We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.
The article is written as an addition to the previous article by N. Fonyakova. It gives some different considerations on the motifs and symbolism of the subject depicted on the vessel from Kotski. It is necessary to state that these motifs and subjects are not pertinent only to the Khazar culture, but also occurred among the Early Hungarians (esp. the motif of decoration of the rim of the vessel) and among the cultures in Central Asia for a long time. The author’s idea is that it is not possible to give any prevalence of one or the other interpretation of the subject, being discussed either as a representation of a “Heroic combat with the Hero-virgin” or of a “Initiation Combat between the King and the Pretender”, though she is more inclined towards the first view. The basic conclusion is that this subject can be attracted towards the reconstruction of the (Proto)bulgarian mytho-poetic model.
More...
The women’s requirement for access to the nude in the Athens School of Arts in 1903-1904 raises a lively debate, in which different arguments and positions are submitted. The debate on women’s access to the nude is affected and affects gender power relations and challenges the way masculinity and femininity are conceived and lived out in art and society. Women’s demand to study the male nude in the School of Arts, related to feminism and emancipation, defies the existing power relations in the practice of art. Their participation in the life-class challenges the dominant definitions of the ,,woman artist”, the artist-model polarity in the scopic field of art, and the ways the male nude is perceived. In a period where more modernist discourses on art and on the body appear, women artists may expect to participate in the production of meanings for the nude and specially for the male.
More...
The article treats the particular interweaving of continuity and discontinuity in tradition as a major paradox in Balkan cultures throughout centuries. Thus a paradigm in the cultural system is revealed as manifested in binary oppositions such as openness versus closeness, the East versus the West, the native as opposed to the foreign and the regional to the European, respectively. Certain clarification upon the age of Modernity and Europium of Balkan art creativity will be beneficial for the outlining of the unique essence of the cultural setting and the experience of Balkan men as a realization in a global world. As a key to the understanding of art and literature Europium is relevant to the disclosure of an aesthetic, spiritual and intellectual wealth and to the particular identity of the peoples on the peninsula. The article treats the particular interweaving of continuity and discontinuity in tradition as a major paradox in Balkan cultures throughout centuries. Thus a paradigm in the cultural system is revealed as manifested in binary oppositions such as openness versus closeness, the East versus the West, the native as opposed to the foreign and the regional to the European, respectively. Certain clarification upon the age of Modernity and Europium of Balkan art creativity will be beneficial for the outlining of the unique essence of the cultural setting and the experience of Balkan men as a realization in a global world. As a key to the understanding of art and literature, Europium is relevant to the disclosure of an aesthetic, spiritual and intellectual wealth and to the particular identity of the peoples on the peninsula.
More...
The article deals with particular changes in the 19th and the beginning of the 20th century as manifested in trends, approaches and goals of art training all over Europe. The most striking example in this respect is Bauhaus which was given rise to in an integrity of artistic and social milieu where a certain necessity and ideas of reform of art training - Reformapedagogik, had been imminent for decades. Bauhaus was founded in 1919 and at its first stage of development the artistic attitude of late expressionism combined with the medieval craft ideal prevailed in the concept of Bauhaus. In Bauhaus, the crucial point of reforming concept on art training was realized through the idea of a general art school, i.e., the unity of fine art teaching, on one hand, and the teaching of applied arts and architecture, on the other, based on the principle of training at workshops. Johannes Itten based his pedagogic approach of a preliminary course (Vorkurs) in Bauhaus on the idea of “art is not liable to training”. This is the social context of Johannes Itten’s overall work as an entity of two fields of interest, as manifested through two major characteristics of his personality - the drive to both pedagogy and art. In 1916 he opens his first workshop in Vienna. In 1919 Itten was among the first ones invited by W. Gropius to teach at the newly established Bauhaus. In 1923 Itten founded the “Onthos” textiles workshops at the art school in Herliberg at Zurich Lake. In 1926 the Modem Art School in Berlin was established - Johannes Ittens’ private school called Ittenschule; he was also the principal of the Higher Art School, founded in 1932 in Krefeld. After a short period of emigration, Itten presided the School of Applied Arts and the Museum of Applied Arts in Zurich. In 1952 the Rittberg Museum of Off European Art in Zurich was established by Itten who carried out the organization and the preliminary works for the foundation and became the director of the Museum.
More...