Much has been written recently about Communist China's Great Leap Forward. We have read about the fantastic success of Mao Tse-tung's program to produce “… greater, faster, better and more economical results.” We have been swamped by figures such as: the 34% increase in industrial production, the 104% increase in the winter wheat crop, and the planting of 13,600 million trees in the first six months of 1958.Recent Peking papers report that the Great Leap Forward has been a huge success in the arts as well. Apparently, painting and other art objects are being produced “… greater, faster, better, and more economically.” In the first six months of 1958, the province of Kiangsu alone produced ten million “works of art”. P'ei hsien was awarded the title “mural province” by completing 105,000 murals and 78,000 picture posters in a few months. Sulu hsien of Hopei Province (pop. 400,000) produced 1.4 million art items. One group of seventy peasants produced five hundred works in a single night, some of which were...
{"title":"Art and the Artist in Communist China","authors":"Arnold L. Herstand","doi":"10.2307/774078","DOIUrl":"https://doi.org/10.2307/774078","url":null,"abstract":"Much has been written recently about Communist China's Great Leap Forward. We have read about the fantastic success of Mao Tse-tung's program to produce “… greater, faster, better and more economical results.” We have been swamped by figures such as: the 34% increase in industrial production, the 104% increase in the winter wheat crop, and the planting of 13,600 million trees in the first six months of 1958.Recent Peking papers report that the Great Leap Forward has been a huge success in the arts as well. Apparently, painting and other art objects are being produced “… greater, faster, better, and more economically.” In the first six months of 1958, the province of Kiangsu alone produced ten million “works of art”. P'ei hsien was awarded the title “mural province” by completing 105,000 murals and 78,000 picture posters in a few months. Sulu hsien of Hopei Province (pop. 400,000) produced 1.4 million art items. One group of seventy peasants produced five hundred works in a single night, some of which were...","PeriodicalId":407005,"journal":{"name":"College Art Journal","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1959-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134531484","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1959-09-01DOI: 10.1080/15436322.1959.11465729
{"title":"Hugo Munsterberg: The Folk Arts of Japan","authors":"","doi":"10.1080/15436322.1959.11465729","DOIUrl":"https://doi.org/10.1080/15436322.1959.11465729","url":null,"abstract":"","PeriodicalId":407005,"journal":{"name":"College Art Journal","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1959-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123138554","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"SAH Tour of Dublin","authors":"","doi":"10.2307/774100","DOIUrl":"https://doi.org/10.2307/774100","url":null,"abstract":"","PeriodicalId":407005,"journal":{"name":"College Art Journal","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1959-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122147180","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1959-09-01DOI: 10.1002/9783527678679.dg07226
{"title":"MCAC","authors":"","doi":"10.1002/9783527678679.dg07226","DOIUrl":"https://doi.org/10.1002/9783527678679.dg07226","url":null,"abstract":"","PeriodicalId":407005,"journal":{"name":"College Art Journal","volume":"140 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1959-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131516827","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1959-09-01DOI: 10.1080/15436322.1959.11465735
J. P. Hodin
{"title":"Niels von Holst: Italien: Von Siena bis Sizilien","authors":"J. P. Hodin","doi":"10.1080/15436322.1959.11465735","DOIUrl":"https://doi.org/10.1080/15436322.1959.11465735","url":null,"abstract":"","PeriodicalId":407005,"journal":{"name":"College Art Journal","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1959-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122200125","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1959-09-01DOI: 10.1080/15436322.1959.11465731
M. Gentles
{"title":"Arthur Davison Ficke: Chats on Japanese Prints, Preface by Gladys B. Ficke","authors":"M. Gentles","doi":"10.1080/15436322.1959.11465731","DOIUrl":"https://doi.org/10.1080/15436322.1959.11465731","url":null,"abstract":"","PeriodicalId":407005,"journal":{"name":"College Art Journal","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1959-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121311552","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
As a vital expressive force in contemporary culture, sculpture today has apparently fallen short of its promise. The intimation of its revival as a major art early in the nineteen hundreds, after centuries of decorative virtuosity, seems to have aroused a premature hope.The lead was provided by such men as Lipchitz, Zadkine, Lachaise, Zorach, Archipenko, Brancusi, to mention just a few. These are the men whose search and rediscovery of the power and strength of unencumbered sculptural form changed the whole direction of sculptural ideas in the present century. It seems a pity that they spoke only to fellow artists, while leaving the public and its leaders unimpressed. And today, viewing the sculpture seen in exhibitions, I have some doubt in my mind as to how well the younger sculptors have grasped the message of these pioneers in the early 20th century. Nevertheless, sculpture has made very little impact on the public mind.
{"title":"Problems in Sculpture","authors":"Howard J. Whitlatch","doi":"10.2307/774084","DOIUrl":"https://doi.org/10.2307/774084","url":null,"abstract":"As a vital expressive force in contemporary culture, sculpture today has apparently fallen short of its promise. The intimation of its revival as a major art early in the nineteen hundreds, after centuries of decorative virtuosity, seems to have aroused a premature hope.The lead was provided by such men as Lipchitz, Zadkine, Lachaise, Zorach, Archipenko, Brancusi, to mention just a few. These are the men whose search and rediscovery of the power and strength of unencumbered sculptural form changed the whole direction of sculptural ideas in the present century. It seems a pity that they spoke only to fellow artists, while leaving the public and its leaders unimpressed. And today, viewing the sculpture seen in exhibitions, I have some doubt in my mind as to how well the younger sculptors have grasped the message of these pioneers in the early 20th century. Nevertheless, sculpture has made very little impact on the public mind.","PeriodicalId":407005,"journal":{"name":"College Art Journal","volume":"87 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1959-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134324287","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1959-09-01DOI: 10.1080/15436322.1959.11465720
Minerva Pinnell
{"title":"Walter Friedlaender: Mannerism and Anti-Mannerism in Italian Painting","authors":"Minerva Pinnell","doi":"10.1080/15436322.1959.11465720","DOIUrl":"https://doi.org/10.1080/15436322.1959.11465720","url":null,"abstract":"","PeriodicalId":407005,"journal":{"name":"College Art Journal","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1959-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133843654","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1959-09-01DOI: 10.1080/15436322.1959.11465725
Creighton E. Gilbert
{"title":"Pietro Zampetti; Jacopo Bassano","authors":"Creighton E. Gilbert","doi":"10.1080/15436322.1959.11465725","DOIUrl":"https://doi.org/10.1080/15436322.1959.11465725","url":null,"abstract":"","PeriodicalId":407005,"journal":{"name":"College Art Journal","volume":"103 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1959-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121408068","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Students of Cezanne's use of space in his paintings have very often seen in his powerful and original handling, a break with the traditional means of organization, and have suggested that an important element in Cezanne's conception of pictorial space was to be found in his rejection of the conventional rules of perspective.1 Yet if a number of Cezanne's statements about his objectives in art were to be taken at face value, it would appear that he regarded himself, not as a radical innovator casting away traditional forms, but rather as an artist who felt that his contemporaries were losing certain important qualities to be found in the works of the great masters of the past. Though Impressionism had greately enriched Cezanne's perception of nature, he felt that it lacked the solidity of traditional art. He desired, as he put it, “to make something that would endure out of Impressionism, like the art of the museums;”2 and “to do Poussin over after nature.”3
{"title":"Cezanne's Use of Perspective","authors":"C. Gray","doi":"10.2307/774082","DOIUrl":"https://doi.org/10.2307/774082","url":null,"abstract":"Students of Cezanne's use of space in his paintings have very often seen in his powerful and original handling, a break with the traditional means of organization, and have suggested that an important element in Cezanne's conception of pictorial space was to be found in his rejection of the conventional rules of perspective.1 Yet if a number of Cezanne's statements about his objectives in art were to be taken at face value, it would appear that he regarded himself, not as a radical innovator casting away traditional forms, but rather as an artist who felt that his contemporaries were losing certain important qualities to be found in the works of the great masters of the past. Though Impressionism had greately enriched Cezanne's perception of nature, he felt that it lacked the solidity of traditional art. He desired, as he put it, “to make something that would endure out of Impressionism, like the art of the museums;”2 and “to do Poussin over after nature.”3","PeriodicalId":407005,"journal":{"name":"College Art Journal","volume":"55 6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1959-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123255840","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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