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Akiane Kramarik is a prodigy and known for her religious work done at the age of 8. She is considered by some to be a genius while others claim she is a hack.
Berta Golahny: The Human Abstract, 2018
Exhibition catalog for Berta Golahny: The Human Abstract, a show of the late artist's paintings and prints that ran at Lycoming College (Williamsport, Pennsylvania), in Winter 2018.
This paper is an interdisciplinary technical and art-historical study of an anonymous portrait of Susannah Fanshawe (1698–1759), located at Valence House Museum, Dagenham. The painting is undergoing treatment at the Courtauld Insitute of Art's Department of Conservation and Technology. It was painted in c. 1750 — towards the end of the sitter's life — and depicts her along with an English guitar and simple musical score. Our work aims to uncover the artistic milieu in which the portrait was created, and uses technical examination to firm up a profile of the painter, as well as bringing about a deep understanding of the physical history of the artwork. Borrowing from musicological practices, we have also transcribed the piece of music in the portrait, and posit that Susannah is an amateur composer.
From 1970's onwards, works of many Pakistani artists have focused on the themes associated with the general masses including traditions, displacement, gender, ideology (Hashmi & Ata-Ullah, 2009, p. 68), social issues and lately, terrorism. Following this trend, paintings of artist Iqbal Hussain remain significant in advocating the realities of the marginalized class of society. This paper analyses Hussain's depiction of prostitute women and their hardships, who are considered as a symbol of disgrace in a Muslim country like Pakistan, which is moving towards religious extremism. The research shows that being a son of a courtesan, Hussain through his paintings represents the image and problems of dancing girls and courtesans of Shahi Mohalla, Lahore. These women were considered as the custodians of artistic traditions in the Mughal era (Ghauri, 2003). However, over the time they lost their status in Pakistan. In this context, Hussain's work attempt to regain the respect for these women in the society by advocating their everyday struggles among the national and international audience. This study is a secondary research. It draws upon the examination of diverse writings on art literature, newspaper archives, books and interpretation of a variety of Hussain's paintings. The research on Hussain's work explores further research avenues related to the role of women and impact of Islamization in Pakistan, historical analysis of different political governments towards the prostitutes in Pakistan and the idea of 'shame' and 'honour' in the South Asian arts, literature and cinema. Keywords: Prostitutes, Lahore, Women
The Leiden Collection Catalogue, 2017
This thesis is the first detailed comparative study framing how and why fine art and its theories were deployed in the discursive and creative texts of two major Irish writers, W.B. Yeats (1865-1939) and Samuel Beckett (1906-1989). Previous studies have tended to focus on these writers' texts' literary qualities and junctures with history and philosophy: fewer have focused on fine art, and those which do have treated each writer separately. The study's comparative framework rectifies this critical deficit to contribute new knowledge by synthesizing past individual studies and comparing more recently available sources; it also provides a new slant on old knowledge in a new place. The primary focus is on the writers' relations with painting/its theories; this occupies more space, quantitatively and qualitatively, in this study (as in does in the writers' texts), although sculpture, a key consideration for Yeats, and embroidery are also considered. Exploring how and why fine art and its theories shape these two writers' respective ideas, themes, and concepts and use of language, the study's method is comparative: it compares the writers' documented encounters with fine art and citation of its histories/theories in discursive texts in tandem with evaluating how and why fine art theories and images inspire their creative texts; it's method reveals how theory and praxis pressure, complicate and modify each other. The study's conceptual framework suggests how and why enlisting fine art/its theories assisted the writers' oppositional thematics and aesthetics. Yeats's emphasis on transcendence/the eternal and beauty, and Beckett's sponsorship of finitude/doubt and irony, are revealed as reinforced by, and partly built out of, the two writers' divergent responses to fine art theoretical texts, and use of fine art images. The study demonstrates how these diverging positions are responses conditioned by, and filtered via wider, twentieth century intellectual and contextual shifts and embedded in the art history and theory the writers read and use in their texts. The study demonstrates how and why the writers' fascination with seeing fine art, compounded by reading its theories/histories, produced their own essays engaging with it; it evaluates how and why fine art/its theories assist with their themes/aesthetics, provide images for their creative praxis, and supply a focus for self-reflection on the capacities/incapacities of language and literary forms which they engage in, and which conscript (or fail to conscript) fine art images. The thesis is structured in four chapters. The first chapter reveals how and why the writer's readings, and subsequent re-writings, of fine art theory/history, permit them to selectively focus on, and inflect, the themes (identified above), detectable and available in the fine art theories of the "sister arts" and the "separate" arts which they read and cite. Excavating the basis of the writers' theories of fine art/the arts, in their ideas of perception/seeing, seeing and hearing, and their concepts or use images and mediums, the second chapter argues that these assist the two writers to develop oppositional ideas of the power of language/ekphrasis (Yeats) and of the limitations in language which conscript fine art objects and its visual images (Beckett). How and why this impacts on their texts is demonstrated. Comparing how and why the two writers use fine arts/its theories in Irish and European contexts the third chapter links fine art texts and their images with how/why Yeats constructs, represents and criticizes history/nation and how/why Beckett divorces the arts from debilitating nationalism(s) and representations of nation or self. The final chapter evaluates how and why fine art/its theories impact on praxis by examining the writers' framing of portraits, landscapes and interiors/still lifes; it evaluates how/why Yeats enlists the authority/precedents of fine art traditions, to frame and represent ideal subjects and themes in his texts and why/how Beckett orientates texts towards more modern, non-representational paintings and images to put pressure on these subjects and themes and to question the capacities of texts to do so. In evaluating the writers' responses to fine art/its theories, the study argues that fine art/its theories, by proxy, afford opportunities for the writers to reflect on two crucial issues or themes, central in/to their essays and creative praxis. Firstly, fine art/its theories permit Yeats's texts to point to their own capacity to summon an image as object of/for meaningful thought, which an essay may analyse, and a poem grasp, and surpass by using it as a symbol in a unifying text; the power of fine art in Beckett's texts permit them to register reactions to its sensuous, material, silent objects that dismantle thinking and symbols, and disable what language cannot grasp, so it exposes the limitations of what language can do when it distorts the silence and visuality in autonomous images which elude it. Secondly, the thesis demonstrates how and why fine art/its theories provide an opportunity to construct opposing dialectics or thematics in which the fine arts may stand as symbols of tradition, enduring human achievements that transcend time and space or exist as experiential images or objects which disappear in time as they evoke human finitude and failure.
This paper delves into an analysis of street art in Israel and Palestine, through the photodocumentation of street art in addition to interviews with artists and art organizations. The goal of this paper is to provide an introduction to street art in Jerusalem, Tel Aviv, and Bethlehem in order to learn about the religious and political issues in each city.
The Leiden Collection Catalogue, 2017
Deconstruction of unearthed portrait in the National Gallery of Victoria of Lucrezia Borgia.
Boletim da Sociedade Paranaense de Matemática, 2009
International Journal of Scientific Research in Computer Science, Engineering and Information Technology, 2019
Cuadernos de Sistemática Peirceana (Nueva Colección), 2022
Financial Assets and Investing, 2016
Orizzonti Culturali Italo- Romeni, 2019
A Thesis Submitted to the School of Graduate Studies of Oromia State University in Partial Fulfilment of the Requirements for the Award of LLM in commercial and investment Law, 2024
Actas del II Congreso Internacional ‘Iberos del Ebro’, 2012
Hematology reports, 2014
The Journal of Infectious Diseases, 2015
European journal of epidemiology, 2015
European Scientific Journal, 2017
Jurnal INSYPRO (Information System and Processing), 2019
Docencia Universitaria, 2013