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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) -
26727 Consignor Auction Catalogue Template
Auction of Important Canadian & International Art September 24, 2020 AUCTION OF IMPORTANT CANADIAN & INTERNATIONAL ART LIVE AUCTION THURSDAY, SEPTEMBER 24TH AT 7:00 PM ROYAL ONTARIO MUSEUM 100 Queen’s Park (Queen’s Park at Bloor Street) Toronto, Ontario ON VIEW Please note: Viewings will be by appointment. Please contact our team or visit our website to arrange a viewing. COWLEY ABBOTT GALLERY 326 Dundas Street West, Toronto, Ontario JULY 8TH - SEPTEMBER 4TH Monday to Friday: 9:00 am to 5:00 pm SEPTEMBER 8TH - 24TH Monday to Friday: 9:00 am to 5:00 pm Saturdays: 11:00 am to 5:00 pm Sunday, September 20th: 11:00 am to 5:00 pm 326 Dundas Street West (across the street from the Art Gallery of Ontario) Toronto, Ontario M5T 1G5 416-479-9703 | 1-866-931-8415 (toll free) | [email protected] 2 COWLEY ABBOTT | September Auction 2020 Cowley Abbott Fine Art was founded as Consignor Canadian Fine Art in August 2013 as an innovative partnership within the Canadian Art industry between Rob Cowley, Lydia Abbott and Ryan Mayberry. In response to the changing landscape of the Canadian art market and art collecting practices, the frm acts to bridge the services of a retail gallery and auction business, specializing in consultation, valuation and professional presentation of Canadian art. Cowley Abbott has rapidly grown to be a leader in today’s competitive Canadian auction industry, holding semi-annual live auctions, as well as monthly online Canadian and International art auctions. Our frm also ofers services for private sales, charity auctions and formal appraisal services, including insurance, probate and donation. -
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. -
UAAC Conference.Pdf
Friday Session 1 : Room uaac-aauc1 : KC 103 2017 Conference of the Universities Art Association of Canada Congrès 2017 de l’Association d’art des universités du Canada October 12–15 octobre, 2017 Banff Centre for Arts and Creativity uaac-aauc.com UAAC - AAUC Conference 2017 October 12-15, 2017 Banff Centre for Arts and Creativity 1 Welcome to the conference The experience of conference-going is one of being in the moment: for a few days, we forget the quotidian pressures that crowd our lives, giving ourselves over to the thrill of being with people who share our passions and vocations. And having Banff as the setting just heightens the delight: in the most astonishingly picturesque way possible, it makes the separation from everyday life both figurative and literal. Incredibly, the members of the Universities Art Association of Canada have been getting together like this for five decades—2017 is the fifteenth anniversary of the first UAAC conference, held at Queen’s University and organized around the theme of “The Arts and the University.” So it’s fitting that we should reflect on what’s happened in that time: to the arts, to universities, to our geographical, political and cultural contexts. Certainly David Garneau’s keynote presentation, “Indian Agents: Indigenous Artists as Non-State Actors,” will provide a crucial opportunity for that, but there will be other occasions as well and I hope you will find the experience productive and invigorating. I want to thank the organizers for their hard work in bringing this conference together. Thanks also to the programming committee for their great work with the difficult task of reviewing session proposals. -
Ten Canadian Art Escapes
TEN CANADIAN ART ESCAPES Even if you’re not leaving home this weekend, you can take a trip to these destinations presented by some of our most celebrated artists From everyone at the Art Canada Institute, we wish you a happy and safe Victoria Day long weekend. One of the reasons everyone at ACI entered into the field of educating through art is its power to transport us. So while we’re staying put and social distancing, over the next few days, we’ll also be taking tours around the country through art, led by many of Canada’s finest artists. Here is where we’ll be going. We hope you’ll come with us and enjoy the destinations. Sara Angel Founder and Executive Director, Art Canada Institute Visit CHARLEVOIX with Jean Paul Lemieux Jean Paul Lemieux, Those Beautiful Days (Les beaux jours), 1937 Text from Jean Paul Lemieux: Life & Work by Michèle Grandbois Jean Paul Lemieux painted this work at Port-au-Persil, in the Charlevoix region of Quebec, where he and his young wife, Madeleine, spent the summer of 1937. The newly married couple rented a room under the eaves in a rustic canadienne house in this tiny hamlet nestled in a cove, where the expanse of the St. Lawrence widens spectacularly to more than twenty kilometres across. Lemieux effectively captures the sensation of vertigo one feels looking out over the blue immensity from the peaks of the region’s headlands. Read More Visit LAKE SUPERIOR with Michael Snow (and Lawren Harris) Michael Snow, Plus Tard #15, 1977 Text from Michael Snow: Life & Work by Martha Langford In this work contemporary artist Michael Snow captures the image of North Shore, Lake Superior, painted by Lawren Harris in 1926. -
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. -
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. -
Description & Finding Aid: George Agnew Reid Fonds CA OTAG SC010
Art Gallery of Ontario E. P. Taylor Research Library and Archives Description & Finding Aid: George Agnew Reid Fonds CA OTAG SC010 Prepared by Sylvia Lassam, 2003 Updated by Amy Marshall Furness, 2008, and Marilyn Nazar, 2013 from notes by Jan Speers, 1985 317 Dundas Street West, Toronto, Ontario, Canada M5T 1G4 Reference Desk: 416-979-6642 www.ago.net/ago/library George Agnew Reid fonds George Agnew Reid fonds Dates of creation: [188-] -1954 Extent: 2.6 m of textual records and graphic material (2 scrapbooks) Biographical sketch: George Agnew Reid (1860-1947) was a Canadian artist, architect, educator and administrator influential in the early 20 th century and instrumental in the formation of a number of important Canadian art institutions. Born in Wingham Ontario to a Scottish farm family, he studied architecture and bookkeeping at his father’s insistence. In 1878 he moved to Toronto to study art. He was able to extend his art education under Thomas Eakins in Philadelphia, where he met the painter Mary Hiester. In 1888 the couple travelled to Europe and studied at the Julian and Colorossi Academies, returning to Toronto in 1889. The house he designed and built in Wychwood Park was his home until the end of his life. In 1890, George Reid began teaching at the Central Ontario School of Art and Design. He eventually became principal and researched new theories of art education in the United States and Europe. Under his direction, the art school became independent of the Board of Education and moved into its own building, which he designed, in 1921. -
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.