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Journal articles on the topic 'Animalistic sculptures'

Author: Grafiati

Published: 2 June 2025

Last updated: 31 July 2025

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1

Portnova, Irina. "On the meaning and novelty of impressionistic thinking on the example of Russian animalistic sculpture of the late XIX – early XX centuries." Scientific and analytical journal Burganov House. The space of culture 15, no. 4 (2019): 82–107. http://dx.doi.org/10.36340/2071-6818-2019-15-4-82-107.

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This article dwells on consideration of Russian animalistic sculpture of the late XIX – early XX centuries, representing a new plastic thinking and figurative system. This important historical period, that was marked by the development of Russian impressionism in sculpture, had a fruitful effect on animalistic plastics. By this time, the animalistic sculptural genre, which had fully established itself in its stylistic figurative system, at the turn of the century had experienced something new. We are talking about fresh way o thinking and look as at the plastic itself as at the object of the i

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2

Михайло, Бокотей. "АНІМАЛІСТИЧНА ПЛАСТИКА У СВІТОВОМУ ДИЗАЙНІ ХУДОЖНЬОГО СКЛА ДРУГОЇ ПОЛОВИНИ ХХ СТ". ВІСНИК Львівської національної академії мистецтв, № 27 (17 листопада 2015): 137–45. https://doi.org/10.5281/zenodo.33924.

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The article provides a brief overview of a narrow area of glass art design – the animalistic sculpture. An individual style and the distinguishing features of each manufacturer of glass is analized on the basis of selected examples from the range of world famous companies. The activities of Ukrainian enterprises is also briefed in the context of world design. Special attention is paid to the work of different designers and their influence on the formation of glass art design national identity.

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3

Krivtsov, S. L., and D. V. Fomicheva. "On Animalistic Art and the Spirit of Life (Analysis of a Sculptural Composition by Pierre-Jules Mêne)." Secreta Artis 6, no. 2 (2023): 66–75. http://dx.doi.org/10.51236/2618-7140-2023-6-2-66-75.

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The article outlines the key principles of teaching animalistic sculpture based on methodology developed by Sergey Lvovich Krivtsov (Honored Artist of Russia, senior teacher at the Academy of Watercolor and Fine Arts of Sergey Andriaka). Training in this technique is carried out within the framework of higher, pre-professional and supplementary art education programs at the Academy, as well as a part of the program of additional art education at the Educational Center “Sirius” (Sochi). The article addresses the problem of composition in animalistic sculpture. The work of the 19th century Frenc

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Marian, Ana. "The importance of anatomical constructions in the creative activity of the sculptors animalists naum epelbaum, Nikolai Gabzulin and Vladislav Shevchenko." Studiul artelor şi culturologie: istorie, teorie, practică, no. 1(44) (February 2024): 59–65. http://dx.doi.org/10.55383/amtap.2023.1.11.

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Anatomical constructions are essential for the sculptural animalistic genre. Three-dimensional art objects are rendered through the movements of the animals’ bodies, which presuppose the presence of anatomical knowledge of the skeleton, as the frame on which the muscles are located. In the implementation of the Moldovan animalistic genre of ronde-bosse, two approaches are identified: both realistic and stylized. In general, these two approaches characterized the animalistic genre in the USSR; its best representatives were Ivan Efimov and Vasily Vataghin. In the works of Naum Epelbaum, we find

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Ruvituso, Federico. "Animal escondido. Obras de Maldonado en el Museo de La Plata." Revista del Museo de La Plata 9, Especial (2024): 129–39. https://doi.org/10.24215/25456377e230.

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This work delves into the works that the animal sculptor Máximo Maldonado made for the Museo de la Plata in the 1940s. These are sculptural heads of animals native to Argentina made from reconstituted stone, located in the entrance hall of the Museum. These pieces summarize the characteristics that made Maldonado a renowned animalist due to the “humanizing” features that he knew how to sculpt in the eyes, brow and, above all, in the mouth of each of his creatures. The animals made by this artist are neither cold nor static scientific representations, but rather friendly, even humorous figures.

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Сангаджиева, Д. В. "Animal Images in Sculpture and Graphics by Vladimir Vaskin: From Realism to Parable." Nasledie Vekov, no. 4(32) (December 31, 2022): 90–103. http://dx.doi.org/10.36343/sb.2022.32.4.008.

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Исследование призвано выявить художественно-композиционные особенности, характер формообразования и стилизации анималистических образов из наследия заслуженного художника России Владимира Савельевича Васькина (1941–2022). Впервые введены в научный оборот его неопубликованные произведения из собрания Национального музея Республики Калмыкия и частных коллекций, использованы результаты искусствоведческих исследований. Проанализировано решение художником анималистических композиций и образов, определены истоки его интереса к изображениям животных, значение анималистических сюжетов, иллюстрирующих

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7

Portnova, Irina V. "Russian Animalistic Art of the 20th Century as a Special Kind of Fine Art." Observatory of Culture 18, no. 5 (2021): 486–95. http://dx.doi.org/10.25281/2072-3156-2021-18-5-486-495.

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This article aims at analyzing the genre features of the 20th century animalistic art as a special, original phenomenon of Russian artistic culture. There are highlighted the aspects that make up its content basis. The author considers the issues of human perception of an animal, attitude to it, the system of views on the world of flora and fauna, the methods of interpretation of animals and birds. Together, they form the specific characteristics of animalistic art, which appeared in their organized and integral form in the 20th century. The article is relevant because the relationship between

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8

Portnova, Irina V. "MODEL OF “WILD NATURE” IN THE PATRIOTIC ANIMALISTIC SCULPTURE OF THE 20th CENTURY." Historical and social-educational ideas 9, no. 5/1 (2017): 173–79. http://dx.doi.org/10.17748/2075-9908-2017-9-5/1-173-179.

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9

Гольденберг, О. А., И. П. Кузьмина, and И. Б. Толкачев. "Plastic features of the animalistic genre in the decorative composition of students of the faculty of art education." Bulletin of Pedagogical Sciences, no. 4 (May 13, 2024): 220–27. http://dx.doi.org/10.62257/2687-1661-2024-4-220-227.

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в статье раскрыты особенности создания декоративных композиций студентами факультета художественного образования. Современная система подготовки дизайнеров и педагогов изобразительного искусства должна ориентировать все обучение на формирование у студентов творческих способностей. Метод творческой стилизации, авторской интерпретации образа животного нацеливает деятельность обучающихся на самостоятельное исследование в области теории и практики декоративно-прикладного искусства и на создание «художественного изобретения». В статье рассматриваются технологии работы с различными материалами, таки

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10

Portnova, Irina V. "Russian Animalism in Relation to Other Genres of Fine Art in the History of Russian Culture of the 18th—19th Centuries." Observatory of Culture 17, no. 6 (2021): 606–15. http://dx.doi.org/10.25281/2072-3156-2020-17-6-606-615.

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The article deals with the historical-cultural topic of relations of the Russian animalism with other genres of fine art of the 18th and 19th centuries. When the features of animalistic art were identified as a peculiar and characteristic phenomenon open to interaction, animalism became an original page of Russian culture. The author refers to this topic in connection with the small number of complex studies in the field of animalism. The purpose of the article is to consider the specific features of animalism, as a characteristic original phenomenon of Russian artistic culture, in the context

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11

Vasilevna-Portnova, Irina. "Russian scientific-animalistic images of the 20th century in the collection of biological museums. Their specific structure and meaning." Arte, Individuo y Sociedad 34, no. 4 (2022): 1517–42. http://dx.doi.org/10.5209/aris.79969.

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The article dwells on scientific animalistic images of the XX century, which are stored in natural science museums of the country representing the special art of animal paintings. They are featured in the "scientific illustration" category with an emphasis on objectivity, accuracy of fixation of each form, what didn't exclude the spotting of the characteristic and the main thing in scientific works. Due to the fruitful interaction of animal painters with biologists, their common understanding of the goals of art, scientific illustration has acquired the quality of an artistic image, not ceasin

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12

Demchenko, Aleksandr Ivanovich. "ANCIENT WORLD: The depth of time. Discoveries and revelations." Pan-Art 3, no. 3 (2023): 163–72. http://dx.doi.org/10.30853/pa20230032.

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The aim of the paper, despite its concise form of presentation, is to provide a systematic review of the leading trends in world art culture at the stage of the Ancient World. The fundamental positions of the proposed consideration are formulated as follows: the creation of the world, the creation of man, and the creation of art in general. Such significant phenomena as a large number of rock carvings and initial attempts at sculptural plastic arts serve as the research material, moreover, the movement from animalistic images to man’s images turns out to be a crucial issue. In ancient architec

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13

Bokotei, Mykhailo. "Blown glass vase design features of Lviv art glass of 70-80 years of the 20th century." Bulletin of Lviv National Academy of Arts, no. 45 (April 10, 2021): 43–51. https://doi.org/10.37131/2524-0943-2021-45-6.

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Ukrainian blown glass as an independent phenomenon in the domestic decorative and applied art reached its most prosperity at the end of the 20th century. The centre of the glass blowing, formation of national identity, heart of tradition preservation and improving, education of next generations of glass blowing masters and glass artists is Lviv region. Just here the glass department of Lviv Experimental Ceramic and Sculpture Factory existed for about half a century where a wide range of blown glass goods made by free forming method was produced. Among the range of limited blown glass products

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14

Smolina, Maya G. "Aesthetic Features of the Museum’s Cast Iron Collection." Observatory of Culture 22, no. 1 (2025): 53–64. https://doi.org/10.25281/2072-3156-2025-22-1-53-64.

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The Krasnoyarsk Art Museum named after V.I. Surikov has kept cast objects made at the Ural art and industrial factories of the Chelyabinsk region since the second half of the 20th century. The question about the aesthetic properties of this trend of decorative and applied arts worries today’s museum community, because even castings of the late 20th century are gradually acquiring museum value. The article considers examples of cast iron castings as an aesthetic phenomenon. Most of them were produced at the Kasli factory, and there are also examples of castings from the Ural town of Kusa. The p

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15

Арутюнян, Ю. И. "The creativity works of sculptor Mariia Matveevna Kharlamova (1917 – 2008)." Terra artis. Art and Design, no. 4 (January 31, 2024): 40–49. http://dx.doi.org/10.53273/27128768_2023_4_40.

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М.М. Харламова (1917–2008) — скульптор, создавший ряд портретных работ, станковых, мемориальных и монументальных произведений. Обучалась в Институте живописи, скульптуры и архитектуры имени И.Е. Репина в мастерской А.Т. Матвеева и В.А. Синайского. В 1946 г. ее дипломная работа «Ленинградка» удостоилась высокой оценки. В 1950–1957 гг. преподает в Ленинградском высшем художественно-промышленном училище имени В.И. Мухиной. C 1947 г. участвует в выставках. Занимается монументальными композициями — рельеф стены-стелы для Пискаревского мемориального кладбища «Ополченцы» и восстановление фриза «Жизнь

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16

Gribonosova-Grebneva, Elena. "Animal Motifs in the 20th-century Russian Easel Sculpture Artworks: from Realism to Abstract Art." Academia 2 (2023). http://dx.doi.org/10.37953/2079-0341-2023-2-1-195-206.

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“Animal motifs” are related to the evolution of the animalist trend in the 20th-century Russian sculpture which displays a wide stylistic range in plastic arts of that period. The outstanding sculptors working within this trend, who produced most expressive works, displayed inexhaustible possibilities of realistic interpretation of images of living nature which offer maximum creative freedom in this art. At the same time animalistic art successfully incorporated the line of abstract-geometric trends and, conversely, organic transformations of animal image which found expression in the works of

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17

Tyukhmeneva, Ekaterina. "Images of animals in festive decorations of the 18th century in Russia." Academia 2 (2023). http://dx.doi.org/10.37953/2079-0341-2023-2-1-115-125.

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The article reveals for the first time what animals were represented in festive decorations of the 18th century in Russia. The author analyzes picturesque and sculptural elements of triumphal arches and obelisks, and paintings usually inserted into the city windows, as well as the compositions of fireworks and illuminations tracing the evolution of animalistic plots and images throughout the century; peculiarities of their interpretation by celebrations’ contemporaries are in focus.

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18

Гордеева, Екатерина Вячеславовна. "Animalistic art: the problems of terminology and genre frames." Искусство Евразии, no. 4(15) (December 27, 2019). http://dx.doi.org/10.25712/astu.2518-7767.2019.04.021.

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Анималистика в искусстве один из самых древних жанров. Его история начинается еще со времен палеолита и достигает своего расцвета лишь в XIX XX веках. Изображения животных всегда были неотъемлемой частью живописи, скульптуры, декоративно-прикладного искусства. Тем не менее исследований на тему анималистического жанра и его развития было сравнительно мало. Вопросы терминологии и границ жанра основополагающие для научного исследования анималистики, определяющие вектор ее дальнейшего рассмотрения, до сих пор не до конца раскрыты в искусствоведении. В данной статье уделяется внимание причинам сниж

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Хертек, Александр Сагдыевич. "The modern stone-carving art of Tuva. Toibuhaa Dynasty." Искусство Евразии, no. 3(14) (September 30, 2019). http://dx.doi.org/10.25712/astu.2518-7767.2019.03.014.

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Статья посвящена вопросу развития малой пластики в Республике Тыва, а также династической преемственности этого вида творчества у родоначальников современного тувинского камнерезного искусства. Современные камнерезы работают в четырех основных темах анималистической, этнографической, буддийскосказочной и спортивной. БайТайга это родина тувинских мастеровкамнерезов, среди которых есть семейные династии, особое место среди них занимает династия Тойбухаа. Хертек Тойбухаа является одним из родоначальников скульптуры малых форм, его дело продолжили сыновья и внуки, среди них выдающимся камнерезом с

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20

Михалкова, Татьяна Кирилловна. "Helsinki parks and squares as the city dominant." Искусство Евразии, no. 1(16) (March 30, 2020). http://dx.doi.org/10.25712/astu.2518-7767.2020.01.014.

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Статья посвящена парковой архитектуре Хельсинки, где общая площадь парков и скверов составляет 30 процентов территории. Внимание автора сосредоточено на парках центральной части города: ландшафтных, прогулочных, ботанических, приморских, то есть предназначенных для всех возрастных групп населения. Почти все они относятся к разряду пейзажных. В качестве особенностей парков Хельсинки автор отмечает взаимодействие природной среды и архитектурных форм, а также использование рельефа местности холмисто-скального, приморского или лесистого. Важное значение имеет и тот факт, что большая часть общегоро

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21

Wansbrough, Aleksandr Andreas. "Subhuman Remainders: The Unbuilt Subject in Francis Bacon’s “Study of a Baboon”, Jan Švankmajer’s Darkness, Light, Darkness, and Patricia Piccinini’s “The Young Family”." M/C Journal 20, no. 2 (2017). http://dx.doi.org/10.5204/mcj.1186.

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IntroductionAccording to Friedrich Nietzsche, the death of Man follows the death of God. Man as a concept must be overcome. Yet Nietzsche extends humanism’s jargon of creativity that privileges Man over animal. To truly overcome the notion of Man, one must undercome Man, in other words go below Man. Once undercome, creativity devolves into a type of building and unbuilding, affording art the ability to conceive of the subject emptied of divine creation. This article will examine how Man is unbuilt in three works by three different artists: Francis Bacon’s “Study of a Baboon” (1953), Jan Švankm

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