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This study examines Max Dvořák's previously unknown papers prepared for his one-semester lecture series at the university of Vienna in 1913. Dvořák titled these lectures "explanations of Selected Works of Art" (Erklärung ausgewählter Kunstwerke) and in doing so developed a distinctive method within the art historical research of the so-called vienna School of Art History. The paper interprets the lectures through a close reading of the method as a parallel to the change in the concept of the work of art as it occurred in the philosophy and practice of art at the beginning of the twentieth century, demonstrated in the study by examples from the thinking of the German philosopher Oskar Becker and a transformation of the meaning of painting by the French artist Marcel Duchamp. As the study shows, such analogies allow us to understand the meaning of the work of art in Max Dvořák's art history in a new way. [ABSTRACT FROM AUTHOR]

The development of artistic education was carried out on the basis of Ukrainian culture and art, the personal significance of the traditions of art for students' art and the artistic and pedagogical approaches of teachers. The training was based on the national and cultural consciousness of the students, the complex system of artistic training of the specialist was applied, the main principles of which were systematicity, consistency, structure, clear definition of the artistic purpose, connection with social life, development of creative individuality. Following the study of the art education historic experience, the paper confirms the significance and specifics of pedagogical approaches of the 20th century art teachers (?. Boichuk, V. Krychevsky, F. Krychevsky, H. Narbut), whose figures made up a bright and unique page in the modern Ukrainian art. The essential problems covered in the paper also include the analysis of historical and philosophical issues related to the development of higher art education. [ABSTRACT FROM AUTHOR]

Copyright of Muzikologija is the property of Serbian Academy of Sciences & Arts, Institute of Musicology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of EU-topías: A Journal on Interculturality, Communication & European Studies is the property of Universite de Geneve, Global Studies Intitute and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article delves into the relationship between technology and still life in art history. It examines the concepts of megalography and rhopography, using a faulty espresso machine as an example. The article explores still life paintings by Bailly, Bonvin, and Chardin, discussing themes of representational spatiality, the relationship between the body and tools, and the role of technology in extending human capabilities. It also analyzes the work of Cézanne, focusing on his experimentation with form and self-reflexivity. The text raises questions about the character of technology, agency, and the integration of machine and organism. It emphasizes the need for diverse perspectives in understanding the impact of technology. [Extracted from the article]

Copyright of Revista CPC is the property of Revista CPC and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Literatura Mexicana is the property of Instituto de Investigaciones Filologicas - UNAM and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ñawi: Arte, Diseño y Comunicación is the property of Escuela Superior Politecnica del Litoral and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Anatomy played a significant role in the establishment of academies in art, initially in Italy and France, and then more widely in Europe and the Americas. This paper considers the role of anatomy in two such academies, the Royal Academy of Arts in London, and the Royal Hibernian Academy of Arts in Dublin. In both cases, anatomy teaching for art students was formalised by the appointment of a Professor of Anatomy, positions that continue to this day. The first Professor of Anatomy in the RA, William Hunter, set the standard by delivering lectures, carrying out dissections and producing écorchés. Some of his successors have published anatomy books specifically for artists, but their enthusiasm has varied. Unlike the continuity of the RA, the RHA has only had bespoke premises from 1826 to 1916, and from 1985 onwards, and its Schools or School have operated from 1826 to 1942, and from 2008 onwards. Anatomy teaching was a casualty of the decline of the formal art academy in the 20th century, but the fortunes of both are reviving in the early 21st century. [ABSTRACT FROM AUTHOR]

Copyright of Revista La Tadeo de Arte is the property of La Fundacion Universidad de Bogota Jorge Tadeo Lozano and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

How do producers' distinctiveness and social structure influence third-party certifications? We argue that producers compete against prior and current competitors, and against their past selves. In the context of 153 artists active during a key period of the emergence of modern art (1905–1916), we utilize a convolutional neural network used in computer vision to extract feature vectors of artworks, and measure quantitative distance of these artists' works from canonical reference points. We find that artists are rewarded for distinctiveness from prior and current competitors and their past selves (up to a point). However, artists' autonomy to differentiate themselves depends on their position in the social structure, which we divide into supply-side artist-to-artist networks, and demand-side artist-to-gallerist networks. Artists with high or low supply-side status receive higher rewards for distinctiveness from current competitors than do artists with middle supply-side status. Artists with higher demand-side status receive higher rewards for distinctiveness from their own past, but lower rewards for distinctiveness from current competitors. These results show that peers strive to constrain each other to conform to positions of gravity within product space, and that market audiences deploy either higher or lower constraints on a producer's identity depending on the reference point. [ABSTRACT FROM AUTHOR]

This essay focuses on the history of female gallerists and art dealers in Germany and their engagement with modern and contemporary art in the first half of the 20th century in three time periods. Topics discussed include gender and art trade amid historical, political and social challenges, art trade and the avant-garde in the transition from the Kaiserreich to the Weimar Republic, and efforts of women gallery owners after 1945 to deal with the art of the interwar period and its present.

Digital images with metadata contain unique potential for research into the history of the art market. The embedding of digital images in a database allows for the possibility of an association with their historical context due to the presence of metadata, which includes economic data, such as the provenance chain, as well as information about collecting practices. The database becomes a historical reconstruction of context accompanying the reproductions of the works. In this paper, a case study of a museum photo archive of forgeries illustrates the ways in which digital methods can be helpful in analyzing these contexts. The archive was run by the secret "Verband von Museums-Beamten zur Abwehr von Fälschungen und unlauterem Geschäftsgebahren" (Association of Museum Officials for Defense against Fakes and Improper Business Practices). This archive allows the engagement of early 20th century museums in the art market to be traced within specific genres. The goal of the case study and methodology presented here is to learn more about the economic practices of museums. Specifically, this paper reconsiders a study by Timothy Wilson on fake maiolica, with a new focus on the involvement of museums in the art market. [ABSTRACT FROM AUTHOR]

The article offers information on the art installations that are included in the Art and Space Project 2016 Exhibition. It mentions that the exhibition is aimed to be a collaboration between scientists and features many works such as the one by Holly Aitchison, James Bellaney and David Bilkey. It presents the photographs of the said works.

The article presents an overview of the results of a study of primers of more than 200 paintings by modern Russian artists who worked at the turn of the 19th and 20th centuries. To identify the composition, microsamples of the primers were examined by means of analytical methods, such as polarizing microscopy (PLM), scanning electron microscopy with energydispersive X-ray spectroscopy (SEM-EDS) and μ-FTIR spectroscopy. Also, cross-sections were prepared for the investigation of the paint layer structure. Both commercial primers and primers made by the artists are considered with an emphasis on their technological characteristics. The study revealed some unique features that can be used as a reliable sign in the determinination of the time of paintings creation. The study revealed that the presence of a mixture of chalk and gypsum/plaster of Paris in the ground is a significant sign that a painting was executed in the first third of the 20th century. Another type of ground that is characteristic of modern Russian artists is commercially prepared two-layer white primers with various compositions of the bottom and upper layers. [ABSTRACT FROM AUTHOR]

The study of transformational processes in contemporary music art under the influence of the fine arts practices is one of the important problems of musical culturology and aesthetics. The study is topical because of the new efforts aimed at understanding and arrangement of the evolution of established aesthetic systems and experiments in music and fine arts in the 20th century and at the beginning of the 21st century, as well as their influence on modern practices of introduction of meaningful elements of painting, graphics, architecture, and multimedia technologies into music creation processes. The aim of the research was to identify current trends in music visualization through the arrangement and generalization of the experience of artists of the 20th -- early 21st centuries, who used expressive arts, synthesizing one art into another in their musical compositions, as well as to identify the background of those synthetic ideas and ways to implement them. The scientific research established that the development of synthetic art has its roots in the disposition towards merging arts and versatility. The fine arts practices applied in music has contributed to the expansion and enrichment of artistic means and techniques and has entailed further complication of sound and visual components in the overall concept of the work. It is concluded that the individual creative and personal traits of the artist, who seeks to fully convey the multidimensional figurativeness of the work determine a significant impact on implementing fine arts practices in music. Prospects for further research of the evolution of fine arts practices and audio-visual media in music involve the development of description techniques in the context of the dominance of the visualization factor over music one in artistic perception, as well as the study of the impact of cultural technologization on contemporary music art. [ABSTRACT FROM AUTHOR]

This paper examines the use of little models in the pedagogy of teaching Graphic Expression, notably in the Analysis of Architectural Forms. In order to verify the effectiveness of this already tested method, the authors expound several processes of making models from some twentieth century architects, contrasting the opinion on analytical models from various authors, and simultaneously relating the making of models in architecture and in other contemporary art objects. [ABSTRACT FROM AUTHOR]

The article is dedicated to the outlook on the socio-cultural transformations of the 20th century brought by global conflicts. The main attention is paid to the problems arisen from overcoming traumas by the means of art and to the influence the traumatic experience has had on the transformation of the artistic language. The themes of the horrors of war, war and post-war experience and reflections acquire special significance in the artistic culture of the 20th century, with traumas brought by both world wars and other conflicts giving rise not only to emotional responses to ongoing disasters, but also being a catalyst for global reshaping of artistic content, form and industry, expressed in the visual revolution. In this regard, the paper turns to the essential cultural characteristics of the art of this period, to consider the similarities and differences in the individual trends that followed the general trend. Then, revealing the specifics of the artistic process, considered within the framework of the historical and cultural approach, the reasons that determined the global transformations of art were discovered. In this work, the issues mentioned above are perceived at the junction of the problems studied in the history of emotions and the history of art. So is the conceptual focus of this interdisciplinary text. Such an approach not only attempts to consider the visual revolution through the prism of personal experience, to link the transformation of visual expression with the inner state of a person and one’s perceptions of current events. It also underlines the specificities of historiography, represented both by research on the history of art and by works related to such a direction of historical science as the history of emotions. The main results of the research are as follows. Works of art related to the experience and display of the horrors of war, on the one hand, help to understand and survive the traumatic experience, telling about it in a metaphorical form, and on the other hand, embodying these goals, they radically change the artistic language in the context of the visual revolution of the 20th century.

Tony Stallins is a Professor in the Department of Geography at the University of Kentucky with interests in animal and plant geographies and human-environment interactions. How did you come to study animals, and how have your research methods been influenced by the perspective of animal studies? An Interview with Doug Slaymaker and Tony Stallins, University of Kentucky Interviewers: Aylin Castro, Jed DeBruin, Kelly Ferguson, and Jacob Saindon, University of Kentucky Doug Slaymaker is Professor of Japanese at the University of Kentucky, USA. Very soon after there was the formation of that animal geography specialty group and it's been percolating into geography, a lot of corners of it, everything from. the GIS [Geographic Information Science/Systems] Animal Mobility tracking quantifiers to social theorists. [Extracted from the article]

Copyright of Anales de Historia del Arte is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista La Tadeo de Arte is the property of La Fundacion Universidad de Bogota Jorge Tadeo Lozano and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

14 Frances Fowle, Elizabeth Workman's Collection 19: Interdisciplinary Studies in the Long Nineteenth Century, 31 (2020) In one of very few surviving letters, written to the French dealer Paul Rosenberg in 1924, Robert makes a clear reference to Courbet's The Trellis of 1862 (Toledo Museum of Art), as belonging to Elizabeth. 3). 34 In summary, therefore, McTaggart aside, the bulk of the Workmans' Scottish pictures, up until the First World War, were acquired jointly, while the French pictures were purchased by Elizabeth, albeit on Robert's account. Before the First World War, it is impossible to tell whether Robert or Elizabeth was guiding their choice of Scottish paintings, since the purchase books always list Robert as the buyer, while the later collection sales attribute the entire collection to Elizabeth. For much of her life 23 Dimitri Salmon, '"Perhaps Courtauld's Most Trusted Adviser": Percy Moore Turner', in The Courtauld Collection: A Vision for Impressionism, ed. by Karen Serres (London: Fondation Louis Vuitton and Paul Holberton Publishing, 2019), p. 70. 24 Karen Serres, "Introduction: Samuel Courtauld, Champion of Impressionism", in The Courtauld Collection, ed. by Serres, pp. 1-13 (p. 3); and Salmon, p. 70. [Extracted from the article]

There exists no scholarly publication espousing on the driving force behind the restless aspirations of the Nsukka artists towards searching for and using commonplace materials that the potent environment provides for supports and media for studio art production. Following this, my intent is to discuss the Nsukka artists' creative inclinations, bordering on styles, ideas, forms, materials and technique. Through hermeneutical analysis, I examine some useful insights in the formal and conceptual principles for which their recent and current artworks are foregrounded. Relying on historical, interpretative and analytical methods of data illumination, I engage some selected unusual artworks executed between 1999 and 2017 by some selected Nsukka artists to authenticate the fact that Nsukka artists have taken a quantum leap beyond the frontiers of the human consciousness and in so doing, have mastered their oeuvres, bringing about great ingenuity and some unprecedented innovations in the execution of breath-taking postmodernist artworks whose formal contents and thematic probing interrogate germane issues. [ABSTRACT FROM AUTHOR]

The research presented here aims to determine how art education influences students' preferences for the 20th-century art movements. An educational experiment that spanned through one school year was conducted on 200 primary school students. It included three types of intervention: observing works of art from the 20th century, introducing works of art using a puppet, and the students' art activities/artwork based on the 20th-century art movements. The results show that the model of art education is an important factor in changing students' preferences for the 20th century art movements. Students reacted positively to each kind of education, as evidenced in the wider acceptance of 20th-century art (abstract, fauvism, cubism, pop art, and surrealism). The type of education did not influence preferences (as much) when it came to classical art and visual works without artistic value. We concluded that puppets and independent creative work should be used more often in art education. [ABSTRACT FROM AUTHOR]

9 Cf. ibid. 10 Toni R. Toivonen, ibid. 11 Toivonen handles hares and mice as well as birds, a horse, and other living creatures or organic elements. 172 Tahiti 4/2020 | Research Articles | Jessen: Memento Mori Decay and rot are established motifs in art history. In contrast to pure motific depictions of decay, Finnish artist Toni R. Toivonen (*1987) arranges deceased animals and creates works in which organic components such as fur, muscle, flesh, and blood decompose until dissolution. The interlocking of art historical perspectives and ephemeral materials, as well as the process of decay, are of central interest in Toivonen's work, a further development of Art of Decay, 6 an art technique with its start in the 1950s. [Extracted from the article]

The article explores Rash's love of "journey—of walking back and forth through time" and its expression in verse channeled from the otherworldly medieval text The Mabinogion (ca. 1350-1410) offer a productive entry point into his abiding fascination with the specifics of place, states of being, "betweenness," and the power of myth as central elements of his artistic vision.

Copyright of Ars Bilduma is the property of Ars Bilduma and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article reviews the exhibition "Hungarian Fauves from Paris to Nagybánya 1904-1914," staged at the Hungarian National Gallery in Budapest, Hungary in 2006.

During World War II, artworks significantly outperformed all alternative investments in Occupied France. With the surge in demand for portable and easy-to-hide (discreet) assets such as artworks and collectible stamps, prices boomed. This suggests that discreet assets may be viewed as crypto-currencies, demand for which varies depending on the environment and the need to hide value. Regarding art market valuation, this article argues that while some economic actors derive significant utility from conspicuous consumption, others value the discretion offered by artworks. Motives for purchasing art may thus vary over time. [ABSTRACT FROM AUTHOR]

This paper analyses the boom on the Dutch art market during World War II. It relies on an original database covering all pictures - over 11,000 - sold at Mak van Waay, one of the two premier Dutch auction houses during the occupation. Hedonic regressions show that in real terms, the price of paintings increased more than fivefold between 1940 and 1945. While there was significant demand for Old Masters by the German occupying forces, paintings from the Romantic period outperformed Old Master and Modern paintings. These prices prompted forgers to create fake artworks. Reputable auction houses such as Mak van Waay used their cataloguing of artworks to signal quality and authenticity. We take advantage of these data to create indicators for ‘forgery’ and ‘doubtful attribution’. Prices reflect this flagging, as suspected forgeries sold for significantly less, as did pictures with questionable attributions.

The article discusses the role of art history in early conceptualizations of Palaeolithic art along with reception of Palaeolithic art at the turn of the twentieth century. Topics discussed include beginning of the what was known as the primitive art movement in the nineteenth century, role played by art-historical theories in explanations concerning the origins and evolution of Palaeolithic figurative and abstract representations, and terms borrowed by scholars of prehistoric art from art historians.