scholarly journals Tyra Kleen

2021 ◽  
Vol 11 (1) ◽  
pp. 174-83
Author(s):  
Karin Ström Lehander
Keyword(s):  
Professional Artist

The Swedish artist and writer Tyra Kleen (1874–1951) was a professional artist and a constant traveller who had a great interest in different religious questions. This article describes her Symbolist artistry, her interest in Theosophy and her journeys to India and Asia.

THE MUSEUM AND THE PROFESSIONAL ARTIST

1949 ◽  
Vol 28 (4) ◽  
pp. 78-79
Author(s):  
E. P. RICHARDSON
Keyword(s):  
Professional Artist

Namatjira, Albert (Elea) (1902–1959)

2018 ◽  
Author(s):  
Ian McLean
Keyword(s):  
Collective Identity ◽  
Turning Point ◽  
Huge Impact ◽  
History Of ◽  
Good Living ◽  
Central Australia ◽  
Aboriginal Art ◽  
Modern Landscape ◽  
Professional Artist ◽  
As If

Albert Namatjira was the leading artist of the modern Aboriginal watercolor art movement at the Hermannsburg (Ntaria) Lutheran mission in Central Australia. He was the first Aborigine to be recognized as a professional artist, to make a good living from his art, and gain national acclaim. The turning point in his life occurred in 1934, when two visiting landscape artists, Rex Battarbee and John Gardiner, exhibited paintings of the local scenery at the mission. Already a talented craftsman with a reputation at the mission for his artefacts and poker-worked designs, Namatjira was inspired by the exhibition to learn to paint his totemic landscape of the MacDonnell Ranges of Central Australia in the same modern landscape style. Namatjira’s paintings had a huge impact on the Western Arrernte, as well as on other Aboriginal artists and the wider Australian public. In depicting local ancestral sites in the pictorial language of Biblical illustrations, Namatjira’s paintings are a visual parallel to the Arrernte Bible, effectively translating their ancestral histories into a modern idiom. To this day, the Western Arrernte consider Namatjira’s style as their own, as if it embodies their collective identity and history of the place. His success is considered a milestone in Australian art and the beginning of the modern Aboriginal art movement.

Matsumoto, Shunsuke (松本竣介, 1912–1949)

2018 ◽  
Author(s):  
Takuya Tsunoda
Keyword(s):  
High School ◽  
Fine Arts ◽  
Urban Landscapes ◽  
Pacific War ◽  
Oil Painting ◽  
Avant Garde ◽  
The Pacific ◽  
Literary Arts ◽  
Spinal Meningitis ◽  
Professional Artist

Matsumoto Shunsuke was an oil painter and essayist active in the years up to and through the Pacific War. His best-known paintings, most of which feature figures in urban landscapes, include several self-portraits such as Standing Figure (1942). Matsumoto contracted spinal meningitis at the age of eleven, which eventually led to the loss of his hearing, an event that steered him towards the career of professional artist, and encouraged him to become immersed in reading and the literary arts. Later, it also rendered him ineligible for the draft. At seventeen he dropped out of high school and moved to Tokyo, where he studied oil painting at the Pacific School of Fine Arts (Taiheiyô Bijutsu Gakkô) for three years. In 1935 he became a member of the avant-garde NOVA Art Society, the first of several exhibition collective and artist groups in which he would participate. Other groups including the Nikakai, the Nine-Room Society (Kyûshitsukai), and the Newcomers Painting Society (Shinjin Gakai). Like Ai Mitsu, Asô Saburô, and others with whom he associated, Matsumoto expanded his style to accommodate expanded Japanese interest in Abstraction and Surrealism during the 1930s, but he largely retained his interest in painting intimate portraits, set in non-idealized cityscapes, throughout his career.

Jaafari, Nazem al- (1918--)

2018 ◽  
Author(s):  
Anneka Lenssen
Keyword(s):  
Secondary Schools ◽  
Fine Arts ◽  
Soviet Bloc ◽  
Advanced Training ◽  
Oil Painting ◽  
Postage Stamps ◽  
Professional Artist ◽  
Formative Years

Al-Jaafari was one of the first painters in Syria to achieve recognition as a professional artist. Pursuing a semi-romantic realist style for the whole of his career, he specializes in portraits and drawings of old Damascus. Born in Damascus, Syria, Al-Jaafari’s formative years were characterized by a restless search to attain advanced training. He went to Turkey in 1941, but returned to Syria, where he attended some of the earliest civic art clubs in Damascus including Studio Veronese (est. 1941) and the Association of Arab Arts (est. 1943). In 1944 he traveled to Cairo to study oil painting at the Faculty of Fine Arts, completing a degree in 1947. He would travel again in 1953–54, moving to Brazil for a year before returning to Syria permanently. In Damascus, he taught at secondary schools, briefly taught at the College of Fine Arts before resigning, completed a vast body of landscape and portrait paintings, and executed a number of commissions for postage stamps and medals. Because of his career-long commitment to realistic painting, Jaafari’s work frequently featured in Syrian exhibitions sent to the countries of the Soviet bloc.

“Hello World”

Maska ◽  
2016 ◽  
Vol 31 (179) ◽  
pp. 68-79
Author(s):  
Amit Drori
Keyword(s):  
Open Source ◽  
Creative Process ◽  
Artistic Development ◽  
Cultural Roots ◽  
Personal Process ◽  
Professional Artist

Israeli artist and theatre maker Amit Drori reflects on the creative process that led him to create robotic-based performances. This was not an organized plan but rather an artistic evolution that began during his studies at the School of Visual Theatre in Jerusalem, and developed in his work as a professional artist. Coming from a background of visual theatre and puppetry, Drori’s approach to robotics uses the knowledge and philosophy of puppetry and animation forms. Drori creates unique machines that are designed for emotional and poetic functionalities. “Hello world” follows the personal process of his artistic development, but also tries to discern the cultural roots and transformations of the accessibility of knowledge in the open source revolution.

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