Battle Painting Research Articles

Artistic Methods of Emotional Expressiveness in Battle Painting: Composition

The purpose of the article is to analyse the importance of emotional aspects and the role of artistic techniques, in particular composition, in depicting the dramatic moments of battle painting. The research methodology is based on the principles of impartiality and reliability of the presented results, as well as on general scientific (synthesis, analysis, generalisation, systematic, and others) and special research methods integrated from various scientific disciplines (art studies, psychology, history), which indicates the interdisciplinary nature of the methodology. The scientific novelty lies in the complex analysis of emotional techniques, in particular in the compositions used in the battle genre. Conclusions. Emotions play an important role in painting and are essential for artists and viewers. The main tasks and significance of emotions in painting: expression and transfer of feelings, communication and connection, influence and impression formation, understanding of history and awareness of experience, treatment and therapy. The emotional nature of battle painting can be strong and diverse, prompting deep reactions. Therefore, artists of this genre strive to convey a wide range of emotions associated with military events and battles. To convey emotional depth and create a special atmosphere in their works, artists use various methods and techniques, among them: facial expression, gestures, poses, composition and dynamics, colour and light, details and texture, compositional techniques. In particular, the following compositional techniques help artists convey the emotional nature of battle painting and evoke certain feelings in the viewer: central composition, pyramidal composition, diagonal lines, use of perspective, use of light and shadow, close-ups and details, dynamic composition.
 Keywords: battle painting, emotions, means of emotional expression, composition.

Ukrainian Military Themes in the Historical Battle Painting of Andrii Kholomeniuk

The purpose of the work is to investigate the topic of Ukrainian military history in the historical-battle painting of A. Kholomeniuk; analyse the main cycles and their plot, imagery, author's interpretation. The research methodology consists in the application of the historical-chronological method, comparison and generalisation, art analysis, with the application of the principles of systematicity and historicism. The scientific novelty of the study consists in the systematic generalisation and analysis of the artistic works of the famous artist-battalist A. Kholomeniuk, which reproduce various historical periods of the military history of Ukraine, mainly the late Middle Ages and the Cossack region. Conclusions. As a result of the conducted research, it was established that in his work A. Kholomeniuk addresses various topics and plots of Ukrainian military history, among which the large cycle of works "The Khotyn War of 1621" (approx. 80 paintings) occupies a prominent place, which serves as a kind of pictorial encyclopaedia of Ukrainian Cossacks. A. Kholomenyuk's battle paintings have a distinct author's style of painting, with an expressive manner and play of colour, light and shadow, characterised by perfect composition and a deep study of historical details and context. The battle-historical works of A. Kholomeniuk belong to the important examples of modern Ukrainian historical-battle painting, which vividly reflects Ukrainian military themes.
 Keywords: A. Kholomeniuk, battle-historical painting, battle studies, historical themes, military history of Ukraine, Cossack period.

Creative Heritage of Mykola Samokysh: General Features of Battle Genre

The purpose of the article is to analyse the general features and trends of Mykola Samokysh's battle art. The research methodology is based on a systematic combination of art historical and historical approaches, as well as general scientific and special research methods, including analysis, synthesis, generalisation, descriptive, biographical, historiographical, historical, and artistic reconstruction. The scientific novelty lies in the cultural and historical study of the main features and trends of M. Samokysh's battle painting with a focus on Ukrainian themes. Conclusions. M. Samokysh's painting on military themes is an important component and unique phenomenon of Ukrainian fine art, which testifies to the continuity of traditions in the development of the battle genre. The picturesque style of M. Samokysh’s battle paintings is distinguished by historicism, dynamics, and expressiveness. The interpretation of the characters' images is marked by increased realism and psychology. All this makes the viewer take a fresh look at the war, show sympathy for the ordinary soldier. Successful development of a complex multi-figure composition, realism, accuracy of drawing, rich colour scheme, and affective depiction of the image of a person at war determine the value of M. Samokysh's battle style. The realistic reflection of episodes of different periods of military history in his work is the consequence, on the one hand, of a quick reaction to military events, in which he sometimes participated, and on the other hand, of a thorough interest in history and archeology. Key words: Mykola Samokysh, battle genre, painting, realism, psychologism.

Artur Orlyonov's work in the context of the development of modern historical battle painting

The purpose of the article is to examine the creative work of the artist Artur Orlionov in the context of the development of contemporary historical and battle painting, focusing on the themes and series of works, general techniques and methods of artistic representation. The research methodology consists in the application of general scientific and special research methods, in particular, analysis and synthesis, induction and deduction, generalisation and abstraction, rerview and analysis, description and comparison, which helped to analyse the works of A. Orlionov. The scientific novelty of the work lies in the fact that for the first time the work of the contemporary Kyiv artist A. Orlionov became the subject of a scientific study, within which the generalisation and a brief systematisation of the thematic focus of artistic works were carried out, as well as the historical and artistic dominants of the works, stylistic features of the construction were determined. Conclusions. As a result of the conducted research, it was established that A. Orlionov belongs to the generation of contemporary artists of the historical and battle genre, representing the Kyiv school of painting. His creative work reflects a significant chronological range of Ukrainian history, starting with Kyivan Rus, the Ukrainian Middle Ages, the Cossack era, the Liberation Movement and the modern period. According to the plot and number of works, they can be combined into separate series. In terms of the plot, A. Orlionov's works include depictions of battle scenes, thematic paintings of historical significance, portraits of outstanding figures of Ukrainian history. A. Orlionov's work belongs to modern examples of Ukrainian historical and battle painting, which, based on the study of numerous sources and facts, contains the author's understanding and interpretation of important historical events and figures of different periods of Ukrainian history. Key words: historical and battle painting, Kyiv school of painting, artist Artur Orlionov, National Academy of Fine Arts and Architecture, composition, stylistic dominants, battles, historical figures, history of Ukraine.

A Foreign Artist and a Russian War: Peter von Hess, a Case Study in Imperial Patronage and National Identity

A number of foreign artists received the earliest commissions to represent Napoleon’s Russian Campaign of 1812 for Russian emperors. My paper is a case study of a German artist who served the Russian Imperial court. Peter von Hess trained at the Academy in Munich and served both King Ludwig I of Bavaria and Otto I of Greece. In 1839, Emperor Nicholas I commissioned the artist to complete 12 monumental canvases for the Winter Palace representing key battles that followed Napoleon’s invasion of Russia in 1812. While earlier battle paintings and portraits commissioned by Alexander I dealt only with elite officers and the emperor, Hess’s paintings elevated the common Russian as the bearers of a great sacrifice and as the true defenders of Russia. This representational shift is the product of changing ideas concerning Russia’s involvement in several alliances from 1803 to 1815 that included Austria, England, Sweden, and Prussia. In addition, over the course of Nicholas I’s reign, the concepts of “autocracy, orthodoxy, nationality” crept into representations of the Russian experience of the Napoleonic wars.

Osyp Kurylas’s Art Heritage: Battle Genre

The purpose of the article is to analyse the combat work by Osyp Kurylas in the ranks of the Ukrainian Sich Riflemen. The research methodology is based on the principles of historicism, impartiality, and reliability of the presented results, as well as on general scientific and special research methods, including analysis, synthesis, generalisation, descriptive, systematic, and biographical. According to the dominant in post-classical science paradigm of systematicity, they are integrated from different scientific directions, namely from art history, cultural studies, and history. Such an interdisciplinary methodology helped to reveal the main theme and value-meaning constants of the combat creativity by O. Kurylas in the ranks of the Ukrainian Sich Riflemen. The scientific novelty of the research consists in the cultural-historical and art-historical analysis of O. Kurylas's combat work, which significantly expands the understanding of his work and determines the relevance of his artistic heritage for modern art in the direction of increasing interest in combat fine art. Conclusions. Osyp Kurilas and his fellow artists made an invaluable contribution to the development of fine art, in particular, to battle painting and the portrait genre. The battle legacy of O. Kurylas (graphics, painting) is not just works of fine art, but also invaluable historical and documentary material. Due to the realism, the combat work by O. Kurilas, like other Sich artists, can be called a kind of documentary recording of the events of the Liberation Struggle period, which in terms of truthfulness, scrupulousness, and accuracy of the images can be put on the same level as modern photography. Their work is of great importance not only for preserving the memory of those who died for the will of Ukraine, but also serves as a visual confirmation of the courage, indomitability, and eternal desire of our people to build an independent Ukraine.
 Key words: Osyp Kurilas, battle genre, painting, fine art, Ukrainian Sich Riflemen.

Л. Н. Толстой и художник В. В. Верещагин: публицистика в слове и в красках

The focal point of the article is the recording of the artists’ experiences in their socially- and politically-charged works, that have certain traits of publicism and are supposed to make a direct impact on the reader and the viewer (and, eventually, on the public opinion as well). The article demonstrates the stark difference in conveying the social and political issues between Tolstoy’s wartime prose and Vereshchagin’s battle paintings and wartime essays, and shows that Vereshchagin, a newtype artist, a man of the new age of science, business and politics, does not as much follow Tolstoy’s traditions, but breaks them.

ФУТУРИСТИЧНИЙ ЦИФРОВИЙ ЗОБРАЖУВАЛЬНИЙ КОНТЕНТ ЯК ЗАСІБ РОСІЙСЬКОЇ ПРОПАГАНДИ НА ПОЧАТКУ ХХІ СТ.

At the beginning of the XXI century, a noticeable segment of the digital environment of the Russian Federation became a mass representation of visual images advertising its armed expansion with the aim of establishing itself within the borders of the USSR and seizing the territories of other states. Among such digital images, illustrations in the genre of alternative history attract attention. Their purpose is to exert propaganda influence in the youth environment. The authors of these works identify Russia and the Soviet Union and suggest the public users to dream about the topic: "How would the course of world history change if the USSR existed in the 21st century?". Source criticism of these visual sources indicates that they belong to the means of informationpsychological influence, which are an integral part of the Russian-Ukrainian hybrid war. The viewer's subconscious feels the aggressive influence of a visual series of Soviet political symbols in the plot, which uses motifs from wellknown works of mass culture, as well as scenes of violence. As a result, in a viewer is formed a psychological setting for a positive assessment of the historical experience of the USSR and a tolerant attitude towards the heroization of the Soviet totalitarian past. One of the most popular plots of propaganda content is the revival of the Soviet Union as a neo-imperial communist project using advanced military-space technologies and the war of the Russian Federation with NATO. The communities "USSR-2061" and "Russian Space Society" are points of crystallization of supporters of such ideas on the Internet. These communities spread their visual messages on Telegram, Facebook, Twitter, VKontakte, LiveJournal and YouTube. As a carrier of ideological allusions are used digital paintings, made by techniques of concept and promo art. Both types of visual art are widely applied in the process of gamification of the digital space. Therefore, they correspond to the aesthetic tastes of modern youth, turning them into the main object of a visual information attack. The conceptual charge of these arts attaches to the use of historical pictorial symbols: the coat of arms and flag of the USSR, details of the landscape, interior, clothing, weapons, and transport. In the paintings depicting the metropolises of the second half of the 21st century, the viewer sees architectural monuments in the style of the Stalinist Empire. Colorful scenes of battle painting «promise» the viewer the complete destruction by Soviet soldiers of the future world of the «collective West». So, according to the authors of the article, the futuristic visual political message for the Russian regime in the course of the hybrid war turned into one of the means of informationpsychological influence, capable of performing manipulative and campaigning functions both in the Russian Federation and in other countries, that belong to the orbit of its desired political influence. The potential possibilities of using futuristic political messages as an informational weapon necessitate further scientific study of this phenomenon.

Визуальная репрезентация морской тематики в художественной культуре России ХVIII–XIX вв.

Тhe meaning of visual representation includes perception of information through the visual image. This form of information delivery to the general public was known in pagan cultures and asserted itself in Christianity. Since the late 20th century the concept of visualization united in itself not only religious and artistic images, but also the vision of mass culture. The performed research places emphasis on the establishment and the development of visual representation in Russia’s art culture of the ХVIII-XIX centuries. During the reign of Peter the Great, in a succession of state reforms and due to the influence of samples of European art, a transformation of national art culture occured. In this context, maritime art is viewed as one of the visual representation forms. The seascape, as a separate genre of painting, originates in the Dutch landscape. The first marinas were brought by Peter the 1st to decorate palaces and country residences. The victory in the Battle of Chesme (1770) and the joining of Crimea to the Russian Empire prompted Catherine the 2nd to invite J. P. Hackert to perpetuate the glory of Russian weapons. The artist became the first marine painter on Russian soil and performed a series of twelve paintings. The flourishing of the national seascape in Russia took place in the 19th century. The first who took the post of artist at the Ministry of the Sea was I.K. Aivazovsky. Since then the seascape acquired special significance and perpetuates the sea victories of Russia. A subtle metaphysical meaning is present in some romantic landscapes by I.K. Aivazovsky. Sea battle paintings acquired clear realistic features in the painting of A.P. Bogolyubov. The artists are concerned not only with the image of the sea, but also with the architecture of the ship, which forms a separate painting genre: the ship portrait genre. The image of the ship in the paintings of the XIX-XX centuries combines the lines of scripture and poetry, focusing the attention of the viewer on a deep semantic reading of the landscape.

Modern Chinese painting on military themes: "new realism" and loyalty to traditions

In the contemporary art of China, a special role belongs to painting on a military theme. Its formation began in connection with the need to keep a visual chronicle of the revolutionary struggle for the New China, the assertion of its status in the eyes of the people. Initially, realism was chosen as the main artistic method. By the turn of the XX and XXI centuries, as a result of the influence of modern art trends, a "new realism" emerged. The subject of this article is the pictorial work of contemporary Chinese artists who dedicate their paintings to military subjects and themes. He pays special attention to the art criticism analysis of the formal and substantive side of the paintings of the late XX – early XXI centuries. The main conclusion of the study is the establishment of the fact that under the influence of the so-called "new realism" Chinese painting associated with images of war, army, navy, has changed in the direction of images relevant to the era, as well as methods and techniques of image construction. However, at the same time, it should be noted that there is still a connection with traditions, which allows us to characterize the process of evolution of the Chinese school of battle painting. The novelty of the article is the introduction to the scientific circulation of Russian art criticism of a series of paintings by Chinese masters devoted to military topics. In general, the battle genre in Chinese painting is associated in the work with the formation of the People's Republic of China and is considered in a political and socio-cultural context.

Development of the thematic picture in historical and battle painting of Ukraine of the second half XX century

Development of the thematic picture in historical and battle painting of Ukraine of the second half XX century

Ukrainian military history in battle painting Andriy Serebryakov

Ukrainian military history in battle painting Andriy Serebryakov

Батальная живопись как исторический документ. Особенности творческого метода А. Е. Коцебу

The paper aims to reveal specificity of the creative method of the prominent but undeservedly forgotten Russian battle painter A. E. Kotzebue in the context of the Russian and foreign academic battle painting of the half - third quarter of the XIX century. Scientific originality of the study lies in the fact that relying on previously unpublished documentary sources, the researcher identifies common and peculiar features of Kotzebue’s creative method in the context of the Russian and foreign academic battle painting of the half - third quarter of the XIX century. As a result, it is proved that A. E. Kotzebue’s creative method was developed during his studies at the Imperial Academy of Arts and didn’t change over the course of his life; this method was typical of academic battle painting of the half - third quarter of the XIX century. Adherence to established methods allowed the painter to create pictures which can rightfully be called historical documents.

Na europejskich frontach wojen Imperium Rosyjskiego w XIX wieku – aspekt militarny w twórczości wybranych rosyjskich malarzy epoki

The article analyses the military themes present in Russian paintings of the 19th century. The battle paintings under discussion underlined the heroism of the tsarist soldiers who participated in the multiple campaigns that Russia fought on land and at sea. They also glorified the governing elites for expanding the territory of the state. At the same time, the most important message conveyed through the canvases, which were commissioned most often by Russia’s rulers, was the might of the Russian Empire.

Applying the war historical re-enactment method in teaching historical painting

Being an artist is not enough to make a piece of historical art. This requires a study, the deliverables of which allow creating a scientifically reliable composition. To put it otherwise, an artwork brought into existence in such a way can be created on an interdisciplinary basis, and it is not until then that it becomes educational. A study used in the educational process considerably increases the degree of professional competence of students. The authors of this article, being professors at the Fine Arts and Folk Crafts Department, Moscow Region State University, have employed a range of research methods as the basic ones. These include war historical re-enactment, case review of its research and organization in modern social and cultural settings, modeling and forecasting deliverables of students‘ artistic activities when creating historical paintings, and the method of expert evaluation. In order to trial war historical re-enactment as an academic research method together with the Department‘s students, art and research project “Neuchatel‘s Battalion at the Battle of Wagram” has been launched across the curriculum. The project incorporates stages of joint research and artistic work of academicians and students. During the project, a mechanism of inter-knowledge interaction is formed in the minds of students, which allows students to acquire historical knowledge about the Neuchatel battalion, Battle of Wagram, uniforms worn during the Napoleonic Wars, and the work of battle painters. Based on the above, the students acquire metadisciplinary skills they employ to create themed art in terms of traditional battle paintings by Alexander Averyanov, Peter von Hess, and Louis-Francois Lejeune. We have summarized the experience of employing the war historical re-enactment method in teaching students historical painting. It is reflected in the study guide students use to study military garments worn in the early 19th century and create themed works of art. Its contents are recommended for both teachers and students studying art to create student artworks consistent with traditional battle paintings.

UKRAINIAN LIBERAL STRUGGLE IN LEONID PERFETSKYIʼS BATTLE PAINTINGS

Summary. The purpose of the work is to investigate the Ukrainian liberation struggle period displayed in L. Perfeckyiʼs work, the artist-battalist, analyzing the artistic manner and the relevance of the historical events interpretation. The methodology of the research is based on the application of a set of methods: the general theoretical – analysis, systematization, generalization of the studied sources; the historical and the retrospective – to study the artistʼs creation stages and the artistʼs works; the art studies – in order to analyze the general creative style and the artistʼsartistic manner. The scientific novelty of the work is that for the first time L. Perfeckyiʼs creative heritage in the battle painting sphere is presented as a complete study, which clearly reflects the Ukrainian independence armed struggle period; the attention was also paid to the relationship between the artistʼs direct participation in hostilities and his service in the ranks of the UNR Army with the subsequent creative activity, which influenced the formation of a realistic style of the artist in conjunction with modernist quests. The conclusions. Unfortunately, the number of artist works were partially lost. However, the preserved ones give an opportunity to think about the artistʼs extraordinary talent and the artistic originality, who witnessed the real events and skillfully embodied them in the artworks. L. Perfetskyi became known as the Ukrainian battalist painter, who managed to reproduce skillfully one of the most difficult periods in Ukrainian history. In addition, Leonidʼs works are supported by his personal view concerning the above-mentioned events as the direct participant. Taking into consideration, the scattered documentary sources, an artistʼs true-to-life image is also important in exploring various aspects of historical events, which makes Leonid Perfetskyiʼs works extremely valuable. Apart from the artistic point of view, Leonid Perfetskyiʼs works are known for their artistic references and searches among the modernist European trends, Cubism, which is constantly reflected in the increased expression and the paintings dynamics. L. Perfetskyiʼs works are filled with the creative experience and the genuine realism, which are capable of conveying the truthfulness seen through many decades.

The Monument to Millennium of Russia: Bringing the Idea to Life. From History of Reigns to History of Culture

This article sets out to examine the development of the initial idea and compositional concept of a renowned mid-19th century monument “The Millennium of Russia.” As apparent from careful examination of materials from various sources, the sketch of the monument does not appear to have greatly influenced its final design as alleged by its author Mikhail Mikeshin. Given the tight deadlines and strict control of the August Head of the Imperial House, the very idea of the monument underwent significant change with a profound impact on its artistic and plastic design. The adjustments to the monument’s plan implied the personal participation of the emperor Alexander II, the Head of the Imperial Academy of Arts, representatives of the Ministry of Foreign Affairs, and the Ministry of Railways as well as other experienced architects, engineers, and specialists. The monument was initially meant to commemorate the ruler Rurik, however, its meaning eventually transformed into the idea of Russian statehood history. Particular emphasis was placed on presenting the country’s history in terms of its cultural development. The shift in focus from the history of reigns to the history of cultural development ensured the enrichment of the monument to the Millennium of Russia with new characters and story lines. Democratic conditions for participation in the contest resulted in a prevailing number of unknown artists or people having no relevant training. One of these artists happened to be M. Mikeshin whose forte was the genre battle painting. Therefore, it seems that the actual authors of the project were young sculptors and experienced professionals who were inevitably involved at different stages of designing and building the monument.

画家・パトロン・戦争 : 《テンペスタ》とティツィアーノの「戦争画」

画家・パトロン・戦争 : 《テンペスタ》とティツィアーノの「戦争画」

Vasily V. Vereshchagin (1842–1904): Vae victis in Asia and in Europe

Vasily Vereshchagin (1842–1904) was one of the most well-known Russian artists of the second half of the nineteenth-century and the beginning of the twentieth century. Strongly influenced by the popular French Neo-Classicist and Orientalist Jean-Léon Gérome, Vereshchagin's was constantly in pursuit of new subjects for his art. Instead of construing the east as a place of backwardness, lawlessness or barbarism, enlightened and tamed by Occidental rule, Vereshchagin's engagement with progress and humanism evolved in the course of his numerous expeditions and travels, shaping themes and images of human pathos, uncontrollable force and emotional extremes engendered by the war violence unfolding before his eyes. This article will trace Vereshchagin's life and works and their place in the development of the arts in the nineteenth century, when genre painting, the prevalent form of Orientalist art, gradually evolved into battle scenes. Vereshchagin selected the facts of human existence to transfer them to his drafts and studies as if he were attempting to discover the roots of cultural contradictions between the beauty and diversity of human creativity and the poverty, cruelty and barbarity of human life. His method of juxtaposing the traditional form of battle painting and the real tragedy of war whose victims had neither voice nor identity would challenge generals, tsars, governments and the orthodoxies of his time but would also bring him fame and respect.

The battle paintings of Vasily Vereshchagin and Horace Vernet in the Context of Rhetorical Confrontation of Russian and French Imperial Ambitions

The article is devoted to some aspects of Vasily Vereshchagin’s reception in the context of Russian-French artistic and diplomatic relations of the 19th century. Particular attention is paid to an incident, which took place at the exhibition of Vereshchagin’s Turkestan series in St. Petersburg in 1874, when General Kaufman among other officials condemned some of his battle paintings. The article is intended to reconstruct the incident and give a new explanation for this negative reaction. Through the comparative analysis of battle paintings of Vereshchagin and Horace Vernet and taking into account the political confrontation between Russia and France in the 19th century, I suggest the following hypothesis. The comparison of Vereshchagin with Vernet, which was widespread among their contemporaries, played a special role at the exhibition in 1874. Thanks to a visitor to Vereshchagin’s exhibition, a French ambassador Le Flo, this comparison became a form of ambiguous diplomatic statement and reflected the opposition of French and Russian imperial ambitions. And it was one of the factors that provoked the Russian officials to criticize Vereshchagin’s battle scenes.