Fine Arts Research Articles

Портретное творчество О.Л. Делла-Вос-Кардовской в контексте русского искусства 1900–1930-х годов

The article focuses on portrait works by Olga Della‐Vos‐Kardovskaya — from her first significant paintings in this genre (e.g. Portrait of Nikolay Gumilev, 1908, State Tretyakov Gallery) to the last ones dating back to the late 1930s. This aspect of the master’s activity has not yet been the subject of a comprehensive research. Meanwhile, there has been a growing interest in the creative work of Olga Della‐Vos‐Kardovskaya, which is evidenced by the fact that her paintings are presented at many major exhibitions in Russia. First of all, these include her portraits, which reflect various trends in the Russian fine art of the early 20th century and the Soviet art of the 1920s‐1930s. The author of this article suggests dividing Olga DellaVos‐Kardovskaya’s portraits into three main types: representative, chamber, and typified portraits. The last group includes a subtype — children’s portraits. The artist created portraits of the three types throughout her entire creative biography. This division allows defining the features of the master’s portraiture and considering her paintings and drawings in the context of art development in the first three decades of the 20th century. As a result, it is possible to draw a conclusion that despite radical changes in the country and in the artist’s life, her portraiture remained almost unchanged during the 1900s‐1930s. In comparison with the pre‐revolutionary period, in her later works there appeared new character types, but the representation principles and artistic techniques remain the same. The most striking differences are found in her children’s portraits, which in the pre‐revolutionary work of Della‐Vos‐Kardovskaya were associated with idealistic retrospective tasks (children were depicted in 19th‐century interiors, wearing old‐fashioned costumes) and became ideologically loaded in Soviet times.

ЛУЧИЗМ В ТЕАТРЕ: КОНЦЕПЦИЯ СЦЕНИЧЕСКОГО СВЕТА М. ЛАРИОНОВА

The subject of the research is the concept of stage light (“light space”) by M. Larionov, described in the text “On Luchism in the theater”. The goal of the research is revealing of the concept of stage light. The article represents M. Larionov's vision of the problem of stage light, insignificant for the history of the theater, but important for the history of fine arts, since the concept of “light space” traces the development of luchism outside of painting. The article analyses five elements of the theatrical light of luchism, reveals a complex light “score” in the projects of M. Larionov and N. Goncharova. The work determines the compliance of the provisions stated in the texts with the scenic practice of artists. Both realized and unrealized performances preserved in the form of documents are considered. The article compares the scenographic practices of Luchism and Constructivism. Scientific innovation of the research: the concept of “light space” is represented for the first time, the light scenography of M. Larionov's theatrical productions is proposed to be considered as one of the stages of luchism, namely plastic luchism.

Conservation as a Tool for Cultural Rights in the Democratic Republic of the Congo: The We have gaps Project

ABSTRACT This paper outlines the aim, methodology, and initial results of a joint initiative between two universities (Université de Kinshasa in Kinshasa, Democratic Republic of the Congo and Université de Liège in Liège, Belgium), two conservation training courses (Academy of Fine Arts of Kinshasa and École Supérieure des Arts Saint-Luc in Liège), and the Institute of National Museums of Congo. The Nous avons des lacunes (We have gaps) project plays on the notion of loss – both material and of knowledge – to involve communities in the construction of endogenous knowledge on the conservation of objects: a task to be carried out by the Congolese, for the Congolese. For many Congolese, concepts such as ‘museum’ and ‘conservation’ sound foreign, and the idea of cultural rights remains highly abstract and theoretical. The challenge is to transform the manifestation of these rights through conservation into a real tool for empowerment. The exhibition concept is two-fold: conservators explain what loss or material alteration has occurred in a specific object, and how they remedy it, thus arousing interest in a little-known profession. At the same time, they show and explain their own gaps in knowledge, and ask the public for information about the technique, function, use, naming, or names of the mystery object in the four national languages and numerous Congolese idioms. The Nous avons des lacunes project aims to highlight the role and involvement of communities and different social entities as active guardians of their heritage, by humbly admitting the lack of knowledge among professionals.

Spatial Distribution Characteristics and Sustainable Inheritance Strategies of National Traditional Fine Arts Intangible Cultural Heritage in China

A total of 417 intangible cultural heritage objects (ICHOs) are intertwined with traditional Chinese art, showcasing China’s rich historical heritage and distinctive creative allure. However, ICHOs currently grapple with a significant succession quandary due to modernization endeavors and the impacts of globalization. Hence, this study scrutinizes the spatial distribution of ICHO projects and inheritors and examines methodologies for inheriting these 417 ICHOs, employing approaches such as the closest neighbor index, Moran’s I index, kernel density estimation, geographic concentration analysis, and imbalance index assessment. Research indicates that ICHOs exhibit a spatial aggregation pattern, yet there is no substantial spatial correlation observed in their distribution. The national distribution highlights two core density zones: Beijing and Shanghai. In China, ICHO programs display uneven distribution across various types, levels, regions, and cultural zones. Regarding the ethnic composition of projects and inheritors, ICHO projects predominantly focus on the Han ethnic group, with a scattering of minority representations. Minority ICHO projects and inheritors are concentrated in central and eastern areas, while Han ICHO projects and inheritors are concentrated in central and western regions. Among the 148 ICHO projects lacking inheritors, 203 have one inheritor, and only 66 have several inheritors. Shanghai serves as the core density zone for 269 ICHO projects with inheritors, while Beijing holds that status for 148 ICHO projects without inheritors. Out of the 148 ICHO projects lacking inheritors, 115 belong to the Han ethnic group, with 33 split among 16 different ethnic minorities, and 2 have no inheritors. These disparities underscore the uneven distribution of ICHO projects and the critical issue of inheritance. This study identified education, tourism, digital communication, incentivizing inheritors, and international cooperation as potential strategies for preserving ICHA. Moreover, a sustainable inheritance pathway integrating government, education, tourism, and media is imperative for the effective perpetuation of ICHOs’ legacy.

Cultural Nationalism or National Culture as Portrayed in Indian Popular Culture: The Case of Indian Visual Media

Ever since Friedrich Meinecke proposed the distinction between the terms “cultural nation” (Kulturnation) as expressed in fine art and “Statsnation” (political nation), the cultural sphere of nationalism or nationalist idealogy/culture has been quoted either out of context or misquoted/misinterpreted to demean other cultures and reinforced ostensibly to carve out a false or “imagined” national identity in the Indian context and more so in the Indian popular culture. Does it reflect the culture of the majority populace in India? Why does it hegemonize other cultures? With the mainstream narratives and myths that underlie the Indian media, popular culture galvanizes around terms like nationalism, national identity and others. The main aim of this article is to unravel and deconstruct the notion of national culture and all the accompanying terms associated with it. It becomes significant in the present socio-cultural-politico-Indian context with its approach towards feudalism and postcolonial imperatives. The main question is how these terms are appropriated and subverted to form a new meaning, perhaps a historical revision. Randomly, nine Indian films were chosen for observation. The analysis reveals that a microscopic minority invokes the metanarrative of hypernationalism and cultural homogenization to placate the democratic forces and achieve their hidden agenda. Since it is value-based, its recommendations too primarily belong to the moral turpitude of those who are in power.

Pythagorean Music Theory and Its Application in Renaissance Architectural Design

This article concerns Alberti's approach to architectural design integrates Pythagorean consonance ratios from music theory, not by direct application but as a conceptual guide for aesthetic ratios in buildings. He expands spatial dimensions using methods derived from past artisans, adhering to and building upon the foundational consonance ratios. While applying these two-number proportions to width and length poses no problem, calculating height in a three-dimensional space requires a three-number proportion. Alberti resolves this issue by adopting the mean value strategy from music theory, where the mean is typically the middle value in an octave ratio, to determine the height in the spatial configuration. Alberti advocates for architects to leverage the insights of skilled artisans. However, his own architectural work demonstrates deviations from his theoretical principles. This study highlights Alberti's application of musical intervals such as the major and minor thirds, sixths, and sevenths, which were not traditionally emphasized in the musical science of the quadrivium, focused primarily on octaves, fifths, and fourths. These choices reflect the broader evolution of music during the 15th century, marking a shift towards "practical music" and signaling music's departure from the liberal arts to become a significant element of the fine arts, showcasing the influence of Pythagorean consonance in European music and arts through the 16th century. Thus, this article reflects the interactions between music and architecture of knowledge received from ancient Greek civilization in the Renaissance. The art of music in this period is founded on the philosophy and knowledge of Pythagoras.

Review of Documents from the Russian State Library and the Russian State Archive of Literature and Art, Regarding the Defense of Graduate Art Projects (Painting, Sculpture, Graphic Series, etc.), Also Known as “Creative Theses”, by Artists Pursuing the Degree of Candidate of Art History in the US SR

According to Soviet Ministry of Higher Education Order No. 524 dated September 30, 1946, “On Measures to Enhance the Training of Graduate Students in Art Institutes”, the academic degree of Candidate of Art History could be conferred upon “an art practitioner, aspiring artist, for an artwork in their specialty, accompanied by the presentation and exhibition of the graduation work, along with pertinent drawings, studies and sketches”. Documents from the collections of the Russian State Library (RSL) and the Russian State Archive of Literature and Art (RSALA) contain records of the defenses of graduate art projects (easel painting, monumental painting, sculpture, graphic series, theatrical decorative design), also known as “creative theses”, held from 1946 to 1956. Twenty-two defenses took place at the Repin Institute of Painting, Sculpture, and Architecture, while twenty-one were held at the Surikov Moscow State Art Institute. The research conducted on library and archival resources enables the introduction of previously unstudied documents into scholarly discourse regarding the history of Soviet fine arts, the procedures for awarding academic degrees in the USSR, and creative postgraduate studies in the country's leading art institutes. These dissertations explore important themes of Soviet history and social life, many of which hold undeniable cultural and historical significance, with some being included in the Museum Fund of the Russian Federation.

A Brief Report on the Research Regarding Incorporation of Authentic Art History Texts (19th – First Half of the 20th Century) into Foreign Language Teaching (Courses: “Foreign Language” and “English for Professional Communication”) Carried out at Sergey Andriaka Academy of Watercolor and Fine Arts

The scientific and methodological article focuses on authentic art history texts spanning from the second half of the 19th century to the first half of the 20th century. These texts serve as the foundation for the English teaching methodology tailored for students of Sergey Andriaka Academy of Watercolor and Fine Arts, an approach currently being developed by the author. The research is characterized by a certain degree of scientific novelty, as the majority of these texts are introduced into the educational curriculum of a higher art educational institution for the first time, thereby lending special relevance to the study.For a variety of reasons, the texts in question are of paramount importance for English language instruction. They offer a rich array of source materials to choose from. These include, among others: lectures on painting and sculpture, art masterclasses, catalogues of museum and private collections, artist biographies, academic journals, encyclopedias and dictionaries of painters. Original teaching materials are created on the basis of authentic texts in line with the educational needs of art students.

Witnessing the Architecture of a Cancellation: The Silencing of Voices on Palestine in Austrian Academia

This article analyzes the cancellation of a public lecture by Palestinian scholar, Walaa Alqaisiya, during a curatorial program at the Academy of Fine Arts Vienna in May 2022 due to false accusations of antisemitism in the context of anti-Palestinian racism in Austria. We speak of an ‘architecture’ because we analyze the questions of power, (in)visibility and erasure from the point of view of the public and institutional spaces, asking who can speak, about what and for whom, when? As a collective of former participants, we write from an implicated positionality that we call ‘participatory witnesses:’ the program ceased to be an abstract exploration of decolonial and queer/feminist perspectives, and transformed us affectively and politically, forcing us to critically respond to the censorship. We start by summarizing the unfolding of events and introducing the figure of the participatory witness and the concept of architecture. Then, we turn to Austrian academia’s climate of censorship of Palestinian perspectives. From this context, we analyze Alqaisiya’s cancellation through the prism of Euromodern Orientalist tropes, disciplinary strategies and civilizational discourses employed to continue the marginalization and exclusion of Palestinian perspectives. We pay particular attention to the significance of silencing queer Palestinian voices in the context of Israeli pinkwashing. Finally, we mnemonically map our attempts at navigating the architecture, negotiating between reclaiming public visibility for queer Palestinian perspectives and collective acts of refusal and delinking.

The Factors of Religious Architecture Influencing Students' Perception of Beauty and Art: Evidence from Hanoi, Vietnam

This study explores the impact of religious architecture on the aesthetic perceptions of elementary school students in Hanoi, Vietnam, focusing on students majoring in fine arts. Employing regression analysis, the research assesses the influence of six key dimensions: architectural design and details, cultural and historical context, spiritual symbolism, emotional impact, context and setting, and students' perceptions of beauty and art. Data were collected through a structured questionnaire developed from a thorough literature review and expert consultations and administered to a randomly selected sample during Vietnam's Lunar New Year in January 2024. The results revealed that each dimension significantly contributes to students' perceptions of beauty, with context and setting having the most pronounced effect. The reliability of the questionnaire was confirmed via Cronbach's alpha, indicating high internal consistency across all scales. The regression analysis validated the theoretical framework, establishing that religious buildings' architectural and contextual elements significantly shape students' aesthetic judgments. These findings underscore the importance of integrating architectural aesthetics into educational curricula, highlighting how environmental and cultural contexts influence educational outcomes in art and aesthetics. This research contributes to filling a significant gap in understanding the academic impact of cultural heritage, offering significant implications for educational practices and policies in culturally diverse settings.

Исследование эффективности подготовки будущих учителей изобразительного искусства к созданию инклюзивных программ в рамках дополнительного образования

в статье озвучивается актуальная на сегодняшний день проблема подготовки будущих учителей изобразительного искусства к созданию инклюзивных программ в рамках дополнительного образования. Материалы исследования содержат оценку профессиональных знаний и практических навыков студентов педагогических специальностей, их личностных и психологических качеств, а также готовности к непрерывному профессиональному развитию. Особое внимание авторы уделяют анализу существующих образовательных программ и курсов для подготовки к работе в инклюзивной образовательной среде. Результаты исследования, проведенного среди 150 студентов, демонстрируют значительные изменения в мотивационной структуре участников эксперимента. Определены разные предпочтения в методах обучения и стратегиях создания инклюзивной образовательной среды. Анализ уровней сформированности компонентов инклюзивной компетентности позволил выявить положительное влияние разработанной нами учебной программы на готовность будущих учителей к инклюзивному образованию. the article highlights the current problem of preparing future teachers of fine arts to create inclusive programs within the framework of additional education. The research materials contain an assessment of the professional knowledge and practical skills of students of pedagogical specialties, their personal and psychological qualities, as well as their readiness for continuous professional development. The authors pay special attention to the analysis of existing educational programs and courses to prepare for work in an inclusive educational environment. The results of a study conducted among 150 students demonstrate significant changes in the motivational structure of the participants in the experiment. Different preferences in teaching methods and strategies for creating an inclusive educational environment have been identified. The analysis of the levels of formation of the components of inclusive competence allowed us to identify the positive impact of the curriculum developed by us on the readiness of future teachers for inclusive education.

Features of copyright inheritance

The article examines the provisions of the current legislation of Ukraine concerning the inheritance of copyright, and considers specific property copyrights as an object of inheritance. The content and essence of personal non-property and property copyrights under current Ukrainian legislation are clarified. It is stated that intellectual property rights may be transferred from one person to another, and therefore they may be the subject of inheritance relations. The author emphasises that transfer of such rights by inheritance is one of the non-contractual ways of disposing of intellectual property rights. Based on the study conducted, the author finds out that, as a general rule, only proprietary copyrights are transferred to heirs by inheritance. Thus, the author has found out that the heirs may inherit the right to use a work, the exclusive right to allow or prohibit the use of a work, and the right to prevent unlawful use of a work. At the same time, it is proved that some non-property copyrights in a truncated form may also be inherited, but their scope and nature remain controversial in science. It is determined that the author’s heirs have the right to protect the author’s personal non-property rights, in particular, to counteract the distortion, misrepresentation or other alteration of the work, as well as any other encroachment on the work which may harm the author’s honour and reputation. It is also determined that in the event of the author’s death, the author’s heirs, interested parties, or a person authorised by the author may protect the inviolability of the work. In addition, the author analyses a number of specific copyrights which do not have provisions on inheritance in the legislation, and based on the opinions of scholars, draws conclusions about the possibility of their transfer by way of inheritance. Thus, the author identifies the problematic issues regarding the possibility of transferring the right to participate in the implementation of projects of works of architecture, urban planning, and landscape gardening by way of inheritance. The author also finds out that the right of access to a work of fine art, although it has a property content, cannot be inherited due to the close connection with the personality of the creator-author. The author proves that the right of imitation is inherited and is valid for the same term as property copyrights, but it cannot be alienated to other persons, either by the author or his/her heirs.

SEMANTICS OF THE CONCEPT OF “STEED”/“HORSE”IN THE RUSSIAN ART OF THE FIRST THIRD OF THE20TH CENTURY: “A HORSE AS A HORSE” AND “WE AREALL A LITTLE BIT HORSES”

The article continues the research on the artistic image in the Russian art of the first third of the 20th century and aims at studying the concepts of “steed”/“horse” in the art of the 1900s-1920s. From the beginning of revolutionary transformations in Russian art to the changes after 1917, the semantic meaning of the artistic image in its evolution is of particular interest. The basis for the study is largely fiction, in which the horse image was formed most fully. The multidimensionality of semantic relations within the boundaries of the synonymic paradigm with the general meaning of “horse” is examined in the article on the material of fine arts. The author studies the diversity of artistic roles, symbolic and semantic functions, which were given to the horse image in the art of a certain period and reveals the specificity of these roles depending on the artistic concept. Identification and recognition of the image occurs at different levels. The content of the concept is not revealed only through the plot. Unexpected semantic associations, suggested to the artist by visual, worldly, intellectual, emotional experience or creative intuition, are also possible. In this context, the quotations in the title of the article mark two main notions: “a horse as a horse” (V. Shershenevich) actualizes the direct meaning of “a horse as an animal”, and “we are all a little bit horses” (V. Mayakovsky) is a zoometaphor defining the inner state of a person. At this stage of the study, we can distinguish five main sections that allow us to structure and order the set of works containing the horse image: a village, a city, a rider, Apocalypse, a historical event (here the Civil War and collectivization). In order to fully understand the specifics of the semantic content of the horse image in the art during the study period, it is necessary to carry out some additional research. So far, the proposed text cannot claim to be an exhaustive solution to the problem, but outlines the vectors that allow us to continue its study.

Pendampingan Membuat Anyaman Untuk Menciptakan Kreativitas Siswa Sekolah Dasar

Craft arts will continue to develop and become more interesting and unique as time goes by. The world of art is actually able to create diversity that is of interest to many groups. There are many unique phenomena in the development of woven art or also known as woven. Wicker is basically an inanimate object that can be related to daily activities, especially in the world of architecture or craft products which include interior and exterior aesthetic values. This woven material can be made into a miniature form which can produce various kinds of results such as baskets, mats, bags and crafts. This woven material can be made using various media, for example paper, bamboo, ribbon, etc. Creativity is part of the field of fine arts that can be used in production or creative activities. Various activities in the field of fine arts can provide opportunities to develop the creativity of elementary school children. Creative activities can enable young children to channel their creative talents through several activities, including: drawing; print; stick. Not all children are motivated to channel their talents because there is less encouragement from adults. The cause of low creativity among children in Indonesia is an environment that does not support children to express their creativity, especially the family and school environment. SBDP focuses on students learning skills and arts, this activity can train skills, be creative, actively innovative, for students to work well into the future.

Technologies in Teaching and Learning at Fine Art Studios

Creativity is the essence of the arts, and it is the place where students interact to apply knowledge and create artworks and innovative designs in fine art studios. Arts and technology are to create creativity. Hence, the research demonstrates that the strategies and results of using technology have had a significant impact on the fields of art, design, and education. The experience can be inspiring and magical for students when art and technology combine to create complementary elements. The research follows a descriptive-analytical approach in analyzing the elements of creating a richer educational environment using technology in fine arts studios. Besides, the research sets out methodologies and rules for technology that can transform the spaces of the artistic studio in the digital age into stimulating environments. Therefore, this leads to transforming the learning environment into a creative environment full of excitement and curiosity to motivate students and increase academic achievement. In conclusion, the research concluded that artistic creativity comes from generating, visualizing, organizing, and developing ideas and artistic works to design artistic studio spaces that enhance technology to develop students’ creative skills.

Discerning Digital from Canvas: Investigating Visual Distinction between AI-Generated Art and Actual Art among Far Eastern University’s Institute of Architecture and Fine Arts (IARFA) and Non-IARFA Students

Artificial Intelligence is one of the current generation’s inventions that has been widely used. It has helped make lives easier, especially regarding appliances and business, and it has also altered various industries, including the arts. However, this development has sparked different perspectives among artists and non-artists. This study aims to evaluate how students, both artists, and non-artists, perceive the differences between real art and artificial intelligence-generated art. For this study, a total of fifty (50) students will be gathered, consisting of twenty-five (25) non-artist students from different courses and twenty-five (25) artist students from the IARFA Institute of Far Eastern University. The participants will receive the questionnaire via Messenger. The results of this study showed that the participants could differentiate actual art from AI-generated art based on their knowledge when evaluating artworks. Additionally, it demonstrates that artist students showed more confidence in determining actual artworks from AI-generated artworks due to their knowledge. While non-artists remain skeptical in determining artworks as they base their perception on how they see art.

Embracing the Radical Cartographies of the Doggy Dérive

Operating at the intersection of fine art walking practice, psychogeography, and critical animal studies, the practice of Deep Canine Topography seeks to reframe the humble act of the walk-ies as a co-authored, multi-species act of making and performing together. This essay offers a snapshot of my current research, drawing on Erin Manning’s concept of relational movement, Andrew Goodman’s gathering ecologies, Tim Ingold’s meshwork, Deleuze and Guattari’s twin concepts of becoming animal and nomadic subjectivity, as developed by Rosi Braidotti and Dorota Golanska, and Roberto Marchesini’s theories of the Creative Animal. In doing so I consider the potential of the ubiquitous dog walk as an act of creative co-becoming.

Scenography and Societal Change and the Creation of Artworks in Contemporary Art: An Analysis of the Practice of Scenography in Nabajyoti Nagar, Guwahati, Assam, India

The most beautiful visual element of a theater is its scenery. It entails placing a performance in a distinct and recognizable setting, defining the characters in terms of costumes and the accessories and qualities that go along with them, and lighting the performance appropriately to maximize the audience's enjoyment of the performance. Therefore, in addition to a mastery of architectural principles, the practice of scenography requires a sufficient understanding of the fundamentals of design, fair knowledge of graphics, and a working knowledge of the fine and practical arts, carpentry, tailoring, and electrical engineering. Because of this, the scenographer needs to be a well-rounded artist with enormous creative potential. Scenography can be used to create a civilization in the right way. Scenography investigates societal influence. In this study, the practice of scenography in Nabajyoti Nagar, Guwahati, Assam, India, is analyzed in relation to societal change and the creation of art works in contemporary art.

Enabling STE(A)M in Sustainability Education Through Dialogic/Dialectic Reconciliation

In the context of a need for finding and enabling alternatives to unequal and extractivist perspectives on development, growth, and human well-being, this positioning paper explores possibilities for STEAM (science, technology, engineering, arts, and mathematics) education with an education for sustainable development focus that counters disciplinary alienations particularly between the arts and the STEM (science, technology, engineering and mathematics) disciplines. The paper argues that unnecessary alienations between cultural-emblematic and mathematical-logical epistemes, especially those linked to narrow interpretations and restricted developments in dialogism and dialectics, respectively, are influenced by restricted understandings of epistemological, ontological, and praxiological philosophical drivers in meaning making and responsive action. In response, the paper develops a series of philosophical principles that, it argues, could usefully underpin STEAM education practices. These are a) iterations of epistemological expansion and contraction (in response to monologic meaning making), b) an expansive and deepening ontology (in response to ontological collapse in describing the world), c) critical and judgmental rationality (finding a middle ground between radical relativism and dogma), and d) concrete utopianism (in response to idealism and additive holisticism). The emergence of the four philosophical principles is developed through illustrative examples of a broad range of arts (fine art, performance art, photography, film, poetry, prose, and music).

ОСОБЛИВОСТІ РОЗВИТКУ СОЦІАЛЬНОГО ТА ЕМОЦІЙНОГО ІНТЕЛЕКТУ У СТУДЕНТІВ МИСТЕЦЬКИХ СПЕЦІАЛЬНОСТЕЙ НА ЗАНЯТТЯХ З ІНОЗЕМНОЇ МОВИ

The article deals with the development of social and emotional intelligence in art students at foreign language classes. Social and emotional intelligence is important for various spheres of a person’s life, as they increase their professional and personal success and improve their social interaction. For art professionals, a high level of social and emotional intelligence helps to improve communication with the audience as well as to feel more deeply social and emotional phenomena that need to be reflected through art. The article analyzes the features of social and emotional intelligence as psychological phenomena, their common and distinctive features. By comparing the structural components of social and emotional intelligence, their close relationship and the importance of complex development for the individual are proven. The authors made a theoretical analysis of the definition and understanding of social and emotional intelligence in modern psychology. An empirical study was conducted to investigate the level of emotional intelligence in art students of the National Academy of Fine Arts and Architecture (NAFAA), Kyiv. The research method was Hall test of emotional intelligence, which measures the general level of emotional intelligence, as well as its level according to scales. The results of the empirical study show that the students have mostly a low level of emotional intelligence. The article attempts to provide recommendations how to foster emotional intelligence development at foreign language classes which take into account students’ psychological characteristics and future profession. The practical results of the study can be applied at foreign language classes at art universities in order to increase students’ social and emotional intelligence. Key words: social intelligence, emotional intelligence, foreign language classes, methods of developing emotional intelligence, empathic listening, empathic discussion, holistic learning.