18th-20th century Modern/Comtemporary Art Research Papers (original) (raw)

The Body-machine from Michael Phelps to Oscar Pistorius discusses in retrospection the utilitarian view about the body that should be productive. From a utilitarian perspective, the body is not personal belonging but is separated from the human and transformed into a working machine. This view about the body raises many ethical problems especially for people that are not so productive such as handicapped people. Evidence for this can be found in professional sport. This process is essential for athletes. In the early 20 th century the athlete's body-machine was produced for the needs of professional sport. Those new athletic body-machines have become very important because they produced symbolic capital for their countries. The products, achievements, and especially the Olympic medals of athletes fulfill the nationalist agenda which, in Europe, was especially influential in that period. Athletes' achievements from international sport competitions produce symbolic capital in a similar way to archeological artifacts or the works of " national " writers. The gold medal and the world record can stimulate national dignity and consolidate people from a certain community. Top athletes are very famous and can become decision makers. However, very often this symbolic capital serves the purposes of state propaganda. Such examples are provided in this paper. The aim of this paper is to demonstrate the inhumane practice of using athletes as gold producing machines rather than letting them develop fully their human potential.

- by Boryana Angelova-Igova
- •
- Contemporary Art, Propaganda, Sports History, Cold War

Many of the collections that form the core of the museums in the United States were assembled by women. While much literature looks at female collectors’ individual lives in-depth, few compare collectors through a steady narrative. To do so would enhance the historical understanding of women who built collections during the turn of the twentieth century, as their bonds with one another were vital to their collecting practices. In my paper, I explore women collector’s friendships during this period through two case studies: the relationship between Etta Cone and Gertrude Stein, and the friendship between Abby Aldrich Rockefeller and gallerist Edith Gregor Halpert. It is my aim to give a fuller and more accurate picture of the lives of these women, as well as the social forces that influenced them and the collections they left behind.
I base my studies on a close reading of letters and artwork exchanged between these four women. I compare these with the work of contemporary scholars in analyzing women art collectors, as well as changes in the social roles that women occupied in early 1900s America. These collectors can be looked at as byproducts of the society they lived in and the people they interacted with. Friendship is so integral to these women’s collecting practices that they cannot be thought of as individuals independently shaping American culture, but rather, as a network of women whose friendship and communication created a formidable force in the artistic holdings of the United States.

- by Kat Zagaria
- •
- Art History, Women's Studies, Contemporary Art, Visual Culture

While in San Francisco, California, in 1930 and 1931 to execute several mural commissions, including The Allegory of California and The Making of a Fresco, the famed Mexican muralist Diego Rivera also produced an associated sketchbook. In 49 charcoal drawings, plus two additional watercolor landscapes, Rivera sketched the land, industry, and people of Northern California, in particular miners and the mining environment, as well as important patrons of his work. In this article, we contextualize the sketchbook within the history of California, identify several sitters for Rivera's portrait sketches, and additionally suggest reattributing one of the sketches to the artist's wife, Frida Kahlo.

- by Maite Alvarez, Ph. D. and +1
- •
- Art History, Modern Art, Modernism (Art History), California History

The article is based on the research dedicated to two masterpieces of the Twentieth-century architecture: the Novocomum
residential building in viale Giuseppe Sinigaglia in Como (Italy) by Giuseppe Terragni (1904–1943) and
the Zuev Workers’ Club in Lesnaja ulitsa in Moscow (USSR, now Russia) by Ilya Golosov (1883–1945). Both designed
and built at the same time — between 1927 and early 1930, two buildings have a similar solution of the corner
part — expressive glass cylinder. Although realized in different countries and circumstances, they become for years
a case for comparisons, and a cause for suspicions in plagiary. Despite the case is noticeable in history of modern
architecture, it becomes for the first time the case for specific study.

- by Michael Lucken
- •
- Asian Studies, Japanese Studies, Japanese Language And Culture, Modern Art
- by Samantha Baskind
- •
- Abrahamic Religions, Jewish Studies, Hebrew Bible, Modern Art

Un recorrido sobre la problemática de lo nacional en la pintura chilena de finales del siglo XIX y principios del XX, dentro de un contexto de consolidación de un arte nacional. Se tratará de indagar la modernidad artística chilena desde una perspectiva crítica en la búsqueda de un nacionalismo, donde la tradición y las costumbres también forman parte de esta modernización estética y cultural. Tal recorrido se realizara a partir de fuentes escritas como también desde el análisis de imágenes. Las diferentes miradas sobre lo nacional las observaremos en un conjunto de pinturas de diferentes artistas chilenos, entre ellos: Pedro Lira, Alberto Orrego Luco, Ramón y Pedro Subercaseaux.

- by Michelle J Sepúlveda
- •
- Art History, Latin American Art, Modern Art, National Identity

В статье рассматриваются (авто)биографические хореографические спектакли в контексте «архивного импульса», переосмысления статуса танцевальных постановок как источников культурной памяти. Концепт тела как архива применяется в аналитике современных автобиографических и биографических хореографических спектаклей, а также произведений пост-танца, пришедших на смену «аналитическому танцу постмодерна» 1950-60-ых гг. и «метафорическому танцу постмодерна» 1970-ых гг. Автор показывает как на исходе постмодерна одним из главных тематизов искусства вновь становится память, что дает повод говорить о том, что «воля к архивированию» лежит в основе современной культуры. Анализируются развивающиеся на протяжении 20 века стратегии танца и их влияние на формирование современных хореографических подходов к темам прошлого, реалиям личной истории.

- by Daria Gorbatsevich
- •
- Cultural Studies, Theatre Studies, Dance Studies, Choreography

Edited journal: Kees Veelenturf, “Het bal masqué van James Ensor”, pp. 4-7. Willeon Slenders, “Satyrs: van satyrspel tot Renaissance”, pp. 10-13. Sofie Fest, “Mariken op de Grote Markt”, pp. 14-15. Samuel Mareel & Stijn Bussels,... more

- by Menno Jonker
- •
- Art History, Theatre History, Renaissance Studies, Performance Art

At its height in the late nineteenth and early twentieth centuries, Japonisme had a tremendous impact on Western art. In this publication, author Ricard Bru approaches the cultural phenomenon of Japonisme from an innovative standpoint. He presents an in-depth discussion of the influence of Japanese printed erotic imagery by ukiyo-e masters such as Kitagawa Utamaro and Katsushika Hokusai on European artists, including Edgar Degas, Auguste Rodin, Henri de Toulouse-Lautrec, Gustav Klimt and Pablo Picasso, as well as writers, critics, and collectors, such as Edmond de Goncourt, Joris-Karl Huysmans, and Émile Zola. With over 160 color illustrations sourced from public and private collections, Erotic Japonisme demonstrates the rich artistic dialogue that existed between Europe and Japan.

- by Ricard Bru
- •
- Japanese Studies, Art History, Japanese Art, Eroticism

Tekst govori o povijesti izgradnje i opremanja župne crkve Imena Marijina u osječkom Donjem gradu u 18. stoljeću na temelju arhivskih, kartografskih, grafičkih i drugih izvora. Istraživanjima se pokazalo da je današnja građevina podignuta tijekom dviju građevinskih kampanja na mjestu starije crkve iz 1714. Sjeverni dio, zvonik s korom, podignut je između 1758. i 1763., a potom je 1768. – 1775. uslijedilo podizanje broda i svetišta. Stilsko rješenje arhitekture crkve, ponajprije zvonika i zapadnog pročelja, povezuje se s mogućim uzorima u baroknoj arhitekturi Italije i Srednje Europe, a opremanje s djelokrugom umjetnika-obrtnika koji su sredinom i u drugoj polovini 18. stoljeća radili u Osijeku. U tekstu se donosi niz imena raznih umjetnika koji su radili za donjogradsku crkvu koji se do sada u literaturi nisu vezali uz ovu građevinu (graditelj Joseph Hatzinger, kipari Georg Egger i Joseph Erdt, stolari Heinrich Kessler i Thomas Firtler, slikar Franciscus Antonius Witz).

- by Dragan Damjanovic
- •
- Art History, Architecture, History (Architecture), Habsburg Studies

The traditional appraisal that artists in Brazil were unable or unwilling to depict black subjects, during the Imperial and early Republican periods, is at odds with much of what was actually produced. Following from the success of abolitionist imagery in the mid-nineteenth century, a number of visual artists in Brazil were actively establishing a critical discourse that linked race and inequality as early as the 1890s, two decades before such critiques became widespread in literature and the social sciences. Specific works by Eliseu Visconti, Antonio Ferrigno and Modesto Brocos are singled out and examined, in this respect. The final section of the text examines the issue of self-representation, focusing on the work of Arthur Timótheo da Costa in the 1900s and 1910s. A marked contrast exists between the relatively neglected efforts of these artists and the much lauded drive of Brazilian Modernism to embrace the theme of race, after 1922.

This is a brief overview of the family history of the celebrated Arab-Javanese painter, Raden Saleh Syarif Bustaman (born Semarang circa 1811-died Bogor 1880), looking in particular at the ways in which his Semarang-based family's political choices both before and in the early months of the Java War may have influenced Saleh's anti-colonial themes in his paintings, in particular his 'Capture of Diponegoro' (1857) and 'Flood in Java' (1861). This paper was first presented at the Bicentennial Seminar (1810-2010) 'Raden Saleh Syarief Bustaman; An Artist and His Life, The Many Worlds of Raden Saleh' organised the Jakarta Institute of the Arts (IKJ - Institut Kesenian Jakarta) at Raden Saleh's former Gothic-style Villa (now the RS Cikini / Cikini Hospital) from 23-26 June 2010. An Indonesian-language version of this paper was published in September 2018 in the paperback version of Werner Kraus's 'Raden Saleh: The Beginning of Modern Indonesian Painting' ('Raden Saleh: Kehidupan dan Karyanya. Jakarta: KPG). But readers should note that the present English version reflects the latest research, so the preface in Werner's fine biography now needs to be updated with new information kindly provided by the Hague-based Raden Saleh expert, Dr Marie-Odette Scalliet. This updated version was posted on 14 August 2021.

- by Peter B R Carey
- •
- History, Cultural History, Art History, Indonesian Studies

This course will introduce students to both the practice and history of art theory and criticism. Students will study the theories and tactics that undergird art criticism as a unique discipline and explore its links to art history. Special attention will be paid to the various types of methodology that have been applied to the analysis of art, including connoisseurship, biography, iconology, psychoanalysis, semiotic, and feminist approaches.

Σ ε λ ί δ α | 1 ΕΙΣΑΓΩΓΗ Αντικείμενο μελέτης της παρούσας εργασίας θα αποτελέσει η διερεύνηση της «συνομιλίας» μεταξύ των καλλιτεχνικών ρευμάτων αλλά και μεταξύ των διαφορετικών εκφράσεων της τέχνης στην Ευρώπη και την Αμερική όπως αυτή διαμορφώθηκε κατά τον 20 ο αιώνα και ιδιαίτερα μετά το Β΄Παγκόσμιο Πόλεμο. Ιδιαιτέρως θα μας απασχολήσει ο ρόλος των καλλιτεχνικών πρωτοποριών στη διαμόρφωση των Happenings και η επιδραστικότητα των ευρωπαίων εμιγκρέδων συνθετών στην εξέλιξη της αμερικανικής μουσικής σκηνής. Παράλληλα θα προσεγγίσουμε την αρχιτεκτονική κίνηση του Brutalism η οποία αν και εξελίχθηκε σε παγκόσμια τάση, στην «καθαρή» της μορφή παρέμεινε ένα βρετανικό φαινόμενο.

Bu aratırmada Robert Rauschenberg'in sanat yaamı süresince resim, baskı resim, kolaj, heykel, tiyatro, dans, asamblaj, ready-made, enstalasyon, performans sanatı gibi sanat disiplinlerinde ürettii eserler, tarihsel süreç, sanat... more

Knjiga Imago, imaginatio, imaginabile. Zbornik u čast Zvonka Makovića
objavljena je u izdanju Filozofskog fakulteta Sveučilišta u Zagrebu, a u
njezinoj su realizaciji sudjelovali povjesničari umjetnosti, povjesničari,
filozofi, konzervatori, etnolozi i muzejski djelatnici iz Hrvatske, Srbije
i Italije. Zbornik na 448 stranica donosi 22 priloga o različitim temama s
polja povijesti umjetnosti i kulturne povijesti te životopis i bibliografiju profesora Zvonka Makovića. Autori priloga su: Sanja Cvetnić, Franko Ćorić, Nadežda Čačinovič, Dragan Damjanović, Frano Dulibić, Ljerka Dulibić, Iskra Iveljić, Jasna Jovanov, Irena Kraševac, Silvija Lučevnjak, Lovorka Magaš Bilandžić, Tonko Maroević, Dino Milinović, Jasminka Najcer Sabljak, Iva Pasini Tržec, Milan Pelc, Tihana Petrović Leš, Giovanni Rubino, Katarina Nina Simončič, Ana Šeparović, Andreja Šimičić, Žarko Španiček, Radoslav Tomić i Daniel Zec.
Urednici knjige su Lovorka Magaš Bilandžić i Dragan Damjanović.

- by Dragan Damjanovic and +11
- •
- Visual Studies, Iconography, Art History, Contemporary Art

Modern art remains a mystery because most people – including art critics and even artists themselves – are unable to see beyond the imprisoning confines of classical fine art. Everything is judged in terms of beauty and technical skill, when it should be viewed from a quite different perspective, namely that of the imaginative world that the modern artwork is a part of. Successful and authentic modern art is about creating worlds of the imagination - like a film, or a novel - only this time using different media. Modern artworks are like lobby cards and film stills to imaginative worlds, and they should not be seen as aesthetic ends-in-themselves. And for an artwork to be authentically artistic, as opposed to merely crafted, it must invoke a ‘strange and disturbing’ imaginative world, not a variant of the world we currently inhabit, as that world is the world of crafted and aesthetic objects.

- by Jakob Zaaiman
- •
- Philosophy, Aesthetics, Art History, Performing Arts

L'articolo è il maggiore approfondimento sul periodo Neometafisico (1968-1978) di Giorgio de Chirico. Il pittore nei suoi ultimi anni di vita riprende infatti i temi della sua pittura tra anni Dieci, Venti e Trenta rielaborandoli con uno sguardo felice e luminoso in opere spesso legate al tema nietzscheano del ritorno. L'articolo collegando strettamente la pittura e i testi di de Chirico chiarisce così i nessi simbolici di opere come "Il Figliol Prodigo", "Il ritorno al castello avito", "Il ritorno di Ulisse", "Orfeo Trovatore stanco" e del ciclo di opere legate alla figura di Oreste, in cui si evidenzia il tema neometafisico della consolazione e che si chiarisce nelle sue allusioni grazie all'influenza di Thomas de Quincey, scrittore amato e citato molto spesso da de Chirico.

Per le referenze fotografiche si veda a pagina Tutti i diritti di riproduzione sono riservati.

"Picasso. Transfigurations" (Exhibition catalogue, Hungarian National Gallery, Budapest, 2016)

Franz Caucig (1755-1828) Italienische Ansichten. Johannes Röll und Ksenija Rozman. Cyriacus. Sudien zur Rezeption der Antike Band 11.

Raphael’s great superiority is the result of his capacity to feel deeply which, in his case, destroys form. The form in his works is what it should be in ours: only a pretext for the transmission of ideas, sensations, diverse poesies.... more

Raphael’s great superiority is the result of his capacity to feel deeply which, in his case, destroys form. The form in his
works is what it should be in ours: only a pretext for the transmission of ideas, sensations, diverse poesies.
Honoré de Balzac. Le Chef-d’œuvre inconnu.

- by Marie Gispert and +10
- •
- Cultural Studies, Art History, Media and Cultural Studies, Digital Humanities
- by Eliezer Papo and +1
- •
- Jewish Studies, Visualization, Visual Culture, Jewish Mysticism

One of the latest disciples of José Malhoa, Maria de Lourdes de Mello e Castro (1903-1996) was undoubtedly part of the late-naturalist movement, one of the most original artists of the twentieth century. In addition to the interest that their career and work can arouse in themselves, they are simultaneously representative of the various aspects that marked the artistic creation of the 20th century, namely in the understanding of the historical, pedagogical, psychological, sociological and artistic, of the pictorial production of Portuguese women. In the year in which the 110th anniversary of her birth is celebrated, this book, although it is the most complete work on the painter, aims above all to constitute a contribution that, besides the study of its life and work, also aims to provide a better knowledge of the diverse realities of Contemporary Portuguese Art.

Promossa dall’Associazione Culturale “Maestro Rodolfo Lipizer” di Gorizia, la pubblicazione presenta le cartoline dipinte all'acquerello dall’architetto Max Fabiani e alcune opere grafiche riunite in unico catalogo. Un invito al lettore a godere e conoscere tutta l’umanità e la simpatica ironia del noto Architetto che qui troviamo anche sorprendente artista..
A cura di Diego Kuzmin

This paper investigates Chinese diasporic modern art in Singapore through analysing Cheong Soo Pieng's (Xiamen, 1917 — Singapore, 1 July 1983) works and experiences before and after relocating from China to Singapore in 1946. Despite the... more

- by Anne Goh
- •
- Abstract Art, Modern Art, Chinese Art, Abstraction

Bettina Della Casa (ed.). Boetti/Salvo. "Vivere lavorando giocando" / "Living Working Playing". Museo d'Arte della Svizzera Italiana, LAC Lugano Arte e Cultura, Lugano, 2017: 22-30, 321-327. Bellinzona: Edizioni Casagrande, 2017.... more

- by Francesco Guzzetti
- •
- Cultural Studies, Visual Studies, Italian art, Postmodernism

Despite the fact that in the history of Croatian architecture of the interwar period Expressionism neither took firm hold nor had the significance and reception like it had in Germany, there exists a whole series of architectural designs which display a pronounced influence of this style. In Croatian architecture Expressionism appeared roughly from around 1922 until the end of the 1920s and in the work of some architects even later, in the course of the 1930s. It occurred mainly under the influence of German and partly Austrian architecture and as a reflection of the incursion of Modernism, not as a result of the chaotic post-war climate, inflation or other economic changes. Architects of Croatian Expressionism did not form a homogenous group – they neither shared the same formation or social convictions, nor belonged to the same political circles. What they had in common were aspirations for the accommodation of architecture to the new world, its new needs and technical possibilities. Two German architects had a profound influence on the emergence of Expressionism in Croatian architecture – Hans Poelzig and Peter Behrens. Hans Poelzig trained three Croatian architects who in the course of the 1920s produced designs influenced by Expressionism: Drago Ibler, Zdenko Strižić and Josip Pičman. Especially important is the oeuvre of Drago Ibler, who created a whole series of Expressionist projects, most of which remained unbuilt. Particularly significant are his designs for the Epidemiology Institute (1922), for the Central Workers’ Insurance Office (1923) and for the Trading High School (1928) in Zagreb. His most important executed work of the 1920s was the interior of the theatre section of the pavilion of the Kingdom of Serbs, Croats and Slovenes at the 1925 Exposition internationale des Arts décoratifs et industriels modernes in Paris. Between 1926 and 1943 Ibler was the head of the Department of Architecture of the Academy of Fine Arts in Zagreb. Some of the architects trained at the Department, like Stjepan Planić, embraced Expressionist aesthetics. Peter Behrens’s influence on the emergence of Expressionism in Croatian architecture occurred through the work of his disciples educated at the Viennese Akademie der bildenden Künste (his most important Croatian disciple was Juraj (Georg) Neidhardt), as well as through his participation in the construction of the Zagreb City slaughterhouse complex. Behrens was the representative of architect Walter Frese from Berlin, who in 1928 produced the design for the city’s slaughterhouse, constructed between 1929 and 1931. Stylistic features of the buildings of this complex display a combination of elements of Expressionist and Neue Sachlichkeit architecture. Besides Behrens’s and Poelzig’s disciples, a number of Zagreb architects of the older generation also designed under the influence of Expressionist aesthetics. Among the most important is Ignjat Fischer, designer of the interior of the City Café at the Ban Jelačić Square in the very centre of Zagreb. It was executed in the years 1929-31 and represents the most important example of Expressionist architecture in Croatia. The City Café was designed under the influence of Poelzig’s works, more precisely of his most important building, the Grosses Schauspielhaus in Berlin. Almost at the same time, in 1928-30, the same square was embellished by the hotel and department store building owned by Svetozar Milinov and designed by Dioniz Sunko, which originally included an advertising tower with elements of Backsteinexpressionismus. A number of designs related to Expressionist architecture can be associated with the so-called Foundation block planned in the centre of Zagreb in late 1920s and early 1930s (among which stand out designs by Stjepan Planić, and Josip Pičman and Josip Seissel). From that time on, the International Style started to become fully dominant in Croatian architecture.

- by Dragan Damjanovic
- •
- Art History, Architecture, History (Architecture), Modern Art

The catalogue includes about 150 entries, some available here for download.

In Zürich sind Kontroversen um das Schauspielhaus (Abriss oder Umbau des Theatersaals) und um das Kunstmuseum (Sammlung Bührle im Chipperfield-Annex) entbrannt. Der Beitrag blendet in den Zweiten Weltkrieg zurück. Er zeigt, wie intensiv der Waffenfabrikant Bührle am Zürcher Heimplatz Kulturpolitik betrieb und welche Auswirkungen das bis heute hat.
Für die Version mit Links und Illustrationen: URL-Adresse anwählen:
https://geschichtedergegenwart.ch/heimsuchungen-am-heimplatz-wie-der-waffenfabrikant-emil-g-buehrle-in-zuerich-kulturpolitik-betrieb/
In Zurich, controversies have flared up over the Schauspielhaus (demolition or reconstruction of the theater hall) and the Kunstmuseum (Bührle Collection in the Chipperfield Annex). The article looks back to the Second World War. It shows how intensively the arms producer Bührle pursued cultural policy on Zurich's Heimplatz and what effects this still has today.
For the version with links and illustrations: Please select URL address.

This paper explores the evolution of the modern political cartoon, from the earliest days of print culture, through five nominal 'centuries' of form: the “Long Sixteenth Century” of “flysheets” & pamphlets; the Eighteenth Century of stand-alone satirical prints; the Nineteenth Century of serio-comic weeklies; the Twentieth Century of mass-circulation daily newspapers; and the Twenty-First Century of webcomics. Although focused on the form and medium in which cartoons appeared, the paper seeks to account for change via a number of different factors (including physical; generational; cultural; socio-economic; technological; political; aesthetic; and legal) that have shaped the political cartoon over time. This preliminary discussion is one facet of a broader project: to account for the global history of the political cartoon.

This essay takes as its subject the French painter Maurice Utrillo (1883-1955) who painted numerous cityscapes of the Montmartre quartier (district) in Paris, famous for its reputation as the centre of artistic activity during La Belle Époque (1871-1914). This essay contextualizes Utrillo by placing him in a cultural and historical frame of reference, demonstrating that he was part of a wider cultural project in both Montmartre and France after the First World War.