Blind and Automatic Drawing in the Late 20th — Early 21st Centuries in the Art of Western and Eastern Europe

Purpose of Research is to clarify the meaning of the concept of "contemporary dance" in optics of art history approaches to the interpretation of the term "contemporary art". Methodology. The terminological method made it possible to correlate the terms and the concepts denoted by them; methods of analysis, comparison, and theoretical generalization are also applied. Scientific novelty. The term "contemporary dance" is analyzed through the prism of the term "contemporary art", the unique dualistic nature of contemporary dance (an integrative system of technical-technological and ideological-philosophical components) is proven. Conclusions. The term "contemporary dance" is consonant with the term "contemporary art" in the aspect of modernity, relevance, but acquires specific features in the choreographic and choreographic discourse. The terms "modern dance" and "contemporary dance" are not identical: the first is used to denote a wide range of varieties, directions, styles of modern dance of the 20th - early 21st centuries, the second - to denote an independent variety of modern dance that arose at the end of the 20th - at the beginning 21st century Contemporary dance can be considered as a complex phenomenon, which is not only a set of methods and techniques of dance (technical-technological level), but also is in the plane of philosophical and cultural-artistic concepts (spiritual-mental, ideological-aesthetic level), which simultaneously become the source of contemporary dance, and its regulator. Contemporary dance is dualistic in essence, integrates immanent dance features and features of contemporary art as a whole, is an integrative system of technical-technological and ideological-philosophical components.

The article examines the influence of structuralism on the formation of plastic art in Ukraine in the second half of the 20th and early 21st centuries. First of all, we are talking about the creativity of the artists working in the field of fine and decorative arts and using wood as a material. It was outlined the defining principles of structuralism based on the works of contemporary researchers. Various structuralist approaches in cultural studies, philosophy and art are considered. For a deeper understanding of the nature of the Ukrainian plastic art the prerequisites for the development of structuralism in the visual arts on the basis of C. Monet's creative revolution and P. Cézanne's deep structural study of nature through geometry have been determined. The importance of P. Mondrian's creative experiments and the concept of neoplasticism introduced by him has been emphasized. The structuralist manifestos of C. Biederman, E. Bornstein and E. Wilmott have been analyzed. The creative method of structural reliefs of the Canadian artist of Ukrainian origin R. Kostyniuk, his inspirations and his own concepts of constructed compositions based on geometric shapes have been studied. In contrast to regular mechanical units and new technical material, the structural sculptures of E. Zelenak revealed the use of biomorphic forms built on the basis of repeating modules. D. Samil's constructed canvases of folded bright planes are mentioned. The article demonstrates the importance of the phenomenon of nonconformism in the Ukrainian artistic environment. Certain peculiarities of the application of theoretical developments in the figurative and plastic author's models of contemporary Ukrainian artists have been highlighted. A number of artistic interpretations and stylistic features in the formation of plastic art in Ukraine in the second half of the 20th and early 21st centuries have been revealed. The works of Ukrainian and diaspora artists who worked and continue to work in the second half of the 20th and early 21st centuries in Ukraine and abroad, namely R. Kostyniuk, E. Zelenak, D. Samyla, S. Savchenko, I. Stefiuk, V. Andrushko, Y. Titenkov, N. Symotiuk, D. Shavala, A. Savchuk, and I. Solovyov, have been considered. The research objective is to identify and investigate the influence of structuralism on the formation of contemporary Ukrainian plastic art, as well as to analyze the works of artists who used the structural method in their works. Research methodology. The methods of observation, comparison, analogy, experiment, formal analysis and synthesis have been used. Relevance and scientific novelty. In Ukrainian art history, the concept of "structuralism" in three-dimensional structures, sculpture, and plastic art remains poorly understood and requires a deeper study of the connections between the artist's intentions, materials, as well as the historical and cultural context in which the artwork has been created. The research of the influence of structuralism on contemporary Ukrainian sculpture and other forms of plastic art, which are formed on such basic principles of the structural method as code, sign, structure, symbol, and color, reveals a new critical approach to the interpretation of creative experiments as an identifier of a completely new artistic paradigm.

Introduction. The article is focused on studying the area of intersection of contemporary art and philosophy, it is a continuation of the research project on conceptual art and its intersection with philosophy, which we started earlier. By conceptual art, we mean art aimed at intellectual comprehen- sion of what has been seen, art that appeals to thinking and generates philosophical meanings. But if earlier we explored conceptual cinema and mainly visual art of the early 20 th century, then in this article we want to turn to the visual art of the second half of the 20 th century — the beginning of the 21 st century, which is also called contemporary art by art critics. The empirical material of the study was the works of such contemporary artists as E. Warhol, D. Koons, D. Hirst, J. Ono, F. Bacon, I. Kabakov, D. Kos- suth, the movement of “new realists” and photo- realists, the movement of Moscow conceptualists and etc. Contemporary art is one of the ways of understanding the world, visual philosophy, which is of interest for philosophical understanding. The purpose of the article is to conduct a philo- sophical analysis of visual art of the second half of the 20 th — early 21 st I centuries in order to identify its philosophical sources and content. Methods. The author uses the following gen- eral scientific methods: analysis and synthesis, induction, deduction, abstraction. When analyzing works of conceptual art, we use hermeneutic and phenomenological methods, a semiotic approach. We also use the symbolic-contextual method of analyzing exhibition concepts, which is based on identifying the philosophical meanings and ideas of exhibitions of contemporary art. Scientific novelty of the study. We regard con- temporary art as a visual philosophy. Philosophiz- ing, in our opinion, can exist in various forms and forms from everyday practical (the so-called naive philosophizing) to artistic-figurative, that is, visual. Philosophical ideas or concepts are born not only from professional thinkers, but also from artists. The artistic concepts of contemporary artists are similar to the concepts of philosophers, since the goal of both is to cognize the world and grasp be- ing. We find and describe the area of intersection of modern philosophy and contemporary art, each of which is in a situation of crisis separately and continuous dialogue together. Results. In the course of our research, we identify and describe the philosophical origins of visual art in the second half of the twentieth century - early twenty-first century: postmodern philosophical consciousness, conceptualism, the idea of “death of the author” and “death of art”, simulacrum, kitsch and camp, the method of deconstruction and its application in modern art. Conclusions. Visual art of the second half of the 20 th century — early 21 st century is a visual form of philosophical questioning about the essence of art itself, about the existence of a person and be- ing in general. The works of contemporary artists are based on philosophical problems: meaning, speech and meaning, the ratio of the rational and the irrational, the problem of abandonment and loneliness of a person, the problem of the “death of the author” and the alienation of the creator from his work, the idea of the impossibility of objective knowledge of reality.

The aspects covered in the article proved the topicality of the research, in particular the analysis of contemporary Western European vocal and choral art presented the meanings embedded in the musical work, programmed interactive dialogue in the author-performer, listeners system, clearly demonstrating its syncretic trends in the modern conditions of development. The article reveals the essential features of syncretic trends of Western European contemporary vocal and choral art, indicates their significance for society. The foregrounding of the research is aimed at activating not only the creative mastery of certain boundaries, but also the expansion of the boundaries of personal experience. The aim of the research is achieved, namely the mechanism of integrating creativity of the representatives of contemporary Western European musical art in relation to art space is revealed on the example of creativity of the Italian composer Sciarrino, Italian composer Berio, Spanish composer and pianist Simarro. A retrospective coverage of the history of musicological thought in European humanities is presented, syncretic tendencies in modern Western European vocal and choral art are identified, its discourse is proposed as a challenge to the present. The study involved the following research methods: observations and conversations. The obtained research results can be further used as a developed model of forming vocal and choral thesaurus, which is in line with the current state of music, vocal and choral culture. Analysis of the peculiarities of the current state of choral art in Western Europe in the 20th — early 21st centuries is a promising area for further research. Rezumat. TENDINȚE SINCRETICE ÎN ARTA VOCALĂ ȘI CORALĂ CONTEMPORANĂ DIN EUROPA OCCIDENTALĂ: PROVOCAREA DE ASTĂZI. Aspectele abordate în articol au dovedit actualitatea cercetării. În special analiza artei vocale și corale contemporane vest-europene a prezentat semnificațiile încorporate în opera muzicală, dialogul interactiv programat în sistemul autor-interpret, ascultători, demonstrând clar tendințele sincretice ale acesteia în condițiile moderne de dezvoltare. Articolul relevă caracteristicile esențiale ale tendințelor sincretice ale artei vocale și corale contemporane vest-europene, și indică semnificația acestora pentru întreaga societate. Prim-planul cercetării vizează activarea nu doar a stăpânirii creative a anumitor limite, ci și extinderea limitelor experienței personale. Scopul cercetării este atins, și anume mecanismul de integrare a creativității reprezentanților artei muzicale contemporane vest-europene în raport cu spațiul artistic este dezvăluit pe exemplul creativității compozitorului italian Sciarrino, al compozitorului italian Berio, și al compozitorului și pianistului spaniol Simarro. Este prezentată o acoperire retrospectivă a istoriei gândirii muzicologice în științele umaniste europene, sunt identificate tendințele sincretice în arta vocală și corală modernă vest-europeană. Discursul acesteia este propus ca o provocare pentru prezent. Studiul a implicat următoarele metode de cercetare: observația și conversația. Rezultatele obținute în urma cercetării pot fi utilizate în continuare ca model dezvoltat de formare a tezaurului vocal și coral, care este în concordanță cu starea actuală a muzicii, în special a culturii vocale și corale. Analiza particularităților stării actuale a artei corale în Europa de Vest în secolul XX - începutul secolului XXI este un domeniu promițător pentru cercetări ulterioare. Cuvinte-cheie: Artă corală, armonizare, artă muzicală, lucrare vocală, imagine artistică, sincretism în muzică

The article attempts to analyze the formation and development of fine art in the city of Mariupol. It provides historical background regarding the activities of artists whose lives and works are connected with Mariupol. The author in particular thoroughly studied the characteristic features of the works by Arkhip Kuindzhi is an artistic symbol of Mariupol, described his creative progress and artistic heritage. In addition, the paper attempts to analyze the works by Oleksandr Mogilevskyi, Viktor Arnautov, Albert Makhotin, Serhiy Barannik, etc. The study gives the characteristics of the fine art of the city in the modern period, describes the creative heritage of the most famous artists of Mariupol in the late 20th century – early 21st century (Halyna Harkina, Volodymyr Miski-Ohlu, Pavlo Ponomarenko, Oksana Pehotska, Oleksandr Bondarenko, etc.). The author highlights specific features of the creative methods and searches of modern Mariupol artists, depicts their educational activities. The article gives considerable attention to the educational activities of art institutions in Mariupol, characterizes the work of the Art School of the City Council in Mariupol, the Art School in Mariupol named after Arkhip Kuindzhi, the ART-Center Institution, the Sova Art Center, describes the activities of the Mariupol-87 creative association, which united avant-garde artists. The research indicates that the fine art is actively developing in Mariupol; it is diverse and rich in terms of subjects and creative methods. Key words: fine art, historical retrospective, painting, watercolor, oil paints, easel painting, landscape, still life, art education, creative method, realism, modernism.

The purpose of the study is to identify musical means in the piano music of China of the 20th – early 21st century in the transmission of images of nature found in traditional Chinese Guohua painting in the genres of "mountains and waters" and "flowers and birds". The article points to the origins of the formation of piano art in China, the influence of Russian and Western European piano traditions on its formation. The specificity of Chinese piano art is noted. Chinese composers, having mastered the Western European experience, performing techniques, and piano genres, brought unique cultural codes of ancient Chinese traditions. Piano works demonstrate syncretic thinking, where ontological archetypes of nature images act as symbols of life meanings. The scientific novelty of the research lies in the identification of artistic analogies between the painting of Guohua and the piano music of China in the 20th – early 21st century. As a result of the research, the main musical means have been established that make it possible to create an atmospheric landscape of Gohua in piano pieces by means of musical language through intonation, harmony, texture, rhythm, as well as onomatopoeia of timbres and the manner of performance on traditional Chinese instruments.

The article is devoted to the issue of the continuity of the Russian pictorial tradition and the representation of spiritual meanings in contemporary Russian art. The authors aims to consider the image of the Virgin Mary as part of the cultural code of Russia. The object of the research is the materials of the visual art works by contemporary Russian artists of the late 20th and early 21st centuries, studied from the perspective of their Byzantine origins. The subject of this research is the image of the Virgin Mary in contemporary Russian visual art. The result of the research is an understanding of the forms of transformation of the canon of spiritual tradition in contemporary art.

The article presents a long scholarly way of the prominent Polish historian J. W. Borejsza (1935–2019). He made a significant contribution to the study of the 19th century Poland, especially the Polish political emigration, to which his first books were devoted. Later the scope of his research interests was enlarged by the study of the 20th century totalitarian regimes and ideologies, mainly Italian Fascism and German Nazism. J. Borejsza analyzed their influence on Eastern Europe and the cultivated in the Third Reich views about the future of Slavic peoples. Having spent a significant part of his life outside Poland (in Russia, Italy, Germany, France), the historian actively participated in international cooperation and initiated major collective projects, in particular the project on the Crimean War. Since his studentship, J. W. Borejsza maintained contacts with Russian colleagues, which became especially intensive at the beginning of the 21st century. He promoted communication between historians of different countries, attaching great importance to science diplomacy. The portrait of the Polish historian is given in a broad scholarly and political context of the second half of the 20th and early 21st centuries. The views of J. Borejsza on a number of topical issues, including his assessment of historical policy, are characterized. Along with the use of the researches of the historian, his recently published memoirs and interviews are introduced into circulation, which the author of the article supplements with own memories of his Polish colleague. Borejsza's extensive memoirs contain valuable material on the intellectual and political history of Eastern and Western Europe, as well as the history of historical science.

It is foreign languages that allow one to carry out one’s professional duties at the international level, in particular in the academic field. Besides, they are recognized as a key to the development of human culture, which opens new opportunities for international integration and deepens cultural, intellectual and communicative functions of languages. Considering its historical post-totalitarian specifics and social roles, the development of foreign language education in higher education institutions (HEIs) in Eastern Europe, in particular Ukraine, includes materialist and pragmatic and partly postmodernist trends, which need to be studied and analyzed in the context of a modern, postcolonial society. The research aims to systematize theoretical issues and generalize the experience of developing foreign language education for future humanities teachers in pedagogical universities in Ukraine (the mid 20th century - the early 21st century), as well identify some proper ways to implement authentic and world experience into the modern practice of training future foreign language professionals. The following pedagogical strategies are considered to be certain productive areas in the combination of classical and postmodernist trends in education: the integration of repetitive teaching methods and creative activity; the combination of modular and problem-based learning; the use of non-communicative models and cognitive strategies of foreign language education; the introduction of models of foreign language education, which make it possible to specify social, professional and research activity of the student’s personality; the reinforcement of extra-curricular activities in the context of foreign language education.

"The study of transformational processes in contemporary music art under the influence of the fine arts practices is one of the important problems of musical culturology and aesthetics. The study is topical because of the new efforts aimed at understanding and arrangement of the evolution of established aesthetic systems and experiments in music and fine arts in the 20th century and at the beginning of the 21st century, as well as their influence on modern practices of introduction of meaningful elements of painting, graphics, architecture, and multimedia technologies into music creation processes. The aim of the research was to identify current trends in music visualization through the arrangement and generalization of the experience of artists of the 20th — early 21st centuries, who used expressive arts, synthesizing one art into another in their musical compositions, as well as to identify the background of those synthetic ideas and ways to implement them. The scientific research established that the development of synthetic art has its roots in the disposition towards merging arts and versatility. The fine arts practices applied in music has contributed to the expansion and enrichment of artistic means and techniques and has entailed further complication of sound and visual components in the overall concept of the work. It is concluded that the individual creative and personal traits of the artist, who seeks to fully convey the multidimensional figurativeness of the work determine a significant impact on implementing fine arts practices in music. Prospects for further research of the evolution of fine arts practices and audio-visual media in music involve the development of description techniques in the context of the dominance of the visualization factor over music one in artistic perception, as well as the study of the impact of cultural technologization on contemporary music art. Keywords: music, visualization, fine art, artist, interconnection of the arts, synthesis, intermediality "

The article formulates and analyses a hypothesis, according to which, thanks to modern postmodern art, a single international visual language was formed in the late 20th – early 21st centuries, and previously mysterious and incomprehensible foundations of national culture became accessible and open at the international level. This concept is considered on the basis of the international popularization of Chinese art, as the Chinese national culture and art remained mysterious for Western audiences for many centuries. The mechanisms of popularizing national culture are disclosed in the article based on an analysis of three works created by famous contemporary Chinese artists – Odyssey by Cai Guoqiang, Coloured Vases by Ai Weiwei and Last Supper by Zeng Fanzhi

The article investigates transformations of the discourse of Outsider Art in the culture of the 20th – early 21st centuries through the perspective of its institutionalization and museumification. The article provides a critical analysis of the curatorial strategies of the Museum of Modern Art (New York, NY), as well as other American art institutions (National Art Gallery (Washington, DC), Brookline Museum (New York, NY), etc.), the structure of exhibitions and permanent expositions, curatorial texts of projects dedicated to outsider art. The study of the curatorial strategies of MoMA in the Outsider Art’s cases allows us to investigate how the Outsider Art's discourse was developing in the USA, and likewise, conceptual approaches of formation of its description and representation. An important aspect of this study is the examination of paradigmatic links between contemporary art and the work of outsider and self-thought artists in the curatorial, expositional practice of museums of modern art. In the MoMA’s history, legitimation and museumification of Outsider Art and close phenomena had been begun in the 1930s – early 1940s when Alfred Barr interpreted the “marginals” of art as the foundations of Modernism and Avant-garde and included its exhibitions in the strategic courses of the museum’s action. Further, after a long break, the return to work with an art of outsiders and naives had occurred in the second half of the 1980s. In the last twenty years, Outsider Art has begun to be regarded as an equal part of Art History of the 20th century (personal exhibitions, the inclusion of outsider art in the permanent exposition of MoMA, etc.).

Introduction Health disparities between Eastern and Western part of Europe have been the subject of many studies. Eastern Europe experienced delay in health improvement compared to Western Europe. Life expectancy differences between East and West average 7 years in men and 5 years in women, in favor of the West. Cancer contributes to 12% and 9% of this difference in men and women, respectively. For those 20-64 years, contribution of cancer to this difference is higher at 16% and 24%, respectively. Methods Cancer mortality data and population data (1959-2010) for each country separately were derived from the WHO Mortality Database. Standardized mortality rates were calculated using the world standard population. Results In young men (20-44 years) cancer mortality was equal in Eastern and Western Europe in late 1960s. Since then, a decline in cancer mortality occurred in Western countries while Eastern countries experienced a cancer mortality increase trend. This increase began to decline in Eastern Europe in the early 1990s, decreasing the cancer mortality gap between the two European regions for this sex and age group. Similar trend disparities were observed in middle-aged men (45-64 years). However, the decline since 1990 was much slower in Eastern Europe than Western Europe, resulting in a residual gap between the two regions. The oldest men (65+ years) in Western Europe had a higher cancer mortality rate than Eastern Europe for many decades. In early 1990s cancer mortality in Western Europe declined whilst rising in the East. The trends intersected a decade later and despite the plateau observed in recent years in Eastern Europe, the gap remains persistent. In young women (20-44 years), cancer mortality diverted in the early 1970s as cancer mortality declined steadily in Western Europe while rising in the east, similarly in trend to cancer mortality among young men. By the 1990s, rates declined and the gap between the two regions trended towards closure. In middle-aged women (45-64 years) cancer mortality rates in Eastern Europe plateaued for the whole observation period, while western rates fell steadily since the 1970s, resulting in a residual gap between the two regions. For several decades, cancer mortality rates in the oldest women (65+ years) in Western Europe were higher than in the east and both regions experienced plateaus. By the 1990s western cancer mortality rates declined with little change in eastern trends. A small gap persists between the two regions. Conclusions Despite health improvement, a cancer mortality rate gap between Eastern and Western Europe persists across all sex and age strata. In particular, men at age of 45 years and more, and women at age of 45-64 years, experience the greatest disparities between the two regions. Deficiency of primary prevention and poor health awareness remain biggest challenge in Eastern part of Europe. Citation Format: Marta Manczuk, Urszula Sulkowska, Dana Hashim, Paolo Boffetta. The gap in cancer mortality between Western and Eastern Europe. [abstract]. In: Proceedings of the 106th Annual Meeting of the American Association for Cancer Research; 2015 Apr 18-22; Philadelphia, PA. Philadelphia (PA): AACR; Cancer Res 2015;75(15 Suppl):Abstract nr 3710. doi:10.1158/1538-7445.AM2015-3710

B a c k g r o u n d . According to the genre characteristics, the article is a form of publicizing analytical conclusions from the experience of research in the field of the philosophical Chinese studies at the National Academy of Sciences of Ukraine from 1991 to the present day. The material for understanding was supplied from the environment of scientific professional activity of prominent figures of Ukrainian philosophical Sinology from the H. Skovoroda Institute of Philosophy of the NAS of Ukraine and the A. Krymskyi Institute of Oriental Studies of the NAS of Ukraine. The scientific achievements of academic Sinologists, who are leading researchers of Chinese philosophical education, science and culture from the archaic to modern times, are highlighted. They are, namely: V. Kiktenko, V. Pyrohiv, V. Hamianin, S. Kapranov, Y. Hobova and A. Usyk. M e t h o d s . The article uses an analytical approach based on the study of historical and philosophical sources. The methodological basis of the research is the main methods of historical and philosophical science: problem-categorical analysis, socio-cultural analysis and biographical analysis. At the same time, the methods of situational and contextual analysis of scientific texts are applied. R e s u l t s . Four conditional thematic vectors of the progress of academic philosophical Sinology in modern Ukraine are classified, namely the study of: 1. the history of ancient Chinese philosophy, especially Confucianism; 2. the history of Chinese philosophy in the 19th – early 21st centuries; 3) the history of Ukrainian Sinology in the 18th – early 21st centuries; 4. the history of modern foreign Sinology. The director of the A. Krymskyi Institute of Oriental Studies of the NAS of Ukraine and the head of the Ukrainian Association of Sinologists V. Kiktenko very effectively studies all these vectors, especially the last three of them. His colleagues at the institute V. Pyrohiv, V. Hamianin and Y. Hobova mainly research the first of these vectors, and primarily the history of Confucianism. Employees of the H. Skovoroda Institute of Philosophy of the NAS of Ukraine S. Kapranov and A. Usyk are also focused scientific attention on the history of Confucianism, in particular, the second of them studies social ethics and anthropology of Confucius. C o n c l u s i o n s . As a result it was established that modern domestic philosophical academic Sinology is a qualitatively new and innovative direction of Oriental studies in independent Ukraine. This discipline was formed as a result of the two-century progress of Ukrainian Chinese studies from the era of Hetmanshina until now. V. Kiktenko and his colleagues have made a significant and already internationally recognized contribution to the study of both the classical philosophical schools of Ancient China and their ideological heirs, in particular, the leaders of the PRC and the CCP from Deng Xiaoping to Xi Jinping during these thirty years. V. Kiktenko also laid the foundations for the study both of the history of Ukrainian Chinese studies and of modern foreign, primarily Western European and North American, Sinology.

The purpose of this article: analysis of Gennady Gorbaty's painting, in the work of which the transition from a realistic reflection of the world to the art of postmodernism, characteristic of Ukrainian art of the late 20th century, was reflected in a peculiar way. The methodology is the application of art analysis, methods of comparison and generalization, biographical and historical approach. The scientific novelty lies in the discovery of the peculiarities of the transformation of the traditional for Soviet art reflection of reality into visual practices of the late 20th – early 21st centuries on the example of the work of a particular artist. Conclusions. Gennady Gorbaty studied at the Kyiv State Art Institute (1981–1987), so his formation was significantly influenced by the traditional school of painting with a mostly realistic reproduction of the world around it and a purely academic hierarchy of genres. The socio-political situation in Ukraine in the late 1980s and early 1990s not only contributed to the liberation from such a view of art, but also intensified attention to the development of both contemporary world art and modernist manifestations that existed in the culture of the first half of the 20th century. At the same time, many artists became interested in the history of Ukraine, especially in its tragic or dramatic pages, which led to the emergence of numerous compositions with a complex system of symbols and associations, elements borrowed from the paintings of past eras. In the work of Gennady Gorbaty can be consistently traced a variety of influences, which demonstrate his search for his own plastic language, the gradual departure from the conditionally realistic art of the Soviet era and the formation of a peculiar manner of performance. This was facilitated by an acquaintance with Western European art of the late 20th century, as the artist has been working in Germany since the early 1990s. It was one of the German art critics G. Beck who defined the stylistics of G. Gorbaty's works as crypto-realism, in which the emotional beginning, reflected in the color scheme and expression of picturesque textures, is combined with supposedly hidden motives of visible reality. In the works of this author, the blurring of genres, the synthesis in one picture of elements of different artistic epochs – from the Middle Ages to postmodernism – is also noticeable.