Plastic Arts Research Articles

Blue mind life: how the color blue influences our quality of life

The theory of Blue Mind, which I have researched, studied and practiced since 2020, allows me to address this new chapter “Blue Mind Life”, and continue my multidisciplinary project which requires materialization in different supports and work in several thematic areas, such as health and education in the first instance. As an architect and plastic artist, I have specialized in NeuroArchitecture and Cognitive Sciences to understand even more and in depth how human beings react to the color blue, how it modifies their mood, their body, their gaze and their nervous system. It is a state slightly similar to the sedative effect, where a feeling of happiness and satisfaction emerges, a state of well-being connected to the frequency of no time. The objective is to rethink health and education spaces, enter the Blue Zones, learn their way of life and achieve the goal "Die young while being as old as possible." It is not just about reaching many years of age but about maintaining the best quality of life until the last days.

The Socio-environmental Implications of Argentina’s Informal Economy in Antonio Berni’s Xilo-collage Inundación en el barrio de Juanito (1961)

Through a socio-aesthetic analysis of the xilo-collage Inundación en el barrio de Juanito realized in 1961 by acclaimed Argentinian visual and plastic artist Antonio Berni (1905–1981), the present article offers an ecocritical perspective on the anthropological and environmental consequences of the deposit of trash and floods affecting the unregulated residential settlements of the metropolitan areas of Buenos Aires and their portrayal in Berni’s artwork. By analysing the connections between objets trouvés, or recycled art, urban migration, the irregular economy and natural elements, this study considers plastic art as an alternative form of text that, just like literature, works as a dynamic archive of the intricate relationship between urban settlers, rubbish and the innocent yet disastrous rainfalls influencing their neighbourhoods.

The Beauty of the Raku technique in the Works of Potters Shenyar Abdullah and Yaqoub Al-Atoum

Art is an aesthetic message and a means of human communication with its surroundings, as it influences and is influenced by everything that surrounds it, as scientific and intellectual development has a great role in developing the means used in it with the multiplicity of options offered in terms of raw materials and techniques. Undoubtedly, the art of ceramics is one of the arts developed in terms of technology, indicating the development and sophistication of societies throughout history. It offers an aesthetic and utilitarian taste to the community. The color is one of the main elements in the process of adding an aesthetic touch to the surface of the ceramic piece, and this was evident in ceramics of all ages and times, and the implemented idea plays a role in showing an expressive and aesthetic vision in the ceramic surface and in order to keep pace with the rest of the plastic arts. Therefore, the potter always tries to innovate by experimenting with materials and techniques. Accordingly, the potter, especially the Arab potter, relied on coexistence with the modern intellectual dimensions of the era's culture, directing him to research, experimentation, modernization and acculturation from Western arts. This prompted research into Arab ceramics and the study of its ceramic products, especially the art of ceramics and the aesthetics of the raku technique, which is considered the Technique of most potters. The research is part of the methodological framework of the research, as it contains the research question, which concludes with the following question: What is the aesthetic of the raku technique in the works of potters Shunyar Abdullah and Yaqoub Al-Atoum, then the importance of the research, which lies in highlighting the aesthetic effects of the raku technique by identifying the features and characteristics of this Technique reflected in the formal structure of Arab ceramic work and identifying the different reduction processes in this Technique and its impact on the artistic works of potters Shunyar Abdullah and Yaqoub Al-Atoum, to benefit researchers and specialists and enrich scientific libraries and students in the field of ceramics. After that, the aim of the research was discussed: The objective of the research was to identify the raku technique in the works of potters Shinyar Abdullah and Yaqoub Al-Atoum, and then the limits of the research were reached in terms of the objective limits, which were determined by the aesthetic of the raku technique in the works of potters Shinyar Abdullah and Yaqoub Al-Atoum and the temporal limits, which were represented by the period between (2012-2021), the spatial limits (Iraq and Jordan) and the human limits of the potters Shinyar Abdullah and Yaqoub Atoum, and the chapter ends with the definition of the most important terms.

Oswald Mathias Ungers and Sol LeWitt: Variations

One of the fundamentals of Oswald Mathias Ungers work is the definition of a new unity between art and architecture. What this investigation is focused on is the identification of the intersection point between art and architecture, considering the project for the Entrance to the Kaiserthermen in Trier (2003-2007) as case study, revealing the system of theoretical, methodological and compositional correspondences. Plastic art is Ungers' main interlocutor: one of the author's most important references is Sol LeWitt (1928-2007), an artist he admired and collected. Setting the work of Oswald Mathias Unger and Sol LeWitt side by side, offers the opportunity to underline the shared interpretation that the two authors have of the world of forms postulated by Henri Focillon (1881-1943) in Life of Forms, according to which form, autonomous with respect to time and place, has its own universe, governed by its own laws, space and matter. According to these premises, we propose to read Trier's building through the instruments of art, following the hypothesis that in this project art embodies a creative and positive component in the definition of architecture, a cultural stimulus that guides the author in the design process.

Appreciation, Analysis and Creation in the Teaching-learning of the Plastic Arts

Aim. The Didactics of the Plastic Education is necessarily nourished by the general didactics and the arts, as well as by their particular methodologies, in aspects related to the teaching-learning of the textual analysis, and specifically, the study of the visual code (iconic and visual signs, tropes or rhetorical figures, etc.), which dialogues with theory, semiotics, cultural anthropology, among other sciences. Methods. In academic research, methods such as the analysis of the results of pedagogical activity, ethnographic or experiential and inductive-deductive methods were used. Results. The Didactics of a Plastic Education requires an urgent review that includes, from its most general principles and laws, to the aspects related to the selection and sequencing of content, the role of the student's plastic education in achieving a social model, the distinctions between artistic education, aesthetic education and teaching of the plastic arts in all the integrality and complexity of their discourses, the teaching-learning process, its essence and contradictions, the categorical system of the teaching-learning process, among other fundamental aspects. The present study contributes to this rethinking of the theoretical and methodological postulates of the Didactics of Plastic Education, as it proposes as an objective: to argue the didactic principle of the unity between appreciation, analysis and textual creation in the teaching-learning process of the visual image analysis. Conclusion. This argument constitutes a theoretical contribution to the science, and clarifies, while unifying, criteria and procedures in the pedagogical practice of artists, teachers, instructors and masters of the plastic arts.

Synthesis in Alexander Matveyev’s Creative Work

Alexander Matveyev (1878-1960) was an outstanding Russian Soviet sculptor and talented teacher who formed the neoclassical school of Russian sculpture. The amazing integrity and consistency of the master’s creative searches led him to the creation of the clearest and most precise plastic system, distinguished by the striking stylistic unity of the artistic language, internal content, and emotional structure of his images. At the same time, the sculptor’s plastic system was initially devoid of any compromise - it very quickly acquired the features of a qualitatively new phenomenon. While preserving the achievements of impressionism in developing the problem of interaction between sculpture and the light and air environment, Matveyev constantly paid great attention to direct work with material. Alexander Matveyev’s creative work is typologically exceptionally diverse. In monumental and decorative plastic art, the master made a name for himself when designing the Golden Fleece Salon exhibition back in 1902. He also gained experience in the genre of portrait bust, two-figure composition, and relief of various types. Internally, his creative method was determined by the figurative and poetic structure that is so characteristic of Matveyev's works and, in general, of the masters of his circle. It was these characteristics of the sculptor's talent that allowed him to say a fundamentally new word in the sphere of synthesis of sculpture and the enclosing landscape - both urban and natural, both in the sphere of symbolic composition and in the genre of tombstones. The tombstone of his friend and mentor, Viktor Borisov-Musatov, the outstanding painter of the early 20th century, was a true masterpiece of this genre and truly innovative in its figurative structure. His ensemble of New Kuchuk-Koy became an especially outstanding achievement in park sculpture new spatial design. In these compositions, the sculptor practically developed a fundamentally new language of park sculpture and achieved an amazing unity of his creations with the surrounding natural and architectural landscape. The monumental group October and the project of the monument to the soldiers of the Far Eastern Army in Dauriya demonstrate the process of evolution of the master’s own style along the line of developing an increasingly laconic design and moving away from attaching details to a general form and symbolic expressiveness of sculptures. At the same time, Alexander Matveyev’s legacy consists of a huge number of sketches of unrealised monuments to V. Lenin, M. Gorky, M. Lermontov, A. Chekhov, and others.

Ethnofolklore representations in moldovan painting of the 1970s

The article demonstrates that during the 1970s, Moldovan painting focused deeply on rural life and folk traditions, expressing them profoundly. Plastic artists depicted the beauty and authenticity of rural landscapes on canvas, highlighting the close connection between people and nature. Portraits and everyday life scenes brought to the forefront authentic faces and moments experienced by ordinary people. Realism and decorative elements harmoniously intertwined in their creations. Dances and folk traditions were represented in various forms, conveying the energy of traditional events. Folk motifs and symbols underscored Moldova’s cultural and historical identity. Mythology and the legend served as sources of inspiration, bringing forth the metaphorical visions of the artists. Ornamental elements and specific technical principles of Moldovan mural painting emphasized the importance of faith and folklore. Overall, these themes and motifs contributed to shaping an authentic image of Moldovan culture in the painting of the 1970s.

Investigation into Theoretical Knowledge Levels of Fine Arts Faculty Students in the Field of Plastic Arts

Investigation into Theoretical Knowledge Levels of Fine Arts Faculty Students in the Field of Plastic Arts

Философските основи на концепцията за изкуството и изкуствознанието на Николай Райнов

The present study is the first attempt to reconstruct the philosophical foundations of Nikolay Raynov's art history conception, developed in particular in the 12 volumes of his History of the Plastic Arts. Although his philosophical views can hardly be separated from the theosophical ones, the author makes a cautious distinction that allows to clarify Nikolay Raynov's selective reception of some of the most important philosophical views on art and art history. The proposed reconstruction aims to show, firstly, that Raynov draws inspiration from major philosophers such as Plato and the Neoplatonists, Bergson, Croce, and Solovyov, and, secondly, that their views stand in the foreground while theosophical ones form rather the general interpretative framework that is always present but not always explicitly stated. The methods of comparative hermeneutics and immanent-critical philosophical analysis are used to clarify Nikolay Raynov's ambivalent attitude toward philosophy, the nature and role of his metaphysical idealism, his interpretation of the multiple forms of realism, his conception of the seven cultural circles, and the basic philosophical components of his synthetic science of plastic arts.

Preservation of Plastic Cultural Heritage. A Review

This article deals with the broad topic of the conservation of plastics, which, as objects of historical or artistic value an essential part of collections all around the world. This review focuses on the risks associated with plastic art, its degradation pathways, methods of identification and characterization, and currently used methods of preservation. Besides the literature review, an online survey of European museums and galleries was conducted, which allowed us to gain an overview of the current state of plastic conservation. Twelve institutions participated in the survey and there is a marked difference in the level of information regarding plastics in their collections. The results underline the relevance and urgency of this issue if we want to prevent the irreversible losses of cultural heritage, as many institutions do not have the means to ensure the effective protection of plastic artifacts. The study of available resources shows us that great progress has been made in recent years, but further research and improvement are still needed.

The Analysis of the Visual Image: Historical Approach from the Teaching of the Plastic Arts

The Analysis of the Visual Image: Historical Approach from the Teaching of the Plastic Arts

THE ROLE OF THE ARTS IN THE FORMATION OF LANDSCAPE PLANNING ORGANIZATION OF ARCHITECTURAL SPACE RURAL SETTLEMENTS OF UKRAINE

A historical and cultural descriptive overview of the artistic experience and landscape planning organization of organizing the architectural space of rural settlements of Ukraine with an emphasis on the current stage of development is presented. It is emphasized that the academic discourse is dominated by studies devoted to the study of this issue for urban space. While rural settlements in the corpus of auk studies are presented much more modestly, which once again actualizes the chosen topic. After all, the rural settlements of Ukraine, despite the urbanization processes, remain an important component of the architectural space of Ukraine, and also manifest long-standing artistic folk traditions that give rural landscapes a unique and unique architectural face and create a harmonious combination of the natural environment and anthropogenic influence. The importance of preserving the traditions of the landscape and planning organization of the architectural space of the village, taking into account the long-standing traditions of construction and the artistic expression of aesthetic preferences and worldview beliefs formed in Ukrainian culture, is emphasized. Historical and cultural heritage, its preservation and popularization, is one of the strategic tasks of the state and an example of Ukraine's European integration aspirations. Careful nurturing of one's own traditions, including artistic, landscape planning, and architectural ones, is a demonstration of the maturity of society and awareness of the importance of cultural identity. The village itself, despite the Soviet policy of standardization and unification, was able to preserve unique artistic traditions that complement the socio-humanitarian space and emphasize the regional and local features of one or another settlement. Research attention is focused on such examples as wells, which are an important part of rural communication and village landmarks. The importance of plastic arts in the architectural space of the village is also emphasized. With the help of sculpture, historical memory, commemoration is formed, and society gathers around significant and symbolic events, symbols and meanings for the community. In the conditions of the Russian-Ukrainian war, the problem of destroyed villages became particularly acute, because it is necessary not only to restore the housing stock, socially significant objects, establish communications and restore the infrastructure, but also to preserve the history of the village, its socio-cultural accents. That is, the role of art in these processes is extremely important. Artistic means can embody both the historical and cultural aspects of the development of the village, as well as immortalize the modern tragedy of the war.

The Application of Xu Beihong s Aesthetic Education Thought in Contemporary Children s Ink Painting

The central idea of Xu Beihong s art education is to take science as the basic spirit and build a set of standardized.The art teaching system of learning rationality advocates the scientific rationality and logical thinking of art. Xu Beihong attaches great importance to the teaching of sketching based on modeling in his teaching practice, and proposes that the learning of plastic arts should be based on sketching, and the teaching idea of shape-based and student-oriented should be shape-oriented, student-oriented in training, which provides a sufficient theoretical basis for teaching.

Constants and Variables of Artworks: A Critical Study

This study discusses and analyses artistic production, explaining its motives, stages, and characteristics. In this context, the study reviewed fine artistic production throughout successive eras and explained the tangible changes. The study discussed and concluded the motives for producing creative works, their origin, their most essential features, and the reasons for their diversity. Based on these conclusions, the most critical constants and variables associated with reading and appreciating artistic works were identified. The study reviewed various artistic trends and schools representing successive eras, explained the mechanism the artists adopted to produce their creative work, and clarified the nature of artistic work and the requirements for reading and tasting it. The study confirmed that artwork recipients- regardless of their level of culture- must consider the foundations and constants of the artistic work identified in the survey so that they can read and taste it. The recipients need to understand these foundations so that they can communicate with the artistic work and have the ability to taste and evaluate it. The study gained importance in this context because of the knowledge developed about the constants and variables of tasting artistic works, representing a communication bridge between the recipient and the creative work. The recipient’s awareness of the constants and variables of reading and tasting works of art produces a positive movement for plastic art and its positive impact on building a complete and ideal society. The civilisation and the sophistication of societies are measured by the extent of their interest in and support of the arts and the positive impact on the citizens’ behaviour towards their culture and environment.

A Brief Discussion on the Presentation of the Artistic Characteristics of Postmodernism in Sculpture Art

Postmodernism art is an art movement that emerged in the 1970s and 1980s. It has influenced many fields with its unique artistic charm and various forms and characteristics. Sculpture art, as a kind of plastic art, is inevitably affected by it, and has made remarkable development in application and participation, and people's understanding of sculpture art is more diversified. This paper combines cases to analyze the specific presentation of post-modernism artistic characteristics in sculpture art works from multiple perspectives, providing new thinking dimensions for contemporary sculpture creation.

Jeff Koons’ Moon Odyssey: The Return of Post-Minimal Sculpture

The two-year epic of sending a sculpture by Jeff Koons to the Moon on an expedition aboard the Odysseus spaceship is almost over: the module with the world’s first authorized public sculpture on the surface of another extraterrestrial body of the Solar System made a landing but overturned, entering the phase of hibernation. It is not yet clear whether and when it will be possible to directly land the sculpture on the surface of the Earth’s satellite. However, despite the obstacles of its inhospitable field conditions, the project has, in addition to the orbital conquistador mission, two other functional parts that are quite effective: ground collection consisting of approximated elements of the object, which are advertised in media, and digital NFT site-specific sculpture. Expert analysis of the available information allowed us to state another recycling of the sculptural ideas of the 1960s–1970s, known in art history under the definition of “postminimalism” or “systemic art,” which were associated with the “Art in Public Place” programs of the National Council on Arts and the NASA-compatible program “Space City. USA.” Therefore, a much talked-about breakthrough into new horizons of quasi-modern plastic art has not taken place.

Three pillars of national art – Igor Vieru, Ilia Bogdesco, Mihail Petric – 100 years since their birth

The article is focused on the creation of three plastic artists from the Republic of Moldova, who would have celebrated their centenary this year – Igor Vieru (1923-1988), Ilia Bogdesco (1923-2010), Mihail Petric (1923-2005). Their contribution is a significant one for national art, each one leaving a considerable mark in the field and genre they work. Several aspects and factors of the creative process of each individual artist are mentioned in the article. The thematic topics addressed are described, the components of the plastic language used in the process of creating a work of art, and the types of plastic and technical realization of the works are revealed. In their creation there is a coexistence of traditional and innovative elements in the plastic treatment of works of art. Depending on the historical period, the illustrative-realistic vision in painting (I. Vieru, M. Petric) is replaced by a decorative one, inspired by Romanian plastic folklore and the aesthetic concepts of modern European art (post-impressionism, Fauvism, etc.). In the creation of the graphic artist Ilie Bogdesco, who prefers a „classic” work technique, technical procedures and stylistic features not specific to contemporary national graphics are encountered. He practices calligraphy in book illustration and develops a new author’s technique, based on the text from the national medieval miniatures. Poets in soul and philosophers in thought, the celebrated artists remain trailblazers for the plastic arts in the Republic of Moldova, who have le¡ a unique spiritual trail in their track record.

Plastic artist Gheorghe Șoitu, a true honorary citizen of the city of Cahul

Gheorghe Șoitu studied at the School of Arts in Cahul, in the class of Professor Gheorghe Huzun, who gave him the basis for drawing, painting and composition, and later at the Republican School of Fine Arts “Ilia Repin” in Chisinau. After finishing his studies, he worked as a teacher, training generations of young artists at the School of Painting for Children “A. Sciusev”. Returning to Cahul, he continued his work as a painter at the workshop of the city’s Culture Department. Being a nonconformist, Gheorghe Soitu fits perfectly into the evolution of the plastic arts in the second half of the 80s, which is characterized by the easy transition from ideological themes to subjects expressing the human essence, translated into symbols. During this period, Gheorghe Soitu’s creation is characterized by experimentalism. In the compositions of the genre, the invoice, the incision and the contrasting chromatic range dominate, with multiple nuances. Balanced, however, tonally, chromatically and compositionally, they exude perfection. In the 2000s the artist’s work is distinguished by neo-expressionist compositions in which the plastic form is managed by impulsive and spontaneous temperament. This stage is characterised by a particular expressive force, diverse colour range and energetic colour tones. For his entire creation, the Cahul City Hall made an inspired gesture in 2009 to grant him the title of honorary citizen of the city, Gheorghe Șoitu being, rightly, the representative artist of Cahul and the south of the Republic of Moldova.

Corona Pandemic Representations on Contemporary Graffiti Art

Over the ages, plastic art has dealt with societal issues and the multiple crises of human society. In light of the crisis of the outbreak of the Corona pandemic --the most prominent crisis in the world of the twenty-first century-- contemporary graffiti art around the world addressed the repercussions of the pandemic in its various aspects. This study aimed to shed light on the interactive artistic and social role presented by this type of art, through its patterns, techniques and materials available during the Corona pandemic. The study also aimed to document that technical interaction with the pandemic. The researchers followed the descriptive analytical method, to describe and analyze the study samples, which numbered eight, from different countries. The study concluded that the products of this contemporary art form reflect visions that express the reality of the Corona crisis, through symbolic connotations of the lived reality, and provide moral support and positive energy to overcome the state of fear and panic in societies. Keywords: Pandemic, Corona, Graffiti Art, Contemporary Art

The Technical Dimension of the Works of Artists Robert Rauschenberg and Jasper Johns

The research entitled (The Technical Dimension of the Works of Artists Rauschenberg and Jasper Jones) dealt with the nature of the concept of technology and the mechanisms of its operation in plastic art, The research come in four chapters. The first chapter: The methodological framework of the research, in which the research problem was presented, the importance of research and the need for it, and the goal and limits of the research. As for the second chapter; The theoretical framework, it contained two sections, The first section focused on technology, its concept and its transformations in the history of art, The second section dealt with (the experience of Robert Rauschenberg and Jasper Johns). The third chapter was concerned with research procedures, where the researcher presented the method used, and the research tool, community, and sample of (3) are a model. As for the fourth chapter, it included the results, conclusions, proposals, and recommendations, and the most important of these results reached by the researcher are: 1- Robert Rauschenberg and Jasper Johns used the collage technique (mixed medium), where the artist created multiple processes between gluing, composition, and color painting, thus presenting mutually reinforcing techniques within one visual field. 2- Most postmodern artists invested in disparate ready – made objects to develop them through color, collage, composition, printmaking, photography, and other techniques, as in models (1,2,3).