Pictorial Art Research Articles

Creativity of K. Malevich in the context of development of world and domestic art culture

The purpose of the article is to establish the contribution of Ukrainian avant-garde artist, pedagogue, theorist Kazymyr Severynovych Malevych to the Ukrainian and world pictorial art. The methodology consists of a range of methods: historical, biographical, theoretical. The abovementioned methodological approach allows studying the question of historical data relating to the events in Ukraine that led to the emigration waves, finding out certain biographical facts and analyzing the artist’s creative activity. The scientific novelty of the research is in establishing Kazymyr Malevych’s contribution to the development of the Ukrainian and world pictorial art. We have studied the special features of his art, theoretical works and teaching activity, as these were an important factor in preserving and popularizing the Ukrainian culture. Conclusions. Malevych’s life and art have become the valuable heritage of the whole world. He influenced the development of visual arts with his activity and personally created direction in abstractionism. Guided by his own research and artistic search, he established a new direction in avant-garde art – suprematism, which became a unique phenomenon for fine art. His style was a major influence for visual arts, architecture and design. Malevych elaborated his own manner of teaching art to students. He was followed by Ukrainian and German constructivists, American minimalists and French abstractionists. His creative ideas are still relevant to this day.

The Face of Modern Chinese Abstract Art in Museums Around the World

painting acts as a source of replenishment for the holdings of most museums. Unlike realism or other traditional styles of painting, abstraction does not always allow for changes in external form and internal content. This article is relevant, as when considering the essence of an abstract picture, its main meaning is the search for internal contradiction or semantics in an implicit form. The purpose of this work is to study Chinese abstract painting and the possibilities of its application as a source of traditional art. The novelty of the study is determined by the fact that the authors of the paper consider Chinese pictorial art as a source of transmission of philosophical and social motives, with respect to development of a technogenic society. The paper provides the possibilities of forming a figurative system in abstract painting and the possibility of searching for an analogue on the part of the symbolic system of fine art. The practical significance of the study is determined by the fact that the application of classifiers and systematisers to Chinese painting makes it possible to determine its components as a part of the global cultural and artistic heritage.

ART SPACE OF CONTEMPORARY DRAMA

Sokolovska S. F.The study of the modern literary situation, in particular, new trends in drama, is a relevant task for literary criticism. The work of playwrights of the 90s of the twentieth century deserves special attention since the literary practice of this generation of artists caused a number of significant shifts in various formally substantive areas of drama. Indicative in this respect are the works of the modern German author R. Schimmelpfennig. In the process of literary study of the play «The Golden Dragon», an analytical model of a literary text has been built, which is correlated with the interpretation model of a literary work. The chronotope and structure of the narrative reflect the artistic picture of the world and the concept of personality. Creating these aspects of artistic reality, the playwright turns to the aesthetics of B. Brecht’s epic theater. First of all, this is the alienation effect, which occurs through seventeen roles that are distributed among five actors. However, the characters are not puppet heroes, human beings without identity, they play the role of storytellers, report events, addressing directly to the audience. The author’s presence is being augmented, which is realized in the epization of a dramatic text, in the author’s direct description of the characters, in the spatio-temporal organization of the work. The reality that the world of a multi-storey building reproduces in the play does not allow a person to realize themselves. Such a manifestation becomes possible in an imaginary world, in human consciousness. The acquisition of personal uniqueness, the establishment of deep, essential connections with other people occurs in an open, unlimited mental space.

“All that we see is seen in perspective”: point of view as word and image

Whereas the fictiveness of narrative perspective is taken for granted in literature, it also emerges as a salient element in the experiences of pictorial art and architecture as part of a viewer’s internal response to their altered views of reality. Whether a visual technique or a narrative one for shaping the way things are seen, perspective assumes that the conditions of seeing an object are flexible and open to mental and material variables in diverse historical media and sites. These range from the cognitively provocative trompe l’œil fresco paintings of seventeenth-century Italy, the typographical headings used as chapter divisions in eighteenth-century British novels, and hand-colored eighteenth-century prints of city scenes made to look three-dimensional through an optical device, to the inscribed stones used in post war Berlin monuments, and an art historian’s recent perspectives on memories of his twentieth-century childhood home. Concentrating on perspective foremost as a medium and conduit for the imagination, Getting Perspective reveals its transhistorical role in word and image as a shaper and maker of imagined worlds.

ПОНЯТИЕ ЯЗЫКОВОЙ ХУДОЖЕСТВЕННОЙ КАРТИНЫ МИРА

The author focuses on the study of the concept of "linguistic artistic picture of the world", the determination of the fundamental features of this concept. The main purpose of the article is to describe various approaches and concepts to the study of a literary text, as well as to study its key features.

POETICS OF COLOUR IN BALLAD GENRE

The article presents analysis of the ballads written in the Soviet period, highlights the main poetic paradigms in the figurative structure of ballads, examines the significance of the category of colour in the genre of literary ballads.
 It is noted that the ballad colour is an important means of expressiveness and is used to actualize the plot. In addition, the material of the paper makes it possible to assume that the artistic picture of the ballad romantic world is revealed mainly in achromatic black and white tones.

On the Border: Bulgarian Art in the 60s of the 20th Century Faced at a New Choice

The representation examines the complex choices that artists must make in the 60s of the last century in the face of strict control and liberal demagoguery. Some decide to accept the regime’s demands unconditionally, others are willing to cooperate with the hope that in time they will continue to develop their own aesthetics, but there are a few who do not accept to serve the system and remain in their personal world rich in inventions, enduring all misfortunes. In this different behaviour is the picture of Bulgarian art in this dramatic decade, which gave impetus to the subsequent development of new strategies in changing social and psychological conditions.

History and art pieces in the film “Alexander Nevsky” by Sergei Eisenstein

The heritage of Sergei Mikhailovich Eisenstein nowadays is a serious subject for scientific research. In the last two decades the original articles and books of the great director “cleared” of Soviet censorship and abbreviations, have been published, and the study of existing and lost cinematic works of the master continues nowadays. The film “Alexander Nevsky” (1938) was shot under the conditions of the already existing order for the arrest of Eisenstein, but the final approval of the film by Stalin actually suspended the prosecution of the director. The problem of including images of Russian and world painting in the film frame in Eisenstein’s works is practically not studied – his films (unlike, for example, the films of Andrei Tarkovsky) can hardly be regarded as those ones with direct quotations of certain works of pictorial art. Despite this fact, Eisenstein, as it will be shown in this article, repeatedly resorted to various methods of including in his films certain artistic images borrowed from very specific paintings. It is “Alexander Nevsky” and Eisenstein’s last film “Ivan the Terrible” that are examples of cinematic works where such intersections of frame structures with the pieces of world art become especially noticeable when carefully examined. “Alexander Nevsky” is not only a “defense film”. The attempt to analyze this film from this point of view is a way to miss the entire historical, symbolic, and philosophical subtext of the film. “Alexander Nevsky” is a kind of an epic film, shot in the format of a fresco-film and containing numerous allusions not only to the events of Biblical and Russian history and hagiographic literature, but also to works of pictorial art. In the frames of the film (not so clearly at the first glance), the world of paintings by Vasily Vereshchagin and Nicholas Roerich, illustrations to the fairy tales of Ivan Bilibin comes to life again. The frame image also shows clear intersections with paintings by Caravaggio and El Greco – one of Eisenstein’s the most valued masters of fine art.

Images de l’Invisible: De l’Antiquité tardive a la fin du Moyen Âge

Images de l’Invisible: De l’Antiquité tardive a la fin du Moyen Âge

Parading Staurothekes in Norman Sicily: Relics, Community, and the Conversion of the Other†

This article explores the liturgical functions of cross‐shaped staurothekes, reliquaries of the True Cross, in twelfth‐century Sicily. These luxurious objects were once at the centre of the devotion of the growing Christian communities on an island undergoing dramatic social changes. This contribution examines the figuration of these crosses and the messages they conveyed to their audiences, focusing on documented processions as displays of public piety. To this end, the contents of two liturgical manuscripts from Palermo, evidence in contemporary pictorial arts and coinage, and the urban layout of the Norman capital will shed light on the reception of the symbol of the cross in the cosmopolitan, yet increasingly intolerant Sicilian kingdom.

On Stereoscopic Art.

Pictorial art is typically viewed with two eyes, but it is not binocular in the sense that it requires two eyes to appreciate the art. Two-dimensional representational art works allude to depth that they do not contain, and a variety of stratagems is enlisted to convey the impression that surfaces on the picture plane are at different distances from the viewer. With the invention of the stereoscope by Wheatstone in the 1830s, it was possible to produce two pictures with defined horizontal disparities between them to create a novel impression of depth. Stereoscopy and photography were made public at about the same time and their marriage was soon cemented; most stereoscopic art is now photographic. Wheatstone sought to examine stereoscopic depth without monocular pictorial cues. He was unable to do this, but it was achieved a century later by Julesz with random-dot stereograms The early history of non-photographic stereoscopic art is described as well as reference to some contemporary works. Novel stereograms employing a wider variety of carrier patterns than random dots are presented as anaglyphs; they show modulations of pictorial surface depths as well as inclusions within a binocular picture.

CONTEMPORARY STRATEGIES OF STUDYING INTERTEXTUALITY

The article explores the definition and the essence of intertextual theory as it is interpreted by M. Bakhtin, J. Kristeva, R. Barthes and other prominent scholars and literary critics of the 20th century, particularly from the viewpoint of poststructuralism. In the broadest terms possible, intertextuality can be defined as a set of relations between texts, which can include direct quotations, allusions, literary conventions, imitation, parody and unconscious sources among others. This concept dramatically blurs the outlines of texts, making them, in R. Barthes’s words, an “illimitable tissue of connections and associations.” The term itself was originally coined by the French semiotician and philosopher Julia Kristeva in the late 1960s. By combining Saussurean and Bakhtinian theories, J. Kristeva produced the first enunciation of intertextual theory, wherein she essentially suggested reconsidering the widely accepted notions of the author’s “influences” and the text’s “sources”. This theory was further developed by R. Barthes, who proclaimed the “death of the author” and insisted that the literary meaning can never be fully grasped by the reader, because the intertextual nature of literary works always leads readers on to new textual relations. In turn, French critic G. Genette introduced the notion of ‘transtextuality’ as a more comprehensive term, and put forward five types of transtextual relations (intertextuality, paratextuality, metatextuality, architextuality, hypertextuality). This theory has also become widely popular in the era of postmodernism, not just in relation to literary works, but also in other domains (cinematography, architecture, pictorial arts etc), as imitation of well-known artistic styles, direct and indirect references to various works of culture have become a salient feature of postmodern art. In general, it should be emphasized that intertextuality subverts the concept of the text as self-sufficient, hermetic totality. Instead, it emphasizes the fact that all literary production takes place in the presence of other texts, works of culture, and various social and historical factors. The reader also plays a crucial role in interpreting the text, because the reader’s previous experiences, their cultural and educational background will inevitably influence the scope of meanings that the reader is able to extract from the text.

The influence of modern trends in digital art on the content of training in computer graphics and digital design

The development of digital technologies leads to a variety of pictorial arts. With the advent of computer technology and communication technologies, areas such as computer graphics, computer and digital design, and phenomena such as digital art have emerged. The article analyzes these concepts, which provided an opportunity for further study. Based on the analysis of Internet resources on digital art, the following main trends are identified: virtual art, 3D printing, open source software, art of artificial intelligence, a combination of 2D animation and modern technologies, 3D painting, UX / UI design, game design, concept art and character design. Examples of reflection these tendencies in modern art are given. Given the selected trends, it is shown how they affect the content of training in computer graphics and digital design for students of the educational program "Digital Design" (list of compulsory and optional educational components, the content of educational practice). It is noted that to successfully work with computer graphics, students need to master traditional knowledge of pictorial arts (the concept of composition, color, perspective, proportions, shadows) and the ability to use them to create digital products using computer programs (2D graphic editors and 3D graphics) and digital technology (graphics tablet, personal and personal computer, projection equipment, camera, devices for VR and AR reality, scanner and printer, including 3D scanner and 3D printer).

Kazakh ornament: from traditions to the new combinations of shapes in contemporary art

In the training of specialists in the art education field, it is essential to know the continuity in the evolution of national art. In Kazakh folk art, the semantic content and structuring of ornamental forms and compositions are the result of a long historical development and spiritual experience of the nomadic people. In the decorative and applied art of the people, the mental processes of society are represented. The artist-nomad is a spokesman of the Kazakh nomadic mentality, which is characterized by the originality of spiritual experience and traditions and is formed as a result of the long development of historical eras and periods under the influence of geographical, social, cultural conditions of life. In the Kazakh arts and crafts, a system of expressive means and images has been formed, which reveal the specifics of the nomadic way of life. The ornaments are a historical source that sheds the light on the peculiarities of the beliefs, the way of life of the nomads. The artistic vision of the Kazakh people is manifested both in the forms and in the decorative decoration of the dwelling household items, military equipment, jewelry. In the products of decorative and applied creativity, the artistic picture of the world of their creators is reflected ideas about heavenly bodies, natural phenomena, animal and plant life. Ornament plays a role of a kind of tool for symbolic and sign thinking. A stable system of specific signs and combinations of units is recorded in the Kazakh ornamental language. Craftsmen and contemporary artists, using the language of ornaments as an important visual communication tool, have filled their artworks with non-verbal messages and mental information.

ХУДОЖЕСТВЕННАЯ ПОЛЕМИКА С А.П.ЧЕХОВЫМ В РАССКАЗЕ Т.Л. ЩЕПКИНОЙ-КУПЕРНИК «ОДИНОЧЕСТВО»

From the earliest works, Chekhov acts as a polemicist with both contemporary literature and with the literature of the immediate past. This polemic is expressed not so much in the direct statements of the writer in letters or in conversations recorded by the memory of the memoirists, but in an artistic form, with the help of an imaginative system. However, there were people who polemicized with Chekhov. On the one hand, these were magazine critics, and on the other, fellow writers. One of these authors was T.L. Shchepkina-Kupernik, who wrote the story "Loneliness" at the age of twenty, which was published in the authoritative journal “Russian Thought” in 1894. The works of Chekhov, which caused the greatest resonance among the reading public: “The Jumping Girl”, “Boring Story”, “Ward No. 6”, became the material for the polemic of the young writer. Shchepkina-Kupernik actually agrees with the opinion of the readers who recognized the element of libel in the story "The Jumping girl", and the element of distortions of reality in others. The author of “Loneliness” creates an artistic picture of the world, which seems to her more realistic than Chekhov’s. However, the story of the young writer does not go beyond the bounds of stencil mass literature. All her claims against the author of “Ward No. 6” turn out to be untenable and demonstrate her lack of understanding of the innovative nature of Chekhov’s work. The complex nature of the dialogic character of his works, based on the art of parody stylization, was not perceived by the opponent, who opposed it with a one-dimensional and simplified image of reality.

THE “24 PRELUDES” FOR THE PIANO BY IVAN KARABYTS AS AN ENCYCLOPAEDIA OF THE UKRAINIAN RENAISSANCE OF THE 1970S

Background. The research is devoted to revealing the semantic analysis of the dramaturgy of one of the large-scale compositions in the creative work of IvanKarabyts – the cycle “24 Preludes” for the piano. The composition was written by Ivan Karabyts in 1976 and today it is of great interest to concert performers and fans of modern piano music. The attention of pianists to the cycle “24 Preludes” by I. Karabyts is attracted, firstly, by the distinctive, original musical language, secondly – by a wide range of performing capabilities and means of expression, and thirdly – by vivid images that inspire pianists to reproduce artistic ideas, hidden philosophical implications. The object of research is the cycle “24 preludes” for the piano as a musical encyclopaedia, reflecting the artistic era in the context of the Ukrainian renaissance of tthe 1970s, and the aim is to identify stylistic patterns by means of the semantic analysis of the dramaturgy of the cycle, finding the intersection in a kind of dialogue with a diverse, significant fund of the music of the 20th century. The methodology of research is focused on the relationship of special methods of analysis: functional-structural, intonation, genre, style, semantic and interpretative one. Results. Ivan Karabyts chooses for his cycle a model of tonal dramaturgy of the cycle “24 Preludes”, introduced by F. Chopin and later by D. Shostakovich, namely – the movement along the circle of fifths in the ratio of major-minor. From the point of view of musical semantics of the preludes of the cycle they can be divided into 5 thematic groups (contemplative and introspective lyrics; grotesque and dance; sound imitation and spatial-visual; stylistic allusions; and tragedy ones), varied in genre-stylistic sense (according to the criteria of modelling the awareness of the lyrical hero (I – the world around me.) The dramaturgy of the cycle is built through their correlation, while forming a certain plot, which begins with the image of the lyrical hero, and ends with a demonstration of the society which is ambiguous and problematic for a human. The composer chooses the prelude as a genre with a historical memory of culture, which allows performers and listeners to experience the range of psychological moments of the human spirit in the turbulent world of events of the last third of the 20th century. The composer is fascinated by this genre not by chance, because the prelude allows reflecting in miniature numerous states of “fixed” moments of existence, the inner balance of the artist and the world. Each prelude in the cycle is a kind of creative laboratory, a field of creative experiments. It reflected both already developed and new methods and principles of the composer’s thinking. While performing one prelude after another as a whole composition, one realizes that this genre expresses the freedom of creativity, the element of existence: it is a fantasy, and a story of the heart, and the revelation of the spirit, and at the same time – bright genre sketches. Conclusions. The analysis of the musical semantics of I. Karabyts’s piano cycle “24 Preludes” testified to the presence of 5 genre-stylistic groups in the cycle (according to the criterion of the dual world notion “psychology I – the world around”). Thus, the genre-semantic analysis of the piano cycle “24 Preludes” has shown that I. Karabyts does not lose touch with history and time, by paying tribute to the masters of the 18th–20th centuries, continuing to develop the type of tonal dramaturgy, laid down by J. S. Bach. In the cycle there is a special “counterpoint” of the “blues” stylistic. The dramaturgy of the cycle has a detailed plot, which begins with the image of the lyrical hero, and ends with a demonstration of the society ambiguous and problematic for a human (“I – World”). The dramaturgy of the romantic dual world turns into a harmony of the modern world with multiple images, echoes of time and inner drama. The genre semantics and its analysis allow the performer to comprehend the large-scale cycle as an artistic picture of the world, and its stylistic unity – as a spiritual universe which belongs to the Ukrainian art of the 21st century.

Fleabag,Modernism, and New Television

This article reflects on the recent prominence of direct address—characters speaking directly to the camera—within new television. With particular reference to Phoebe Waller-Bridge’s Fleabag (BBC Three, 2016–19), the phenomenon of direct address is in this context situated amid the broader history of pictorial art, especially painting and the problem of theatricality first introduced by Denis Diderot in the eighteenth century and taken up in the last century by Michael Fried. The article concludes by showing how Fleabag’s use of direct address both fits neatly into this art history and moves beyond it, showing especially how Fleabag’s use of direct address substantially comments on modernity, on the status of art (especially new television), and even on the status of religion.

From image to text to speech: the effects of speech prosody on information sequencing in audio description

Abstract Given the extensive body of research in audio description – the verbal-vocal description of visual or audiovisual content for visually impaired audiences – it is striking how little attention has been paid thus far to the spoken dimension of audio description and its para-linguistic, prosodic aspects. This article complements the previous research into how audio description speech is received by the partially sighted audiences by analyzing how it is performed vocally. We study the audio description of pictorial art, and one aspect of prosody is examined in detail: pitch, and the segmentation of information in relation to it. We analyze this relation in a corpus of audio described pictorial art in Finnish by combining phonetic measurements of the pitch with discourse analysis of the information segmentation. Previous studies have already shown that a sentence-initial high pitch acts as a discourse-structuring device in interpreting. Our study shows that the same applies to audio description. In addition, our study suggests that there is a relationship between the scale in the rise of pitch and the scale of the topical transition. That is, when the topical transition is clear, the rise of pitch level between the beginnings of two consecutive spoken sentences is large. Analogically, when the topical transition is small, the change of the sentence-initial pitch level is also rather small.

Filología y pintura conceptual: Análisis de dos obras de Hilario Bravo

La creación pictórica de Hilario Bravo responde a una reflexión sobre la escritura, sobre la capacidad del arte pictórico para convertirse en texto y, a la inversa, acerca de las formas de los alfabetos y las lenguas que estos vehiculan. Se analizan las obras Fontis patet (2014) y “El tríptico de Freya” (2017) a partir de las expresiones en latín presentes en las mencionadas pinturas. Se concluye que el pintor utiliza la reflexión sobre la escritura como una exégesis conceptual del paisaje o entorno en tanto las variaciones lingüísticas en los lemas (en lengua latina en las obras estudiadas) suponen un esfuerzo hermenéutico de los cambios que se descubren en el hábitat objeto del cuadro. Hilario Bravo's paintings are a reflection on writing, on the capacity of pictorial art to become text and, conversely, on the forms of alphabets and the languages they convey. The works Fontis patet (2014) and "Triptych about Freya" (2017) are analysed on the basis of the Latin expressions present in the aforementioned paintings. It is concluded that the painter uses the reflection on the writing as a conceptual exegesis of the landscape or environment in as much the linguistic variations in the lemmas (Latin lemmas in the studied works) suppose a hermeneutic effort of the changes that are discovered in the habitat object of the painting.

Artificial Neural Networks and Deep Learning in the Visual Arts: a review

In this article, we perform an exhaustive analysis of the use of Artificial Neural Networks and Deep Learning in the Visual Arts. We begin by introducing changes in Artificial Intelligence over the years and examine in depth the latest work carried out in prediction, classification, evaluation, generation, and identification through Artificial Neural Networks for the different Visual Arts. While we highlight the contributions of photography and pictorial art, there are also other uses for 3D modeling, including video games, architecture, and comics. The results of the investigations discussed show that the use of Artificial Neural Networks in the Visual Arts continues to evolve and have recently experienced significant growth. To complement the text, we include a glossary and table with information about the most commonly employed image datasets.