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The main aim of this article is to closely examine the concept of beauty in terms of philosophical analysis adapting theories by Plato, L. Wittgenstein and S. Freud. Moreover, the concept of beauty is also examined in the wider contexts of philosophy, aesthetics and psychoanalysis. The text highlights the use of the term ‘beauty’ in language, presents the relationship between beauty, truth and goodness, as well as ugliness and explores the concept of beauty in relation to the conscious and the unconscious. After analysing the relationship between beauty, pleasure and desire the aim is to establish the true origin of beauty.
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U povijesti umjetnosti može se izdvojiti nekoliko dominantnih točaka - umjetnika koji su obilježili svoje i buduće vrijeme, dok su drugi samo sljedbenici svojih učitelja oblikovani prema njihovim željama. Taj pigmalionizam ne treba uzimati kao negativnu pojavu jer je omogućio razvoj stilova do maksimuma, ali i prijelaz iz jednoga u drugi.
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The article reports the international symposium "Dutch-Baltic Relations in A Historical Perspective", part of the Holland Days 2008, held in the National History Museum of Latvia on 24-25 April 2008. The event was organised by the National History Museum with the support of the Royal Netherlands Embassy and the Directorate of Baltic Trade and Shipping Companies and brought together experts from various countries around the Baltic Sea to discuss the largely unexplored heritage of Dutch-Baltic connections. The work of the symposium was organised in plenary sessions discussing more general issues of mutual relationships followed by parallel sessions turning to more specific subjects. These included maritime contacts, maritime archaeology, trade and commerce, politics and diplomacy (session A), but the present report focuses on session B, which dealt with art and architecture, painting and modern art and architecture. Participants inccluded: Konrad A. Ottenheym (Utrecht University), Anu Mand (Institute of History, Tallinn University), Anna Ancāne (Institute of Art History, Latvian Academy of Art), Jānis Krēsliņš (National Library of Sweden), Ojārs Spārītis (Latvian Academy of Art), Dirk van de Vijver (Utrecht University), Imants Lancmanis (Rundāle Palace Museum), Jacek Tylicki (Torun University), Anita Meinarte (National History Museum of Latvia), Astrīda Rogule (State Agency "New Three Brothers") and Frederik Erens (Utrecht University).
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The article reports the conference "Germany and Latvia Between the Two World Wars: Contacts in Life and Art" held on 28 May 2008 as a part of the German Cultural Month. Papers presented various aspects of the subject, including expressionist elements in Latvian art, Latvian artists' deeds in the cosmopolitan Berlin of the early 1920s, the impacts of authoritarian and totalitarian regimes upon art life.
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The review examines the book "Ekspresionizmo raitele Mariana Veriovkina" by Lithuanian art historian Laima Laučkaite (Vilnius, 2007), dealing with the noted expressionist painter Marianne Werefkin, known as a member of the German artists' group "Der Blaue Reiter". Although Lithuania has been only one geographical stop in this artist's career (she was born in Tula, Russia, and died in Ascon, Switzerland), significant epistolary material was recently recovered there, integrated in a fact-based and innovative survey of the artist's life.
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The review examines the monograph "Tapyti altoriai XVIII a.-XIX a. I p.: nykstantys Lietuvos bažničiu dailes paminklai" by Lithuanian art historian Dalia Klajumiene (Vilnius, 2006). The book deals with the painter altar retables on the territory of Lithuania and partly also Latvia, created in the 18th and early 19th century.
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The overview presents the most important events in Lithuanian art history in the year 2007: group research works, scientific catalogues and albums, popularisation of heritage, guides and conferences.
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The article introduced by Elita Grosmane presents the memories of Latvian artist and pedagogue Rūdolfs Priede (1890-1949) about the prominent Latvian sculptor Kārlis Zāle (1888-1942), author of the Freedom Monument and Brethren Cemetery - most outstanding examples of monumental sculpture in the inter-war Latvia. The publication of Priede's memories, dedicated to Zāle's 120th anniversary, touch upon several aspects of the artist's personality, his education, early years, interests and influences.
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Research of this seemingly marginal topic in Latvian art history has revealed new information that significantly enriches the knowledge of local modernists’ international contacts. Relations with Futurism have not been examined as a distinct theme before with only a few testimonies found during the fragmentary research on the late 1910s. But some moments of real contact emerge in the later period of the 1920s with the so-called episode of the Berlin Futurists and Niklāvs Strunke’s (1894–1966) activities in Italy. These are outstanding pages in the history of Latvian modernism characterised by the artists’ direct contacts, participation in the art life of Germany and Italy, creative impulses, concrete artworks and publications. In the manifesto of 1924 Le futurisme mondial. Manifeste à Paris, Filippo Tommaso Marinetti also included the Latvian artists who belonged to the Berlin Futurists group (Ivan Puni, Ksenia Boguslavskaya, Rudolf Belling, etc.), such as Kārlis Zāle (1888-1942), Arnolds Dzirkals (1896-1944?), Romans Suta (1896-1944), Aleksandra Beļcova (1892-1981) and Niklāvs Strunke. In his Berlin period (1921-1923), sculptor Kārlis Zāle joined the international circle of the avant-garde, establishing contacts with the Der Sturm gallery, Novembergruppe, Russian émigré intellectuals and Ivan Puni as well as the Italian futurists Enrico Prampolini, leader of the futurist movement in Berlin, and Ruggiero Vasari, publisher of the journal Der Futurismus, whose private gallery, arranged in casa d’arte style, showed works by the above-mentioned Latvian modernists. Niklāvs Strunke in his Italian period (1923-1927) was the only Latvian modernist who made contacts with futurists on their own soil, becoming involved with Marinetti and representatives of secondo futurismo in Rome, particularly with Anton Giulio Bragaglia’s Casa d’Arte Bragaglia circle and his experimental theatre Teatro degli Indipendenti. Strunke published in the futurist journal Noi etc., lived and worked on the island of Capri, a location favoured by Futurists. To date no precise information has been found as to which of the futurist manifestos were signed by Latvian artists. The accumulated information on contacts with secondo futurismo, embracing both facts of art life and the practice of local modernists enriches the history of Latvian modernism and illustrates the general tendency of the internationalisation of the avant-garde in Europe. Research of this topic shows that there is yet much work to be done and interpretation is not complete.
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On 17 February 2013, the Museum of Fine Arts in Budapest closed the doors on its exhibition entitled Cézanne and the Past: Tradition and Creativity. With some 180,000 visitors, a 527-page catalogue of scholarly merit featuring articles by the big shots of Cézanne study, and a conference marshalling a bevy of additional invited specialists, the exhibition produced fresh results worthy of further consideration by international Cézanne research. The Burlington Magazine devotes space to the exhibition in Budapest, by John-Paul Stonard in the March issue.2 The professional know-how and well-established connections of the Curator, Judit Geskó resulted in a mature exhibition concept that went beyond a recapitulation or summation of the latest research findings and thought them over in new, creative ways. As such, the exhibition in Budapest fit in comfortably with the string of great Cézanne exhibitions since the second half of the 1970s, both monographic and thematic, that had offered a complex look at the influential oeuvre of the Aix Master.
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Using the principles of didactics, the paper seeks to explain different approaches to training students in Film and TV Cinematography. The ways of selection of the enrolled students and the principles, explaining the approach to this challenging task are examined. Training is a result-oriented process of interaction, where the trainer and the trainee are taking part and in the course of the process, knowledge is ‘gained as a result of the reflective, transforming and regulatory psychoactivity of the student’. The paper draws, to a large extent, on Prof. Mikhail Arnaudov’s work “The Process of Education” as well as on studies by Emile Durkheim and Jean Piaget. It is an attempt at a profound review of the methods and practices in the individual training of young authors in the field of moving images. First of all, a talented person should be found, then developed on the basis of skills and creative reactions to eventually come to making screen works. The entire process ought to be a contemporary presentation and mastering of a creative occupation. This a bit eclectic idea contains the specifics of the profession of a cameraman, a creator of screen images.
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The paper deals with the state’s policy in the management of Bulgaria’s art life in the late 1940s and the early 1950s. The characteristics of this policy were laid out in three party and state documents: Vulko Chervenkov’s report entitled “Marxian-Leninist education and the struggle on the ideological front”, delivered at the 5th Congress of the Bulgarian Communist Party; the resolution adopted by the Central Committee of the Bulgarian Communist Party “On the situation and the immediate tasks of the State Academy of Fine Arts” and Chervenkov’s speech For the Party or against the Party in Fine Arts. These documents underlay the development of the conceptual art project of the state, the art of Socialist Realism, implemented by the agency of the normative art criticism. It was the authority that set the range of themes and storylines as well as the characteristics of the plastic language, i.e. the authorities were the project’s curator and co-author of the artists in their capacity of performers. Furthermore, the state was also a curator in the sense of a custodian, a guardian. The state masterminded the line of development both of the general processes and individual artists, restricting their right to personal aesthetic or moral position.
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The paper treats the issue of emerging informal settings for displaying sculpture. It seeks to find answers to the question what the specifics of this early hybrid expositional form are and what the dependences are between the environment and the artworks when a sculpture open-air exhibition or a sculpture symposium is considered. Open-air exhibitions, garden sculpture and sculpture symposia with their spontaneity and experimental air are the key to the emergence of the new art. Though the early examples are exceptions rather than principles, their role for establishing new forms in contemporary art is indisputable.
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The author describes the course of the conservation of polychromy boards discovered in 1988 in a manor in Osiek near Kościan. The boards covered the wooden construction of a division wall and a ceiling in a staircase and the first floor of the building. Made of coniferous wood of various width and length, and 2,5-4 cm. thick, the boards are hand-worked, with traces left by the tools - a chisel and a plane. The clearly visible texture of the wood shows numerous indentations around the knots and a slightly uneven surface. Chalk-glue, white and thin grounding, and a painted layer (thin tempera - glutinous glue and oil varnish) were placed on this basis. The colour of the polychromy is composed of ochre: yellow, red and brown, whitening, achieved by means of white lead, white elements - chalk with the addition of white lead, and terra di Siena. The polychromy is dated as the 1730s, and its author remains unknown. The original composition configurations were damaged due to the cutting of the boards and their adaptation to a new function, i. e. that of building material. The extant fragments were used for the completion of five compositions intended for museum display. The boards were rendered whole and the painted layer was made permanent by a group of conservators headed by Krzysztof Powidzki. Today, they are displayed in the palace in Trzebiny near Leszno.
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