rss_2.0Sciendo RSS Feed for Art History & Criticismhttps://sciendo.com/journal/MIKhttps://www.sciendo.comhttps://sciendo-parsed.s3.eu-central-1.amazonaws.com/647248a3215d2f6c89dc2e9b/cover-image.jpghttps://sciendo.com/journal/MIK140216https://sciendo.com/article/10.2478/mik-2024-0004<abstract> <title style='display:none'>Summary</title> <p>This study examines for the first time the relationships with music, family musical traditions, and their importance to all family members – but especially to the composer and painter Mikalojus Konstantinas Čiurlionis (1875–1911) – of the two generations of the Čiurlionis family who lived in Druskininkai since the 19th century. Also, for the first time, this study explores the histories of musical instruments belonging to the Čiurlionis. Near Druskininkai, at the church in the village of Kabeliai, an instrument was discovered on which Mikalojus Konstantinas Čiurlionis’ father Konstantinas had played, and archival work was carried out to find supporting evidence. The sources found confirmed the hypothesis held by the author of the article that the church organ in Kabeliai indeed was the instrument used by Konstantinas Čiurlionis, the organist and father of Čiurlionis. It is likely that the future artist and composer Mikalojus Konstantinas also had contact with this instrument. The history of Kabeliai and the discovery of the organ inspired the study of the histories of all musical instruments (both surviving and lost) belonging to the Čiurlionis family and special attention was paid to the exhibits of the M. K. Čiurlionis House-Museum. This article publishes for the first time the authentic memories collected by the author of this work, describing the acquisition histories of the mentioned house-museum exhibits. The result of the research is new facts about music-making in the Čiurlionis household, supplemented, refined, or reconstructed histories of musical instruments used by the Čiurlionis family. Twelve musical instruments were found and described during the study. It was revealed that the Čiurlionis family paid great attention to musical instruments and their quality. Pianos from famous companies in their not very wealthy homes testify that music here was not only educational but also had clear professional ambitions to play classical music and create original (their own) music. The Čiurlionis family was united by the method of learning to play by ear, and the conscious continuation of this family musical tradition is evident in our times at the “Summer of Piano Music in Druskininkai” festival.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/mik-2024-00042024-10-30T00:00:00.000+00:00https://sciendo.com/article/10.2478/mik-2024-0005<abstract> <title style='display:none'>Summary</title> <p>The emergence of leisure culture in Lithuania began in the late 19th century, gradually giving rise to resort towns. Although in some cases, recreational architecture can be associated with relatively luxurious examples that follow the European resort tradition, the article argues that the dominant type of Lithuanian resort architecture manifested itself as a subtle synthesis of local traditions and external influences. The balance between architectural traditionalism and the constantly changing social demand is particularly well represented by wooden architecture. The modernising society of inter-war Lithuania brought significant changes to the development of resort architecture. Not only did new functional types, such as seaside restaurants characteristic of resorts, took shape, but private residential architecture also acquired specific features. The article presents the phenomenon of wooden resort architecture which has not been sufficiently explored and illustrates how resort architecture has influenced the most cost-effective segment of construction, which is also the segment most closely linked to tradition. The text assumes that this layer of the resort environment was as important a part of resort life as more modern and expensive brick construction.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/mik-2024-00052024-10-30T00:00:00.000+00:00https://sciendo.com/article/10.2478/mik-2024-0008<abstract> <title style='display:none'>Summary</title> <p>In contemporary studies of Lithuanian interwar architecture, so far the greatest attention is paid to the analysis of the architectural development and modernization processes that took place in the city of Kaunas, the temporary capital of the country at the time. The work of architectural specialists who worked there is also analysed more. However, at the same time, little is known about the development of architecture created in the smaller cities of Lithuania at that time and its modernization. Thus, this article aims to more thoroughly reveal and analyse the processes of modernization of Panevėžys city architecture that took place in the 1930s, choosing the designs of Antanas Gargasas, who worked there as a municipal engineer in 1931–1940, as the research object. This is done in the article by analysing and presenting the majority of his designed public buildings and the most significant and typical residential buildings. The article, which was written based on archival material, the press of the research period and the contemporary studies of the interwar architecture, contains an assumption that the buildings designed by Antanas Gargasas had a significant influence on the processes of modernization of the Panevėžys architecture at that time and the spread of new stylistic trends in it. The article is supplemented by the drawings and photos of the buildings designed by the engineer.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/mik-2024-00082024-10-30T00:00:00.000+00:00https://sciendo.com/article/10.2478/mik-2024-0003<abstract> <title style='display:none'>Summary</title> <p>Lithuanian art studies as an independent branch of science began to take shape in the First Republic of Lithuania between year 1918 and 1940. During 22 years in a multinational free state, it followed a winding path of mastery, professionalism, and the formation of a critic’s thought. However, if the origins, development, and forms of interwar Lithuanian art studies already are being explored, the Jewish art studies are still waiting for its first investigations. The purpose of this article is to broaden the scope of Lithuanian art research by incorporating the layers of interwar Jewish art studies conducted in the Yiddish language. Using the combined methodology of research as method of source studies, the aspects of social history of art and the comparative method, the Jewish art studies were analysed as a specific phenomenon which functioned alongside Lithuanian art studies. Throughout this research, over 1,000 Yiddish publications were reviewed to find the answers to the never previously discussed questions – how many Jewish art historians and critics contributed articles to the Yiddish press, what kind and quality of publications about Jewish art were featured, what aspects of Jewish art, artists, and society did Jewish art critics emphasise, and what kind of relationship existed among art critics, artists and public. The article also encompasses the short biographies of the most prominent Jewish authors in the field of art criticism.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/mik-2024-00032024-10-30T00:00:00.000+00:00https://sciendo.com/article/10.2478/mik-2024-0001<abstract> <title style='display:none'>Summary</title> <p>The article is dedicated to the iconography, development and symbolism of the “Rolling up the Sky” scene – a fragment of the complex multi-scene composition of “The Last Judgment” icons. The study based on selected icons of “The Last Judgment” from the 15th–17th centuries originating from the territory of Halychyna (Galicia) in the West of Ukraine and from the modern territories of Poland and Slovakia. Evolution of the “Rolling up the Sky” motif and traced changes in the compositions of the “Last Judgment” icons from 15th and 16th–17th centuries determine the novelty of the article. The motif’s composition in the icons of the 15th century is characterised by its simplicity and minimalism, on the other hand, since the 16th century, the scene has been actively developed, and new elements appear in it. An important new feature of the “Rolling up the Sky” scene from 16th century is depiction of the zodiac symbols: four Ukrainian icons of “The Last Judgment” dated to the 16th century with depictions of the zodiac symbols are analysed. Evolution of the symbolic image of God the Father, or Ancient of Days from the formal symbolic depiction as shining disc to the image of grey-haired old man is traced.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/mik-2024-00012024-10-30T00:00:00.000+00:00https://sciendo.com/article/10.2478/mik-2024-0002<abstract> <title style='display:none'>Summary</title> <p>This article deals with the ‘primitivist’ sources of European modern art, with a focus on Eastern European artists, including some who later developed their careers in the West. These artists are regarded as atypical but relevant cases of modernist legacies, yet their contribution is less studied because of their non-Western European backgrounds. Their early artistic careers were influenced by the local folk and naïve style and motifs of their rural homelands, but they later transmuted their ‘primitivist style’, adopting the fashionable exotic, mostly African, motifs of the Western modernist schools when they moved to the West (typically, France), connected themselves with the modernist movement and received recognition. Unlike the perspective usually adopted by art criticism, this article suggests a heritage studies approach: it firstly conceptualises and considers how one type of heritage primitivism is subsumed to another in this complex artistic formation, and then problematises this dissonant legacy of their work. It is argued that in the field of cultural heritage debate, we need to extend the concept of dissonant heritage to discuss the dual concept of local/exotic heritage, while critically reassessing the uses of primitivism in its authenticist vs. assimilationist ideological intentions.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/mik-2024-00022024-10-30T00:00:00.000+00:00https://sciendo.com/article/10.2478/mik-2024-0006<abstract> <title style='display:none'>Summary</title> <p>The object of this article is the monumental Christ’s Resurrection Church, one of the most famous UNESCO World Heritage Sites in Kaunas. The competition for its architectural design was announced in 1928, on the occasion of the tenth anniversary of the independence of the Republic of Lithuania. Competition and projects have been publicly criticised. The awards were given, but the design after the competition was entrusted to the third prize-winning architect Karolis Reisonas. However, his new design was not implemented, and the present church was built according to another project by the same architect. As a monument to the nation, the church was completed in 1940. However, it was consecrated only on 26 December 2004, after the Kaunas Radio Factory, which had been in operation for almost the entire Soviet occupation, had moved out of the building. For a long time, architectural studies attributed the authorship of the church design to the architect Karolis Reisonas. However, the question of authorship is problematic. Recent studies have attributed the high artistic level of building architecture to collective creative work. The research was carried out using historical-analytical and stylistic methods.</p> <p>So far, competition projects for the Christ’s Resurrection Church have not been thoroughly analysed in Lithuanian art studies. The reasons for their non-implementation were not studied in detail, and the problem of the authorship of the final design is an unexplored topic. The article aims to supplement and clarify existing knowledge about the Christ’s Resurrection Church project competition. By reviewing the objectives, processes, and results of the competition, we assessed for the first time the unimplemented projects in a more coherent and detailed way, showing the different stylistic approaches of the architects and engineers to the task of designing the church, the criticisms that were made of the projects and the reasons why the standing building differs from the award-winning project and the implemented project of Reisonas that was prepared after the competition. The study showed how the idea of independence of the Republic of Lithuania in the monumental Christ’s Resurrection Church mobilised the public and actively involved them in the architectural design of the church. Criticism from the public and the architectural community of the prize-winning projects led to an unexpected artistic result in the final project, a modernist church created after the competition. Architects and other Lithuanian artists who were not awarded in the competition or did not participate also contributed to the final architectural design we see today.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/mik-2024-00062024-10-30T00:00:00.000+00:00https://sciendo.com/article/10.2478/mik-2024-0007<abstract> <title style='display:none'>Abstract</title> <p>Many Lithuanian intellectuals fled from the occupied Lithuania during the Second World War and after it, including the most famous architects who created the architectural language of interwar Kaunas Modernism. After escaping from the war-torn country to the United States of America, they resumed their professional pursuits while living in exile. Stasys Kudokas – one of the most prominent and productive architects in the interwar Lithuania – also pursued his carreer while living in exile. Yet his architectural heritage in the United States of America is still an under-researched topic. The Lithuanian diaspora press remains one of the most comprehensive sources exploring Kudokas’ professional path in the United States of America. By using descriptive and comparative methods, this study aims to examine the most important projects by Kudokas for the Lithuanian diaspora and the related expectations of Lithuanian communities, reflected in the diaspora press. This study will reveal that the reflection of Lithuanianness in the architecture designed for the Lithuanian community was the most important criterion for evaluating Kudokas’ legacy in the exile press.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/mik-2024-00072024-10-30T00:00:00.000+00:00https://sciendo.com/article/10.2478/mik-2024-0013ARTICLEtruehttps://sciendo.com/article/10.2478/mik-2024-00132024-10-30T00:00:00.000+00:00https://sciendo.com/article/10.2478/mik-2024-0010<abstract> <title style='display:none'>Summary</title> <p>The article analyses the series of photographs “Surveillance” (2016–2018) and “Architecture of Evidence” (2021) by the Ukrainian artist Valentyn Odnoviun who lives and works in Lithuania. The analysis is mainly based on the concepts of surveillance and control developed by French philosophers Michel Foucault and Gilles Deleuze. With the reference to this theoretical background the article states that Odnoviun exposes the materiality of the gaze of surveillance in various historical periods. This in turn can be interpreted not only as the documentation of the hard evidence of the crimes against humanity, but also as a symbolic resistance against control and oppression.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/mik-2024-00102024-10-30T00:00:00.000+00:00https://sciendo.com/article/10.2478/mik-2024-0009<abstract> <title style='display:none'>Summary</title> <p>This article is dedicated to analysing the exhibition “1972. Breaking Through the Wall” from several perspectives: the curator, the viewers, and the exhibition architect tasked with creating an environment for the art exhibition in an unconventional setting. The article examines the curators’ choices, discusses the work of the exhibition architect within the context of heritage conservation requirements, and presents the results of a viewer survey.</p> <p>This exhibition raised the issue of the significance of alternative creativity, opposed to the official narrative, in a non-free society. It focused on Lithuanian art from the 1960s to the 1980s that countered the official Soviet cultural course. The exhibition’s prehistory includes the historical fact that in the spring of 1972, a young man self-immolated in Kaunas in protest against the lack of freedom. These events had direct and indirect reverberations in the arts, although they were not exhibited at the time due to fear of repression. This difficult experience has left its mark on Lithuanian culture and collective memory.</p> <p>The exhibition highlighted the role of various societal groups in opposing the ruling authorities and establishing personal and creative freedom as the highest value. The art display, composed of works from professionals (fine arts, theatre) and amateurs (rock and big beat musicians) from the 1960s to 1980s who resisted official Soviet art, clearly demonstrated how Kaunas – the capital of Lithuania from 1920 to 1940 – was influenced by the city’s prominent pre-war modernism (environment and lifestyle) and the Soviet ideology imposed on the entire country. The clash of two diametrically opposed ideological stances and artistic principles in Soviet Lithuania led to the emergence of an alternative culture. For the first time in the history of Lithuanian exhibitions, this exhibition showed how the social and the arts were affected by the pressure exerted by the official authorities. The visitor survey showed that the positive reactions to the exhibition were also due to socio-political events that have become embedded in the nation’s memory. The events stored in the collective memory of the nation correlated with specific creative artefacts and historical details, which the younger generation saw for the first time. Noteworthy was the symbiosis of emotional experiences among visitors of different ages, observing exhibits with both artistic and historical value. As indicated by the visitor survey, the exhibition facilitated the establishment of a closer connection between generations. The exhibition’s display in a cultural heritage site – the former post office building (by architect Feliksas Vizbaras, 1932) – was a complex task creatively resolved by contemporary architects.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/mik-2024-00092024-10-30T00:00:00.000+00:00https://sciendo.com/article/10.2478/mik-2024-0011<abstract> <title style='display:none'>Summary</title> <p>Soviet cinema magazines covers played a crucial role in shaping the cinematic star system of the Soviet Union, yet their significance has been largely overlooked in academic discussions. This article examines the covers of two periodicals, <italic>Ekrano naujienos (News of the Screen)</italic> and <italic>Kinas (Cinema)</italic>, published in Soviet Lithuania from 1955 to 1986, focusing specifically on covers featuring a single face. The analysis situates these covers within the broader context of the close-up of the face, which held a prominent position in Soviet cinema culture. Additionally, the article explores the unique context of eroticism associated with the face in Soviet cinema criticism.</p> <p>Quantitative analysis reveals that cover images featuring women’s faces would eventually emerge as the predominant image type on the covers of both <italic>Ekrano naujienos</italic> and <italic>Kinas</italic>. By employing qualitative analysis, which divides images into descriptive and narrative categories, the aesthetic evolution of these covers is investigated. In the first half of the period from 1955 to 1972, narrative images were more prevalent. However, in the second half of that time, descriptive photographs depicting the faces of actresses, particularly those that were eroticized, became more prevalent. On the contrary, cover pages followed a standardized logic and avoided visually explicit images during the Stagnation period. The establishment of a cinema star system in Soviet Lithuania and the tightening of the Soviet cinema system are factors that contributed to these aesthetic shifts.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/mik-2024-00112024-10-30T00:00:00.000+00:00https://sciendo.com/article/10.2478/mik-2024-0012<abstract> <title style='display:none'>Summary</title> <p>The research delves into the complex and multi-layered transition of Lithuania from a Soviet to a post-Soviet society, focusing on the architectural landscape as a reflection of ideological shifts. It explores the period from Gorbachev’s initiation of perestroika in 1986 to the Baltic States’ entry into the EU and NATO in 2004, a time marked by significant transformations within the architectural, social, and political realms. First, using Greimasian Square, the study categorises and analyses the reactions toward Soviet Modernist architecture, observing the gradual shift from a representation of state ideology to a canvas reflecting a myriad of individual and collective experiences, also assuming the artistic value of the architects’ output. Second, utilising frameworks from Western architectural criticism figures such as Peter Blake, Robert Venturi and the Situationists, the study contextualises and collates with architectural trends in public interiors or private constructions in Lithuania. Additionally, presumptions are correlated with a crisis in the architectural profession, characterised by a rise in private constructions without architects. Through semiotic view architectural discourse becomes a vital element in understanding the broader cultural and political shifts in post-Soviet Lithuania.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/mik-2024-00122024-10-30T00:00:00.000+00:00https://sciendo.com/article/10.2478/mik-2023-0008<abstract> <title style='display:none'>Summary</title> <p>The study deals with the possibilities of integrating the folk experience of creating Ukrainian games and toys into modern visual culture. An ethno-cultural pattern that synthesizes the artistic image, national form, natural materials, and game principles of interaction into an integral structure based on the analysis of folklore materials and artistic folk products from the territory of Western Polissia in Ukraine has been formed. The result of the study is the classification of Ukrainian folk toys and games of the population of Western Polissia organized as a holistic multifaceted visual and communicative system of interaction between folk games and toys. It has been proved that integration of ethno-cultural patterns into modern visual culture is carried out on three levels: subject, environmental, and socio-cultural. The study presents the theoretical basis for designing a modern visual and communicative environment for life, learning and rest, which is able to attract a child to the deep traditions of national culture in a natural way.</p> <p>The outlined levels of integration are closely related with modern practices of eco-design, ethno-design, and art-therapy, which act as a strategic basis for the formation of modern visual culture and are aimed at the sustainable development of society.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/mik-2023-00082023-11-30T00:00:00.000+00:00https://sciendo.com/article/10.2478/mik-2023-0003<abstract> <title style='display:none'>Summary</title> <p>Theatre can be interpreted as a place where various modes of participation in the community or patterns of citizen behaviour can be rehearsed. In pre-pandemic Lithuanian theatre (as well as theatres of other Baltic countries) various forms of audience engagement were conspicuously emerging, ranging from physical co-creation practices to interactive forms of entertainment. After the global lockdown of theatre institutions the emerging forms of “virtual theatre”, ranging from performance recordings to zoom theatre, redefined the role of theatre spectatorship, in particular the notions of “active”, “passive”, “collective”, “individual”, fundamental for the understanding of the role of publics. Analysing the abundant examples of “pandemic theatre” one starts to think about the return of the digital “fourth wall”, where audiences are becoming distant spectators. This poses important questions to theatre research: whether these forms of theatre are strengthening the feeling of passivity and isolation, serve as platforms for much-needed psychological escapism or offer a critical revaluation of the essential principles of theatre art.</p> <p>With the help of two case studies, this paper will define and analyse the prevailing practices of pandemic Lithuanian theatre and will outline whether and how the fundamental categories associated with the spectator’s experience of theatre have changed in the post-pandemic era.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/mik-2023-00032023-11-30T00:00:00.000+00:00https://sciendo.com/article/10.2478/mik-2023-0006<abstract> <title style='display:none'>Summary</title> <p>When modernism started to be seen in architectural spheres, it did not emerge just with an architectural language for design but also with new architectural typologies. Due to the main discourse of the Modern Movement with the famous quote of Louis Sullivan, “Form follows function”, new building types which were explicitly designed for their functions have appeared. However, over time, while some of these functional buildings kept their functions, some of them either lost their function entirely already, or the technology which created that function is in a downward trend. Zeppelin/airship hangars are amongst those buildings constructed for a specific function in the early 20th century which have lost that function in the present. Therefore, even though they might not reflect any tangible qualities, the function can operate as an intangible cultural reference. The object of this paper is one of those zeppelin hangars, which is located in Edirne, Turkey. The research attempts to categorise the architectural typologies that appeared by modernism, and apply a case study method to the Edirne Zeppelin Hangar to gain insight towards the problem, which is related to the consequences created by the language of the Modern Movement due to the emphasis of the function, and to discuss the possible adaptive reuse strategies regarding these artefacts which totally lost their functions. It is concluded that it is not possible to transform all the building stock that emerged in the built environment into museums, including the Edirne Zeppelin Hangar; however, inconsequential to the designated purposes, it is crucial to leave intangible references to the previous function in its design process.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/mik-2023-00062023-11-30T00:00:00.000+00:00https://sciendo.com/article/10.2478/mik-2023-0002<abstract> <title style='display:none'>Summary</title> <p>This article analyses Lithuanian landscape photography that reflects the cultural landscape of the 20th century, revealing not only the natural phenomena of the land, but also the historical development of the country, social memory and national identity. Landscape photographs are abundant with cultural codes implicated in visual structures of landscapes, which are read and distinguished with the help of the palimpsest model. An interdisciplinary methodological approach is applied to the understanding of the functioning of photography in the spatial and local planes and to the purposeful use of the concepts of <italic>place</italic> and <italic>space</italic>, combining the phenomenological insights of humanistic geography, the theory of spatial production of the sociologist Henri Lefebvre, and the art historical analysis of visual texts. This interdisciplinary study introduces the cultural layer that is characteristic of the 20th century landscape, provides a sense of historical time shifts, and clarifies the prevailing stylistic movements in photographic landscapes.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/mik-2023-00022023-11-30T00:00:00.000+00:00https://sciendo.com/article/10.2478/mik-2023-0001<abstract> <title style='display:none'>Summary</title> <p>Michael Fried’s 1967 essay “Art and Objecthood” is one of the most well-known and influential pieces of art criticism ever written, and continues to generate novel interpretations. Its overtly theological cast, however, has never been the subject of close study. This article focuses on Fried’s decision to use a lengthy quotation from Perry Miller’s biography of the theologian Jonathan Edwards as his epigram, and contends that Fried’s essay is informed in significant ways by Edwards’ notions of history and grace, and characterized by wordings that reveal an active engagement with Miller’s text. Certainly, the contexts in which Edwards and Fried worked were irreducibly different. Nevertheless, an examination of the ways in which Fried drew on Miller’s text and Edwards’ ideas demonstrates that he was productively influenced by both in composing “Art and Objecthood.”</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/mik-2023-00012023-11-30T00:00:00.000+00:00https://sciendo.com/article/10.2478/mik-2023-0005<abstract> <title style='display:none'>Summary</title> <p>This article analyses the development of standard designs of primary school buildings in Lithuania during the 1920s and 1930s. This process aimed to create simple and comfortable standard school buildings and provide them to the primary schools operating in the country. The article presents the development of standard designs that took place at that time, explaining the circumstances of their emergence, and comparing the main designs of such buildings developed at that time. To reveal this process as best as possible, the influence of the then Ministry of Education of Lithuania, local former Lithuanian county municipalities, and various architectural specialists in the standardisation of buildings for primary schools and the development of standard designs are presented and analysed. This aims to introduce the readers to the still little-known process that took place in the architecture of Lithuania during the 1920s and 1930s.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/mik-2023-00052023-11-30T00:00:00.000+00:00https://sciendo.com/article/10.2478/mik-2023-0007<abstract> <title style='display:none'>Summary</title> <p>The Romanian Workers’ Party – the political party that led Romania from 1947 until 1965 – need for legitimisation led to the rewriting of history in a way that the history of Romania was presented as a linear progression finally leading to communism. In art history, art also became a linear phenomenon, progressively advancing towards Socialist Realism.</p> <p>The tactics of constructing the new narrative in art history during the 1950s and the beginning of the 1960s can be read as a form of the social history of art. Although the methodology could have led to remarkable results, ethical boundaries were violated: only some historical episodes and moments from artists’ biographies were selected.</p> <p>Within this context, this study investigates whether papers and monographs about Romanian painters active in the second half of the 19th century and the beginning of the 20th century can be read as a form of social history of art.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/mik-2023-00072023-11-30T00:00:00.000+00:00en-us-1