Art Movement Research Articles

Romanticism Revisited: Exploring the Intersection of Romanticism with Enlightenment and Transcendentalism Through the Lens of the Neoclassicism

Romanticism originated in the last decades of the 18th century and peaked in the first half of the 19th century. Besides adoration for nature, the most significant aspect of the movement was the emphasis that it laid on profound emotion as the genuine source of aesthetic experience with remarkable inclination towards apprehension, terror, horror and awe with respect to sublimity. Romanticism spotlighted the exemplary achievements of “Heroic” individuals who were capable of setting up high standards for emulation. Although Romanticism mainly dealt with visual arts, music and literature, it heavily influenced historiography, socialism, naturalism, liberalism, conservatism and nationalism. Derivative art was highly disregarded by Romantics who believed that influence of works of other artists stood in the way of creativity. They held that “Romantic originality” was to be achieved through the process of creation from nothingness. Like any other Art movement, Romanticism was on the wane after a few decades, but it has always had an expansive influence not only on different branches of art but on life itself.

On universality of perception of movement and time in the artworks

The article examines the issue of perception of movement and time in works of fine art. The perception of works of art is not only related to perceptual processes and the cognitive sphere of a person, but is a personal and worldview issue, as it is related to the system of personality stereotypes - cognitive phenotypes formed in the process of life and professional experience. The conventional view on the perception of movement and its intensity in visual arts, which was considered as universal for a long time, was that the perception of movement from left to right is more natural and fast, and movement from right to left, respectively, is complicated, slow and less intense. These provisions became the basis for an experimental study of the perception of movement and time in works of art, in which two groups of respondents participated. The experimental group (N=38) consisted of people who are not closely familiar with the art and rules of composition arrangement. The control group (N=30) consisted of students professionally studying art history and visual arts. Both groups only included people whose first language had left to right writing. As experimental material, the subjects were offered to answer how they see the intensity of movement in paintings by famous artists. Each picture was presented in an original and a flipped image, where the movement was reflected in the opposite direction. The results of the study analyzes using the Kolmogorov-Smirnov λ statistical test, which demonstrates the presence or absence of regularities in the subjects' choice of picture numbers that correspond to forward or reverse movement in the picture. With the help of this test, a gender comparison of the features of perception of movement and time in works of art was also carried out. The results of the experimental study question the universality of the perception of movement and time in fine art and require verification in further research.

Twórczość Wanga Guangyi i jej wpływ na rozwój pop-artu w Chinach

Since the late 1970s, profound changes have been underway across all spheres of Chinese society, encompassing the arts, thereby giving rise to new artistic trends and transformative shifts within the entire artistic tradition. Chinese artists have increasingly asserted themselves on the international stage. Concurrently, as the West became intrigued by Chinese art, two prominent trends – political pop art and cynical realism – were notably burgeoning. Notably, political pop art emerged as a foremost artistic movement in China during the early 1990s. Central to this trend is a predilection for symbolism, serving as a conduit for artists to articulate their sentiments and societal perspectives. Wang Guangyi is widely acknowledged as the seminal figure behind this movement in China. This article delves into Wang Guangyi’s creative evolution and the genesis of political pop art, exploring the antecedents of this novel artistic trajectory, its conceptual underpinnings, and stylistic hallmarks.

Avant-Garde Europe in War: Wyndham Lewis, the Vorticist Shakespeare and the Timon of Athens Portfolio

This article examines the relationship between Wyndham Lewis’s Vorticism movement and Shakespeare, focusing on Lewis’s appropriation of Shakespeare’s play Timon of Athens and its impact on Vorticism’s visual aesthetics. In analysing Wyndham Lewis’s avant-garde approach, this article contrasts it with other artistic movements of the time —namely, Futurism and Cubism— and explores Lewis’s interest in the “automaton” and the “machine”, and how this fascination is linked to his reading of Shakespeare and his views on World War I. Overall, the paper demonstrates how Shakespeare’s work played a significant role in the development of Vorticism’s unique aesthetic vision during a time of great social and political upheaval.

Ukrainian Portrait Painting of the 16th-18th Centuries in the Context of European Art Movements

Ukrainian Portrait Painting of the 16th-18th Centuries in the Context of European Art Movements

Kresba nebo fotomontáž pro děti? Příklady inovativních přístupů ilustrace dětské knihy v meziválečném Československu

The aim of the paper has been to show the plethora of innovative approaches to the illustration of books for children in the interwar period in Czechoslovakia (1918–1938). In a journal focused on education and literature (Úhor [Fallow]), the first synthetic text devoted to the aesthetics of children’s books was published as late as 1935, written by Josef Novák. His text perceives the illustrations of children’s books as an important and distinctive artistic expression dependent on the drawing conception of a form. It highlights the most modern examples in the form of the book of Zdenka Marčanová and Toyen, Náš svět [Our World], but not without reservations; it provides another modern example in Karel Čapek’s Dášeňka, on whose typography Karel Teige worked in 1933. The artistic potential of illustration is thus dominated by the individual approaches of particular authors. As early as 1918, the anthology Nůše pohádek [A Basketful of Fairy Tales] brought some unconventional illustrations, adopting elements from progressive art movements. Jeníkovy pohádky [Jack’s Fairy Tales], written and illustrated by Jan Zrzavý in 1920, enriched the visual appearance of children’s books with variations of dream imagery and with the interconnection of image and text according to the author’s concept with the involvement of a visually dominant and aesthetically modified typeface. In particular in Milada Marešová’s drawings published at the turn of the 1930s, it is possible to observe a new way of working with traditional means of expression. Her drawings were a reaction to the contemporary foreign approaches of the New Objectivity. In the early 1930s, Josef Čapek’s book graphics and illustrations were characterised by a shift towards multimedia. The involvement of the avant-garde painter Toyen in children’s book illustration proceeds from Civilism to Surrealism. A distinctly avant-garde form was given to the experimentally conceived popular-educational book by J. V. Pleva Kapka vody [A Drop of Water] in the graphic design of Zdeňek Rossmann, who creatively combined typography with photomontage. Photomontage was used by Augustin Tschinkel in his popular-educational books, either together with Ladislav Sutnar, for instance in Malá vlastivěda [A Little Civics Reader]), or on his own in the book Zeměpisné rebusy [Geographical Rebuses]. The works of the last three mentioned avant-garde artists are typical examples of the progressive graphic design where graphic symbols have been replaced by illustrations. These publications were created within a new model of cooperation – collaboration between a typographer, designer and illustrator in an authorial whole. Significantly radical experiments applying constructivist aesthetics and involving photography were unique in children’s literature in Czechoslovakia.

Research on the Design and Practical Effectiveness of Intelligent Teaching Mode Design for the Integration of Wushu and Ethnic Traditional Sports Culture

Abstract As an important part of Chinese culture, national sports culture not only has profound cultural connotations but also has rich cultural value. This paper proposes a path that integrates national sports culture and martial arts into teaching, focusing on three key aspects: diversification, scientification, and digitization. The neural network operator Involution improves the recognition accuracy of the human pose estimation model after addressing network degradation issues with the deep residual network. We preprocess the collected pose images to extract human wushu pose features from both static and dynamic directions. The feature data is inputted to the encoder to extract martial arts poses. Simulation experiments verify the error correlation between two-dimensional martial arts movements and three-dimensional angles. In the backside horse stance punch movement, the 7th frame of the left knee and right knee, the 3rd frame of the left hip, and the 1st, 2nd, 5th, and 7th frames of the right hip exhibit significant errors, while the remaining keyframes fall within the acceptable range. Through empirical investigation, we analyze the teaching effect of integrating Wushu and national traditional culture. Following the experiment, we observed an average score difference of 8.91 points in the degree of sports participation between the experimental group and the control group, with a P value of less than 0.01. There is a significant difference between the two integrations. The integration of the teaching effect is good.

Demonstration and Analysis of DRN Deep Learning Architecture for Step-by-Step Disassembly of Dahongquan

Abstract The Dahongquan martial arts style is characterized by its intricate and varied maneuvers, posing challenges for traditional video demonstrations to fully satisfy learners’ needs. This study introduces a cutting-edge approach utilizing a visual neural network to deconstruct and map these martial arts movements in a 3D virtual environment. Initially, preprocessing involves extracting data from exercise videos, employing a combination of video annotation and skeleton feature extraction. Subsequently, a deep residual network (DRN) with multi-scale feature extraction and dense residual attention mechanisms is employed, facilitating a systematic breakdown of the martial arts movements. The third phase involves constructing a 3D action mapping and demonstration process, utilizing cubic B-spline curve fitting and cylinder deformation techniques to enhance the representation of movement based on the skeletal model. Remarkably, the DRN network, without the need for extensive training datasets, achieves flawless recognition of various gongfu combinations and records a recognition rate of 92.92% for the most challenging boxing movements. The efficacy of this model is further corroborated by its enhancement of the demonstration process, achieving an overall learner satisfaction rating of 5.26. The disassembly and demonstration strategy proposed in this study has proven effective during experimental sessions, demonstrating significant potential for advancing martial arts training methodologies.

Biomechanical analysis of the danger of the whip-leg striking maneuver in martial arts sparring bouts

Abstract This paper recognizes the human motion in martial arts movements based on the LSTM recurrent neural network algorithm, which uses signal statistics to extract the action time series features through the data collection from the relevant human motion sensors in order to effectively recognize the athletes’ movements. The parameter settings of the LSTM neural network model are optimized using an improved particle swarm algorithm. The experimental process is then created. After filming the video, it is divided into two documents, A and B, and saved. The experimenter’s actions undergo technical analysis using LSTM. Three groups of athletes were invited to carry out the actual test after the design was completed, and biomechanical analysis was performed based on the experimental data. The experiments showed that the activation of the left medial femoral muscle of the athletes was greater than that of the left lateral femoral muscle, and the root mean square of electromyography was 25.38±11 and 27.54+11, respectively. The angle of the left leg was 69±2.5, and that of the right leg was 71±9.2, which was more than 80% of the safe rotational amplitude. It is easy to cause sports injury if there is too much difference in the activation level of leg muscles during whiplash.

Edge computing-based big data privacy preservation in motion trajectory prediction for martial arts training

Abstract The development of big data technology has brought about sweeping changes in many fields. Privacy protection has become a key concern for big data users. The study constructs a geographically indistinguishable location-based privacy protection mechanism based on differential privacy and geographic indistinguishability and further constructs an edge computing-based privacy protection model for martial arts movement trajectories. The performance of an edge computing-based privacy protection model for martial arts sports trajectory is examined by comparing it to other models in terms of quality of service loss, privacy protection strength, and range counting queries. And explore the effects of service type and number of users on the system. The perturbation distance on all three time periods of the Geo-In method proposed in this paper is the smallest among the five methods, and the perturbation distance decreases with the increase of the privacy budget, and the loss of quality of service is minimized. The Geo-In algorithm’s perturbed locations have less semantic similarity to the real locations of martial arts training, resulting in stronger privacy protection of the locations. Range counting queries experience a decrease in relative error as the number of users and query range increase.

Rethinking the 20th-Century Korean Embroidery from Gender Perspectives

The rupture in the history of Korean embroidery is generally perceived as a severance from the traditional embroidery, made due to the Japanese colonial rule. However, it cannot be denied that the narrative of modern and contemporary Korean art history, mainly constructed around artistic movements and groups, also played a major part. The dispute encompasses the fundamental question of whether embroidery can be seen as a form of fine art from the perspective of modernist aesthetics, and the matter of hierarchy between different crafts. Also inherent are the tensions between contradictory values such as tradition and modernity, Western or Japanese and Eastern or Korean, abstract and figurative, and others peculiar to Korea, and the effects of such binary oppositions are closely related to gender problems. This paper re-examines, from gender perspectives, the chronological history of embroidery since the late 19th century, which had been placed on the periphery of Korean art history until now. In the traditional society, embroidery was produced and enjoyed privately, but moved into the public sphere through education and exhibitions for women during modernization. In the process, in order to be recognized as a form of pure art, embroidery gave up its unique characteristics as craft and took on the formative language of paintings. In the years immediately after liberation from Japanese colonial rule, which was the era of eradication of Japanese influences, establishment of national identity, and industrialization, embroidery was divided into abstract embroidery understood as more masculine, and traditional embroidery considered more feminine. Korean embroidery artists in the 20<sup>th</sup> century, as women experiencing particular historical contexts, worked with confidence in the artistic value of embroidery due to or despite their specific circumstances.

A STUDY ON THE PROBLEM OF MEANING IN THE ART OF SCULPTURE

This study explores the complex relationship between the meaning of sculpture and its making process in the context of the philosophy of language. Sculpture is a unique art form that involves the creation of three-dimensional objects that occupy physical space. However, the meaning of a sculpture is not limited to its spatial characteristics alone. This study identifies two distinct levels of meaning in sculpture: its relation to space and its making process. While the former has received considerable attention in the literature, the latter has been largely overlooked. Therefore, this study focuses on the semantic relationship between Richard Serra's sculptures and his sculpture-making processes, particularly in his early works.
 
 Richard Serra is widely regarded as one of the most important artists of the Process Art movement, which emerged in the 1960s and emphasizes the importance of the making process in art. The study questions the reduction of the meaning of sculpture to a mere action and seeks to establish a deeper relationship between the philosophy of language and the process of sculpture. To achieve this, the study draws on the works of Ludwig Wittgenstein, J. L. Austin, and John R. Searle, who are some of the most important philosophers of language of the 20th century.
 
 Wittgenstein's concept of language games and his emphasis on the social context of language use is particularly relevant to this study. The study explores how Serra's sculpture-making processes can be seen as a form of language game, with its own rules and conventions. Similarly, Austin's concept of performative language provides a framework for understanding how the making process of a sculpture can be seen as a form of performative action. The study also draws on Searle's theory of speech acts, which suggests that language use is not just a matter of describing the world, but also of performing actions and creating new realities.
 
 Overall, this study represents an important contribution to the field of art and philosophy. By exploring the relationship between the meaning of sculpture and its making process, the study challenges traditional notions of art and raises important questions about the nature of meaning and representation in art. The study also demonstrates the relevance of the philosophy of language to the study of art and provides a framework for future research in this area.

The Power of Gospel in the Black Arts Movement: A Conversation with Claudrena N. Harold

ABSTRACT This interview focuses on gospel music, which is a foundational element of soul music. Combining insights, at times, from her family background, but mostly from research in her book When Sunday Comes: Gospel Music in the Soul and Hip Hop Eras (2020), which borrows its title from Donald Lawrence and the Tri-City Singers hit recording “When Sunday Comes” (1995), Claudrena N. Harold offers an historian’s perspective on gospel music in the late 1960s. Harold discusses gospel artists who appear in Ahmir “Questlove” Thompson’s film Summer of Soul, contextualizes gospel artists in Questlove’s film within the history of gospel music itself, and draws connections between sacred and secular forms of Black music, that is, gospel, soul, and funk. Of particular significance, Harold argues that gospel music was part of the Black Arts Movement. Harold therefore offers a unique perspective on gospel, Summer of Soul, and the Black Arts Movement.

The Image of Mihai Viteazul in 19th-Century Romanian Paintings

The Image of Mihai Viteazul in 19th-century Romanian Painting. The Romanian artistic movement of the 19th-century assisted the political endeavor of national legitimization by establishing the Romanian identity, in its various forms, through art. By adapting the example of their neoclassical and romantic counterparts they depicted various patriotic symbols on their canvases in order to appeal both to the population, from a visual standpoint, and their inherent political cause: obtaining independence and unifying the historical Romanian provinces. Such unity was first achieved by the historical figure of Mihai Viteazul, a Wallachian prince of the late 16th century. As a consequence, his figure became one of the main motifs illustrated in the art of the time, being closely tied to the concept of Romanian historic identity. The artists underwent a process of research in order to represent and bring forward a faithful image of the ruler, and some of his greatest achievements. Both historical and literary sources were approached, resulting in a diverse body of paintings, which will be discussed in the present article. The research aims to establish the sources on which the various artworks were based, the accuracy of the represented message with respect to the historical background of the ruler as well as the various stylistic approaches of the artists in question.

Folklore Goes to War: Folksongs, Yangge and Storytelling in Communist Bases during the Second Sino-Japanese War

All across the world, folklore studies are often closely tied to the emergence of modern nation states and were used to (re)build national identities. In post-WWI China, a growing community of academics and enthusiastic amateurs began working on folklore projects as part of a larger cultural effort to stoke nationalist sentiment and, by consequence, encourage resistance to foreign encroachment. After Japan’s invasion in the 1930s threw the whole country into crisis, this campaign transformed from the abstract into a strategic component of the Chinese war effort. During China’s War of Resistance against Japan, folklore activities played a valuable role in boosting the national spirit and promoting the idea of China as home to a rich cultural legacy. In communist bases of the North China Plain in particular, a New Literature and Art Movement began with the collection and organization of folk literature and art, which was in turn remoulded into effective and highly politicized anti-Japanese and social reform messages to promote mass mobilization. This article examines folksongs, yangge and storytelling to reveal how folklore, reshaped by communist intellectuals, was designed to serve political aims and address peasants and soldiers in order to unite the masses against its enemies both foreign and demestic. The Chinese Communist Party used traditional forms of folklore with revised content to launch a mass movement that served its primary political needs: winning support of the masses and spreading revolutionary communist ideology to a broader audience. This wartime revolutionary folklore approach continued into peacetime and greatly affected the People’s Republic of China.

A Journey of Non-Figurative Sculpture in Pakistan Developmental Course of Sculpture in Pakistan

Aim of the Study: The objective of this research is to provide information on the development, relevance, and specific artists who have contributed to the non-figurative sculpting trend in the nation. This study tries to answer questions: What has been historical development of non-figurative sculpture in Pakistan, and how does it relate to contemporary art movements around the world? Methodology: The context, content, and form of the non-figurative sculptures are examined in order to comprehend their communicative potential and visual language. Additionally, the works are placed within the backdrop of last seven decades' evolving social realities, which influenced sculptors' methods in a variety of ways. This study intends to shed light on the distinctive qualities and subjects investigated in non-figurative sculpture in Pakistan, as well as its reception and recognition within art community, using a combination of qualitative analysis and historical research. Findings & Conclusion: It is concluded that the sculptors of Pakistan created non-figurative sculptural art among figurative representation through their innovative ideas and variety of techniques. The work of Anjum Ayaz features an abstract representation of domestic abuse in an artistic way.

HISTORY OF THE USE OF WASTE MATERIALS IN VISUAL ARTS: CONCEPT AND ROOTS

Today the whole world is struggling with the problem of waste materials and their proper maintenance. Examples of the use of waste material are also found in art. An artist always needs a medium to create their artwork, and also, in contemporary art, many artists are creating artwork from waste materials and beautify their environment and make people aware of its reuse. The process of making artwork from waste material is today known as ‘Scrap Art’ or ‘Junk Art’. An early example of the use of waste materials in art comes from the ‘Dadaism’ Art Movement, which started in France in the 20th century, when artists started exhibiting industrially produced objects as artwork, along with their titles. From here, a question mark was raised regarding the idea of ‘Readymade Art’ and its aesthetics. Behind this was the main artist ‘Marcel Duchamp’ whose work 'Fountain' in 1917. The other two major Artists were Man Ray and Francis Picabia. The second developed form was seen in Picasso's 'Bull Head' artwork in 1942, where Words like ‘Found objects’ and ‘Ready-mades’ became popular in the history of art. Many artists in contemporary art are creating artworks using these waste materials. This is not only enhancing the beauty of our public places but also making people aware of their reuse and also showing a new dimension of art creation. This research paper analyses what new changes have taken place in terms of style and thought due to the use of waste material in art from the beginning till today.

Theme of Flowers as a Sign of Impressionism on the Example of the Work of Ivan Trush (1869-1941)

The end of the 19th and the beginning of the 20th century in art are associated with light and color in Europe, which were characteristic of the artistic philosophy of Impressionism. Prominent representatives of this movement created artworks based on a new approach to color choices and subject matter, including the depiction of real landscapes and floral compositions. The relevance of this research is driven by the need to study the artistic representation of floral compositions by the Ukrainian artist I. Trush through the prism of Impressionist stylistic elements. The research aims to identify the features of Impressionist philosophy in the works of I. Trush through a comparison of the artist's body of work with that of Impressionist contemporaries in the field of visual arts. In this research, scientific methods such as description, systematization, analysis, comparison, cultural-historical analysis, and generalization were employed. As a result of this scientific investigation, the fundamental characteristic traits of Impressionism as an art style in visual arts were studied, as well as the particular features that distinguish this artistic movement from previous artistic philosophies. The research also analyzed the conceptual framework of the term "Impressionism" and its origins. Furthermore, it examined the characteristic traits and features of the works of the Ukrainian painter I. Trush and Impressionist artists, allowing for the integration of the distinctive traits and features of Impressionism in the artist's work through comparison. Through the comparative analysis conducted in this scientific work between Impressionists and the artistic output of I. Trush, the involvement of the Ukrainian artist in the broader Impressionist movement was highlighted. This research can be utilized by scholars and art historians for further exploration of Impressionism as an artistic movement and its influence on the development of Ukrainian art.

Hans Namuth’s Photographs and Film Studies of Jackson Pollock: Transforming American Postwar Avant-Garde Labor into Popular Consumer Spectacle

Abstract Expressionism is often regarded as the first purely American art movement and the first to gain mass cultural recognition. Prior to the 1940s, the consideration and appreciation of abstract art belonged to a certain intellectual elite, but the intimidating complexity of Abstract Expressionism, the daring allure of its artists, and the particularities of mid-century American culture converged to transform the avant-garde into consumer spectacle. This shift represented, and was symptomatic of, a larger societal rearrangement: information and commodity superseded industrialized labor as the core of American culture. Jackson Pollock, America’s first avant-garde superstar, stood at the center of this shift, at once representing both active creative labor and the commodification of the idea of that labor. Hans Namuth’s photographs and films of Pollock placed him and his art firmly in the realm of consumable popular spectacle, underlying further connections to Hollywood film and prominent print media. This article examines how Pollock became a paradigmatic figure in the avant-garde’s proliferation into mass culture and asserts that mass culture did not simply subsume the avant-garde. Rather, the two realms engaged in a mutual construction that pushed the avant-garde across numerous social boundaries. The artistic, critical, and popular receptions that grew out of this convergence erased distinctions between ‘high’ and ‘low’ culture.

The Implications of Realism School in the Printed Advertisement

The study titled "The implications of Realism School in Printed Advertisements" delves into the significant themes related to reality and truth as a central focus in art, in contrast to other themes that rely on imagination. Realism School stands as one of the most prominent artistic movements that emerged as a reaction to Romanticism, which sought to escape reality and delve deep into imagination, illusions, and dreams. Realism, as a doctrine, places material, tangible reality as the primary consideration and envisions things clearly as they are in the real world. The research consists of four chapters. The first chapter presents the research problem, encapsulated in the question: "What are the reflections of Realism School in printed advertisements?" The objective is to uncover these reflections and define the key terms. The second chapter comprises two sections: the first discusses the foundations and concepts of Realism School, while the second explores the function and aesthetics of printed advertisements in social reality. This chapter concludes with indications of the theoretical framework. The third chapter elucidates the research community, research methodology, research tools, and the analysis of the research sample. Finally, the fourth chapter contains the research's conclusions.