scholarly journals Hrvatska slikarska dionica ruskog marinista Alekseja Hanzena

Ars Adriatica ◽  
2018 ◽  
Vol 8 (1) ◽  
pp. 163-178
Author(s):  
Sanja Žanja Vrbica
Keyword(s):  
20Th Century ◽  
Buenos Aires ◽  
Museum Collections ◽  
Royal Courts ◽  
Artistic Training

Within the group of lesser-known foreign painters who stayed in Croatia between the two world wars, Russian painter Alexei Hanzen (b. February 2, 1876 in Odessa – d. October 19, 1937 in Dubrovnik) stands out with his artistic achievements. Having immigrated to Croatia in 1920, he remained here for the rest of his life. Nearly two decades spent in Croatia have been a time of intense work, during which Hanzen participated in numerous exhibitions organized almost every year in Zagreb, as well as in Split, Osijek, Dubrovnik, Ljubljana, Belgrade, Paris, Buenos Aires, Prague and elsewhere. His paintings could be seen at private houses, in public and museum collections, and at various royal courts, and are nowadays part of various collections in Croatia. Early in the 20th century, Hanzen studied painting in Munich, Berlin, and Dresden, and then continued his artistic training in Paris, in the ateliers of Tony Robert-Fleury and Jules Lefebvre. He was the grandson of the famous Russian marine artist Ivan Kostantinovich Ajvazovsky, and likewise specialized in painting sea scenes, presented at various exhibitions from 1901 onwards. For his work he was awarded in Paris and Russia, and in 1910 became the official painter of the Russian Navy.

scholarly journals Afro-Argentines of Buenos Aires in the 20th Century: The Suburbanization Process

Quinto Sol ◽  
2020 ◽  
Vol 24 (3) ◽  
pp. 1-27
Author(s):  
Lea Geler ◽  
◽  
Carmen Yannone ◽  
Alejandra Egido ◽  
◽  
...  
Keyword(s):  
20Th Century ◽  
Buenos Aires

scholarly journals Argentine Period of the Stepan Erzia’s Creativity (1927–1950). Searching and Findings

2020 ◽  
pp. 87-94
Author(s):  
Natalia Abramovna Rozenberg
Keyword(s):  
20Th Century ◽  
Art History ◽  
Buenos Aires ◽  
Visual Language ◽  
Tropical Species ◽  
Cultural Meanings ◽  
History Analysis ◽  
The Press ◽  
The World ◽  
Research Task

Relevance: The problem of studying the work of one of the outstanding masters of the Russian Diaspora – Stephan Erzia, who created several hundred sculp-tures in Argentina, has been raised. Their specificity, connection with the culture of the country hasn’t been studied properly, and cultural and art history analysis has not been carried out. At the same time, identifying the reasons why the Argentineans per-ceive his art in relation to the Argentine one, is an essential research task. Moreover, Erzia’s exhibitions of recent years, held in Buenos Aires, Moscow and St. Petersburg, were successful. Novelty: The uniqueness of Erzia’s work is due to his double mentality. He saw the world not only as Russian, but also as Argentinean. New cultural meanings are in-dicated in the problems of his sculptures and in the visual language itself. Erzia’s stay in Argentina is considered in the context of the formation of na-tional art. Including the example of the synthesis of architecture and sculpture of representative build-ings created by European masters. Although the 20–40s of the 20th century were an era of prosperity for Argentina, their own architects will only make them-selves known in the 1930s. Many of them worked in Europe and Argentina. The interest in Erzia’s art before his first exhibition in Buenos Aires was pre-pared by the press. The articles emphasized that the sculptor would show the works that were success-fully demonstrated in 1926 in Paris. The audience became convinced of the high professionalism and genre diversity of the master's works. A year after his arrival, Erzia turns less to marble and bronze, more to the tree of local tropical species – quebracho and algarroba. They possessed exceptional density, mul-tiplicity of color shades, and expressive texture. Er-zia’s works were formed in cycles. These are por-traits and nudes, monumental images of geniuses of humanity, the theme of motherhood. A bold change in iconographic canons distinguishes the best works of the master.

The MAE RAS Khiwan Collections of A. N. Samoilovich

2020 ◽  
Vol 26 (2) ◽  
pp. 64-68
Author(s):  
Valeria Prischepova ◽  
Keyword(s):  
20Th Century ◽  
Original Material ◽  
Museum Collections ◽  
Photo Collections

The expedition of academician Alexander Nikolaevich Samoylovich (1880—1938) to the Khanate of Khiwa in 1908 have been one of the most significant trips of Peter the Great's Museum of Anthropology and Ethnography (Kunstkamera). A. N. Samoylovich's activity on gathering ethnographic material has enriched the MAE item and photo collections related to the life of Khiwan population, the Uzbeks and the Turkmen. Unfortunately, little is known about the expedition itself, its organisation, its route, and the circumstances under which the field materials were collected. The Museum collections, together with the published works of the academician, helped reveal another facet of his talent — as ethnographer and collector. A. N. Samoylovich's Museum collections represent original material, which will allow to reconstruct the cultural situation in the Khanate of Khiwa of the beginning of the 20th century.

scholarly journals Pluriculturalidad y creación artística italiana en Buenos Aires (Argentina, 1890-1910)

2019 ◽  
Vol 28 ◽  
pp. 1529
Author(s):  
José Ignacio Weber
Keyword(s):  
20Th Century ◽  
Buenos Aires ◽  
Early 20Th Century ◽  
Italian Immigrants ◽  
Siglo Xix

Buenos Aires a fines del siglo XIX y principios del XX se modelizó como una “Babel”; en respuesta a este modelo surgieron los sistemas de reglas de la estética nacionalista. El análisis de los topics de las letras de canciones compuestas por inmigrantes italianos muestra que vehiculizaron estructuras de sensibilidad asociadas a la italianidad. Entonces, el nacionalismo consideró estos textos como ajenos ―no creolizables―. Por ello, para comprender los efectos de este plexo textual de creación inmigrante no habría que indagar en las condiciones intrínsecas del texto artístico sino en su inadecuación al metatexto instructivo hegemónico nacionalista de la cultura.In the late 19th and early 20th Century Buenos Aires was modeled as “Babel”; in response to this model arose the systems of rules of nationalist aesthetics. The analysis of the topics of the lyrics of songs composed by Italian immigrants shows that they conveyed structures of sensitivity associated with Italianity. Consequently, the nationalism considered these texts as foreign ―not syncretizable―. Therefore, in order to understand the effects of this textual plexus of immigrant creation, one should not inquire into the intrinsic conditions of the artistic text, but rather in its inadequacy to the nationalist hegemonic instructive metatext of culture.

scholarly journals Europa a América: Claudio Sánchez-Albornoz y la fundación de los "Cuadernos de Historia de España"

Medievalismo ◽  
2018 ◽  
pp. 235-270
Author(s):  
Martín F. RÍOS SALOMA
Keyword(s):  
20Th Century ◽  
Buenos Aires ◽  
Siglo Xx

En el presente trabajo se reconstruyen trazos poco conocidos de la biografía del medievalista español Claudio Sánchez Albornoz (1893-1984) y se analizan los factores de orden personal y las circunstancias históricas que llevaron a uno de los más destacados historiadores españoles de la primera mitad del siglo XX a emigrar a Buenos Aires y la forma en que dicha experiencia se materializó en la fundación de los Cuadernos de Historia de España que dirigió entre 1944 y 1981, poniendo de relieve la significación intelectual e historiográfica de dicha fundación para el medievalismo hispano. In this paper we reconstruct little-know aspects about the biography of the Spanish medievalist Claudio Sánchez-Albornoz (1893-1984). At the same time, we analyse the personal causes and the historical circumstances that led one of the most important Spanish historians from the first half of the 20th century to emigrate to Buenos Aires, and in what way that experience resulted in the foundation of the Cuadernos de Historia de España. We highlight the intellectual and historiographic significance of this foundation for Hispanic medievalism.

scholarly journals Images of the Grieving Christ in the Museum Collections of Saratov

2019 ◽  
Vol 15 (3) ◽  
pp. 24-54
Author(s):  
Maria Burganova
Keyword(s):  
20Th Century ◽  
17Th Century ◽  
The Body ◽  
Museum Collections ◽  
Saratov Region ◽  
Documentary Source ◽  
Analytical Review ◽  
Ecce Homo ◽  
Colour Features ◽  
Artistic Images

An analytical review of church statues united by the plot “Christ in the Dungeon” from Saratov and the Saratov region museums is presented in the article. Using these examples, the author draws attention to variations of the image of Christ in the last hours before the crucifixion typical of the Russian province. Assessing the wide variety of interpretations of this plot, it is necessary to take into account that, in Russia, the statues of Christ in the dungeon were created mostly in provincial workshops where the craftsmen used engraved illustrations as the source and an example. For instance, the illustrations for the Piscator Bible [Theatrum Biblicum: 1646] had served as iconographic examples for many icon-painters and carvers since the 17th century. It should be noted that most often these engraved examples provided only an impetus for sculptors and were sometimes interpreted quite arbitrarily. These circumstances gave certain freedom to sculptors and carvers creating artistic images distinguished by sculptural diversity and vivid emotional character. The statues of Christ in the dungeon are typical of the Russian province and represent images combining some details of the iconographic versions of Ecce Homo and The Man of Sorrows. Ecce Homo is an image of suffering, awaiting the crucifixion Christ with traces of flagellation, with chained or tied hands, in the Crown of Thorns, in shackles and a purple robe. As the Man of Sorrows, Christ is presented thoughtful, with a bowed head. His hand is pressed to his cheek, the wounds from the spear and nails received at the time of the crucifixion are visible on the body. Having become a kind of connection between the three museums, there are nineteen artworks in the Saratov collection of sculptures with the plot “Christ in the Dungeon”. These statues were moved from one museum to another throughout the 20th century. Initially, this group of monuments was collected in a small Petrovsky Museum of Local Lore. In the summer of 1923, members of an ethnographic expedition removed the statues of Christ in the Dungeon from the surrounding churches. At the same time, artist F. Kitavin made very accurate watercolour sketches reliably capturing the colour features of the statues and their vestments. Currently, these watercolour sketches with explanatory inscriptions may be regarded as a documentary source.

Masks from Indonesia in the Náprstek Museum

2017 ◽  
Vol 38 (1) ◽  
pp. 41-94
Author(s):  
Fiona Kerlogue
Keyword(s):  
Life Cycle ◽  
Daily Life ◽  
Museum Collections ◽  
Royal Courts

Masks from Indonesia have been worn in performances in a number of contexts. In Java, masked drama occurred in the royal courts as well as in the countryside. In Bali masks are still a feature of daily life in connection with performances in temples and at life cycle ceremonies. Balinese masks relate to a range of genres. In Kalimantan masks are mostly used in rituals connected with rice-growing. Indonesian masks in the Náprstek Museum collections all come from one of these contexts, most having been used and later discarded, while some were made especially for the tourist market.

Shifting Patterns in Migration from Bordering Countries to Argentina: 1914–1970

1979 ◽  
Vol 13 (3) ◽  
pp. 475-487 ◽  
Author(s):  
Juan M. Carrón
Keyword(s):  
Economic Growth ◽  
20Th Century ◽  
Buenos Aires ◽  
Economic Decline ◽  
Border Areas

During the 20th Century the pattern of immigration to Argentina has changed in several important ways. During the 1914 to 1947 period, immigrants from border areas tended to locate in the interior areas which were experiencing economic growth. From 1947 to 1960 some of these immigrants began to locate in the Buenos Aires area, but the majority continued to settle in the interior which was now experiencing economic decline. During the 1960–1970 period, border country immigrants were settling predominantly in the Buenos Aires area where they sought work in the stagnant areas of the economy. These shifts in the geographic and occupational locations of immigrants from border countries reflect the role of immigration in the adaptation of the economy to crisis.

scholarly journals Public works: Building a Monument to Modern Buenos Aires

2016 ◽  
Vol 4 (7) ◽  
pp. 58-84
Author(s):  
Anayvelyse Allen-Mossman
Keyword(s):  
20Th Century ◽  
Buenos Aires ◽  
Public Works ◽  
Cultural Discourse ◽  
The Relationship ◽  
The City

Understanding the relationship between the project of modernity and urbanism has been key to understanding the city of Buenos Aires’ material transformations throughout the 20th century. This paper considers how thinking about the issues of modernity and urbanism from the perspective of monuments--namely, the Obelisk of Buenos Aires--sheds new light on how elements of this modernizing project were undertaken and how its material markers have been used and manipulated, and modified through their representation in cultural discourse on the city. Rethinking Buenos Aires from the Obelisk implies literally thinking from underground, from the subway lines that form its base and transform it into a popular symbol of mobility.

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