Sphere Of Art Research Articles

La devoción de la Virgen del Sagrario de la Catedral de Toledo en Hispanoamérica. Difusión y culto durante la Edad Moderna a través de sus "verae effigiei"

The importance of verae effigiei in the religious and artistic sphere during the Modern Age was enormous and motivates us to scrutinize a fairly unknown case: the Virgen del Sagrario of Toledo Cathedral. Based on unpublished documentation preserved in the Archivo Capitular, and the analysis of several visual sources (canvases and engravings), this paper offers an account of how this cult spread in New Spain during the aforementioned period. Furthermore, we have been able to determine the impact of the inauguration in 1675 of the new throne, designed by Pedro de la Torre and Francisco Bautista and later realized by Virgilio Fanelli.

Performing the Promethean Self in Childe Harold’s Pilgrimage III–IV and Cain

In Childe Harold’s Pilgrimage III–IV and Cain , Byron, as Nietzsche remarks, outlines an “übermenschlich” sense of Promethean identity in his confrontation of the tragedy of poetry. The travel narrative of Harold, the tragic history of Venice, and Cain’s pursuit of divine status each fictionalize a visionary mode in which Byron illustrates a fragmentary identity tortured by poetic achievement. The series of moral riddles on knowledge, poetry, and truth that Byron navigates in these poems move from the artistic sphere of his career to an existential discourse on whether Byron the Promethean poet can outdo mortality.

Art at the turn of the 20th and 21st centuries in the context of recurring epochs: New sensitivity in the artistic sphere as a challenge. Part 1

Art at the turn of the 20th and 21st centuries in the context of recurring epochs: New sensitivity in the artistic sphere as a challenge. Part 1

Art literacy of masters students and masters in folk artistic culture

Introduction. The relevance of studying the phenomenon of artistic literacy is determined by the fact that the ability to understand art is a necessary skill of a modern person. Artistic literacy at work refers to the ability to study art, as well as apply this knowledge when creating your own works of art. The purpose of this article: to study the characteristics of artistic literacy of undergraduates and masters of folk art culture. Materials and methods. This study of artistic literacy was carried out through a diagnostic method. The sample members were masters and undergraduates in the field of study 51.04.02 “Folk artistic culture” in the direction “Musical heritage of the Russian people”, studying or completing their studies at I.A. Bunin Yelets State University. The sample consisted of 43 respondents (N=43). At the time of the study, 19 subjects were studying in the 1st and 2nd years of a master’s degree; 24 subjects completed their studies in this master’s program in 2021-2023. The “Artistic Literacy Scale” by I. Yucetoker was identified as a diagnostic technique, which includes 26 statements. Each statement is asked to be rated on a 5-point scale. The artistic literacy scale consists of 4 factors: “Information need”, “Research activity”, “Use of knowledge of the artistic field in scientific activity”, “Transfer of the results of scientific research into the artistic field into performance and creativity”. Statistical analysis was carried out using SPSS software. To process the results of the diagnostic technique, a t-test for independent samples was used. Also, to identify certain aspects of the conditions for the formation of artistic literacy, interviews were conducted with some of the study participants. Results. The level of artistic literacy among all members of the sample is quite high. There were no statistically significant differences among the groups of respondents distributed by gender (t (43) = 1.42; p > 0.05), while statistically significant differences were observed between the groups of undergraduates and masters (t (43) = 3.02; p > 0.05). Master's students demonstrate better results, which is determined by their professional experience. The main problem areas for master's students are related to the use of knowledge of the artistic sphere in scientific activities and the transfer of the results of scientific research into the artistic sphere into performance and creativity. Apparently, the process of developing functional literacy at a professional level is associated not only with receiving vocational education, but also with the first experience of professional activity. The high level of artistic literacy of master's students is due to the presence of such circumstances as passion for a certain creative and/or performing practice, extensive experience of solo or group participation in various musical or cultural projects. Scientific novelty. For the first time, based on a sample of Russian students, the results of assessing artistic literacy are shown. Practical significance. The results of the study can be used to optimize the process of organizing research work of undergraduates, as well as industrial internships.

Moscow Palace of Pioneers in the Cinema: A History Frozen in Time

The Moscow Palace of Pioneers on the Vorobyovy Gory — an architectural monument of Soviet modernism, the most successful and recognizable building of the Thaw period — can be found in many Soviet and Russian films: “The Tale of Lost Time”, “Gimme the Book of Complaints”, “Moscow — Cassiopeia”, “The Way to the Concert”, “Afonya”, “Dangerous Age”, “Nina”, “Legend No. 17”, “Thaw”, “Lyudmila Gurchenko”, “The Optimists” and others. The article reviews filming locations of feature and documentary films, identifies the main locations of the director’s groups, parallels and comparisons of perspectives in cinema with contemporary reality. The reasons for the director’s choice of certain halls, auditoriums, and spaces are analyzed; changes in the role and functionality of the spaces are identified; and the connection with the plot is traced. It is shown how, thanks to the artistic language of cinema, the directors change the function of buildings and spaces: the seventh building becomes an airport, the winter garden becomes a billiard room, classrooms become editorial offices, the theatre hall becomes a meeting place for diplomats. Some films depict unique interiors of the Palace, panels and mosaics, while in other films the directors were interested in innovative objects and angles that were not clearly linked to the pioneer theme. Many of the reviewed films contain a pedagogical component: they teach to value time (The Tale of Lost Time), to dream (Moscow is My Love), to set high goals (Moscow — Cassiopeia), to keep one’s word (Thaw), to succeed (Legend No. 17, Lyudmila Gurchenko), to seek the right path in life (Afonya), to be a patriot (The Optimists). Documentary films about the Moscow Palace of Pioneers are a vivid example of successful organisation of the educational process. The article may be interesting and useful to researchers of the spheres of culture, cinema, art, history and education, residents and guests of the capital and everyone who is interested in the history of the Moscow Palace of Pioneers. The materials of the research are also of practical value and can be used by tour guides, teachers, methodologists and teachers.

The influence of modern technologies on creative processing, the sphere of sound art, and sound production

The influence of modern technologies on creative processing, the sphere of sound art, and sound production

INTERNATIONALISATION: A CATALYST FOR ADVANCEMENT IN ARTISTIC AND PEDAGOGICAL EDUCATION IN PR CHINA

In the realm of education, particularly within the spheres of art and pedagogy, the concept of internationalisation has emerged as a potent catalyst for progress and advancement. Nowhere is this more apparent than in the context of the People's Republic of China, where a concerted effort towards internationalisation has profoundly transformed arts education, elevating it onto the global stage. This article aims to underscore internationalisation as a pivotal factor in the contemporary development of art and pedagogical education in the People's Republic of China, while also highlighting its traditional role in shaping the trajectory of education in historical retrospect. The research methodology employed in this article draws upon conventional approaches in the field of comparative pedagogy, including the historical approach, literature review, analysis of regulatory frameworks, and utilisation of open sources of information. The novelty of this article lies in its presentation of internationalisation as both a progressive and traditional tool, particularly in the context of training future art teachers for public schools in China. One of the primary mechanisms through which internationalisation fosters the advancement of art and teacher education in the PRC is by facilitating the exchange of ideas, techniques, and best practices with educational institutions and educators worldwide. Collaborative partnerships and academic exchanges have played a crucial role in revitalising knowledge, enriching curricula, and refining pedagogical approaches within Chinese higher education institutions today. Conclusion: internationalisation stands as the cornerstone of progress and development in art and pedagogical education in China. By embracing diversity, fostering collaboration, and embracing global perspectives, Chinese educational institutions have positioned themselves at the forefront of innovation and excellence in internationalisation, particularly within the realm of arts and education.

Ukrainian piano music paradigm of the past and present in the performance dimension

The research relevance on the specificity of Ukrainian piano composition, both solo and ensemble, is predefined by its demand for modern society, as well as in the content and significance of this sphere of musical art. The research aims to highlight the phenomenon in question as a voluminous, complex and, at the same time, holistic system, as well as to identify its leading components, their content, functional significance, and principles of interconnection between themselves and with the society. To achieve the above objective, the following methods were used: historical, culturological, analysis, structuring, synthesis, comparative characterization, and systematization. The research analyses the complexity of the phenomenon. The study examined several components of the phenomenon, namely the leading components of the foundation of piano performance in Ukraine, the sectors of pianism implementation and the nature of its impact on them, the modernisation of social life directions under the influence of music, Ukrainian piano art and performance in different historical eras, elements of the art of piano performance, software functions in the sphere of modern pianism. The research results illuminate processes of Ukrainian academic national piano art integration into world professional creative and performing culture as well as the uniqueness of Ukrainian music which embodied stylistic and technical achievements of classicism, romanticism, directions of the twentieth century and modernity on the ground of original colourful ethnic origins. The practical significance of the proposed study consists in the fact that its materials can be used in the concert activities of pianists, in compiling educational programs of secondary and higher music schools in piano performance, as well as in the implementation of research projects aimed at finding discoveries in the field of pianism, its specificity, manifested in different areas.

Artisan – Expert, Specialist, Witness?

The article analyzes the problem of using special knowledge in the field of craft in the investigation and trial of criminal cases. The history of the of such knowledge in the field of criminal proceedings goes back to ancient times. For the first time, the use of such knowledge in criminal proceedings was indicated in the Code of Laws of the Russian Empire in 1832. Subsequently, it was established: the Charter of Criminal Proceedings of 1864, the Criminal Procedure Codes of the RSFSR of 1922, 1923, 1960. The current Criminal Procedure Code of the Russian Federation does not indicate the scope of knowledge used in expert research, but this flaw is compensated by the Federal Law of May 31, 2001 No. 73-FZ “On State Forensic Expert Activities in the Russian Federation”, revealing the concept of examination, including in the sphere of specialized knowledge, except science, technology, art and craft. Scientificity cannot be a sign of craft knowledge, since, firstly, the legislator himself separates areas of specialized knowledge from each other, and, in particular, from science, and secondly, knowledge in this area does not require professional education, experience is sufficient, as well as skills and mastery. An artisan cannot and should not act as an expert in a criminal case, due to the requirements placed on an expert regarding knowledge and qualifications, he is unlikely to be able to conduct an expert study and draw up a qualified expert opinion. For the same reason, he also cannot be involved in giving a specialist opinion, since its preparation requires appropriate knowledge and competence. An artisan may be invited as a specialist to participate in procedural actions in accordance with Part 1 of Art. 58 of the Code of Criminal Procedure of the Russian Federation or interrogated as an ordinary witness who may know any circumstances relevant to the investigation and resolution of the criminal case (Part 1 of Article 56 of the Code of Criminal Procedure of the Russian Federation).

Ethics and rule breaking in a vulnerable society: some challenges

Scientific and procedural rationality becomes compatible with subjectivism, increasing the modern ethical void. In this work I will show how that void impact in disruptive behavior. First, I shortly describe the general problem of our moral culture making dialogue one of the most important contemporary moral philosophers, Enmanuel Levinas and the sociologist Zygmunt Bauman, who has made the main critical contribution to the moral culture. Second, I will make some observations in the sphere of art, where it is specially notorious how the crisis of ethics due to the evolution of the culture of individualism affects to the behavior erasing limits -v.g. Proof-Of-Authority-, extending the beliefs that all is possible, that anyone can do anything, everything can happen, and, so that, rules and forecast are perceived more relatives that never. In a third step, I will focus the attention on the multidisciplinary field of Criminology -rule breaking, deviance-, because it is the main place where can be proof the failure of norms which lead society to both, problems for coexistence, and ability to predict insecurity. The formulas invented by social scientist to understand “normal” as well “deviant” behaviour, seems to fail more than ever. That should make us consider two kinds of challenges. How can we reinforce the ethical side of the norms under a cultural environment secularized and liquid, and physically threatened? How can we manage the self-criticism in social sciences so that we not all in the pessimism apparently propitiated by Cancel Culture?

СУТНІСНА ПРИРОДА І КЛЮЧОВІ ХАРАКТЕРИСТИКИ КРЕАТИВНОЇ ЕКОНОМІКИ

The article is devoted to the systematization of theoretical problems of the creative economy and their key characteristics. It is emphasized that the creative economy, from the point of view of the influence of intellectual capital and investments in human capital on the dynamics of competitive development of national economies, is the highest form of development of the new economy, capable of producing creative products with more than 50% of the specific weight of the creative component in their intangible value. The innovation-technological paradigm of the creative economy is determined by the accelerated dynamization of global technological progress, in which production, turning into a platform for technological application and a continuous flow of innovative developments, puts science and education among the priority factors of global economic development. As international practice shows, it is precisely the cultural aspect of the creation of economic activity that is the most difficult to understand, since in the cultural sphere, as in no other, the prevailing concepts in most cases require the greatest adjustments in order to adequately reflect the specific methods of organization and development of the economic system of society, presented in products of material and spiritual labor, the system of social norms and institutions, as well as the attitude of individuals to nature, to each other and to themselves. The article emphasizes the cultural paradigm of the theoretical design of the creative economy, which is characterized by the multifacetedness of the cultural phenomenon, which makes it possible to significantly expand the methodological ideas about the nature and driving forces of creative production based on the inclusion of economic activity that goes beyond the artistic sphere itself. The fundamental transformations that the world economic system has undergone in recent decades include radical changes in the nature and forms of organization of economic activity with the loss of traditional reproductive factors of production of their leading role in the competitive development of companies, states and entire regions. Under such conditions, their maintenance of high competitive positions on the market is decisively determined by creative resources, which, although they cannot be evaluated in traditional value categories, are actively introduced into the process of social reproduction based on the generation of new creative ideas by economic entities and their large-scale market commercialization.

«Fairy Land»: Altay in artistic report of V. Hzytsky

Introduction. The 1920s and the beginning of the 1930s forever entered the history of Ukraine as a period of incredible development of the cultural and artistic sphere. The rapid development of culture contributed to the spread of reporting, which helped readers to clearly, dynamically, in detail, and documentary accurately show a fragment of the life of that time. Relevance and goal. The relevance of the research is determined by the fact that the genre-stylistic and thematic features of the reports of 1920−1930 are still under-researched and, therefore, require meticulous analysis. The goal is to investigate the specifics of the creation of the image of Altai in the Ukrainian literary reportage on the travel theme «Altai» by V. Hzhytsky based on a comprehensive and detailed analysis. Methodology. To study the outlined issue, general scientific methods of material selection and systematization, comparative analysis, bibliographical-descriptive, cultural-historical, and descriptive analytical methods, as well as the method of generalization were used. The results. Volodymyr Hzytsky's report «Altai», which he wrote after visiting the Oirot Autonomous Region in 1928, was thoroughly analyzed. The author chose a chronological type of composition, which allows him not only to describe events but also to share his impressions and thoughts from what he saw. V. Hzytsky tries to make his report as interesting as possible for the reader. That is why he talks in detail about the nature of Altai, the mentality, traditions, and culture of the local population. The language of the report is extremely simple, and informal. One gets the impression that the reporter is simply talking to his readers and conveying the necessary information to them. Conclusions. Despite more than ninety years since it was written, V. Hzytsky’s literary report on the travel subject «Altai» is read with interest even today. V. Hzytsky’s observations are original, they do not repeat well-known truths – they are unexpected and always exciting. A vivid description of everything that the reporter saw, with his emotions, feelings, and impressions allows readers to feel the personal presence of the author, his «I». Thanks to the availability of a large amount of factual material, this report is especially valuable because it helps to feel the spirit of the era.

ХУДОЖЕСТВЕННАЯ ИНТЕЛЛИГЕНЦИЯ КАК СУБЪЕКТ ОБЩЕСТВЕННОГО ДОГОВОРА В ПЕРИОД КУЛЬТУРНОЙ РЕВОЛЮЦИИ В СССР (1930-Е ГГ.)

The article considers features of the social contract between the artistic intelligentsia and the Soviet political elite during the cultural revolution in the USSR. In that period the social contract was still paternalistic in nature, but being based not only on violence, but also on consent, on the general idea of implementing the social and cultural revolution and on benefits of various kinds that the creators could get from the new government. Since the late 20s, the management by the sphere of culture and art began to be centralized and the state became the main subject of cultural policy. Strict ideological control over the cultural process was carried out as well as the persecution of aesthetic dissent. At the same time, loyal cultural figures are rewarded through government orders and by being given high social status, high salaries, granting rights to publications, personal exhibitions and business trips abroad, awards and prizes, solutions for household and family concerns, etc. The principle of “socialist realism” was declared as the dominant creative principle. The Soviet party and state leadership enjoyed exceptional opportunities to influence the formation and change of the public consciousness of the Soviet people through cultural production.

Фальсификация произведений искусства как феномен культуры

The article deals with the problem of falsifi cation of works of art (forgery) and attitudes towards falsifi ed works: falsifi cation as a cultural phenomenon; the meaning of falsifi cation in different types of art; falsifi cation through the eyes of an art connoisseur, philosopher, forger; falsifi cation as an aesthetic and ethical phenomenon; the signifi cance of falsifi cation for modern aesthetic theory and for the art market. The relevance of the topic is justifi ed by a large number of falsifi cations both in the modern art market and in the artistic fi eld. The article defi nes falsifi cation; reveals the problem of distinguishing a fake from legal ‘secondary works’. Particular attention is paid to the lack of clear criteria for identifying falsifi cation: as a rule, this is the intention to bring a secondary work to the market or to the artistic sphere. The different meaning of falsifi cation in different types of art is associated not only with different opportunities to be the subject of investment, but also with the specifi cs of the types of art. In accordance with the theory of N. Goodman, for ‘autographic’ (‘visual’) types of art, the history of creation of a single unique copy has exceptional value; for ‘allographic’ ones such as cinema and literature, each reproduction is original (but works of these arts are not the subject of investment). T. Kulka, a prominent representative of modern aesthetics, explains why the “correct” aesthetic perception of an original or a fake without a hint from the outside is impossible and always requires knowledge of the context. This is a very important point for understanding the attitude towards falsifi cation: it is not built into the history of art and therefore cannot claim the same reverent attitude towards itself that the originals deserve. The ethical problem of the existence of falsifi cation is shown on the example of E. Hebborn’s “The Art Forger’s Handbook”, which explains how to shift responsibility for establishing the status of a work to art critics, using the peculiarities of their professional psychology. In general, the article recognizes the important role of falsifi cation in the modern art market: the fi rst unsuccessful acquisition of a novice collector becomes a kind of act of initiation and strength testing.

Philharmonic (concert) hall as a component of the infrastructure of musical life

Relevance of the study. The study of the infrastructure of musical life is a very important part of modern historical musicology. In this essay, I summarized information about philharmonic (concert) halls. These locations are the basic components of the musical life infrastructure.
 The purpose of the study. The main goal of the research is to reveal the fundamental differences between the philharmonic hall and the opera house (at the stage of its formation), the ways of evolution and the factors that led to the transformation of the philharmonic (concert) hall in our time. The goal defined in this way determines a set of local tasks, the solution of which will allow it to be achieved. This is, in particular, a parametric, morphological and functional comparison of the philharmonic and opera halls; determination of the direction and dynamics of the object's evolution until the moment of stabilization; historical and cultural factors that influenced the change in the configuration and functioning of the hall in the second half of the 20th - the first decades of the 21st century. Research methods are determined by the set goal and tasks and include both a quantitative approach (for parametric characterization of objects) and comparative and historical-cultural types of analysis.
 The results and conclusions. Appearing a century later than publicly accessible opera houses, a philharmonic became a stage of stabilization of the new European intonation concept. Belonging to the enterprises of the artistic sphere, it was influenced by the processes of democratization caused by the revolutionary movements of the 19th century. Experiments with increasing the size of the hall made it possible to draw a conclusion about the parametric limitations caused by the anthropocentrism of the new European culture. In the last third of the 19th century, a set of requirements for the philharmonic was formed, which were embodied in the halls of Vienna, Leipzig, Amsterdam, New York and Boston. In the 20th-21st centuries, due to the spread of non-academic intonation practices and the appearance of sound-amplifying equipment, a philharmonic hall underwent significant transformations, in particular, a sharp increase in size. At the same time, the desire to preserve the very phenomenon of an acoustic concert caused the appearance of halls of a new configuration, not a traditional "shoe box", but a "vineyard". Therefore, the ways of development of concert halls in our time are characterized by adaptation to market conditions and reflect two diametrically opposite trends: orientation either to enterprises in the artistic sphere or to creative industries.

Stratégies des marques face à leur appropriation par un artiste : Analyse réalisée à partir d’œuvres appartenant au mouvement du pop art et à ses héritiers

This research focuses on the rapprochement between commercial world of brands and that of art, two worlds that are a priori distinct. Indeed, essentially since the 20th century, the artistic sphere tends to be more and more intertwined with brands that can be used for products, services, retail chains, organizations, geographical areas, individuals... The rise of this intertwining can be explained by the spread of postmodernism in Western societies since the second half of the 20th century, its dimensions of fragmentation, acceptance of difference, paradoxical juxtaposition of opposites and hyperreality playing a particularly important role. This intertwining causes two types of relations. Indeed, some can be initiated by brands, and in general, they give rise to collaborations, while others can be instigated by artists without having solicited the brand. The first relationships having generated to numerous researches, this article will focus on the second ones which are less often studied. Specifically, it proposes to answer the following question: what strategy(ies) can a brand adopt when faced with its appropriation by artists? To answer this question, this research will begin with a literature review dedicated to art intended not only to explain appropriation in the art field, but also to present the artistic movements most likely to realize such appropriation (pop Art, neo-pop Art, hyperrealism, street art and urban art). The highlighting of movements turns out, indeed, to be a prerequisite for the implementation of the strategies which will be detailed in the second part. In conclusion, some contributions, limitations and future research directions will be outlined.

Artistes contemporains, un label de qualité: L’artiste dans le processus de co-création par collaborations

This study explores the relationship between contemporary artists and brands, highlighting the connections between the two, particularly through the lens of the artistic sphere and its role in collaborative creative processes. Numerous studies have been carried out under the aegis of brands, but only a very small proportion of them from the perspective of contemporary artists. By identifying the small share of artists who have developed relationships with brands, we propose to provide an insight into the proportion of artists who engage in collaboration. We present a design reasoning of a collaborative process that sheds light on the contributions of each stakeholder.

Subject Validity Issues and Potential Solutions in the Era of Metaverse–Starting with the Concern Over Property Rights in Crypto Art

In a pre-digital epoch, humans possessed the material means of production through material labor, which allowed them to exercise subjective agency and establish their existence as subjects through the acquisition of property rights. As digital technology has advanced, our digital being now forms an integral element of our fundamental human existence. In the age of the “metaverse,” we must confront and provide an answer to the topic of how to thrive better in the digital virtual world. The rise of Crypto Art, now imbued with a tangible worth by the incorporation of Blockchain technology and Non-Fungible Tokens in the artistic sphere, has opened new vistas for us to verify our subjects within the “metaverse”, thereby securing the liberty of our digital existence. However, crypto art, as digital labor under the techno-capitalist system, inevitably brings about the problem of alienation of digital laborers and their products, impacting the vulnerable subjects in the “metauniverse”. The communitarian mechanism and spirit of consensus inherent within the blockchain present potential pathways towards resolution. In addressing this predicament, crypto art must first transform into a societal intermediary committed to fostering a community centered around the sharing of digital resources. This would empower digital workers to genuinely possess their labor and acquire property rights on a public and communal platform, ultimately leading to the restoration of subjectivity.

THE MAIN TRENDS IN HIGHER ART EDUCATION

The innovative progress in improving the professional training of future artists is based on increased attention to the competence-based approach to professional training. When planning the educational path of future choreographers, it is essential to consider the role and specifics of their practical training. An effective practice occupies a prominent place in this process. It would take into account the development trends of the general social and artistic spheres. Such practices should cultivate skills that meet the demands and requirements of the contemporary world. The creation of qualitative conditions for the creative self-realization of a future choreography teacher allows both to consolidate knowledge and skills and to form a model of effective future professional activity. This article aims to identify the key trends in the development of higher art education. The paper outlines the prerequisites and peculiarities of trend formation while considering the features of the modern artistic environment. The study also aims to highlight the most promising change directions in higher art education, assessing the most significant factors contributing to their emergence and development. During the research, analytical methods were employed to process information regarding applying new working methods in higher art education. Additionally, the authors used the methods such as induction, deduction, analysis, synthesis of information, system-structural and comparative approaches, abstraction, and idealization for studying and processing data. The research has identified the leading, most important trends in higher art education, as well as the scientists' viewpoints on the key promising areas of development of higher education institutions in the field of art.

«Գյումրեցի նկարիչներ. Սերունդների երկխոսություն» նախագիծը իբրեւ կերպարվեստում գործող ինքնակարգավորման օրենքների առհավատչյա Ալեքսանդրապոլ-Լենինական-Գյումրիում

The project "Intergenerational Dialogue /Artists of Gyumri" is implemented by the Armenian Educational and Cultural Foundation "REAL ART" and the Ministry of Education, Science, Culture and Supports of Armenia. The project aims to reveal the secret of the cultural richness of Gyumri, to present the specifics of generational change in the sphere of fine arts and the development in it. From March to June 2023, 4 exhibitions were held in the exhibition hall of Gyumri Municipality (Curator: Arax Margaryan), they were presented within the scope of the project 4 presents: 9 artists from 4 painting families։ The works of father and son Mirzoyans, Ghukasyans, Manukyans, Hamalbashyans were presented, who work in different styles and techniques. The series of exhibitions proved how much potential Gyumri's fine art has, so it is too early to consider the topic exhausted, because other painting families are also active in the city, which implies that the project will have a continuation.