Alex Janvier: Power Struggle (original) (raw)
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Connotations of Identities in William Kurelek’s Paintings: Typology and Critical Art Analysis
Rupkatha Journal on Interdisciplinary Studies in Humanities, 2021
Despite the high popularity of William Kurelek in Canadian society, relatively few interpretations of his works can be found at the scientific, art criticism level. Based on the analysis of William Kurelek’s artistic legacy a typological study was conducted identifying the Canadian artist’s thinking and personal position declared openly in his art. A study of the thematic content of his paintings led to the identification of the following categories: personal, religious and awareness of community membership. The article outlines the difference between the notion of national and ethnic identity, which the artist saw in the difference between national and ethnic identity an instrument to self-awareness through membership in a particular community as a result of common spiritual, religious and social convictions with shared modes of behavior, mores and traditions. As a result of the study, we derived a certain formula of identity in the works of William Kurelek, which the author unders...
Savannah College of Art and Design , 2021
This text explores the characteristics of the paintings that make up my thesis show, In the Pines, in which each image bristles with narrative aspects and hints of everyday magic. In this document, I discuss my obsession with storytelling while introducing the overarching themes that mark my work. Also, I illuminate the influences, both Contemporary and Historical, that have stirred my creative energies: forces that are both familiar and strange that drive the work’s subject matter, content, and materiality. For generations, my family has spun their stories in the Ouachita National Forest in western Arkansas. My paintings for In the Pines focus on these stories and the particular landscape that has nurtured them. I also touch upon developing my style, which I have dubbed ‘Magical Regionalism,’ in which Regionalism and Magical Realism entwine. Keywords: Magical Regionalism, Regionalism, Magical Realism, fairy tales, mythology, narrative paintings, storytelling, heritage, Arkansas, Ouachita National Forest https://scad.lunaimaging.com/luna/servlet/s/t6k6a7
RUDN Journal of Studies in Literature and Jour- nalism, 28(1), 92–98. http://doi.org/10.22363/2312-9220-2023-28-1-92-98 , 2023
The authors correlate and interpret the same plot in different types of art, i.e., paint-ing and literature. Such a rapprochement is justified by the intertextual reference of Bakhyt Kenzheyev's poem Hunters in the Snow (1984) to the painting of the same name by Peter Brueghel the Elder (1665). The languages of the visual and the verbal are organized different-ly: the painting offers its viewer a direct contemplation, while the world of the poem gradual-ly unfolds itself in the reader's imagination. The images in the painting are static, whereas textual images reveal themselves in a certain sequence, according to R. Ingarden. The authors believe that the images of the house and the forest are the key difference between the figura-tive system of the painting and the text. In the painting, the viewer sees the house and the fo- rest from the outside only, while the text gives its reader an opportunity to see them from the inside. The images we see in Brueghel's painting differ from those we see in our mental eye when reading Kenzheyev's poem because the narrator shifts between the space of the painting, here he is one of the hunters, and the position of an outside observer. Therefore, one and the same plot can be translated from the language of painting into the language of poetry, but the change in the format of visibility is bound to cause various semantic changes.
Before Warhol: Anthony Kubek and the Problem of Carpatho-Rusyn American Art
Richnyk Ruskoi Bursy, 2023
While Andy Warhol is the most well-known American artist of Carpatho-Rusyn heritage, he was not the first. This article argues that the first accomplished Carpatho-Rusyn American artist is the hitherto unknown painter Father Anthony Kubek (1885-1971), the oldest son of the celebrated writer Emil Kubek. Trained by the masters of the Munich School and Hungarian impressionism and in the plein-air method of the Nagybánya artists’ colony, Kubek established his aesthetic in the major centers of Central European modernism and gained renown for his oil paintings of urban and natural landscapes and secular and sacred still lifes. After emigrating to America, he was known for his religious murals, often anonymously executed, that adorn dozens of Greek Catholic churches in New York, New Jersey, and Pennsylvania. Many Carpatho-Rusyn Americans own a copy of his best-selling print Our Father (1911) that illustrates the Lord’s Prayer; he also established his legacy in the new world by illustrating his father’s poems, short stories, and the first novel written in Rusyn Marko Šoltys (1923). After retiring to California, Kubek continued to develop his artistic pursuits, for he helped spread the rus’ka vira to the Pacific and developed his talents in iconography and portraiture. Kubek’s artistic accomplishments were largely forgotten after his death; he is not mentioned in Paul Robert Magocsi’s Our People: Carpatho-Rusyns and Their Descendants in North America (1984) nor the Encyclopedia of Rusyn History and Culture (2002). However, in light of the author’s discovery in 2022 of over 100 of Kubek’s paintings in a private collection, it is now possible to write both an interpretive history of his work and the artistic biography of the first Carpatho-Rusyn American artist.