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The paper begins by engaging with recent reviews of volume five of The Collected Letters of Katherine Mansfield, challenging the principles on which the reviews were written and questioning the assumption of personal intimacy that reviewers, critics and biographers often make in relation to Mansfield. Her role as a reviewer for the Athenaeum is then analysed, principally using reviews that were not covered by Clare Hanson in her selection of Mansfield's critical writing. Initially the paper considers Mansfield's experience as a reviewer and editor during the Rhythm period, and the significance for her of the Fauvist aesthetic of that journal. Mansfield's ruthless scrutiny of the fiction of contemporaries is examined for what it reveals about her own practice, and is then applied to two particular themes in her fiction, the depiction of children and of the secret self, here specifically in relation to tuberculosis. The opportunities that were not offered to Mansfield, perhaps because she was seen as an uneducated woman, are discussed as well as the dimension that her witty and incisive reviewing adds to our assessment of her literary achievement. [ABSTRACT FROM AUTHOR]

This paper is based on a global sample of the 214 most prominent modern visual artists born 1850–1945. Two analytical methods are used to analyse the age at which artists produce their best works—one based on year-of-birth cohorts of modern visual artists and the other on stylistic groups. The cohort-analysis shows that the career patterns develop similarly over time for artists working in the USA and Europe; over time the artists’ peak ages first increase, reach their maximum for artists born between 1890 and 1909, and then decrease again. The study of stylistic groups shows that artists associated with Fauvism, the Nabis and Post-Impressionism experience an early peak, whereas artists associated with Surrealism, Impressionism, Abstract Expressionism, Art Informel, Pop Art, Expressionism and Cubism peak later in their careers. [ABSTRACT FROM AUTHOR]

During the social, political, and cultural conflicts of the twentieth century, Chinese art was changed or reformed more rapidly than in any other period. Besides the traditional literati arts that had been fostered continuously from the past across the century, there were Western imports such as impressionism, post-impressionism, Fauvism and Cubism, that strongly influenced Chinese art developments but, officially, it was Western realism, filtered through Russian revolutionary art, that became the mainstream charging Chinese art institutions and art societies following the Maoist revolution in 1949. However, there was another art, easily forgotten or ignored, which is in fact something more significant, more original and more Chinese in the art history of the twentieth century Mao's Mass art.

Can concepts or artistic practices be transferred from one culture, one region, one land to another; and how much can another cultural context modify the meaning and function of a given artistic language, in the present case a language of painters? We can move nearer to an understanding of the problem if we bear in mind that cultural transfer differs essentially from comparison since it builds on the premise that there are no national cultures that have developed in an autochthonous way. These cultures have formed in the wake of influences, co-habitation, and motif adoption of many different kinds. Investigation of cultural transfers, then, emphasises similarities existing in social memory and not on differences. The art history of the time around 1900 has been recorded by way of the narrative of progressivism, in the paradigm of the centre and the periphery. The model itself is historical. We can and should remark upon on the material of past in its capacity as such and we may emphasise different aspects of it. Nevertheless, the material of the past is malleable only up to a certain limit. The historical marker of the art of the era under discussion is progressivism: we would be ahistorical were we to divest it of this tag. This paper presents the problems of cultural transfer on the example of Hungarian and French fauvism, involving the reception of renowned art historians and thinkers such as Adolf Hildebrand, Julius Meier-Graefe or Georg Lukacs.

This paper represents a twofold approach. On the one hand, we introduce a simple method that encompasses an ensemble of image processing algorithms with a multilevel color transfer approach at its core. On the other hand, the method is applied for providing an artistic look to standard images. The approach proposes a multilevel color transfer in a chromatic channel of the CIELAB color space. Once converted from red, green and blue, a specific channel on both images, input and target (reference), is thresholded in a number of levels. Later, the color transfer is performed between regions from corresponding levels using a classical color transfer method. In the application phase, the color palette of a recognized artwork of the Fauve movement is mapped to the input image, emulating the sight of the artist, characterized by the use of vivid colors. Filtering techniques are applied to the outcome, in order to emulate the basic brushstrokes of the artist. Experimental results are shown, visualizing and comparing the input images with the outcomes.

The article discusses the French modernist Fauves' use of "primitivism," deriving from African and Oceanic primitive art masks, in their art from 1905 through 1908. An overview of the influence that African and Oceanic masks had on French Fauve artists Henri Matisse, André Derain and Maurice de Vlaminck's art is provided.

The article focuses on the writing of author Katherine Mansfield and her interest in children. Topics include how Mansfield portrays childhood and child artists, also known as the concept of "innocent eye," on her characters such as Kezia Burnell in the story "Prelude," the possible influence of Fauve on her works particularly the images of children and their innocent eye, and the use of "innocent eye" concept by art critic John Ruskin.

The starting point of this reflection is deeply anchored in my practical work as a drawer. Knowing my work was never about illustrating space or about depicting it, I was forced to ask myself about the nature of space my drawing was creating, as a non-figurative art form. I noticed that numerous artists and critics where asking this very same question all along the twentieth century, opposing the flatness of the picture plane to a non-illusionist painterly space. I chose to extricate some of the prominent issues about space in modern painting to show the dense and multiple definitions the notion of space endured during the last century, trying to define more clearly the status of a painterly space made by shapes, layers and matters. [ABSTRACT FROM AUTHOR]

The human urge to represent the three-dimensional world using two-dimensional pictorial representations dates back at least to Paleolithic times. Artists from ancient to modern times have struggled to understand how a few contours or color patches on a flat surface can induce mental representations of a three-dimensional scene. This article summarizes some of the recent breakthroughs in scientifically understanding how the brain sees that shed light on these struggles. These breakthroughs illustrate how various artists have intuitively understood paradoxical properties about how the brain sees, and have used that understanding to create great art. These paradoxical properties arise from how the brain forms the units of conscious visual perception; namely, representations of three-dimensional boundaries and surfaces. Boundaries and surfaces are computed in parallel cortical processing streams that obey computationally complementary properties. These streams interact at multiple levels to overcome their complementary weaknesses and to transform their complementary properties into consistent percepts. The article describes how properties of complementary consistency have guided the creation of many great works of art. [ABSTRACT FROM AUTHOR]

This article presents a problem-solving model of creativity based on constraint selection. In the model, constraints come in pairs that (a) preclude reliable solutions and (b) promote search for novel ones. The most important constraint specifies a novel goal. Other constraints—source (elements for recombination), task (how materials are used), and subject (motif, theme)—are then strategically selected to realize the goal constraint. We use Fauvism to briefly introduce the model before analyzing the constraints selected by Max Beckmann and Philip Guston in the 2 mature phases of each artist's career. The analyses are then used to support our contention that constraint selection is central to creativity. [ABSTRACT FROM AUTHOR]

This essay argues that early twentieth-century Paris, as the most artistically avant-garde metropolitan centre of its time, enabled a group of artists and writers from British colonies to define their own national identity. Their nationalism was not primarily political but cultural. The Scottish Colourist J. D. Fergusson, the Canadian life-writer and painter Emily Carr and the Australian artist Margaret Preston all encountered in Paris the work of the Fauvists, and through it they came to recognize the stylistic particularity of the indigenous art of their own homelands. Through the agency of the Fauvist inflection of Post-Impressionism, they were enabled to perceive the 'native', Celtic, indigenous Canadian or Aboriginal, as a powerful aesthetic, rather than as a primitive and outmoded convention. A specific focus for artistic iconoclasm, and the breaking down of the traditional genre boundaries of academicians, was the influential philosophy of Henri Bergson. To investigate his ideas in relation to the arts, John Middleton Murry created the influential journal Rhythm, with Fergusson as its art editor and, soon after it began, with Katherine Mansfield as assistant editor and contributor. Though the magazine had no explicit political affiliations, its stance was implicitly anticolonial; its watchword was taken from the Irish cultural nationalist J. M. Synge: 'Before art can be human it must learn to be brutal.' It looked for contributors, both artists and writers, who eschewed realism in favour of a pared-down aesthetic that could stimulate an intuitive response in the perceiver. Its impact was felt in New Zealand, Australia and Canada; what Carr wrote after her training in Paris expresses the paradox of discovering the local through the international: 'I was glad I had been to France. More than ever I was convinced that the old way of seeing was inadequate.' [ABSTRACT FROM AUTHOR]

Describes the life of the Hungarian painter Lajos Tihanyi in Paris, France. Reaction of Tihanyi to the Fauvist works of painter Bela Czobel; Respect of the people for Tihanyi; Association of the painter with writers; Influence of Tihanyi on writer Gyula Brassai; View of the painter on photography.