Influence Of Art Research Articles

Landscape Genre as an Object of Criticism in Soviet Culture at the Turn of the 1920s–1930s

The turn of the 1920s–1930s is one of the most controversial periods in the history of Soviet culture. There are still many gaps in its study. In particular, the problem of transforming creative and ideological programs of many post-revolutionary art associations remains insufficiently analyzed. The article examines the most influential art organization of the post-revolutionary period — the Association of Artists of Revolution (AKhRR) — taking a more radical stance towards the landscape genre. Initially neutral, this position became extremely critical, even intolerable at the turn of the 1920s and 1930s. An analysis of dozens of articles written by the ideologues of AKhRR reveals the ways how new, “revolutionary” criteria for describing and evaluating landscape paintings were developed and how an extensive system of accusations and a set of mandatory requirements for the genre were formed. Landscape was mostly seen as a “reactionary” genre, that made it possible to hide from modern reality, or, on the contrary, to “smuggle” in the Soviet art alien bourgeois values. The changing attitude towards the landscape also makes it possible to trace the transformation of emotional matrix of the era — the refusal to convey complex feelings, that for a long time were perceived as a basic characteristic of Russian landscape painting. The system of denying the landscape, so carefully developed by the members of the Association, was rejected by Soviet culture already in the mid-1930s. However, the events of the turn of the 1920s and 1930s demonstrate how the pictorial genre became a hostage to the movement of culture towards more radical, “leftist” ideological attitudes.

Figuri de sfinți ierarhi in iconografia ortodoxă de secol XIV în spațiul românesc

"Figures of Holy Hierarchs in the Fourteenth Century Orthodox Iconography in the Romanian Space. The present study aims to establish cultural interconnections both between Wallachia and Transylvania and between them and the areas of Eastern and Western artistic influence, with the aim of identifying the transfer of clothing models from one cultural area to another, as well as to identify the reason behind the implementation of some of the figures of hierarchs in the mural theme of some of the churches. The paper notes several types of hierarchical figures organized according to the type of clothing and the context in which they are depicted. The representations of the holy hierarchs in the 14th century fresco reveal political, confessional and cultural links internally between the Romanian Countries, but especially externally, between them and the Western-Italian and Eastern-Constantinopolitan and Balkan areas. The origins of the hierarchical models reveal not only the areas of artistic influence but also a desire to affirm the newly established orthodox metropolitanates church and principalities in the Romanian Countries by adopting a predominantly monastic iconographic canon, as confessional validation in the face of Catholic proselytism. Keywords: Transylvania, Wallachia, XIV century, clothing types, cultural interference, Balkan countries, Constantinople, the West. "

Ментори та Інґеборґ Бахман: письменницька майстерня успішного старту

The article studies the image of a mentor for the development of a novice author on the example of the work of the successful Austrian writer Ingeborg Bachmann (1926–1973). The role of a tutor is analysed from her first texts to the status of a Viennese intellectual in the middle of the 20th century. The direct influence of older writers and artists from the same generation on the formation of her author’s style is gradually investigated. The figure of the first mentor, the Carinthian writer and teacher Joseph Friedrich Perkonig is emphasized in the example of her early story “The Cross of Hondich” („Das Honditschkreuz”, 1943/1944) and “Letters to Felician” („Briefe an Felician”, 1946). The figure of the second mentor, the Austrian repatriate writer Hans Weigel and his writing workshop (“Group 50”) is examined. Attention is focused on H. Weigel’s autobiographical novel “Unfinished Symphony” („Unvollendete Symphonie”, 1951) and I. Bachman’s first novel “Nameless City” („Stadt ohne Namen”) on his consulting during 1947–1952. Attention is turned to the I. Bachman’s acquaintance with Paul Celan in Vienna, started the artistic dialogue between two young authors: the collection of poems “Deferred Time” („Die gestundete Zeit”, 1953) and “Invocation to the Big Dipper” („Anrufung des großen Bären”, 1956) by I. Bachman and “Poppy and Memory” („Mohn und Gedächtnis”, 1952) by P. Celan. The parallel correspondence of the author with H. Weigel and P. Celan is also compared. We study the role of Hans Werner Richter, the leader of the prominent “Group 47”, whose prize (1953) finally convinced the young author to become a professional writer. Communication with the German composer Hans Werner Henze is stressed as a coexistence of “twins in spirit” and successful intermedial tandem.

Systemic problem of education and professional evolvement of students specializing in «Drama theatre and movie actor» in higher educational institutions

The purpose of the article — to analyze the already existing system of education and professional evolvement of drama theatre and movie actors, and to propose an effective algorithm for working with students of performing art departments in higher educational institutions.
 The methodology. The methodology of the article is determined by the research topic’s peculiar nature, relies on the authors’ practical experience and is conditioned by the purpose of the article. Among the methodological tools, an interdisciplinary approach was employed (thanks to the use of professional descriptions from such disciplines as pedagogical science, psychology, aesthetics and others) and the functional approach, which determines the scientific weight of the issues outlined in the article due to their real functioning in culture and in historical perspective. Also, the axiological method and the interpretation method were used to explain social and cultural factors of future actors’ education and to analyze additional levers and professional evolvement.
 The results. 1. The main areas of future drama theatre and movie actors’ training were analyzed in order to determine the key problems of professional evolvement of students specializing in theatre in higher educational institutions. 2. The stratum of historical course in formation of actor’s profession as an independent professional activity was studied. 3. The main levers of artistic influence and operational tools for future theatre and movie actors’ education have been defined.
 The scientific novelty. Professional artistic education directed at theatre arts should never be silent about the problems of education and professional evolvement of students specializing in drama theatre and movie in higher educational institutions, which problems have already become systemic. One of the key reasons for that lies in the inconsistency with current realities of the world’s theatre process and Ukrainian artistic space.
 The practical significance. The actor is a truly unique and universal profession, yet one should exactly define what namely its universality and uniqueness lies in. The profession of theatre and movie actor does not simply represent the knowledge of certain elements of the craft, tools and instruments that the actor must possess (voice, rhythmicity, development of imagination and fantasy, emotional and psychophysical memory), but also is complemented by in-depth analytical research into the “novel of life” — biographies of people played by actors, the ability to form his or her professional “circle of attention”. It would be highly appropriate to permanently employ physical training elements (language and visual ones, transition from one environment to another etc.). All that and many other components, which the actor deals with when operating within realistic psychological theatre training system, determine the success of professional evolvement.

Film Aesthetics in Álvaro Cepeda Samudio’s La casa grande

Drawing on an interdisciplinary approach, this article analyzes the prevailing cinematographic aesthetics in Cepeda Samudio’s La casa grande by means of an unprecedented approach to the literary work in technical terms of cinema, such as shooting plans, spatiality, sound effects, script-type writing, and images. Thus, the purely indicative tendency which was previously used to approach the novel is expanded. The analysis is made on the basis of the author’s biographical background, his artistic influences, and his particular way of approaching a historical event and conveying it through literature. The purpose is to produce an interpretation of La casa grande as if it were a filmic realization based on concrete examples. It is concluded that these filmic characteristics are widespread and original; thus, they establish starting points for further discussions oriented to the presence of sensitive moments and fetish images in Cepeda Samudio’s work.

Bringing French modernism to Singapore: Nanyang painter Georgette Chen

A veritable world citizen, Nanyang painter Georgette Chen (1906–1993) melded artistic influences from both the East and West, bringing French modernism to Singapore. Much has been written about her contribution to the art of Singapore, her role in the establishment of the Nanyang Style, the lasting influence that she exerted on younger artists, and her considerable artistic achievements. Never before examined is the development of her oeuvre that reflects this mixture. The works selected for this investigation reveal her artistic development from student to teacher, the range of her thematic interests, and the stimuli that she absorbed from a life ensconced in eastern and western cultures.

Dilla Time

<i>Dilla Time</i>

Lorenzo Bartolini’s British patrons and sitters: some new discoveries

This article discusses portrait busts by the important Florentine sculptor Lorenzo Bartolini (1777–1850), and why so few of his sitters (many of them British or Irish) have thus far been identified. The sitter in a portrait by Bartolini, until now not considered as his work, and archival documents concerning that portrait, published here for the first time, disclose in Bartolini’s own hand his charges for contemporary portraits, marble replicas of canonical antique statues and marble copies of portraits modelled earlier by the celebrated British sculptor Joseph Nollekens. The article then discusses the artistic influences that conditioned the format of Bartolini’s important portrait of a young lady in the Rijksmuseum, Amsterdam, and reveals her identity (hitherto unknown) while also identifying the sitter in another (related) marble portrait by Bartolini, whose name until now also has been unknown. The dates and production of both busts, pre-1820, are also discussed.

Life as Art: John Dewey’s Visit to China (1919–1921) and Its Relevance to China’s Art Education

Abstract Based on historical reviews, John Dewey’s visit to China from 1919 to 1921 had little impact on China’s art education. However, a careful examination of the works of art scholars and educators in the 1920s and 1930s reveals a more complex picture of Dewey’s influence. In this study, I analyze the works of the influential art educators and scholars Jing Hengyi (经亨颐, 1877–1938), Lyu Cheng(吕瀓, 1896–1989), Bingxian (冰弦), and Liang Shuming (梁漱溟, 1893–1988). The results show that these scholars overcame the dualism of art and science, which was a prominent discourse in the New Culture Movement. They considered life growth as the goal of art education through the cultivation of a creative, inclusive personality that released the potential life energy. These scholars developed their ideas regarding aesthetics and art education based on their interpretation of some aspects of Dewey’s philosophy of education and came up with a Chinese version of Dewey’s theory of aesthetics even before the publication of his work Art as Experience in 1934. Their interpretation is consistent with Dewey’s ideas of aesthetic experience, and art education as the means of developing the potential of the individual. The goal of art education that these Chinese scholars proposed 100 hundred years ago remains valid today.

MĪLA CĪRULE: A LATVIAN IN THE WORLD OF MODERN DANCE

Mīla Cīrule (1891–1977) is one of the first Latvian dancers who went in for the genre of modern dance at the beginning of the 20th century. At the end of the 1920s the dancer earned her recognition in Germany and Austria, and her name was mentioned among the most striking modern dance choreographers in France in the 1930s; her contribution to teaching dance was also appreciated. Mīla Cīrule is the first Latvian dancer who has become internationally renowned in the field of modern dance. The aim of this research is to follow the development path of Mīla Cīrule’s creative work by gathering information and analysing artistic influences which have created the unusual creative personality aspects of the dancer. Mīla Cīrule was born in Riga; however, she started her dance career in Russia in Ellen Tels’ (Эллен Тельс) school. This school followed Isadora Duncan’s artistic criteria in their creative principles. In parallel with acquisition of free dance, the young dancer attended classical dance classes at soloist Mikhail Mordkin’s (Михаил Михайлович Мордкин) school of the Moscow Bolshoi Theatre (Большой театр). After meeting Mary Wigman and studying the philosophy of German expressionist dance, Mīla Cīrule rethought the principles and expressive means of her art; she refused unnecessary ostentation, and sought an individual way of expression. “Mīla Cīrule’s choreographies are high quality works of art which speak volumes about the choreographer’s rich world of ideas and a good sense of form, while her dance technique is always perfectly adapted to the contents of the staging production” [Dārziņš 1938]. In her staging productions Mīla Cīrule combined an expressive style with very well-considered and precise principles of form creation. In her creative work the brave reliance upon instinctively found movements of the Wigman School always complied with a strict sense of drama structure and subtlety of details that had been acquired from Ellen Tels’ aesthetics of the pantomimic staging productions. As an original and extraordinary personality, Mīla Cīrule is not similar to any artist of her time in her creative work. She adopted and accumulated everything she had learned at many dance schools, and she passed it through the prism of her personality.

VISUALISATION OF THE HUMAN BEING IN PERIODICALS “PAGALMS”, “ROTA”, “AUSTRUMS”, AND “MĀJAS VIESA MĒNEŠRAKSTS” IN THE 1880s AND 1890s

Examination of the techniques used for depicting human beings in periodicals of the second half of the 19th century demonstrates how Latvian visual identity was formed at a time when the formation of national identity took place. The article is an attempt to characterise visualisation of the human being in the Latvian magazines “Pagalms” (1881–1882), “Rota” (1884–1887), “Austrums” (1885–1906), and “Mājas Viesa Mēnešraksts” (1895–1905). The development of art dynamics is revealed by characterising the principles of depiction of the human being in connection with the spirit of the time, i.e., national identity. Periodicals were the most accessible medium of the 19th century which formed and in which the concepts of Latvian identity were formed. At the same time the visual material of periodicals provides a general notion not only of the process of identity formation but also helps to reveal how an artist perceives a human being, as well as gives an insight into the use of formal stylistics, art techniques, and the scope of artistic influences.

RETRACTED: From nonosh to pasha: The belated debut of queer men in contemporary Turkish popular culture

The historical drama series, The Club (2021–22), narrating the story of a nightclub at the centre of Istanbul nightlife during the 1950s, achieved great success by becoming the eighth most-watched non-English-language series on an international digital streaming platform. The significant public affirmation the series gained rose on the representation of the leading character – the nightclub star. He directly refers to respected queer singer Zeki Müren (1931–96). Müren has been credited as the greatest performer in Turkey and a modern male icon with his artistic excellence in singing and his outstanding stage performances for over 40 years. He designed his own costumes as well as those of his musicians, the décor for his performances and the choreography of the dancers. Müren appeared on his stage in black tuxedos, suits with sparkling accessories or even mini-skirts with platform shoes. He was aware of the taboos on homosexuality and how this might have affected him. Although his sexuality was in question, his sex never was. He was, after all, an exemplary male citizen of the Turkish Republic with his kindness to his audience, his charity works, his artistic status. Many fans, including the media, referred to him as a pasha, a heroic military commander, to express that he was the most influential artist in Turkey. The referential association of the fictional character with Zeki Müren will be interpreted in the article to further discuss the portrayal of the queer performance in the series. For this purpose, the article will introduce the conceptualization of nonosh, a polite yet explicit contempt, and present an embraceable form of queer identity in Turkish society to define the common portraiture of queer in Turkish popular films and TV shows.

METHODOLOGICAL FOUNDATIONS OF THE STUDY OF CONTEMPORARY THEATER AND DECORATION ART

Formation of a complex of methods of scientific knowledge of the phenomen on of art of artistic design of theater performances in order to identify scientifically grounded ways to improve scenography and increase the theoretical and methodological level of scenographic creativity of professional training of theater and artistic personnel. From the point of view of the methodology, the analysis of the art of contemporary stage has become complex and relies on philosophical, aesthetic, art, cultural, sociopsychological and historical approaches in combination with applied theatrical science. Among the methods of analysis, the leading place in the study of transformational problems of the stage is given to the system-structural method. From this point of view, the scenography can be considered as a figurative-plastic system consisting of certain artistic elements (fine arts, design architecture, costume architecture, design, etc.), and at the artistic and synthetic level as a subsystem of the general system of theatrical art, which is in relation to the scenography by the context and source of artistic influences that determine the forms and content of theatrical and decorative creativity.

Singapore Art History as a History of Mobilities

ABSTRACT Moving away from the study of the history of art using place-bound and ‘rational' terms, this article examines how the different forms of mobilities practiced by Singaporean artists have shaped their artworks, practices and identities. This is achieved through a study of artists who practiced ‘unconventional’ forms of mobilities: Suzann Victor, an ‘unofficial exile’ who moved to Sydney due to the fallout from the Brother Cane incident, which made it difficult for her to continue to practice in Singapore; Jimmy Ong, who shifted his practice to the United States to lead a “domestic life” with his former husband and Gilles Massot, a French-born artist who moved to Singapore to become an “Other.” Specifically, the paper seeks to answer: What are the different types of mobilities practiced by the artists? How do these mobilities impact their practice? How are these mobilities and their impacts perceptible in the artworks? What are the ways that these mobilities differ from the ones that are typically studied in canonical art history? In this paper, the artworks are studied as ‘fluid spaces' that are shaped by the myriad forms of mobilities practiced by the artists – many of which cannot be described as completely ‘rational – rather than the product of a single form of mobility. The aim is to shift our study of art away from place-bound and ‘rational’ concepts towards the transience of the artists and the borderless nature of artistic influences and ideologies.

Review: Form and Feeling: The Making of Concretism in Brazil, edited by Antonio Sergio Bessa

Review: <i>Form and Feeling: The Making of Concretism in Brazil</i>, edited by Antonio Sergio Bessa

When a King of Norway Became a King of Russia

When a King of Norway Became a King of Russia

"Formation" Interprets Freedom with Art

News and media have infiltrated society in a variety of ways, and political correctness has been instilled into everyone's mind, but does this really bring justice and freedom to people of color or marginalized groups? In fact, implicit targeting and discrimination continue to pervade modern society, because some reports reinforce and imply that injustice is justified and the unscrupulous media always try to confuse the public in the grey area and provoke more disputes in order to seek profit. Most people may have noticed that people of colour and marginalized groups are not really treated fairly, but the voices of most people are not as powerful as those of influential people, such as artists. For example, Beyoncé shows us how she uses art media (music) to export her power and her thoughts with "Formation", which can be extended into three new concepts: the stereotype of Black people on social platforms; the real influence of Black artists; Black women face far more negativity than Black men. It must be emphasized that art always comes from life, and people need to learn how to see the cruel truth through art, and "Formation" just proves this.

Portrait of an artist at work: exploring Max Ernst’s surrealist techniques

Max Ernst was one of the most influential artists associated with both the Dada and Surrealist movements. However, until now, only few scientific studies have been devoted to his works. This paper presents the results of a multi-analytical investigation on six oil paintings, made between 1927 and 1942, belonging to the Peggy Guggenheim Collection in Venice (Solomon R. Guggenheim Foundation, New York). Through a combined art historical and scientific approach, this study aims at understanding Ernst’s painting techniques, including frottage, grattage, dripping, and decalcomania, the used materials, and the state of conservation of the artworks. Non-invasive in situ investigations were performed by means of Vis–NIR multi-spectral imaging, X-ray fluorescence, external reflection FTIR and Raman spectroscopy. Imaging analysis revealed important information about Ernst’s painting methods while the other techniques provided useful information about the ground layer, the painting materials and the presence of alteration products. Ernst’s palette discloses great freedom in his use of materials and evolution during the time. This investigation demonstrates that an integrated, non-invasive, diagnostic approach provides a thorough analysis of materials and execution techniques of Ernst’ masterworks allowing an in-depth knowledge of his highly skilled work.

Michael Gold: The People’s Writer

Michael Gold: The People’s Writer

The Development of Still-life Painting in China in the Second Half of the Twentieth Century Under the Influence of Russian-Soviet and Western Art

Still life as an independent painting genre in Chinese fine art was formed in the second half of the XX century under the strong influence, first of all, of Western European and Russian, and then American art. This relatively short period of time includes several periods at once, in which one or another influence dominated. However, it was the integration of the ideas and principles of foreign art schools that allowed Chinese masters to develop those features of the artistic and figurative language that determined the features of the genre of still life in the space of modern art. The object of the article is the process of development of Chinese still life in the second half of the twentieth century, the subject is a set of expressive and artistic means used by Chinese artists to create a still life under the influence of foreign artistic trends. This article aims to determine the place and features of the genre of still life in the works of Chinese painters of the second half of the XX century, as well as to characterize the conformity of this genre to the trends of Russian and Soviet, as well as European art. The study concluded that this genre received rapid development in the second half of the XX century, which occurred under continuous foreign artistic influence. The occupation of a strong position in the space of Chinese art by still life and the formation of its original character with national specifics occurred at the end of the twentieth century.