scholarly journals Olympic-Scale Subversion: Poster Art, Architecture, Performance, and the Afterlives of Mexico 1968

2021 ◽  
Vol 4 (1) ◽  
Author(s):  
Nathan J. Goldberg
Keyword(s):  
Poster Art

English and Russian Ballet: Echoes of a Controversy

Tempo ◽  
1957 ◽  
pp. 4-6
Author(s):  
Peter Shaffer
Keyword(s):  
Romeo And Juliet ◽  
Bolshoi Ballet ◽  
Poster Art

A pair of broadcasts on the Bolshoi Ballet given at the end of last year by James Monahan and Arnold Haskell served to crystallise much that has been said by many enthusiasts about the relative modernity of the Russian and British ballet companies. The controversy flared up on the first night of Romeo and Juliet and has not died yet. Its lines are now familiar: some blamed the Russians for presenting poster art; others praised them for doing just that, and thereby entertaining the simple-minded but enthusiastic hordes of people who nightly come to see them at the Bolshoi theatre. On the English side some have rejoiced in our greater complexity of idea, subtlety of approach, and dedication to pure dancing, whilst others have been moved to attack our ballet as being over sophisticated—the just deserts of an essentially inbred and decadent public.

scholarly journals Posters, with which We Won... (From the Collection of the Russian State Library)

2015 ◽  
pp. 19-22
Author(s):  
Lyubov’ V. Rodionova
Keyword(s):  
Rapid Development ◽  
Front Line ◽  
Special Place ◽  
Difficult Time ◽  
Historical Outline ◽  
Russian State ◽  
Great Patriotic War ◽  
State Library ◽  
Poster Art ◽  
Art Schools

The years of the Great Patriotic War demonstrated the most striking and rapid development of the domestic poster art. In that difficult time for the country the posters were created not only by the masters of graphics, but also by the masters of painting and sculptural art schools. In the severe conditions there were born masterpieces, without which it became impossible to imagine figuratively-historical outline of the war years. Along with the songs, front-line photographs and newsreels, the posters occupied its special place in the memory of participants of the tragic events and continue to excite the modern audiences, providing spiritual connection and affinity of generations.

scholarly journals The Spanish Republic’s Diplomatic Mission to Moscow during Civil War. Part 1

2021 ◽  
Vol 66 (1) ◽  
pp. 212-225
Author(s):  
Daniel Kowalsky ◽  
Keyword(s):  
Civil War ◽  
Soviet Union ◽  
Spanish Civil War ◽  
Unique Role ◽  
Spheres Of Influence ◽  
The Press ◽  
History Of ◽  
The Republic ◽  
Poster Art ◽  
Roll Out

The Spanish Civil War played a unique role in the Soviet Union’s geo-political strategies in the second half of the 1930s. The conflict marked the first occasion that Moscow had participated in a foreign war beyond its traditional spheres of influence. But Soviet involvement in the Spanish war went far beyond the sale of armor and aviation to the beleaguered Spanish Republic. While Moscow organized and supported the creation of the International Brigades, on the cultural front, the Soviets sought to roll out a broad program of propaganda, employing film, poster art and music to link the destinies of the Slavic and Hispanic peoples. If scholars have succeeded in recent years to rewrite the history of many components of Soviet participation in the Spanish Civil War, diplomatic relations between the Republic and Moscow remain an unexplored theme. This is the first instalment of a two-part article, unpublished official documents, as well as memoirs, newsreels, private letters and the press, to offer the first narrative history of the Republican embassy in Moscow. The diplomatic rapprochement between the USSR and Spain in 1933 is explored as a prelude to the exchange of ambassadors following the outbreak of the Civil War in summer 1936. The appointment of the young Spanish doctor Marcelino Pascua to a newly recreated Moscow embassy is examined in detail, up to autumn 1937. This article allows the reader hitherto unavailable access to the daily trials, disappointments and occasional breakthroughs experienced by the Spanish Republican ambassador in Stalin’s Soviet Union.

POSTER ART AND THE INNOVATIVE PRACTICES IN ART PEDAGOGY

2020 ◽  
Vol 11 (1) ◽  
pp. 149-153
Author(s):  
Georgi Terziev ◽  
Keyword(s):  
Fine Arts ◽  
Educational Work ◽  
The Public ◽  
Self Confidence ◽  
Communicative Functions ◽  
Poster Art ◽  
Art Pedagogy ◽  
Public Environment ◽  
Modern Technologies ◽  
Creative Effort

The presented research highlights the innovative charge in the poster tasks as an essential part of the educational work in fine arts. With its essence of an artistic-aesthetic phenomenon with a strong public resonance, the poster focuses on the communicative functions of graphic design. It is in its field that students can express their attitude to all current problems of the present day. Modern technologies allow quick contact with the top achievements in poster art. The digital methods for polygraphic realization allow for the expeditious circulation of the students’ poster works and their introduction in the public environment. In the space of these pictorial tasks the art pedagogue creates preconditions for the teenagers to be more empathetic, more active and creative in their striving to join noble causes. This graphic genre would transform the negative impulses of society into a creative effort, which forms the self-confidence of students that from an object of multifaceted aggressive social influences they become a subject with an active position. The idea is that poster tasks are a reliable means of overcoming the inertia of layered methodological stereotypes.

Nanción’s Cancións

Nancy Cunard ◽  
2020 ◽  
pp. 253-262
Author(s):  
Jane Marcus
Keyword(s):  
Civil War ◽  
Spanish Civil War ◽  
Class Culture ◽  
History Of ◽  
Art Film ◽  
Poster Art

This chapter covers Nancy Cunard’s experiences as a war reporter during the Spanish Civil War. Marcus argues that Cunard and her leftist comrades “produced an international and multiracial cross-class culture of protest against fascism in journalism” throughout the thirties. The chapter also restores their efforts in poetry, theatre, poster art, film, radio, collage, and pamphlets in an effort to correct a history of radicalism that has been “so systematically erased or buried” that this “work of recovery has of necessity become oppositional to an established nationalist and elitist (male) canon.”

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