Contributions from History of Art to cultural tourism: The Holy Chalice (Santo Cáliz) of Valencia as the axis of the tourist story that sustains the Holy Grail Route in the 21st century

In the world history of art, various graphic techniques for making and printing works of art have had their own names: etching, woodcut, linocut, lithography, etc. The new definitions of the 21st century sound quite reasonable: “Flowinggraphics” and “Fluid Fusion”, based on technological and chemical discoveries work with acrylic paints. The purpose of my article is to acquaint the art community with new techniques and terms. English version of the article on pp. 756-760 is available at URL: https://panor.ru/articles/fluid-fusion-and-flowing-graphics-new-stylistic-descoveries-in-the-works-of-the-duet-of-artists-alexey-and-irina-polyakov/70067.html

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ART WORLDS. STUDY AND MODELING (REVIEW: ART WORLDS OF THE 21ST CENTURY. WAYS OF INTEGRATING ARCHITECTURE AND ART PRACTICES / T.G. MALININA (ED.). MOSCOW: BUKSMART PUBL., 2020. 500 P., ILL.)

RSUH/RGGU Bulletin Series Philosophy Social Studies Art Studies ◽

10.28995/2073-6401-2020-2-151-157 ◽

2020 ◽

pp. 151-157

Author(s):

Aleksander V. Markov ◽

Keyword(s):

21St Century ◽

Living Environment ◽

Special Mode ◽

Artistic Integrity ◽

Art Worlds ◽

Art Practices ◽

History Of Art ◽

History Of ◽

And Performance ◽

Contemporary Architecture

The book under review fits processes in contemporary architecture and art into the broad context of the living environment transformation by the human. In the book, architecture is considered as a field of searching for artistic integrity, which demands not only an integration of technologies and arts, but also a special mode of modeling technological and aesthetic processes. Hence contemporary architecture is conceptualized as part of the recent art procedures, including installation and performance. The history of art of the 20th century is reinterpreted as the history of art systems aimed at transforming the living environment through the disclosure of the communicative potential of material and form. The review discusses advantages and limitations of that approach.

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Between the Ideal and Artistic Practice. On Research into Ancient Sculptural Polychromy

CLARA ◽

10.5617/clara.v5i0.7982 ◽

2020 ◽

Vol 5 ◽

Author(s):

Amalie Skovmøller

Keyword(s):

20Th Century ◽

21St Century ◽

Artistic Practice ◽

White Marble ◽

History Of Art ◽

Marble Sculptures ◽

History Of ◽

19Th And 20Th Century ◽

The 19Th Century ◽

The Ideal

Antiquity is often synonymous with white marble. Such are the general expectations when visitors enter 21st century museum galleries hosting ancient sculpture. Yet, ancient marble sculptures have never been actually white. They were originally fully painted or otherwise coloured, and today they pose as controlled ruins build by decades of restorations, de-restorations and preservation manifested as encrusted layers and patina. As such they express the modern ideal, meaning ideas of aesthetics developed by 19th and 20th century museums. They do not reflect the ancient artistic practice or the ideas of aesthetics that once guided the ancient craftspeople. The experimental reconstructions -meaning painted copies of authentic sculptures- are therefore often met with suspicion and sometimes frustration, because they explore the artistic practice above the ideal. Unlike the ancient originals, the painted copies are not in any way visually authentic, but fully polychrome, and layers of paint are often applied in thick, opaque layers, thus failing to meet the ideas of aesthetics on behalf of the modern viewer. While the reconstructions serve as seminal research tools in the academic exploration and experimentation with colours on white marble sculptures, they have no precedents in the history of art. This article will therefore explore how reviews of these experimental reconstructions echoes ideas of aesthetics originating from the 19th century, and how a lack of confronting these ideas ultimately empowers the reconstructions with the potential to impose a much-needed material diversity to 21st century classical sculpture galleries.

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The History of Art

Scientific American ◽

10.1038/scientificamerican11111876-733supp ◽

1876 ◽

Vol 2 (46supp) ◽

pp. 733-734

Keyword(s):

History Of Art ◽

History Of

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Thorstein Veblen: A View from the 21st Century

Voprosy Ekonomiki ◽

10.32609/0042-8736-2007-7-73-85 ◽

2007 ◽

pp. 73-85 ◽

Cited By ~ 1

Author(s):

R. Nureev

Keyword(s):

21St Century ◽

Institutional Economics ◽

Economic Thought ◽

History Of Economic Thought ◽

Thorstein Veblen ◽

History Of

The article provides a description of T. Veblen’s views, showing his place in the history of economic thought. The author analyzes the context of Veblen’s life and work and considers different aspects of his theoretical legacy. Special attention is paid to the discussion of Veblen’s role in the development of institutional economics. The author describes in detail the main trends in the development of institutionalism after Veblen.

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War of Perception, Perception of Time

Deleuze and Guattari Studies ◽

10.3366/dlgs.2018.0307 ◽

2018 ◽

Vol 12 (2) ◽

pp. 252-267

Author(s):

Kuniichi Uno

Keyword(s):

Michel Tournier ◽

Crucial Question ◽

History Of Art ◽

The World ◽

History Of ◽

Desert Island ◽

Perception Of Time

For Gilles Deleuze's two essays ‘Causes and Reasons of Desert Islands’ and ‘Michel Tournier and the World Without Others’, the crucial question is what the perception is, what its fundamental conditions are. A desert island can be a place to experiment on this question. The types of perception are described in many critical works about the history of art and aesthetical reflections by artists. So I will try to retrace some types of perception especially linked to the ‘haptic’, the importance of which was rediscovered by Deleuze. The ‘haptic’ proposes a type of perception not linked to space, but to time in its aspects of genesis. And something incorporeal has to intervene in a very original stage of perception and of perception of time. Thus we will be able to capture some links between the fundamental aspects of perception and time in its ‘out of joint’ aspects (Aion).

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