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Full-Text Articles in Arts and Humanities
Mediterranean Cubisms: Decoration, Classicism, Picasso And Professionalism, David Cottington
Mediterranean Cubisms: Decoration, Classicism, Picasso And Professionalism, David Cottington
Artl@s Bulletin
‘A working countryside is hardly ever a landscape’, Raymond Williams observed fifty years ago in his book The Country and the City; for to perceive it as such is to have both the leisure and the distance from it, to aestheticize it. This essay argues that, similarly, art practices have too often been understood ‘from the outside in’: that in Cubist representations of the Mediterranean, the picturesque quality of the Riviera insinuated itself—indeed that that the influence of the decorative was so far- reaching in the inter- World War years that it co- opted avant-gardism itself, and that the …
Disclosing The Ultimate Mediterranean Cubist Village. Place, Identity And Politics In Eduardo Viana’S Olhão Landscapes, Joana Cunha Leal
Disclosing The Ultimate Mediterranean Cubist Village. Place, Identity And Politics In Eduardo Viana’S Olhão Landscapes, Joana Cunha Leal
Artl@s Bulletin
This article studies the early 1920s Olhão views painted by Eduardo Viana (1881–1967). It analyzes Viana’s turn to Algarvian-Mediterranean landscapes, while considering the emergence of Olhão as the Portuguese “cubist village” rendered just before its regionalization by the fascist cultural industry. I contend that Viana’s vistas stem from his cosmopolitan profile and earlier avant-garde experiences, suggesting also that Olhão’s Mediterranean “cubist”-built environment offered Viana the prospect of a denationalized geography. The relationship between identity, place and politics will therefore be discussed.
Nothing To Do With Politics, Only Art? On Wassily Kandinsky's Work In Paris, From 1934 Until The Outbreak Of The War, Kate C. Kangaslahti
Nothing To Do With Politics, Only Art? On Wassily Kandinsky's Work In Paris, From 1934 Until The Outbreak Of The War, Kate C. Kangaslahti
Artl@s Bulletin
Following his move to Paris at the end of 1933, Wassily Kandinsky clung to his conviction that art must remain free of politics. The purpose of this essay is to consider both the limitations and advantages of this position in the polarized political climate of the French capital and to chart the aesthetic path he embarked on after his arrival, with particular reference to the personal ties and artistic alliances that he forged (or not) in this complex cultural terrain. Far from having nothing to do with politics, the transformation his painting underwent in Paris, the period he dubbed “synthetic,” …