Famous Artists Research Articles

ХУДОЖНИК В ПОЛИТИКЕ: ЭВОЛЮЦИЯ ОБРАЗА Г.И. ЧОРОС-ГУРКИНА КАК ОБЩЕСТВЕННО-ПОЛИТИЧЕСКОГО ДЕЯТЕЛЯ

The article considers one of the clearest examples of the "intellectual's going to power" situation on the example of the fate of the famous Altai artist G.I. Choros-Gurkin. The purpose of the study is to identify the characteristic features of the complex evolution of the image of G.I. Choros-Gurkin as a public and political figure. Regulatory and legal documents, materials of archival funds, publications in mass media, etc. are used as sources. The image of G.I. Choros-Gurkin transforms significantly: from a talented artist, a student of I.I. Shishkin, to a leader of the national movement and a chairman of the Altai Mountain Duma (1918), and then into an "enemy of the people" and a "traitor". For a long time, even after his political rehabilitation (1956), his name was omitted. However, since the late 1980s, his image as a politician has been rapidly reviving. Now he is not only the "national hero" and "genius loci", but also the "founder of the Altai statehood". The article shows that by now the image of G.I. Choros-Gurkin is used in the memory politics as a key figure that contributes to the formation of ethnic and territorial identity in the Altai Republic.

‘Artistic Text’ in the Artworks of V.E.Makovsky: Rhetorical Figures and Visual Tropes

The article is devoted to the study of visual semantics in the artworks of the famous artist Vladimir Makovsky (1846–1920). This painter entered the history of Russian art as an outstanding master of “small genre”, the author of a short, fascinating story in painting. It is no coincidence that the contemporaries compared the characters in V. Makovsky’s paintings with the heroes of N. Gogol’s, I. Turgenev’s, A. Ostrovsky’s, L. Tolstoy’s, M. Gorky’s, A. Chekhov’s works. The author makes an attempt of interdisciplinary research, analyzing the “Artistic text” in V.Makovsky’s paintings in the aspect of philological problems, using the appropriate methodology and terminology, as well as touching upon the issues of psychological perception and comprehension of his works of art. The article draws parallels between the rhetorical figures (antithesis, comparison, metaphor, metonymy, hyperbole) and the visual tropes in V.Makovsky’s paintings and, using specific examples, examines the role of the psychological landscape, quotation, artistic detail, mirror, observer’s position, the techniques of “story in a story” (“picture in a picture”) in painting. Language — a cultural code — performs two formally opposite functions: on the one hand, it preserves and reproduces traditions, and on the other, it provides dynamics through creative innovation. Verbal language affects the viewer gradually in time, with a clear sequence of language elements, visual language affects the viewer one-step and complex. It is argued that in V. Makovsky’s artworks there is an intense penetration of techniques and image-associative references associated with literary tradition. The means of artistic expression in literature and in visual arts reflect the action of general mental operators associated with creation and transformation activities.

А.П. БОГОЛЮБОВ И И.К. АЙВАЗОВСКИЙ: ПРОБЛЕМА ТВОРЧЕСКИХ И ЛИЧНЫХ ВЗАИМООТНОШЕНИЙ

T. Bogolyubov, one of the realist artists in the middle– second half of the 19th century, began his career as a romantic and a painter, who worked in line with academic traditions. Ayvazovsky’s work (along with the works of such masters as S. Shchedrin, K. Krugovikhin, A. Dorogov and M. Vorobyov) had a strong influence on the formation of the young artist in the second half of the 1840s – the first half of the 1850s. Subsequently, however, the enthusiastic attitude of Bogolyubov towards Ayvazovsky was replaced by sharp rejection of the famous artist both creatively and personally. The main reason for that was, above all, a change in creative views of Bogolyubov. Upon having matured in his creative work he continued traditions of the French painter-realists of the Barbizon school and the German artist of Düsseldorf school A. Akhenbakh. In many respects Bogolyubov’s assessment of Ayvazovsky’s artistic work has not lost its relevance now. It reflected the transition in Russian art of the 19th century from the romantic and academic traditions to realism.

Nadežda Petrović u prizrenskoj i valjevskoj ratnoj vojnoj bolnici - traganje za vremenom i mestom nastanka dva muzejska predmeta

One of the symbols of the suffering of Valjevo and Serbia in the great typhus epidemic from the first half of 1915 is the famous Serbian painter Nadežda Petrović. As a volunteer nurse, looking after the sick, she herself succumbed to this dangerous disease. In addition to various historical texts, two visual documents are related to Nadežda's stay in Valjevo: a photograph, in which Nadežda, with a group of doctors, stands in front of the hospital building, and an art painting that Nadežda painted, but did not write the name or year of origin. It was considered to be her last work of art and that is why it was later, after the place and year of the painter's death, named Valjevo Hospital in 1915. New historical sources and additional analyses have indicated that the mentioned photograph was certainly not taken in Valjevo in 1915, during the First World War, but during the First Balkan War, in Prizren in 1913. This knowledge opened the possibility that the famous art painting was not painted in Valjevo, but in Prizren. Among other facts, this possibility is indicated by the fact that the hospital where Nadežda worked and died in 1915 was located in the barracks, and the picture shows hospital tents, as Nadežda mentioned in one of her letters written in Prizren in 1913.

IDIOSTYLE PECULIARITIES IN TUNA KIREMITÇI`S “PRAYERS STAY THE SAME”

Present-day philological studies take into account ideological, aesthetic-philosophical and cultural factors that influence the work creation and the formation of the artist’s idiostyle. Prospects in the discovery and study of modern writers drew our attention to the figure of the Turkish novelist Tuna Kiremitçi. His novel “Prayers Stay the Same” (2007) is characterized by the coexistence of worldviews of the West and the East, determining the specificity of the choice of expressive linguistic means that serve for the embodiment of the ideas. The aim of the given article consists in identifying the peculiarities of the author’s style through complex analysis of the novel “Prayers Stay the Same” and singling out corresponding linguistic means. Kiremitçi’s idiostyle is characterized by the creation of a figurative system due to the author’s philosophical and religious views and genre-compositional features of the novel. Individualization of the style is facilitated by linguistic and stylistic means, among which the authors singled out toponyms, anthroponyms, foreign vocabulary, and youth slang as the most frequent ones. Linguopoetic features are marked by the use of language tools that have an aesthetic impact on the reader. The image of Istanbul reflects a set of cultural and personal traits, reveals historical events, promotes the formation of the heroines’ characters as well as conveys their spiritual secrets. The color of Oriental life is manifested in dialogues about the Turkish language and traditions, in quoting famous Turkish artists. Phraseologisms convey cultural and aesthetic values, outline the observations and worldview of both the Turkish people and the author himself. Spiritual ideals and guidelines are broadly represented in the novel in the texts of prayers, which are the author’s beliefs and searches for the answers for eternal questions, namely the essence of the prayer, faith, and the Almighty for an individual.

A Study of Karakaatakalai

Humans after finishing their food they spend their time usefully. Thus, they found out many arts and enjoyed it. They not only created art they himself enrolled in it and make others happy. Folk arts have developed with the only intention to make others happy. Then it can be divided into three types. They are folk practices, folk arts and folk science. Karakkatam is one of the very famous art in Tamil Nadu. This article says about karakattam art, its types and its importance with the help of two novels.

РУССКИЙ КУСТАРНЫЙ ОТДЕЛ НА ВСЕМИРНОЙ ВЫСТАВКЕ В ПАРИЖЕ И РОЛЬ В ЕГО СОЗДАНИИ АРХИТЕКТОРА И.Е. БОНДАРЕНКО

Russian Russian Handicraft Department at the 1900 World Exhibition in Paris served as a vivid demonstration of both the traditional art of the Russian North and the emerging, including on the basis of its synthesis with Art Nouveau, artistic direction, later called the Neo-Russian style. In the text of his memoirs "Notes of an architect artist" I.E. Bondarenko included information about his own role in creating a pavilion for the Handicraft Department, about his relationship with his co-author, the famous Russian artist K.A. Korovin

«Russian Light» (On the 175th Anniversary Since the Birth of P.N. Yablochkov)

For a short period of time (from the late 1870s to the early 1880s), the "Russian light" conquered the whole world. The triumphant march of Yablochkov’s lighting system was reflected in numerous publications, which were often accompanied by brilliant illustrations. The article attempts to collect visual materials reflecting the tireless activity of the Russian inventor and his associates. Many famous artists, who were the eyewitnesses of those events, captured Yablochkov’s “Russian light” on their canvases and engravings: Apollinary Mikhailovich Vasnetsov, Nikolai Nikolaevich Karazin, Louis Poyet, Charles Amédée de Noé (Cham), Edgar Degas, Jacques-Joseph Tissot, and others. The article gives the reader the opportunity to see all the splendor of the new electric light through the eyes of the artists of those years. The illustrations given in the article are important visual primary sources, valuable keepers of information that expand our understanding of the time the electrical engineering was in the making and showed rapid development.

Graphic Arts of Lyudmila Bruyevych from the 2000s–2010s: The Geometrization of the Images and Encoding of the Meanings

Female graphic artist Lyudmila Bruyevych is one of the most famous and popular domestic artist. In her graphic art one can trace the influence of folk and naïve art traditions, as well as the Ukrainian baroque, although at same time, it is an organic natural, and quite modern phenomenon. The artist`s favourite technique is etching; besides that, she also draws on watercolours. Already in her early works (Night; A Girl with a Puppy; A Capricious Lady (all — in 1991); A Merry Song; An Evening Song; Anguish (all — in 1992)), an original authorial style was formed, which combines epic and grotesque, poeticims and symbolism. Wherein an images is almost always supplemented by a calligraphic text, sometime a quite large one. L. Bruyevych often refers to biblical images, but usually interprent them in a very original and unexpected way (The Holy Family (1991); There was a Throne in Heaven with SomeoneSitting on It; The Seventh Angel; The Whore of Babylon (all — in 1992); The Fourth Beast Was Like a Flying Eagle (1993) and other). In the mid 1990s, the female artist began to illuminate her etching, using for this only four (sometimes two) watercolour paints (colours: alizarin crimson, emeradl green, ochre and gold). This added brightness and decorativeness to her works and strengthened their sybolic richness. In 1994, The Flower of Love was created, aswell as the series Tranquility, which consists of five sheets (Cats; Mermaid; Three Fishes; Fish;and Vase). They can be considered the most characteristic works of L. Bruyevych. At the same time, in the artist`s subsequent etchings (Night Beast; Round Dance of Grass Snakes, orInfinity; A Prehistoric Animal, or Dragon (all — 1997)), the tendecy to geometrization gradually is tensified. The geometrization and conditional character of the images are strengthened by degrees, but unceasingly. At the same time their content depth is increased and concentrated: Course of Time, or Ukrainian Pyramids. Psychoelevation of the Soul (2004), Ukrainian Pyramid (2005), Geometry of Love (2012), Language of Land (2014, diptych), Mallow and Grape (2016, diptych). It`s affirms the desire of the artist to unite and synthesiza different styles, inherent for her graphic arts. All these facts can denote the beginning of new, unusually interesting, period in the creative work of L. Bruyevych.

Indian Handicrafts: A Sustainable future of Utilitarian Consumer Goods

Utilitarian products are those which are designed to be useful rather than attractive. Handmade products are, thus, one among the wonders of Indian artisans, which are both useful and attractive at the same time. World-renowned Indian handicrafts are imported by several countries, which is highly supporting Indian art and culture. This is a source of livelihood for more than half of the unskilled labours and artisans of the Handicraft Industry. But with high-quality décor, luxurious items being exported to foreign lands, middleman income and trade fairs are sucking up most of the profits. Indian artisans and handicraft workers are therefore left with little income in hand except for the very famous art workers of big businessmen. This is one of the major problems which can be solved by encouraging the supply of handicrafts and domestic consumer demand. Since Indian consumers have been evolving through manufactured products, globalization, industrialization, etc. they are producing harmful effects on the environment and socio-economic conditions. Hence, it is very alarming for the handicraft sector to be able to protect its art and small business during an economic crisis. To address the small businesses and art of poor craftworkers this study intends to focus on the utilitarian aspect of handicrafts as being the sustainable alternative. The research broadly focusses on the socio-economic conditions of rural artisans and the environmental benefits of handicrafts by assessing the demand of domestic consumers and their perspectives. Based on primary data collected through the survey method, the study finds that domestic consumers are aware of the sustainable alternative handicrafts have to offer, while the utilitarian aspect has a vague response when it comes to purchasing handicrafts. However, demand for handicrafts is high because of their utilitarian aspect only. The study applied multiple regression analysis to analyse the results and conclude with suggestions based on qualitative research analysis to support rural handicraft artisans and small businesses. The study initiates a broad scope of research in consumer behaviour towards handicrafts in India as a sustainable alternative to mass production. This is one of the ways of supporting the cultural art forms as well as replenishing sustainability in the three major directions, which are economic, environmental & societal. Based on the empirical findings of this study, it concludes with the suggestions of co-existence with culture and sustainable development in India.

Laser Scanning Investigation and Geophysical Monitoring to Characterise Cultural Heritage Current State and Threat by Traffic-Induce Vibrations: The Villa Farnesina in Rome

A multidisciplinary approach is often the only way to assess the state of the cultural heritage, thus involving different specialist expertise and techniques. The paper shows the paired use of terrestrial laser scanning (TLS) and geophysical monitoring (GM) to detect past effects and analyse the actual vibration levels induced by traffic on cultural heritage. The case study is the Villa Farnesina, one of the most important Renaissance buildings commissioned by the banker Agostino Chigi. The Villa contains frescoes attributed to Raphael and other famous 16th century artists, and it is located a few meters from the Lungotevere, which is one of the busiest roads in the historic centre of Rome. Testimonies report the damages caused by the construction of the embankment of the Tiber River, as well as by the traffic in the second half of the 20th century, so much so as to require requalification of the road artery. The TLS survey allows for detecting cracks and deteriorations of the frescoes, although these were subjected to restoration activities over the time, whereas the (GM) allows analysing actual vibrations induced by traffic at the different floors and outside the Villa. Although the measured vibration limits, as velocity peaks in defined frequency ranges, are below the thresholds established by international codes, the importance of the wall paintings and their already-shown susceptibility to damage suggest keeping the building under constant monitoring.

LATVIAN LEFTIST ARTISTS, MANIFESTATIONS OF BOLSHEVISM AND LEBYADKIN’S POETICS

The author of the article draws from his research conclusions made while directing the documentary “Gustavs Klucis. The Deconstruction of an Artist” about the world- famous avant-garde artist Gustavs Klucis (1895–1938). The contribution examines the chivalric relationship of the artists with the Bolshevik rule over the period from the October Revolution until World War II, from the first revolutionary art education establishments, production units, and exhibitions to detention camps and execution firing ranges. The main research question, “Is the Bolshevik revolution related to the art of avant-garde and constructivism?” The contribu- tion offers a new version about whether and how the conception of new art supported the conception of a radically anti-human political system. The Russian 1917 Bolshevik revolution formed a strange but also natural alliance with art, resulting in the Russian avant-garde artists taking power. If we talk about the way how Latvian artists moved into the area of leftist ideas, it is more likely to be fate than their art or a philosophical trend. However, a third party intruded into this chivalric romance of art and power. The third party was an undereducated and non-creative perception of the world, called cockroach consciousness, which is best represented by Lebyadkin in Fyodor Dostoyevsky’s (Фёдор Достоевский) brilliant novel “Demons” (“Бесы”), which predicts the revolution. The author of this contribution takes a closer look at the role of Latvian artists in creating the attractive features of the Bolshevik revolution and shaping a framework for the repressive system.

Sigmund Freud, 19 Berggasse, Vienna. André Breton, 42 Rue Fontaine, Paris

Sigmund Freud, 19 Berggasse, Vienna. André Breton, 42 Rue Fontaine, Paris

Andrey Bely as an Artist vis-à-vis Aleksandr Golovin: How the Cover of the Journal Dreamers Was Created

Samuil Alyanski, the owner and founder of the Alkonost publishing house (1918–1923), as early as 1918 had decided to issue a journal called Dreamers’ Notes, meant to bring together the Symbolist writers remaining in Russia after the October Revolution, primarily Aleksandr Blok, Vyacheslav Ivanov, and Andrei Bely. Despite the generally accepted view based on the memoirs of Alyanski, Andrei Bely played a leading role in the creation of the journal including the design of the cover commissioned by Alyanski from the famous Modernist artist Aleksandr Golovin. This article analyzes the sketches that Andrei Bely proposed as an idea for the journal cover as well as establishing their connection with the writer’s visionary drawings from the period of life when he was close to Rudolf Steiner and with book graphics from the period of his collaboration with the publishing house Alkonost. At first cursory glance, there is little in common between the cover of Dreamers’ Notes drawn by Golovin in the Modernist style and the sketches of Andrei Bely who was trying to make the journal а platform for Anthroposophy. However, as demonstrated in the article, all of Bely’s ideas were utilized by Golovin in creating his own artistic masterpiece.

ЭКСПЕДИЦИОННАЯ РАБОТА ДЕЯТЕЛЕЙ ИСКУССТВА ПО СБОРУ МАТЕРИАЛОВ ДЛЯ СОЗДАНИЯ ВИДОВ МЕСТНОСТЕЙ И ПОСЕЛЕНИЙ ОКРЕСТНОСТЕЙ БАЙКАЛА ВО ВТОРОЙ ПОЛОВИНЕ XIX — НАЧАЛЕ XX ВВ.

The study is aimed at restoring the main stages of the expeditionary work with the participation of famous artists in collecting materials to create types of localities and settlements in the vicinity of Lake Baikal in the second half of the 19th – early 20th centuries. Archival documents about the activities of E.E. Meyer, S.E. Vronsky and B.I. Lebedinsky as part of research groups. It is proved that the plots of the paintings of Western travel artists differed from those similarly made by local masters. This phenomenon is due to the fact that foreign and metropolitan artists lacked deeper knowledge in determining localities, highlighting the features of the region, thereby they missed many important details. The work of artists focused on the creation of works that presented the surroundings of Baikal extensively and from different angles. The artists showed the completed canvases to the residents at public exhibitions, in the future, many works remained in the funds of local museums. In the archives of the Irkutsk Regional Art Museum. V.P. Sukachev and the State Archives of the Irkutsk Region, personal files and materials on the activities of such artists as E.E. Meyer, S.E. Vronsky and B.I. Lebedinsky. The collections preserved detailed correspondence between museum staff and relatives of the painters, impressions and reviews of contemporaries, exhibition visitors, clippings of articles from pre-revolutionary periodicals, which must be presented in this article. The study confirmed that in the process of organizing and conducting expeditionary work by the scientific community, new types of neighborhoods of settlements in the Irkutsk province and the Trans-Baikal region were created. The activities of scientists and artists focused on studying the cultural and natural heritage, replenishing the museum's funds with paintings that depicted the region, highlighted its features and development prospects.

The attentional boost effect facilitates visual category learning.

Increasing evidence has shown that summary visual statistics, such as the mean size or centroid of locations, can be perceived without focal attention. Here, we tested the role of attention in visual category learning - rapid learning of visual similarities among paintings of the same artist. Participants encoded paintings from two famous artists into memory while simultaneously monitoring a rapid serial visual presentation (RSVP) stream of colored squares, pressing the spacebar for target colors and making no response to distractor colors. Paintings encoded with the RSVP targets were better remembered than those encoded with the RSVP distractors, demonstrating an Attentional Boost Effect. Importantly, pairing one artist's paintings with the RSVP targets led to better visual category learning - participants were more accurate at recognizing novel paintings from this artist, relative to another artist whose paintings were presented with the RSVP distractors. Thus, visual category learning is subjected to the same constraint of attention as exemplar memory, demonstrating common mechanisms for exemplar and category learning.

“Sociologos: Platonic Dialogue” by Alexander Goldenweizer and “Pseudo-Sociologos. A Reply to Professor Goldenweiser” by Pitirim Sorokin. Transl. from Eng. by V.V. Sapov

For the reader’s consideration— an article never before translated to Russian written by American anthropologist Alexander Goldenweiser, where he attempts to dismantle the first three volumes of Pitirim Sorokin’s “Social and Cultural Dynamics” that came out in 1937. In it he comprehensively criticizes Sorokin’s “Dynamics” to the point where he completely refutes all of it. The article is written in the form of a “platonic dialog” partaken by world famous scientists, artists and sociologists, with Socrates himself presiding on this “Areopagus”, who, after hearing out the prosecution, sentences Sorokin to capital punishment. Sorokin responded with an article where he analyzed all charges against him and issued his own decisive verdict— “not guilty”. The publication is meant to commemorate 85 years since the release of the first three volumes of “Social and Cultural Dynamics”.

Celebrity Refugees and Foreign Policy: The Politics of Fame in International Protection

Abstract Celebrity refugees are a foreign policy tool whereby states grant international protection to famous artists, scientists, or politicians in exchange for some sort of strategic value in international relations. Celebrity refugees bring different types of strategic value—intellectual or ideological capital—and serve the role in propaganda to affirm domestic legitimacy, gain strategic advantage, and embarrass enemy regimes. This article develops an analytical framework for understanding why states offer international protection to celebrities. We apply our theory to four historical cases—Enrico Fermi, Robert F. Williams, Maxim Shostakovich, and Julian Assange—to understand the impact of their strategic value for both the host state and celebrity refugees. The utility of celebrity refugees for states is a global strategy that is not constrained to the Cold War period, as one might initially expect. Ultimately, both powerful and smaller states can protect celebrity refugees to bolster their domestic legitimacy, gain scientific or military advantage, and embarrass their rivals.

Special-Effect and Conventional Pigments in Black Light Art: A Multi-Technique Approach to an In-Situ Investigation.

Since their introduction in the early decades of the 20th century, fluorescent pigments have found progressively wider applications in several fields. Their chemical composition has been optimized to obtain the best physical properties, but is not usually disclosed by the manufacturers. Even the other class of luminescent pigments, namely the phosphorescent ones, is now produced industrially. The peculiar optical properties of these pigments have attracted more and more the attention of famous artists since the middle of the last century. The Italian Black Light Art movement exploits the possibility of conveying different aesthetical messages depending on the kind of radiation (UV or visible) with which the artwork is illuminated. In the present work, a non-invasive in-situ investigation based on Raman, fluorescence, and visible-reflectance spectroscopies was performed on a series of Black Light Art paintings exhibited in Milan (Italy) in 2017, succeeding in the identification of the materials used by the artists. In particular, the use of both fluorescent and phosphorescent pigments, alone or combined with conventional synthetic organic pigments, has been recognized.

Educational project "Seasons in works of art" with children of senior preschool age

From birth, the child is the discoverer of the world that surrounds him. But independently, a preschooler still cannot find answers to all his questions teachers help him. At the preschool, educators use methods of problem-based learning: questions that develop logical thinking, modeling of problem situations, experimental research activities, etc.
 The development and implementation of the cognitive speech project will teach children to comprehend the acquired knowledge and use it in independent creative activity. It will expand children's knowledge of art, arouse a desire to visit exhibitions, museums, cultural events. It will develop inquisitiveness, curiosity, and the desire to live in active interaction with nature in children. It will allow you to more freely and easily own the material of the topic stated in the name of the project. Will introduce children to famous artists and their paintings such as: I.I. Shishkina "The First Snow", "Landscape with lake", "Rye"; I. I. Levitan. "Golden Autumn", "Blooming apple trees", "Spring. Big water", "Overgrown pond"; Savrasov A. K. "Rooks have arrived", "Winter"; poets and their poems: Pushkin A.S. "Winter morning", "sad time", Fet A.A. "Wonderful picture", "I came to you with the dawn", Tyutchev F. I. "Spring waters" "There is in the original autumn", Yesenin S. A. "white birch", "Blue May"; composer Tchaikovsky P. I. and his work "Seasons".
 We assume that the active involvement of children in joint project activities will contribute to the development of creative abilities in children with ONR, will allow for more productive correction of their existing disorders.
 Solving various cognitive-speech tasks together with adults and peers during the design process, children with speech underdevelopment motivatively enrich and activate their vocabulary, learn to speak publicly, communicate adequately with others.
 The project method can go through all kinds of children's activities and encourages teachers to improve their professional and creative level, which affects the quality of the educational process. It encourages the active interaction of all pre-school specialists, parents of pupils and the organization of society.
 It forms the ability of preschoolers to plan and independence in solving the problem, promotes the development of cognitive and creative activity. It is the project activity that allows you to unite teachers, children, parents, teach them to work in a team, cooperate, plan their work. Every child will be able to express, feel needed.