bluuebunny/crossref_metadata_2025_split huggingface dataset:
Carreño, Mario (1913–1999)
Authors: Estevez Lisandra 
Published: September 2018

Mario Carreño was one of Cuba’s leading modern artists. Born on 24 May 1913 in Havana, he was part of a generation of young artists working in Cuba in the late 1930s and early 1940s that rejected the conservative style and thinking of the Academia de San Alejandro, the country’s dominant art institution and embraced the new modernist idiom that synthesized Cubism, Surrealism, Mexican Muralism and Classicism. Prolific and versatile, he worked as a painter, illustrator and sculptor. His early designs integrated the pictorial language of Cubism and embraced a socialist view in their heterodox subject matter. In 1936, he travelled to Mexico where the monumental forms and nationalist themes of Mexican Muralism had a powerful impact on his development as a painter. During this time, he was also mentored by the Dominican painter Jaime Colson (1901–1975). A formative trip with Colson to Paris in 1938 introduced Carreño to the Louvre’s encyclopaedic collection of classical art. Carreño created a visual language that framed issues of Cuban national identity. Active in Cuba’s vanguardia (or vanguard movement), he sought to re-define the visual aesthetics of Cuban Modernism. Carreño constantly experimented with both materials and subject matter. His ever-changing and dynamic styles helped to redefine the aesthetics of Cuban art in the 1940s.
Kupka, František (1871–1957)
Authors: Pech Milan 
Published: September 2018

František Kupka, a Czech-born painter and graphic artist active in France, was a pioneer of abstract painting. His Amorpha: Fugue in Two Colours, shown at the Salon d’Autumne in 1912, was the first manifestation of abstract art in Paris. Vertical Schemes I (1912), exhibited at the Salon des Indépendants in 1913, was later celebrated by Alfred H. Barr, founding director of The Museum of Modern Art in New York, as the first pure geometrical abstraction. While Guillaume Apollinaire appreciated Kupka’s work and included him in Orphism, Kupka was not fully accepted into avant-garde circles, and despite his contact with the Puteaux Cubists, he refused to be identified with them.
Kupka views motion and light as the only forces that can penetrate and melt matter. From his viewpoint, spiritual reality or cosmic order can be found in nature and is present in all natural forms. While in the 1890s Kupka incorporated elements of symbolism, naturalism, and decorative stylization into his works, in 1910 he gradually began to liberate color as a result of his belief in the deep spiritual and cosmological meaning of art. This conceptual approach led him to develop a scientific and theoretical basis for his work: he studied optics and the color theories of various scientists, including Isaac Newton and Michel-Eugène Chevreul, who were also engaged in biology, physiology, anthropology, and other fields, and applied these interests to his own artistic concerns.
Secessionist Movement
Authors: Johnson Michael 
Published: September 2018

The Secessionist Movement is the name applied to a range of artistic splinter groups that began to emerge in the 1890s. Objecting to what they saw as the inherent conservatism of established academies, these groups ‘seceded’ or broke away from their parent institutions and launched their own, avant-garde approach. The first secessionist group appeared in Munich in 1892 under the leadership of Franz von Stuck and Wilhelm Trübner.
Among the most influential secessionist groups was that founded in Vienna by a coalition of artists, architects and designers who resigned from the Association of Austrian Artists in 1897. United by the urge to elevate the applied arts to the status of fine art, members of the Vienna Secession produced exquisite work across a spectrum of creative disciplines. The aesthetic initially resembled the curvilinear Art Nouveau style, but it increasingly moved towards abstraction and geometric simplicity. The founding of the Vienna Secession thus marked the beginning of a new artistic era in Austria and heralded the birth of the Modern Movement.
The Organic School
Authors: Wünsche Isabel 
Published: September 2018

The Organic School of the Russian avant-garde was a group of artists primarily based in St Petersburg. Less concerned with the urban, ideological, and utilitarian aspects of modernist art, they instead focused on holistic approaches to art and life. The group included Elena Guro, Nikolai Kulbin, Mikhail Matiushin and his students, Pavel Filonov and his followers, as well as Pavel Mansurov, Petr Miturich, and Vladimir Tatlin. The artists of the Organic School saw nature as a never-ending source for artistic creation. They viewed artistic activity not as passive imitation of nature, but as an active expression of the relationship between the artist and the natural environment, and called for a new, absolute art that did not copy nature, but was instead based on its universal laws and organic principles. Taking as their model the developmental processes, natural forces, and organic forms found in nature, their aesthetics were informed by pantheist, neo-vitalist, and monist ideas combined with evolutionary thought and scientific knowledge from the fields of physics, biology, physiology, and psychology. Discussing the materials and processes involved in the creation of art and analyzing the elementary building blocks of painting, these artists not only explored the properties of color and form and their psychophysiological effects upon the viewer, but also focused on faktura [texture], which they considered to be a fundamental principle of the creative process. Emphasizing human creativity and the psychological dimension of art, the artists of the Organic School of the Russian avant-garde viewed art as a means toward individual self-realization, thus leading to the unification of art and life, body and soul, humanity and nature.
Warhol, Andy (1926–1987)
Authors: Ahern Mal 
Published: September 2018

Andy Warhol was a painter, filmmaker, producer, and multi-media artist. He was born in Pittsburgh, Pennyslvania and worked in New York City from the 1940s onward. He started his career as a commercial artist before moving into fine-art painting in the 1950s. Between 1962 and 1968, he made hundreds of films, ranging from a series of short ‘‘Screen Tests,’’ to the notorious, eight-hour film Empire (1965), which comprised a series of stable, slow motion shots of the Empire State Building. Warhol’s films were notorious for their spare aesthetic and banal subject matter: he created films of people eating, sleeping, getting haircuts, and simply staring at the camera. His sound films, like Poor Little Rich Girl (1965, starring Edie Sedgwick) and Screen Test #2 (1965, starring Mario Montez) show their stars sparring with an off-screen voice.
Warhol’s work was also notable for the fact that it depicted the lives and personalities of Warhol’s friends and acquaintances, most of whom were a part of New York City’s queer ‘‘underground.’’ His two-screen, three-plus hour epic Chelsea Girls became a minor hit because of its frank depiction of queer sex, cross-dressing, and drug use. After Warhol was shot in 1968, he retreated from filmmaking, but continued to create paintings and other artworks.
Connell, Amyas Douglas (1901–1980)
Authors: Rendel Sally 
Published: September 2018

The New Zealand-born architect Amyas Connell was responsible for a number of strikingly modern buildings, mainly houses, in 1930s England. The first of these was the gleaming white High and Over at Amersham, Buckinghamshire, for Sir Bernard Ashmole (1894–1988), which is recognized as the first major modern movement house in England. In practice with Basil Ward (1902–1976), and joined later by Colin Lucas (1906–1984), he worked mainly on private house projects, experimenting with concrete construction to create clean-lined buildings with generous glazing. During the post-war period he completed a number of fine modern buildings in Africa, including the Aga Khan Memorial Hospital in Nairobi (1962).
Amyas Connell was born on June 23, 1901, in Eltham, New Zealand. He was the second of six children of Nigel Douglas Connell (1873–1951), who was of Scottish extraction, and his wife, Gertrude, née Weber, (1873–50), who was born in Germany. He was educated at Stafford High School until 1916. In 1919 he was articled to Young & Fearn, an architectural practice in Wellington. Lessons through practice were supplemented by the New Zealand Institute of Architects (NZIA) professional course.
Atonality
Authors: Whittall Arnold 
Published: September 2018

Atonality refers to the complete absence of tonality in a musical composition. In music, it is often claimed that modernism stands in opposition to classicism or romanticism, even though music from late Beethoven (1820s) to early Schoenberg (1900s) sees elements of modernist disjunction emerging from, interacting, and conflicting with, elements of classicism and romanticism. By the same token, atonality stands in opposition to tonality, even if atonal music involves the increasing enrichment of diatonic tonality with chromatic elements that, particularly from Liszt and Wagner onwards, tend to undermine or reinforce the structural stability of diatonic fundamentals.
Music theorists since Schoenberg have been divided over the validity of atonality as a meaningful concept. Schoenberg himself rejected the term on the grounds of its negative connotations, and his own music demonstrates how difficult it is in practice to make hard and fast distinctions between compositions in which no suggestion of tonal formations of any kind can be distinguished and those which demonstrate the kind of passing allusions that Schoenberg identified as ‘‘suspended tonality’’ and ‘‘pantonality.’’
Kurokawa, Kishō [黒川紀章] (1934–2007)
Authors: Clarke Neilton 
Published: September 2018

Kishō Kurokawa [黒川紀章] was born in 1934 in Kanie, Aichi prefecture, Japan, and studied architecture at Kyoto University, obtaining his bachelor’s degree in architecture in 1957. Further studies at the University of Tokyo under Kenzō Tange, graduating with a master’s degree from its Graduate School of Architecture in 1959, were followed by doctoral studies at the same institution until 1964. Kurokawa was a key proponent of Metabolism, the Japanese architectural movement that utilized biology as a metaphoric vehicle to reconfigure both the cityscape and architectural practice itself, and which came to attention at the World Design Conference 1960 in Tokyo.
Founding his own practice, namely Kishō Kurokawa Architect & Associates (KKAA) in Tokyo in 1962, Kurokawa’s projects during the 1960s and 1970s were mainly located in Japan. They included the Resort Center Yamagata Hawaii Dreamland (1967) and the Nakagin Capsule Tower in Tokyo (1972), the latter being a key example of Metabolism. The late 1970s saw Kurokawa pursuing engagements overseas, and from the 1980s onwards he consolidated his activity abroad, including projects such as the Japanese-German Center of Berlin (1988), Melbourne Central (1991), the new exhibition wing at the Van Gogh Museum, Amsterdam (1998), and Astana International Airport, Kazakhstan (2005).
Kurokawa received numerous awards, including the Académie d’Architecture Gold Medal, France (1986), Richard Neutra Award, USA (1988), AIA Pacific Rim Award, USA (1997), Dedalo-Minosse International Prize, Malaysia (2003–2004), Walpole Medal of Excellence, UK (2005), and an International Architecture Award, USA (2006). Honorary doctorates were bestowed on Kurokawa by Sofia University, Bulgaria (1988), Newport Asia Pacific University (now Anaheim University), USA (1990), Albert Einstein International Academy Foundation, USA (1990), and the Universiti Putri Malaysia (2002). Kurokawa died of heart failure in 2007.
Maki, Fumihiko [槇文彦] (1928--)
Authors: Clarke Neilton 
Published: September 2018

Fumihiko Maki was born in Tokyo in 1928. After studying at the University of Tokyo and graduating with a bachelor’s in architecture (BS Arch) in 1952, he undertook further studies in the USA, at the Cranbrook Academy of Art, Michigan, and at the Graduate School of Design (GSD), Harvard University, obtaining a Master of Architecture from each in 1953 and 1954, respectively. Afterwards, Maki worked for Skidmore, Owings & Merrill in New York, and for Sert, Jackson & Associates in Cambridge, Massachusetts. In 1956 he became an assistant professor of architecture at Washington University, St. Louis. Steinberg Hall, the university’s on-campus arts center, was Maki’s first design commission. Maki served as associate professor at Harvard’s GSD from 1962 to 1965, returning to Japan afterwards to establish his own firm, namely Maki and Associates. He held a professorship at the University of Tokyo from 1979 to 1989.
Maki’s architectural oeuvre straddles Asia, North and South America, Europe, and the Middle East, encompassing a breadth of projects including art museums and performing arts venues, educational, research, and administrative institutions, conference, media, sports, and community centers, and residential projects, among others. His practice has earned him innumerable awards including the Wolf Prize (1988), the Thomas Jefferson Medal in Architecture (1990), the UIA Gold Medal (1993), the Pritzker Architecture Prize (1993), Japan Arts Association Praemium Imperiale (1999), and the American Institute of Architects (AIA) Gold Medal (2011).
Reich, Lilly (1885–1947)
Authors: Cesare Carla 
Published: September 2018

Lilly Reich was a German-born designer who created interiors, displays, and exhibitions in the early to mid-20th century. She was active in the Deutscher Werkbund and in the Bauhaus, and was the first female architect to be given a retrospective at the Museum of Modern Art in New York in 1996. Reich’s career as a female designer has been said by critic Beatriz Colomina to be an example of the collaborative nature of architecture in which women have often played an unspoken role.
Reich was one of the few female designers to have played a leading role in the early 20th century, yet she has gained little academic renown. As is common for female designers of the time they are often known in relation to their work with more prominent male architects or designers; for Reich, Ludwig Mies van der Rohe was both a personal and professional partner. Reich, who came from a wealthy manufacturing family, studied in 1908 at the Wiener Werkstätte and then in 1910 at the Höhere Fachschule für Dekorationskunst in Berlin. Like many women of the period she focused on textiles, needlework, and fashion as well as set design and display.
Reidy, Affonso Eduardo (1909–1964)
Authors: Corato Aline Coelho Sanches 
Published: September 2018

The Brazilian architect and town planner Affonso Eduardo Reidy was born in Paris and studied architecture at the National School of Fine Arts of Rio de Janeiro (1926–1930). The school’s newly appointed director, Lúcio Costa, sought progressive teachers to join the faculty in an attempt to reform the school in a modernist direction. At Costa’s invitation, Reidy became an assistant lecturer upon his graduation in 1931. Reidy was also a trainee and assistant (1929–1931) of Alfred Agache, the French town planner who at the time was responsible for the master plan of Rio de Janeiro. Reidy became an architect of the city council in 1932 (Rio was Brazil’s capital at that time), and then began his thirty-year career in architectural design and planning that helped to define Brazilian modern architecture.
Alongside the architect Gerson Pompeu Pinheiro, Reidy was responsible for one of Rio’s first modernist buildings, the Albergue da Boa Vontade (1931–1932). He participated in the design of the Ministry of Education and Health (1936), which became a key work of Brazilian modern architecture. To have worked on this project under the direction of Le Corbusier was a pivotal experience for the young architect.
Boulez, Pierre (1925-2016)
Authors: Goldman Jonathan 
Published: September 2018

French composer Pierre Boulez was one of the most influential composers of the second half of the twentieth century. His personal development mirrored the history of Western concert music. An essential figure in the history of artistic modernism, he was perceived as a leader of the musical avant-garde since 1945. In addition, through his international career as a conductor, he sought to change the listening habits of the concert-going public by initiating them, through concerts and recordings, into the classics of modernism from the first half of the twentieth century (Stravinsky, Schoenberg, Webern, Bartók, Berg, etc.).
From serialism, open forms, the interface between instrument and machine, the concern with perceptibility, Boulez’s catalog forms a rich and varied corpus. Although Boulez dispensed with total serialism after a brief but decisive period, his concern with the formal unity of a work of art remained a central concern throughout his career.
Shinohara, Kazuo (1925–2006)
Authors: Soeiro Diana 
Published: September 2018

Kazuo Shinohara was born in Shizuoka Prefecture, Japan. He graduated from the Department of Architecture, Tokyo Institute of Technology, in 1953. That same year, he commenced his successfull career as an academic and practicing architect. To Shinohara, theory and practice were closely linked and whatever he conceived in theory, he took the chance to experiment with in real-life structures. Academically, he published several hundred articles and books between 1955 and 1990; as an architect, he concluded his first project, House in Kugayama in 1954 and his last work Kumamoto-kita Police Station, was completed in 1990. Shinohara considered himself an individual housing architect, having built around forty residences.
Since opening communications with Western countries in the mid-1850s, Japan had been struggling to maintain its own identity. At first, architects started imitating Western styles from different historical periods, experimenting with brick and other materials unknown hitherto in Japan. Some, however, continued to favor traditional Japanese architecture with its predominant use of wood. After 1920 and the Japanese secession, architects started to proclaim their own individual artistic creativity, considering architecture to be not only a science, but also an art.
Vivas, Fruto (1928--)
Authors: d’Auria Viviana 
Published: September 2018

A successful architect born in the Venezuelan Andes, Fruto Vivas received his training in Caracas during a period of booming modernization mid-20th-century. His approach to popular culture lay at the heart of his proposals for a national architecture based on Venezuelan Hispanic typologies, traditional techniques, and regional materials. As a result of such references critics have labelled his architecture "populist."
From the 1960s onwards, Vivas applied these proposals to an architecture inspired by nature’s functional logic, from which two main theses arise: "structural types" or "boundary structures" and the idea of "living trees." While the former analyzes the minimum dimensions and weights for structural elements consistent with self-construction for an "architecture of the masses," the latter illustrates how houses can do without many devices for their conditioning and they can even be self-generative so as to guarantee the survival of their users.
Mori, ōgai (1862–1922)
Authors: Wetmore Kevin 
Published: September 2018

Mori ōgai served as a surgeon in the Japanese Imperial Army, and was a translator, novelist, dramatist, and literary theorist during the Meiji and Taisho periods. While a dramatist in his own right, he is also important for his translations (especially of Ibsen) and his critical writings.
Mori ōgai was born Mori Rintarō to an aristocratic family in Iwami Province in southwestern Japan. Following the Meiji Restoration, his family moved to Tokyo and he began to study German. Graduating from medical college in 1881 at the age of nineteen years, he enlisted in the Japanese Imperial Army, which sent him to Germany to study, returning in 1885. During his time in Europe Mori became interested in Western literature and began translating German works into Japanese.
His critical assertions in both the popular press and the intellectual press resulted in drama being considered equal to other forms of literature, and in the idea that well-respected individuals could read drama, attend the theater and engage in serious discussions about both. His debates in print with Tsubouchi Shōyō, his intellectual rival, focused on the nature and purpose of drama. Tsubouchi advocated for Realism, while Mori sensed a universal ideal behind literature. Collectively they staked out important principles behind modern Japanese dramatic literature.
Asakusa Opera
Authors: Fukushima Yoshiko 
Published: September 2018

Asakusa Opera is a form of modern Japanese popular entertainment which combines elements of musical theater, namely opera, operetta, US musicals, and sketch comedy such as variety shows and vaudeville. It achieved popularity in Asakusa, the major entertainment district of Tokyo during the Taisho period (1912–1926). The Japanese theater critic Ōzasa Yoshio regards the advent Asakusa Opera as the first sign that Japanese theater was being Americanized (1986: 98).
Takagi Tokuko’s successful performances in 1916, featuring songs and dances inspired by US American variety shows marked the birth of Asakusa Opera. Takagi had studied dance in New York City and performed in US and European cabarets before returning to Japan. Takagi played the role of a French officer in Female Troops Go to the Frontline (1917), a US-style musical comedy written and directed by Iba Takashi at Tokiwaza for Negishi Productions. The term "opera" was used by the Japan Opera Society for the first time when a "mixed-gender" girls’ opera was produced by Nishimoto Asaharu, choreographer of Evening in Venice (1916) at Takarazuka Girls Opera, and Suzuki Yasuyoshi, orchestra master in Takagi’s troupe. Meanwhile, Sassa Koka, the Nipponophone Company’s music producer formed the Tokyo Opera Theater and staged A Night at a Café (1917), an operetta he wrote at Nipponkan, the first opera theater in Asakusa. The play produced the hit "The Song of Croquette," originally composed by Masuda Tarōkaja for his comic opera Which Way? which van at the Imperial Theater in 1917.
Bungei Kyōkai
Authors: Zheng Guohe 
Published: September 2018

Launched in February 1906 out of a drama club of Waseda University students, Bungei Kyōkai was one of the two pioneering organizations of the modernist movement in Japanese theater, the other being Jiyū Gekijō. Bungei Kyōkai, particularly its second period, is considered the beginning of shingeki for its contributions to Modernism in establishing professional actors and actresses in modern Japanese theater, in its impact on society, and in its having elite intellectuals as its leaders.
During its early period Bungei Kyōkai was more reformative in nature; while it produced selected acts of The Merchant of Venice and Hamlet, it also produced Tsubouchi Shōyō’s modern kabuki Kiri hitoha (A Paulownia Leaf), and the role of Portia in Merchant was played by an onnagata (male performer of female roles in kabuki). This led to these resignation of disappointed members and the beginning of its financial difficulties. To overcome these challenges, Shimamura Hōgetsu, Tsubouchi Shōyō’s disciple and the de facto manager of the organization, persuaded his teacher to take direct charge from February 1909. Shōyō started Bungei Kyōkai’s later period by building, on the site of his own residence, a theater academy, intended for both training and research. The two-year co-educational academy program was quite rigorous, with Hōgetsu and Shōyō among the instructors and using as textbooks the original script of The Merchant of Venice and the English translation of A Doll’s House. Later, however, elements of traditional Japanese performing arts, including kyōgen and stage fighting, were added to the curriculum, reflecting Shōyō’s vision of a national theater as the ultimate goal of Bungei Kyōkai.