Academic literature on the topic 'Marinistic'

This article attempts to introduce the literary heritage of A. E. Konkevich, who is known mostly as a naval officer and public figure, into scientific circulation. However, the author’s artistic marine painting is of interest both from a historical point of view and from a literary one. Naval officer Konkevich, who dreamed of the ideal structure of the Russian Navy, not only sets out his fantasies about the composition and localization of the fleet but also puts them into artistic form. The article examines Konkevich’ s novels “Cruiser ʽRussian Hope’,” “Fatal War 18?? Year,” “Black Sea Fleet in ???? Year,” representing a trilogy about naval wars. In these works, Konkevich reveals the discussions relevant to the second half of the 19th century about the organization of the Russian Navy. The writer in a fantastic form sets out the ways of development of the Russian navy and ways of reforming it, and reviving the strength of the Russian navy and army. The author creates expressive pictures of the battle and hyperbolically contrasts the moral strength and courage of Russian sailors with the technical capabilities of the enemy and the helplessness of his crew.

The article examines the issue of the penetration of marinistic names into the stylistic field of Hryhorii Skovoroda’s works. The attitude of the philosopher to science, to the spread of new knowledge is analyzed. His assessment of the importance of knowledge of geography against the background of the fundamental principle of the thinker’s philosophical system – self-knowledge is traced. Skovoroda viewed and evaluated his own life as a journey. Travels along the roads of Ukraine and Europe became an important factor in his formation as a personality, influenced the formation of his worldview and development of his own system of understanding the meaning of being. It was established that the philosopher’s knowledge of the Earth as a geographical object was at a high level. It is noted that he skillfully inscribed various countries, cities, seas, mountains, and deserts into his own cultural and historical map of the world. Skovoroda was always open to knowledge, in particular, he was interested in geographical discoveries, he had his own opinion about the leadership of Europeans in this sphere. Although the philosopher never crossed the sea, the images of the sea, shore, storm, ship, cozy harbors and islands were among his most favorite. It has been established that Skovoroda mentions five seas in his works. These References are contained in poems, philosophical dialogues and treatises, epistolary. The article analyzes each quote with marine names from various aspects. For the deployment of the thinker’s philosophical ideas, seas were important not only and not so much as geographical names, but as symbols carrying certain meanings. As a part of the earthly world, as a component of immortal nature, the Christian philosopher-theologian Skovoroda purposefully inscribes the seas into the higher world for him – the eternal world of God.

Within the group of lesser-known foreign painters who stayed in Croatia between the two world wars, Russian painter Alexei Hanzen (b. February 2, 1876 in Odessa – d. October 19, 1937 in Dubrovnik) stands out with his artistic achievements. Having immigrated to Croatia in 1920, he remained here for the rest of his life. Nearly two decades spent in Croatia have been a time of intense work, during which Hanzen participated in numerous exhibitions organized almost every year in Zagreb, as well as in Split, Osijek, Dubrovnik, Ljubljana, Belgrade, Paris, Buenos Aires, Prague and elsewhere. His paintings could be seen at private houses, in public and museum collections, and at various royal courts, and are nowadays part of various collections in Croatia. Early in the 20th century, Hanzen studied painting in Munich, Berlin, and Dresden, and then continued his artistic training in Paris, in the ateliers of Tony Robert-Fleury and Jules Lefebvre. He was the grandson of the famous Russian marine artist Ivan Kostantinovich Ajvazovsky, and likewise specialized in painting sea scenes, presented at various exhibitions from 1901 onwards. For his work he was awarded in Paris and Russia, and in 1910 became the official painter of the Russian Navy.

Desde que Pablo Ruiz Picasso pintase, hacia 1890, sus dos primeros óleos, El picador amarillo –reflejo de su incipiente y dilatada pasión por lo taurino– y Vista del puerto de Málaga, versión de un cuadro de su padre, quien, a su vez, lo había copiado del marinista Emilio Ocón, las pruebas del universal artista que remiten a la etapa de su infancia malagueña son múltiples.

Among the numerous travelogues describing southern Dalmatia, Dubrovnik, and its surroundings, the booklet called Lacroma merits special attention. Its author was the widowed Crown Princess Stephanie (1864-1945) and the illustrations were provided by Anton Perko, seascape painter at the court and the former governor of Lokrum. The first edition was published in 1892 in German, followed by an Italian one five years later. This article focuses on the first, German edition. Painter Anton Perko (1833-1905) stayed on the island of Lokrum from January 1879 until the beginning of 1881, with minor absences. The following year, he spent the entire winter on the island, and when the princely couple moved to Vienna, he also moved there in 1883. After the Mayerling drama, when Rudolf and his young mistress Marie Vetsera were found dead under mysterious circumstances, Perko’s life changed as well, yet he remained in the service of the widowed princess until 1896, when he retired. Anton Perko did not write an autobiography, but his important position in the royal household is evident from the fact that Stephanie and her daughter took care of his widow after his death in 1905. In 1892, a volume on Dalmatia was published as part of the complex work Die österreichisch-ungarische Monarchie in Wort und Bild, initiated by Prince Rudolf and continued by his widow Stephanie, which must have also inspired her to write a separate book on Lokrum with its rich historical, cultural, and natural heritage. Her description of Lokrum is intended for future tourists, potential visitors from the north, and introduces the reader to this insular Arcadia with descriptions of its position in southern Dalmatia and Dubrovnik, after which she turns to the history of Lokrum and its monuments, with reference to two written sources: the Apendius chronicle and the Memorie storiche sull’isola Lacroma, published in Vienna in 1861. Illustrations by Anton Perko are completely subjected to the text, eternalizing scenes described by Princess Stephanie and faithfully presenting the details that intrigued the author. The German version of Lacroma was published shortly before the end of Perko’s active life, spent largely next to the Crown Prince and his wife. It may thus be understood as a sort of sublimation for his work as the court secretary and painter. Sketches for the nineteen illustrations in the Lokrum booklet were probably made in the previous decades, while Perko was still the governor of the island. Among his works donated to the libraries of Dubrovnik, there are three drawing folders of small dimensions titled Lacroma and dated to 1879 and 1880 respectively, as well as a number of drawings and watercolours showing Lokrum’s landscapes. As a passionate sketcher, Perko must have made a far larger number of drawings on the island, but they must have been acquired by Stephanie after his death, which is why the Dubrovnik collection possesses only a small segment of his oeuvre. With its historical overview, descriptions of architecture and vegetation, and especially the contemporary details, this travelogue offers a precious insight into the appearance and life of the island in the 19th century. Especially valuable details include those referring to the interior of the summerhouse, inscriptions on the walls of the monastery, and Maximilian’s poetry, which Stephanie recorded preserving it from oblivion and making it available for a wider audience. Perko’s illustrations carefully follow the text, completely subjecting themselves to the author’s tone and introducing us to the solitude of island vistas and their hidden beauty in the conservative artistic tradition of the late 19th century. The painter has drawn with utter precision the architecture and the vistas of the island, the imperial residence, and the coastline, including the rare inhabitants in the serene solitude of their isolation, in the spirit of AustroHungarian Orientalism that he adhered to, yet he also gave us an image of the island that is nowadays almost unrecognizable owing to the rich vegetation. This paper analysis the textual and visual segments of the travelogue and their contribution to our knowledge of the island’s recent history, including the imperial residence and the natural resources.

Seascape is a special genre of painting. To show the vivid life of the sea is not an easy task for an artist. The creative heritage of marine painters not only delights, but also encourages modern artists to look for their own style, to develop their own painting technique to achieve it. The author analyzes the genesis of the special manner of the Far Eastern marine painter V.I. Shilyaev in the representation of a live transformation of the sea wave, attempts to characterize his original painting technique to perform a frozen in time moment of life of the dynamic volume on the plane of the canvas. Maintaining the creative tradition of the great marinists of the past, V.I. Shilyaev filled his works with patriotic content of self-identification of the Russian Far East, developed the art of depicting legendary ships on an aesthetically irresistible sea wave. The author claims that the mixed improvisational technique of visualizing the constantly changing volume and color of the sea wave is V.I. Shilyaev's innovative contribution to the achievements of the Russian seascape painting school.

Operas written in Venice in the 1640s feature surprisingly long melismas often setting seemingly insignificant words, in opposition to (although concurrently with) traditional madrigalisms. This magnification of pure voice over word meaning is consistent with the aesthetics presented by members of the Venetian Accademia degli Incogniti, known for its pro-opera stance. In previously unexplored works the academicians advocate the controversial concept of Nothing as an all-embracing phenomenon. This includes language, in which the Incogniti emphasize sound as independent from meaning-a claim with significant consequences for music aesthetics. The academy's emblem articulates a parallel discourse on voice through visual means. By musical means, passages from works by Barbara Strozzi, Claudio Monteverdi (an oft-discussed melisma in Poppea, I, 6), and Francesco Cavalli also articulate Incogniti aesthetics. In elaborating their ideas the academicians relied upon a work that indeed presented a manifesto for sheer vocality, L'Adone (1623) by Giovanbattista Marino, an academy member. The Incogniti's Marinist aesthetics was to dominate the rest of the century until its object, pure voice, came under sharp criticism by members of yet another academy, the Arcadia.

The article describes the personality of Ivan K. Aivazovsky, a man of 'frontiers' who lived in a polyphonic city where Russian, Armenian and Turkic were spoken. The message of the article is the following: Aivazovsky was not only a gifted artist but also a diplomat, a responsible and upstanding citizen who appreciated the values of the city and was concerned about its problems, Armenian community and people. Aivazovsky changed the social space of the city, the (infra)structure and the image of Feodosia. The marinist was a man of culture, for whom money was important only as a form of donation and charity, ennobling the city and generating a new urban text and urban syntagmas. His works were a product of Feodosia, but at the same time, the painter’s personality was shaped by the city/sea. It was this combination of talent and the spirit of the place that synergised transnational culture: the periphery of tsarist Russia produced the central texts of the imperial policy of cultural memory.