Vasarely, de la reconnaissance à l’institutionnalisation Itinéraire d’un Hongrois en France
The study presents the career of Victor Vasarely from Hungary to France, to Paris.
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The study presents the career of Victor Vasarely from Hungary to France, to Paris.
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The biographical approach to material culture and the hypothesis of deliberate fragmentation of anthropomorphic figurines are used in this paper to deduce a hypothesis that there should be an association between particular fragmentation categories and context types in the archaeological record of the Late Neolithic settlements in Central Balkans. This hypothesis is tested using published data from the site of Selevac by performing correspondence analysis and chi-square test on a contingency table in which categories of fragmentation are cross-tabulated with context types. The results are statistically significant, suggesting that complete figurines are associated with houses while transversely broken figurines are associated with pits. There is also evidence that figurines were broken differentially in respect to their original size.
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Rūta Panavaitė-Ničajienė was born in 1966 in Vilnius city. During 1984–1989, she studied artistic metalwork in Telšiai College of Applied Arts and acquired an artist-executor qualification. From 1989–1994 she continued studies in Lithuania Academy of Arts and chose Art pedagogics as a specialty. Since 2013 she has been a member of Lithuania Artists Asociation. Her creative activity was quite varied. Both of the above specialties were tried, although artistic metalwork was always the priority. After her first studies, Ničajienė worked at Kaunas State Manufactory “Daile” as an artistic coloured iron treatment specialist (1989–1996), later she worked as a designer at UAB „Medalis“ in Kaunas city (1996–1997). Her new artistic experience was working in animation movie studio „Vosinta“, as a background painter (1998–2001). There also was an art pedagogy practice while working as art teacher in „Gabija“ gymnasium in Mazeikiai city (2000–2001). Since 2003 her activity in metal plastic is dominant again. R. Ničajienė worked as an artist-designer at TŪB „Gurtana“ in Kaunas city (2003–2004) and as a creator of wax benchmark at UAB „Metalo forma“ in Vilnius (2005–2009). Presently, the artist is living and creating in Vilnius. Since 1989 the artist has participated in exhibitions by displaying sculptures, jewelry, medals. She has won various awards in international exhibitions, competitions. The artist is an author of representative artworks, presented to Queen Beatrix of the Netherlands, the US President G. W. Bush, the President of Ukraine V. A. Yushchenko and nuncio P. S. Zurbriggen. She has created a golden scene cross, which is annually presented to the best annual Lithuanian theater representatives. She is the author of many collector (commemorative) coins, evaluated not only in Lithuania, but also abroad.
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In the article, the author analyses the works of the metal artist, Ruta Ničajienė. The focus is her sculptural plastics and collector coins. Also, discussed here are the representational artworks which Lithuanian President V. Adamkus presented to Queen Beatrix of the Netherlands, the US President G. W. Bush, the President of Ukraine V. A. Yushchenko, and the Swiss ambassador to nuncio P. S. Zurbriggen. Also explaind in the article are the principles of the Nijačajienė‘s creations and her desire to preserve the natural beauty of amber, enveloping it in metal plastic with unique stylistic features that creates a wide field of meanings. In summary, the article defines the originality of her creations as it is marked by associative artistic expressions related to the aspects of symbolic, historical and national peculiarities. The representative nature of her works and the emotionally significant aesthetic form are emphasized as well.
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This article analyzes the creative style, representational system, the main plots, themes and motifs of a prominent Lithuanian painter of elder generation Raimondas Savickas. It considers the origins of artist’s creativity: the Jewish cultural traditions of his family, Litvaks’ art, Lithuanian wooden sculpture, French color school; analyzes the themes of sorrow, motifs of the Old Testament, urban landscapes, figure compositions, waterscapes which influenced the painter’s creative style peculiarities. Also the article pays attention to how the artist understands and employs colors and other means of artistic expression.
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The fabrication of the Minoan culture is the specifically modern phenomenon, closely linked to the imperial and colonial conquest and appropriation of Ancient Greece. The Greek war of independence created an arena in which Europe could take part in the fight for its cradle. In the postcolonial key, the paper situates the fresco "Captain of the Blacks" into the context of the fabrication of the Minoan culture and the colonial narratives inscribed into it. In the beginning of the 20th century, this colonial past of the notion, known today as the Minoan culture, played a major role in the definition of the European past, present and future. The Minoan culture, as a colonial discursive formation in archaeology, has remained in the framework of the culture-historical paradigm, but beyond it as well. The paper argues that the reconstruction of the fresco "Captain of the Blacks" in the works of Arthur Evans is the consequence of the colonial racism, putting the emphasis on the colour of the skin as a racial/ ethnic category. The interpretation that the dark-skinned figures are of the African origin has rarely been questioned, but rather perpetuated as a given.
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Raimondas Savickas was born in 1955 in Vilnius in the family of painter Augustinas Savickas. He received initial artistic education in his father’s workshop. From 1974 till 1979, R. Savickas studied history in Vilnius University. Since 1988 he is a member of the Lithuanian Artists’ Association, and since 1994 – Savickas’s Art Gallery owner. In 2000, he founded the biennial Savickas’s Art School. He held more than 40 personal exhibitions in Lithuania and abroad. Also he organizes international Augustinas Savickas’s international plain-air paintings.
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From the last decade of the XX century, crucial changes can be detected in Lithuanian culture and arts. Social and cultural shifts are conditions for these changes. Artists began to look into their inner world and to seek answers for existential questions. For the analysis of art and for the creation process, K. G. Jung‘s archetypal theory, which declares that individuals get their creative impulses in the collective unconsciousness, was an inspiration The article analyses empirical data of the “creative process“ by studying the various artists themselves. Jung’s archetypal theory broadens limits of formal and biographical analysis.
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The paper discusses in various aspects the worldwiew and esthetical attitudes of the renowned artist, educator and theoretitian Josef Albers. It also discusases his color theory connections with the theoretical concepts of his teachers Kandinsky, Itten, Klee. In theories of these authors, the main goal focuses on the distictive and original interpretatation of the phenomenon of color. On the basis of comparative analysis principles, the author of the article displays that in Albers’ color study, the ideas of the Bauhaus colorists, which are rooted in the non-classical philosophies of art (Schopenhauer, Nietzsche, Baudelaire, Maeterlinck) and Eastern esthetic principles, became intertwined with the esthetic principles of American pragmatism. The axis of an artist’s creative project becomes the aspiration to “open your eyes” – to show and extract through the analysis of color the discrepancy between empirical facts and mental and esthetic perception mechanisms. This interpretation of the phenomenon of color which is still relevant nowdays had a profound impact on 20th century art education in Western Europe and the United States of America.
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Sculptor Stasys Žirgulis was born in 1944 in Radviliškis. In 1974 he graduated from the Lithuanian National Art Institute (currently the Vilnius Art Academy). After that the artist began to participate in various exhibitions and to create both small and monumental sculptures. In 1978 he became a member of the Lithuanian Artists Association.
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The article analyzes the paintings of Vytautas Kasiulis (1915?–1995), one of the most exotic Lithuanian artists in the entourage of Paris artistic society. Neglecting majority of his creative activities it focuses on the stylistic development of his oil and pastel painting. The sources of his creativity and relations with the celebrities of modern art (Monet, Gauguin, Matisse, Dufy, Rouault, Soutine) as well as orientalist tendencies are considered. The main attention is paid to the peculiarity of Kasiulis’s art phenomenon, creative character, and the development of painting style. The main stages of painter’s creative evolution are analyzed in more details; for each stage has its own stylistic character, favorite plots, motives, personages, and the means of artistic expression. Special attention is paid to explication of painter’s color concept as well as poetic and metaphoric thinking. Along with L. Segal and P. Rimša, Kasiulis is regarded as a Lithuanian emigration painter of the 20th century who developed the tendencies of exoticism.
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The paper discusses in various aspects the worldwiew and esthetical attitudes of the renowned artist, educator and theoretitian Josef Albers. It also discusases his color theory connections with the theoretical concepts of his teachers Kandinsky, Itten, Klee. In theories of these authors, the main goal focuses on the distictive and original interpretatation of the phenomenon of color. On the basis of comparative analysis principles, the author of the article displays that in Albers’ color study, the ideas of the Bauhaus colorists, which are rooted in the non-classical philosophies of art (Schopenhauer, Nietzsche, Baudelaire, Maeterlinck) and Eastern esthetic principles, became intertwined with the esthetic principles of American pragmatism. The axis of an artist’s creative project becomes the aspiration to “open your eyes” – to show and extract through the analysis of color the discrepancy between empirical facts and mental and esthetic perception mechanisms. This interpretation of the phenomenon of color which is still relevant nowdays had a profound impact on 20th century art education in Western Europe and the United States of America.
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Painter Pranas Domšaitis (1880–1965) was born in Eastern Prussia, painted in Germany and Eastern Africa but his paintings were brought to Lithuania. As a rule they are characterized as expressionistic. Nevertheless the big exhibition of Domšaitis’s paintings held in Kaunas in 2015 allowed to formulate a thesis that his oeuvre is much more diverse: sometimes expressive, sometimes realistic or romantic. This article aims at examination of the relations of Domšaitis’s paintings with German artistic scene and designate the their character in the field of the 20th century painting. It tries to qualify the place of Domšaitis oeuvre in the history of fine arts of the first part of the 20th century and comes to conclusion that, of course, his paintings has some traits of expressionism but in general they are intermediate phenomenon situated between modernism and local regional painting (Heitmatkunst, or native art).
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The article analyzes the paintings of Vytautas Kasiulis (1915?–1995), one of the most exotic Lithuanian artists in the entourage of Paris artistic society. Neglecting majority of his creative activities it focuses on the stylistic development of his oil and pastel painting. The sources of his creativity and relations with the celebrities of modern art (Monet, Gauguin, Matisse, Dufy, Rouault, Soutine) as well as orientalist tendencies are considered. The main attention is paid to the peculiarity of Kasiulis’s art phenomenon, creative character, and the development of painting style. The main stages of painter’s creative evolution are analyzed in more details; for each stage has its own stylistic character, favorite plots, motives, personages, and the means of artistic expression. Special attention is paid to explication of painter’s color concept as well as poetic and metaphoric thinking. Along with L. Segal and P. Rimša, Kasiulis is regarded as a Lithuanian emigration painter of the 20th century who developed the tendencies of exoticism.
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This paper consists of four parts. The first analyses the phenomenon of the dream as auratic experience; the second synthesises Benjamin’s experience of the dream with reference to recent research; the third explores Benjamin’s experience of the dream across his output; the fourth attempts to understand contemporary dream activities (on the basis of the works by a performer – Joanna Rajkowska) through Benjamin’s experience of dream.
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Review: Andrzej Zawadzki, Obraz i ślad [Image and Trace], Cracow: Wydawnictwo Uniwersytetu Jagiellońskiego, cop. 2014.
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Vytautas Kasiulis was born April 23, 1915(?) in Simnas(?), Alytus area; died on March 12, 1995 in Paris. Since 1937, he studied in Kaunas Art School. In 1941, he graduated from Kaunas Applied and Fine Arts’ Institute and lectured there from 1941 till 1944 emigration to Germany. From 1946 till 1948 Kasiulis lived in Freiburg and lectured at the school of fine arts and crafts. From 1947 till 1949 he was a head of drawing class. From 1948 he lived in Paris. There he painted a number of compositions („Painter’s Family“, „Woman with a Baby“), portraits („Auto-portrait“, „Lithuanian Girl“, „Gipsy Girl“), lyrical landscapes, and still-life. His early works are darksome, realistic, psychological with the elements of humor pictures of kitchen-sink genre; later modernistic opuses are brighter and more decorative. In his compositions, he usually depicted musicians, showmen, saints (St. Kasimir, St. Peter), whose abstracted, intertwined with arabesque lines figures produce impression of carnival. Kasiulis produced many drawings, pastels, aquarelles, lithographs, and formatted French movie „Double Life“ (1954). He held personal exhibitions in Kaunas (1943), Freiburg (1947), Paris, Hamburg, Geneva, Berlin, London, Copenhagen, Stockholm, Chicago, New York (1950–1955).
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The article analyzes the paintings of Vytautas Kasiulis (1915?–1995), one of the most exotic Lithuanian artists in the entourage of Paris artistic society. Neglecting majority of his creative activities it focuses on the stylistic development of his oil and pastel painting. The sources of his creativity and relations with the celebrities of modern art (Monet, Gauguin, Matisse, Dufy, Rouault, Soutine) as well as orientalist tendencies are considered. The main attention is paid to the peculiarity of Kasiulis’s art phenomenon, creative character, and the development of painting style. The main stages of painter’s creative evolution are analyzed in more details; for each stage has its own stylistic character, favorite plots, motives, personages, and the means of artistic expression. Special attention is paid to explication of painter’s color concept as well as poetic and metaphoric thinking. Along with L. Segal and P. Rimša, Kasiulis is regarded as a Lithuanian emigration painter of the 20th century who developed the tendencies of exoticism.
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The article discusses the beginning of artistic creativity, the course of its development, experienced influences and peculiarity of style of one of the most eccentric Lithuanian painters Jonas Maldžiūnas. His paintings show attempts of uniting the Lithuanian artistic traditions with the demands of the Eastern Azia aesthetics and influence of the palimpsest principles characteristic to abstract expressionism and pastmodernism. The article considers the means of artistic expression and the metamorphoses of style in the main paintings of the painter. It concludes that Maldžiūnas is the successor of Eidukevičius’s tradition.
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Miloš Milenković - Da li je etnografija deo antropologije ili je antropologija deo etnografije? Senka Kovač Nataša Njegovanović Ristić, Primarna UMETNOST, Slike na stenama, Slike na telu, Muzej afričke umetnosti, Beograd, 2007, str. 217 Saša Nedeljković - Gordana Gorunović: Srpska etnologija i marksizam - Naučno delo Špire Kulišića, Etnološka biblioteka knj. 22, Srpski genealoški centar, Beograd 2007, 360 str. Jelena Vasiljević - Vladimir Ribić, Primenjena antropologija – Razvoj primenjenih antropoloških istraživanja u Velikoj Britaniji i Sjedinjenim Američkim Državama, Srpski genealoški centar i Odeljenje za etnologiju i antropologiju Filozofskog fakulteta u Beogradu, Beograd, 2007.
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