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The neural underpinning of art creation can be gleaned following brain injury in professional artists. Any alteration to their artistic productivity, creativity, skills, talent, and genre can help understand the neural underpinning of art expression. Here, two world-renown and influential artists who sustained brain injury inWorldWar I are the focus, namely the French artist Georges Braque and the Austrian artist Oskar Kokoschka. Braque is particularly associated with Cubism, and Kokoschka with Expressionism. Before enlisting, they were already well-known and highly regarded. Both were wounded in the battlefield where they lost consciousness and treated in European hospitals. Braque's injury was in the left hemisphere while Kokoschka's was in the right hemisphere. After the injury, Braque did not paint again for nearly a whole year while Kokoschka commenced his artistic works when still undergoing hospital treatment. Their post-injury art retained the same genre as their pre-injury period, and their artistic skills, talent, creativity, and productivity remained unchanged. The quality of their post-injury artworks remained highly regarded and influential. These neurological cases suggest widely distributed and diffuse neural control by the brain in the creation of art. [ABSTRACT FROM AUTHOR]

The town views were a constant preoccupation of the European scientists, artists, geographers and military stuff, sometimes without a distinct separation between them. Starting with the 17th century, the correct representations of space became a predominant military matter, controlled by the engineers of the main monarchies of Europe. Even so, it remained more "space" to conquer and the artists proved to be real agents of change, especially "vedutisti", concerned to catch that complex genius loci which combines spectacular landmark panoramas with everyday life, choosing Europe's main cities as scenery. Transylvania region has also experienced a similar process due the influence of the Age of Enlightenment, but with a delay specific to its peripheral geographic position and political status. The city of Cluj-Napoca was one of the favourite subjects of the foreign and local artists, which proved to be very sensitive to the trends of the urban change capturing the local colour as a statement of the historic past, but also as a change in perceiving the urban space. Compared with almost one-sided urban views of the past centuries, the 19th century brings a 360-degree perspective over the urban space, significant for the future development of the city. [ABSTRACT FROM AUTHOR]

The article focuses on the works of Nara Yoshitomo that incorporates a thoroughly disciplined syntax of dreamlike associations, fairytale motifs from European sources and embodies a different relationship to the child and to the gaze. The artist has earned international attention with his exhibition entitled "Superflat" held in Japan in 2000. The eyes of the child depicted in the works of Yoshitomo are usually elongated, narrowed and a flattened ellipse.

Examines the representations of Pope Pius VII by several European artists. Representation of Pius as an adversary of Napoleon or an enlightened patron of the arts by non-Italian artists; Pius as a symbol of the resurgence of the Italian civilization according to works by Italian artists; Role of Pius in the Risorgimento, the Italian nationalist movement.

The author reflects on the fall of the Berlin Wall and the end of the Cold War. He highlights the role played by the West in the end of the Cold War. He points out the potential dangers posed by the post-Cold War period. He emphasizes the implications of this development for art and artists in Europe and the U.S.