Position Of Artist Research Articles

THE PICTURE OF THE WORLD IN APHORISTICS BY STANISŁAW J. LETZ

Based on the analysis of the axiology of dominants and worldview of Stanislaw Jerzy Letz, the article examines the features of the artist's world picture, which made a significant contribution to the world aphoristics of the twentieth century. The main factors that determined his ideological and artistic position are identified, and the philosophical nature of his work is emphasized. It is found out that the priorities for the writer are anthropocentric and ontological problems. In the center of the aphoristics by S. J. Letz an individual appears in their existential and axiological dimensions. Despite the dominant satirical pathos of the writer's work, the idea is proved that the positive programme of the thinker correlates with the moral foundations of life, with trust in a person. Humor and satire in the artistic system of Stanislaw Jerzy Letz become means of understanding the world and a kind of form of resistance against unacceptable reality. The role of cultural and historical memory, the connection of generations in overcoming universal evil is understood. There are selected concepts that identify the artist's world picture such as freedom, an individual, belief, time, law, history, a reason, power, an idea, and a word. The principles of the artistic structure of aphorisms are analyzed. Considerable attention is paid to the study of the means which allow one to get into the deep meaning of the utterances and expand their semantic capacity: paradoxical, metaphorical, parodic transformation, language play, associativity, oxymoronicity, and semantic shifts. The development of the concepts and vectors of intertextual connections, the features of their verbalization in the artist's world picture are considered on the specific examples. The complex system of internal overlaps between aphorisms is studied. They reflect various aspects of thought and illustrate its multidimensional nature, complexity of human existence, and at the same time encourage the reader to a dialogue and intensify their intellectual activity. Special attention is paid to the analysis of the genre specifics of Letz's aphoristic heritage, which, combining lyrical and satirical components, is distinguished by a philosophical view of the world. As a result of the study, it is claimed that the key to the author's picture of the world by Stanislaw Jerzy Letz is freedom as a philosophical and social category, freedom as a prerequisite for creativity.

Indija kao motiv u stvaralaštvu Petra Lubarde

During the seventh decade of the 20th century, Petar Lubarda continued to be an important figure in the cultural diplomacy of Yugoslavia. His artistic position and presence on the local and international exhibition scene would root him in a position of a key figure in the First Conference of the Non-Aligned Movement in 1961. His artistic presence would be of major importance for the invitation of the Commission for Cultural Relations of the Republic of India, who then organised exhibitions in New Delhi and Bombay (Mumbai). The aim of the paper is to analyse the artistic production during the first years of the seventh decade of the last century and his personal experiences during his stay in India, in order to point out the changes and his reasons behind those changes on the example of his works on the topic of India.

Painters in Byzantium and beyond - their social status and reputation

The paper examines the social position and reputation of artists, primarily painters, in Byzantium and the countries under its cultural influence, in the area of the socalled Byzantine Commonwealth. It concludes that painters were treated like all other craftsmen in many aspects of social life from the time of the Book of Eparch (from the tenth century). Nevertheless, some artists were highly respected, and this prestige manifested itself in different ways: prominent painters were praised for their artistic skill or their wisdom and education, some were engaged as witnesses or guarantors in court cases due to their civic and personal credibility, some enjoyed a reputation that stemmed from their other profession - many of them were members of the clergy (priests, hieromonks, monks, hegoumenoi, chartophylaxes, metropolitans), some were elected state, city or military officials, and judges, and some were sent on diplomatic missions. Accordingly, many painters were addressed by the title kyr (Sir), which also testifies to their reputation and social status. Others, however, were forced to earn a living by trading, sometimes even by farming or herding. On the other hand, sources testify that occasionally figures of the highest social ranks (emperors, archbishops, metropolitans, nobles) also dabbled in painting, but they usually did so for fun, and are thus rightly seen in scholarship as amateur painters and cannot be used to illuminate the social status of painters. It seems, however, that the artist?s reputation, about which this paper provides original testimonies and a range of other indicators, generally did not bring a better or higher social status to the painters themselves, so until the end of the Middle Ages, much as in the tenth century, as evidenced by the Book of Eparch, they retained the status of artisans. To corroborate that claim, the paper brings original data on the social strata from which apprentices in painting workshops were recruited and the social circles from which came the spouses of painters or their family members.

Review: Forming Abstraction: Art and Institutions in Postwar Brazil, by Adele Nelson

Review: <i>Forming Abstraction: Art and Institutions in Postwar Brazil</i>, by Adele Nelson

TATYANA MEDVID – MASTER OF UKRAINIAN THEATRICAL DESIGNER OF THE SECOND HALF OF THE 20TH CENTURIES

The topic of the Study is dedicated to highlighting the phenomenon genesis parameters and place of work of the Ukrainian theatrical designer T. D. Medvid in the national, artiStic and sociocultural space the Stages of creative development, the principles of her artiStic method and their influence on the modern theatrical design of Ukraine are outlined. Tetyana Dmytrivna Medvyd can be considered a representative of three Ukrainian schools of scenography: the theatre department of the Kharkiv Art InStitute, the workshop of the experienced scenographer and teacher Borys Kosarev (1960–1965); maStering the philosophical principles of the “method of transformation”, the laws of theatrical synthesis and director’s theater, which were practically explored in mock-up laboratories by the artiSts of “Berezіl” (1974–1978) in the position of chief artiSt, communicating with colleagues and students of Les Kurbas and V. Meller; Studying in the creative workshop of D. Lider (1978–1982). In her work, Tetiana Medvid united three main scenographic schools of Ukraine: Kurbas-Meller’s “Berezіl” laboratories, B. Kosarev’s school, and Danylo Lider’s scenographic classes. The article examines the creative activity and achievements of T. D. Medvid in temporal, spatial, effective and creative development, the noted theatrical designer projects of T. Medvid, realized in the T. Shevchenko Kharkiv Academic Theatre “Berezil” and some other theatres of the region. The author proved that T. Medvid was a prominent creator of monumental effective theatrical designer in Ukraine at the end of the 20th – beginning of the 21St century, a bright representative of the conStellation of theatre artists of the laSt quarter of the 20th century, who created theatrical design projects in the syStem of art direction.

Historias y narrativas que conforman la identidad de ecosistemas sonoros.

The identity of the sound ecosystem is a set of systems that form ephemeral spatio-tempo- ral interrelationships and are manifested in a certain territory and moment, perceived by subjectivity, in our case, by artists. This identity helps us to get to know the multiple sound dimensions of a place and, in turn, enables the creation of new sound identities through art. The research question is about how the recording of a sound tells us something about the identity of the ecosystem. The aim of this article is to analyse this question on the basis of the works “In the heart of Tlanchana. Stories from the lagoon of San Miguel Almaya, State of Mexico” (2017) and “Bolibarko Erreka” (2018), works that converge in the construction of the identity of sound ecosystems. The methodology is based on a typology of artistic attitudes towards the ecosystem, developed in the doctoral thesis entitled “The identity of sound ecosystems as a basis for artistic creation”, which establishes three forms of relation- ship between the artistic subject and the ecosystem through sound: 1) more active, 2) less active and 3) hybrid.

«Не знал и не знаю этого человека»: Н. Г. Гарин-Михайловский и Р. Э. Циммерман

The article discusses the evolution of the views of the writer N. G. Garin-Mikhailovsky on the issues raised in his essays «Several Years in the Countryside» and «In the Bustle of Provincial Life». Among these are questions about the future of agricultural owners and their property; about the relationship between different participants of agricultural production; and, ultimately, about truth and happiness, the way to which the writer was looking for, both on his own and with the help of his contemporaries. The most noticeable influence on N. G. GarinMikhailovsky, according to the authors of the article, was exerted by R. E. Zimmerman, whose book Kulak-usury, Its Socio-Economic Significance was published «at the expense of Garin». The article discusses the main provisions of this book, and also draws conclusions about how exactly the artistic position of N. G. Garin-Mikhailovsky was corrected under the influence of the socio-economic theory of R. E. Zimmerman.

KRAJIŠKI EGZODUS U ROMANU „DOZIVI KROZ OLUJU“ KOVILjKE TIŠME JANKOVIĆ

In this paper, we present the main values of Koviljka Tišma Janković’s novel Summons Through the Storm, a literary work that lies within the thematic framework of the Krajina war novel which deals with a significant point in the newer European history – the mass-exodus of Serbs from Croatia in 1995. The examined novel contains values that can be used as a basis for confirming the artistic positions on which the entire novel lies. Firstly, we notice that the novel uses the narrative consciousness to refuse the acceptance of truthfulness of any ideology and accepts only the truths of victims, casualties, and refugees. In situations after the exodus, victims are faced with boundaries of living in their homeland, as well as the bounda- ries of their vernacular, which can only be reconstructed through memory. However, memories are also inhabited by traumas, which causes the associative organization and fragmentation of the narrative. The narrator keeps trying to reconstruct the past, but they are facing various obstacles: either no authority could confirm the accuracy of these reconstructions, or one can never fully rely on the mechanisms of memory that are the mechanisms haunting the narrator’s thoughts. The paper also recognizes the vital, yet concealed presence of the elements of folklore and oral literature. This also includes the ancient motifs through which the matriarchal principle is made present in the novel. By revealing the listed values, the paper reveals the need for further readings, both of this novel and other Krajina war novels.

Interpretation of cultural and artistic traditions in TV series of the Scandinavian region

The material of the article, on the one hand, systematizes the creative assets of the television of the Scandinavian countries regarding the production of series of the detective and crime genre, and on the other hand, determines the influence on their creation of cultural and artistic traditions that were formed in the territory of this region during the 19th and 20th centuries. The emphasis placed on the detective-crime genre seems quite natural, because it not only dominates the television productions of Scandinavia, but also actively uses the potential of the "thriller", which gives the series a special color. Attention is also focused on the "remake" phenomenon, with which artists are actively experimenting, expanding the artistic and emotional expressiveness of the screen image. The understanding of the detective-criminal genre of series productions of the Scandinavian region is carried out on the basis of a chronological approach, which is necessary in the process of applying cultural analysis. The choice of empirical material is determined by the aesthetic and artistic position of the author of the article.

Authors of Slender Means? Female Authorship in Mid-Twentieth-Century British Fiction

Abstract This article examines women writers as characters in British novels and stories by women writers from the 1940s to the early 1960s. In works by Muriel Spark, Elizabeth Taylor, Mary Renault, and others, there is a reflection on the social and artistic positions available to female authors. Given the gender segregation of the literary field at mid-century, in which ‘womanly’ writing was associated with the commercial form of romance and ‘manly’ writing with seriousness, the predicament of female authorship is rarely explored in fiction. But when it is, fictional women authors point up the constraints and limits of a ‘feminine’ literary aesthetic in illuminating ways. The article reconstructs how mid-twentieth-century British women authors thought about the act of writing, how they viewed the fields of literary creation and production, and which narrative strategies they used to negotiate this difficult terrain.

Evolution of Amanda Maier’s chamber music work

Statement of the problem. In modern performance and musicological practice, there is a clear tendency to revite the works of little-known or forgotten authors, in particular, female composers. The study of their work in modern discourse, mainly English-speaking, is mostly of an overview nature. The work of female composers is often considered from the standpoint of gender inequality and gender psychology. A certain lack of actually musicological studies of the works by female composers is observed. One of such little-known figures is Amanda Maier R&amp;#246;ntgen – a Swedish violinist and composer, a graduate of the Royal Academy of Music in Stockholm and the Leipzig Conservatory, the first woman received the title of “Musik Direktor” and was actively toured in Europe, whose work is practically not studied in Ukrainian musicology. Analysis of recent publications. The figure of A. Maier is briefly mentioned in a number of works devoted to Swedish musical culture, in reference materials (J&amp;#246;nsson, 1995; Karlsson, 1994; &amp;#214;hrstr&amp;#246;m, 1987; &amp;#214;hrstr&amp;#246;m &amp; Eriksson, 1995; Riemann, 2017; Laurence, 1978), in the studies devoted to other composers: J. Brahms, E. Grieg, J. R&amp;#246;ntgen (Internationaler Brahms-Kongress Gmunden, 2001; Hofmann &amp; Hofmann, 2006; Grieg, 2001; Vis, 2007). The most meaningful study dedicated to A. Maier is J. Martin’s dissertation (2018), but it focuses on the biographical moments and the position of female artists in the 19th century in general, omitting the actual musicological consideration of the composer’s works. Analysis of recent research and publications. The figure of A. Maier is briefly mentioned in a number of works devoted to Swedish musical culture, in reference materials (J&amp;#246;nsson, 1995; Karlsson, 1994; &amp;#214;hrstr&amp;#246;m, 1987; &amp;#214;hrstr&amp;#246;m &amp; Eriksson, 1995; Riemann, 2017; Laurence, 1978), studies devoted to other composers: J. Brahms, E. Grieg, J. R&amp;#246;ntgen (Internationaler Brahms-Kongress Gmunden, 2001; Hofmann &amp; Hofmann, 2006; Grieg, 2001; Vis, 2007). The most meaningful study dedicated to the creative personality of A. Maier is the dissertation of J. Martin, but the researcher focuses on biographical moments and the position of female artists in the 19th century in general, omitting the actual musicological consideration of the composer’s works. The purpose of this article is to characterize A. Maier’s chamber work, to prorose its periodization and to trace the specifics of evolution of the composer’s chamber-instrumental style. The scientific novelty. For the first time in Ukrainian musicology, a comprehensive study of A. Maier’s chamber-instrumental work is carried out. Methodology of the research. The research results is based on such scientific and culturologic methods as historical and biographical; historical and genrestylistic; also the analytical musicological methods were used when considering A.Maier’s chamber instrumental works. Conclusions. The main phases of A. Maier’s professional development as a composer are the early and mature periods. Taking into account both, the biographical and purely musical stylistic factors, we regarde it inappropriate to talk about the late period of the artist’s work. We consider the early period to be the study time at the Royal Academy of Music in Stockholm. The mature period begins after its end with the creation of the Sonata for violin and piano (1873). The mature period of the composer’s creativity is also subject to internal differentiation, since the time period from 1873 to 1880 (the year of marriage) was marked by much more active creative searches, a greater variety of genres and instrumental compositions, than the later years of A. Mayer’s life (in addition to chamber instrumental works, the Concerto for violin and orchestra, the chamber and vocal pieces were written). In the mature period, such notable opuses as Piano Trio, String Quartet, cycles of miniatures for piano and violin were created. The analysis of A. Maier’s scores revealed the main trends in the development of the composer’s chamber-instrumental style: an aspiration to symphonize the chamber music; the expansion of the imagery palette (the dominance of lyricodramatic impulses in the first mature works, the synthesis of lyrico-dramatic, lyrico-epic, epico-heroic, folklore-genre imagery spheres in the laters ones); active search for an individual solution to the violin miniature genre, in which the Swedish national musical traditions are most vividly embodied.

What is to Hand: The Fold as Landscape Within Textile Imagination

This article explores the fold and textile imagination within art by using as main case study the author’s project Imaginary Landscapes. This work consists of a series of photographs taken during the first COVID-19 lockdown in the UK in 2020 and was motivated by a longing for spaces and places at a time of confinement. It provided an opportunity to work with “material to hand”, pointing to Martin Heidegger and Barbara Bolt’s discussion of his theory regarding “handling.” The cloth as arranged or folded allows for light to enhance form whilst suggesting landscapes such as shorelines, mountains, forests, deserts or volcanoes. The discussion refers to Gilles Deleuze’s reading of Leibniz, Christine Buci-Gluckmann’s observations on the Baroque, and to various theoretical and artistic positions concerning the fold, drapery, and textile imagination within different visual contexts, including Giuliana Bruno’s observations on the fold in relation to the screen. Imaginary Landscapes is explored with particular attention to contemporary artists Christo and Jeanne Claude, Christian Boltanski and Angela de la Cruz. The argument concludes that the fold as visual and conceptual process allows us to engage in spatio-temporal relations where the appreciation of materiality through handling/folding informs ideas of movement within and across media.

„Londyńska piękność”. Życie i twórczość brytyjskiej malarki Laury Alma-Tademy (1852–1909)

“London beauty”: Life and works of the British painter Laura Alma-Tadema (1852–1909) The article is an attempt to reconstruct the biography of the British painter Laura Alma-Tadema (1852–1909) on the basis of archival materials from the British press and period memoirs. The main aim of the article is to present the life and work of Laura Alma-Tadema as an example of one of the career paths that a woman artist from a wealthy British middle-class home could have chosen in a period when women fought for equality in many areas of life, including art. The profile of the now-forgotten artist, the wife of the esteemed British painter Sir Lawrence Alma-Tadema (1836–1912) and the stepmother of Laurence Alma-Tadema (1865–1940) – a writer who was actively involved in helping Poland and Poles during the World War I. The synthesis of the gathered information constitutes the most accurate biographical sketch of Laura Alma-Tadema to date. In addition to the history of her life and the characteristics of her artistic work, the article deals with the themes of the artistic milieu of Great Britain at the turn of the 19th and 20th centuries, the antisuffragism movement as well as the situation and social position of female artists from the perspective of an upper-middle-class woman.

The Challenges of the Cultural Pluralism. Study on the Exotic Other in the New Bulgarian Cinema

The monographic, interdisciplinary study of Andronika Martonova ‘Between Migration and Sedentariness: the Exotic Otherness and the New Bulgarian Cinema (To-wards the Culturological Areas of Identity, Difference and the ‘Us’ / ‘Them’) Dis-course’, Institute of Art Studies – Bulgarian Academy of Sciences, 2021, ISBN: 978-619-7619-08-9, 230 pp., comes as a result of a project supported by the National Science Fund, Bulgaria. It focuses on the image of the foreigner in the new Bulgarian cinema during the second decade of the 21st century. Problems of The Inconnu / The Other / The Newcomer are discussed in the context of the challenges of the cultural pluralism for the new Bulgarian filmmaking. For the first time in Bulgarian film studies the problem of the Other is so fully and widely considered. The main principles followed are the ones of the case studies (analyses of significant film productions) and key studies (tracking of important research in the field). Artistic styles, approaches, experiences, positions, achievements and mutual influences are thoroughly and con-textually analyzed. Special attention is put on the Newcomer and the reception of the imported cultural traditions of Africa, Middle East and Far East in recent Bulgarian feature and documentary films (short and full-length). The book is structured in four chapters with subchapters and a conclusion. The publication is illustrated and has an extensive bibliography of more than 200 sources. There is a filmography of 200 movie titles. An index of the names in Cyrillic and Latin has been prepared. It is intended for a wide range of readers.

The Use of Language and Thematic Concerns: A case of Five Selected African Poems

This study is a critical analysis of the language and themes used by the under-listed five African poets: The Cathedral by Kofi Awoonor, Troubadour by Dennis Brutus, Telephone Conversation by Wole Soyinka, I Will Pronounce Your Name by Leopard Seder Senghor, And If You Should Know Me by Oswald Mbuyiseni Mtshali. Its main thrust is, therefore, the isolation and discussion of the elements of language and the themes that make up the artistic framework upon which their individual poems are based. The writer employs Critical Race Theory as the framework for this work. It looks at how individually and collectively they tackle the theme of racism as well as their choices of language in expressing their contempt for this social canker. The study narrows down to a discussion of the artistic positions of the authors within these two basic narrative variables. An examination of the various artistic strategies employed to create a multi-plicity of poetic fronts and their attendant scenes as well as backgrounds are what these divisions of the study target. It is this primacy of the artistic theme that this study dwells upon. The study intends to condemn this social injustice that brings separation rather than cohesion to the human race. It is recommended that the Ministry of Education and the Ghana Education Service should organise an essay competition on these African Poets' books to bring social cohesion among students in Ghana and Africa as a whole.

Robustness Check: Evaluating and Strengthening Artistic Use Defences in EU Trademark Law

AbstractThe 2015 EU trademark law reform introduced a peculiar rule for reconciling trademark rights with freedom of artistic expression. According to Recital 21 EUTMR and Recital 27 TMD, artistic use can be deemed fair as long as the artist ensures compliance with “honest practices in industrial and commercial matters”. The honest practices proviso forges a link with the provisions on limitations of trademark rights. Article 14(1) EUTMR and Art. 14(1) TMD exempt from the control of trademark proprietors several types of use that can allow for artistic use. All these limitations, however, apply only when the use satisfies the test of honest practices. Confirming the obligation to comply with honest practices in industrial and commercial matters, the fairness rule of Recital 21 EUTMR and Recital 27 TMD turns out to be a double-edged sword. Instead of readily immunizing artistic use against trademark claims, it obliges artists to rely on limitations of trademark rights and furnish corresponding proof. Moreover, artists are expected to align their artistic activity with behavioural standards in the field of industry and commerce – a realm that is alien to the artistic community. Evidently, this approach endangers artistic autonomy. To avoid detrimental effects on artistic expression, it is advisable to strengthen the position of artists and develop a legal solution that resembles the measures taken in Art. 9(3)(f) EUTMR and Art. 10(3)(f) TMD with regard to freedom of commercial expression. Drawing inspiration from cultural sciences and case law on both sides of the Atlantic, the analysis explores avenues for achieving this goal.

Representation of the Irony and Tragic Pathos of War: The Aesthetics of Humanism in V. V. Vereshchagin's Art

Vereshchagin (Василий Васильевич Верещагин, 1842-1904) is a painter belonging to the era of Russian realism, but not active in Russian Academy of Arts or the Wanderers(передвижники) representing the contemporary era, but has an artistic position through personal activities. He was the first Russian military artist, and was also a painter to receive a medal from the Russian royal family for participating in battles. He is also an artist who was nominated for the 1st Nobel Peace Prize in 1901. In this paper, based on Vereshchagin s war-themed series of works and his writings, we intend to examine what Vereshchagin s realism means. Accordingly, in this article, we will analyze Orientalism and Oriental image focusing on the ‘Turkestan Series’. Through ‘Balkan Series , we examine the suffering of mankind caused by war, sympathy for soldiers, and the image of the tragic pathos of war that human death shows. Finally, we look at history of imperialism shown through the ‘Execution Trilogy’ and raise the question of inhumane executions.

Bogotaso and "Critical Art" 1948 in Colombia: paintings by Enrique Grau and Alejandro Obregona

The subject of the study is the reaction of Colombian artists to the events that took place in the country on April 9, 1948 and were one of the most important milestones in the modern history of Colombia and the history of art of this country. On that day, peaceful Bogota was involved in an unprecedented civil uprising in Colombian history, the consequences of which affected all spheres of life of Colombian society. For art, this uprising also became a turning point in its development. Changes have taken place in all areas of fine art: there has been a pronounced social problem, there has been a break with academism and, of course, since the events of Bogotaso, the critical position of artists in relation to the phenomena of socio-political life in Colombia has received its vivid expression. This paper analyzes the paintings of key artists of the history of Colombian art: Enrique Grau and Alejandro Obregona. The works in question reflect the events of the fateful day for the country on April 9, 1948, interpreting the facts of this tragedy in their own way, and affirm the importance of the artist's socially critical position in society. Methodologically, this is a work with a comprehensive approach, including cultural-historical, iconographic, artistic-stylistic analysis of works. The novelty of the research lies in the study of the reaction of artists to political and social repression in Colombia, as well as in the study of the dizzying political and social changes that occurred after the events of Bogotaso in 1948 and influenced the development of the "critical art" of Colombia up to the present day.

К истории постановки оперы М.П. Мусоргского «Хованщина» в сценической редакции Витторио Гуи («Ла Скала», 1933)

The 1933 production of Khovanshchina at La Scala conducted by Vittorio Gui (1885–1975) was chronologically the second one on the Italian opera stage, the first being the 1926 premiere. In studying the Italian productions of Khovanshchina, the 1933 stage version is usually overshadowed by the premiere; however, the performance under V. Gui’s direction was not a remake, but an independent work of artistic expression. The period of seven years between the first and second Italian productions marked a significant shift in academic and artistic attitudes to studying and performing author’s versions of M.P. Mussorgsky’s legacy in the Soviet Union, as opposed to the creative arrangements by N.A. Rimsky-Korsakov, which up to that time had been considered the standard versions. Thus, P.A. Lamm, with the support of B.V. Asafyev, initiated the publication of Mussorgsky’s Complete Works based on the composer’s autographs. The first volumes of this collection were published, including the piano-vocal score and the full score of the opera Boris Godunov and the piano-vocal score of the opera Khovanshchina. Additionally, there were several productions and concert performances of Boris Godunov based on sheet music as revised by Lamm. V. Gui was aware of the work carried out by Soviet scholars but did not have access to the manuscript of the orchestral score of Khovanshchina created by Asafyev. For this reason, he created his own stage version of the opera, having built it upon Rimsky-Korsakov’s score but changed its structure and, in individual fragments — the orchestration and the tonal plan.

«Слушая великого художника, я нашел что-то великое и нужное…»: Письма Семена Фикса — Горькому и о Горьком (по материалам Архива А.М. Горького)

This publication of materials from A.M. Gorky’s archive supplements studies related to the name of the artist Simon Fix, new facts and details of his life and work. The only mention of Fix’s name in Gorky's letter to the publisher A. Kogan (the publication of L. Fleishman in 1979) remained without comment for a long time and scattered information about the artist left significant gaps in his biography. V. Khazan's research, supplemented by the publication of Fix’s letters to R. Friedlander and N. Friedlander, kept in the archives of David and Yevsey Shor (National Library of Israel, Jerusalem), recreates the main episodes of the artist's creative biography. Letters stored in the A.M. Gorky’s Archive reveal the details of a previously unknown acquaintance between the artist and the writer. Presented corpus of Fix’s letters — three letters to Gorky and four letters to relatives — testifies to their rather long acquaintance and Gorky’s obvious interest in works and personality of the young painter. The content of Fix’s letter to Gorky dated January 28, 1936 continues the theme of the conversation with Gorky during the meeting in Sorrento, which Fix described to his relatives in April 1928. It is logical to assume that its topics — art education and the position of artists in Soviet society — were discussed with Gorky also in the period between these two dates: perhaps researchers will have a chance to verify it.