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Xiaotao, Li, and Yan Qing. "The influence of the Itinerants' creative ideas on Chinese realistic painting." World of Russian-speaking countries 2, no. 8 (2021): 87–104. http://dx.doi.org/10.20323/2658-7866-2021-2-8-87-104.
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The article analyzes the influence of the Itinerants' creative ideas on Chinese realistic painting, the development of which is inseparable from the study of the Itinerants. The article examines how the painting technique and ideology of the Association of Itinerant Art Exhibitions founded in the late 19th century are relevant to many 20th-century Chinese artists. The authors identify the ideological principles of the Itinerant movement that have influenced different generations of Chinese artists (rejection of the “art for art's sake” principle, emphasis on national characteristics of painting, responsibility for reflecting the life of people in the country, advocating the spirit of critical realism as the only true way to reflect life in art) and prove that without Russian Itinerants there would be no Chinese realism in painting and modern Chinese realistic painting. The article identifies and characterizes three stages of adopting the Itinerant creative ideas in China: the period of the Republic of China (acquaintance of the Chinese public with the Itinerants' paintings and understanding the Itinerant ideology at the time of the “Movement for New Culture”), the beginning of the PRC foundation (the period of comprehensive study of realist painting, training of talented Chinese artists in art educational institutions of the USSR as part of the cultural exchange and mastering the principles of Soviet realist art) and the first decade after the Cultural Revolution (a critical “painting of scars” reflecting the experiences and fates of people during the Cultural Revolution). The authors conclude that the study of the Itinerants' creative ideas from the point of view of cultural studies in the context of the Chinese realist art school development is important for understanding the Russian- Chinese cultural dialogue.
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Gultyaeva, Galina S. "Realistic Painting of the 20th Century China in the Context of Cultural Visualization." Observatory of Culture 18, no. 1 (2021): 32–43. http://dx.doi.org/10.25281/2072-3156-2021-18-1-32-43.
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This article examines the phenomenon of Chinese realism, as well as the prerequisites and factors that influenced the processes of reception in modern Chinese art. At the beginning of the 20th century, under the influence of Western academic realism and the artistic system of social realism, a new direction and artistic method was formed — realism, which became mainstream in the art of China of the mid-20th century. According to its aesthetic and ideological motifs, Chinese realism is an object of social realism reception, which was determined by cultural and historical factors, and the development of political, economic and cultural ties with the USSR. Studying the realistic painting, which reflects the atmosphere of the era, the worldview, and the dialogue of cultures, is relevant for both Chinese and Russian contemporary art studies. The article examines the role of realism in the development of Chinese art culture of the 20th century, including its socio-political components, as well as the dynamics of artistic and expressive means and the iconographic system in the context of the historical and cultural situation. In the 1980s and 1990s, as a result of the liberalization of economic and political life, the artistic consciousness formed new concepts of realistic painting — neorealism and cynical realism, associated with a critical rethinking of the historical heritage. The neorealism and cynical realism, which would significantly enrich realistic painting with new forms and content, adopted Western postmodern concepts of pop art, and debunked, in a grotesque and satirical form, the political stereotypes of the past. The analysis of realistic painting of the 1990s demonstrates how the transformation of past painting canons reflects the desire of society to free itself from the pressure of totalitarian ideology and to rethink the value orientations of the previous era.The novelty of this study lies in the fact that it applies a systematic and holistic approach to the analysis of realism in Chinese painting, reveals the diversity of its forms and directions, and gives ground for the specifics of its evolution in the context of the artistic culture of the 20th century China. There are almost no comprehensive studies of this issue in modern art history, so this work is an attempt to create a scientific approach to the study of this artistic phenomenon and the formation of ideas about how the artistic consciousness of an entire epoch was changing.
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Wang, Jitai. "Works of the artist Yue Minjun in the dialogue of traditions of Western European and Chinese painting." Человек и культура, no. 3 (March 2020): 1–16. http://dx.doi.org/10.25136/2409-8744.2020.3.32579.
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This article provides a comprehensive analysis of the visualized ego-image of the artist with grinning face as the key character of Yue Minjun’s paintings – one of the prominent representatives of cynical realism trend in Chinese contemporary painting. The image is interpreted through the prism of Chinese socialism, Eastern and Western art traditions.  The author describes in detail the works from different series, determines typical features of individual manners, and compares works for revealing the common to cynical realism set of artistic means. The article elucidates the concept of interaction of the techniques of Western and Chinese paining using the particular examples, including Yue Minjun’s thoughts on the psychology of art overall, their analysis, and conclusions formulated for more profound understanding of his artworks. Yue Minjun opts for the diverse expressive means and game approaches depending on the goal: symbols of mass culture, recognizable classical themes of Western European painting, computer technologies, cartographic representations, as well as subjective mental images – for creating certain visual symbols carrying on a dialogue with the audience. The concept of his works consists in the ironic attitude to life underlying the cynical realism. It is evident that the modern Chinese paining entered the era of bie-modern.
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Kiaer, Christina. "Lyrical Socialist Realism." October 147 (January 2014): 56–77. http://dx.doi.org/10.1162/octo_a_00166.
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The thirty-three-year-old artist Aleksandr Deineka was given a large piece of wall space at the exhibition 15 Years of Artists of the RSFSR at the Russian Museum in Leningrad in 1932. At the center of the wall hung his most acclaimed painting, The Defense of Petrograd of 1928, a civil-war-themed canvas showing marching Bolshevik citizens, defending against the incursions of the White armies on their city, arrayed in flattened, geometric patterns across an undifferentiated white ground. The massive 15 Years exhibition attempted to sum up the achievements of Russian Soviet art since the revolution as well as point toward the future, and Deineka, in spite of his past association with “leftist” (read: avant-garde) artistic groups such as OST (the Society of Easel Painters) and October, was among those younger artists who were anointed by exhibition organizers as leading the way forward toward Socialist Realist art—a concept that was being formulated through both the planning of and critical response to this very display of so many divergent Soviet artists. Known for his magazine illustrations and posters, Deineka had also established himself at a young age as a major practitioner of monumental painting in a severe graphic style that addressed socialist themes, such as revolutionary history (e.g., Petrograd), and, as his other works displayed at the Leningrad exhibition demonstrate, proletarian sport (Women's Cross-Country Race and Skiers, both 1931) the ills of capitalism (Unemployed in Berlin, 1932), and the construction of the new Soviet everyday life (Who Will Beat Whom?, 1932).
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Streng, Toos. "Het 'realisme' van de oud-Nederlandse schilderschool. Opkomst en ontwikkeling van de term 'realisme' in Nederland tussen 1850 en 1875." Oud Holland - Quarterly for Dutch Art History 108, no. 4 (1994): 236–50. http://dx.doi.org/10.1163/187501794x00288.
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AbstractThe term 'realism' first cropped up in the jargon of art criticism around the mid-nineteenth century, but the course of its integration did not run smoothly. In Holland, Tobias van Westrheene Wz. is credited with having introduced the term for Netherlandish seventeenth-century painting in Jan Steen, Étude sur l'art en Hollande (1856). By 'realism' he meant a manner of painting which one might call 'the realistic method', and which consisted of two components: the naturalistic aspect, meaning that the artist painted what he saw, rejecting any form of tradition, and the individualistic aspect, meaning that he sought to express the individual, characteristic traits of a subject or situation instead of general, timeless ideals. This neutrally descriptive use of the term 'realism' did not catch on immediately. According to traditionally minded critics such as Joh. Zimmerman and J. A. Bakker, Dutch art was 'realistic' in that it depicted only the outward appearance of objects - that which could be perceived with the senses - and not their ideal quality, which could not be seen but only imagined. Other critics, too, including such pundits as C. Vosmaer, P. J. Veth and C. Busken Huet, decided that the term 'realism' expressed this negative judgment; however, because they had a higher opinion of seventeenth-century Dutch art than Bakker and Zimmerman, they did not think that 'realism' was suitable as a general epithet for it. Between 1850 and 1875, references to the 'realism' of seventeenth-century Dutch art usually meant that artists who worked in this manner regarded their own observation as important and rejected tradition. Seeking to compare the specific nature of old Dutch realism with other schools that turned away from tradition, such as the Caravaggi of the seventeenth century or the modern realists, critics preferred to speak of 'true realism'. What distinguished the old Dutch painter was that he did more than merely observe: he observed lovingly. By virtue of this 'true realism' he was held up as a model to nineteenth-century painters. Used in this manner, the term 'realism' gradually lost its negative connotations and became more widely acceptable. By and large, then, there were three reasons for speaking of 'realism' in seventeenth-century Dutch painting. For Zimmerman and Bakker it was the absence of the idealistic aspect, for Van Westrheene and others it was the importance of the artist's perception and his rejection of all traditions, religious constraints or conventions, and lastly it was the loving gaze, which enabled the Dutch painter to reveal the ideal even in daily life. In the first case a new term ('realism') was linked with an older notion rooted in a dualistic aesthetic which was in turn composed of elements going back to the sixteenth century (or even further: to Plato). In the second case the new term 'realism' was equated with 'naturalism' in the way that art critics had used the term since the seventeenth century for painters working in the Caravaggian tradition. And in the last case 'realism' was linked with a new notion of art and the nature of the ideal.
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Gjesdal, Kristin. "Imagining Hedda Gabler: Munch and Ibsen on Art and Modern Life." Text Matters, no. 7 (October 16, 2017): 71–86. http://dx.doi.org/10.1515/texmat-2017-0004.
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Among Edvard Munch’s many portraits of Henrik Ibsen, the famous Norwegian dramatist and Munch’s senior by a generation, one stands out. Large in scope and with a characteristic pallet of roughly hewed gray blue, green and yellow, the sketch is given the title Geniuses. Munch’s sketch shows Ibsen, who had died a few years earlier, in the company of Socrates and Nietzsche. The picture was a working sketch for a painting commissioned by the University. While Munch, in the end, chose a different motif for his commission, it is nonetheless significant that he found it appropriate to portrait the Norwegian dramatist in the company of key European philosophers, indeed the whole span of the European philosophical tradition from its early beginnings to its most controversial spokesman in the late 1800s. In my article, I seek to take seriously Munch’s bold and original positioning of Ibsen in the company of philosophers. Focusing on Hedda Gabler—a play about love lost and lives unlived—I explore the aesthetic-philosophical ramifications of Ibsen’s peculiar position between realism and modernism. This position, I suggest, is also reflected in Munch’s sketches for the set design for Hermann Bahr’s 1906 production of the play.
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Dobrolyubov, Petr. "Painting as a prayer of the spirit." Scientific and analytical journal Burganov House. The space of culture 16, no. 4 (2020): 113–32. http://dx.doi.org/10.36340/2071-6818-2020-16-4-113-132.
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The article is devoted to the work of the Russian painter Dobrolyubov Vladimir Petrovich, who in 2020 marks the centenary of his birth. Special attention is paid to the presentation of his ideals, which inspired the artist to create wonderful paintings depicting the world around him, landscapes and landscapes, urban environment, monuments of ancient Russian architecture, decoration and interiors of the oldest churches from Moscow to Yaroslavl, Pereslavl Zalessky, Staraya Ladoga. From the Russian North to the Crimean mountains and Tsemeskiy Bay. Vladimir Petrovich Dobrolyubov (05.07.1920-24.02.1975) - a student of I.I. Mashkov, N.P. Krymov, G.G. Ryazhskiy, K.F. Yuon, V.V. Krainev, P.I. Kotov, V.I. Finogeev, K.G. Dorokchov. Dobrolyubov V.P., was the veteran of the Great Patriotic war (1941-1945), - the 75th anniversary of the Victory which we celebrate this 2020 year. The author analyzes the paintings of V.P. Dobrolyubov - a natural colorist, nugget, artist, philosopher and citizen of his country. His thoughts on the art of painting based on the beauty and traditions of the Russian school of iconography were the Foundation, the spiritual platform, for all of his painting, created in a short period of life. The author's paintings Dobrolyubov V.P. is of well-deserved interest for art studies and make a worthy, significant contribution to it not only by their high appreciation of color, color spot, and lyrical appearance, but also as works of the history of Russian painting and in particular, the Moscow school of painting, 30-60-ies of XX century, of which he was a representative. Also noteworthy is his understanding of art, his creative pictorial, original, author's handwriting, and also an amazing vision of color and color spot, his own, individual. As well as the interpretation of personal perception, the attitude and understanding of the fundamental foundations of realism in the domestic and world fine arts, expressed and approved in their own, no one repeats, coloristic pictorial language. Dobrolyubov V.P. considered icons, the Russian icon, as a work of art, which following the tradition of Byzantine masters of iconography, undoubtedly constitutes the core of the soul of the artistic creative process, and especially the work of iconographers such as Andrei Rublev, Theophanes the Greek, Vladimir-Suzdal, Moscow, Yaroslavl school of icon-painting as an objective reality of the world of spiritual images in their own work. Artistic creativity, in his opinion, as a representative of the Moscow school of painting, is not an abstract search and self-expression of the artist's beliefs and ideas, but the result of a deep, divine transformation of the soul, its path to truth and to the foundations of realistic art, through the perception of artistic images. Russian iconography of the XIV-XVII centuries, brought to Russia from Byzantium, Dobrolyubov V. P. considered the Russian school of iconography the main, unsurpassed, imperishable Foundation and a masterpiece of Russian fine art. Everywhere in his memories, in his understanding of the basics of art, the artist renounces the concept of copying the image and the icon for him is like a conditional historical symbol, indicating the spiritual image of past centuries. An artistic image is born in the soul of the painter and of course exists outside of iconography, but then it can appear in the minds of other people who contemplate the master's canvases, in which the image of the universal universe and the beauty of the universe is encoded, if you want, encrypted in the very deep images of Russian iconography. Therefore, the icon itself, its image and composition, as a work of art created once in the depths of past centuries, is personified in the mind of the author, as grace and inspiration sent from heaven. Dobrolyubov V.P. confirms the aesthetic and spiritual platform created for any person. Therefore, Russian icons created as spiritually and artistically perfect, self-sufficient works of Russian culture are inextricably linked to the General process for Russian art history, its ability to testify to its highest level in the hierarchy of world art. For the artist Dobrolyubov, Russian iconography is an inseparable part of his spiritual platform, and his works of painting – and, temple art, in conjunction with ancient Russian architecture, with the interiors of churches and their decoration, as well as the sacrament of divine services, baptisms, weddings and funerals, and are the most essential foundation, being, as the very artistic image of all his art work and now, in 2020. Today, 45 years after his death in 1975, his artistic paintings are just as beautiful and heartfelt.
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Milosavljević, Angelina. "On Proto-Modernist Traits in Early Modern Art Theory." AM Journal of Art and Media Studies, no. 16 (September 5, 2018): 19. http://dx.doi.org/10.25038/am.v0i16.251.
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Early modern art and art theory are still considered by historians and theorists of art mainly in terms of aesthetic principles in the service of the representation of political and ideological concepts. However, the body of early modern art and especially theory abounds with notions, which anticipate the modernist tendencies of self-criticism. In this paper, we would like to suggest that self-criticism also characterized pre-Modernist art, complemented by advanced art criticism, especially during the Mannerist era. We would like to point out that the notion of self-criticism equally applies to both early modern art and art theory in which the specific concentration on problems of construction and composition of painting based its foundations on abstract mathematical rules, serving to justify and dignify the medium itself. Furthermore, this tendency divorced the art of painting, specifically, from the illusion of reality, thus entrenching it more firmly in its own area competence, to use Clement Greenberg’s phrase. We would also like to demonstrate that late 16th-century art theory pushed well beyond its time, especially the theory written by artists. Their programmatic reliance on pre-existing pictorial models allowed these artists-theorists to abandon the question of realism and naturalism for pure speculation, which could not have been achieved in contemporary practice. We would like to suggest that ideas of abstraction and speculation, so characteristic of Modernist art, featured well before Modernism in the writings of Mannerist artists and theorists Giorgio Vasari, Giovanni Paolo Lomazzo, and Federico Zuccari. Article received: March 26, 2018; Article accepted: April 10, 2018; Published online: September 15, 2018; Original scholarly paperHow to cite this article: Milosavljević, Angelina. "On Proto-Modernist Traits in Early Modern Art Theory." AM Journal of Art and Media Studies 16 (2018): 19−28. doi: 10.25038/am.v0i16.251
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Salsabila, Ananda Farah, and Karkono. "Unsur Elemen tak Tereduksi (Irreducible Element) Realisme Magis Dalam Novel Bumi Karya Tere Liye." JoLLA: Journal of Language, Literature, and Arts 1, no. 1 (2021): 49–61. http://dx.doi.org/10.17977/um064v1i12021p49-61.
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Abstract: Magical realism is a theory by Wendy B. Faris that tells about a narrative that combines the elements of fantasy and reality. The term magical realism was created in 1925 throughout the world of painting and was introduced by Franz Roh, a German art critic. The novel Bumi by Tere Liye that was published in 2014 has the concept of magical realism in it. The writing in this novel contains an imaginary adventure where the main characters are trying to find their true self until they reach the parallel universe. This qualitative research uses a library research method. The data collected were verbal and linguistic data that contains an irreducible element in the data source that is the novel Bumi by Tere Liye. Irreducible element contained in the narrative includes the magical abilities of the main characters, such as Raib who can turn invisible, Seli who can radiate blue lightning, and Ali who can transform into a giant bear. There are also magical objects in this novel, such as the moving alley, The Book of Life, The Sun gloves, and others. The existence of a parallel universe is also a factor that strengthens the irreducible element in this novel.
 Keywords: magical realism, irreducible element, Bumi novel
 Abstrak: Realisme magis adalah sebuah teori yang dirumuskan oleh Wendy B. Faris mengenai narasi yang memadukan unsur fantasi dan realita. Istilah realisme magis lahir pada 1925 melalui dunia lukis dan diperkenalkan oleh Franz Roh, seorang kritikus seni Jerman. Novel Bumi karya Tere Liye yang terbit pada tahun 2014 mengangkat konsep realisme magis. Penulisan dalam novel ini mengandung petualangan imajinasi dimana para tokoh-tokoh utamanya dikisahkan bahwa mereka sedang berada dalam petualangan mencari jati diri mereka dan pencarian itu mereka lakukan hingga ke dunia paralel. Penelitian kualitatif ini menggunakan pendekatan kepustakaan. Data yang dikumpulkan berupa data verbal dan kebahasaan yang mengandung unsur Irreducible Element dalam sumber data berupa novel Bumi karya Tere Liye. Unsur Irreducible Element yang terdapat dalam narasi meliputi kemampuan magis tokoh-tokoh utama, seperti Raib yang dapat berubah menjadi tak kasat mata, Seli yang dapat memancarkan petir biru, dan Ali yang dapat berubah menjadi beruang raksasa. Dalam novel ini juga terdapat objek-objek magis seperti lorong berpindah, Buku Kehidupan, sarung tangan Klan Matahari, dan lain sebagainya. Keberadaan Dunia Paralel juga merupakan faktor yang memperkuat unsur Irreducible Element dalam novel ini.
 Kata kunci: realisme magis, irreducible element, novel Bumi
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Brayko, Oleksandr. "Coloristic Expressive Tools in Prose by Volodymyr Drozd." Слово і Час, no. 8 (August 11, 2019): 78–97. http://dx.doi.org/10.33608/0236-1477.2019.08.78-97.
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The paper deals with coloristic means in the works by the well-known Ukrainian writer-Sixtier. It focuses on the functions of colors and color effects in the text, their analogues in painting, and the role of the colors in showing semantic and mood accents or expressing some implicated meanings. The researcher traces accordance of the literary means with expressive resources of painting art as they are recorded in the theory of art.
 Throughout all the periods of the writer’s creative work the prose by V. Drozd shows the author’s attention to the plastic wealth of the outside world and its coloristic potential. The search for the graphic forms of a psychological analysis, as well as the mood dominant, the background of event, the expressive color markers of semantic accents or meaningful image components of exposition, and, after all, the very painting-like modeling of the landscape or interior, stimulated new graphic experiments that renewed and deepened aesthetic impact of a literary work on a reader, due to the culture of visual perception and constructive imagination.
 The first attempts of verbal design and color rendering in V. Drozd’s works still testify to his literary apprenticeship showing excessively decorative nature, unambiguity of semantic associations, bright hues and chromatic saturation that looks rather as adopted from pictures and not taken from nature. Such artistic approach to the theme generates enormous, and at the same time ideologically typical, pathos associated with aesthetics of socialistic realism and therefore with the teaching function of art.
 The development of coloristic culture in the works of the prose writer is rooted in his attention to the rich range of hues, their emotional and expressive potential, and also in the author’s desire to show a psychological action in a more plastic and suggestive way. In order to reproduce the coloristic variety of sensory experience and underline important semantic implications the writer skillfully works on the parameters of achromatic light environment which becomes symbolized or transformed in a fantastic and hyperbolic way due to the expressive function of light markers.
 The light and color contrasts or combinations of hues may underline some essential semantic aspects of the verbal picture components within the reproduction of a landscape. The analysis of figurative and modeling means proves the artistic functionality of the verbal analogues of painting in V. Drozd’s prose, and its consistency with the aesthetic dominants of the Sixtiers.
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GILMAN, BRIDGET. "San Francisco views: Robert Bechtle and the reformulation of urban vision." Urban History 43, no. 4 (2016): 640. http://dx.doi.org/10.1017/s0963926815000863.
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ABSTRACTWhen Photorealism arrived on the art scene in the 1960s, it received considerable media attention for its striking illusionism and unparalleled commitment to fusing painting and photography. But many judged the style to be merely retrograde realism disguised by the use of contemporary source photographs or, more harshly, as an unthinking reproduction of capitalist culture – i.e. a kind of toothless Pop art slickly rendered for the masses. Though the style now constitutes a familiar part of the contemporary art world, few have sought to understand or mitigate several decades of critical antipathy and neglect. This essay examines painter Robert Bechtle's work, contra the historic assumption of Photorealism's social irrelevance. Bechtle's images of San Francisco, defined by architecture and automobiles ubiquitous in post-1945 Californian neighbourhoods, present the city without overt commentary. Yet, through this seemingly ordinary iconography, the artist upends deep-rooted urban visual paradigms, linking the traditionally vaunted city centre to its apparently subsidiary suburbs. Bechtle offers the viewer not iconic landmarks or arresting vistas, but rather a way to comprehend how everyday life in the city is informed by significant configurations of residential architecture, under-remarked geographic particularities and historical development that blurs the distinction between centre and periphery. These representational strategies are central to understanding the ways in which the Bay Area – and indeed much of post-war America – is experienced as built environment and social space.
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Green, Edward. "Interview with Composer Marcus Paus Conducted for ICONI by Edward Green." ICONI, no. 3 (2020): 56–67. http://dx.doi.org/10.33779/2658-4824.2020.3.056-067.
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We learn in this interview with the leading Norwegian composer of his generation, Marcus Paus (b. 1979), how critical he is of the “academic tradition” which, in his view, has hurt a good deal of contemporary music over the last several decades: a certain snobbish adherence to non-tonal, non-melodic “abstract modernism.” Paus, on the contrary, asserts the living freshness of traditional values. His own music is grounded in tradition, is steeped in the value of careful craftsmanship, and yet, at the same time, is passionate, surprising, original, deeply lyrical, and fervently humanist in its social and political orientation. We learn, too, of his great esteem for the American composer John Williams, best known for his cinematic scores. Paus sees Williams as a model of nobility: both musically, and as a human being. In this interview there is also substantial discussion of the value of the philosophy of Aesthetic Realism, founded by the great American philosopher Eli Siegel, and his profound ideas concerning Art and Life. During this wide-ranging conversation, Paus speaks likewise of world music, pop music, and his abiding interest in literature and painting. There is also an extended passage where he keenly and generously comments on the composers of his own generation, and points to several of their most outstanding works.
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Som-Serdyukova, Olena. "Karlo Zvirynskyi and his «Underground Academy»: Reflections of Cultural Memory." ART-platFORM 2, no. 2 (2020): 117. http://dx.doi.org/10.51209/platform.2.2.2020.117-137.
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Karlo Zvirynskyi (1923-1997) was an outstanding personality and great artist. His influence on the Lviv cultural environment in the 1960s–1990s was indisputable. Zvirynskyi was a quiet man rooted in his own research fields, but the awareness of his actions formed a strong environment in the aesthetics of the European art and ethical norms of Christianity. The artist's undiverted view on European culture was related to the understanding of processes that cannot be guided ideologically, as well as the realization that culture exists in continuity, and reflects aesthetical and ethical forms of human activity. His search for a European cultural tradition and the reprobation of foundations of socialist realism played an important role in the formation of his “underground academy”. Zvirynskyi’s primary goal was the education of creative young people as citizens, whose consciousness would enable them to remain artists in defiance of the enticing society. The circle of his students embraced Zinoviy Flinta, Andriy Bokotey, Oleh Minko, Liubomyr Medvid, Roman Petruk, Ivan Marchuk and Bohdan Soyka. Our task, for now, is not to embalm the legacy of his “underground academy”, but create the cultural space, where intellectual reflections can take place. Karlo Zvirynskyi understood his stand in life as “I look at life through the prism of a book” and his artistic position as “all my painting is a prayer”. Attitude to his own life as a part of a holistic cultural flow has formed his worldview. The cultural memory of generations that accumulates “modernity” played for the artist a territory of freedom, which has always been a criterion of human nature for Zvirynskyi. Realizing that memory about Karlo Zvirynskyi is a kind of tuning fork for the moral health of the nation, this article is an attempt to bring knowledge about the master from the chamber community, which resembles the mechanisms of catacomb culture, in a wider and more open space that will use his name as part of the national cultural landscape.
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Tomicka, Joanna A. "Nadzwyczajna zwyczajność. Rembrandt rytownik. Nowatorstwo wobec tradycji." Artifex Novus, no. 3 (October 1, 2019): 114–29. http://dx.doi.org/10.21697/an.7068.
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SUMMARY
 The scientific interests of Rev. Professor Janusz Pasierb revolved mostly around questions related to Polish art, often in the perspective of European interconnections, inspirations, as well as differences. The present study has been inspired by an observation by Rev. Professor Pasierb made in reference to a sphere of human activity unrelated to art. Describing in one of his papers the figure of Bishop Konstantyn Dominik (1870–1942), Professor Pasierb employed the phrase extraordinary ordinariness17. In the present text, this term will be used to discuss an artist whose oeuvre depicts ‘extraordinary ordinariness’ in the most multi-aspected and spectacular way. Rembrandt van Rijn was at once a traditionalist and innovator, both in regard to the range of employed subjects and compositional schemes and his craftsmanship. His knowledge of the achievements of his forerunners, continuously developed, inspired his own artistic quest. Despite the fact that he was a painter in the period when elaborated allegory was universally employed, he insisted on the realism of scenes and directness of compositions in order to bring out the extra-sensual dimension, based on symbolism hidden in prosaic life. His works open spaces of universal experiences and feelings, at the same time inclining us to pose questions concerning their complex intellectual interpretation or Rembrandt’s technique. His mastery is equally palpable in his biblical compositions, landscapes or brilliant psychological portraits, while each of the genres was depicted by him both in painting and in graphic arts, which was rare in the times when most artists specialized in only one medium, or even in one genre, like portraits or landscapes, in one medium. Rembrandt is one of the artists referred to as painters-engravers (peintre-graveur), like Albrecht Dürer or Lucas van Leyden before him. In graphic arts in particular, he introduced new technical and compositional solutions, issuing works that often astound with their innovative approach and extremely individual interpretation. Rembrandt’s versatility in terms of addressing various genres is particularly visible in his prints. Certain subjects were resumed by him as he looked for ever new solutions. Several chosen examples of graphic works depicting religious themes combining in various aspects traditionalism and innovation will be discussed to illustrate Rembrandt’s iconographic, compositional and technical concepts and search.
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Nieuwstraten, J. "Het werkelijke onderwerp van Aert de Gelders 'Heilige Familie' te Berlijn." Oud Holland - Quarterly for Dutch Art History 112, no. 2-3 (1998): 157–68. http://dx.doi.org/10.1163/187501798x00338.
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AbstractWhen Aert de Gelder's painting (fig. i) was purchased for the Kaiser Friedrich Museum, Bode wrote a note on it in the Amtliche Berichte aus den königlichen Kunstsammlungen 31 (1910) which, despite the brevity of the text, established the interpretation of the representation until now. Bode adopted the title by which the work is generally known, 'The Holy Family', without any reservations, but regarded the unconventional conception of the religious subject as genre-like and profane. He saw this incongruity as the consequence of De Gelder's extreme 'naturalism', which in his opinion was manifest in the types and costumes of Jews from the Orient, portrayed so faithfully that to Bode they resembled nothing so much as 'a family of Jewish immigrants from Poland' ... (refugees from the pogroms were evidently a common sight at that time). The characterisation of the figures is amazingly vivid, but struck Bode as almost comical. To him, oddly, De Gelder's drastic realism was coupled with a rendering based on Rembrandt's last, broad manner of painting but executed coquettishly ; too much an end in itself, it was this virtuoso method that divested the work of the serious mood appropriate to the subject. Bode's negative assessment of 1910 was surpassed by Plietzsch in 1960, but their repudiation of De Gelder's art has since been superseded by positive appraisals in publications of the past few decades. Unfortunately, though, their total misconception of the picture persists. It is still thought to be the profane conception of the religious subject, the conclusion being that the painter only chose his biblical scenes as an excuse to paint colourful pictures of orientals in stereotypical garments. Only in his old age is De Gelder credited with having painted biblical subjects - notably the Passion series - with inner conviction. This complex of speculations is built on the quicksand of carelessly observed figures: the putative Mary is an old woman with jewels in her ears, on her forehead and round her wrists; the alleged Joseph is very close to her, his hand on her shoulder - such intimacy is unthinkable for the Holy Family. The figure on the far right is taken for an unrecognizable subsidiary figure. What Bode confidently imputes to De Gelder as a profane interpretation is blatantly unhistorical fiction: every history painter always felt obliged to depict his subject recognizably and in keeping with the facts and circumstances, arbitrary personal departures from which would have branded him as ignorant and stupid. It is disconcerting and tragi-comical that a mistaken identification of the subject of one painting, resulting from downright carelessness in the observation of details, could go unnoticed and uncriticized for so long and, what is more, be the point of departure for purely speculative statements about De Gelder's alleged indifference to the biblical subjects he depicted. It goes without saying that this articulate figure composition of an aged couple with an infant, laughing for joy, presents familiar characters, and the account in the Old Testament (Genesis 17-21) corresponds with the elements of De Gelder's scene. The frequent mention of laughter - in seven passages- inspired the painter to depict Abraham and Sarah with their child Isaac, whose name means 'to laugh'. It is a scriptural representation, albeit not of a situation from an actual story. There was no precedent for this specific image - the fruit of personal familiarity and sympathy with the story in the Book of Genesis- which explains why it was unknown and hence hard to recognize. De Gelder's wholly personal interpretation of the story is also apparent in his invcntion : the contrast between the family's joy and the forlorn Ishmael at the far right. In fact, though, the supposedly profane work provides proof positive of the paintcr's personal religious persuasion, and it is not the only one of its kind in his oeuvre. Another picture of Sarah and Abraham (fig. 2), iconographically just as unique, dates from the same pcriod - according to Sumowski from the early 1680s. It shows the episode in which Sarah insists on the banishment of Ishmael and his mother as related in Genesis 21:10, but De Gelder depicts Sarah as a supplicant, pleading with Abraham, distressed by Ishmael's harsh behaviour towards little Isaac (not in Genesis, but in Paul's Epistle to the Galatians). Jan Victors' picture (fig. 3) 'The Feast in Celebration of Isaac's Weaning; Ishmael's Mockery of Isaac' (Genesis 21:8-9) shares three significant elements with De Gelder's Berlin painting. First the frequent laughter: Ishmael's is mocking, Isaac's triumphant and Hagar's barely concealed. Second, Isaac's important attribute, the fruit he is holding up. Third: here, too, Ishmael is dark-skinned ; as the son of an Egyptian this might be expected, but in the seventeenth century and in our part of the world only these two artists, to my knowledge, depicted him thus. The occurrence of these three unusual elements in both painters' works is evidence that De Gelder was familiar with Victors' picture. In Victors' (fig.4) and C.W.E. Dietrich's (fig.5) paintings 'The Banishment of Hagar and Ishmael' the apple(-like) fruit is seen again; these two artists and De Gelder evidently gave Isaac this attribute in order to distinguish him from Ishmael. In view of Rembrandt's etching B.33 (fig.6), we may assume that his aforementioned pupils learned this device from him. The argument that the father and son in Rembrandt's etching are Jacob and Benjamin, taken from a drawing of Jacob and his sons, offers no explanation for the somewhat provokingly triumphant expression with which the lad holds up the fruit; in connection with the paintings discussed here, the identification of this father and son as Abraham and Isaac would appear to be convincingly confirmed.
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Hiiop, Hilkka, Andres Uueni, Anneli Randla, and Alar Läänelaid. "Still Life with Grapes and Nest." Baltic Journal of Art History 20 (December 27, 2020): 197–211. http://dx.doi.org/10.12697/bjah.2020.20.08.
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A complex conservation process revealed the layer of the painting inits original subtlety and delicate retouchings recreated the integralsurface of the painting. As a result, we can confirm that it is a paintingof high artistic quality dating most probably from the middle ofthe 17th century, painted on an oak panel of German origin. Weremain doubtful about the Internet auction suggested authorship,as the painting does not reach the artistic quality of Jan DavidszDé Heem, a top rank artist from the Netherlands. It is possible tocontinue with the art-historical analysis (and other investigations)of the painting, to find further proof for the hypothetical dating andmaybe even reach an attribution but we must not forget to ask thequestions whether and to whom it would be necessary. What matters
 for the owner of the painting is the fact that an artwork which decorates
 the wall of his home has both aesthetic and historical value –
 even without knowing its exact date or the painter.
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Pichkur, M. "Digital still life painting: art production, composition, imitation and stylization." Art and education, no. 4 (2020): 42–49. http://dx.doi.org/10.32405/2308-8885-2020-4(98)-42-49.
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Asa, Ferdian Ondira, and Sahrul N. "KEHIDUPAN SURAU DI MINANGKABAU SEBAGAI INSPIRASI DALAM KARYA SENI LUKIS." Gorga : Jurnal Seni Rupa 7, no. 2 (2018): 148. http://dx.doi.org/10.24114/gr.v7i2.11003.
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AbstrakSurau di Minangkabau sebagai tempat ibadah lebih dikenal sebagai mesjid, langgar dan musalla. Kehidupan surau sebagai tempat pendidikan anak anak pada saat dahulu mendidik anak laki-laki di surau sebagai tempat bermalam, bermain, menggaji. Model pendidikan ini sudah merubah fungsi sebagai pendidikan modern. Fenomena surau masa lalu sebagai konsep dalam bekarya seni lukis, kehidupan surau di Minangkabau sebagai inspirasi dalam karya seni lukis merupakan bagian dari restrospeksi terhadap realita saat ini. Metode penciptaan karya seni lukis melalui riset etik dan riset emik. Riset etik melalui teknik observasi, wawancara, mengamati dan mendokumentasikan fenomena yang ada di kehidupan surau. Riset emik teknik melukis membuat model dengan menggunakan plastisin untuk objek-objek utama kemudian di potret dengan kamera foto. Potret di jadikan sebagai acuan dalam melukis. Karya seni lukis yang divisualkan pada lukisan realis fotografi yang menceritakan kehidupan surau masa lalu, kehidupan tersebut seperti pendidikan, lukisan mengaji, batapian, bujang surau. Karya seni lukis tersebut bermaksud memberitahukan serta mengajak masyarakat untuk menghidupkan kembali kehidupan di surau. Sebab, kegiatan yang dilakukan di surau tersebut dapat membentuk karakter pemuda-pemudi di Minangkabau menjadi lebih baik. Ekspresi yang hadir dalam penciptaan karya merupakan perasaan marah, kecawa dan sedih, melihat fenomena yang terjadi. Kemudian diterapkan ke dalam karya seni lukis berbentuk dua dimensi, berupa simbol. Simbol yang hadir metafhor dari bentuk surau kemudian didisformasikan, sehingga hadir bentuk baru yang mewakili dari visual peranan kehidupan surau Minangkabau , dengan berpedoman pada unsur-unsur seni rupa. Kata Kunci: surau, restrospeksi, fenomena budaya, Minangkabau AbstractSurau in Minangkabau as a place of worship is better known as mosques, langgar and musalla. The life of surau as a place for children's education when they first educated boys in surau as a place to spend the night, play, pay. This educational model has changed the function of modern education. The past surau phenomenon as a concept in the work of painting, the life of surau in Minangkabau as inspiration in painting is part of the retrospect of the current reality. Methods of creating paintings through ethical research and emic research. Ethical research through observation, interview techniques, observing and documenting phenomena that exist in surau life. Emik research painting techniques make models using plasticine for the main objects and then portrayed with a photo camera. Portrait is used as a reference in painting. The visualized artworks in realist photography that tell the life of the past, life such as education, mangaji painting, bujang surau. The artwork aims to inform and invite people to revive life in surau. Because, the activities carried out in the surau can shape the character of young people in Minangkabau to be better.Expressions that are present in the creation of works are feelings of anger, laughter and sadness, seeing the phenomena that occur. Then it is applied to two-dimensional painting, in the form of symbols. The symbol that metaphor comes from the surau form is then informed, so that there is a new form representing the visual role of the life of the Minangkabau surau, guided by the elements of art. Keywords: surau, restrospect, cultural phenomenon, Minangkabau
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Hagood, John. "THE RHETORIC OF PERSPECTIVE: REALISM AND ILLUSIONISM IN SEVENTEENTH-CENTURY DUTCH STILL-LIFE PAINTING. Hanneke Grootenboer." Art Documentation: Journal of the Art Libraries Society of North America 25, no. 1 (2006): 64. http://dx.doi.org/10.1086/adx.25.1.27949410.
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Mykhailova, O. V. "Background. The diverse experience of artistic culture, refl ected in the established system of genres, appears in a new light from the standpoint of modernity as experts." Aspects of Historical Musicology 15, no. 15 (2019): 119–37. http://dx.doi.org/10.34064/khnum2-15.06.
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from different fi elds of art refer to the same topic. Stable repetition of phenomena, the names of which were originally perceived in the poetic and metaphorical way, indicates the formation of a certain genre branch, little developed in scientifi c research. Genre neoformations of this kind include walks, behind the semantic layer of which a certain set of stylistic means shines through. It is not by chance that attempts are made to comprehend this phenomenon in aesthetic and artistic aspects. Objectives. The purpose of the article is to highlight the phenomena of artistic culture with the most vivid signs of promenade elements, to consider a set of musical instruments used by French composers of the late 19th – early 20th century in the music “walks”. Methods. To determine the role of walks in the genre palette of the music of the 20th century, the historical biographical and the comparative research methods were used. Results. The author of the article reveals the role of walks in the French national life and culture. Their characteristic signs are the following: desire for rest, lightness of being, enjoying the moment. From here, the verbal landscapes from the “In Search of Lost Time” novel by M. Proust take their beginning in, which were inspired by his walking in the Bois de Boulogne forest, in the outskirts of Paris, the province of Illiers-Combray, where the writer took care of fl owers, trees and shrubs. A similar passion for walking and studying the fl ora was also experienced by the enlightener J.-J. Rousseau. He was known to spend a long time feasting eyes on plants, collecting herbariums, often recording his observations. This also explains why C. Monet loved wandering in the wilds. The famous artist, known for his landscape paintings, bought from the local farmers a piece of land that bordered with his estate in order to freely wander around the fi elds in search of the right object, favorable angle or necessary lighting. As a result, promenade walking, being a typical national feature, is often embodied in French music and poetry. This phenomenon is common outside of French art as well. In music, we can refer to “The Walk” by S. Prokofi ev and “The Walk” from the “Pictures at an Exhibition” by M. Mussorgsky; in prose - “The Walk” by N. Karamzin, “Walking in Rome” by G. Morton, “Walking with Pushkin” by A. Tertz, “Six Walks in the Fictional Woods” by U. Eco; in painting – “The Walk” by M. Chagall, “An Evening Walk”, “A Man and a Woman on a Walk in the Forest” by A. Toulouse-Lautrec, “A Walk”, “A Walk” by P. Delvaux, “A Walk” by E. Degas. Quite a few works in the genre of walks revealed such areas of public knowledge as lecture sessions, historical excursions and reviews of art. Thus, the art critic, historian, art historian S. Stavitsky organized a lecture session “Walk as a genre of modern art”, which consisted of three meetings: “Walk Aesthetics”, “Walk and Neo-avant-garde”, and “Actionist Walks”. Polish literary critic Z. Kopech published a collection of articles called “Walks in Modern Polish Literature” devoted to the issues of national prose, poetry and drama. E. Kulikova wrote the work called “Walks in the Lyrics of Anna Akhmatova”, where the author reviews several of her poems , including “The Walks”. B. Godard’s piano cycle “Chemin Faisant” (1880–1881) was analyzed, where each of the pieces appears as a sketch, a “photography” of a walking person. The fi rst three items of the cycle – “Going Over”, “Crying” and “Singing”, form a mini-cycle, since they contrast with each other in terms of image and content, although they remain related in terms of the selected means complex. Among them are: fi gures of movement, repetition, dynamic approach of “moving closer-moving away”, staccato technique in outside pieces. The unifying principle is the direction of all stylistic means to visualize a music image. This explains the presence and individual traits, since the character’s image created by the composer is endowed with a unique identity. The distinctness, tangibility of B. Godard’s musical images makes one ponder over the impact of cinema on musical art: its abilities through the details – expressions of eyes, facial expressions, turns of the head – transmit a change of emotional state, moods, put together a special emotional and psychological plot. A different approach to a descriptive music in “The Walks” (1921) by F. Poulenc is revealed, where the composer does not present a character on a walk, and does not tell stories. Instead, he creates the appropriate surrounding, inspires us with the atmosphere of such different and contrasting walks with the help of harmonic colors, tempos, texture, dynamic and articulation means. His music language is far from being simple, it is full of bizarre rhythms and complex chords, thus putting forward serious technical requirements. Above all, the composer’s targeted attitudes when creating the visible realism of his urban plots are evidenced by numerous text remarks, which are designed to guide a musician as accurately as possible towards the required performance character. They are found everywhere and relate to all components of the music: tempo, sound level, mood, articulation, agogics, pedal usage. A set of various sound and visual means help a performer to implement the composer’s instructions. Conclusions. The universal and wide compositional possibilities of walks as a special artistic genre are proved by its relevance in various types of art and scientifi c knowledge. The authors use different means of declaring their idea, and different way to materialize it. This versatile experience opens the way to comprehending the new and the unexplored, steadily and leisurely, as if you are just a curious walking person.
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van Gastel, Joris. "Campania Felix?" Nuncius 32, no. 3 (2017): 615–39. http://dx.doi.org/10.1163/18253911-03203005.
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Neapolitan still life painting, even though Italy’s most prolific “school” of the genre, has attracted little theoretical analysis. Where scholars have considered the genre almost exclusively in terms of stylistic developments and questions of attribution, this paper, alternatively, draws inspiration from insights formulated largely outside the field of art history: Umberto Eco’s characterization of still life paintings as “visual lists” and Michele Rak’s characterization of seventeenth-century literature in the Neapolitan dialect as “literary still lifes.” Building on these insights, this paper aims to explore the ways in which Neapolitan still life painting was anchored in local literary traditions and how, moreover, these literary traditions help us to understand the way in which these paintings resonate with the specific social and political situation that characterized Spanish Naples.
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Thomas, KErstin. "The Still Life of Objects – Heidegger, Schapiro, and Derrida reconsidered." eitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 60. Heft 1 60, no. 1 (2015): 81–102. http://dx.doi.org/10.28937/1000106256.
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Kerstin Thomas revaluates the famous dispute between Martin Heidegger, Meyer Schapiro, and Jacques Derrida, concerning a painting of shoes by Vincent Van Gogh. The starting point for this dispute was the description and analysis of things and artworks developed in his essay, “The Origin of the Work of Art”. In discussing Heidegger’s account, the art historian Meyer Schapiro’s main point of critique concerned Heidegger’s claim that the artwork reveals the truth of equipment in depicting shoes of a peasant woman and thereby showing her world. Schapiro sees a striking paradox in Heidegger’s claim for truth, based on a specific object in a specific artwork while at the same time following a rather metaphysical idea of the artwork. Kerstin Thomas proposes an interpretation, which exceeds the common confrontation of philosophy versus art history by focussing on the respective notion of facticity at stake in the theoretical accounts of both thinkers. Schapiro accuses Heidegger of a lack of concreteness, which he sees as the basis for every truth claim on objects. Thomas understands Schapiro’s objections as motivated by this demand for a facticity, which not only includes the work of art, but also investigator in his concrete historical perspective. Truth claims under such conditions of facticity are always relative to historical knowledge, and open to critical intervention and therefore necessarily contingent. Following Thomas, Schapiro’s critique shows that despite his intention of giving the work of art back its autonomy, Heidegger could be accused of achieving quite the opposite: through the abstraction of the concrete, the factual, and the given to the type, he actually sets the self and the realm of knowledge of the creator as absolute and not the object of his knowledge. Instead, she argues for a revaluation of Schapiro’s position with recognition of the arbitrariness of the artwork, by introducing the notion of factuality as formulated by Quentin Meillassoux. Understood as exchange between artist and object in its concrete material quality as well as with the beholder, the truth of painting could only be shown as radically contingent. Thomas argues that the critical intervention of Derrida who discusses both positions anew is exactly motivated by a recognition of the contingent character of object, artwork and interpretation. His deconstructive analysis can be understood as recognition of the dynamic character of things and hence this could be shown with Meillassoux to be exactly its character of facticity – or factuality.
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MOHR, BARBARA A. R. "THE PRUSSIAN GEOSCIENTIST, ENGINEER AND PAINTER AUGUST VON HEYDEN (1827–1897): AN ARTISTIC CHRONICLER OF THE WORLD OF MINING DURING THE MID-NINETEENTH CENTURY." Earth Sciences History 37, no. 2 (2018): 403–15. http://dx.doi.org/10.17704/1944-6178-37.2.403.
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August von Heyden's (1827–1897) life was exceptional in several ways. His first career as a geologist and mining engineer gave him inspirations for his second career as a painter. Partly he found the themes for his oeuvre in his immediate surrounding, namely in- and outside of mines, which made him a chronicler of mining activities for his times. The work of this Prussian painter was highly appreciated during the last third of the nineteenth century, also known as the Wilhelminian era. Today his book illustrations, paintings and frescos are usually seen as those of an artist of late romanticism and realism based on some of the mythological scenes and the ‘glory of the Middle Age’ which he depicted on canvas. His paintings have received little attention from art historians, even though he might be considered to have been the forerunner of several different styles that were in vogue during the first third of the twentieth century. Nevertheless, his unusual abilities to catch moments of everyday life in his drawings are very refreshing.
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Zaric, Aleksandar. "ISTORIJSKI KONTEKSTI BIOMOĆI U SLIKARSTVU FRENSISA BEJKONA I U TEORIJI POSTSTRUKTURALISTA." Lipar, no. 71 (2020): 11–27. http://dx.doi.org/10.46793/lipar71.011z.
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The art of Francis Bacon is positioned as a London school of figurative painiting of the second half of the twentieth century, and as such it is the most direct reflection of the post-war traumas of the Nazi regime that befall Europe and the world. It was exactly at the time, at the intersection of social, economic, scientific and technological and cultural practices, that a Western neoliberal order was formed. It is a sample or archeological/historical layer also studied by post-structuralists Michel Foucault, Gilles Deleuze, Felix Guattari. This text is an attempt of explication of certain links in the opinion that connect the painting of Francis Bacon and the theory of post-structuralism, which are focused on the issues of development of biopower within certain historical sites. Namely, post-structuralists realise that archeological layers are volatile historical categories, and each of them is an independent social and cultural creation. Bacon authentically connects these historical layers through his visual language, referring to older painters such as Velasquez, Rembrandt, Ingres or Van Gogh. Thus Bacon re-examines the status of the subject (conceptualises life by the powers of death using human body) and its liberties both in liberal and in neoliberal societies
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Gutgesell, Natalie. "THE BALTIC PORTRAIT AND STILL LIFE PAINTER ALEXANDRA VON BERCKHOLTZ (1821–1899)." Baltic Journal of Art History 18 (December 30, 2019): 249–94. http://dx.doi.org/10.12697/bjah.2019.18.08.
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The Baltic artist Alexandra von Berckholtz was among the mostimportant portrait painters of her time. However, her works haddisappeared from art-historical memory because, after her death, theywere sold and spread all over the world. An international researchproject started in 2014 was able to rediscover her works and her lifestory.Von Berckholtz was given her first art lessons in 1841 by the courtpainter Louis Wagner in Karlsruhe, Germany. From 1847 until 1854she studied in Paris at the studio of the history painter Joseph-NicolasRobert-Fleury, who had considerable influence on her pictorialstyle which combined realism and idealism. Another significantinfluence was Richard Lauchert, a former student and close friendof Franz Xaver Winterhalter. Von Berckholtz’s numerous travels,e.g. to Switzerland, France, and the Czech Republic, were also arich source of inspiration. She changed the conventions of nobilityportrait and concentrated on still lifes in her later work, in whichshe reflected the Dutch style of the Baroque period. Alexandra vonBerckholtz associated with important personalities from the fieldsof art, music, politics, and technology, and was socially active.
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Rapoport, Alek. "Tradition and Innovation in the Fine Arts." Canadian-American Slavic Studies 45, no. 2 (2011): 183–206. http://dx.doi.org/10.1163/221023910x535593.
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AbstractSince childhood, AR was attracted by art. His first teacher, E. Sagaidachny, was a former member of the nonconformist groups “Youth Union” and “The Donkey Tail”. Later, in Leningrad, AR enrolled in the V. Serov School of Art. In spite of official Socialist Realism, some teachers (Shablovsky, Gromov, Sudakov) introduced their students to Russian avant-garde. AR educated himself, copying the paintings of Old Masters in the Hermitage Museum. During 1959-1963 AR studied Russian Suprematism and Constructivism in the Leningrad's Institute for eater, Music and Cinema under the supervision of N. Akimov. AR considered himself as a follower of Russian Constructivism with the roots in ancient Mediterranean and Byzantine art. After graduating, AR's life was full of different activities. He preferred teaching at the V. Serov School of Art, but was fired for “ideological conspiracy” as a founder of the new courses – Technical Aesthetics, Yu. Lotman's eory of Semiotics and Russian Constructivism. In the 1970s AR became an active member of a nonconformist artist group TEV (Fellowship of the Experimental Exhibitions) and the co-founder of the ALEF group (Union of Leningrad's Jewish Artists). This activity brought close attention of KGB and he was forced to emigrate in 1976. Living in the USA, AR criticized American contemporary art for its un-spirituality, commercialism and rejection of traditions – a necessary basis of existence of art. He belonged to two traditional cultures, Jewish and Russian, and his art is traditional. His art represents his own thoughts turned into his paintings, with a great appreciation to discoveries of the Old Masters. And the circle is not closed.
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Bychkov, V. V. "The Symbolic Essence of Art in Friedrich Schlegel’s Romantic Aesthetics." Art & Culture Studies, no. 1 (2021): 266–87. http://dx.doi.org/10.51678/2226-0072-2021-1-266-287.
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According to Friedrich Schlegel, one of the leading theorists of German Romanticism, the “highest” art is always symbolic, and it would be more precise to name the discipline that deals with it “symbolics”, rather than “aesthetics”. According to Schlegel, the highest arts comprise painting, sculpture, music, and poetry as the “arts of the beautiful and the ideally significant”. Using the examples of painting and literary arts, he demonstrates the symbolic character of art in general. Schlegel thinks that masterpieces of old Italian and German painters exemplify symbolic art. Schlegel is against separating painting into genres. He thinks that portrait, landscape, or still nature are merely sketches in preparation for a large, multi-figure, historical painting — as a rule, with Christian content — which leads the spectator to divine spheres. At the same time, painting must perform its symbolic function by means purely pictorial. The best examples of poetry (this is how Schlegel styles all belles lettres) also have been symbolic, especially during its “Romantic period”, from the Middle Ages and up to the 1600s. Schlegel refers to its symbolic meaning by the term “allegory”. The Bible — as an artistic, symbolic book — became the foundation of the “Romantic” literature of the Middle Ages, which took two routes: “Christian-allegorical”, which transfers Christian symbolism on to the entire world and life, and properly speaking Romantic, which presents every phenomenon of life as leading up to symbolic beauty. Using the example of drama, Schlegel divides works of art into three categories: superficial, spiritual-profound, and eschatological. According to the German philosopher, contemporary art has lost its symbolic content and mostly remains at the superficial level.
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Boylan, Alexis L. "Neither Tramp Nor Hobo: Images of Unemployment in the Art of the Ashcan School." Prospects 30 (October 2005): 433–50. http://dx.doi.org/10.1017/s0361233300002118.
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This short notice, entitled “When a ‘Hobo’ Works,” which appeared in the New York Times, July 13, 1912, might seem overwrought to contemporary readers in its definitive nature. The need to delineate work and nonwork, however, was quite serious business for Americans in the first decades of the 20th century. During this period, as evidenced in newspaper and journal articles, legislation, and popular culture, there was growing apprehension about the perceived differences and slippage among the ideas of the tramp, the hobo, the vagrant, the unemployed worker, and the worker. Most of this conversation was directed toward defining work and nonwork for men — specifically for white men. Tramping came to be viewed as an affliction of both mind and body, with writers, politicians, and reformers seeking to define the tramp and then theorizing how to put these newly codified bodies to work.Some of the most complex images of joblessness from this period were produced by the Ashcan school of artists, who frequently portrayed jobless men in their paintings and drawings. The Ashcan school, a group of six realist painters who lived and worked in New York City from 1900 to the First World War, established a national reputation as radicals rebelling against what they argued was a conservative artistic community woefully out of touch with modern American life. Ashcan artists depicted what they claimed to be the realities of the city around them — busy streets, shopgirls, ethnic communities, construction workers, and prostitutes, as well as tramps. John Sloan's The Coffee Line, 1905 (Figure 1), is typical of the kinds of images that Ashcan artists produced. The scene is a snowy winter's night in New York with a band of men in line to get a free cup of coffee. Jobless men are the stars here; unwitting leads in Sloan's slice of New York City life. The painting did much to communicate nationally a visual image of the tramp in New York City; it won honorable mention in 1905 at the Carnegie Institute International Exposition and was then exhibited in Chicago; Spartanburg, South Carolina; Dallas; and Seattle.
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Miall, R. C., and John Tchalenko. "A Painter's Eye Movements: A Study of Eye and Hand Movement during Portrait Drawing." Leonardo 34, no. 1 (2001): 35–40. http://dx.doi.org/10.1162/002409401300052488.
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The mental processes that al-low an artist to transform visual images-e.g. those of his model-into a picture on the canvas are not easily studied. The authors re-port work measuring the eye and hand movements of a single artist, chosen for his detailed and realis-tic portraits produced from life. His eye fixations when painting or drawing were of twice the duration of those when he was not painting and also quite different from those of novice artists. His eye-hand co-ordination pattern also showed dif-ferences from that of novices, be-ing more temporally consistent. This preliminary work suggests that detailed and quantitative analy-sis of a working artist is feasible and will illuminate the process of artistic creation.
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Mikuž, Jure. "The Metamorphosis of Polyphemus's Gaze in Marij Pregelj's Painting (1913-1967)." Ars & Humanitas 9, no. 1 (2015): 86–103. http://dx.doi.org/10.4312/ah.9.1.86-103.
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In 1949-1951 Marij Pregelj, one of the most interesting Slovenian modernist painters, illustrated his version of Homer's Iliad and Odsssey. His illustrations were presented in the time of socialist realist aesthetics announce a reintegration of Slovenian art into the global (Western) context. Among the illustrations is the figure of Cyclops devouring Odysseus' comrades. The image of the one-eyed giant Polyphemus is one which concerned Pregelj all his life: the painter, whose vocation is most dependent on the gaze, can show one eye in profile. And the profiles of others' faces and of his own face interested Pregelj his whole life through. Not only people but also objects were one-eyed: the rosette of a cathedral, which changes into a human figure, a washing machine door, a meat grinder's orifice, a blind “windeye” or window, and so on. The themes of his final two paintings, which he, already more than a year before his boding senseless death at the age of 54, executed but did not complete, are Polyphemus and the Portrait of His Son Vasko. In the first, blood flows from the pricked-out eye towards a stylized camera, in the second, the gaze of the son, an enthusiastic filmmaker, extends to the camera that will displace the father's brush.
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Mikuž, Jure. "The Metamorphosis of Polyphemus's Gaze in Marij Pregelj's Painting (1913-1967)." Ars & Humanitas 9, no. 1 (2015): 86–103. http://dx.doi.org/10.4312/ars.9.1.86-103.
Full textAbstract:
In 1949-1951 Marij Pregelj, one of the most interesting Slovenian modernist painters, illustrated his version of Homer's Iliad and Odsssey. His illustrations were presented in the time of socialist realist aesthetics announce a reintegration of Slovenian art into the global (Western) context. Among the illustrations is the figure of Cyclops devouring Odysseus' comrades. The image of the one-eyed giant Polyphemus is one which concerned Pregelj all his life: the painter, whose vocation is most dependent on the gaze, can show one eye in profile. And the profiles of others' faces and of his own face interested Pregelj his whole life through. Not only people but also objects were one-eyed: the rosette of a cathedral, which changes into a human figure, a washing machine door, a meat grinder's orifice, a blind “windeye” or window, and so on. The themes of his final two paintings, which he, already more than a year before his boding senseless death at the age of 54, executed but did not complete, are Polyphemus and the Portrait of His Son Vasko. In the first, blood flows from the pricked-out eye towards a stylized camera, in the second, the gaze of the son, an enthusiastic filmmaker, extends to the camera that will displace the father's brush.
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Iacob, Anisia. "Lipsius’ De constantia, 17th Century Still Life Painting and the Use of Constancy Today." Studia Universitatis Babeș-Bolyai Philosophia 65, Special Issue (2020): 35–53. http://dx.doi.org/10.24193/subbphil.2020.spiss.03.
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"Lipsius’ De constantia, 17th Century Still Life Painting and the Use of Constancy Today. The present article revisits the main ideas from Justus Lipsius’ De constantia in the light of the present ongoing pandemic. Through his interest for the Stoics, Lipsius was able to contribute to a more general and European interest towards this topic, reviving the Stoic philosophy under the name of Neostoicism. The influence of his ideas can be seen in some art production, especially the one that is connected to the places where Lipsius lived and it is a testimony to their popularity and the various ways of transmitting them. Even if the Stoic ideal remains an ideal, the Neostoicism of Justus Lipsius is meaningful in as much as any philosophy that deals with crises because it can help us view the text from both its relevancy and our recent general experience. The isolation, the anxiety, the uneasiness and fear are emotions that have been more or less present in our lives during this pandemic and they require a solution. Constancy is the solution that Justus Lipsius proposes. Keywords: Justus Lipsius, Neostoicism, Still Life Painting, Pandemic, Moral Philosophy, Crisis Philosophy."
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Лай, Юеге. "ЖАНР ХУАНЯО і БУКЕТИ БАРОКО: МЕТАМОРФОЗИ БУТТЯ". Art and Design, № 3 (5 грудня 2019): 89–96. http://dx.doi.org/10.30857/2617-0272.2019.3.9.
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The purpose of the study is to identify the figurative and symbolic parallels of the depiction of flowers in the art of China and Europe. Methodology. The study made use of the methods: historical-cultural, comparative, artistic-stylistic, iconological, iconographic. Results. It is shown that in the art of China and Europe, the image of flowers is interconnected with the embodiment of the ideal, beautiful. In our figurative and artistic analysis of the masterpieces of Chinese painting, it is shown that the masters of the “flowers and birds” genre, in the content and form of embodiment, follow the law of the universe formed in Taoism, according to which a cycle occurs in life, as in nature. In the genre of European floral still life of the 17th century, a philosophical, cognitive attitude of a person to the real world surrounding him is expressed. For the Dutch and Flemish still life, associated with the spiritual culture of Christianity, instructive meaning is important. Artists glorify the beauty of the world created by the Creator and, at the same time, adjusts the viewer to reflect on the transience of life. It can be seen that the formation of the European flower still life as an independent genre was influenced by the fine and decorative art of China, in particular, the “flowers and birds” (huanyao) genre. Common features with the style of gunbi (thorough paintbrush) are manifested in a careful study of colors, in a harmonious combination of realistic authenticity with the decorative and linear conventionality of the artistic image. The image of flowers in European painting and art in China is associated with the idea of harmony of the world, presented in the elements. The Baroque floral still life, like the huanyao genre, contain a deep symbolic meaning. The scientific novelty of the publication lies in the fact that for the first time it compares the huanyao genre with baroque bouquets, figurative and symbolic parallels of the image of flowers in the art of China and Europe are found. Practical significance validated the possibility of using the results of the study to develop textbooks and programs for the in-depth study of the art of China and Europe.
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Tamara, Riwanda. "REFLEKSI SIMBOLIS KAPAL TERHADAP PERADABAN MASYARAKAT DESA BENGKAWAN DALAM SENI LUKIS." DESKOVI : Art and Design Journal 3, no. 2 (2020): 73. http://dx.doi.org/10.51804/deskovi.v3i2.802.
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Bertempat tinggal jauh dari pusat kota dan tidak adanya akses jalan raya membuat peranan kapal sangatlah penting bagi penulis dan masyarakat dusun Bumbung dipedalaman pulau Kalimantan. Ketergantungan terhadap kapal sangatlah dirasakan penulis dalam menjalani aktivitas sehari-hari. Dari ketergantung tersebut menimbulkan kedekatan yang intim diantara keduanya, sehingga dalam pengkajiannya, kapal yang memiliki karakter dan filosofi kehidupan menjadi dasar penulis untuk mewujudkan sebuah karya. Kapal menjadi subject matter dalam penciptaan karya lukis. Kapal bukanlah sebagai inti sebenarnya, melainkan metafora dari kompleksitas perjalanan kehidupan manusia. Penulisan ini bertujuan untuk mendeskripsikan konsep, proses visualisasi, teknik, media dan bentuk dalam pembuatan karya seni lukis yang mengambil tema Kapal Sebagai Ide Visual Karya Seni Lukis. Dalam karya Tugas Akhir ini penulis ingin mencari sebuah jawaban atas kesinambungan yang terdapat dalam karya-karya sebelumnya, menjelaskan keterikatan apa yang dimiliki penulis dengan kapal. Mengambil bagian dari pengalaman empiris dan peristiwa-peristiwa yang terjadi di masyarakat yang penulis amati dan di latarbelakangi oleh perbedaan pola pikir pelaku kebudayaan dalam menjalani kehidupan baik sebagai individu ataupun sosial. Metode yang digunakan penulis yaitu: Metode eksplorasi dari berbagai fakta atau kejadian untuk mencari dan memilih tema yang sesuai dengan konsep penciptaan lukisan, metode interpretasi secara mendalam untuk mencari makna dan ide-ide baru. Penulis menggunakan pendekatan kontemporer yang didalamnya terdapat gaya realis dan surealis serta menampilkan simbolisme, metafora, transformasi bentuk, dan deformasi bentuk.Staying away from the city and the absence of highway access makes the use of ship become very important for the writer and the people of Bumbung village in the island of Borneo. Dependence on the ship is very felt by the writer in the daily activities. It affects intimate relation between the writer and the people in his village, so in his study, the ship which has the character and philosophy of life. It become the basic of the writer to realize an art work. The ship became the subject matter in creation of painting work. The ship is not as the real core, but the metaphor of the complexity of the journey of human life. This writing aims to describe the concept, the process of visualization, techniques, media and forms in the manufacture of painting that takes the theme Ship as the Visual Idea of Painting Work. In this final project, the writer wants to find an answer of continuity that contained in previous works, explaining attachments of the writer with the ship. Taking part of the empirical experience and events occurring in the society that the writer observed and the reason of differences thinking of cultural actors in living life as individual or social. The method used by the writer are: exploration methods from various facts or events to find and to choose a theme which appropriate with the concept of painting creation, methods of interpretation in depth to find new meanings and ideas. The writer uses a contemporary approach in which there is a realist and surrealist style and displays symbolism, metaphor, shape transformation, and form deformation.
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Kołtan, Jacek, and Anna Sobecka. "Martwa natura Philippa Sauerlanda i narodziny nowoczesnej podmiotowości." Porta Aurea, no. 19 (December 22, 2020): 96–113. http://dx.doi.org/10.26881/porta.2020.19.04.
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The Allegory of Transience by Philipp Sauerland (Gdańsk 1677 – Wrocław 1762), an artist specializing in still life and animal painting, was purchased in 2015 by the National Museum in Gdańsk. The painting allows us to deepen our knowledge of Sauerland’s artistic roots, as well as the interpretation of the painting in the socio-cultural context of the development of Europe in the early 18th century.
 In the paper a thesis is put forward about the Leiden sources of Sauerland’s work, which are connected with the painting tradition of the so-called fijnschilders, especially the work of Willem van Mieris. In the first decade of the 18th century, Sauerland painted The Young Woman in the Kitchen Interior, surrounded by perfectly rendered victuals, showing a similar gesture as in the famous painting by Van Mieris The Mouse Trap. In the signed painting from a private collection in New York, Sauerland chose historical themes. He presented a rare scene of David Giving Uriah a Letter to Joab. The painting refers to two famous works by Pieter Lastmann, but it is placed in an architectural set design analogous to Van Mieris’s paintings. An important element of the Allegory of Transience, in turn, is the relief visible by sliding down a carpet. This motif is also taken from the work of Van Mieries, but the iconography of the sculptural representation refers to Gerard de Lairesse’s print showing Chronos prevented by Prudence from destroying the statues. Sauerland is therefore close to the artists from Leiden in terms of the choice of themes, motifs, and the way they are painted. He also usually used a similar format of paintings. Like Van Mieris, the artist from Gdańsk signed his works with longer inscriptions. Although references to the Leydians are obvious in Sauerland’s early works, he does not make copies of their works, but focusing on the still life genre, he transforms them in his own style.
 The second thesis of our essay is related to the transformation of vanitas motifs, which in Sauerland’s work reveal their secularized character. The traditional symbolism of transience, which draws on religion, is replaced by the ideas of rationalism, accompanied by the idea of reason that opens a possibility of overcoming sensual and emotional limitations. The work becomes an expression of emancipatory processes that take place at the turn of the 17th and 18th centuries in European culture. Referring to the philosophical work of Baruch Spinoza (notion of knowledge), we interpret Sauerland’s work as an expression of the emerging modern ideal of freedom, which was based on a rationalistic paradigm. It is thanks to wisdom (sapientia) that the subject is able to transcend the reality of the sensual guise.
 In the last part of the text we point to the important role of practical wisdom (prudentia) and art (ars) in the process of liberalization that accompanied the social changes of the time. Using illusionism, Sauerland proposes an interpretative key to the viewer: the meaning of life is complemented by art: by making art, understanding art, or collecting artworks, the rational man can free himself from the fear of his own finiteness. The function of this still life is not to remind us of death, but to point out that contemplation of art is an intellectual and spiritual exercise that allows us to find the right attitude to life.
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Ковальова, М. М., та Цю Чжуанюй. "ІМПРЕСІОНІСТИЧНІ ТЕНДЕНЦІЇ В КИТАЙСЬКОМУ ОЛІЙНОМУ ЖИВОПИСУ ПЕРШОЇ ПОЛОВИНИ XX СТОЛІТТЯ". Art and Design, № 3 (13 листопада 2020): 55–65. http://dx.doi.org/10.30857/2617-0272.2020.3.4.
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The purpose of the article is to reveal the impressionistic trends in the fine arts of China, determining the originality of the Chinese oil painting development of the 20th century. Methodology. Historical and cultural, comparative, iconographic and iconological methods are used in the study. Results. The study examines the underinvestigated aspects of Chinese painting development in the first half of the 20th century. The retrospective analysis of the pictural art enables tracing the traditions and innovations in the formation of oil painting in China, which prevails at this historical stage of the national art school development. The desire of Chinese artists to preserve the philosophical foundation and theoretical principles of classical ink painting, and at the same time an interest in Impressionism, have become a peculiar feature of Chinese oil painting. The main trends, dominating at the beginning of the century, persist to this day, defining the development of Chinese oil painting in general. It is determined that the decorativeness and thematic repertoire of classical Chinese ink art has been transferred to oil painting, as evidenced by the booming exhibition activities. The study determined that in the first half of the 20th century, the impressionistic trend was spread in the country, which resulted from the study of Japanese and French masters by Chinese masters. The teaching methods and stylistic searches of Chinese artists of the period under study became the foundation of contemporary Chinese art. The latest trends in Chinese oil painting in the first half of the 20th century are: an artistic rethinking, reminiscences of a similar phenomenon in Western European painting of the late XIX – early XX century. The spread of impressionism contributed to the greatest development of still life and landscape genres, and also brought plein air practice to a new level. Many Chinese artists spread impressionistic ideas not only in artistic creation, but also in art history. The scientific novelty lies in the systematization and factual material analysis on this problem, determining the role of the impressionist trend in the Chinese oil painting development. Practical significance. The results of the study can be used in further studies of the history and theory of Oriental art of the 20th century.
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Andriaka, Sergey Nikolayevich. "The Mysrety of Flowers. The Mystery of Color. Painting in Multi-Layer Watercolor Technique." Secreta Artis, no. 4 (January 21, 2021): 28–39. http://dx.doi.org/10.51236/2618-7140-2020-3-4-28-39.
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The article is dedicated to composing and painting a floral still life in multi-layer watercolor. The author, drawing on his more than half a century experience in creative and pedagogical work, reveals major challenges faced by artists. The primary focus is directed towards a particularly demanding task of arranging a still life ensemble harmonious in terms of color, with flowers occupying a central place, while all other elements (stems and leaves, vase, background, etc.) play a role of a tactful and apt “accompaniment”. In this regard, the author examines successful tone and background choices for flower still lifes, taking into account the peculiarities of color perception depending on the color palette of the surrounding environment. Using his creative work as an example, the author unveils the key principles behind arranging and painting still lifes with bouquets of blue, white, yellow and red flowers, field herbs, as well as floral still lifes on deep dark backgrounds. The author explores the question of proper layer-bylayer transmission of chiaroscuro, light and shade. Likewise, the most common difficulties connected to watercolor painting, as well as the best ways to overcome them are delineated. The article is intended for teachers and students of art schools at all levels; it will also be of interest to professional artists as the author offers solutions to complex problems arising when one works with color in a particularly exigent multi-layer watercolor technique.
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Cutler-Bittner, Jody B. "Charles White." Nka Journal of Contemporary African Art 2019, no. 45 (2019): 140–49. http://dx.doi.org/10.1215/10757163-7917192.
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The recent exhibition Charles White: A Retrospective (Museum of Modern Art, New York, October 7, 2018–January 13, 2019) offered a chance to consider the technical and iconographic breadth of an oeuvre that has been exhibited mainly in sporadic doses for the past few decades and has expanded in scope through recent attention from a subsequent generation of African American artists, including several students as well as art scholars. White (1918–79) was vocally committed from the mid-1960s through his final decade to African American art subjects in tandem with social issues, climactic in poignant, politically charged lithographs in a realist drawing style set in increasingly abstract environments. By then associated with the Black Arts Movement, he continued to recycle historical figures and references from his earliest work in the milieu of a Black Renaissance in Chicago and bolstered by the Works Progress Administration, which, with reciprocal viewing, takes on a collective modernist context in terms of current events related to African American experience and American life broadly, even where allegorical. White’s prolific graphic experimentation yielded varied surface patterns that often evoke content-laden textures, elided into several distinctive late paintings also featured.
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Nienhuis, James. "Domestication of Vegetables as Illustrated in Renaissance Art." HortScience 41, no. 4 (2006): 967A—967. http://dx.doi.org/10.21273/hortsci.41.4.967a.
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An enigma in the process of domestication of many of our common vegetables is what they looked like and the speed of the process at which they were transformed from the wild progenitors to the modern cultivars. Many vegetables were either domesticated in antiquity or introduced into Europe, often by trade with Africa, the Middle East, or the Americas. Based on genetic information, we often know or can deduce center of origin and the progenitor species of our common vegetables, but we do not have a record of their early history once introduced into Europe. One window to the process of domestication of vegetables is still life art from the Renaissance period. The emphasis of the art form “natura morta” emphasized realism, which allows us to, in some cases, identify species and market classes based on accurate morphological details.
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Ette, Ottmar. "Magic Screens. Biombos, Namban Art, the Art of Globalization and Education between China, Japan, India, Spanish America and Europe in the 17th and 18th Centuries." European Review 24, no. 2 (2016): 285–96. http://dx.doi.org/10.1017/s1062798715000630.
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Garcilaso de la Vega el Inca, for several centuries doubtlessly the most discussed and most eminent writer of Andean America in the 16th and 17th centuries, throughout his life set the utmost value on the fact that he descended matrilineally from Atahualpa Yupanqui and from the last Inca emperor, Huayna Cápac. Thus, both in his person and in his creative work he combined different cultural worlds in a polylogical way.1 Two painters boasted that very same Inca descent – they were the last two great masters of the Cuzco school of painting, which over several generations of artists had been an institution of excellent renown and prestige, and whose economic downfall and artistic marginalization was vividly described by the French traveller Paul Mancoy in 1837.2 While, during the 18th century, Cuzco school paintings were still much cherished and sought after, by the beginning of the following century the elite of Lima regarded them as behind the times and provincial, committed to an ‘indigenous’ painting style. The artists from up-country – such was the reproach – could not keep up with the modern forms of seeing and creating, as exemplified by European paragons. Yet, just how ‘provincial’, truly, was this art?
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Bromwell, Thomas. "True to Life: British Realist Painting in the 1920s and 1930s, Scottish National Gallery of Modern Art, July 1–October 29, 2017." Visual Culture in Britain 19, no. 1 (2018): 132–34. http://dx.doi.org/10.1080/14714787.2018.1450330.
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Kavun, V. M. "The semantics of religious images in the art of the renaissance." Humanitarian studios: pedagogics, psychology, philosophy 3, no. 152 (2020): 106–13. http://dx.doi.org/10.31548/hspedagog2020.03.106.
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Purpose of research is to consider the culture and art of the Renaissance and explore the semantics of religious images of the outlined period. Methodology. The tasks posed in this work led to the use of the following research methods, namely: analysis and synthesis, generalization and systematization of theoretical material, comparison and generalization of the result obtained in the process of studying theoretical material and specialized publications covering this issue. The solution of the tasks was achieved by applying the comparative historical, descriptive, logical and systemic methods. Scientific Novelty. The semantics of biblical images in the works of Renaissance artists are revealed. Conclusions. In the Renaissance, a completely new self-consciousness of a person is formed, among spiritual values, preference is given to the nobility and personal merits of the person. The meaning of life is not laid in the salvation of the soul, but in creativity, self-knowledge, serving humanity, society and not God. God, giving man free will, gave him the right to create his own destiny and determine his place in the world. Since the church of that time still had great power, the basic ideas of artists of that time were embodied in works with a religious theme, but in their painting, there were existing contradictions between the humanistic, deep life content ant traditional religious subjects. The works of the renaissance conveyed the being of the person around whom the biblical painting took place, all this was on one plane.
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Jain, Sushma. "PRE-HISTORIC ROCK PAINTING: DICKEN (DISTRICT NEEMUCH)." International Journal of Research -GRANTHAALAYAH 8, no. 3 (2020): 128–35. http://dx.doi.org/10.29121/granthaalayah.v8.i3.2020.137.
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Humans have been lovers of beauty and art from the beginning. Like human life, the history of the rise of art is very mysterious, vast and unknown. It is not easy to present the facts of past merged in innumerable layers of time, even today we have a complete lack of means and evidence.
 The places where rock paintings have been found in India are still located in dense forests far away from human reach. All these prehistoric arts are pre-human. With these inscriptions we not only gain knowledge of the nature, life, struggle and conditions of the primitive human, but we also get the proof of the aesthetic sense of creativity in his consciousness. These rock paintings did not come to light suddenly, after a decade of prehistoric paintings of Spain, France, rock paintings also became a topic of discussion in India. Credit for the discovery of these Shailashrayi paintings first goes to Carlile and Cuckburn. 3
 मानव प्रारम्भ से ही सौंदर्य एवं कला प्रेमी रहा है । मानव जीवन की भाँति कला के उदय का इतिहास अत्यंत रहस्यमय, विराट तथा अज्ञात है । काल की असंख्य परतों में विलीन अतीत के तथ्यों को मूर्त रूप में प्रस्तुत करना सहज नहीं है, आज भी हमारे पास साधनों एवं प्रमाणों का सर्वथा अभाव है।1
 भारत में शैलचित्र जिन स्थानों पर प्राप्त हुए हैं वे स्थान आज भी मानव की पहुंँच से दूर घने जंगलों में स्थित हैं।2ये समस्त प्रागैतिहासिक कलाएँ मानव के सभ्य होने से पूर्व की हैं । इन शिलाचित्रों से हम न केवल आदिम मानव के स्वभाव, जीवन, संघर्ष तथा उसकी परिस्थितियों का ज्ञान प्राप्त करते हैं वरन् उसकी चेतना में व्याप्त सृजनशीलता से युक्त सौंदर्य बोध का भी प्रमाण पाते हैं । ये शैलचित्र अचानक ही प्रकाश में नहीं आ गए स्पेन, फ्रांस के प्रागैतिहासिक चित्रों के एक दशक पश्चात् भारत में भी शैलचित्र चर्चा का विषय बन गए । इन शैलाश्रयी चित्रों की खोज का श्रेय सर्वप्रथम कार्लाइल तथा काकबर्न को जाता है ।3
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Kougemitrou, I., G. Economou, J. Giovanopoulos, I. Baziotis, G. Leontakianakos, and V. Stathopoulos. "A mineralogical study of pigments used in two Iakovidis paintings: Verification of artwork authenticity using Raman micro-spectroscopy method." Bulletin of the Geological Society of Greece 47, no. 1 (2013): 392. http://dx.doi.org/10.12681/bgsg.11014.
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For the purpose of the current study, we examined two paintings, an original and a fake one, entitled “Still life with grapes”, and claimed both to be created from the Greek Painter G. Iakovidis. The current Research Project has been carried out at the Centre Nikias, an innovative Research Centre specialised on certification, maintenance and restoration of art works. Raman spectroscopic analysis has been carried to verify the authenticity of the used pigments and also the originality of the two paintings. The Raman spectra acquired confirmed four different colours in both painting`s pigments: red, blue, white and yellow. For the first painting Cinnabar for the red pigment, Ultramarine for the blue pigment, White earths for the white pigment and Yellow ochre for the yellow pigment. In the second painting the colours used verified as synthetic pigments. We identified the presence of Cadmium red for the red colour, Cobalt blue for the blue pigment, Zinc white for the white and Cadmium yellow for the yellow one.
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PS, Anju, and Andrea Figaredo. "Mastering of Fancy Meeting Reality: A Critical Exploration of Magical Realism with Reference to “The Curious Case of Benjamin Button” Directed by David Fincher." SMART MOVES JOURNAL IJELLH 8, no. 3 (2020): 9. http://dx.doi.org/10.24113/ijellh.v8i3.10492.
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Apart from other art forms, cinema has an unquestionable potential to install new concepts and believes among the society. It has spread around the world, crossed the barriers of languages and communities and has traversed into the depths of social arena. The tool which caused an impact in the ethos, throughout the history is nothing but the new notions portrayed by the filmmakers. Cinema has overpowered the restrictions of the cultural borders and showed its power towards internationalism, which caught the mind of the viewers worldwide. The plot of a cinema often reminds us of things we perhaps already know, but may often forget, that is the beauty of storytelling. The world we see through a lens, is lot clearer than the real one, it takes people to other dimensions of perspective. This approach may be unfathomable to our sceptical minds, which always has an inclination towards disbelieves, but it is still worth the time to question our preconceived dogmas. Magical realism managed to touch the everyday life of the ordinary people through cinema, even though it appears in many fields of art and literature; there is not a single thing that is missing in Magical Realism. When a viewer look at an art work, if they could see beyond the picture of an inanimate object and grasp the depth of the concept which is hidden, through a unique vantage point, then that is the moment you appreciate Magical Realism.
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Padyan, Yu Yu. "PERFORMANCE AS A CONTEMPORARY ART PHENOMENON." Arts education and science 1, no. 1 (2021): 148–56. http://dx.doi.org/10.36871/hon.202101017.
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The end of the XIXth — beginning of the XXth centuries is a special period in the history of world art culture, characterized by the emergence of such trends as modernism, post-impressionism, avant-gardism, abstractionism, cubism, surrealism and many others. The motto of XXth-century art was "Art into Life". Often new trends became a response to the demand of the mass consumer. One of them was the art of performance. Appearing as a rejection of traditional practices of painting, sculpture and theater, performance organically incorporated wellknown and new approaches and technologies that caused an alternative way of working with space and time. It should be noted that historiography focuses on materials that explore the origins of performance and installation on a global scale. The most significant are the works by American, Western European and Polish authors. At the same time, the historiographic review showed a lack of a large scientific heritage of Russian artists in the field of performance: the process of forming modern art criticism, which would reflect the later history of performance than the first half of the XXth century, is still out of the researchers' sight.
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Narasimhan, Manisha, and Lucy Ramon. "132 Brushstrokes after stroke – art and neuroplasticity." Journal of Neurology, Neurosurgery & Psychiatry 90, e7 (2019): A43.1—A43. http://dx.doi.org/10.1136/jnnp-2019-anzan.117.
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IntroductionDespite current developments in acute stroke therapies, 65% of stroke patients have varying degrees of disability. Whilst focus on acute stroke reperfusion strategies is vital, stroke survivors still need support and appropriate opportunities for rehabilitation.Methods and resultsThis is an inspiring story of an 86-year old patient with locked in syndrome who rediscovered her artistic talent after a disabling stroke. She presented with right hemiparesis, bilateral ptosis, ophthalmoplegia and aphasia. Her MRI showed multiple infarcts affecting the midbrain, thalamic, cerebellar and occipital regions. There was stenosis of the right vertebral artery- the left was hypoplastic, and new atrial fibrillation was detected.There was no response to early rehabilitation strategies and her husband decided to care for her at home. He used creative strategies to encourage motor skills and participation in daily activities, and despite never regaining speech or independent mobility, she was able to interact meaningfully with him and her environment. They enjoyed a full and active life until her demise last year.The patient was an accomplished artist and, with the help of her husband, reengaged in painting. This resulted in an original collection of paintings that formed an exhibition in Wollongong Art Gallery.ConclusionThis is a life affirming story of love, enablement and ingenuity after disabling strokes, and a reminder that neuroplasticity can occur at any age. Art can provide a way to harness neuroplasticity to improve neurological deficits and quality of life, even despite significant disability. ‘A man paints with his brains and not with his hands. ‘(Michaelangelo).
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Dhiman, Shalini. "WHAT ARE THE BASIC ELEMENTS AND PRINCIPLES OF ART." ShodhKosh: Journal of Visual and Performing Arts 2, no. 1SE (2021): 17–18. http://dx.doi.org/10.29121/shodhkosh.v2.i1se.2021.17.
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Art is natural expression of human. It is through art that a human looks at his personality. Art is such a valuable asset that everyone would have had, but not everyone is aware of it. Art enables the human mind to show direction to the senses, instill the tendencies and twist the mind. Art received by nature as a gift to human consciousnes ,divine gift. The entire creation of any artist is based on his autobiographical approach. Impressed by the material objector natural beauty, the artist through his imagination transforms the feelings produced in the mind into a work. These creations are completely different from the members of the real object. All these mediums of the artist’s expression would be line colors, stones, objects or words. Since ancient times cavities have been painted individuals through human lines. In his struggle whenever he got a break in the primitive life, he devoted every moment of his portrayal. The effects of which we still find in the prehistoric caves , painting, Ajanta, Bagh,Ellora, etc are easily available.
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Kumar Yadav, Santosh. "MUGHAL CARPET PAINTING (WITH REFERENCE TO LINE, COLOR AND ORNAMENTATION)." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1–3. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3617.
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It is revealed from the above verses that the beautiful picture is formed by the collective union of the four, Rekha Rang Vrattana and ornamentation. These four elements play their important role in generating life in any picture. Without these elements, we cannot call any art complete. No matter how much changes have been made in art since the beginning of human civilization, these elements in art still have the same importance today as before. The only difference is that now the pattern of its use has changed. We have already described the importance of their use through one verse. And as far as their use in Mughal art is concerned, they have been used extensively in this art. It is appropriate to describe here that the style of art that flourished in Iran from the beginning of the religion of Islam was the foundation stone of ancient Indian art. It contained his deep impression. The depiction of human beings and living beings in the religion of Islam was completely against the religion. As a result, colors, lines, embellishments, fine ornamental figures and geometric shapes have evolved. With the advent of flexibility in religious fanaticism, the marking of animals - birds, human figures and flower leaves started which has been going on till today. The paintings of the early stages of Mughal art are influenced by the art of Iran. In which not only the subject but also the technique, medium, drawing and color planning are all based on Iranian style. As his art came close to Indian art, so the qualities of Indian art are seen in him. There are many qualities of Indian art in the art of the Mughal period, but we are going to describe three major qualities of them here: color, line and embellishments.
 उपरोक्त श्लोक से यह पता चलता है कि रेख रंग वत्र्तना और अलंकरण इन चारों के सामूहिक मिलन से ही सुन्दर चित्र का निर्माण होता है। ये चारो तत्च किसी भी चित्र मे प्राण उत्पन्न करने मे अपनी महत्वपूर्ण भूमिका निभाते है। इन तत्वों के बिना हम किसी भी कला को पूर्ण नही कह सकते है। मानवीय सभ्यता के शुरूआत से लेकर अब तक कला मे चाहे कितना भी परिवर्तन हुआ हो कला मे ये तत्व आज भी आज भी उतना ही महत्व रखते है जितना कि पहले। अन्तर बस इतना हुआ है कि अब इसके प्रयोग करने का स्वरूप बदल गया है। इनके प्रयोग की महत्ता का वर्णन हम पहले ही एक श्लोक द्वारा कर चुके है। और जहां तक मुगल कला मे इनके प्रयोग की बात है तो इस कला मे इनका प्रयोग बहुतायत हुआ है। हम यहां इस बात का वर्णन करना उचित होगा कि इस्लाम धर्म के शुरूआत से ही ईरान मे जो कला शैली पनपी वह प्राचीन भारतीय कला की आधार शिला थी। इसमे उसकी गहरी छाप निहित थी। इस्लाम धर्म मे मानव व जीवधारियों का चित्रण पूरी तरह से धर्म के विरूद्ध था। जिसके फलस्वरूप रंग, रेखा, अलंकरण, सूक्ष्म अलंकारिक आलेखनों एवं ज्यामितीय आकारों का विकसित रूप निखर कर आया है। धार्मिक कट्टरता मे लचीलापन आते ही पशु - पक्षियों, मानव आकृतियों और फूल पत्तियों का अंकन प्रारम्भ हो गया जो आज तक चला आ रहा है। मुगल कला के प्रारम्भिक अवस्था के चित्र ईरान की कला से प्रभावित है। जिनमें न केवल विषय ही बल्कि तकनीक, माध्यम, चित्रांकन और रंगयोजना आदि सभी ईरानी शैली पर आधारित है। जैसे जैसे उनकी कला भारतीय कला के समीप आती गई वैसे वैसे उसमे भारतीय कला के गुण नजर आने लगते है। मुगल काल की कला मे भारतीय कला के बहुत से गुण दिखते है परन्तु हम उनमे से तीन प्रमुख गुण रंग ,रेखा और अलंकरणका वर्णन यहा करनेजा रहे है
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Schnackenburg, Bernhard. "Knabe im Atelier und Bücherstilleben, zwei frühe Gemälde von Jan Lievens und ihr Leidener Kontext: Rembrandt, Jan Davidz. de Heem, Pieter Codde." Oud Holland - Quarterly for Dutch Art History 117, no. 1-2 (2004): 33–47. http://dx.doi.org/10.1163/187501704x00269.
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AbstractA painting entitled Le jeune Dessinateur (the young draughtsman), identified in 1932 by Hans Schneider as an early work by Jan Lievens and hung in the Louvre together with Rembrandt, should still, according to prevailing scholarly opinion, be attributed to the much younger Wallerent Vaillant on the basis of a reproduction engraving with his address. It was made after Vaillant and Michael Sweerts had come across the more than 30-year old Lievens painting in about 1660 which inspired them to make variants of their own in the style of their times - variants which Vaillant also published as engravings. This important consequence underlines the status of an unrecognised major work by the young Jan Lievens, a work which in terms of content and form has much to tell us about painting in Leiden around 1628. The curious iconography (the boy is not drawing, but studying drawings, in keeping with Schneider's understanding of the title, Knabe in Atelier (Boy in the Studio), is found only in Pieter Codde's work of that period. Codde owned many works by Leiden painters, prompting Abraham Bredius to suggest as early as 1888 that this Amsterdam painter worked in Leiden for a while. A studio prop in the form of a plaster cast of the infant Jesus from Michelangelo's Bruges Madonna casts a new light on Lievens' interest in the great exemplars of classical art, an interest which Constantijn Huygens failed to perceive when he visited the studio. Lievens had depicted the figure before, in oblique perspective ; it was evidently important for the training of his ability to render three-dimensionality. The group of studio plaster casts is related to a hitherto anonymous Leiden Still Life with Books dating from about 1628, in the Alte Pinakothek, Munich. Discussed earlier in connection with Lievens, this still life is now assigned to Lievens himself, an attribution which is supported by additional arguments. The choice of motif and monochrome colouring has aspects in common with the Vanitas and still lifes with books painted by Jan Davidz. de Heem during the same period and endorsing, with new arguments, his connection with Lievens' and Rembrandt's circle. Lievens' Boy in the Studio, finally, is of significance for the interpretation of Rembrandt's Young Painter in the Studio in Boston, painted at the same time. The two pictures would appear to be linked by antithetical basic statements and art education.