5 4 9 13 ADDITIONAL ATTRACTIONS TO CASINO ND LEVEL 7 10 PROMENADE ARIA Resort & Casino 3 8 A Lumia ARIA Resort & Casino, Main Entrance Twisting ribbons and large arcs of streaming water create bold, captivating “water sparks” at their intersections. Lumia is the first fountain to be lit, so the vibrant colors are visible during daylight. -
235-Newsletter.Pdf
The Poetry Project Newsletter Editor: Paul Foster Johnson Design: Lewis Rawlings Distribution: Small Press Distribution, 1341 Seventh Street, Berkeley, CA 94710 The Poetry Project, Ltd. Staff Artistic Director: Stacy Szymaszek Program Coordinator: Arlo Quint Program Assistant: Nicole Wallace Monday Night Coordinator: Simone White Monday Night Talk Series Coordinator: Corrine Fitzpatrick Wednesday Night Coordinator: Stacy Szymaszek Friday Night Coordinator: Matt Longabucco Sound Technician: David Vogen Videographer: Andrea Cruz Bookkeeper: Lezlie Hall Archivist: Will Edmiston Box Office: Aria Boutet, Courtney Frederick, Gabriella Mattis Interns/Volunteers: Mel Elberg, Phoebe Lifton, Jasmine An, Davy Knittle, Olivia Grayson, Catherine Vail, Kate Nichols, Jim Behrle, Douglas Rothschild Volunteer Development Committee Members: Stephanie Gray, Susan Landers Board of Directors: Gillian McCain (President), John S. Hall (Vice-President), Jonathan Morrill (Treasurer), Jo Ann Wasserman (Secretary), Carol Overby, Camille Rankine, Kimberly Lyons, Todd Colby, Ted Greenwald, Erica Hunt, Elinor Nauen, Evelyn Reilly and Edwin Torres Friends Committee: Brooke Alexander, Dianne Benson, Will Creeley, Raymond Foye, Michael Friedman, Steve Hamilton, Bob Holman, Viki Hudspith, Siri Hustvedt, Yvonne Jacquette, Patricia Spears Jones, Eileen Myles, Greg Masters, Ron Padgett, Paul Slovak, Michel de Konkoly Thege, Anne Waldman, Hal Willner, John Yau Funders: The Poetry Project’s programs and publications are made possible, in part, with public funds from The National Endowment for the Arts. The Poetry Project’s programming is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. The Poetry Project’s programs are supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council. -
1. Coversheet Thesis
Eleanor Rees The Kino-Khudozhnik and the Material Environment in Early Russian and Soviet Fiction Cinema, c. 1907-1930. January 2020 Submitted for the degree of Doctor of Philosophy School of Slavonic and East European Studies University College London Supervisors: Dr. Rachel Morley and Dr. Philip Cavendish !1 I, Eleanor Rees confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. Word Count: 94,990 (including footnotes and references, but excluding contents, abstract, impact statement, acknowledgements, filmography and bibliography). ELEANOR REES 2 Contents Abstract 5 Impact Statement 6 Acknowledgments 8 Note on Transliteration and Translation 10 List of Illustrations 11 Introduction 17 I. Aims II. Literature Review III. Approach and Scope IV. Thesis Structure Chapter One: Early Russian and Soviet Kino-khudozhniki: 35 Professional Backgrounds and Working Practices I. The Artistic Training and Pre-cinema Affiliations of Kino-khudozhniki II. Kino-khudozhniki and the Russian and Soviet Studio System III. Collaborative Relationships IV. Roles and Responsibilities Chapter Two: The Rural Environment 74 I. Authenticity, the Russian Landscape and the Search for a Native Cinema II. Ethnographic and Psychological Realism III. Transforming the Rural Environment: The Enchantment of Infrastructure and Technology in Early-Soviet Fiction Films IV. Conclusion Chapter Three: The Domestic Interior 114 I. The House as Entrapment: The Domestic Interiors of Boris Mikhin and Evgenii Bauer II. The House as Ornament: Excess and Visual Expressivity III. The House as Shelter: Representations of Material and Psychological Comfort in 1920s Soviet Cinema IV. -
Art from Europe and America, 1850-1950
Art from Europe and America, 1850-1950 Gallery 14 QUESTIONS? Contact us at [email protected] ACKLAND ART MUSEUM The University of North Carolina at Chapel Hill 101 S. Columbia Street Chapel Hill, NC 27514 Phone: 919-966-5736 MUSEUM HOURS Wed - Sat 10 AM - 5 PM Sun 1 PM - 5 PM 2nd Fridays 10 AM – 9 PM Closed Mondays & Tuesdays. Closed July 4th, Thanksgiving, Christmas Eve Christmas Day, & New Year’s Day. 1 Auguste Rodin French, 1840 – 1917 Head of Balzac, 1897 bronze Ackland Fund, 63.27.1 About the Art • Nothing is subtle about this small head of the French author Honoré de Balzac. The profile view shows a protruding brow, nose, and mouth, and the hair falls in heavy masses. • Auguste Rodin made this sculpture as part of a major commission for a monument to Balzac. He began working on the commission in 1891 and spent seven more years on it. Neither the head nor the body of Rodin’s sculpture conformed to critical or public expectations for a commemorative monument, including a realistic portrait likeness. Consequently, another artist ultimately got the commission. About the Artist 1840: Born November 12 in Paris 1854: Began training as an artist 1871-76: Worked in Belgium 1876: Traveled to Italy 1880: Worked for the Sèvres Porcelain Manufactory; received the commission for one of his most famous works, monumental bronze doors called The Gates of Hell 1896: His nude sculpture of the French author Victor Hugo created a scandal 1897: Made the Ackland’s Head of Balzac 1898: Exhibited his monument to Balzac and created another scandal 1917: Died November 17 in Meudon 2 Edgar Degas French, 1834 – 1917 Spanish Dance, c.