During the two last decades of the nineteenth century, open-air painting became increasingly common in the United States. Beyond its popular appeal, the practice served for many artists as an ...important catalyst for change, reflecting a wide array of cultural shifts outside the discipline. This article examines the central role of open-air painting in the formation and regeneration of American art between 1880-1900 and approaches the genre not only as a practice but as an epistemological tool. It focuses on how turn-of-the-century painters in the northeastern United States employed open-air painting to converse with the broad notion of openness and associated ideas such as directness, truth, expansion, space, the elimination of barriers, and artistic freedom. This paper scrutinizes how these ideas came together with the practice of open-air painting to formulate a distinctive sensual, perceptual, and mental experience among both artists and contemporary viewers. While referring to a range of leading Gilded Age artists, the paper focuses primarily on four influential painters: William Merritt Chase (1849–1916), John Henry Twachtman (1853–1902), Winslow Homer (1836–1910), and Albert Pinkham Ryder (1847–1917). Through open-air painting, each artist performs their own artistic approaches to and ideas about what openness is and what it stands for, and, although each articulates a different aspect of it, they all assume the 'state of openness' as a central axis. This lies at the heart of open-air painting's major contribution as a practice that was re-evaluated and valorized within North American art, and which has not yet received the attention it is due.
Water is a slippery subject: its visual and material properties spur intellectual inquiry and spiritual reverie; its fluctuating form repels categorization and confounds claims of ownership as it ...crosses property lines and national borders; and river and ocean currents facilitate commercial exchange along with environmental exploitation.
Mystic space Smith, David; Dunne, Aidan
Irish arts review (2002),
12/2021, Volume:
38, Issue:
4
Journal Article
Peer reviewed
Dunne profiles artist David Smith, whose paintings have something of the quality of recollections or memories; more literally and materially, they recall vintage photographs. Usually quite small in ...scale, they nonetheless evoke large vistas. Often close to monochromatic in appearance and tonally subdued, as though viewed through a filter, they are in fact richly, subtly colored. While it is fair to say that so far Smith is primarily a painter, he has also worked consistently with photography, film and music with, as he reports, no sense of contradiction or disruption. Early on, he thought there might be some friction or difficulty between painting and photography and film. In the event, that never materialized.
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The choice of language for literary creation is not a simple one, especially for African writers. Having grown up in a naturally multilingual environment and exposed to European languages, they often ...express themselves in the language of former colonizers. However, this is neither obvious nor should it remain a definitive choice for authors from various African countries. We will present different motivations, attitudes, and decisions of several writers; from the most radical, rejecting the European language, to others who hold onto it – either exclusively or accompanied by African languages.
Le choix de la langue de création littéraire n’est point simple, particulièrement pour les écrivains africains. Ayant grandi dans l’environnement multilinguistique, mis au contact de langues européennes, ils s’expriment plus que souvent dans la langue d’anciens colonisateurs. Ceci n’est pourtant ni évident, ni ne doit rester un choix définitif pour l’ensemble de l’œuvre d’auteur(e)s originaires de divers pays d’Afrique. Nous allons présenter différentes motivations, attitudes et décisions de plusieurs écrivain(e)s ; des plus radicaux, rejetant la langue européenne à d’autres qui y tiennent – soit exclusivement, soit en l’accompagnant de langues africaines.
In this special issue of Caribbean Quarterly we focus on Caribbean Carnival cultures. The term"Caribbean Carnival cultures" encompasses an analysis of the cultures of Carnival in the Caribbean and ...its diaspora, but the scholars and practitioners published here also view Carnival as a unique cultural phenomenon rather than merely a group of Caribbean and diaspora-based events.
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The study of the figurative repertoire of Palaeolithic artists allows us to approach aspects such as iconographic diffusion and cultural preferences. This paper presents an updated corpus of ...figurative rock art for the Iberian peninsula and analyses its distribution in the Cantabrian region, inland Iberia and the Mediterranean basin, three areas frequently used in the literature. This corpus contains 3341 graphic units that were analysed using multivariate statistics and hypothesis testing. The results show that the main figurative themes can be classified according to their discriminating power. Horse, ibex and deer were the animal motifs that formed the common background of this artistic expression. In contrast, Palaeolithic artists used different proportions of bison, hind and aurochs to create a possible distinctive identity. Finally, it is discussed whether the iconographic selection is due to palaeoecological reasons, cultural motivations, or a combination of both.
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39.
The Self Nechlebová, Kat Dison
Art therapy,
04/2024, Volume:
41, Issue:
2
Journal Article
Peer reviewed
My artistic inspiration stems from Jung’s archetypal theories that explore the collective perceptions of the world around us. I create art as a therapeutic practice that touches on the duality of ...psychological destruction and the nurturing aspects of the human experience. The process helps me appreciate my role in this grand experience of life. This practice and appreciation is what led me to create “The Self.”
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