bluuebunny/crossref_metadata_2025_split huggingface dataset:
Mostafa, Kamel (1917–1982)
Authors: Dwider Sarah 
Published: September 2018

Kamel Mostafa was an Egyptian impressionist painter recognized for his soft oil paint scenes depicting daily life in Egypt. He began his studies at the Faculty of Fine Art in Alexandria under the instruction of noted Egyptian artists Ragheb Ayad, Youssef Kamel, and Mohammed Nagui, graduating with a painting degree in 1941. In 1946 Mostafa received a government grant to travel to Rome to continue his studies. He returned to Alexandria in 1950 and completed a second degree in oil paint restoration. Following his studies, he worked as both an artist and educator in Egypt. Mostafa served as an instructor at the Faculty of Fine Art in Alexandria between 1958 and 1977. In 1969, he was additionally appointed dean of the Faculty of Fine Art.
Along with his contemporaries, Mostafa was part of second generation of Egyptian modernists who built on the arts innovations initiated by early Egyptian modernists like Mahmoud Said, Ragheb Ayad, Youssef Kamel, and Mohamed Nagui. In 1979, a retrospective exhibition of his work was held at the Museum of the Faculty of Fine Art, Alexandria, celebrating the artist’s significance in the development of Egyptian modernism.
Nawar, Ahmed (1945–)
Authors: Dwider Sarah 
Published: September 2018

Born in El-Shin in the Gharbia province of Egypt, Ahmed Nawar received his bachelor’s degree from the Faculty of Fine Arts at Helwan University in Cairo in 1967. Following his graduation, Nawar was called for service in the Egyptian military and was deployed to the Suez border during the War of Attrition. His experience during the war affected him deeply and would find expression in his later artworks. In 1971, Nawar traveled to Spain and in 1974 received a second degree in graphics from the San Fernando Academy in Madrid, as well as a degree in mural painting and a doctorate equivalent in painting in 1975.
As a painter, sculptor, and graphic printmaker, Nawar’s work focuses on the interplay of linear and organic forms, often integrating mathematical or technological imagery. In the 1980s, Nawar was a key member of the Mihwar (Axis) Group, an artist collective that focused on the relationship between unity and individuality in art. In 1982, Nawar founded the Faculty of Fine Art at Menia University. He served as the faculty’s dean and chair of the graphics department until he was appointed head of the Egyptian Ministry of Culture’s Sector of Fine Arts in 1988. In recognition of his contributions to the arts, Nawar was awarded the State Order of Arts and Sciences, First Class, in 1979.
Nguyễn Sáng (1923–1988)
Authors: Proctor Ann 
Published: September 2018

Nguyễn Sáng was an artist born in the south of Vietnam who spent two thirds of his life working in the north of the country. Following an initial period of study at the Gia Dinh School of Fine Arts in Saigon, he moved to the École des Beaux-Arts d’Indochine in Hanoi from 1940 to 1945. Best known for his monumental paintings in lacquer and oil, Sáng also designed bank notes and prints with revolutionary themes. Students at the École des Beaux-Arts d’Indochine adapted lacquer techniques—which were previously used on three-dimensional surfaces—to two-dimensional paintings. Sáng, as an early practitioner of lacquer painting, is viewed as one of the innovators for updating and reconciling Vietnamese art with international art.
Sáng’s career was not without controversy, however. He was one of the artists involved in the Nhan Van Giai Pham affair of 1956, during which artists proposed "art for art’s sake" rather than the government’s line of "art for the people." His best-known paintings include The Enemy Burnt My Village (1954) and Admission to the Party at the Ðiê.n Biên Phủ (1963), both of which are in the collection at the Museum of Fine Arts in Hanoi.
Serra, Richard (1939--)
Authors: Spampinato Francesco 
Published: September 2018

The American artist Richard Serra emerged in the 1960s in association with the Minimalism art movement. Known primarily for his work as a sculptor, he also realized several films and videos in the 1960s and 1970s, which could be divided into two groups: 16mm films mainly concerned with sculptural issues, and videos that explore the influence of the mass media.
The first group includes Hand Scraping (1968) and Hand Catching Lead (1968), whose titles alone are illustrative of their content. Defined by Benjamin H. D. Buchloh as "sculptural films," they explore the nature of sculpture as process and seriality. To this group also belong Railroad Turnbridge (1976) and Steelmill/Stahlwerk (1979), focused on materials, construction, and industrial production.
The second group of moving image works consists of videos that comment on the mass media as devices of control. Television Delivers People (1973) is a series of rolling sentences about the power of television to turn its audience into a product. In Boomerang (1974), the artist Nancy Holt (1938–2014) describes her feelings of displacement while listening to her delayed voice, while The Prisoner’s Dilemma (1974) is a studio-scale production that compares a TV game show to a police interrogation.
Sirry, Gazbia (1925--)
Authors: Seggerman Alex 
Published: September 2018

Gazbia Sirry is an Egyptian painter. Throughout her sixty-year career, Sirry responded to political, social, and artistic shifts in Egypt. She is well respected for her richly colored canvases and her savvy perseverance in the Egyptian art world. Born in 1925 in Cairo, Sirry came of age during the era of the 1952 Free Officers Revolution. After graduating from the Cairo School of Arts Education in 1950, she earned government scholarships for study abroad and local support. Her early paintings are characterized by depictions of strong, imposing female figures of all social classes.
In the late 1950s, the backgrounds in her works became increasingly abstract as her interest in non-representational color and line grew. The fading of figures could be attributed to her increasing disillusionment with the Egyptian government. In 1959, the government imprisoned her and her husband for several days due to their alleged communist activity. In 1965, Sirry earned a fellowship to join the Huntington Hartford Foundation in Pacific Palisades, California, an artists’ colony located in the Santa Monica Mountains. The experience introduced her to the American style of abstract Expressionism. In 1967, figural representations vanished abruptly from her work. Throughout the 1970s, Sirry painted abstract "cityscapes," complex grids that evoke urban skylines but are primarily exercises in color and shape. Sirry continues to make art in Cairo today.
Truitt, Anne (1921–2004)
Authors: de Baca Miguel 
Published: September 2018

Anne Truitt is an American artist most closely identified with Minimalism. Truitt’s art consists of wooden boxes, planks, and columnar works industrially fabricated and painted by hand, which were among the first examples of Minimal art. Because of the evocative colors and literary titles of her works, she is often distinguished from her contemporaries, who argued against expressivity in art.
Truitt’s principal critical ally was Clement Greenberg. Despite viewing other minimalists’ works with contempt, Greenberg admired Truitt’s formal references to painters Ad Reinhardt and Barnett Newman, and understood her sculptures as three-dimensional articulations of a two-dimensional painted surface. Elsewhere, the language Greenberg used in defence of Truitt made her gender a conspicuous issue, contributing to the feminizing of her practice in ensuing discourse. Truitt had a remarkably long, productive, and diverse studio practice, producing sculpture, drawings, and paintings until her death in 2004.
Yokoyama, Taikan [横山大観] (1868–1958)
Authors: Loh Kazuhara Eve 
Published: September 2018

The name Yokoyama Taikan is synonymous with Nihonga (Japanese-style painting) and the Japan Art Institute [Nihon Bijutsuin, 日本美術院]. Taikan was among the first batch of students enrolled at the Tokyo School of Fine Arts in 1887 and was closely mentored by the school’s founder, Okakura Tenshin. When Tenshin left to establish the Japan Art Institute in 1898, Taikan followed, one member of an exodus of students from the school. His career became closely associated with the Institute, and in 1914, Taikan revitalized and re-organized the Institute, which had become inactive upon Tenshin’s passing.
Taikan is well known for his repertoire of works which include paintings of customs and manners [fûzoku-ga, 風俗画], historical figures, and landscapes. He is most well known for his paintings of Mount Fuji and the works Eight Views of the Xiao and Xiang Rivers (1912) and The Wheel of Life (1923), which are classified as Important Cultural Properties. Throughout his life, Taikan continued to exhibit at almost every government-sponsored exhibition, in addition to those held by the Japan Art Institute. In 1937, Taikan was awarded the Order of Culture recognizing his achievement as a Nihonga artist.
Chinese Revolutionary Ballet
Authors: Chen Xiaomei 
Published: September 2018

Introduced to China in the 1920s, Western ballet evolved into a significant performance genre in modern and contemporary China. Its popularity grew in the twentieth century when political history, revolutionary wars, the impact of Western cultures, and the artistic visions of a new and modern state all played a significant role in the formation of Chinese revolutionary ballet. The revolutionary ballets took over this Western classical form and transformed its aesthetics, turning an elite spectacle into a socialist realist portrayal of everyday life and its challenges.
The introduction of Western ballet into China can be traced to 1894, when the first Sino-Japanese War broke out. At that time, Yu Rongling (裕容龄) traveled to Japan with her father, a Manchu aristocratic diplomat of the Qing Court. She learned modern Japanese dance before pursuing a formal training in Western ballet in Paris, and her teachers included Isadora Duncan. Yu’s quick rise to stardom on the Western stage brought her into the Qing Court, from 1904 to 1907, as a lady-in-waiting to entertain Empress Dowager Cixi (慈禧太后), who developed an interest in Western modern dance. Yu also initiated a combination of Western modern dance with traditional Chinese folk dance, therefore paving the way for the future development of a unique choreography which blended Western and Chinese tradition.
Braxton, Anthony (1945--)
Authors: Garlitz Dustin 
Published: September 2018

Anthony Braxton, born 4 June 1945 in Chicago, Illinois, is an avant-garde jazz multi-instrumentalist and composer who performs and records primarily on saxophones. An active musician since the 1960s, Braxton was an early member of the AACM (Association for the Advancement of Creative Musicians)—a Chicago-founded cooperative of African American avant-garde jazz musicians and composers. Braxton is a Professor of Music at Wesleyan University in Middleton, Connecticut, where he has taught since 1990. He was awarded a MacArthur Foundation Fellowship in 1994 and was named a 2014 National Endowment for the Arts Jazz Master in 2013. His compositions have been performed by large-scale orchestras at Lincoln Centre in New York City, as well as other renowned venues that have often been reserved for classical music.
Braxton’s notable early albums include Three Compositions of New Jazz (1968), released on the Chicago-based Delmark record label that released the first albums of many AACM members in the mid—to late 1960s. Braxton’s double album For Alto, a solo recording, was released in 1970. Braxton has performed on many saxophones throughout his career, most notably the alto saxophone, but later soprano, sopranino, C-melody, F mezzo-soprano, baritone, bass, and contrabass saxophones. He has also performed on flute, the E-flat, B-flat, and contrabass clarinets, and the piano.
Eno, Brian (1948--)
Authors: Gibson Stephen 
Published: September 2018

Brian Eno was one of the foremost producers of electronic music in the latter half of the twentieth century. He is primarily known as the founder of ambient music, for his juxtapositions of rock with avant-garde experimentalism, and for his production of several New Wave bands in the 1970s and ‘80s.
Originally trained as an artist under Roy Ascott, Eno’s career changed abruptly when he joined the glam rock band Roxy Music in 1971 as a synthesizer player, bringing a raw experimental sound to the group. Famously describing himself as a ‘non-musician’ he broke away as a solo performer in 1973, embarking on a series of experimental electronic rock albums, culminating in Another Green World (1975), arguably the peak of his output.
Kolisch, Rudolf (1896–1978)
Authors: Bangert Daniel 
Published: September 2018

Rudolf Kolisch was an Austrian-born violinist, teacher, and conductor. As leader of the Kolisch Quartet he premiered many important chamber works by the Second Viennese School and other modernist composers of the first half of the twentieth century. He later became leader of the Pro Arte Quartet and taught at the University of Wisconsin in Madison and at the New England Conservatory in Boston.
Kolisch was born in Klamm am Semmering, Austria on 20 July 1896. His father Rudolf was a doctor and his mother Henriette a pianist. Soon after starting violin lessons, an injury to his left hand led him to hold the violin in his right hand and bow left-handed. He attended the Vienna Music Academy and the University of Vienna, but his postgraduate studies were interrupted by three years of service in the Austrian army during World War I. His teachers included the Czech violinist Otakar Ševčík, the composer Franz Schrecker, and the musicologist Guido Adler.
Kurtág, György (1926--)
Authors: Kinderman William 
Published: September 2018

Unlike his friend György Ligeti, who emigrated from Hungary in 1956, György Kurtág remained until after the end of the Cold War in Budapest, where he taught at the Academy of Music. At the time of writing, he remains a key figure in musical modernism, whose vocal and instrumental works have received much attention, and whose opera Fin de partie, based on Samuel Beckett’s play, is eagerly awaited.
Kurtág’s style builds on Bartók and Webern and his formidable mastery of the Western musical legacy. Kurtág was born at Lugos in the Bánát region of Romania. He became a Hungarian citizen in 1948, but moved to France in 2001, assuming dual citizenship in 2002. In 1947, he married the pianist Márta Kinsker, who has contributed importantly to his artistic development. During 1957–58, he took part in courses with Messiaen and Milhaud in Paris, overcoming a creative crisis with the support of the Hungarian psychologist Marianne Stein.
Dartington Hall (1925--)
Authors: Nicholas Larraine 
Published: September 2018

Dartington Hall (near Totnes, Devon, England) is a country estate centered on a medieval courtyard and Great Hall. In 1925, the newly married Dorothy and Leonard Elmhirst bought and renovated the crumbling buildings with Dorothy’s family fortune. Plans for the Elmhirsts’ ideal community were based upon early twentieth-century progressive notions of education, technology, agriculture, and social justice. Community access to the arts, including music, dance, and theater, was an important principle from the beginning.
The years up to World War II marked the high point of artistic modernism at Dartington. Commissioned houses, including High Cross House, were built in the international style of modernist architecture. There were studios for painters (Mark Tobey, Cecil Collins, Hein Heckroth), pottery (Bernard Leach), theater (Michael Chekhov), and dance (Kurt Jooss, Sigurd Leeder). The estate was a haven for refugee artists from Europe including Chekhov, Heckroth, Jooss, Sigurd Leeder, and Rudolf Laban.
After the war, Dartington became both a regional arts venue and a site for developments in education. With the conviction that potential teachers should also be practising artists, Dartington College of Arts provided teacher training courses in arts subjects, later setting up degree courses. Dartington College of Arts was incorporated into University College Falmouth in 2010.
Tello, Aurelio (1951--)
Authors: Junchaya Rafael Leonardo 
Published: September 2018

Aurelio Tello is a Peruvian composer, conductor, and musicologist. Since 1982, he has lived in Mexico. Tello has been awarded several prizes and distinctions, not only as a composer but also as a researcher. His main research subject is Latin American colonial music, particularly from Mexico and Peru; it also includes twentieth-century music. He has published analyses, critiques, and historical accounts of composition and composers from Mexico and Peru.
Aurelio Tello was born in Cerro de Pasco, in the central highlands. He studied choral conducting and music education at the National Conservatoire of Peru. He also studied composition with Enrique Iturriaga (1918--), Edgar Valcárcel (1932–2010), and Celso Garrido-Lecca (1926--). Tello began his career in 1973 as a choral conductor, conducting several ensembles in Peru and Mexico. In 1980, he recorded twentieth-century Peruvian choral and vocal compositions with the National Conservatoire’s Choir. Since 1986 he has been guest conductor of the Mexican Coro de Madrigalistas de Bellas Artes. In 1989, he founded the Capilla Virreinal de la Nueva España, a vocal and instrumental ensemble devoted to Latin American colonial music, which has participated in several festivals and concerts and has made some recordings.
Tippett, Sir Michael (1905–1998)
Authors: Venn Edward 
Published: September 2018

Michael Tippett was one of the leading British composers of the twentieth century. His music and his writings are characterized by an enduring commitment to humanist values and traditions, mediated by an increasingly ironic and critically self-aware modern subjectivity.
Born into a relatively affluent middle-class family from rural Suffolk, Tippett’s environment at home and at boarding school cultivated his life-long intellectual curiosity and independence, but provided him with a patchy musical education. Adamant that he would be a composer nevertheless, he enrolled twice at the Royal College of Music where he painstakingly sought to develop both compositional technique and a heightened awareness of the Western classical musical tradition.
The experience of the global economic depression in the first half of the 1930s, heightened by working with unemployed musicians and providing musical opportunities at North Yorkshire work camps, politicized Tippett’s nascent left-wing sensibilities, though a brief spell in the British Communist party ended due to the incompatibility of his Trotskyist orientation with prevailing Stalinist thought. A more lasting commitment came through his pacifism, for which he was jailed in 1943; having joined the Peace Pledge Union in 1940, he went on to serve on its council in the 1950s and was Honorary President from 1958 until his death.
Wood, Hugh (1932--)
Authors: Edward Venn 
Published: September 2018

Hugh Wood is one of the leading British composers of his generation. In his contributions to all of the major musical genres (with the sole exception of opera), he has focused on the renewal rather than the rejection of tradition. He has taught at Morley College and the Royal Academy of Music, and at Glasgow and Liverpool Universities, and he joined the Music faculty of Cambridge University in 1976. A year later, he was appointed lecturer in Music and Fellow of Churchill College; he retired in 1999.
Hugh Wood was born in 1932 into a music-loving family and, though he ultimately studied Modern History at Oxford, music remained central to his extra-curricular activities both at school and at university. Formal music study commenced in 1954 with lessons from William Lloyd Webber; later, Wood studied with Iain Hamilton, Anthony Milner, and Mátyás Seiber. The Bryanston (later Dartington) Summer School provided numerous opportunities to engage with early- and mid-twentieth century music: above all, the experience of hearing the music of the Second Viennese School proved pivotal. Wood first responded to this encounter in chamber works written in the late 1950s and early 1960s, and labelled his Variations for viola and piano (1957–58) his Op. 1 in recognition that he had discovered his own voice. The presence in this work of a quotation from Beethoven is significant, revealing the extent to which his engagement with twentieth-century modernism was informed by broader musical traditions.
Adams, Henry (1838–1918)
Authors: Yoshikuni Hiroki 
Published: September 2018

Although he was known as a historian during his lifetime, the work of Henry Adams—like that of Henry James—is often seen as an American precursor to Modernism. This is mainly due to his autobiography, The Education of Henry Adams. His autobiography not only registers an aristocratic intellectual’s despair at the loss of ideals in the transformation of American society but, written in the third person, it also secures a distance from that despair in order to observe it self-consciously and ironically. After his death, Adams’ literary significance was appreciated by new critics, such as Yvor Winters and R. P. Blackmur.
Adams was a great-grandson of the second president of the USA, John Adams, and a grandson of the sixth president, John Quincy Adams. He was educated at Harvard University and later in Germany. During the American Civil War he served in London as a private secretary for his father. After teaching history at Harvard and editing the North American Review, he settled in Washington DC, researching American history (which led to The Life of Albert Gallatin and History of the United States of America), and making his house a salon of politicians and intellectuals. Works created during this period include two novels, Democracy and Esther, both of which portray the vicissitudes of ideals in contemporary America through the heroines’ adventures.
Vatsyayan, Sachchidanananda (1911–1987)
Authors: Govind Nikhil 
Published: September 2018

Sachchidanananda Vatsyayan (1911–1987), better known as Agyeya, was one of the key figures of Hindi modernism. Though known primarily as a poet, he wrote two of the most important Hindi novels, Shekhar: Ek Jeevani [Shekhar: A Life] (Volume 1 in 1941 and Volume 2 in 1944), and Nadi ke Dveep [Islands in the Stream] (1951). His editorship of Tar Saptak (named after a musical term for a higher octave) helped bring many new poets into prominence, most famously Muktibodh (1917–1964), who, in the view of some Hindi literary critics, remains the chief ideological and semiotic counter to Agyeya’s sensibility.
It is tempting to think of Agyeya’s ceaseless experimentation through his life as owing something to his eventful youth. He was imprisoned by the British on charges of revolutionary activity, including bomb-making. His years in prison and under house arrest, which comprised a large part of his twenties, helped him refine his sense of self and politics. Agyeya is often seen as a proponent of an intense, confessional, emotive, and cerebral individualism within the Hindi canon.