Portrait Genre Research Articles

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

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

Portrait genre in Mao Yan's works. The experience of pictorial hauntology

Portrait genre in Mao Yan's works. The experience of pictorial hauntology

Portrait Genre in the Work of the US Photo Artists

Portrait Genre in the Work of the US Photo Artists

IMAGINARY ICONOGRAPHY OF MYKHAILO DOROSHENKO (1991‒2021)

The article is an attempt to systematize and analyse most of the existing images of Hetman Mykhailo Doroshenko created during 1991-2021. A life portrait of the Cossack leader was not found. The probability of the existence of such a portrait is very low due to a number of specific historical reasons of objective and subjective nature, as described in the article. The formation of modern iconography of Mykhailo Doroshenko was due to the growing interest in the biography of this leader of the Zaporozhian Cossacks in the context of the revival of interest in national history during the first years of Ukraine's independence. Further interest in the formation of the iconography of Mykhailo Doroshenko was fostered by the needs of national-patriotic education, museum activities and educational process. Doroshenko's modern iconography is imaginary, it does not reflect the real appearance of the hetman. The vast majority of images of this leader of the Zaporozhian Cossacks are works of the portrait genre, two paintings are made in the battle genre. Doroshenko's fabulous image was also used on philatelic articles and commemorative coins. There have not yet been erected monuments or memorials dedicated to Mykhailo Doroshenko in which the existing imaginary iconographic types of this figure would be used

Метаморфозы портретного жанра в русском искусстве на рубеже XVIII–XIX веков

The article is dedicated to the research of changes in the development of portrait painting in Russian art at the turn of the 18th–19th centuries. A more common approach in the academic literature is a study of typological variants for the portrait image within the stable system, formed under the influence of classicism, or the review of a new concept in portrait painting, embodied by the artists of Romantic period. In that regard the transitional stage, related to the fundamental revision of portrait’s nature as a specific genre, lacks the close attention of researchers. The crisis of Enlightenment’s ideals at the end of the 18th century causes a rethinking of the relationship between a person and the outside world. This tendency directly influences the art of portraiture, which is now distinguished by more expressed dynamism of image. This is particularly important to the national tradition of portrait painting in the 18th century, which before showed the static approach for the representation of model and the moderation of portrait characteristic. Meanwhile, the fluidity becomes not only a method of artistic expression in a single work, but also a guiding principle for the modification of portrait painting at the system level. In other words, there is a new understanding of the fundamental categories inherent in the portrait genre: the popularity of more compact forms of portrait art, the ratio of ceremonial and chamber trends, new relationships between the master and the model, the active interaction of the individual and the surrounding nature. The interest in English culture also plays an important role in these processes. Despite the transitional nature of the era and external influences, Russian portrait painting at the turn of the 18th–19th centuries remains one of the main national features of genre — the prevalence of semi-ceremonial variants of image.

Русский портретный жанр на академической выставке 1820 года

The aim of the study is to reconstruct the alignment of artistic forces in the Russian portrait genre “about 1820” based on reviews of the academic exhibition that opened that year. The scientific novelty of the research lies in the fact that for the first time the publications devoted to the exhibition are considered in aggregate, all the names of the Russian artists who worked in the portrait genre are touched upon. The article analyses the surviving works that were at the exhibition, as well as those that were not on display, but they most clearly characterize the creative work of famous and less known masters: D. I. Antonelli, A. G. Varnek, I. E. Yakovlev, M. N. Shamshin, as well as the graduates of the Academy M. T. Durnova, M. Gomion and others. The results of the study have shown that the exposition of 1820 was quite representative and, despite the absence of such masters as, for example, O. A. Kiprensky and V. L. Borovikovsky, objectively reflected the alignment of artistic forces in the portrait genre of that time.

The Portrait Genre In The Fine Arts Of Uzbekistan Is Part Of The Work Of Abdulhaq Abdullayev

At a time when the development of Uzbek fine arts was at its peak, the "second wave" artists contributed to the formation of Uzbek national and local artists. Thus, L.Abdullayev, B.Hamdami, A.Abdullayev, Sh.Khasanova, M.Nabiyev, A.Siddiqi, Ch.Akhmarov and others began their creative paths (4, p. 294). The work of the artist A.Abdullayev, who marked the development of the Uzbek portrait genre, deserves special attention.

The ways of the glorification of power in the visual arts under the reign of Henry VII .

The reign of Henry VII, which began in 1485, was preceded by the short reigns of the uncrowned Edward V and of Richard III. The period of turmoil in the country did not contribute to the development of the portrait genre. The local English school of

СУЩНОСТЬ ПОНЯТИЯ «ГРУППОВОЙ ПОРТРЕТ» И ТИПОЛОГИЯ ЖАНРА ГРУППОВОГО ПОРТРЕТА

This article is devoted to identifying the uniqueness of the works of the genre "group portrait" by etymological research of the concept "group portrait", identifying the typology of this genre, exploring the traditional possibilities of its systematization in order to comprehensively consider the essence of the group portrait in the research tradition. The aim of the study is to deepen the understanding of the genre of group portrait and its specific features. The methodological bases of the research are the basic categories of the theory of reflection of G. V. F. Hegel, the basic principles of the synthetic concept of the ideal by D. V. Pivovarov, the theory of fine art by V. I. Zhukovsky, N. P. Koptseva, as well as general scientific empirical and theoretical research methods.

Artistic features of portrait works of people’s artist Huseyngulu Aliev

Achieving a realistic view of the image on canvas or paper is a key requirement of the portrait genre. Since the establishment of the professional school of painting, the portrait has attracted the attention of Azerbaijani artists and has been widely used in their work. Thus, in our miniatures of the Middle Ages, as well as among the paintings created in the XIX–XXI centuries, you can find beautiful, eye-catching portraits with high artistic value. Thus, the portrait has always occupied one of the main places in Azerbaijani painting. Of course, the main object of the portrait genre is a person, so its spiritual world and position in society is the main theme of fine art. For many years, portraits in Azerbaijani painting have been mainly dedicated not only to creative intellectuals, but also to workers, collective farmers and labor pioneers. In portraits, on the one side, there is a generalization of images, and on the other side, there is a more democratic approach to the selection of models. The characters in the portraits are close people, friends, relatives of the artists, or strangers who are attracted only by their appearance. Elements of painting in the human image of Azerbaijani artists attract attention: color, texture experiment, spatial elements, format, etc. It is known that in order to create a realistic portrait, artists must master the perception of emotions in a person’s environment, as well as master the art of realist painting. Throughout the development of the portrait genre, artists are engaged in research, trying to convey the true image of a person in an objective way. In the portrait genre, the image of the century was clearly visible. In the portraits of Azerbaijani artists, generalized, energetic, strong images are often replaced by psychologically complex characters. There is a growing interest in the spiritual world of images, the tendency to reach the depths of thought and intellect, to create a portrait with a rich spiritual content. Portraits created by Azerbaijani artists in modern times differ in their main features, such as deep spirituality and strict intellect.

NEW MEANS OF EXPRESSION IN PORTRAIT PAINTING OF ALEXEY AVGUSTOVICH (1960-s)

The article describes the portrait genre in the painting of the famous Dagestan artist A. Avgustovich. Examples of his creative searches and innovative incarnations, which expanded the artistic and stylistic structure of the Dagestan fine arts of the 1960s, are given. The emotional-psychological and figurative-specific characteristics of the disclosed characters, the richness and variety of the used means of artistic expression are investigated.

Портрет на академической выставке 1804 года: участники и их произведения

The paper aims to describe state of the portrait genre in the middle of the 1800s by the materials of the academic exhibition of 1804. Scientific originality of the study lies in the fact that the author presents a full list of the exhibitors and exhibited objects. The researcher analyses available works from the exhibition and examines creative activity of first-rate and second-rate painters: A. G. Varnek, V. L. Borovikovsky, V. A. Tropinin, J. L. Mosnier, M. F. Quadal, A. Vighi, et al. The findings indicate that the exhibition of 1804 was substantial enough and objectively represented state of the portrait genre in the middle of the 1800s.

РОЛЬ РЕФОРМАЦИИ В РАЗВИТИИ АНГЛИЙСКОЙ ПОРТРЕТНОЙ МИНИАТЮРЫ

The appearance of portrait miniature is traditionally dated back to the 16th century when the miniature became a portrait genre. The Reformation processes occurring in Europe at the time also influenced the genesis of forms, technique and style of portrait miniatures. This paper focuses on the factors (related to the Reformation) which affected the formation of new images embodied in H. Holbein’s and N. Hilliard’s works. The rise of the portrait miniature as a new type of portrait, its features, and uniqueness of its properties are explained through the study of certain political, social, and cultural aspects of the Reformation movement in the context of English art.

Portrait in Contemporary Russian Painting in the Context of World Art: A Typology of the Genre

In Russian fine art, portrait painting has been traditionally distinguished by extraordinary variety and depth, reflecting the figurative and stylistic searches of artists of different periods. Russian art historians have comprehensively studied the portrait genre in the history of art. At the same time, the well-established classification of genres does not allow to take into account completely the variety of trends and approaches to the depiction of a person in contemporary art. The understanding of the portrait genre’s boundaries in contemporary art is extremely blurred. Sometimes it means either any image of a person, or even the absence of one at all. It appears essential and important to consider the work of Russian artists in the context of international visual art practices to compose a more holistic picture connected with general cultural development. The article proposes to expand the established typology of the portrait genre adopted in Russian art. The already well-known typology of portrait painting can be updated with other types of portrait based on the semantic and semiotic analysis of artistic works of the late 20th — 21st century. It is important to study contemporary Russian portrait painting from the perspective of a variety of typological models, and to use the new language of contemporary art history to understand the processes taking place in Russian painting of the late 20th — 21st century, in order to facilitate the entry of Russian art into the international cultural context. An idea has been matured to create a National Portrait Gallery in Russia which would collect portraits and self-portraits of the greatest personalities of our era in a real and virtual space.

Українське бароко в образотворчому мистецтві – національні символи в контексті європейської культури

The article studies the peculiarities of visual image symbolic type originating in the artistic practice of Ukrainian baroque. It is stated that baroque culture of 17-18 cent. was spreading across Ukrainian territories. Meanwhile Ukrainian art of that period was developing in close interaction with the art of Central Europe, Russia and Balkan countries. Realistic traditions of Western Europe were actively taking roots on Ukrainian territory thus forming the alternative for sacral orthodox art. Symbolic and allegoric type of visual art is mostly used for didactic and educational aims (I. Galyatovsky), narrative ones (I. Bondarevska) and to be more precise and clear it is accompanied by text explanations. Symbolic motives are also represented in virtually all works of H. Skovoroda distinguishing purely symbolic images and fantastic ones. He believes that symbolic imagery is a "picture of wisdom". Emblem-embedded and symbol-embedded books with symbolic and allegoric illustrating engravings become more common and widespread due to the typography development. Publication of "Symbola et Emblemata" and "Iphika Hieropolitica" promotes the usage of these murals, icon paintings, and didactic motives of secular arts. Symbolic and allegoric contents of ethno-national coloring fill the imagery of Ukrainian national icon paintings ("Cossack Mamay", etc.) and symbolically-allegoric compositions of icon paintings ("Jesus Christ the Husbandman", "The Eye of Providence", "Crucifixion with Vine", "Christ in the Winepress", etc.). Also allegoric motives are used in parsuna genre. The article states that, due to the rationalistic tendency influence of European culture, Ukrainian visual art of baroque period moves away from Byzantine canons with their symbolic conventionality thus turning more and more to realistic type of imagery (especially in portrait genre) and at the same time retaining symbolic and allegoric techniques which gained some ethno-national peculiarities.

ТРАДИЦИИ И НОВАТОРСТВО В ТВОРЧЕСТВЕ О. А. КИПРЕНСКОГО: ПОРТРЕТ А. К. ШВАЛЬБЕ

The article considers one of the key works of the portrait genre of the 1800s — the portrait of Adam K. Schwalbe by Orest A. Kiprensky. The analysis of this work by several generations of art historians (Herman A. Nedoshivin, Natalia N. Kovalenskaya, Dmitry V. Sarabyanov, Yakov V. Brook, Irina V. Linnik) reveals its main substantial and formal features, and also clarifies issues related to the concepts of tradition and innovation. All those who have written about this work agree that the artistic image of A. K. Schwalbe's portrait is based on impressions of Rubens and Rembrandt. However, a more careful analysis of Kiprensky's work provides an opportunity to considerably expand the sources of possible borrowings not only from the masters of the past. Studying it in the context of the art of 1800s leads to the conclusion that the works of Kiprensky's contemporaries (in particular Salvatore Tonchi) contain the same motifs used in the portrait of Schwalbe, namely: attributes of "fur coat portraits", the full-face representation of the model and the tightness of space, sharp character and expressiveness of the portrait's appearance. To prove the thesis that Kiprensky was influenced by the art of his time, a large number of works (including those by unknown artists), both famous and little-known, are involved.

Representation of Taras Shevchenko as an Artist in the Art of China

The article proves that in China Taras Grygorovych Shevchenko is primarily known as a genius poet. Throughout the entire 20th century, Shevchenko the poet and Shevchenko the revolutionary essentially overshadowed Shevchenko the artist. Shevchenko’s artistic legacy attracted attention of Chinese scholars only at the turn of the 21st century, when new socio-political and cultural relations emerged between China and Ukraine. It is noted that in contemporary art criticism of China, T. Shevchenko is interpreted either, by analogy with Soviet science, as a “cultural revolutionary”, or as a collective image of the Ukrainian people, usually unappreciated. Based on the analysis of articles and works of Chinese scholars in varying degrees involved in comprehension of artistic heritage of T. Shevchenko, it is shown that absence of a common understanding of the historical development of Ukrainian art in Chinese art history often prevents Chinese scholars from realizing the role and place of Shevchenko the artist in Ukrainian art. For Chinese scholars, he remains a lyricist and a “poetic” artist (“literary painter”). The portrait genre is recognized as the most “convenient” for analysis by Chinese art critics due to national specifics of creative activity of T. Shevchenko. Within its framework, special attention is paid to self-portrait, which to a certain extent corresponds to Chinese understanding of T. Shevchenko as a “literary artist”. The analysis of female images in artistic heritage of T. Shevchenko is important and corresponds to the primary perception of Kobzar as a “poetic”artist and lyricist.

The genre of ballet portrait in the historical and cultural heritage of artists "Art World"

The author focuses on the features of the artistic embodiment of the actor’s images, based on the creative concept and aesthetic vision of a particular artist, a member of the Creative Union of the World of Art. The article reveals the innovative use of the retrospection technique in their work, highlights the main elements of genre modification. The study is based on the material of individual groups of images belonging to different artists, but formed according to a similar typology, thus, the urgent need for a closer and more versatile view of the theater portrait as one of the key forms in the genre system of the period under consideration becomes obvious. A system analysis of the genre is used, studying the set of artistic tools that artists use to most adequately implement their ideas. An analysis of the main components of the artistic structure reveals the genre features of the ballet portrait as an important vector of the individual search for artists of the “World of Art” association.

SEARCH FOR IMAGE AND ART EXPRESSIVENESS IN PAINTING BY VASILIY KOLESNIKOV OF THE SIXTIES OF THE XX CENTURY

The article studies the features of artistic style and innovative ideas in the painting of V. Kolesnikov. On the example of the portrait genre, a wide range of expressive possibilities is considered, to which the author resorts due to his spirit of freedom of expression, bold ideas and refined aesthetic taste. The importance of the artist's creative achievements for the development of fine art of Dagestan in the second half of the twentieth century is noted.

LITERARY PORTRAIT GENRE IN ANAR'S ART

In all his art, Anar turns to the genre of literary portrait as one of the forms of artistic and documentary narrative of memorial-biographical literature. Anar's task is to create complete and reliable impression about any outstanding person, his character, place in society, shown in the context of a certain time and space. The hero of literary portrait of Anar is real person with real biography, whose personal and creative fate the writer produces through his perception, using both documentary and artistic means. Literary portraits of Anar make it possible to study this genre as independent one, consisting in the experience of genre synthesis, where the author's concept of the world and human is expressed most clearly