Works Of Fine Art Research Articles

КОЛЕКЦІЙНА ДІЯЛЬНІСТЬ ТА ЗАСНУВАННЯ РОДИНОЮ БОГДАНА І ВАРВАРИ ХАНЕНКІВ МУЗЕЮ ЗАРУБІЖНОГО МИСТЕЦТВА

The phenomenon of collecting in Ukraine in the late XIX – early XX centuries is revealed on the example of the family of Bohdan and Varvara Khanenko. It is shown that their collection of works of art and antiquities of Ukrainian and Western European and Eastern peoples contributed not only to acquaintance with world art, but also to the revival of the historical development of Ukrainian spiritual culture and the formation of museum work in Ukraine. The use of historical comparative method and interdisciplinary approach allowed to analyze the main stages and characteristics of the family of Bohdan and Varvara Khanenko collecting artifacts, their activities to create a museum of Western art and art and science and industry in Kiev, and helped to substantiate theoretical positions and conclusions. For the first time, the article comprehensively and meaningfully reveals the concept, tasks, and characteristic features of B. and V. Khanenko’s collection of works of fine art and antiquities of the peoples of Western Europe, the East, and Ukraine. The significant contribution to the formation and development of museum work, education and spiritual culture of Ukrainians in general is highlighted. An attempt was made to further analyze the socio-political and cultural value and significance of the charitable activities of the couple, which contributed to the formation of national museum studies and museum education. The abolition of serfdom in 1861 led to the development of a market economy, the emergence of an active socio-economic group of entrepreneurs with high economic and financial status, which included Bogdan and Varvara Khanenko. The family upbringing and traditions of their famous Khanenko and Tereshchenko families became an important precondition and reason for collecting and creating a museum of works of fine art, antiques of their people and the peoples of Europe and the East. Their activity, as a socio-economic phenomenon, had a clear artistic, scientific and educational orientation, pronounced humanistic content and character, which contributed to the revival of national memory of the Ukrainian people, increasing interest in their past, historical and cultural heritage and art of the world.

СУЩНОСТНЫЕ ПРИЗНАКИ РЕАЛИЗАЦИИ ВОСХОДЯЩЕЙ ФОРМЫ РАЗВИТИЯ «АБСТРАКТНОГО» В ИЗОБРАЗИТЕЛЬНОМ ИСКУССТВЕ

The article is devoted to the analysis of the method of “ascent from the abstract to the concrete” in relation to the abstract fine arts. An analogy is drawn between the concepts of “abstract” and “concrete” in philosophy and fine arts. The interpretations of these categories by Hegel and К. Marx are indicated. The authors distinguished the features that determine the abstract essence of a work of fine art, including thematic content, expressiveness, emotionality and communication. The systematization of works of art according to the degree of abstraction is proposed. The names of the most typical representatives of various directions of abstract art are given.

Intermedial strategies in biographical novels about artists (based on biographical works about Vincent van Gogh written by V. Domontovych and about Chaim Soutine by Ralph Dutli)

The article is devoted to the study of peculiarities of intermedial relationships in biographical works about artists. Based on V. Domontovych’s fictionalized biography «A Lonesome Traveller Walking along a Lonesome Road» and Ralph Dutli’s novel «Soutine’s Last Journey» («Soutines letzte Fahrt»), it analyses the inter-artistic interaction of literature and painting, traces how the translation is done from the language of visual art into the language of literary work, and how the artist’s creative heritage and especially the peculiarities of his artistic technique influence the poetics of the biographical novel. Applying the methodology of intermedial analysis, it explores the ways in which art manifests itself on compositional, poetical, linguistic and stylistic levels in the novels about artists. The interaction of the verbal and fine arts is analysed at the level of thematization, construction of the artist’s image and description of the creative process. The intermediality of biographical novels about Vincent van Gogh and Chaim Soutine is considered through the transfer of features of a work of fine art into verbal art, through the employment of the main means of image creation in painting, such as colour, line, composition, etc. Based on the artistic practices of avant-garde art, the artists under analysis worked within, particular attention is paid to the identification of the poetical principles of artistic trends in the style of a literary work, that is, naturalistic and impressionist elements in Van Gogh’s biography and expressionist and surrealist elements in the novel about Soutine. In addition, the role of a pictorial quotation in the biographical fiction about the artist is worked out. A significant attention in biographical novels about artists is given to artistic detail and ekphrasis. Novels about artists provide rich material for the research of the dialogue between literature and fine arts not only for literary scholars but also for art critics.

The Design of Metal Jewelry Using Digital Art to Strengthen the National Identity: Saudi Society

With the advent of informatics, artists competed to attract audiences by producing digital artwork more creatively. Artists have been using computers in every aspect of their daily lives. The use of the mediums and art that the artist wants to express has changed and is varied. This, in turn, helped in the emergence of new artistic classifications in the field of plastic art that highlights the heritage and civilization aspects of Saudi society, as it is based on the foundations and rules generally related to society, such as ideological, philosophical, social, psychological, and cognitive foundations. The Saudi fine art movement always puts in its philosophical considerations the concept of consolidating the Saudi identity for the connoisseur to mark the Saudi fine artwork with a unique philosophical character with educational dimensions. There is no identity without heritage. The researchers thought of the production of digital designs with a Saudi spirit, in which the researchers employed the possible components of the Saudi identity of elements, shapes, decorations, and colors within the framework of preparing proposed digital experimental designs for contemporary jewelry in the field of metalworking in art education.

Pedagogical Conditions for the Development of Artistic Perception in Children of the Fifth Year of Life in the Process of Familiarization with Works of Fine Art

The article considers the problem of the development of artistic perception in children of the fifth year of life. The paper substantiates the possibility and necessity of developing artistic perception in preschool age, the features of using works of fine art in the development of artistic perception of preschool children, the willingness of a teacher to develop artistic perception of pupils, as well as the relationship of directly educational activities with the independent creativity of children.

Marketing expertise of artworks as a component of their evaluation and promotion in the art market

The purpose of the article is to analyze and clarify the essence and objectives of the marketing examination of works of fine art in art markets and the initial consideration of marketing technologies that are used for this purpose. The methodology is based on the application of methods of system analysis, comparative method, methods of systematization, and generalization. The scientific novelty of the study is that for the first time the marketing bases of examination of works of art in the context of their general assessment and promotion in the art market are studied. Conclusions. As a result of the study, it was found that along with traditionally used in art markets stylistic and technical and economic expertise proved the relevance of marketing expertise, taking into account numerous factors influencing the value of works in the dynamics and increasing the effectiveness of promotion in art markets. Carrying out of marketing examination of works of art assumes the account of a large number of important factors and indicators, including indices of cost, the symbolic capital which are included in works of art; ratings of artists - authors of works; availability and accessibility of works in art markets; the need for restoration and special storage conditions for works of art and the like.

Specifics of sponsorship as a technology of ensuring access of population to works in art marketing

The purpose of the article is to investigate the mechanisms of sponsorship in the marketing of art in the art market in order to expand the opportunities for the population to visit institutions and events in the field of culture and art, where works of fine art are displayed. It is determined that in the field of fine arts sponsorship has certain features, because the sponsor provides assistance, strengthening its image, receiving advertising and PR. In addition, the desire of sponsors to make their own demands on the content and conditions of placement and demonstration of art collections is becoming a trend. The research methodology is to apply empirical and comparative methods. This approach allows us to reveal and analyze the possibility of applying the specifics of sponsorship as a technology to ensure public access to works of art in art marketing. The scientific novelty of the article is to identify marketing mechanisms that make it possible to make sponsorship in the field of fine arts comprehensively justified, regulated, fair and legal. Conclusions. We analyzed the conditions and opportunities for sponsorship, as well as opportunities for broad sections of the population to access works of art in Ukraine and other countries. It should be noted that there is a tendency in the world to "settle" famous works of art in private collections, to which only a limited number of spectators have access. Collections of state museums remain freely available to the general public, most of whom do not now have the opportunity to purchase very expensive works of art at auctions and galleries. Sponsorship in the field of art has its own specifics, because often the sponsor often not only demonstrates his help to museums, strengthening his image, reputation, but also tries to "dictate" museums and galleries their requirements for organizing museum exhibitions, the sequence of acquisition of new works in museum collections. Marketing technologies allow to regulate the work between sponsors and cultural institutions, to make this cooperation reasonable and fair. According to the experience of the countries of the world, the most effective type of "cultural economy" depending on the mechanisms of financing culture and art can be called "Anglo-American" type, where financing is carried out by attracting private capital, including tax benefits.

Герой и его убийца. К иконографии Зигфрида и Хагена

Зигфрид и Хаген, главные герои германского героического эпоса «Песнь о Нибелунгах», до сих пор являются узнаваемыми и культурно значимыми образами. Существуют определенные «идеальные» представления об их внешности. Эти представления связаны с давней традицией иконографического представления главных действующих лиц великого эпоса, которая была сформирована различными текстами и произведениями изобразительного искусства. В настоящей статье рассматриваются главные вехи этой иконографической традиции, начиная с периода классицизма и романтизма. Автор приводит краткую историю иллюстраций эпоса и рассматривает миры Рихарда Вагнера и его тетралогии «Кольцо Нибелунга», а также анализирует идеологические установки, стоявшие за изображением тел героев-нибелунгов в империи, Веймарской республике и Третьем рейхе. Статья насыщена иллюстрациями и образными примерами.

Forensic Traceological Analysis of Works of Visual Arts

The article discusses the fundamentals of traceological forensic analysis of visual artworks within both the framework of forensic traceological examination and comprehensive forensic research with the participation of expert-traceologists. Works of art are investigated to identify them, diagnose their condition, and establish the origin of various negative changes. Forensic traceology methods can play an essential role in the controversial attributions of paintings, drawings, and sculptures. The necessity and feasibility of developing a modern forensic traceological research methodology of fine artworks are substantiated.

CULINARY PRODUCTS AS UNTYPICIAL COPYRIGHT OBJECTS

Nowadays the process of cooking is becoming more creative, it acquires certain features of art. Cooking is developing not only at the level of the restaurant business because of the special creative contribution of the chefs, but also in the kitchens of ordinary people who are trying to add diversity to their dishes. Today, food should be not only delicious, butalso aesthetically pleasing. «Instagram dishes», «Instagram plating» are especially popular, because of their attractiveness and unusual look.The article is devoted to the study of the copyright protection of culinary products.The copyright legislation of Ukraine and some foreign countries, which in one or another way can be used for protection of the intellectual property rights to culinary products are analyzed. The article also considers the question of whether culinary products can be recognized as derivative works. It is determined whether the recipe can be protected by copyright and established how the concepts of culinary product and recipe relate.Author states that a culinary product as a category consists of four components: 1) idea (recipe/technological process of production), 2) name, 3) the process of cooking itself, and 4) platting (presentation of the dish). The concept of «recipe» is absent at the legislative level in Ukraine.According to the Ukrainian and foreign scientific sources the recipe can be protected by copyright as a literary work. However, in this case only the form in which the recipe is expressed (fixing in tangible medium of expression) is protected. The idea, the essence of the recipe will not be protected under the copyright protection. Therefore, the protection offered by the copyright law in this case cannot be used to protectthe rights to a culinary product made by the recipe. The finished dish is the final product of the recipe, the result of being fixed in a tangible medium, similar to the architectural projects and buildings in which the projects are «fixed».The author claims that some culinary products can be recognized as a derivative works which relates to the original works of fine art. A specific category of Ukrainian legislation – branded food can be protected by the norms of Ukrainian copyright law.

Fine Art and Design Works In the Context of Intellectual Property

Fine Art and design works are classified as Intellectual Property that is protected by law. On the other hand, art creations are prone to be imitated or falsified on the grounds of being taken as inspiration or for commercial advantage. In Higher Education, especially in the field of Art and Design, methods to create original works have been taught to prevent intelectual property violation. However, due to dishonorable interests, the possibility of plagiarism and forgery can still occur. The questions that arise were: 1) what are classified as works of art and design? 2) What are the Intellectual Property Laws related to the field of art and design? 3) What are the prevention methods offered by fine arts and design higher education? Interpretation method was applied on the law concerning art and design, complemented with an explanation of art and design work creation process as a form of prevention to avoid imitations.

Visual metaphor and its narrative function

Abstract The paper aims at analyzing visual metaphors and allegories in the fine arts – particularly in the symbolic paintings by J. Malczewski – as creative tools of both artistic expression and discourse storytelling in which they play a vital role. Visual metaphors are suggestive and effective in artistic performance and, therefore, in communicating abstract ideas to the individual viewer and the public. Such paintings (symbolic and surrealistic), whilst encompassing concrete (source) and universal (target) domains in their depicted metaphoric structures, can be powerful enough to create possible and alternative courses of events. Based on the analysis of R. Arnheim’s concept of openness of fine art works, J. Bruner’s theory of narrative mind, storytelling and possible worlds, and Ch. Forceville’s analyses of visual metaphors, the paper will attempt to answer the following two philosophical and epistemological questions: (1) how universal themes are depicted, perceived, conveyed, and comprehended in metaphorical paintings; and (2) what is the difference between the structures of the visual metaphors characteristic for these paintings and merely literary parabolic means. Both conceptual metaphors and blending theories are used in the analyses of selected symbolic and metaphoric paintings by Malczewski to explain in what scope his painting methods and their narrative structures are entangled in Polish national-cultural history, and how important they are in cognitive studies as well as in the history and theory of fine arts.

ПРО ЗАГАЛЬНОНАУКОВИЙ ЗМІСТ ПОНЯТТЯ ЖАНРОВО-СТИЛЬОВОЇ КОМПЕТЕНТНОСТІ МАЙБУТНІХ УЧИТЕЛІВ МИСТЕЦТВА

The article is devoted to the characteristics of the general scientific content of the concept of genre and style competence of the future art teacher. It is proved that the formation of genre-style competence is a complex process, to understand which it is necessary to clarify the meaning of the concepts of competence, genre in art, style in art, to identify their general scientific content in the field of interdisciplinary interaction. Studying the artistic text, students actualize the principles of centrism creation, contextuality, which brings the educational process to a qualitatively new level of awareness of its genre and style content. Attention is paid to the relevance of the interpretation of genre and style as an integrated whole, taking into account the artistic, pedagogical and social nature of these phenomena. The process of professional training of future art teachers appeals to the realization of this integrity during the assimilation of special art-oriented pedagogical disciplines; of the activation in the motivational, cognitive and praxeological components of teaching genre-style "vocabulary" of works of music and fine arts. The formation of genre and style competence of future art teachers is carried out in the educational process on the basis of the use on the complex of forms, methods and teaching aids. Based on a categorical analysis of interdisciplinary sources, the essence of the phenomenon of genre and style competence is revealed and the author’s interpretation of its content is proposed. Genre and style competence of future art teachers is defined as a holistic professional quality that integrates motives, knowledge, assessments, skills and abilities in the theory and history of artistic genre and style models and determines the individual’s ability to understand the artistic meaning of the text in the genre and style, of the interpretation in the educational process in accordance with pedagogical tasks.

Review: Designs for Different Futures

Book Review| June 01 2020 Review: Designs for Different Futures Designs for Different Futures: Philadelphia Museum of Art. Philadelphia, Pennsylvania: October 22, 2019–March 8, 2020. K. Johnson Bowles K. Johnson Bowles K. Johnson Bowles is an artist, art critic, and founder and principal consultant at Gordian Knot Consulting. Search for other works by this author on: This Site PubMed Google Scholar Afterimage (2020) 47 (2): 64–70. https://doi.org/10.1525/aft.2020.472012 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation K. Johnson Bowles; Review: Designs for Different Futures. Afterimage 1 June 2020; 47 (2): 64–70. doi: https://doi.org/10.1525/aft.2020.472012 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAfterimage Search A collaboration by three major art museums, Designs for Different Futures was an exceptional and unexpected offering. If one wished to experience a typical blockbuster exhibition featuring famous works of fine art assembled to woo and wow the masses, one would have had to seek elsewhere. Nor should one have expected this exhibition to be an optimistic huckster vehicle nostalgically or ironically reimagining past world's fairs and international expositions. This radical departure from the frequent lineup of rare, valuable, and famous art enabled museum-goers to experience designs (and concepts) they have not encountered prior, while being challenged intellectually and emotionally. Authorship of the works also challenge preconceptions: artists? designers? manufacturers? a collective body? It depends on the piece. The gasps heard in this exhibition weren't prompted by seeing a Monet in person for the first time. The sounds were provoked by the insights gleaned and the fear instilled when contemplating... You do not currently have access to this content.

TO THE QUESTION OF DEFINING THE CONCEPT OF FORGING ART WORKS

The article consistently discusses basic terminology related to the forgery of works of art. In particular, the phenomenon of attribution is explored, which means the definition of authenticity, authenticity of a work of art, its author, place and time of creation. The concept of the original, which is generally referred to as the basis for reproduction, copying and reprocessing, is explored. Attention is drawn to the fact that in Ukrainian, law this term (original) is not defined, but it can be identified with the phrase “material object in which the work is embodied”. It is determined that the legislator uses the term work, axiomatically considers that the material object in which this work is first embodied, and is the original. It is stated that the legislator does not define the term work, but interprets such concepts as a work of architecture; a work of fine art; a work of applied art. In summary, it is important in this context to understand the distribution of copyright and ownership of the tangible object in which the work (original) is embodied. Issues of the category of “original” in engraving are covered. Different levels of copy concept (doublet, replica, repetition) are considered. It is established that the concept of art is the variant most similar to the derivative work in law, which is a creative alteration of another existing work without harming its protection. At the same time, the situation in which the variants of the work are performed by the author of the original, and when it comes to imitation, endorsement and shepherds, in which reference is made to already existing works of other persons, is delimited. It has been found out that in addition to intentional fraud, there are many noncriminal reasons why a work of art may not be attributed to its original author. On the basis of the conducted research, the author’s definition of fake work of art, which is a material object in which the work is embodied, the author (producer) and/or the time and place of creation (manufacture) of which is untrue, but was presented as such, and this is refuted by evidence that is beyond doubt – a complex art and technology – technological expertise, taking into account relevant research on provenance and ownership history.

Programmatic Idea in the Cycles of Piano Miniatures of Ukrainian Composers of the Second Half of the 20th Century

The aim of this paper is to study the influence of the concept of descriptive music on the development of the genre of the piano miniature cycle of Ukrainian composers of the second half of the 20th century. Research methodology. The author suggests the methodological support of the characteristic features of a programmatic idea in the cycles of piano miniatures of Ukrainian composers of the second half of the 20th century drawing on a system approach and musicological analysis.Results. The paper considers the programmatic idea as a feature of the development of the genre of piano miniature cycle in the works of Ukrainian composers of the second half of the 20th century. The author studies the following genre subgroups of programmatic cycles: memorials, collections of diverse musical compositions, children’s music, and pieces of music written on the basis of sources of literature, the cycles inspired by the works of fine art, music opuses with historical and geographical names, “individual projects”. The paper demonstrates that for many composers a miniature is a kind of creative laboratory where they are gaining proficiency with various techniques of the performance. However, for most composers, the genre of programmatic cycles of piano miniatures becomes self-sufficient and able to reflect deep philosophical ideas or serves as a basis for reflection of their inner world.The practical significance involves the analysis of the programmatic idea as a feature of the development of the genre of the cycle of piano miniatures in the works of Ukrainian composers of the second half of the 20th century and the study of features of programmatic cycles of piano miniatures, that encourages the performers to master their skills as virtuoso pianists.

FACTORS AND CONDITIONS FOR THE FORMATION OF THE UKRANIAN MONUMENTAL ARTS SCHOOL AND ITS RELATION TO ARCHITECTURE (END OF XIX - BEGINNING OF XX CENTURY)

The article deals with the topic of the origin of a new direction in the history of Ukrainian fine art and architecture of the late nineteenth - early twentieth century - Ukrainian modernity, factors and conditions of its formation. The factor of appearance of different schools and associations of Ukrainian monumental art, architectural bureaus and ateliers, formation of new artistic foundations in art and architecture are investigated. It also analyzes the role of individuals, artists and architects, whose creativity and life path has an important impact not only on Ukrainian art, but also on the formation of national consciousness. There are analyzed factors of influence, psychological and philosophical aspects of art, considering the socio-political situation in Ukraine and its geographical unity. A subject for discussion is the development of different approaches of authors in the creation of new stylistic-abstract images in painting, which in turn became the basis for the formation and emergence of new views on art and culture. In the article ale determined characteristic features in the works of fine art and in the architecture of Ukrainian modernity. We follow a typology in the design of various architectural buildings using the elements of decorative and applied art in the exterior and interior decor.

УКРАЇНСЬКІ ЕТНІЧНІ ЕЛЕМЕНТИ В ДИЗАЙНІ СУЧАСНОГО ГОТЕЛЬНОГО ІНТЕР'ЄРУ: ВИТОКИ ТА ОСОБЛИВОСТІ

To analyze Ukrainian ethnic elements in interior design. Based on the consideration of relevant samples, to reveal the origins and features of the elements that are used in the artistic and aesthetic organization of the hotel interiors designed in Ukrainian style. To determine the basic concepts in the article, there is a method of terminological and semantic analysis applied. Sources on the topic of research, normative scientific and methodological documentation are reviewed with the methods of comparative analysis. For historical sources the chronological method is used. Domestic and foreign implementations and operations of projects are examined with elements of a critical analysis. The systematization of materials is based on the methods of analysis and synthesis. This paper analyzes elements of Ukrainian artistic culture in hotel interior design. Ethnic elements in hotel design have been identified as having important functions – informative, informative, aesthetic, decorative, historical, cultural, educational and educational. In the conditions of military confrontation for many Ukrainians the ethno-national style of the interior, formed through the targeted selection of folk elements and motifs, also acquires a patriotic color. Such semantic expressiveness contributes to the active dissemination of design in ethno-national stylistics both in the field of housing interior and commercial premises. Thіs study identified the source of inspiration source of inspiration for creating interiors using ethnic elements and motifs is Ukrainian folk culture. Its diversity is presented in the works of folk architecture, fine and decorative art, amateur works of folk artists, as well as their stylization by professional artists. In the study, the author concludes that interior design in folk style using elements of the artistic and material culture of Ukraine is a kind of guarantee of the preservation of its ethnocultural identity as the basis of national identity in modern architecture and the architectural environment. Scientific novelty of the results obtained is to identify the specifics of the use of Ukrainian ethnic elements in the modern hotel interior, and, in general, the modern principles of the formation of ethnic style, the disclosure of its semantic and semantic meaning, justification of its feasibility and aesthetic appeal through the use of appropriate design stylistics. The results can be used in design practice, as well as to achieve consistency and efficiency in the organization of the hotel interior.

TRAGEDY IN BAZAR IN THE COMMEMORATIVE PRACTICES OF THE ANTI-BOLSHEVIK INSURGENCY AND UKRAINIAN EMIGRATION IN THE 1920s–1930s

The objective of the article is to investigate the commemorative practices related to the tragedy in Bazar in the context of the anti-Bolshevik insurgency and Ukrainian emigration of the 1920s–1930s. The methodology of the scientific research is based on the general scientific and special historical methods, taking into account the basic principles of historical world perception: historicism, scientific character, objectivity, systematic approach. The principles of historicism and scientific character have made it possible to reproduce the peculiarities of the commemorative practices associated with the tragedy in Bazar in all its complexity and diversity, interrelation and interdependence with the events of the time. The principle of objectivity is a helpful way to analyze the outlined problem with a critical survey of reference data. The principle of the systematic approach has enabled us to form a coherent picture of the manifestations of the commemorative practices in memory of the victims of the tragedy during the outlined period. The scientific novelty of the research lies in the fact that it examines the events of November 1921 from the standpoint of the historical memory schools for the first time. A great variety of reference data has made it possible to examine the commemorative practices in the memory of the victims of the tragedy in Bazar in a short chronological period from the 1920s and during the 1930s. As a result of the study, the author concludes that the first attempts to commemorate the victims at their burial sites occurred in the early 1920s. The preservation of the memory of the tragedy in Bazar fostered the spread of anti-Bolshevik insurgencies in Zhytomyr region. As the Soviet authorities aimed to destroy the historical memory of the victims of the November 1921 execution, the attempts to preserve it through various commemorative practices were connected with the Ukrainian political emigration abroad (Poland, France, and Czechoslovakia) because the former Ukrainian military as well as the emigration government structures of the UNR were situated there. In the interwar period the commemoration of the tragedy in Bazar was embodied and reflected in the works of fine art. Furthermore, memoirs on both the Second Winter Campaign of the UNR Army and the tragedy in Bazar were published during this time.

«КОНСТРУКТИВНЫЙ ЭКСПРЕССИОНИЗМ» ЕВГЕНИЯ ТОЛМАШОВА

The relevance of the research topic is conditioned by the need to search for new interdisciplinary approaches to the problem of cognition of the world. The degree of scientific development of the subject covers the period from antiquity to modern times. Vasilyeva E.V., Khazieva E.V., Petrenko Yu.A., Shatilov S.F., Stoletov A.I. actively works on the problem of subjective reality. It should also be noted that the works devoted directly and directly to the study of subjective re-ality within the framework of the existence of a work of art exist relatively few in comparison with studies of other aspects of art. The object of research is the current issues of cognition of the world order. As the subject of re-search, the subjective reality that the author creates in the space of a work of art is chosen. The study is based on the material of the paintings of the Krasnoyarsk painter Tolmashov (1966–2014). The aim of the research is to reveal the essence, specificity and ways of forming subjective reali-ty in a work of art. In accordance with the purpose of the study, the following tasks are set: to deter-mine the motivation and principles of constructing a sub-reality in a work of fine art. The basis of the methodological base was laid as general scientific principles, as well as special art research methods, including: formal-stylistic, iconographic and structural. When working on the study, the determining method was a method of scientific cognition as an interpretation that allows us to reveal the principles of the construction and existence of subjective reality. Structural-functional and dialectical methods are also used. The empirical basis of the study is the experience of studying the paintings of the Krasnoyarsk artist E.N. Tolmashova. The scientific novelty of the research consists in the following statement: the subjective of reality in pictorial works is conditioned by the desire of the author of the work through the experimental con-struction of new, not previously existed realities, to understand the structure of objective reality exist-ing in addition to his consciousness. The obtained conclusions and generalizations of the basic principles of subjective of objective reality in a work of fine art can be used in the analysis of artistic creativity as a way of constructing an analog model of the world order. Also it should be said that the work of E.N. Tolmashova is not well studied in art history. The scientific material has been introduced not previously studied material, allowing expanding the under-standing of the art of painting in Siberia, as well as the trends and forms of its development at the turn of the XX and XXI century. The materials of the research were used in lecturing and conducting seminars on the discipline “Art culture of Siberia”, which is basic for the preparation of bachelors on specialty 54.03.01. The training was conducted on the basis of the Siberian Federal University.