Figurative Art Research Articles

William Blake and the Age of Aquarius ed. by Stephen F. Eisenman

Reviewed by: William Blake and the Age of Aquarius ed. by Stephen F. Eisenman Jade Hagan Keywords William Blake, Romanticism, American counterculture, 1960s', 1970's, art history, cultural studies, abstract expressionism, the Beat Generation, psychedelic subculture, utopianism, millenarianism, the Age of Aquarius, Maurice Sendak, occultism, esotericism stephen f. eisenman, ed. William Blake and the Age of Aquarius. Princeton: Princeton University Press, 2017. Pp. 248 + 137 color illustrations. Perhaps the most striking fact about the English poet and artist William Blake (1757–1827) is that until the middle of the twentieth century, almost no one had heard of him. Stephen Eisenman's edited collection William Blake and the Age of Aquarius makes significant headway toward recovering and revaluing the popular origins of Blake's current celebrity and mainstream status. In particular, it focuses on Blake's pivotal influence on the American counterculture [End Page 433] of the 1960s and '70s, which, as this collection convincingly demonstrates, was as much a visual culture as it was a political movement.1 The book forms the catalogue for the exhibition of the same name that ran from September 2017 to March 2018 at Northwestern University's Block Museum of Art, and features 137 high-resolution images of works in the exhibition.2 Together, the book and exhibition aim to explore the art and ideals of key figures in the 1960s through the lens of their engagement with Blake (vii). More specifically, the essays in the collection examine how Blake shaped the era's struggles against oppression and the various ways that he was understood and misunderstood in the process (viii). The collection is significant for its recovery of Blake's place in the visual culture of the 1960s and the ways in which Blake's imprint reshapes traditional categories of art history. Tracing Blake's influence on this culture brings together high and low art, placing psychedelic concert posters for The Doors and the formal experimentation of abstract expressionism on a continuum of responses to the same figure and the same political and cultural moment. This is fitting for a figure who himself bridged so many divides—between, for instance, text and image, marginal and mainstream, copyist and visionary. This collection grapples with three divides in particular: the past and present, politics and religion, and Blake's academic and popular reception. Although the authors have varying degrees of success in complicating these divides, the book's treatment of these issues expands our understanding of Blake and his proper historical location. The collection consists of a lengthy introductory chapter, a chapter on the historical contexts of Blake's work and life, four chapters that serve as case studies of Blake's influence on specific figures and coteries, and a final chapter that offers a methodological reflection on what it means to conduct the sort of trans-historical study laid out in the book and exhibition. Some of the [End Page 434] chapters offer a new interpretation, through the prism of Blake, of an artist or writer we thought we knew. But many of the artists and writers discussed in these pages will be new to most readers outside of the academic study of art history or postwar American cultural studies. Some of these figures will be new or surprising even to those who do study the 1960s. This is by design. In fact, one of the book's innovations is to suggest a new way of structuring or defining the counterculture vis-à-vis a new pantheon of countercultural figures. The chapters oscillate between panoramic overviews of Blake's impact on postwar American popular culture on the one hand and more focused studies of Blake's influence on specific movements and figures on the other. The four case studies narrow in focus as they progress, moving from Elizabeth Ferrell's chapter on a group of seven San Francisco-based writers and artists, to Jacob Henry Leveton's chapter on four abstract expressionists, to John Murphy's chapter on avant-garde artists Æthelred and Alexandra Eldridge, and finally to Mark Crosby's chapter on Maurice Sendak. At the same time, each of these four chapters speaks to a broader trend or cultural context of the '60s. The...

Silent Slaves: Reconstructing Slave Perspectives on the Grave Stele of Hegeso

The Grave Stele of Hegeso (400 BCE) depicts a ‘mistress and maid’ scene and preserves valuable insights into elite iconography. The stele also explores the experiences of wealthy Athenian women in their social roles and domestic spaces. The slave attendant, if discussed at length, primarily functions as a method of contrast and comparison to her elite master. While the comparison between elite and non-elite women is a valuable interpretation for studies of gender and class in classical Athens, more can be done in regard to examining the slave attendant on the stele, and as a result, examining slave figures in Greek art. Slaves made up a sizeable portion of classical Athenian society and were present in both elite and poor households. However, due to a lack of material and written evidence, the field of classics has not explored the concept of Greek slavery to its full extent. In addition, what little does remain to modern scholars was commissioned or written by elite voices, who were biased against slaves. The remaining elite perspective does provide insight into the role of slaves in classical Athenian households and can be reexamined to find subversive interpretations. This paper explores potential reconstructions for slave perspectives and narratives on the Grave Stele of Hegeso by drawing upon the Attic funerary practices and literary tropes of the Good Slave and Bad Slave in Athenian theater and Homeric epic. This paper also discusses the relationships between masters and slaves, household slave dynamics, and what constitutes the idealized Athenian slave. While the majority of remaining classical material and literary evidence relates to the elite, subversive ideals can be picked out from elite narratives and used to better understand the perspectives of the enslaved, construct frameworks that give voices to disenfranchised groups, and further enrich the study of surviving elite perspectives.

Принципы и методы создания сюжетных композиций современного стрит-арта

The paper traces the evolution of compositional solutions and figurative content of narrative street art from its inception to the present and identifies the most common constituent elements of narrative street art compositions. They include: narrative photo images, narrative digital art, narrative unique and printed author's graphics, narrative scenes and elements from the works of classical, national art and mass culture. The author considers the relationship between the evolution of technical means in the arsenal of street art artists and creative techniques and methods performed in figurative street art compositions. The narrative component was present already at the stage of graffiti and early street art, then gradually evolved towards greater significance and diversity of compositional solutions, reaching its heyday in modern public art. The study discusses characteristic creative techniques of iconic figures in contemporary street art and their role in the process of evolution of narrative street art compositions. Among them are Seen, K. Haring, J. M. Basquiat, Banksy, Ma Claim, Shepard Fairey, as well as the Russian cult street-art artist Pavel Pukhov, who gained international fame during his lifetime. The authors determined main methods of creating narrative compositions in contemporary street art; the most commonly used ones are the literal reproduction of narrative source material, the multiplication of primary sources, their mixing, superimposition and collage. The paper outlines the main principles of successful narrative street art compositions, including the relevance of the narrative, communication and contextual aspects, poster art, ensuring a quick perception by using an artistic language accessible to the mass audience, the use of easily recognizable allusions and archetypical images.

On the Kindness of Readers

On the Kindness of Readers Paul A. Bové (bio) The only thing a book can hope for is readers and in this symposium, Love's Shadow (2021) has been truly fortunate. Ten distinguished and busy scholar critics have taken the time to read and comment, to give the book place and value. They honor the book with time, attention, and care. Each response reveals facets of the book that provoke or inspire. Certain responses make Love's Shadow very much about the academy, academics, or their beliefs and practices. Others make it about poetry and imagination. Some take it as a performance of inevitable patterns or of planned agons. Love's Shadow's form invites responses to its elements, for example to its reservations about messianism, allegoresis, or utopian belief. Critics who accept those invitations illuminate the strengths and weaknesses of each section or each discussion of a major motif. These responses sometimes object, correct, or supplement. They make clear that Love's Shadow does not earn their consent to its evaluations of various theoretical notions or figures influential for a time within the disciplines. Of course, those who are unconvinced realize that the book predicts such responses and finds confirmation of its own judgments in the corrective disagreements it sometimes provokes. Other commentators see Love's Shadow as a late work justifying a career with judgments based on experience. In such a view, the book is not only critique but apologetics. Seeing the book this way gives it heft coming at the end of a career by its own testimony abandoned. Responses that register their disbelief in the book's accomplishments tell stories centered on academic debates, requiring scholastic method to settle or contest claims. In a way, such responses discredit Love's Shadow as academic work, present it as flawed, incomplete, biased, prejudiced, polemical, and mystified. Other responses set the book outside academia as well. While they may also disbelieve the book's claims about academic matters and figures, they read Love's Shadow for its autobiographical traces. They read it as the story of conversion, of abandonment, of a life-change. While this notion can coalesce with responses that grace the book as an apology for a life's claims and efforts, in the hands of even sympathetic academic readers it has a discrediting effect as well. The book's mistakes, in such responses, lie in its judgments about academic practices, beliefs, and investments. Its brilliance as critical writing on Stevens, Rembrandt, or Shakespeare aside, [End Page 631] its unsatisfying claims about the academy, its Leaders, and their ephebes puts it out of bounds as a schoolman's text. The autobiographical reading tells a story of finding value outside the academy and its figures. The book becomes a "turning the back" story. Such responses live in a binary world, where a book might succeed as criticism in such a way as to leave in place the academy the book abandons. Astute readers grasp that there is more than one voice in the book, that it is crafted as performance, and structured to enact many of its own claims. The book offers guides to its own reading, noting for example the poisonous possibility that imagination's work can repress and imprison itself. A response that sees the poison's potential in imagination's work also realizes that as the book opens, writing in the mode of high critique to double back upon the authority of mainstream practice and institutions, it makes use of exhausted devices to clear the ground for better things. Many readers note the differences in prose style among chapters and especially between earlier "theoretical" chapters—but what then of "The Socratic Interlude"?—and the later critical chapters. Those responses that take the structural movement of the text seriously, to understand and explain what the book is trying to do. An early reviewer noted that the book is not a book "about."1 This leaves it as writing, as something that invites responses that ask what it does or how it creates. Various readers notice how the book summons older figures in criticism and art to the present as figurations within its own project. The time...

Н. Я. МЯСКОВСКИЙ: ПРИТЯЖЕНИЕ ТАЛАНТА

The article is dedicated to Nikolay Yakovlevich Myaskovsky, whose 140th birthday will be celebrated in 2021. Myaskovsky's role in Russian and world culture is unique. A composer, teacher, music and public figure, who had an indisputable literary gift, critical thinking, inclined to scientific understanding of historical facts and artistic potential of art, he was a defender of the Artist's high destiny, a creator who, at a time when the country was collapsing, cutting off the deep ties of culture and tradition, remained faithful to these traditions and believed in the continuity of culture. And this was at a time when deviations from the course set for Soviet music were severely punished. N. Ya. Myaskovsky did not escape this fate either. During that difficult period, he was supported by his work and immersion in the world of Old Russian church music in connection with the writing of the Twenty-sixth Symphony. The personality of Myaskovsky, who had an indisputable authority, attracted; he was constantly surrounded by students, in direct creative dialogue with performers, conductors, close-minded figures of musical art, as reflected, among other things, in many "musical dedications" to the master that are stored in his archive.

Види навчальних занять з образотворчого мистецтва в позашкільній студії Золтана Баконія

Види навчальних занять з образотворчого мистецтва в позашкільній студії Золтана Баконія

Information and communicative component of an international scientific discourse

Abstract. For a comprehensive study of tropes and stylistic figures of the Ukrainian language is extremely important to learn the basic functions of tropes in the scientific linguistic articles. The actuality of the research topic is determined by the need of a systematic study of tropes and stylistic figures that are traditionally considered unusual for the text, but we will try to prove that they are relevant. In modern scientific literature, the expressive and emotional function is presented and implemented by the help of such tools as epithets and metaphors. The study of the linguistic features of scientific discourse is of great importance to find ways of explaining a certain material. The study, using a free associative experiment, has led to the conclusion that the use of artistic means and stylistic figures in the educational and scientific texts makes it possible to master the material better. Generally speaking, the use of artistic means in scientific texts is not widespread, but the student audience prefers these texts. The use of metaphors, epithets, phraseologisms, comparisons, periphrases in professional articles is an effective way of highlighting important elements of scientific discourse, forming the individual style of the researcher. If the text is addressed to the reader for educational purposes, the correct use of paths will facilitate the quickest possible understanding of the basic thought of the message. In our view, a promising direction is the further study of communicative analysis of tropes in scientific texts.

Перспективы развития и сохранения этнического самосознания адыгской молодежи

The article is devoted to the analysis of the prospects for the development and preservation of the ethnic identity of the Adyghe youth, the question of determining the place of the traditional institution «Adyghe Khabze» in the modern Adyghe society is raised. The historical context of the formation of the Adyghe ethnos is considered, Professor I.I. Maremshaova believes that the formation of the common Caucasian proto-archetypes took place under the influence of significant outside influence. Modern attempts to reconstruct and restore the glorious past do not take into account that it has long since sunk into oblivion, there is only a shadow of past victories, and we, in particular, the Circassians, peck at our heroic past, extracting past merits from there. It is imperative to create an image of a progressive region and nation. We need historical heroes and characters to create national examples and landmarks, the Adygs need not only the images of military leaders and athletes, but scientists, doctors, firefighters, modern figures of art and education.

Analysis on the use of different techniques based on three learning styles: visual, listening, and kinesthetic

This article seeks to provide data on how well the learning styles are known and how they are used in teaching methods and techniques by teachers as well as how much student learning styles are identified, a factor that leads to motivation, development of knowledge, skills and building student attitudes or improving attained results. One of the characteristics of learning related with the observation, processing and transmission of information in different ways coincides with the learning styles utilized by the student and that is identified and should be used by teachers. Their identification leads to a quality learning, which motivates every student to have positive academic and artistic achievements. The article undertakes to bring a qualitative descriptive research, where the subjects are teachers and students of the Figurative Arts and Music Department of the Jordan Misja High Art School. To validate the conclusions of this article, two questionnaires were developed and employed, which were completed by research subjects (about 100 students and 25 school teachers). Responses obtained through questionnaires validated the results obtained and the analysis performed shed light on the deficient knowledge of the teachers regarding the three learning styles. An interpretation of the responses reveals that 32.5% of teachers employ the most evident styles including other teaching techniques. Responses received through student questionnaires and interpretations made from the results of the analysis show the three styles including: a) listening learning style (62.5%), b) CRITICAL ESSAYS 136 POLIS / No. 20, 2021 POLIS / No. 20, 2021 137 visual learning style (37.5%), and c) kinesthetic style (0.70%). In conclusion, the article highlights the need to know the characteristics of the learning styles, the basis for improving student achievement as well as the quality of teaching by the using diverse teaching techniques.

Ivan Kavaleridze`s dramaturgy on the Sumy stage

The characteristic features of I. Kavaleridze’s drama is considered in the article. It is noted that there are signs of the artist’s individuality, attraction to expressionist forms, artistic techniques characteristic for the art of sculpture: symbolism, monumentality, hyperbole. I. Kavaleridze was well versed in the drama laws, understood the specifics of the stage events construction, had a large arsenal of literary means, thanks to which the characters’ monologues and dialogues were extremely expressive and colorful. In his work, he implemented original solutions that were ahead of time. Therefore, many of the artist’s ideas and achievements received due recognition only after his death. I. Kavaleridze’s creative heritage covers a wide range of both purely artistic and general philosophical problems. Among them the formation of the era of modernism and its features in the Ukrainian art of the early XX century, the impact of revolutionary ideas on the work of the 1920s, the role of spiritual leaders of the Ukrainian people T. Shevchenko and G. Skovoroda in the formation of national consciousness, political and ideological pressure on figurative art language and the formation of a socialist-realist canon, etc. The analysis of the productions of I. Kavalerizde’s plays “The First Furrow” and “Gregory and Paraskeva” on the stage of the Mykhailo Shchepkin Sumy Theater of Drama and Musical Comedy in 1970-1972. The article notes that these plays were staged in Sumy for the first time in the history of Ukrainian theater. The premiere of “The First Furrow” (the play was called “Old Men”) took place on March 19, 1970. The figure of the national genius Hryhoriy Skov oroda was als o embodied for the first time on t he stage in Sumy in th e play “Hryhoriy and Paraskeva”. It premiered on October 21, 1972. I. Rybchynsky, Honored Artist of the USSR, performed the production. Creating generalized historical outlines of people’s life, features of life at that time, depicting psychological portraits of people in various, sometimes-dramatic collisions, in the productions of I. Kavaleridze’s plays on the Sumy stage the emphasis was on universal values such as virtue, love. The main character was the Ukrainian people, who nurtured such large-scale historical figures, gave them strength and wisdom for great achievements. Based on publications in periodicals of that time, memoirs of Ukrainian directors, the peculiarities of the director’s interpretation, stenographic and musical design of these plays on the Sumy stage are considered. Considerable attention is paid to the analysis of acting works in I. Kavaleridze’s plays. In particular, the peculiarities of the actor’s embodiment of the image of the national genius Hryhoriy Skovoroda on the stage are presented. It is noted that I. Kavaleridze’s plays, created in a difficult political, social and ideological context, are rightly considered to be highly artistic works of Ukrainian drama. Their staging was carried out on various theatrical stages, including Mykhailo Shchepkin Sumy Theater of Drama and Musical Comedy is an important page of national theatrical art.

Život slike posle smrti umetnika - Petar Lubarda i fenomen trajanja umetničkog dela

Following the path of the painting after the departure of Petar Lubarda, one of our most prominent art figures, we are faced with the question to what extent we have fulfilled our task to protect the cultural property that was left-donated-to us. Processing the data from the most extensive register in the documentation of the Faculty of Fine Arts, with a multitude of actual and sensationalist titles that follow the life of his paintings, we have learnt about the formation of a rich collection donated by the artist's wife, Vera Lubarda, to the City of Belgrade, about the opening of the Atelier of Petar Lubarda and, shortly afterwards, its closing and falling into oblivion. However, in the light of one century from the birth of our esteemed artist, a need arose for retrospective exhibitions, which have, along with marking the jubilee and forming the Legacy of Petar Lubarda, to some extent corrected the decades of neglect by the expert public and the responsible cultural institutions. With an objective approach to the preserved data recorded by numerous art historians, critics and journalists, which are kept in the Petar Lubarda files, the paper presents the most current events about the life of his paintings in the period from the artist's death to the present day

The influence of the traditions of eastern art on the painting of Michael Guyda

The purpose of the article. To analyze the work of Ukrainian painter Mykhailo Huida in the context of cultural integrations of China and Ukraine in the last decades of the XX - beginning of the XXI century. as an expression of trends in contemporary art. Methodology. General scientific research methods, chronological and historical-comparative, historical-biographical, figurative-stylistic, semantic, analysis are applied. Theoretical and art terminological structures are used. The scientific novelty lies in elucidating the peculiarities of Mykhailo Huida's work and the formation of the meaningful, compositional, stylistic and aesthetic beginnings of his painting in the context of cultural integrations of China and Ukraine in the last decades of the XX - early XXI centuries. Conclusions. The peculiarities of the creative path of the Ukrainian painter Mykhailo Huida, his unique experience of work in China, which became the basis for the creation of the artist's personal artistic style, are analyzed. The study of works of art by Mikhail Guida revealed the consistent formation of features and peculiarities of his painting over the decades as a result of: a) acquaintance with the art of the East in Japan; b) stay in China, including among Chinese cultural and artistic figures; c) study the history of culture and art of China; d) deep penetration into the world of China through understanding of its nature, customs, traditions due to travel, stay in different provinces of the country, teaching in Chinese universities. The figurative and artistic content of his works reveals an innovative combination of European, including Ukrainian, and Chinese stylistics, artistic means and various linguistic methods of traditional Chinese painting. It is also important for the artist to comprehend the semantic foundations of Chinese traditional and modern art, which turned out to be in agreement with Mikhail Guidi as a person. It was found that the imagery of Mikhail Guida's painting has an internal form that embodies the image in the general structure of the subject-spiritual world. It is concluded that the involvement of the traditions of Chinese and Ukrainian art in a single work involves a philosophical understanding of the artistic heritage of both countries and their transformation into modern forms. The artist's creative path, discovering the techniques of painting in the East, enriched and elevated his work to exceptionally high standards.

Una cartografía del tacto: la poética del instrumento en José Luis Torá (Madrid, 1966)

El presente artículo constituye una aproximación desde un punto de vista estético al trabajo con el instrumento musical que realiza en su obra el compositor español José Luis Torá (Madrid, 1966). En el contexto de su poética, el instrumento se entiende como un cuerpo sonoro, físico, provisto siempre de posibilidades acústicas no actualizadas. Además, se reconoce en él la existencia de una historia o “memoria” que contribuye a cargar de sentido, de antemano, las acciones instrumentales. El artista, partiendo de posicionamientos teóricos afines a los de quien fuera su maestro, Helmut Lachenmann, (y de otras influencias musicales, filosóficas y artísticas), se plantea la necesidad de una labor crítica que permita sacar a la luz nuevas relaciones acústicas en el instrumento en el proceso de creación musical. A lo largo de estas páginas se estudian las implicaciones filosóficas de dicha concepción del instrumento, enmarcándolas en la poética personal de Torá, y se analiza su huella en la escritura musical del autor a través de algunos ejemplos tomados de, entre otras obras, wq.132 à creux perdu (2017), Kaspar Hauser Lied (1993) e in der bruchlosen Ferne, dans le crevasse du temps (2001).

The Issue Of Attitude Towards Women In Boburnoma

The author of "Boburnoma" describes about the historical figures of his time: rulers, cultural and artistic figures, their position in society, and provides information about their marital status. The book focuses on how their wives, their children’s behaviors and clarifies the author's conclusions about the family as an integral part of society, his views on the influence of the family in determining the place of any person in social life. In this article, I will discuss the author’s progressive views on his time, in particular, his views on women and their role in society.

Against Declarativity

Historical discourse is a period phenomenon shaped by the rhetorical and genre understanding of the moment in which it became formalized and professionalized - that is, the second half of the nineteenth century. In the figurative arts, realist painting and its rival, photography, was dominant, and the literary form this notion of consciousness took was the realist novel. Literary realism devices replaced romantic literature devices, just as those latter devices had succeeded, but never replaced the eighteenth-century devices. Historical discourse and the very notion of proper history followed realism devices, mostly the single-lens photographic perspective, one viewer’s viewpoint. From a discourse perspective, this approach took the form of declarative, statement-making. Also, it is not to say that the declarative sentence which gives this term its name was rejected as the preferred way of making assertions about the world - far from it. Although a few self-conscious stylists (Derrida, for instance) work hard to avoid it, the declarative sentence is almost inevitable. Their readers work even harder. But just as narrativity encompasses a realm that extends far beyond narratives, so that narratives can proliferate in an environment that has, in a crucial sense, rejected grand narratives, so declarative statements will exist without entailing statement-making. The declarative act became the defining mark of professional history and remained its principal mode, just as it remains the predominant mode of literature and any number of other discourses. Indeed, this essay is written in the declarative rhetorical mode. However, literary modernism, philosophy, and a host of scientific developments have left this way of representing the world behind. Moreover, the same technological and intellectual changes that caused the modernist vision have, at the same time, created a different world to be depicted, a different sort of event to be represented historically. Not only the form but also the content have changed. The ethical and practical frustrations of representing such events have led to a theoretical challenge to the declarative form of knowing and to a challenge for the genre distinctions that constitute guild history: the idea of the past produced by academically professionalized individuals. For example, the difference between history and fiction - or rather, their respective relationship to truth and reality - has blurred. In contrast, history has adopted some of the modernist literature devices and the present’s practical demands.

Formation of Oleksandr Kolosok creative personality as a performer and choreographer

The purpose of the article is to find out the features and conditions of the formation and development of the creative personality of the Honored Artist of Ukraine, laureate of international contests, Professor Oleksandr Petrovych Kolosok on the basis of a previously identified set of sources. The methodology consists in the application of general scientific methods of theoretical and empirical levels: analysis and generalization of scientific and theoretical bases of research, logical method, interview method. These methods make it possible to characterize the socio-cultural conditions in which the formation of a professional performer of folk-stage dance, and later the choreographer O. Kolosok in historical retrospect. Scientific novelty. The publication covers for the first time the life and creative path of O. Kolosok, in particular, his performing and choreographic activities, as well as the first source of information used - an interview with O. Kolosok, which was once taken by the author of the article. Conclusions. Oleksandr Petrovych Kolosok – Honored Artist of Ukraine, winner of international contests, professor, entered the history of Ukrainian folk and stage choreographic art as an unsurpassed professional performer, and later – director, teacher, theorist, and practitioner, whose life can be called an example of service to Ukrainian culture and folk choreography. The formation of his creative personality took place in the middle - second half of the twentieth century, when bright artists, talented personalities, whose names are included in the golden fund of folk stage choreography, created in Ukraine. Well-known figures of culture and art, including O. Kolosok, with their creative achievements, laid a solid foundation for the further development of folk stage dance and educated a whole generation of professional performers, and later choreographers and teachers.

ХУДОЖНЄ КАМЕНЯРСТВО ГУЦУЛЬЩИНИ – ФЕНОМЕН САКРАЛЬНОЇ КУЛЬТУРИ УКРАЇНИ

The purpose of the article is to comprehend the works of the artistic stonecraft of the Hutsul region as a phenomenon of the artistic culture of Ukraine; to prove the antiquity of the symbolism of decorative motifs used by the stone craftsmen from the Hutsul region. Research Methodology. The comparative and typological analysis was used to compare the artistic and stylistic features of stonecraft with the other types of folk art. While considering the artistic features, the author used a comprehensive method. Scientific Novelty. The artistic stonecraft of the Hutsul region and its significance in the development of the sacral culture of Ukraine is considered for the first time. The author collected and introduced into scientific circulation the unknown works of the memorial art of the Hutsul region. A number of works of the artistic stonecraft were published for the first time. The article considered the works of stonecraft presented in cross-crafting and figurative sacred plastic art, which has been preserved in the cemeteries of the Hutsul villages of Yamna, Malyi Kliuchiv, etc. Crosses without artistic plastic and with sculptures were considered. A typological analysis of the figures of the crucified Jesus Christ was carried out. The comparison of the style of the carved ornaments of artistic stonecraft with the carved decor in wood and artistic metal was given. Conclusions. Artistic stonecraft ornaments are associated with an ancient, even pre-Christian culture. The sign and symbolic system of ornaments of ancient origin was analysed. The study shows the antiquity of the traditions of artistic carving on both wood and stone in the Hutsul region. Works of artistic stonecraft of the Hutsul region are a phenomenon of sacral culture in Ukraine. They have to be preserved. One of the ways to solve this problem is to create a museum-lapidarium, where monuments would be restored and properly cared for under the supervision of the experts.

«Четыре пьесы на темы лютневой музыки XVI и XVII вв.» С.Н. Василенко: в контексте творчества

The relevance of the article is related to the process of studying ensemble disciplines, because students due to this process need to create a three-dimensional representation of the work of the studied composer. The purpose of the article is an acquaintance with a number of compositions to create a convincing artistic interpretation of the work. Methods – description, observation, representation. The article presents an overview of the heritage of one of the prominent figures of Russian musical art in the first half of the XX century – Sergey Nikiforovich Vasilenko, who had a well-deserved respect among admirers of the academic style and traditions of the Moscow school of composition. The focus is on the review of chamber and ensemble music by S.N. Vasilenko, which reflects the specifics of the composer's creative thinking: a colorful sound palette, an appeal to the folklore heritage of Eastern peoples, original instrumental compositions, and ancient music of Western European composers. Results: substantiation of the author's idea in creating an exquisite program suite "Four pieces on themes of lute music of the XVI–XVII centuries" for cello (or viola) and piano (1918). This is one of the first works for viola written by S.V. Vasilenko in the post-October period of art, rarely performed and practically not found in educational practice. Conclusion: this cycle is the basis for further study of chamber literature for viola in historical dynamics and perspective.

Contemporary art as a tool for shaping the consciousness of society

The purpose of the article is to analyze contemporary art as one of the tools of the system of forming the consciousness of society. The methodology includes general scientific theoretical methods of analysis, synthesis, and abstraction, which made it possible to trace the formation and development of art, as well as the use of the method of comparative analysis and the historical and cultural approach, which will help to identify the main tools for the formation of the consciousness of the individual and societies. The scientific novelty of the article is determined in the study of the theoretical and practical aspects of contemporary art of its development, its influence on the formation of the consciousness of society, social and cultural consciousness, and the development of the cultural environment in general. Conclusions. As a result of the study, it was found that contemporary art seeks to shape fashion, fashion affects the way of life of a person and the worldview of consciousness of society and consumption. Contemporary art, and the author of the work himself, in turn, can engage in artistic labeling, demonize some and extol others, and part of the audience accepts his views, without even being interested in the history and theory of art. Contemporary art is most often a protest, an author's revolt, a response to established norms, stereotypes, a test of public morality, and the bulk of citizens still adhere to conservative views and are far from studying art history subtleties. Accordingly, figures of contemporary art in Ukraine at different periods of its history were singers and artists of revolutions, even if some later understood the tragedy of such a path, the advancement of a new and obscure one. Today, a modern person lives as if he is immersed in a certain artistic atmosphere, which is one of the tools for the formation of his psyche, worldview (conscious and unconscious, which complement their actions), and the formation of the consciousness of society as a whole.

Into the Spotlight: Tracing the Role of the Black Figure in Art over Two Centuries

ABSTRACT Two revelatory exhibitions probed the vital topic of the representation of the black model in art: Posing Modernity: The Black Model from Manet and Matisse to Today, at Columbia University’s Wallach Art Gallery in New York, and Le Modèle noir de Géricault à Matisse, at the Orsay Museum in Paris. A transatlantic venture unprecedented in scale, these shows enriched the public’s understanding of modern art and the significant role of the black figure therein. Playing on the dual meanings of the word model—both an artist’s model and an exemplary figure—these exhibitions revealed the identities of black models, previously unknown or understudied, while also celebrating the achievements of black artists, writers, and performers. Expanding on Denise Murrell’s groundbreaking research on Édouard Manet’s model Laure as well as Henri Matisse’s engagement with African American culture, the Wallach and the Orsay spotlighted the complex and pivotal role of the black model in Western art history.