Status Of Artist Research Articles

Dailininkas XVIII amžiuje: karjeros galimybės

THE ARTIST IN THE EIGHTEENTH CENTURY: CAREER OPPORTUNITIES The article is dedicated to discussion about the opportunities artists had in the eighteenth-century Grand Duchy of Lithuania, what factors were defining artist’s career and his valuation and how it changed along with social and cultural shifts in the country. Historical sources retain names of around 700 artists that worked in the eighteenth-century Grand Duchy of Lithuania. The artists belonged to a peculiar inter-estate stratum with significant differences in education, social and economic situation. Majority of artists lived and worked in towns, with smaller part working in the manors of noblemen under continuous service or temporary contracts, and also there was a small number of artist friars who did jobs in various convents of the country. Social and economic situation of artists in towns was similar to that of craftsmen, yet artists working in the manors of aristocrats usually had status of the middle-rank manor officials. Still, eighteenth-century artists were able to achieve higher levels of career than most of craftsmen because of the rank of their patrons. The work of artists was in demand mostly in higher levels of society and that determined better pay, sponsoring of studies and other kind of encouragement. Career opportunities for artists were usually defined by their reputation and education. The top level of the career was occupied by the status of royal court artist, which was a guarantee of high qualification. Noblemen of the Grand Duchy of Lithuania and Church hierarchy, when trying to realize important projects sought to engage the royal masters. Artists that studied abroad were also in demand. Noblemen of the Grand Duchy of Lithuania, because of the deficit of good artists, tried to keep those artists that worked long-term in their manors. Career of a court artist guaranteed steady payment and legal protection, however artists not always desired long-term service because of the significant limitations on their life and work. Difficulties in searching for a decent master encouraged noblemen to keep artists in their manors while teaching arts to local kids. The need in arts for vocation or special gifts is demonstrated by the fact that only a small part of children selected by the noblemen were able to learn painting. Apart from the ties to influential customers, to the career of an artist were important links to requested architects, also familial links to the ruling elites of towns and important officials of the courts. In the second half of the eighteenth century, especially at the end of the century, attitude towards artistic occupation has incurred significant changes. Social status of famous artists, large compensations and ennoblement affected attitudes towards arts among both the society and the artists, and promoted its prestige. Rise of prestige of the profession was aided by the fact that society started appreciating more of the local artists (artists-fellow countrymen). They have begun to be mentioned in various contexts among the most deserving of the nation. Keywords: artist, eighteenth century, the Grand Duchy of Lithuania.

Learning in Netherlandish workshops in seventeenth-century Rome

This contribution presents a much-needed overview of Netherlandish workshop activities in Rome, and a reevaluation of their impact on the cultural environment of the city. Focusing on the workshops of Paul Bril, Herman van Swanevelt, Vincent Adriaenssen Leckerbetien (‘Il Manciola’), Cornelis Bloemaert II, and the now obscure painter Salomon Backereel, it elucidate the process by which these and other Dutch and Flemish artists trained aspiring painters and contributed to the overall educational program of the city. Not only is there more information about how their workshops functioned, but also these artists exemplify the status and professional activities of many Netherlandish artists in the city.

추상 · 과학기술 · 생명 - 한묵의 생명주의 추상

This paper aims to provide an understanding of Han Mook (1914-2016)’s abstract work of the 1970s, ones characterized by a stepped, radiating zigzag motif generated through the intersection between concentric circles and radiating lines. Titled “spirals,” “concentric circles” and “lightning rod,” his electrified geometric abstraction appeared in the early 1970s as an ambitious outcome of a prolonged status of an immigrant artist in Paris since 1961, when he left stable positions as a renowned artist, critic and educator at the age of 48 in the immediate post-Korean war years for moving to the ‘capital of the arts in the world.’ Yet the previous literature has rarely explored the historical significance of his new phase of abstract art. This paper does not rehearse the artist’s own account of his abstraction as a direct response to the 1969 Apollo 11 moon landing; nor does it consider an assumed morphological influence of the optico-kinetic forms of French and Latin American art of the time. This paper instead seeks to understand the way in which the most amazing technological feat in human history and the optico-kinetic environment of the Paris art scene of the 1960s catalyzed restoration of a particular Korean artistic discourse, a theory of vitalist or bio-centric abstraction to which Han gave a potential shape in the 1950s but which did not come into fruition at the moment. According to the discourse, art should express life, an invisible force that establishes the visible world. This paper thus allows for an understanding of Han’s use of vibrant colors, rhythmic repetitions and animated surfaces in his 1970s’ abstraction as a negotiated continuation of a largely forgotten moment of Korean vitalism.

Posthuman Glossary

Posthuman Glossary

Alfred Dampier's ‘Shakespearean Fridays’

Throughout the British Empire, visiting and immigrating professional actors ‘from the old country’ realized and reinforced for settler cultures a dominant imperial identity. In Australia, Alfred Dampier (1843–1908) and his company exploited the opportunities that this cultural milieu offered by staging austere, ‘reverential’, well-elocuted Shakespearean productions which raised their artistic status and asserted their respectability while enabling Dampier to offer as well, without censorship or public condemnation, dramatizations of sensational and controversial bushranger and convict narratives.

Intermediaries and the Market: Hans Rottenhammer’s Use of Networks in the Copper Painting Market

In Willem van Haecht’s Gallery of Cornelis van der Geest, The Last Judgment by the German artist Hans Rottenhammer stands prominently in the foreground. Signed and dated 1598, it is one of many copper panel paintings Rottenhammer produced and sent north of the Alps during his decade-long sojourn in Venice. That the work was valued alongside those of Renaissance masters raises questions about Rottenhammer’s artistic status and how the painting reached Antwerp. This essay examines Rottenhammer’s international market as a function of his relationships with artist-friends and agents, especially those in Venice’s German merchant community. By employing digital visualization tools alongside the study of archival documents, the essay attends to the intermediary connections within a social network, and their effects on the art market. It argues for Rottenhammer’s use of—and negotiation with—intermediaries to establish an international career. Through digital platforms, such as ArcGIS and Palladio, the artist’s patronage group is shown to have shifted geographically, from multiple countries around 1600 to Germany and Antwerp after 1606, when he relocated to Augsburg. Yet, the same trusted friends and associates he had established in Italy continued to participate in Rottenhammer’s business of art.

AÇÕES E EXPERIMENTOS ARTÍSTICOS NA AMAZÔNIA AMAPAENSE: A PRODUÇÃO ARTÍSTICA DE SUJEITOS QUE SE AUTODECLARAM “ARTISTAS DE TERREIRO”

Appropriation and re-signification of History and theories in the production ofsubjects who claim to be artists, using the decolonial perspective to approach poeticsthat destabilize the artistic field of Bourdieu, exposing tensions between the alleged universalityof and the need to adhere to Western vocabulary, when one intends to claim the status ofartist with the agencies of administration and promotion of art. The art of the terreiro peoplesis approached as an alterity and ghostly presence, which haunts the ordering of western byexposing the social determinism of its artifacts in concepts and discourses. It is an artisticproduction that problematizes the place imposed on it in the history of styles and, for thisreason, takes advantage of the theories of contemporary to affirm itself as an artisticproduction of the days.

Colonial or Cosmopolitan? Vietnamese Art in Paris in the 1930s–40s

From their earliest graduating classes, Vietnamese artists from the École des Beaux-Arts de l'Indochine, Hanoi, had their work exhibited and sold in Paris. Initially, it was predominantly Vietnamese artworks that travelled to Paris, however, the late 1930s also saw the establishment of a small group of Vietnamese artists there. While there has been considerable interest in the place of foreign artists in interwar Paris, the experience of Vietnamese artists has yet to be integrated into these histories. Vietnamese modern art was shown in the immensely popular spectacle of the Exposition Internationale Coloniale of 1931, a peak expression of colonial propaganda. It was also circulated through salon exhibitions, covered in the critical press, and even acquired by the state. This was in the context of heated debates in 1930s Paris over the status of foreign artists within French modernism. This essay assesses the reception and context of Vietnamese artworks that were sent to Paris or produced there. Rather than positioning Paris as a site of influence and authority, Paris emerges in this account as a site in which more complex negotiations took place, as artists navigated a loaded politics of display. [End Page 187]

“...Friend of My Youth”: Image of a Dog in the Lyrics of S. A. Yesenin

The article examines the artistic and functional status of the image of a dog’s motive in Yesenin’s lyrics in the context of the idea of an organic unity of art and life, which largely determines the poet’s creative philosophy. Three poems are considered in which the image of a dog is the central figure of the text and the constructive basis of its ideological and artistic content: “Song of the Dog” (1915), “Son of a Bitch” (1924), and “Kachalov’s Dog” (1925). The analysis of the subject-figurative structure of each of the poems is carried out, while they selectively comment on individual elements of the poetics of the text, which contributes to a detailed understanding of the role of the studied image. In the analysis of “Songs about a Dog”, attention is drawn to the peculiarities of interaction in the text of image and expression plans, cinematography as the main extra-subjective form of author’s consciousness in the poem, and also to the functional heterogeneity of the lyrical narrative. When considering the work “Son of a bitch”, the emphasis is on the specifics of the space-time structure of the text, namely on the special movement of time initiated by the subject of speech - from an uncertain future to a certain past. When studying the poem “The Dog of Kachalov”, attention is focused on the distinctive features of his genre solution, which is characterized by a synthesis of various genre elements of lyrics: dedication, message, elegy, confession. It is argued that in all three poems the image of a dog serves as a mediator (guide), the semantic variations of which depend on the poetic context and come from the ontological relationship of the world of everyday ideas and the world of spiritual revelations of a person, which determines the main content of Yesenin's artistic philosophy.

Analysis of artistic anthropology of the novel by A.P. Platonov's «Kotlovan» in literature lessons

A.P. Platonov is a great reformer of Russian fiction. In the process of development of the Russian novel, dedicated two of his main genre varieties: anthropological and ontological affair. An￾thropological novel emerged and developed in the Russian realist literature of the nineteenth century. Ontological novel is the new genre that emerged in the works of A. Platonov and A. Bely. The writer in his works from other positions than his great predecessors portrayed literary heroes. A.P. Platonov ad￾heres to the principle of minimalism in his work. The minimalism of the creative method A.P. Platonov is expressed in the fact that his literary characters (unlike the heroes of classical realistic literature) are en￾dowed with reduced external, psychological characteristics and properties. The Story of A.P. Platonov's «Kotlovan» differs from the works of Russian literary classics, which drew full-blooded heroes endowed with a variety of qualities and properties. In the story «Kotlovan» the system of ontological images has a high semantic status. It also distinguishes the poetics of this story from classical realistic literature. For A.P. Platonov's main thing is to show not a holistic image of a person, but his stay in being. Therefore, the writer succinctly drew his characters and endowed the images of space and time with high artistic status. This article presents a consistent description of methodological techniques and methods for ana￾lyzing artistic anthropology and the problems of the story «Kotlovan» at school. The heuristic approach will provide favorable conditions for the deep and lasting assimilation by students of the poetics, style and problems of this work by A.P. Platonov.

La mujer en la primera abstracción geométrica: una "contra-historia" artística en clave de género

Este trabajo es un intento de rescatar las creaciones artísticas femeninas de la primera abstracción geométrica. Recurre, por un lado, a la reescritura del arte moderno de la estética de Jacques Rancière, basada en el valor de la igualdad y en la idea de dar voz a aquellos que no la tuvieron en el relato artístico clásico. Suscribe, por otro lado, el espíritu revisionista de la estética actual, su replanteamiento del valor de la libertad, en cuyo nombre se sigue denegando aún hoy el estatuto artístico a las formas expresivas consideradas no-libres. Se establece así un paralelismo entre la situación de la artista moderna y la de las llamadas artes menores, ambas excluidas del “gran arte” por su falta de libertad y ambas dignificadas, sin embargo, en la obra no-objetiva geométrica de mujeres como Liubov Popova, Sonia Delaunay, Anni Albers y Marlow Moss.

Folklorism and Classical Tradition in László Lajtha's Late String Quartets

Abstract The gains from the folk music collection movement initiated by Béla Bartók and Zoltán Kodály in the first decade of the twentieth century set a path for Hungarian music theory that continued to influence the approach to composition in later decades. Placing folklore material in composed, classical works is complicated by tonal and formal problems and by political overtones. For quotations or thematic material from folk music may introduce complex implications and associations. So the way a composer imbues folk music calls for more than mere technical skill – it embodies an artistic statement. This article analyzes two works by the Hungarian composer and ethnomusicologist László Lajtha (1892–1963): his string quartets nos. 7 and 10 completed in the early 1950s. Through these two quartets I attempt to fathom the aesthetic, ideological and personal motives behind Lajtha's use of folk material in classical composition. Analysis of the composing process involved and the reception the two works received reveal the manifold scope that folk music brings as a source of inspiration.

СОЦИАЛЬНЫЙ СТАТУС ХУДОЖНИКА: НОВЫЕ ДАННЫЕ О КРАСНОЯРСКОМ ЖИВОПИСЦЕ МАРТЫНЕ ХОЗЯИНОВЕ

The article considers the features of the social status of the Russian artists, mainly icon painters, in the XVI-XIX centuries. The composition and content of newly discovered archival documents revealing the sequence of the actions necessary to exit the bourgeois class and obtain the status of a “free artist” are analysed by the example of the biography of the Krasnoyarsk icon painter M. M. Khozyainov (about 1770-1817). Attention is paid to the peculiarities of the professional training of artists in the Russian province in the late XVIII - the early XIX century and the impossibility of changing their social status without obtaining academic education.

Studentki szkół artystycznych i artystki w Polsce okresu międzywojnia – wybrane aspekty profesji

Artykuł dotyczy polskich artystek tworzących w różnych dyscyplinach sztuk pięknych i sztuki użytkowej w dwudziestoleciu międzywojennym. Sygnalizuje zagadnienia z obszaru socjologii charakterystyczne dla trzech etapów życia: młodości (motywacja i decyzja o podjęciu studiów artystycznych, ich przebieg), dojrzałości (funkcjonowanie twórczyni w społeczeństwie i w rodzinie, miejsce w grupach artystycznych i status artystki; udział w zinstytucjonalizowanym życiu artystycznym, warunki odniesienia sukcesu, inne sposoby zarobkowania) i model życia w okresie starości.

Renaissance Intersections: The Arts of Italy and Early Tudor Visual Experience

Although Italian artistic influence never supplanted England’s longstanding and ongoing artistic relations with France and the Netherlands, in the era of Henry VIII (ruled 1509–1547) it became a significant element within it, partly for political reasons. In recent years, research on this subject has been active, revealing many connections between visual developments in England and Italy in a wide range of contexts. This article explores recent work on these complex intersections from the beginnings of the Tudor period to the early 1540s. Four key themes are discussed: Italian influences mediated through France and the Netherlands; the impact of the circulation of images in the era of print technology; Italian artists who worked in England; and the role of merchants. Through this survey, the article explains how standard work has been challenged and redirected on areas such as classicism; the importance of particular materials, objects, motifs, and techniques; the status of Italian artists who worked in England; and the sophistication of their English patrons. The article ends by noting how recent work on Italian merchants as mediators of Italian art and artists in England is aligning this area with the broader recent interest in the economics of art.

Artists’ books, czyli czym jest owoc małżeństwa książki ze sztuką

Artists’ books, or what is the fruit of the marriage of a book with artThis text is an attempt to looking at the status of artists’ books — interesting phenomenon, which blends worlds of book and art. It includes the opinions of art critics, bibliophiles, publishers, crea­tors of literature and artists. History of the artists’ books and external conditions, which have an influence on its birth were briefly outlined. Image of this phenomenon turns out indeterminate and internally contradictory. Theories, typologies, attempts to define or even fix the right term are often mutually exclusive. This situation raises questions about their legitimacy. Maybe we should accept the fact that certain indeterminacy and impossibility to enclose in rigid frames is an inherent feature of artists’ books because otherwise they would lose their diverse and open character.

Being an artist: a profession or a vocation? Socially engaged art by Joanna Rajkowska

The problem of the condition of artists in Poland is rarely addressed in public debate, which is particularly surprising in the world of growing disproportion between rapid development of the art market (the number of galleries, rising prices of auctioning) and still financially unstable and difficult situation of artists. The paper attempts to look at the economic and social status of Polish artists through the analysis of the artistic work of a Polish artist Joanna Rajkowska who tries to find her position in the socio-economic system, without giving up her creative activity. At the end of the paper the author will try to answer the question whether socially engaged art can bring about major changes in the system of financing art.

A mão, o olho e a matéria: reflexões sobre a identificação das técnicas e materiais da pintura em documentos históricos

RESUMO A partir da observação interdisciplinar fundada nos interesses da história social, da história da arte e da ciência da conservação, este artigo pretende fomentar a discussão conceitual e terminológica envolvida na identificação de técnicas e materiais empregados no desenho e na pintura em manuscritos, com foco particular nos produtos visuais resultantes das viagens científicas dos séculos 18 e 19, mas se estendendo também às demais imagens, com ou sem o estatuto de obras de arte, produzidas no mesmo período. Fugindo das generalizações inerentes à expressão “desenho aquarelado”, são expostas as especificidades das tintas usadas na pintura em papel, sua preparação, técnicas de aplicação e resultados óticos obtidos com os diferentes processos, relacionando os produtos finais às circunstâncias sociais de produção, com o intuito de auxiliar na distinção entre desenhos, pinturas a têmpera e pinturas em aquarela e apresentar alternativas terminológicas que especifiquem as qualidades materiais dos documentos gráficos.

«МАГИЧЕСКАЯ» ПРИРОДНАЯ ЛИРИКА В АСПЕКТЕ ПРОБЛЕМЫ АУТЕНТИЧНОСТИ ХУДОЖЕСТВЕННОГО ВЫСКАЗЫВАНИЯ

The article analyzes the creative work of the German-speaking XX-century poets - the representatives of “magical” landscape lyrics from the viewpoint of artistic statement authenticity. The author relies on the fundamental works of M. M. Bakhtin and Y. M. Lotman. The study is conducted within the framework of author’s artistic activity theory developed by N. T. Rymar together with V. P. Skobelev. A new approach representing poet’s creative work as a forming meaning developed by the artist in his dialogue with the world opens new perspectives. “Magical” landscape lyrics is considered as one of the ways for the poets to solve the creative task, as a search for a new authentic artistic language in the epoch of cultural crisis.

A contemporaneidade de Bispo

Arthur Bispo do Rosário, paciente psiquiátrico que representou o Brasil na Bienal de Veneza de 1995, talvez seja o artista outsider mais conhecido do país. A análise que proponho de sua obra considera o significado de respeitar os direitos dos loucos, abordando seus trabalhos pela perspectiva da arte contemporânea. Bispo nunca atribuiu estatuto artístico à sua produção. Investigo se classificar seu trabalho como arte contemporânea, como faz Frederico Morais, não abandona um tipo de controle epistêmico (o psiquiátrico) para adotar outro: um formalismo estético atemporal. Defendo a necessidade de mais estudos para compreender como Bispo, cuja identificação psicopatológica se confunde com a discriminação de raça e de classe, se tornou um dos artistas brasileiros de maior prestígio.