Art Movement Research Articles

ART IN PARTNERSHIP WITH HUMAN AND ARTIFICIAL INTELLIGENCE: CREATIVITY AND ALGORITHM

Art has been the most creative form of humans’ self-expression since time immemorial and has taken many different forms over the years. Furthermore, digitalization in all aspects of life has foreshadowed radical changes in art in accordance with the opportunities provided by technology. In this study, the possibility of transferring all the characteristics of an artist defining his art to artificial intelligence (AI) has been discussed, and whether the re-evaluation of art production with the developments in AI and the artist’s being alive for the continuity of his art are essential or not has been examined. With the distinguished group study carried out in this scope, it has been aimed to explore beyond traditional approaches, putting people at the centre of the creative process, and has greatly benefited from the expertise of three contemporary artists working at the meeting point of art and AI in Istanbul, Turkey. In this context, the in-depth interview method as a qualitative research method has been conducted in the study, the opinions of the interviewed artists on the topic have been evaluated, and the related questions of the arguments have been analysed. All things considered, two conclusions have been drawn: an artist’s work or a particular section of an art movement might be reproduced using possibilities created by digital art, and given the current opportunities and conditions of this age, AI systems are unlikely to replace artists and generate art instead of them.

Паттерны окуломоторной активности при восприятии различных направлений живописи: айтрекинг исследование

The introduction discusses the role of art in society. Art is one of the ways of learning and describing the world, and its role in the development of an integral personality is enormous. The theoretical analysis presents some research within the framework of neuroaesthetics. The choice of stimulus material for the study is discussed – paintings from five art movements: Realism, Impressionism, Modernism, Cubism, and Surrealism. It is suggested that in the process of viewing works of art from different movements, oculomotor activity (OMA) will be different. Empirical analysis showed differences in OMA parameters: blinking, fixations, and saccades, among students when they were presented with pictures of different art movements. It was found that the subjects showed emotional excitement while perceiving paintings from the Impressionist movement. Paintings of Modernism and Impressionism presented the least concentration of attention but the greatest interest. A high concentration of attention was observed during visual perception of realism pictures. The greatest cognitive load was detected at the time of presentation of cubist paintings. Rational perception and memory resources are more involved in the processing of Surreal pictures. In conclusion, the characteristic patterns of OMA in the perception of various art movements are noted. Research results may be useful in the practice of passive art therapy as part of psychoprophylaxis programs.

The AIA 1951 Lithographs: Contesting National Identity in Intermodern Prints

Abstract This essay examines the Artists’ International Association 1951 Lithographs, a series of prints produced to mark the Festival of Britain. It argues that these works, like others from the period, have received limited art-historical attention due to the dominance of a teleological narrative whose values are rooted in subsequent art movements. It proposes an alternative, ‘intermodern’ framing that emphasises continuity with pre-war ideals of democratising art ownership, and encourages historically informed analysis of the series’ images. In line with recent scholarship on the Festival of Britain, the interpretations offered show the series projecting an idea of Britain as harmonious, egalitarian and optimistic, in a way that supported the Labour government’s programme of social democratic reform. However, some images are also understood as manifesting ideological division and class conflict, as well as late imperial anxiety, in a way that ran counter to the Festival’s conceit of national harmony.

Spirituality in the Black Arts Movement

The article investigates the significance of spirituality in the works of the Black Arts Movement poets. By examining the poetry of Amiri Baraka and Maya Angelou, the study uncovers the various facets of spirituality that African Americans embrace, including “Africanized” Christianity, jazz poetry, and Islam. The article aims to show if spirituality is merely a way to celebrate cultural diversity or a vehicle for social change. It draws on Gilles Deleuze and Félix Guattari’s theory of minor literature to demonstrate that the Black Arts Movement is a minor literature, whereby cultural markers such as spirituality are politicized. Because spirituality endows the Black Arts Movement with a political value and a collective enunciation, this movement becomes a revolutionary force that aims to enact social change. This politicized spirituality is symptomatic of a desire to foster a strong, positive bond with Africa, which is an antidote to the strangeness of mainstream society. The remembrance of the African past through Afrocentric spirituality is a tool for defining and redefining one’s sense of belonging. It is also a quest for an essentially black aesthetic.

Aesthetic Principles of European and Russian Romanticism, Azerbaijani Romanticism

At the end of the 18thcentury, the emergence of the artistic movement of Romanticism in European culture led to innovations in aesthetic approaches not only in this region of the world, but also in a more global environment. Speaking about the genesis of Western European romanticism, one cannot ignore the role of the cultural and philosophical ideas of romanticism in those trends and methods that will be formed in subsequent stages. There is no doubt that the emergence of romanticism was able to change the worldview of people who lived at that stage, influencing all spheres of social thought. However, it is illogical to forget that there is a certain disharmony in the created process.

Monet’s Unified View: The Fusion of Eastern and Western Cultures

When Japan opened its borders in the 1850s, citizens, especially those from France, were awed by the different styles of art the Japanese had compared to the West. As this interest in Japanese culture grew, more and more people collected Japanese prints, books, and other goods. Many artists took inspiration from the Japanese art style, such as the use of bright colors, unusual compositions, and flat, unrealistic perspectives. This eventually led to the creation of a new art movement called Japonisme. One major artist within the movement was Claude Monet, who fell in love with Japan’s style of art and admired nature's role within it. Inspiration from the culture can clearly be seen in his Japanese-styled garden at Giverny but also in the painting La Japoinaise (1876), which allowed him to critique fellow French artists who embraced the Japonisme movement for its exoticism. He instead relied on Japanese forms and color to create his own style of art. While most scholars agree that Monet was trying to criticize Japonisme, they mainly focus on identifying elements of Japanese culture in the painting, without fully addressing why and how Monet utilized these stylistic traits. Rather than focusing solely on aspects of Japanese culture in the painting, my paper positions Monet as a critic of those who denigrated Japanese art by analyzing how he unifies Japanese and French culture in La Japonaise, mainly through examination of the Japanese story depicted on the woman’s kimono. Within this painting, Monet, thus, simultaneously critiques the French appropriation of Japanese culture for its exoticism while melding Japanese literary and artistic traditions with Western ones to showcase to the rest of the art world his specific vision of the unification of the two cultures.

Analysis of the Influence of Contemporary Art Trends on Art Design

Artistic thought, as an artistic phenomenon, is a manifestation of the regular movement and development of art itself. The influence of contemporary art trends on art design is rich and diverse. At the same time, they also influence each other and develop together in this era of art contention, and progress and develop together with the pace of The Times. Nowadays, under the background of such a diversified world, the trend of artistic thought constantly influences the art design and plays an important role in the development of art design. This paper mainly discusses and discusses the influence of contemporary art trend on art design.

On Romani Contemporaneity: Rethinking the Malgorzata Mirga-Tas Exhibition in Seville

This essay delves into the representation and reclamation of Romani identity and experience in contemporary art, focusing on the work of Malgorzata Mirga-Tas, viewed from a Gitano point of view located in the South of Europe. Drawing on historical contexts and artistic movements, the essay examines the evolution of Romani portrayal in European art and the emergence of contemporary Romani art as a form of resistance and self-representation. Through an analysis of Mirga-Tas's artistic practice and its intersection with themes of coloniality, gender, and racialization, the essay explores how her work challenges dominant narratives and fosters a deeper understanding of Romani culture and history. Furthermore, the essay discusses the significance of Mirga-Tas's artistic interventions in reshaping perceptions of Romani identity and contributing to broader conversations about representation, power, and agency in the art world, including the cultural field of flamenco. Through a multidisciplinary approach encompassing art history, sociology, and cultural studies, this essay offers insights into the complexities of Romani contemporary art and its role in challenging entrenched stereotypes and advocating for social justice and recognition.

Unveiling Cross-Cultural Hidden Nexus: An Analysis of Chinas Contribution to the Cultural Influence of the East on the West

Even though the cultural communication between Japan and Europe is massively documented, such as the impact of ukiyo-e prints on Impressionism, Chinese culture's enormous contributions are overlooked. Ukiyo-e is often regarded as the primary source that influenced Impressionism from the East during the Meiji Restoration in the fin de sicle. The East's impact on the West is long-lasting rather than explosive. The critical power of traditional Chinese art and innovations, for example, the moveable type printing, over the evolution of European art movements has yet to be noticed due to political and geographic limitations. Citing paintings by Ma Yuan (1160-1225), Li Song ( active 1190-1230) and Wang Ximeng (1096-1119) in China, Katsushika Hokusai (1760-1849), Utagawa Kuniyoshi (1798- 1861), and Hiroshige (1797- 1858) in Japan, Vincent Van Gogh (1853- 1890) in the Netherlands, and Claude Monet (1840-1926) in France, among others, as examples of specific comparisons and cultural analyses, this article delves into the hidden connections and cultural exchanges, through working on the technical and iconographical forms from ancient China that shaped the European art in the epoch of high modernism.

Greenberg, The Cold War, and French Existentialism

This paper investigates the development of Abstract Expressionism in 1940-1950s America, focusing on ways it has been constructed as a masculine form of expression. Emerging after the end of WW2 when the American national identity was being re-defined, the art movement became a site for the interplay of multiple socio-political and cultural tensions. The imposition of qualities traditionally associated with masculinity became a key aspect in the reception of the movement, reflecting the interests of multiple institutions. This paper deconstructs the amalgamation of factors that formed the masculine image of Abstract Expressionism. These factors range from the masculinising language of art critics such as Clement Greenberg to America’s Cold War agenda to male artists’ own internalisation of philosophical ideas that projected the movement’s masculine aura. In the last section of my investigation, I will expose the gendered imbalance within Abstract Expressionism by analysing the contrast in the occupation of space by male and female artists in period photographs.

Dimensions of freedom of Ukrainian art in the late 80s and early 90s of the 20th century and their manifestation in artistic associations of that time

The relevance of the research topic lies in the insufficient study of such a period of Ukrainian art as the turn of the 1980s and early 1990s, when banned artists came out of the underground, taking advantage of the weakening of the ideological pressure of the Soviet system, and led powerful artistic movements involved in the formation of dimensions of free creativity. The purpose of the work is to clarify the conditions for the development of Ukrainian art at the turn of the 80s and 90s of the 20th century, and to highlight the importance of creative associations in the process of artists’ realisation of new tasks in the emerging continuum of freedom (on the example of the associations “The Way” and “The Strontium-90”). The methodological apparatus of the study consists of three stages (preparatory, research and synthesising) using the following methods: analysis of literary and scientific sources, dialectical method in the emergence of a new phenomenon, method of logical analysis, method of critical and comparative analysis, synergistic method, generalisation, method of hypothesis and forecasting. The study found that at the end of the 1980s, under the influence of the Chornobyl disaster, Ukrainian “unofficial” art left the status of marginal, and its representatives became the forerunners of a new free creative continuum. The artists of the new generation, using the neo-avant-garde experience of their colleagues and the factor of freedom of expression, strive to use the latest creative practices, which has connected them to the global artistic space. The study argues that neo-mythologism, as one of the main principles of world art of the second half of the 20th century, at the turn of the 1980s and 1990s became decisive in the process of creating a free artistic continuum. This principle led to the most individualised figurative system of expression of Ukrainian artists of the new generation. The paper examines two artistic associations, “The Way” and “Strontium-90”, and their role in shaping the Ukrainian free creative continuum. The practical significance of the study lies in the use of the results in the creation of recommendations and methodological guides on the history of Ukrainian art of the 20th and 21st centuries and gallery business

Design of exhibition halls in historical buildings of the 20th century

The article raises the issue of adapting the space of historic buildings for exhibition installations, as the exhibition is one of the modern effective ways to demonstrate the cultural and historical heritage of society. Historical monuments are a valuable architectural heritage, so when designing an exhibition space in them, it is necessary to take into account all aspects that will ensure the preservation of the building’s authenticity. The purpose of the article is to study and analyse the methods of designing exhibition halls in 20th-century buildings. The following methods are used: the historical method, the method of comparative analysis, and the systematic method. The study found that exhibition design is one of the most influential management tools in the process of gaining new experiences in galleries, museums, and art centers. Exhibits have a significant impact on the development of socio-political, historical, cultural, educational, and other sectors. The creation of a museum exhibition should be based on a preliminary design. The designer should take into account all technical, scientific, and artistic aspects of the task and offer a successful solution for the presentation of exhibits. Depending on the thematic focus of the exhibition, other specialists should be involved in each stage of design: curators, art historians, and management. The features of creating an exhibition design in historical buildings of the 20th century were considered. The artistic movements that emerged in the 20th century are analysed and characterised, and their influence on exhibition design is revealed. The main stages of the development of exhibition design, the emergence of multimedia technologies and their impact on the audience’s perception of exhibits are identified. The features of designing in historical buildings are described, aspects of harmonious combination of design with the environment of the existing building are considered. Examples of creating museums in historical monuments are found. The types of exhibition spaces and classification of exhibitions are analysed. The fundamental means of building a spatial composition are described. The practical value of the study is that the information can be used to write future research papers on the topic of exhibition design. The information obtained can be used to create design projects for exhibition halls

Lubaina Himid

Dr Omar Kholeif maps out the life and practice of the path-breaking British-artist, Lubaina Himid RA CBE (born, Zanzibar 1954) through a considered engagement of her multivalent creative output—in visual art, writing, and exhibition-making. A leading figure in the British Black Arts Movement, Himid is renowned for her narrative paintings, which interrogate historical representations of Black people’s creativity—from the eighteenth century to the present day. Painted canvasses, cut-out figures, drawers, and found carts find home in exhibitions that reveal the artist’s engagement with opera, performance, and architecture. Kholeif notes that Himid’s expressions have heralded a distinct re-formulation of Black visuality, achieved through a re-imagining of Black life—framed through the lens of the present. In “Do You Want an Easy Life?” Kholeif pays special attention to the artist’s collaborative art making and argues that through these forays that Himid is concerned with “making space” for what official record and history often elides. Kholeif argues that Himid’s artistic realm is constructed through a form of “female worlding” that presages an intertextual palette for art and its history—one which demands crucial revision.

Dialogue on Artistic Expression: A Study of Oriental Elements in 19th-Century Impressionism

As one of the most significant art movements in the 19th century, Impressionism broke down conventional boundaries, laying the foundation for today’s artistic styles to flourish. This paper aims to explore the integration of Oriental elements of Impressionism and to reveal the influence of cultural exchange on art movements. The introduction section provides a comprehensive overview of Impressionism, focusing on the research goals that revolve around Oriental aspects. The paper utilises an exhaustive approach, including a literature review, artwork analysis, and examination of historical records, ensuring a thorough exploration of Oriental influences. The structure of this paper acts as a guide for readers, highlighting unique contributions such as exploring little-known Eastern elements and interpreting artworks from new perspectives. By deeply studying the historical background of Impressionism, this paper discusses the interests in Eastern art and its influences on the Western art movement in the 19th century, examines the channels of cultural exchange, and analyses the reception of Oriental elements through case studies. At the same time, the influences of oriental traditions and elements such as brushwork, composition, and calligraphy on the natural depiction, colour application, daily life, symbolism, and character representation of Impressionist paintings are also discussed. In conclusion, this paper summarises the key findings and contributions and emphasises the importance of Oriental elements in Impressionist art.

A Brief Discussion on the Presentation of the Artistic Characteristics of Postmodernism in Sculpture Art

Postmodernism art is an art movement that emerged in the 1970s and 1980s. It has influenced many fields with its unique artistic charm and various forms and characteristics. Sculpture art, as a kind of plastic art, is inevitably affected by it, and has made remarkable development in application and participation, and people's understanding of sculpture art is more diversified. This paper combines cases to analyze the specific presentation of post-modernism artistic characteristics in sculpture art works from multiple perspectives, providing new thinking dimensions for contemporary sculpture creation.

Explore the Influence of Impressionism on Post-Impressionism: Taking Van Gogh's Works as an Example

Impressionism is a pivotal movement in the history of Western art. It revolutionizes the traditional approach to Western painting. This artistic movement emphasized the spontaneous, direct, and visual representation of natural light and its effect on colors, shapes, and textures. Impressionism is a special kind of non-traditional art without a doubt. Vincent van Gogh is one of the most famous impressionist artists. He has many special characteristics: swirl-like brushstrokes, painting themes that are full of compassion and suffering consciousness, and bold and exaggerated colors. Van Gogh's works often express different emotions through strong contrast and bright colors. His works are very distinctive and full of beauty. He is also one of the most representative impressionist artists. This article will use the survey method and document retrieval method to discover the specialties of impressionism works through Van Gogh's paintings. After the discovery, this article has found three main specialties of impressionism: colors, unrealistic descriptions, and nature elements. In conclusion, this article has discovered why impressionist artworks are so special and so ‘impressive’ through the research.

A Multidimensional Exploration of the Visual Arts: History, Impact and Future Trends

This article explores the multidimensional nature of the visual arts, tracing their trends and challenges from antiquity to the present day. The article begins by defining the visual arts and emphasising their importance in reflecting and shaping human culture and society. The study aims to analyse the historical development of the visual arts, examining the origins and characteristics of ancient art, the artistic changes from the Middle Ages to the Renaissance, and the progress of modern art movements such as Impressionism and Expressionism. The research delves into key elements and techniques in the visual arts, including the use of colour, shape and line, and how these are used in different media such as painting, sculpture and digital art. The article discusses how style and subject matter express the artist's unique perspective and emotions, contributing to the richness of visual expression. In addition, the article analyses the far-reaching impact of visual art on society and culture, showing how art reflects and influences social change, as well as its role in education and social ideology, and explores the intersection of art and politics through examples of propaganda art and protest art. The article also examines contemporary trends and challenges facing the visual arts, in particular the integration of digital technologies and new media, the impact of globalization on artistic style and expression, and the continuing struggle in the contemporary art market between commercialisation and artistic values. In the concluding section, the article outlines the historical course of the visual arts and their importance in contemporary society, as well as providing an outlook on future trends in the visual arts. This comprehensive exploration underscores the enduring value and dynamism of the visual arts as a fundamental part of human history and an important channel for cultural and social evolution.

Archive of "Ukrainian News" newspaper (Germany, 1945-1950) as source of Ukrainian Artistic Movement history of activities

Archive of "Ukrainian News" newspaper (Germany, 1945-1950) as source of Ukrainian Artistic Movement history of activities

Aesthetic principles of expressionism in modern architecture

The purpose of the article is to study the aesthetic principles of expressionism that influenced the development of modern architecture. An analysis of the concepts and means of artistic expression of the direction under study is proposed. The conditions for the emergence and formation of expressionism, its artistic methods of expression from conventionally realistic to abstract, as well as the manifestation of this direction of art in architectural design are considered. A brief analysis of the connection between expressionism and other parallel trends or movements of art of the twentieth century is given. Variations of expressionism from the standpoint of abstract art are identified, where the search for interactivity between the artist and the viewer in the process of visual perception of the painting is indicated. It is concluded that imagination is one of the main ways of artistic thinking in the process of author’s artistic design. The manifestation of the aesthetic principles of expressionism in the architecture of individual countries is considered. It has been revealed that expressionism in architecture is characterized by a departure from traditional forms in order to achieve the maximum emotional impact on the recipient. The study of the stated topic allows us to draw a conclusion about the relevance of expressionism at the beginning of the 21st century, which, with its traditions, continues the achievements of expressionism of the 20th century. and at the same time gives a new impetus to artistic expressions of the personal views of artists and architects on the ongoing processes in society. Parallels of the beginning of the 20th – beginning of the 21st centuries. revealed similarities in the aesthetic principles of the formation of the subject-spatial architectural environment. Expressionist techniques, means and methods of working on a painting or object are most accurately able to express the feelings of artists and architects, their psychological stress, the conviction that the viewer must go through a new experience while looking at an architectural or artistic work.

The Embodiment of Ugliness in 20th Century Western Music: A Case Study of Schoenberg's Prelude

This article traces the historical emergence and development of the concept of ugliness in Western classical art, focusing on its evolution from ancient Greece to the 20th century. Initially, beauty was revered above all else, with ugliness deemed impure and sinful. However, thinkers like Augustine introduced the idea of relative ugliness, highlighting its role as a contrast to beauty. In the 18th century, Baumgarten defined aesthetics, exploring the notion of ugliness as the opposite of beauty. Rosenkranz further categorized ugliness into natural, spiritual, and artistic forms, laying the foundation for modern ugliness studies. The tumultuous social backdrop of the 19th and 20th centuries, including the World Wars and economic disparities, saw a resurgence of interest in ugliness as a means of artistic expression. This trend manifested notably in expressionist music, exemplified by Arnold Schoenberg's adoption of the twelve-tone technique. Schoenberg's "Prelude" is analyzed to demonstrate how he utilized rhythm, meter, dynamics, and melodic direction to embody the principles of ugliness studies. The article concludes by emphasizing the significance of ugliness studies in modern and contemporary art, challenging traditional aesthetic principles and contributing to a broader understanding of artistic movements beyond beauty.