Generation Of Painters Research Articles

Kunst, keskkond ja keskkonnaliikumine Eestis 1960.–1980. aastatel / Art, Environment, and Environmentalism in Estonia in the 1960s–1980s

Kunst, keskkond ja keskkonnaliikumine Eestis 1960.–1980. aastatel / Art, Environment, and Environmentalism in Estonia in the 1960s–1980s

Medals, Barriers, Fathers, and Careers: Institutional Inertia and Transformation in the Russia Artistic World in the End of the 19th and the Beginning of the 20th Century

This paper employs quantitative historical-sociological analysis to describe the social background, professional practices, and achievements of Russian artists who participated in exhibitions in 1871–1917, starting with the first private exhibition of the “Peredvizhniki” society whose success stimulated the appearance of numerous artistic groups and associations. The biographies of three generations of painters are studied to check the hypotheses on the transition of the artistic world to the “institutionalization of anomie” (Bourdieu) and “singularity regime” (Heinich). The paper analyses how initial family resources and personal career investments influenced the chances of artists to receive recognition during their lifetime, and museum consecration after their death. The controls for the following parameters were included in the analysis are the class and status of an artist’s father, minority status, the membership of an artist’s father in the artistic milieu, gender, and lifetime recognition. The study shows that contrary to Heinich’s theses on the transition to the “singularity regime”, artists whose paintings are represented in the main Russian fine-art museums do not fit the image of non-recognized asocial mavericks. Lifetime official recognition, studying in leading Russian schools for the fine arts, lessons in foreign ateliers, and involvement in the organizational building significantly increases the chances of an artist to be present at the expositions of the most renowned Russian art museums. The study helps to understand the distinctive features of the youngest generation which produced the most important artistic innovation associated with Russia, the so-called Russian Avant-garde.

Evolution of Kazakhstan’s still life based on examples from the collection of the Kasteyev State Museum of Arts of the Republic of Kazakhstan

The article explores the phenomenon of Kazakhstan’s still life as exemplified by selected paintings from the collection of the Kasteyev State Museum of Arts of the Republic of Kazakhstan. It reviews works by several generations of painters, from the inception of the professional school of painting in Kazakhstan to date. Without claiming to provide a comprehensive overview of the painters who consistently developed still life, the article attempts to identify key philosophical and stylistic tendencies in this specific genre from a historical perspective. Studying the evolution of still life in Kazakhstan’s art based on the nation’s largest art collection is an opportunity to outline the main milestones in the development of the national school of painting and discover its greatest painters. The article reviews works by Kazakhstan’s most prominent artists, including the founder of the national school of painting Abylkhan Kasteyev whose name was given to the museum in 1984; national artists from the 1950s Aisha Galimbayeva and Gulfairus Ismailova; the 1960s’ Togbolat Togysbayev, Ivan Bondarenko, and Aria Shkolny; the 1970s’ Kenzhebay Duisenbayev; and some contemporaries. It also touches upon the development of the museum’s collection based on the example of one of its largest sections. The number of works included in the collection and its high artistic value makes the Kasteyev State Museum of Arts the country’s largest and oldest collection, with a history of more than 85 years.

GENRE PAINTING IN THE WORKS OF MUETDIN-ARABI DZHEMAL

The article examines one of the varieties of the creativity of M.-A. Dzhemal – a genre painting. The author analyzes several significant works of the artist of this genre and comes to conclusions about his place in the creativity of M.-A. Dzhemal, his stylistic and thematic influence on subsequent generations of painters.

Truth and Denial: Intertextual Compositions and Visual Transformations in the ‘Caravaggisti’ Gallery Paintings

In the seventeenth century, religious paintings entered Roman private galleries transforming into a movable repertory of motifs apt for re-elaboration through intertextual relationships with other artistic genres. The re-location and unorthodox arrangement of sacred paintings in the stanze dei quadri has been generally understood as a process resulting in their commodification. However, the creation of biblical representations specifically intended for the Galleria suggests that subject matter still retained an important function, although a radically different one. New Testament narratives now offered artists new opportunities to reinvent painting. The so-called Caravaggisti distinguished themselves for exploring these newly-opened paths by conflating sacred and profane subjects in their gallery paintings - such as those representing the Denial of St. Peter. By examining some of the numerous representations of this biblical narrative set in seventeenth-century Roman taverns, this article explores the overlooked visual and theoretical conception behind the creation of these complex images produced by a generation of painters that, so far, has been overshadowed by Caravaggio. The concept of denial will be pivotal to the re-assessment of the function of religious representations created for the Roman Galleria. The exploration of such representations, in turn, will be crucial for opening up widespread, yet still under-investigated concepts that underlie the making of what is now called Caravaggisti - particularly truth in painting, mimesis and the process of replication that still binds their works with the uncontested notion of Caravaggio as the original.

Sound Practice and Practical Conservation Recipes as Described in Greek Post-Byzantine Painters’ Manuals

ABSTRACTPost-medieval Greek painting manuals, exemplified by the Hermeneia of the Art of Painting by Dionysius of Fourna, were often copied, enriched, and widely used in icon-painter workshops until the twentieth century. These manuals reflect the accumulated experience of many generations of painters and include sections that pertain to preparation and application of materials and handling of works. Here we present, discuss, and, in some cases, compare with pertinent western instructions and experimental findings (deriving from the analysis of icons and wall paintings), key Greek manual instructions for sound practice, and practical conservation of paintings. Instructions in consideration come from both the published version of Hermeneia and various unpublished manuals; it is shown that the first part of the widely circulating standard edition of Dionysius is by no means an exhaustive account of post-Byzantine technical knowledge.

Art in America, 1945-1970: writings from the age of abstract expressionism, pop art, and minimalism

In the quarter century after the end of World War II, a new generation of painters, sculptors, and photographers transformed the face of America art and shifted the centre of the art world from Paris to New York. This revolution generated an exuberant and contentious body of writing without parallel in our cultural history. Jed Perl has gathered the best of this writing together for the first time, interwoven with fascinating headnotes that establish the nature of the aesthetic battles that defined the era.

Adatok Johann Jacob Khün „érseki udvari festő” működéséhez, Lippay György pozsonyi nyaralókastélyának újonnan előkerült keleti látképe (1663) kapcsán

Archbishop of Esztergom György Lippay’s (1600–1666) summer residence and garden in Pozsony were represented on a series of engravings published in 1663. A hitherto unknown piece of this series features the eastern view of the residence (Bibliotheca Ecclesiae Metropolitanae Strigoniensis, Esztergom; fig.). The sheet bears the signature of Johann Jacob Khün, painter to the archbishop who supposedly produced the drawings for the entire series. According to various sources most of which were concluded by Klára Garas, Khün came from a family of over four generations of painters and sculptors originated in Besztercebánya. The present study attempts to uncover documents representing Khün’s family relations and personal connections in the milieu of the archbishop’s court at Pressburg. Only a few sources remain on Johann Jacob Khün’s work in archbishop Lippay’s service. Based on a few miscellaneous allusions and the painter’s recently recovered letter written to the archbishop’s physician and familiar Polycarpus Procopius Bonannus (d. 1664) in 1659, the author presumes that Khün was the grandson of Jacob Khien the elder (d. after 1619) who created the so-called Zmeskál epitaph (Berzevice, c. 1600). Johann Jacob Khün’s father was probably the painter Jacob Khien the younger who became a burgess of Besztercebánya in 1619. Pozsony sculptor Johann Christoph Khien (d. 1696/97), creator of the Holy Trinity column of Nagyszombat (1683–1695), and Ferdinand Khien, a doctor born in Besztercebánya who graduated at the University of Wittenberg (1667) and later worked in Eperjes and Pozsony were probably Johann Jacob Khün’s brothers. Judging by the 1659 letter and other sources, Khün’s brother Ferdinand may well have been helped with the starting of his medical career by Bonannus who probably interceeded for him to spend his pharmacist’s training in Johann Weber’s (1612–1684) pharmacy in Eperjes. Khün’s letter implies that he may well have produced illustrations for Bonannus’s ambitious but ultimately unpublished and lost opus describing Hungary’s geographical and mineralogical treasures, entitled De admirandis Hungariae rebus, backed by archbishop Lippay and Lord Chief Justice Ferenc Nádasdy (1623–1671). The correspondence of Bonannus, a rare group of sources, provides some important data to the project and Khün’s surmized participation, and might as well lead to closer acquaintance with the process of furnishing and decorating of archbishop György Lippay’s summer residence and garden of Pozsony. A year after the publishing of the print series Khün already worked as a court painter to Count (later Palatine and Prince) Pál Esterházy (1635–1713). Between 1664 and 1671 he produced at least eight paintings for him, and decorated sixteen rooms of his Kismarton Castle.

How portraits turned their eyes upon us: Visual preferences and demographic change in cultural evolution

It has often been suggested that innate features of the human mind could make some cultural forms more successful than others. This paper presents a case study consistent with this “cognitive attraction” hypothesis. Numerous studies show that direct eye-gaze catches the attention of adults and newborns. Adults find it more attractive. We explore one possible cultural consequence of this cognitive appeal. Among XVIth century European portraits, direct-gaze paintings are more likely to be featured in today's art books. In Renaissance Europe, the proportion of paintings that stare at the viewer grows gradually, strongly, and remains prevalent for centuries. A demographic analysis of this shift shows that it was due to the arrival of new generations of painters. Those artists show a preference for direct-gaze portraits as soon as they start painting, suggesting that they acquired the new style in the years of their apprenticeship. The preferences of those painters and of contemporary art critics seem consistent with the innate attentional bias that favours direct-gaze faces. The structure of the “Renaissance gaze shift” bears evidence for the importance of demographic turn-over in cultural change.

Jean Fouquet and the invention of France: art and nation after the Hundred Years War

Jean Fouquet was France's most important 15th-century artist, painting for the courts of Charles VII and Louis XI. His art synthesized the realistic style of Flemish arts like van Eyck with the monumentality of Florentines like Masaccio. Fouquet's work had a powerful appeal, shaping the next two generations of painters and introducing to the French a taste for Italian art. The first survey of Fouquet's work in English in nearly sixty years, this captivating book offers a major advance in scholarship about the artist and his far-reaching impact. Erik Inglis links Fouquet's style, iconography, and audience to explain how his art helped define French identity, a project of great importance for anxious courtiers in the wake of the Hundred Years War. Jean Fouquet and the Invention of France provides a new lens for looking at the century that saw the greatest changes in French art prior to Impressionism.

International Year of Chemistry 2011: The Impressionists: Painting at the Time of Change

The Impressionist landscapes, with which we are so familiar, look deceptively calm. Still, they contain hints of the major social, political, and technological upheavals that took place in 19th-century France and changed attitudes toward painterly themes and representation. Urbanization was one. A major restructuring of Paris took place under the direction of Baron Georges E. Haussmann between 1853 and 1870. Another was industrialization of the countryside, which led to major structural transformation and to changes in the way of life. Finally, there were political crises: the Franco-Prussian War in 1870–1871 and the subsequent Paris Commune. Although politics did not much permeate Impressionist art, the effects of industrialization on the urban and rural landscape did. The beginning of the 19th century saw a new generation of painters moving away from the idealized studio landscapes in which nature was just a background to a biblical or Greco-Roman story. For them, the landscape itself became a focus of painting. Painters went out to paint in the open air in what became known as the plein air approach. The most important group worked around the village of Barbizon, not far from Paris, and these painters are regarded as important precursors of Impressionism. It was, however, the Impressionists who became the epitome of …

A Case of Westernization in Turkish Painting

With the effects of westernization movements, Western painting style had been adopted instead of traditional painting style in Ottoman period. At the end of this long-term change, traditional painting gave place to western style painting which also bearing traditional influences. Exact western style paintings had been done by Turkish painters who had been educated in Europe since the end of 19th century. The generation of 1914 consists of the artists, who were sent to Europe to get art training but then returned to home due to outbreak of World War I in 1914. By discussing new subjects and applying new techniques, the artists of this generation became a pioneer of modernization and westernization in art. In this sense, the generation of 1914 is an important milestone in Turkish painting, in terms of creation of modern Turkish painting style. This generation, both as a teacher and as a pioneer, made great contributions to the first generation of painters of the Turkish Republic in gaining identity. Modern Turkish Painting Art appreciates this generation in order to provide these contributions. This study discusses a case of westernization in Turkish painting and the generation of 1914.

Composing a self: Translation & transformation in Dürer's humanism

Albrecht Dürer was the foremost visual translator of Renaissance notions for the German-speaking world. Renowned for his visual work, it was paradoxically through writing—about new notions in the realms of art, science, and even writing itself—that Dürer recrafted his native German. As a painter and thinker, Dürer belonged both among the skilled craftspeople of Nürnberg and his high-minded humanist friends. As a writer, he strove to pass on his own artistic knowledge to future generations of painters. Dürer did for aesthetic theory and technical knowledge in German what Martin Luther did for theology. Dürer's writing helped shape specificity and precision in Early New High German on artistic, aesthetic, and scientific topics. He invented ways of weaving the graphic and verbal modes with each other together into his work. Always locating himself on boundary between language and non-verbal visual expression, Dürer illustrated words and verbalized images. Dürer was a translator in the largest possible sense.

Richard Moynan: Irish Artist and Unionist Propagandist

IT IS A WELL-ESTABLISHED FACT that history is written by the victors, but it is less widely acknowledged that history is also painted by the victors. In Inventing Ireland, Declan Kiberd argues that the bloody Irish revolution of 1916-23 was preceded by a verbal battle, a primarily literary war of poetry, plays and songs designed to construct an indigenous Irish identity. According to Kiberd, this ideological clash prepared the way for the military and political struggle yet to come. (1) Artists played a key role in the formation of this new identity. Painters like Aloysius O'Kelly, Jack Butler Yeats and Sean Keating established images designed to ratify the nation's emerging identity. A new confidence was abroad, and the next generation of painters had, for the first time, nationalist artistic role models. But there was another group of artists in Ireland, a cadre whose patriotism was no less fervent than those mentioned above, although their particular brand of patriotism was linked to a different set of political values. These were the traditionalists, painters whose art and unionist politics were closely connected with extant academic and economic values. These artists hailed predominantly from a Protestant, business-class background, and identified strongly with the metropolitan center. This essay examines one of the most prominent of these artists, Dublin-born painter Richard Thomas Moynan (1856-1905), an Irish artist who used his work to help forge stronger bonds with Britain and its empire. Richard Moynan was born on 27 April 1856 at I Eldon Terrace, off the South Circular Road, Dublin. He was fourth of eight children; three sons and five daughters, born to Richard Moynan, Sr., and his wife Harriet Nobel. The painter's father held a managerial position with the fabric importers Ferrier, Pollock and Company, while his mother was the daughter of Arthur Nobel, a Church of Ireland clergyman. The younger Moynan initially studied medicine but, shortly before his final examinations, he changed tack and opted instead for a career in the arts, commencing his training at the Dublin Metropolitan School of Art in the autumn of 1879. Moynan achieved early success within the art school system. More mature than his fellow students in terms of age and education, he won prizes in both the Taylor and Cowper competitions. In 1882 he moved on to the Royal Hibernian Academy, where he won both silver and bronze medals for his work, crowning these achievements the following year with the Albert Scholarship for the best picture shown in the Royal Hibernian Academy by a student. (2) This painting, The Last of the 24th at Isandula (RHA, 1883), portrayed an episode in the Zulu wars, providing an early indication of the artist's unionist outlook, a characteristic evident throughout his career. Following the example of fellow Irish painters Walter Osborne, Nathaniel Hill, and Joseph Malachy Kavanagh, Moynan enrolled in Academie Royale des Beaux Arts in Antwerp in October 1883. His Dublin colleagues Roderic O'Conor and Henry Allen registered for the same course. The intensity of his studies was such that, for the first time in four years, he did not contribute to the Royal Hibernian Academy exhibition. Moynan instead focused on preparing for the most important competition in the Academie, the annual concours. This approach yielded the desired results, and he gained the highest accolade, attaining first place in painting from the living model. He was the first Irishman to achieve such an award. This prestigious prize paid immediate dividends, ranking him among the elite. It allowed him the privilege of special tuition from Professor of Painting Karl Verlat (1824-90), as well as extra studio space, facilitating the painting of the human figure in life scale. This success influenced his decision to remain in Antwerp for a further year. But affairs of the heart also had to be settled, and he returned to Ireland immediately after the concours and married his cousin, Suzanna Mary Moynan, in her home in Thurles on 9 April 1884. …

Thomas Cole and Jacksonian America: The Course of Empire as Political Allegory

Thomas Cole (1801–48), is best known for his role in placing the landscape genre in America on a secure artistic and intellectual foundation. Associating the beginnings of landscape art with the concurrent appearance of popular democracy, scholars have generally assumed that Cole shared the cultural and nationalistic premises of the native landscape school that developed under this influence. Other inaccurate assessments have followed, in particular the belief that Cole's political sympathies were democratic. To take this for granted, however, is to overlook not only the anti-Jacksonian sentiment that Cole occasionally vented in his journals and letters, but also the veiled political and topical content of his wellknown cycle, The Course of Empire. This neglect of the political content of Cole's art is part of a broader tendency to approach American landscape art as a genre lacking social or political content, as a transparent reflection of nature's central role in national culture. The reappraisal of such assumptions begins with Cole, whose ideological challenge to the next generation of painters was made in the language of landscape. This challenge will be considered briefly in my conclusion.

Music about Music: the First String Quartet, Opus 37, in C, by Karol Szymanowski

MUSIC ABOUT MUSIC: THE FIRST STRING QUARTET, OPUS 37, IN C, BY KAROL SZYMANOWSKI In their recent book about Stravinsky, the Dutch composer Louis Andriessen and critic Elmer Schonberger propose the following allegory for music: We have to imagine an art of painting that has its roots in one single painting... That one painting portrays the last tree and the last landscape. After the completion of that painting, the tree was cut down and the landscape devastated. Since then, there were no more trees or landscapes to be seen. But that painting inspired other painters to paint trees and landscapes. The resulting paintings, in their turn, inspired a new generation of painters. In that way, it is possible that the present practitioners of this school paint trees and landscapes which, it must be said, in no way resemble the last tree and the last landscape. This school of painting is similar to what happens in music. Just as treeand-landscape paintings portray other tree-and-landscape paintings, portrays other music. [Andriessen and Schonberger 1983: 30] If this view of is exact, in what way, one may ask, is Szymanowski's First String Quartet different from any other piece of In what particular way can it be said to be music about music? Careful analysis suggests that, within the Quartet, the evolution of the composer's style, from his upbringing in the hotbed of German late romanticism to his discovery of the French-Russian avant-garde in 1913, is retraced. The First String Quartet, Opus 37, in C was composed in 1917, at the peak of the composer's most creative period. Before the work was completed, however, the Szymanowski family estate, in Ukraine, was razed to the ground in the October Revolution. The two compositions on which Szymanowski was working at the time, the Quartet and the cantata Agave, were never to be completed as planned. Of the projected four movements of the Quartet, three were later revised for publication. The original plan was to include a sonata-allegro, a scherzo, a theme and variations for the slow movement, and a fugue for the finale. According to Michatowski [1967: 137], the scherzo was reworked to become the last movement, presumably by integrating elements of fugal writing within the structure and character of a scherzo. On the other hand, the first movement is preceded with a rather elaborate slow introduction, a most unusual feature in the quartet literature of the time, possibly as a means of compensating for the missing fourth movement. Certain aspects of the Quartet stand out as strangely anachronistic with respect to other works of the same creative period, for example, the Third Symphony, Opus 27 (1914-16), the First Violin Concerto, Opus 35 (1916), or the Third Piano Sonata, Opus 36 (1917). No indication of tonality had appeared in the title of a composition since the second Piano Sonata, in A major (1911). The Quartet was to be the last work to carry such an indication. This suggests the composer's awareness that this work belongs to a different stylistic lineage. As noted by Alistair Wightman: The progressive disruption of tonality, a process well under way in the earlier war-time works, seems to have been arrested in the first of the Quartets. [Wightman 1972: 94] To a certain extent, this anachronism could be credited to the composer's discomfort with the resources of the string quartet. At the age of 34, this was his first venture into the medium. The only comparable work written previously, the Piano Trio, opus 16, had been withdrawn after its first performance, in 1909. In a letter to Szymanowski dated 24 July 1917, the violinist Pawel Kochanski had this to say in reaction to the composer's announcement that he was writing a quartet (the composer's letter is lost): It is strange how one changes. Do you remember, you used to dislike the quartet, to say it could not give you full satisfaction, not enough sound? …

Awaken Me Redhouse-Borne Again

Art Studies is often neglected as a category of serious scholarly interest even Native American Studies, and it may be that such neglect stems from the fact that the inventiveness of contemporary American Indian art seems confusing and, thus, threatening for traditionalists as well as modernists. In the next few pages, WICAZO SA presents a long compelling narrative poem by the significant Navajo artist andpoet, Grey Cohoe, who is known as one of the traditionalpainters of the contemporary art world who grew up on the vast Navajo homelands, the son of traditional believers. The poem, Awaken Me Redhouse-Born Again, like Cohoe'spaintings, involves the creation of a new idiom. is a specialized style of artistic expression characteristic of Cohoe, the Navajo, the contemporary present and the past, and it is meant be a critique of Cohoe's own art work and a description of his own creative processes as an artist. utilizes the events and places and personages of Navajo mythology (when this editor first met Cohoe and asked him where he was from he said, Tocito... it isn't really a place anymore... only the imagination ... so say I'm from Shiprock, Arizona) and it combines that past with the possibility that we betray Navajo grandfathers its very own Navajo-English style. Cohoe's father is a medicine man and I his ceremonial events, says the artist, but no longer participate because Iforget some of the details. He attributes this forgetting his boarding school experience and living in two cultures he is just as sure that he will eventually go back. It all goes back medicine, he says, to survival on the earth, the elements of the earth. Cohoe, who received his M.A degree from the University of Arizona 1974, recently gave up his teaching position the Institute of American Indian Arts Santa Fe, New Mexico, and is now devoting all of his time painting and writing. He is interested finding the connections between poetry and art and it is the following pages that he offers clues the understanding of the techniques and emotions of American Indian painters of his generation. There won't be another generation of painters like ours, he says, There aren't going be too many of us painting or writing like this. (Some of the material for this introduction was taken from an article Bienvenidos by Jeannie Lusk.)

Camillo Procaccini: Toward a Reconstruction of the Emilian Years

The name Procaccini hovers about the edges of the history of northern Italian painting. Many inaccuracies of name, date, and place connected with the family have been corrected;1 but they have not entered the current literature in any consistent fashion. The first of three generations of painters, Ercole il Vecchio (1520–1595), was a minor Bolognese artist, who, by 1587, had moved with his sons to Milan.2 This second Procaccini generation included Camillo (ca. 1555–1629), Giulio Cesare (1574–1625), and Carlo Antonio (1571–1630). Little more than written evidence survives attesting to Carlo Antonio's work as painter; however, his son, Ercole il Giovane (1606–1676), was a prolific artist whose activity kept the family name and profession alive in Lombardy until the latter part of the seventeenth century.

Notes on the Index: Seventies Art in America. Part 2

Nothing could seem further apart than photography and abstract painting, the one wholly dependent upon the world for the source of its imagery, the other shunning that world and the images it might provide. Yet now, in the '70s, over large stretches of the abstract art that is being produced, the conditions of photography have an implacable hold. If we could say of several generations of painters in the late 19th and early 20th centuries that the conscious aspiration for their work was that it attain to the condition of music, we have now to deal with an utterly different claim. As paradoxical as it might seem, photography has increasingly become the operative model for abstraction. I am not so much concerned here with the genesis of this condition within the arts, its historical process, as I am with its internal structure as one now confronts it in a variety of work. That photography should be the model for abstraction involves an extraordinary mutation, the logic of which is, I think, important to grasp. In trying to demonstrate how this is at work I wish to begin with an example drawn not from painting or sculpture, but rather from dance. The instance concerns a performance that Deborah. Hay gave last fall in which she explained to her audience that instead of dancing, she wished to talk. For well over an hour Hay directed a quiet but insistent monologue at her spectators, the substance of which was that she was there, presenting herself to them, but not through the routines of movement, because these were routines for which she could no longer find any particular justification. The aspiration for dance to which she had come, she said, was to be in touch with the movement of every cell in her body; that, and the one her audience was witnessing: as a dancer, to have recourse to speech. The event I am describing divides into three components. The first is a refusal to dance, or what might be characterized more generally as a flight from the terms of aesthetic convention. The second is a fantasy of total self-presence: to be in touch with the movement of every cell in one's body. The third is a verbal discourse through which the subject repeats the simple fact that she is presentthereby duplicating through speech the content of the second component. If it is interesting or important to list the features of the Hay performance, it is because