Reduced Google Matrix Analysis and Art: Painters
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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) -
Post-War British Painting
A New Individualism: Post-war British Painting On a trip to Russia in the spring of 2013 I visited The State Tretyakov Gallery in Moscow for the first time and found myself admiring Nicholai Ge’s “What is truth?” (1890), Ilya Repin’s Religious Procession in Kursk Province (1880-83), Valentin Serov’s Girl with Peaches (1887), Vasily Surikov’s Morning of the Execution of the Streltsy (1881) and a room full of pictures by Vasily Vereshchagin. Here was a museum containing art by master painters whose output spoke with a resonance which moved me deeply, and as a British painter whose own work focuses on socio- political subjects, I found myself feeling simultaneously ashamed that I’d never heard of these great artists, whilst at the same time being intensely captivated by their work. Most of these painters had been part of a group known as ‘The Peredvizhniki’ or ‘Wanderers’, they were artists who had decided to break away from the creative traditions and limitations of the Academy and its exacting separations between low and high art. Instead they had decided to set their own agenda. As artists they were often critical of social injustice, yet they also wanted to celebrate the simple beauty and dignity they found in peasant life. This led me to reflect on the many parallels I saw between the Peredvizhniki and post- war British painting, especially ‘The School of London’, as both groups defied conventional attitudes and artistic fashions in favour of pursuing their own programme which often focused on the politics of human experience. -
General Interest
GENERAL INTEREST GeneralInterest 4 FALL HIGHLIGHTS Art 60 ArtHistory 66 Art 72 Photography 88 Writings&GroupExhibitions 104 Architecture&Design 116 Journals&Annuals 124 MORE NEW BOOKS ON ART & CULTURE Art 130 Writings&GroupExhibitions 153 Photography 160 Architecture&Design 168 Catalogue Editor Thomas Evans Art Direction Stacy Wakefield Forte Image Production BacklistHighlights 170 Nicole Lee Index 175 Data Production Alexa Forosty Copy Writing Cameron Shaw Printing R.R. Donnelley Front cover image: Marcel Broodthaers,“Picture Alphabet,” used as material for the projection “ABC-ABC Image” (1974). Photo: Philippe De Gobert. From Marcel Broodthaers: Works and Collected Writings, published by Poligrafa. See page 62. Back cover image: Allan McCollum,“Visible Markers,” 1997–2002. Photo © Andrea Hopf. From Allan McCollum, published by JRP|Ringier. See page 84. Maurizio Cattelan and Pierpaolo Ferrari, “TP 35.” See Toilet Paper issue 2, page 127. GENERAL INTEREST THE MUSEUM OF MODERN ART,NEW YORK De Kooning: A Retrospective Edited and with text by John Elderfield. Text by Jim Coddington, Jennifer Field, Delphine Huisinga, Susan Lake. Published in conjunction with the first large-scale, multi-medium, posthumous retrospective of Willem de Kooning’s career, this publication offers an unparalleled opportunity to appreciate the development of the artist’s work as it unfolded over nearly seven decades, beginning with his early academic works, made in Holland before he moved to the United States in 1926, and concluding with his final, sparely abstract paintings of the late 1980s. The volume presents approximately 200 paintings, sculptures, drawings and prints, covering the full diversity of de Kooning’s art and placing his many masterpieces in the context of a complex and fascinating pictorial practice. -
Network Map of Knowledge And
Humphry Davy George Grosz Patrick Galvin August Wilhelm von Hofmann Mervyn Gotsman Peter Blake Willa Cather Norman Vincent Peale Hans Holbein the Elder David Bomberg Hans Lewy Mark Ryden Juan Gris Ian Stevenson Charles Coleman (English painter) Mauritz de Haas David Drake Donald E. Westlake John Morton Blum Yehuda Amichai Stephen Smale Bernd and Hilla Becher Vitsentzos Kornaros Maxfield Parrish L. Sprague de Camp Derek Jarman Baron Carl von Rokitansky John LaFarge Richard Francis Burton Jamie Hewlett George Sterling Sergei Winogradsky Federico Halbherr Jean-Léon Gérôme William M. Bass Roy Lichtenstein Jacob Isaakszoon van Ruisdael Tony Cliff Julia Margaret Cameron Arnold Sommerfeld Adrian Willaert Olga Arsenievna Oleinik LeMoine Fitzgerald Christian Krohg Wilfred Thesiger Jean-Joseph Benjamin-Constant Eva Hesse `Abd Allah ibn `Abbas Him Mark Lai Clark Ashton Smith Clint Eastwood Therkel Mathiassen Bettie Page Frank DuMond Peter Whittle Salvador Espriu Gaetano Fichera William Cubley Jean Tinguely Amado Nervo Sarat Chandra Chattopadhyay Ferdinand Hodler Françoise Sagan Dave Meltzer Anton Julius Carlson Bela Cikoš Sesija John Cleese Kan Nyunt Charlotte Lamb Benjamin Silliman Howard Hendricks Jim Russell (cartoonist) Kate Chopin Gary Becker Harvey Kurtzman Michel Tapié John C. Maxwell Stan Pitt Henry Lawson Gustave Boulanger Wayne Shorter Irshad Kamil Joseph Greenberg Dungeons & Dragons Serbian epic poetry Adrian Ludwig Richter Eliseu Visconti Albert Maignan Syed Nazeer Husain Hakushu Kitahara Lim Cheng Hoe David Brin Bernard Ogilvie Dodge Star Wars Karel Capek Hudson River School Alfred Hitchcock Vladimir Colin Robert Kroetsch Shah Abdul Latif Bhittai Stephen Sondheim Robert Ludlum Frank Frazetta Walter Tevis Sax Rohmer Rafael Sabatini Ralph Nader Manon Gropius Aristide Maillol Ed Roth Jonathan Dordick Abdur Razzaq (Professor) John W. -
Russian Art 1
RUSSIAN ART 1 RUSSIAN ART Christie’s dominated the global market for Russian Works of Art and Fabergé in 2016, with our Russian Art sales achieving more than £12 million internationally. For the tenth consecutive season, our Russian Art auctions saw the highest sell-through rates in the market. With a focus on outstanding quality, Christie’s continues to attract both emerging and established collectors in the field. For over a decade, Christie’s has set world auction records in every Russian Art sale. We have broken a total of six records in the past two years, including two in excess of £4 million. Christie’s has set world records for over 50 of Russia’s foremost artists, including Goncharova, Repin, Levitan, Vereshchagin, Vasnetsov, Borovikovsky, Serov, Somov, Lentulov, Mashkov, Annenkov and Tchelitchew. Six of the 10 most valuable paintings ever purchased in a Russian Art sale were sold at Christie’s. Christie’s remains the global market leader in the field of Russian Works of Art and Fabergé, consistently achieving the highest percentage sold by both value and lot for Russian Works of Art. Christie’s closes 2016 with a 60% share of the global Fabergé market, and a 62% share of the global market for Russian Works of Art. cover PROPERTY FROM AN IMPORTANT EUROPEAN COLLECTION KONSTANTIN KOROVIN (1861–1939) Woodland brook, 1921 Estimate: £120,000–150,000 Sold for: £317,000 London, King Street · November 2016 back cover PROPERTY OF A MIDDLE EASTERN COLLECTOR A GEM-SET PARCEL-GILT SILVER-MOUNTED CERAMIC TOBACCO HUMIDOR The mounts marked K. -
Henryk Siemiradzki and the International Artistic Milieu
ACCADEMIA POL ACCA DELLE SCIENZE DELLE SCIENZE POL ACCA ACCADEMIA BIBLIOTECA E CENTRO DI STUDI A ROMA E CENTRO BIBLIOTECA ACCADEMIA POLACCA DELLE SCIENZE BIBLIOTECA E CENTRO DI STUDI A ROMA CONFERENZE 145 HENRYK SIEMIRADZKI AND THE INTERNATIONAL ARTISTIC MILIEU FRANCESCO TOMMASINI, L’ITALIA E LA RINASCITA E LA RINASCITA L’ITALIA TOMMASINI, FRANCESCO IN ROME DELLA INDIPENDENTE POLONIA A CURA DI MARIA NITKA AGNIESZKA KLUCZEWSKA-WÓJCIK CONFERENZE 145 ACCADEMIA POLACCA DELLE SCIENZE BIBLIOTECA E CENTRO DI STUDI A ROMA ISSN 0239-8605 ROMA 2020 ISBN 978-83-956575-5-9 CONFERENZE 145 HENRYK SIEMIRADZKI AND THE INTERNATIONAL ARTISTIC MILIEU IN ROME ACCADEMIA POLACCA DELLE SCIENZE BIBLIOTECA E CENTRO DI STUDI A ROMA CONFERENZE 145 HENRYK SIEMIRADZKI AND THE INTERNATIONAL ARTISTIC MILIEU IN ROME A CURA DI MARIA NITKA AGNIESZKA KLUCZEWSKA-WÓJCIK. ROMA 2020 Pubblicato da AccademiaPolacca delle Scienze Bibliotecae Centro di Studi aRoma vicolo Doria, 2 (Palazzo Doria) 00187 Roma tel. +39 066792170 e-mail: [email protected] www.rzym.pan.pl Il convegno ideato dal Polish Institute of World Art Studies (Polski Instytut Studiów nad Sztuką Świata) nell’ambito del programma del Ministero della Scienza e dell’Istruzione Superiore della Repubblica di Polonia (Polish Ministry of Science and Higher Education) “Narodowy Program Rozwoju Humanistyki” (National Programme for the Develop- ment of Humanities) - “Henryk Siemiradzki: Catalogue Raisonné of the Paintings” (“Tradition 1 a”, no. 0504/ nprh4/h1a/83/2015). Il convegno è stato organizzato con il supporto ed il contributo del National Institute of Polish Cultural Heritage POLONIKA (Narodowy Instytut Polskiego Dziedzictwa Kul- turowego za Granicą POLONIKA). Redazione: Maria Nitka, Agnieszka Kluczewska-Wójcik Recensione: Prof. -
Invisible Architecture: Ideologies of Space in the Nineteenth-Century City
Invisible Architecture: Ideologies of Space in the Nineteenth- Century City A thesis submitted to The University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities. 2014 Ben Moore School of Arts, Languages and Cultures 2 Contents Abstract 5 Declaration and Copyright Statement 6 Acknowledgments 7 Note on Abbreviations and Editions 8 Introduction 9 ‘Invisible’ vs ‘Ideology’ 11 The Constellation and the Dialectical Image 17 The Optical Unconscious 21 Architectural Unconscious 24 The City from Above and the City from Below 29 Reading Modernity, Reading Architecture 34 Cities and Texts 36 Chapters 1. Gogol’s Dream-City 41 Unity and Multiplicity 45 Imagination and Dreams 57 Arabesque, Ecstasy, Montage 66 The Overcoat 75 2. The Underground City: Kay, Engels and Gaskell 80 James Kay and Friedrich Engels’s Manchester 84 Cellar-dwelling 93 Mary Barton’s Cellars 100 3. The Unstable City: Dombey and Son 113 The Two Houses of Dombey 117 The Trading House 120 The Domestic House 132 The Railway 141 4. The Uncanny City: Our Mutual Friend 154 3 In Search of a Clue 158 The River and the Gaze 166 Uncanny Houses 171 Hidden Secrets and Hauntings 174 Uncanny Return 180 The Hollow down by the Flare 184 5. Zola’s Transparent City 192 The Spectacle as Relation between Part and Whole 192 Zola and Montage 199 La Curée and Haussmann’s Paris 204 Au Bonheur des Dames and the Commodified World 215 Conclusion: Thoughts on Whiteness 226 The Whiteness of the Whale 227 Two Theories of Whiteness 232 Whiteness in the City I: Concealment and Revelation 234 Whiteness in the City II: Ornament and Fashion 239 Whiteness in the City III: Targeted by Whiteness 244 Carker’s Whiteness 246 Bibliography 249 List of Illustrations 1. -
Prince Demidoff's Greek Slave
Helen A. Cooper Prince Demidoff’s Greek Slave Nineteenth-Century Art Worldwide 15, no. 2 (Summer 2016) Citation: Helen A. Cooper, “Prince Demidoff’s Greek Slave,” Nineteenth-Century Art Worldwide 15, no. 2 (Summer 2016), http://www.19thc-artworldwide.org/summer16/cooper-on-prince- demidoff-the-greek-slave. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Cooper: Prince Demidoff’s Greek Slave Nineteenth-Century Art Worldwide 15, no. 2 (Summer 2016) Prince Demidoff’s Greek Slave by Helen A. Cooper On December 15, 1843, the man who would become Hiram Powers’s most distinguished private patron visited the artist’s studio for the first time.[1] Anatole Demidoff, Prince of San Donato, one of the greatest collectors of the age, had come to see for himself the work of the much-talked-about American sculptor in Florence.[2] For Powers (1805–73), the visit by such a notable person would have been cause for excitement at any time, but at this moment it held special promise. Although Powers’s creative energy was at a high point, the state of his finances was precarious. He had orders for scarcely a half-dozen portrait bust commissions and none for a statue of an ideal subject. He was seriously considering abandoning his career and returning to his home in Cincinnati, Ohio.[3] Prince Demidoff had a taste for contemporary marble sculpture. He admired the nearly finished plaster model of The Greek Slave and saw the marble block that was already being prepared—no version had yet been carved—but to Powers’s great disappointment, he left without placing an order. -
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. -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
The Studio Homes of Daniel Chester French by Karen Zukowski
SPRING 2018 Volume 25, No. 1 NEWSLETTER City/Country: The Studio Homes of Daniel Chester French by karen zukowski hat can the studios of Daniel Chester French (1850–1931) tell us about the man who built them? He is often described as a Wsturdy American country boy, practically self-taught, who, due to his innate talent and sterling character, rose to create the most heroic of America’s heroic sculptures. French sculpted the seated figure in Washington, D.C.’s Lincoln Memorial, which is, according to a recent report, the most popular statue in the United States.1 Of course, the real story is more complex, and examination of French’s studios both compli- cates and expands our understanding of him. For most of his life, French kept a studio home in New York City and another in Massachusetts. This city/country dynamic was essential to his creative process. BECOMING AN ARTIST French came of age as America recovered from the trauma of the Civil War and slowly prepared to become a world power. He was born in 1850 to an established New England family of gentleman farmers who also worked as lawyers and judges and held other leadership positions in civic life. French’s father was a lawyer who eventually became assistant secretary of the U.S. Treasury under President Grant. Dan (as his family called him) came to his profession while they were living in Concord, Massachusetts. This was the town renowned for plain living and high thinking, the home of literary giants Amos Bronson Alcott, Ralph Waldo Emerson, Nathaniel Hawthorne, and Henry David Thoreau at Walden Pond nearby.