Influence Of Art Research Articles

Self-Portrait as Self-Presentation in the Works of Female Painters of the Turn of the 19th—20th Centuries

The article examines the creativity of women artists, which experienced an upsurge at the turn of the 19th and 20th centuries, associated with the removal of restrictions on their education at the Imperial Academy of Arts and the increasing need for self-realization in art. General tendencies are revealed, which do not concern the subject-technical side of the paintings, but allow us to draw generalizing conclusions about the artists’ thinking: self-determination and correlation of themselves with the creative environment, drawing attention to themselves as individuals. An attempt is made to understand the ways in which women were included in the full-fledged learning process as a group with its own socio-cultural characteristics.The aim of the paper is to analyze the creative approach to self-portraiture of the female artists E.A. Kiseleva, E.K. Luksh-Makovskaya, O.L. Della-Vos-Kardovskaya, who started their professional path under one teacher — I.E. Repin. The relevance of the article lies in the attempt to raise the problem of studying women’s creativity in the creation of self-portraits, identifying its artistic specificity, defining the cultural and aesthetic basis.The article focuses on the prerequisites for the formation of the creative method of female artists, based on the combination of individual and imitative. On the basis of consideration of the gallery of works the author develops a typology of female self-portrait: professional self-portrait, self-portrait-emotion, family self-portrait, self-portrait-image. It is traced how in the work of women-artists various artistic influences in Russia and Western Europe of the turn of the 19th—20th centuries, interpreted by them in their own way.

Construction of a Digital Color Grading Laboratory based on DaVinci Resolve

With the widespread application of digital technology in the field of film and television production, digital color grading plays a crucial role as an essential post-production technique in enhancing the quality and visual appeal of audiovisual works. By adjusting the colors and lighting effects of the footage, digital color grading enables films to better express the director's intentions and emotions, enhancing visual impact and artistic influence. To achieve high-quality digital color grading effects, the establishment of an efficient and reliable digital color grading laboratory becomes essential. This paper focuses on exploring the construction of a digital color grading laboratory based on DaVinci Resolve, aiming to provide valuable references and guidance for filmmakers and promote the popularization and application of digital color grading technology.

Introduction to the Special Edition: Tupac Shakur: 25 Years Later: Explorations of a Hip Hop Icon and Identity Politics

Tupac Shakur is remembered for many things. Rapper. Actor. Poet. Thug. Scholar. Moreover, while Shakur was “one of hip-hop’s most successful and influential artists, with more than 75 million records sold worldwide (Hess, 2007), he was also remembered as a contradiction. Known for his anthem to black womanhood, Dear Momma, Shakur was found guilty of sexual assault. As the son of Black Panther, the late Afeni Shakur, Tupac spoke out against gun violence, and yet songs such as Death Around the Corner promoted the use of violence. Beyond his enigmatic persona, his body of work, 25 years after his untimely death, still leaves questions for exploration.

TYPOLOGY OF FACES ON ETRUSCAN TERRACOTTA (TO THE PROBLEM OF THE EVOLUTION OF THE STYLE OF HEAD TYPES ACCORDING TO P.J. RIIS)

Introduction. Etruscan-Italian fine art experienced a noticeable artistic influence from Greece. Iconographic types of the head and face were transmitted both through the import of finished Greek products and through the circulation of matrices and the artists themselves, which complicates the chronology and typology of monuments. P.J. Riis proposes to systematize the "evolution" of Etruscan terracotta styles by constructing a chronological series from the early archaic to the late classic [Riis, 1981]. The purpose of the work was to study the concept of P.J. Riis about iconography in Etruscan coroplastics and the creation of generalized morphological characteristics of local types (regional styles). Materials and methods. Illustrated chronological tables from P.J. Riis and the method of composite portrait in digital version were used. Results and discussion. P.J. Riis examined 352 types of images, their archaeological context geographically confined to Northern Etruria (Clusium), Central (Vulci, Volsinia), Southern (Caere, Veii, Falerii, Latium) and Etruscan Campania (Capua). The earliest production of Etruscan terracotta was concentrated in Campania, Southern and Northern Etruria, the first hellenized style of terracotta spread from Etruscan Capania into Southern Etruria. The composite portraits based on the combined samples of archaic art indicate the absence of significant sex differences. In the composite female portrait for all samples of the archaic period, a contribution of morphological elements of the types of Southern and Central Etruria is visually noted. The greatest contribution to the morphology of the face in the composite female portrait for all samples of the classical period was made by Central Etruria and Capua. The resulting composite portraits by region indicate the heterogeneity of facial iconography in the archaic and classical art of Central Italy and visualize the conclusions of P.J. Riis on the development of several local traditions of fine art style. Conclusion. The classification of P.J. Riis is constructed in such a way that it assumes for its further completion with new archaeological data, so it can be considered as an attempt to create a “visual” history of the Etruscan portrait, at least part of it.

ЛИТЕРАТУРНЫЕ СВЯЗИ И ВЛИЯНИЕ АЗЕРБАЙДЖАНСКОЙ ДРАМАТУРГИИ НА УЗБЕКСКИЙ ТЕАТР В ХХ ВЕКЕ

This study examines the connection between Eastern dramaturgy and Uzbek theatre through the perspectives of thinkers, including Nizami, Bekhbudi, and Fitrat. Notable pioneers of Azerbaijani drama, such as M.F. Akhundov and G. Javid, play a significant role in this context. Special attention is given to G. Javid, whose works, such as "Sheyda", "Sheikh Senan", "Iblis", were successfully staged on the Uzbek stage in the 1920s. Research by scholars such as S. Aliyev and Sh. Turdyev underscores the broad popularity of G. Javid's works among the Uzbek people. Archive data and testimonies of Uzbek artists also highlight the important role of Azerbaijani drama in shaping the Uzbek theatrical scene. Furthermore, the study reflects the influence of scholars and artists from Azerbaijan on the local theatrical and literary arts through their presence in educational institutions in Uzbekistan.`

Mengkonsumsi Simbol Ala Thrifting Hunter di Kota Banjarmasin

Nowadays, the trend of buying used clothes or thrifting is popular among the people of Banjarmasin City. This research aims to find out the factors that influence the people of Banjarmasin City in buying used clothes, as well as how symbols (brands) affect the thrifting hunter's lifestyle when buying and using them. This research uses a qualitative method with a descriptive approach. The data collection techniques used were observation, interview, and documentation. The data analysis was done interactively through the process of data reduction, data presentation and conclusion drawing. The results of this study show that the thrifting phenomenon affects consumption patterns in fulfilling people's lifestyles, which no longer consume based on utility but rather prioritise the signs or symbols attached to an item. Factors that influence the people of Banjarmasin City in consuming used clothing are: 1) individual factors, namely economy, self-existence, and thrifting as a hobby; 2) social factors, namely family and social status; and, 3) cultural factors, namely the influence of social media and idol artists. Analysed based on the theory of consumption society through the analysis of the social logic of consumption (Baudrillard, 2011), it is concluded that there is happiness, enjoyment and freedom for a thrifting hunter when buying and using second-hand clothes, or being able to fulfil lifestyle desires. Suggestions for the people of Banjarmasin City, especially for users of second-hand clothes, to be more selective in considering a decision in buying second-hand clothes. Buying because of a desire rather than a need that occurs continuously results in waste and inefficiency in buying an product.

STUDY OF ARTISTIC FOLK EDUCATION AS A CONDITION FOR THE MANAGEMENT OF PEDAGOGICAL TEACHING

The article is devoted to the problem of inconsistencies in the implementation of art education in the State Standard of General Secondary Education of Ukraine. To achieve this goal, the task was set to demonstrate the importance of public art education as the basis for the education of young people. The study was conducted using the methods of theoretical, empirical research and general methods of scientific research.The article analyzes the forms of non-formal art education introduced by cultural and artistic figures in 2004. Restoring the experience of ethnic festivals and preserving the traditions of artistic families becomes the basis for the implementation of the state standard of general secondary education. The comparative analysis demonstrates the importance of combining different approaches in the formation of public education in the country, preserving the spiritual, moral and ideological positions of young people. The experience of leading artistic families in popularizing art education in the region is analyzed. The influence of prominent artists on the formation of interest in Ukrainian culture among international partners is studied. An example of the assimilation of individual experience of artists to the challenges of life is given.The conclusions summarize the importance of combining art and public education for the formation of key competencies, harmonious personal development, and the reproduction of the sacred meaning of art education. It has been shown that the art education sector has a number of gaps in its implementation and future development. The task of the teacher is to develop the spiritual and psychological spheres of the individual; actualization of historical, cultural, artistic or ethnographic influence; formation of skills to look for hidden meaning in the language of art: understanding the non-verbal dialogue with the author, learning to decipher the composition code and learning to understand the principle of the universe, the laws of the world continuum through art; creating parallels during lessons, trying to fill the entire educational space with art (musical minutes during breaks, musical accompaniment during intellectual tasks, the use of stimulating visual content in the space of the educational institution, visiting the workshops of artists and sculptors, holding master classes in museums), which enhances informal education.It is assumed that the creation of an artistic educational product should have a gender aspect in the popularization of influence, the economic background that always surrounds the student and determines his or her artistic and aesthetic preferences. A successful combination of didactic tools of influence and the achievements of Ukrainian folk art can become a source for implementing a comprehensive process of psychotherapy for young people in the context of war and postwar.

Reminiscence as a Technique for Creating a Work of Art in Creativity of Women Artists of Russia in the Late 19th and Early 20th Centuries

The article is devoted to the formation of female professionalism in artistic creativity, which demonstrates a direct connection with socio-cultural changes in Russia at the turn of the 20th century. The author analyses one of the most important characteristics of women’s artistic creativity — the stylistic features of brushwork based on the combination of the individual and the imitative. It is traced how various artistic infl uences in Russia and Western Europe are manifested in the work of women artists.

The Index as a Form of Self-Archiving in the Works of Alejandro Cesarco and Joan Wickersham

Contemporary life-writing, especially of an experimental disposition, increasingly demonstrates its wariness of narrative as an organising principle of auto/biography and favours structures that resemble an archive – a repository of autobiographical content, disconnected, fragmentary, and arbitrarily arranged. Over the last two decades, we can observe a rise in the popularity of self-archives adopting alphabetical structures such as the bibliography, the encyclopaedia, the glossary, and the index. Of all the alphabetical arrangements of the archive, the index appears the least likely form to be used in life-writing because of the rigidity of its structure and its aura of formality and academic detachment. However, as this article demonstrates, the index can be successfully used in life-writing as a method of processing and investigating one's past. The article begins with a theoretical discussion of the index – its historical and cultural significance, as well as its politics and poetics. It proceeds to analyse two notable uses of the index for autobiographical purposes: Alejandro Cesarco's long-term artistic project titled Index (2000–2015) and Joan Wickersham's memoir The Suicide Index: Putting My Father's Death in Order (2008), a National Book Award's finalist for non-fiction. The article shows that whereas Cesarco employs the index primarily to catalogue and examine his intellectual and artistic influences, Wickersham uses it as a structural foundation for her personal search to comprehend and mourn the suicide of her father.

MUSICAL ENVIRONMENT IN THE CONDITIONS OF INDUSTRIAL URBANIZATION OF KAZAKHSTAN

The article is devoted to the processes of urbanization and expansion of the media space in the country, which every year give a significant impact to changing the organization and perception of Art. Culture in the new historical reality, has unlimited access to a variety of styles, genres, interpretations and manipulations with original sounds, which has never before been considered common place. These processes push aside previously available ways of perceiving art, thereby influencing the depth of meaning and perception of modern musical phenomena. The purpose of the study is to draw attention to the social and scientific need for studying types of communication activities in developed and developing countries, determined by the sociocultural situation and improving the standard of living of a person. Every act of contact between a recipient and an object of Art is unique, inimitable and individual. All over the world, the art of music - is no idea of ​​artistic influence and its manifestation in the structure of everyday life. From the point of view of musicology, responding to the relevance, issues of audiovisual distribution are a multidisciplinary problem, properly studied only in Western European and American culture. Summarizing the materials of the article, we can come to the conclusion that the industrial-urban form of life at the present stage of the domestic music industry is associated with a breakthrough in the field of mass communications and digital media, which entails certain changes in the spiritual space of a person.

Pablo Picasso: In Search Of Language

The article explores Picasso’s multiple influences early in his career as he searched for a language that best expressed his vision of reality. Already the first critics, such as Félicien Fagus for his first exhibition at Galerie Vollard, mentioned the impact on the young Spaniard of a wide range of modern painters in addition to the great classical masters. Many of the identifiable periods in his extensive career can be associated with one or more influential artists: Casas, Rusiñol, Steinlen, Munch during the Modernist years in Barcelona; Toulouse-Lautrec, Renoir, Degas, Van Gogh and others in the first years in Paris; El Greco, Nonell, Puvis, among others during the Blue Period; Matisse, Redon, and others, in the Rose Period; Gauguin later on, etc., etc. These are just a few of the many artists whose styles Picasso explored in numerous ways. Their influence often occurred in complex combinations and would not fully disappear from his works once their incidence had left their imprint. Thus one can find the presence of El Greco or Van Gogh as late as the last years of Picasso’s life. Here we will focus on their influence in the period that preceded Cubism, Picasso’s first truly original language

V. M. Vasnetsov’s religious creativity: genesis, spiritual and artistic influences

V. M. Vasnetsov’s religious creativity: genesis, spiritual and artistic influences

Pablo Picasso: In Search of Language

The article explores Picasso’s multiple influences early in his career as he searched for a language that best expressed his vision of reality. Already the first critics, such as Félicien Fagus for his first exhibition at Galerie Vollard, mentioned the impact on the young Spaniard of a wide range of modern painters in addition to the great classical masters. Many of the identifiable periods in his extensive career can be associated with one or more influential artists: Casas, Rusiñol, Steinlen, Munch during the Modernist years in Barcelona; Toulouse-Lautrec, Renoir, Degas, Van Gogh and others in the first years in Paris; El Greco, Nonell, Puvis, among others during the Blue Period; Matisse, Redon, and others, in the Rose Period; Gauguin later on, etc., etc. These are just a few of the many artists whose styles Picasso explored in numerous ways. Their influence often occurred in complex combinations and would not fully disappear from his works once their incidence had left their imprint. Thus one can find the presence of El Greco or Van Gogh as late as the last years of Picasso’s life. Here we will focus on their influence in the period that preceded Cubism, Picasso’s first truly original language.

A deep dive into the collaborative networks of Yacht Rock

This paper explores the collaborative networks of Yacht Rock, a genre of music that emerged in the late 1970s and early 1980s and is currently experiencing a resurgence of popularity in the United States and beyond. In addition to using formal social network analysis to explore the development and transformation of Yacht Rock's collaborative musical network through time, we identify its most influential artists and musicians and highlight the most pivotal songs of the era – adding context with historical and archival approaches. The results indicate that a core group of studio musicians based in Los Angeles played an essential role in helping develop Yacht Rock. This reservoir of musical talent and the supporting "hard" infrastructure (e.g., recording studios, music labels) in Los Angeles helped bring Yacht Rock to the masses. However, much of this movement's success has roots in the "soft" infrastructure of the region (e.g., management, industry connections) and the network effects of bands like Toto and Steely Dan.

An exhibition about a well‐known architect: Challenge or opportunity? Beyond: Tadao Ando and Art

AbstractThis review focuses on one of the most anticipated programs that He Art Museum (HEM) has produced so far, Beyond: Tadao Ando and Art. This is in part because the subject of the exhibition was the architect who designed HEM but, more interestingly, the exhibition focused on the influence of contemporary art on Ando's architectural works, rather than generally introducing architectural projects. Focusing on this perspective, this review explores the challenges and opportunities for exhibitions about well‐known architects, particularly in cases of architects such as Ando, whose distinctive architectural style (allowing people clear opinions of the architect) means it is never easy for curators to develop their own narrative. In this exhibition, connecting Ando with other artists who influenced him became an opportunity to address the challenge while dealing with his architectural languages, including light through traditional media, remained a concern. It has also been found that further work is needed to reveal the relationship between each artist and Ando, which was technically well designed in the space but was not delivering each artist's influence on Ando effectively.

Tribute Trade: A Comparative Study of Yuan Dynasty Ceramics and Sukhothai Dynasty Ceramics

Ceramics in Southeast Asian countries have been deeply influenced by Chinese ceramics, yet they also embody unique cultural attributes. This paper traces the tribute trade between the Yuan Dynasty of China and the Sukhothai Dynasty of Thailand, seeking commonalities in ceramics during that period. The study aims to compare and analyze the roles, styles, techniques, and mutual influences of Yuan Dynasty ceramics and Sukhothai Dynasty ceramics in tribute trade. Through the collection and analysis of relevant historical documents, archaeological data, and ceramic artifacts, it unveils the connections and distinctions between the ceramics of these two dynasties. The research explores the impacts of cultural exchange between the two nations in ceramics, including the transmission of techniques, artistic influences, and the exchange of art. The results of the study demonstrate that Yuan Dynasty ceramics and Sukhothai Dynasty ceramics mutually influenced each other in tribute trade and cultural exchange, jointly driving the development and innovation of ceramic art in both countries. This research holds significant importance for a deeper understanding of the diversity of Eastern ceramic culture and cultural exchange in tribute trade.

‘Entrances’, ‘Exits’ or ‘Nodes’, ‘Edges’, ‘Clusters’?: Simon Stone, & the Director as a ‘Network Subject’

Australian theatre director Simon Stone has emerged as a major presence on the European stage since the International Ibsen Festival presented his The Wild Duck ‘after Ibsen’, co-written with Chris Ryan, in 2012. Prior to Stone, Barrie Kosky and Benedict Andrews, the most influential directors of their generation in Australia, had established themselves as internationally significant artists in Europe. This article explores Stone’s imbrication in theatrical networks defined by Kosky and Andrews and the director as a relational phenomenon. It shifts analysis from the director as a singular subject to a network subject by deploying datasets held in AusStage (www.ausstage.edu.au) to firstly, chart the ecosystem of artists intrinsic to Stone’s career in Australia and Europe, secondly, to anatomize the concept of the network subject by interrogating the reoccurring connections and patterns of participation constituting the director, thirdly, to examine correlations between Stone, Andrews, and Kosky and thereby the question of the transference of artistic influences and Australia’s cultural relationship to Europe, and finally, to touch on the role of repertoire in Stone’s theatrical endeavour. In doing so, the article contends that the intersecting relationships intrinsic to Stone’s theatrical experience expose critical embodied junctures in the development of his directorial signature, and as such, constitute a means of identifying and measuring (circuits of) influence and aesthetic tendencies more broadly.

“Peacocks?!” or How James Abbot McNeal Whistler (1834–1903) Redefined Chinoiserie and Patron–Artist Relationship

One of the illustrative examples of the intervention of Chinese art in the formulation of the most important styles of the late 19th – early 20th centuries and its creative tandem with Japanese culture, which was then extremely popular in Europe, is James Whistler’s Peacock Room, the famous masterpiece of aestheticism and “Anglo-Japanese style”. The time has come to reflect on this work not only using several familiar stylistic labels, but also by trying to understand why the famous art style is classified as an Anglo-Japanese style if the key work in the room bears the unambiguous title “Princess from the Land of Porcelain.” The close connections between Impressionism, Post-Impressionism and Far Eastern artistic influences are well known, but it makes sense to place Whistler’s masterpiece “Harmony in Blue and Gold: The Peacock Room” within the context of existing since 16th century Orientalistic style and a long-standing (since the 18th century) fascination with China. The main style of the unique work is undoubtedly Chinese (blue and white qinghua-qi vases (青花瓷), the imaginary portrait of a princess from the Land of Porcelain, the general design of the literati’s office (wenfang; 文房) and the golden peacocks themselves, which gave the room its name), but Whistler was also inspired by Japanese landscape engravings long before Monet and Van Gogh, even imitating the works of Hokusai and Hiroshige. Having analyzed the influences and history of the room, the author concludes that it should not be inertly attributed to the Anglo-Chinese style, but the concept of “Neo-Chinoiserie” should be introduced.

Designing Shakespeare: Tibor Reich and the 1964 Shakespeare Quatercentenary

ABSTRACT This article explores the work of the designer, Tibor Reich (1916–1996) as part of the material heritage of William Shakespeare. It suggests Reich’s partnership with the Shakespeare Birthplace Trust is a significant means of investigating the influence of artists and designers of the 1930s diaspora as purveyors of modernism and their impact on the visual arts and interior design in Britain. It situates Reich’s work for the 1964 Shakespeare quatercentenary, an anniversary marked internationally, in the broader context of the cultural and social history to which William Shakespeare’s material heritage responds.

Impact of Renaissances in The History of Uzbekistan And Causative Factors of The Third Renaissance

Objectives: The primary objective of this article is to explore the historical renaissances in Uzbekistan, with a specific focus on the factors contributing to the third renaissance. While the European Renaissance serves as a historical reference point, the article aims to delineate the unique aspects of Uzbekistan's cultural development and exchange, investigating the influences that have shaped its cultural identity and worldview.
 
 Methods: To achieve the stated objectives, the study employs a methodological approach that involves examining historical, religious, and artistic traditions in Uzbekistan. The analysis includes a comparison with the European Renaissance to highlight divergent yet impactful cultural and intellectual developments. By utilizing a comparative and historical lens, the article seeks to unravel the factors that have contributed to the distinctive renaissances in Uzbekistan.
 
 Results: The results of this study provide insights into the unique historical renaissances in Uzbekistan, emphasizing the factors that characterize the third renaissance. The article delves into the cultural, religious, and artistic influences that have shaped Uzbekistan's identity, distinct from the European experience. The results underscore the transformative impact of these renaissances on the cultural and intellectual landscape of the region.
 
 Conclusion: In conclusion, the article synthesizes the findings by highlighting the pivotal role of renaissances in shaping Uzbekistan's history and cultural identity. It emphasizes the distinctiveness of the third renaissance and its contribution to the worldview of Uzbekistan. The conclusion acknowledges the influences from both internal and external sources, shaping a unique cultural tapestry. Ultimately, the article contributes to a deeper understanding of the historical and cultural dynamics that have defined Uzbekistan's renaissances and their enduring impact.