Artistic Legacy Research Articles

“Nella cerchia degli incontri italo-polacchi”. Eseje Nicola Chiaromontego w perspektywie teorii skopos

The article discusses the essays by Nicola Chiaromonte analyzed from the perspective of the skopos theory. According to this theory, translator of any text should take into consideration the cultural context of work he renders in another language, its axiological aspect as well as requirements of its recipients. The dialogue Chiaromonte had with his Italian readers has been transferred into Polish literary discourse by Wojciech Karpinski. The translations he produced provide their Polish recipients with such a vision of the Italian author, his way of understanding the world, oneself and other people, that the essays in Polish clearly reveal a new usage and intellectual potential of ancient philosophical and artistic legacy.

Мелодия формы и пространства: музыка как источник вдохновения

The article is devoted to the artistic legacy of Bashkir sculptor Ruslan Nigmatullin, one of the leading masters of contemporary visual arts in the republic. The relatedness of artistic expressive means of music with those in the plastic arts, their expressive elements become more apparent in the comparison of music and abstract art in the process of generation of the artistic image. The authors examine the artist’s oeuvres in the context of the particularity of sculpture as a peculiar art which requires from the viewer the knowledge of the laws of artistic form-generation and an understanding of their language, based on such elements as mass and space. The article presents an analysis of the artist’s works made of stone, metal or wood, while the artist himself sees their source as being connected with music. During the course of his entire artistic path Ruslan Nigmatullin has created sculptures in different directions: realism, decorative plastic and abstract art. The master’s art works, according to the authors of the article, are all unified by an inner figurative idea: when looking at the sculptor’s works it is possible to observe their inherent qualities: contemplation, abstraction and pure sound — natural, ethnic and sometimes purely songrelated, enhancing their relatedness to music. The artist considers one of the sources of his inspiration to be the historical Asian melodies, which share common roots with the ethnic music of the Bashkirs, Kazakhs and Tuvans. The authors provide an analogy between the folk songs of these peoples and their instrumental tunes, the latter being marked with a concise, measured rhythmic structure, and the artist’s works, his ability to create new forms, frequently just as abstract as the melodies with which it is associated.

Poklon zbirke Galerije Matice srpske kao jedan mogući model brige o legatima

Aware of its singularity and based on the idea of giving and charity, Matica Srpska has always nurtured the tradition of honouring and thanking all those who have contributed to its operations from its very beginnings in the 19th century. From the founding of the Museum, through its opening to the public in 1933, to its independence and situating of the Gallery of Matica Srpska in a separate building in 1958, special gratitude was expressed to the artists, their heirs and to the collectors who contributed to the art fund. At the beginning of the 90s, under very specific social and political circumstances, a series of exhibitions entitled Gift Collection was initiated at the Gallery of Matica Srpska. The goal of these exhibitions was to fill the art fund and also to promote the act of donating to museum institutions, as a contribution to the development of national culture. At first, such practice of organizing exhibitions of gift collections included exhibits of new works and publications of single page catalogues with a short introductory texts and lists of art works which were gifted by donors. In the 21st century, representations of gift collections were improved with better quality and content of catalogues which contained expert reviews and reproductions of all donated works. Moreover, accompanying programmes such as talks with artists, guided tours and educational workshops for children were organized during exhibitions. The gift collection series have changed, developed and improved during their three decades of existence. Today, this is an exemplary model of filling the collection of the Gallery of Matica Srpska, with a unique attitude towards donors. Over time, it has become a brand that similarly appeals to artists, their heirs and also collectors to give presents and join the Friends Club of the Gallery of Matica Srpska. Thus, this gesture of donation provides them and also their works or their collections, with a permanent place in the history of Matica Srpska and Serbian culture. The gift collections of the Gallery of Matica Srpska, as a specific model of receiving, safeguarding and presenting artistic legacies, are unique examples in Serbian museums. This model points out how necessary it is to establish a system of handing over/donating artwork, but, at the same time, it also shows the need for that system to be constantly upgraded and improved to mutual satisfaction of the donors and the institutions that receive the gift of art.

Ljubiša Jocić - pesnik van konvencija

Ljubiša Jocić, a companion of Serbian Surrealism, poet, novelist, narrator, essayist, actor, director, playwrighter, painter, left an insufficiently researched and extensive artistic legacy. In his overall artistic engagement, there is a noticeable motive unity, which is evident through the phenomena of the riddle of Eros, analysis and re-examination of the world and self, fear of evil in all its manifestations, to the search for harmony and original innocence of the world,. precisely in the space of the creative. In primary ideas, as well as in the procedures of building a literary text, Ljubiša Jocić was always outside the dominant poetics and generally accepted, suitable and canonized literary paradigms. The intention of this research is to establish what was the reception of Jocic's work in the reflections of literary critics and theorists, of his time.

Adam Franciszek Epler (1902–1940) – zapomniany muzyk międzywojennego Lwowa

This article is an introduction to the artistic profile of a Polish conductor, composer and guitarist Adam Franciszek Epler. This forgotten creative persona left the artistic legacy of compositions and arrangements for mandolin orchestra ensemble. Moreover, he was the first Polish guitarist playing Polish lute music, a founder of the first Polish guitar trio named Lwowskie Trio Gitarowe and a musician in the most popular interwar radio broadcast Wesoła Lwowska Fala. As a composer and conductor of the Orchestra of Mandolin Society “Hejnał” from Lviv, he also took part in numerous radio broadcasts of Polish Radio Lviv. His musical activities, similarly to the entire mandolin heritage in Poland and guitar history in interwar Poland, requires further research, and this article is one of the first contributions to these research topics.

Empoderamiento de Hashime Murayama en el Atlas de citología exfoliativa de George Papanicolaou

The illustrations of Hashime Murayama were vital in enabling the Papanicolaou test to be understood, admired and observed worldwide, making Papanicolaou's Atlas of cytology so fundamental in the detection and prevention of cervical cancer. Murayama was a talented Japanese artist who initially worked for the National Geographic magazine; his figurative watercolours were ideal for portraying the wonders of nature. Later, he collaborated with George Papanicolaou in Cornell University as he was able to improve on the microphotography of the era; an era in which it was not yet understood why cervical cancer caused so many deaths. His illustrations captured the most intricate cellular details and his artistic legacy will always be enlightening in each display of cellular artistry as seen under the microscope.

Новая идеология музыкального театра и её воплощение в творчестве Хайнера Гёббельса

The article analyzes the artistic legacy of the outstanding reformer of contemporary musical theater – producer, musician, composer and theatrical theorist Heiner Goebbels. The cardinal difference of his diversified works from the traditional model of opera theatre makes it possible to speak of a new theatrical ideology, of which Goebbels shows himself to be an adept. On the basis of numerous interviews with the composer and his personal utterances about his art, the article examines a set of peculiarities which characterize his musical-theatrical works in light of the innovative endeavors of the authorial aesthetics of musical theatre. A big role in its formation has been played by contemporary musical-theatrical technical resources, which have made it possible to achieve on the basis of digital computer technologies to achieve a new high-quality level of synthesis of the arts and elements which unite on a conceptual artistic platform sound, text, color, light, fire, water, scents, depictions, video projections and other things. The aim of this is to expand the possibilities of impact on the synesthetic foundations of human perception. Each component of the indicated synthesis is interpreted by the composer as independent informational message. Being a true artist of the postmodern era, Goebbels presents the musical performance as a counterpoint of a number of diverse texts. The high level of “density” of the informational plane of theatrical performance also necessitates a new perspective of the process of communication with the viewer, who does not interpret the meanings grounded by the author, but to a great degree plays the role of its creator. A number of aforementioned and other particularities of Goebbels’ musical theater is examined in the article on the basis of the opera “Landschaft mit entfernten Verwandten” [“Landscape with Distant Relatives”]. The publication is prepared within the framework of scholarly project No. 17-04-00198-OGN\19 supported by the RFFI. Keywords: Heiner Goebbels, musical theater computer technologies, contemporary opera, experimental musical theater, synthesis of the arts.

Glauber antropófago: mal de archivo, del manifiesto Pau-Brasil a Di-Glauber

El Modernismo brasileño, con el ímpetu característicamente vanguardista propio de la década de 1920, delata la artificialidad de la tradición nacionalista brasileña y la abre a nuevas posibilidades de uso: al yuxtaponerla con las corrientes modernizadoras del siglo XX, subvierte el orden de este archivo y da lugar a una nueva y descolocada identidad nacional. Di-Glauber (1977), un documental poco estudiado por la crítica especializada en la filmografía de Glauber Rocha, ofrece la oportunidad de abordar la realización cinematográfica de una operación sobre dicha tradición cultural. A través de una relectura y un homenaje elegíaco de la figura y la obra del pintor Emiliano Di Cavalcanti, Rocha pliega los procedimientos del Modernismo sobre sí mismos, abriendo el archivo de Brasil a la experimentación de un film que reivindica para sí la fuerza disruptiva de su legado artístico.

The Wandering Voice of Tibet: Life and Songs of Dubhe

ABSTRACT This article concerns the life and songs of Dubhe, one of the most influential and adulated singers of contemporary Tibet, who passed away in February 2016. The voice of Dubhe is instantly recognisable, and his artistic legacy is acknowledged by Tibetans both inside and outside Tibet. He began singing as a young nomad boy in the early 1980s, which coincided with the Tibetan cultural revival in the wake of the Cultural Revolution. Over the following decades his melodious voice, musical flair, immersion in Tibetan oral poetry and public-spirited nature deepened Dubhe’s dunglen songs (Tibetan guitar songs) and broadened their appeal. Although many Tibetans regard him as a national hero and find his songs cathartic, accessible, and patriotically expressive, little is known of his life. As a result, through the presentation of a short Tibetan oral composition this article will present some key aspects of his life and some of his most popular songs. The exploration of this extempore proverb-suffused speech shows that informative records of someone’s life can be found in small fragments. It reveals that such tiny pieces not only contain significant biographical material but also form as well as revealing socio-cultural conditions that shape one’s life.

Restaging Feminism: The Activist Retrospective

Abstract In the context of retrospective exhibitions, feminist restaging signifies a performative 'redoing' in a circuit of repetition that re-envisions, reinvents and remakes the discriminatory absences in history. In this article, the activism of restaging will be explored through the curatorial methods employed to memorialize Ana Mendieta's artistic legacy. Feminist strategies differ from the norms of canonical practices used in traditional career retrospectives, such as those for Mendieta's husband, Carl Andre. In another example of restaging, the 2011 re-presentation of Judy Chicago's works in Setting the Table created the opportunity to exhibit simultaneously Margarita Cabrera's sewing project in collaboration with Mexican artists. Restaging inaugurates the past and present of feminist collectivities, establishing a transnational activist model for repeat exhibitions.

Editor's Column: “Danny in the back seat wants a cup a water”: Musings on America, Steinbeck, and the Child

Editor's Column: “Danny in the back seat wants a cup a water”: Musings on America, Steinbeck, and the Child

In the Shadow of Piotr Piotrowski: Small Histories for a Global Perspective

In 1991, the Slovak art historian and critic, Tomas Strauss, then living in exile in Germany, edited a book on art in East Europe, in which he and his fellow authors drew attention to the deep ignorance in which the ‘Western’ art world had remained, since the division of Europe after 1945, of the rich artistic legacy of East and South-East Europe. He pointed to the prevalent belief that socialist realism had outlived Stalin by more than a few years, and that cultural life throughout the Easte...

David Burliuk’s artistic legacy as an object of theoretical analysis

The purpose of the article. To consider the history of futurism who was shaped greatly by David Burliuk, an artist, poet and talented organizer of literary and artistic process in Russia and Ukraine within the 1910–1920s, basing on the set of research works done at the turn of the 21st century. Methodology of the study provides for the application of such main principles as personalization as a structural element of biographical method and dialogue, which allow to deepen and broaden objective knowledge as well as author‘s submission of futurism personalized core. The scientific novelty of the study lies in applying culturological approach tools to the analysis of D. Burliuk‘s artistic and theoretical legacy which is considered as a single phenomenon. Conclusions: 1. It is shown that D. Burliuk‘s creative work as well as his memoirs and the ones of his contemporaries reveal a new opportunity to evaluate objectively the contribution made by this outstanding personality to cultural formation processes in the first quarter of the 20th century. 2. The stud- ies concerning the period of the 1910–1920s are systematized and analyzed; the ideas to be of innovative nature are identified, they concern, on the one hand, the logics of European futurism development (mainly Italian one), but on the other hand, futurism Ukrainian and Russian models identity.

The Baroque Artistic Legacy of Confraternities in the Croatian Franciscan Province of Sts. Cyril and Methodius

During the 17th and 18th centuries, confraternities in continental Croatia acted as commissioners of art—altar sculpture, paintings, and liturgical furnishings—but their overall contribution to the visual and cultural identity of this area has been less thoroughly researched than the confraternities’ legacy in Adriatic Croatia. Thus, the aim of this essay is to offer insight into the significant heritage of lay confraternities in the Croatian Franciscan Province of Sts. Cyril and Methodius. Essential facts about the history of the foundations and the activities of the confraternities in this Franciscan Province may be obtained by collecting data presented in a series of important publications on the friaries and churches of the Province by Friar Paškal Cvekan. Based partially on his studies of the archives in Franciscan conventual houses from Trsat and Zagreb in the territory of Croatia, to Bač and Subotica in the territory of Serbia, and complemented by my own archival and on-site research, this essay provides a topographic overview of the confraternities’ achievements in art patronage in the Province. The discussion of the patrons, artists, and workshops, as well as the stylistic identity and iconography of individual works, reveals significant new aspects of the religious and artistic heritage of Northwest Croatia.

Satan’s Empire: Ancient Rome’s anti-Christian appeal in extreme metal

This article discusses the previously unexplored intersection of the reception of classical antiquity in extreme metal with Satanic and anti-Christian themes. It is demonstrable that the phenomenon has roots in the genesis of extreme metal itself, especially in its inheritance from biblical and literary history of the associations between Satan and Roman emperors. As extreme metal evolved over the past three decades, that theme combined with the perception that imperial Rome had undertaken widespread and sustained persecutions of Christians, including spectacular executions for the sake of popular entertainment, throughout the three-century history of the early Church. This is despite the consensus of many modern historians that the Romans were largely tolerant of Christians and persecutions were brief, isolated, more humane, and cost much fewer lives than early Christian sources suggest. It is evident that metal artists inherit, and thereby perpetuate, a tradition manufactured by Christian sources that have largely been debunked; yet these artists depart from those Christian sources by denying the appeal of martyrdom and shifting sympathies to imperial Rome and its ‘Satanic’ emperors. Like Satan himself, these emperors function as symbols of masculine aggression and liberation of the passions from contemporary political and moral systems. Such anti-establishment sentiments, especially among Italian artists, can manifest in fantasies of a Roman Empire reborn. By their artistic license, extreme metal artists continue to reshape a literary and artistic legacy of the imperial Rome and constructions of persecution narratives developed over the course of the late antique, medieval and modern periods.

From “Symbols of Resistance: The Legacy of Artists under Pinochet (1973-1990)”

From “Symbols of Resistance: The Legacy of Artists under Pinochet (1973-1990)”

Gabrielle Capet’s Collective Self-Portrait: Women and Artistic Legacy in Post-Revolutionary France

Gabrielle Capet’s Collective Self-Portrait: Women and Artistic Legacy in Post-Revolutionary France

С. В. Рахманинов и М. А. Врубель: творческие параллели

The article offered to your attention is dedicated to the interrelations between Sergei Rachmaninoff and Mikhail Vrubel. Turning directly to the legacies of the two artists, it is possible to observe a definite and continued “creative dialogue” between them manifested in the artistic themes in images to which Rachmaninoff and Vrubel consistently turned. Most prominent among them are the images of the Lilac and Goethe’s “Faust”. The author examines the peculiarities of their interpretations by the two artists in such works as Rachmaninoff’s song “The Lilac” opus 21 No. 5 and the First Piano Sonata opus 28, as well as Vrubel’s “Faust” triptych (1896) and the painting “The Lilac” (1900). Also subjected to analysis are a number of biographical details, which make it possible to assert that one artistic experience had exerted direct influence on the other. From the perspective of the art of performance, such tracing of artistic parallels makes it possible to glance anew at certain compositions by Rachmaninoff particularly from the position of interpretation in the context of the Art Moderne artistic direction, to which the greater part of Vrubel’s artistic legacy may be attributed.

Жанрово-стильові модифікації реалістичного нарису Антона Крушельницького

The article deals with genre-style modifications of the realistic essay of the 19th-20th centuries. In the article the author studies Anton Krushelnytsky’s artistic legacy (1878–1937) in the context of the dominant trends of Ukrainian literature at the end of XIX – the beginning of XX century and through the receptive dimensions of modern theory of literature. The paper defines the ideological and axiological background of the writer’s artistic understanding the reality and aesthetic nature of his creativity. The unity of the form and contest of prose texts is determined. The prose of the given period has a great variety of intra-genre modifications: essay, feuilleton, short story, story, novel. The works demonstrate exceptional multidimensionality of their inner structure, style diffusion, eclecticism of belles lettres methods and ways to achieve reality; the motives of «true morals» appear, which form counterbalance and alternative to moral chaos. Syncretic interaction of aesthetic paradigms of neorealism with impressionism, expressionism, symbolism is observed in prose. The characteristic features of the literature of the transitional stage in the moral-ethical, psychological and emotional aspects are revealed. Ukrainian literature of the late nineteenth and early twentieth centuries was accompanied by the synthesis of sociological, psychological, aesthetic systems. The genre and style features and modifications of A. Krushelnytsky’s small form of prose are considered. The narrative models of the writer’s novels are analysed. Consequently, the essay as a genre of small prose is a complex and multifaceted phenomenon that contains philosophical and aesthetic representations, artistic, socio-political, and moral-ethical quest for the breakthrough of the turn of the 19th and 20th centuries. The artistic practice of writers contributed to enriching of Ukrainian writing with new themes, images and genre forms, expanding the limits of traditional realism, so, updating the artistic and stylistic palette. The given motives of writers’ works reflected to the inside feelings and experiences of heroes are present as intertextual inclusions in prose of M. Kotsubinskiy, V. Stefanik, P. Mirniy, L. Ukrainka, O. Kobilianska and other writers at the turn of XIX-XX centuries. Being an organic component of Ukrainian literature, the narrative represents a tendency to expand the social sphere of personality images, to deepen the personal psychological characteristics of the individual. The place and role of prose creative works in Ukrainian literary process at the turn of the century are grounded.

About the history of the study of the artistic legacy of Imadaddin Nasimi

About the history of the study of the artistic legacy of Imadaddin Nasimi