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Before the Museums Came

A Social History of The Fine Arts in the Twin Cities

Leo J. Harris

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Irena Kossowska

-1945. Exhibition catalogue, Hayward Gallery. London: Thames & Hudson Ltd. 1995, 334-337. Braun, Hermann. Fritz Klimsch Werke. Exhibition catalogue. Galerie Koch. Hannover: Galerie Koch 1980. Brenner, Hildegard. Die Kunstpolitik des Nationalsozialismus, Reinbek: Rowohlt Verlag, 1963. Ciechomski, Stanisław. “Wystawa wspołczesnych rzeźbiarzy niemieckich.” [Exhibition of Contemporary German Sculptures] Plastyka 4 (1938): 118-126. Czermiński, Adam. „Swastyka - dłuto - i kielnia. Wystawa wspołczesnej rzeźby niemieckiej w

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Iarîna Saviţkaia-Baraghin


Runing the new century (XX) attests in Bessarabian art, the experience of several decades of professional artistic activity (the first Evening School of Drawing appears in Chisinau in 1887 and is due scholar Academy of Arts in St. Petersburg, Terinte Zubcu). Such short experience has not met any of the neighboring countries' national schools. In Bessarabia from the beginning of the twentieth century is established the main areas of professional art – painting- with remarkable portraits, landscapes, genre paintings; sculpture with respective genres; stampa as a kind of graphics. Marked by the period and by the influences of art schools, where Bessarabians have studied, it is clear that in painting and sculpture and graphics in the first round, have dominated peredvizhnik influences their color and monochrome theme. Guidelines of Bessarabian plastic artists in the development phase of modern art, is the decisive moment of establishment of the Bessarabian engraving as a kind of professional art, marked by tendencies that have appeared in European art and Russian at the limit of nineteenth and twentieth centuries, such as Expressionism in the works of Sneer Cogan, George Ceglocof and Art 1900 in the works of Theodor Kiriacoff, Elisabeth Ivanovsky or Moissey Kogan.

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Yumiko Nunokawa

-165. Dobuzhinsky, Mstislav. Воспоминания: М. В. Добужинский [Memories: M. V. Dobuzhinsky]. Moscow: Nauka, 1987. Dobužinskis, Mstislavas. “Mano atsiminimai apie Čiurlionį” [My memories of Čiurlionis] In M. K. Čiurlionis edited by Paulius Gaunė. Kaunas: M. K. Čiurlionies galerija. 1938, 93-97. Gordon, Donald E. Modern art exhibitions: 1900-1916: Selected catalogue documentation, Vol. 1. München: Prestel, 1974. Juszkiewicz, Anton. [Juška, Antanas] In Melodje ludowe litewskie = Litauische Volks-Weisen Cze̜ść 1 [Lithuanian folk melodies Part 1]. Edited by Oskar

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Agnė Narušytė

Malvina, Jelinskaitė, eds. Kaunas: Kitos knygos, 2009. Tello, Verónica. Counter-Memorial Aesthetics. Refugee Histories and the Politics of Contemporary Art. London: Bloomsbury, 2016. “The March. The Photographs of Ilja Fišeris from 1946-1953.” Nacionalinė dailės galerija [National Gallery of Art]. December 7, 2012-February 17 (2013). Vaiseta, Tomas. Nuobodulio visuomenė. Kasdienybė ir ideologija vėlyvuoju sovietmečiu (1964-1984. Vilnius: Naujasis Židinys-Aidai, 2014

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Vilma Mačianskaitė

York and London: Prestel, 2012. Forbidden Art: The Postwar Russian Avant-Garde. Exhibition catalogue. Los Angeles, California: Curatorial Assistance in association with New York: Distributed Art Publishes, 1998. Foster, Hal, Rosalind Krauss, Yve-Alain Bois, Benjamin H. D. Bouchloh, David Joselit Art Since 1900: Modernism, Antimodernism, Postmodernism. New York: Thames & Hudson, 2011. Foster, Hal, Rosalinda Krauss, Yve-Alain Bois, Benjamin H.D.Bouchloh and David Joselit. Art Since 1900. London: Thames&Hudson, 2011

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Neringa Stoškutė

. Peter Vergo. London: Reaktion Books Ltd., 1989. 1-5. Vergo, Peter. “The Reticent Object”. The New Museology, ed. Peter Vergo. London: Reaktion Books Ltd., 1989.41-59. Wallach, Alan. In Exhibition Contradiction. University of Massachusetts Press, 1998. Žukauskienė, Odeta. “Muziejų kultūra: kintantys diskursai ir institucinė kritika” [Museum Culture: Changing Discourses and Institutional Critique] Lietuvos kultūros tyrimai 2: Muziejai, paveldas, vertybės, ed. Rita Repšienė, Vilnius: Lietuvos kultūros tyrimų