Principles Of Art Research Articles

Recorta y pega: Los primeros usos del collage y fotomontaje en la representación de la arquitectura moderna

The graphic techniques of collage and photomontage, born within avant-garde art of the 1920s, mainly in Cubism, spread through and permeated all other arts, including architecture. Based on cutting and pasting elements or remnants of diverse materials in new combinations to express novel artistic principles and meanings, these apparently simple techniques offered strong potential for design and conceptualisation. They were widely used by some of the most important figures in Russian Constructivism, the Bauhaus and the Modern Movement, such as Frank Lloyd Wright, Le Corbusier and Mies van der Rohe.

Пьеса Т. Уайлдера “Наш городок” в контексте драматургии А. Чехова

The research is connected with a new approach to understanding the poetics of T. Wilder's play “Our Town” (1938). The comparative and intertextual methods of research are applied. This methodological approach made it possible to determine the semantic orientations of the artistic world of T. Wilder, to trace the features of Chekhov's aesthetic principles reflection in his play. The scientific novelty of the work is determined by the absence of dramatic heritage of T. Wilder in the context of Chekhov's works in contemporary literary criticism of studies. The chosen scientific approach testifies that the development/assimilation of the experience of Chekhov's dramaturgy by the American playwright was promoted by the ability of Chekhov's poetics to vary and to exist in various contexts. A distinctive feature of the play “Our Town” is its dialogic attitude to Chekhov's plays, which affected, first of all, the space-time organization of the text. The comprehension of the poetics of T. Wilder's play “Our Town” through the prism of Chekhov's dramatic art fills the lacuna that existed until recently in literary criticism. Chekhov's motifs, organically entering the art of “Our Town”, expand its semantic horizons. Despite his own interpretation of Chekhov's artistic principles, the depiction of life and human in T. Wilder's play is Chekhov's fundamentally every day and non-heroic thing, and the whole system of pictorial means is aimed at the construction of ordinary events to universal and general philosophical level.

The dissident is dead. Long live the dissident – Boris Akunin and popular literature as counterculture under Putinism


 
 
 This paper explores the reappearance of the dissident in Russian contemporary literature followingPutin’s rise to power, focussing in particular on how the country’s formerly highbrow dissident counterculture is now moving closer to the realm of popular culture. Tracing the link between the intelligentsia, literature, and dissent all the way up to the supposed death of all three phenomena in the post-collapse years, this article argues that a dissident revival is not only ongoing but directly linked to Putin’s manipulation of historical consciousness and the nostalgia discourse in Russia. Using Boris Akunin, one of Russia’s most popular contemporary writers, as an example, this paper demonstrates how his activity as an author and a public figure has changed in reaction to Putin’s totalitarian turn in politics, resulting in an increasingly pointed counter-narrative to theKremlin’s hegemonic discourse on history. Through sketching Akunin’s artistic principles as a writer and addressing the importance of the nostalgia discourse for post-Soviet Russia’s identity struggles, this article discusses how Akunin’s exploration of the intersection between popular culture and highbrow literature may be indicative of a modernisation of the entire Russian intelligentsia tradition, pointing towards the future of literary dissent in Russia.
 
 

Lev Venediktov’s Creative Laboratory: The School of the Universal Type

The article studies L. Venediktov’s artistic individuality and his creative principles. There is defined the scope of his artist’s activity, characterized as a unique extraordinary multidimensional style phenomenon of a musician and an educator, a teacher and a manager, an opera choirmaster and an artist-interpreter. The study also arranges genesis of N. Venediktov’s spiritual and professional personality.It investigates creative activity of a talented conductor that defined L. Venediktov’s professional orientation. It should be also noted that the perception of the artistic principles of G. Verevka, reflected in the study, was a continuation of the process of L. Venediktov’s professional basis development.The article eludicates the community of the artistic worldview platform of L. Venediktov’s teachers. The one that was formed in keeping traditions of Ukrainian singing culture and church choral music. The latter in turn, determined L. Venediktov’s creative and ethical principles, his artistic content and aesthetically perfect performance style. The research reveals the content of the concept of ‘the creative laboratory’, in its broad universal meaning, which synthesizes L. Venediktov’s manner of performance and his educating techniques as a demonstration of his multidimensional style, i.e. the basis for the Didactic-communicative work of the Master.The article determines extrapolation of opera-choral specificity to the didactically communicative sphere of L. Venediktov’s work as the main component of the choirmaster’s creative method. It casts light on the principle of L. Venediktov’s methodical work, in which dominates synthesis of intellectual-analytical and intuitive approach to musical material. It gives characteristics to the universal style of L. Venediktov’s school, where adjacent didactic-technological methods are used not only in choral and conductor performances but also in the piano one.Didactic and communicative-creative principles of L. Venediktov are as well considered in the context of the continuation of the Byzantine-Russian tradition of ‘encyclios pedia’, that is characterized by a diversified development of personality and reveals a kinship with L. Venediktov’s views, his principles of a great educator, who used to find priorities in all-round intellectual development, revealing, simultaneously, artistic and creative potential of an individual, as well as in the moral and ethical education of a conductor-performer.

Jej Miriam. Wilhelminy Zyndram-Kościałkowskiej refleksja nad koncepcją sztuki i kultury Zenona Przesmyckiego

The article attempts to present the stages of Wilhelmina Zyndram-Kościałkowska’s approach to reflection on Miriam’s understanding of aesthetic and artistic principles. A critical diagnosis related to the understanding of art and culture by Zenon Przesmycki is possible due to observation of Kościałkowska’s holistic reflection on the concept of culture and modernist literature (including the essence of translation, the meaning of modernist art, drama specificity and the concept of “art for art”) contained in manuscript intimist collections. The analysis includes diaries, notes, “extracts” from life and people, calendars kept throughout the life of the Grodno writer deposited in the Lithuanian State Historical Archives in Vilnius. The method of examination and the nature of the approach are defined by the author of the article as a coffin portrait.

ЗНАЧЕНИЕ ФИЛЬМА ФРИЦА ЛАНГА «ЖЕНЩИНА НА ЛУНЕ» (1929) ДЛЯ РАЗВИТИЯ НАУЧНОЙ КИНОФАНТАСТИКИ

The article discusses the importance of Fritz Lang’s film “Woman in the Moon” for the development of science fiction cinema. To understand the creative innovation of this film, the analysis of the artistic specificity of other films made in the first three decades of the existence of cinema and dedicated to space flights is carried out. The author substantiates the proposition that it is Fritz Lang who is the creator of the genre of the science fiction film dedicated to the topic of space travel. In the film “Woman in the Moon” artistic principles for the creation of a pseudo-documentary image are formed, which are topical up to the present day.

Contribution of Artists Teaching at the Russian Federation S.A. Gerasimov Institute of Cinematography into Formation and Development of the Fine Arts in Mongolia in 20th century

The relevance of studying the contribution of artists and educators of Russian art for formation and development of the creative method of masters in Central Asian countries is due to the importance of this topic for solving the theoretical and practical problems of contemporary art history. Since the second half of the 20th century, the influence of Russian art school on art of the countries of the socialist community has increased. Russian universities have become base centers of higher art education. As a result, the main number of masters of art in Mongolia are graduates to Soviet and Russian art institutions. With appearance in 1935 of the studio "Mongolkino" in Ulan Bator, there was appear need for connoisseurs. Mongolian creators got the opportunity to obtain good education in the Soviet Union in VGIK. When learning students mastered programs aimed at comprehensive creative education. Priceless contribution to formation of the creative method of young masters was made by the artist-educators B.V. Dubrovsky-Eshke, F.S. Bogorodsky, Yu.I. Pimenov and others. Particular attention in pedagogical activity they drawn to the development and improvement of the creativity of the student. We were taught to think and feel images, constantly develop creative individuality, professionalism and at the same time preserve national roots. In the 50s, Mongolian painters Ochryn Myagmar and Purev Tsogzol were educated at VGIK. They passed the school of Soviet art and based on it stood at the origins of the Mongolian cinema. Artists work in various genres and techniques, in the mainstream of European artistic methods. Perfectly knowing how to draw, they write with oil and watercolor. For both artists, work on the nature is fundamental. With a perfect mastery of this creative approach, they remain deeply national masters. VGIK pedagogical school gave the basic footing for the development of cinema in Mongolia and further stimulated the creative potential of new generations of filmmakers. So the Mongolian visual and film art enriched with innovative artistic principles.

Fine Arts: 3. Contribution of the University Teaching Staff to the Development of Creative Imagination of the Fine Arts Profile Students

Abstract The aim of the research is developing of the CISA in FAD course. The acquired skills will enable the creative explanation, understanding of the current artistic principles and the achievement of quality creative products. The research problem is the indigence of the creative process, the mechanical combination and the intuitive reproduction of the students' plastic artists experience and the lack of creative imagination in the creative process.

ПРОБЛЕМА ІСТОРИЧНОЇ ПАМ’ЯТІ В ПРОЗІ М. КОСТОМАРОВА

In the article the author analyzes the problem of historical memory in M. Kostomarov’s prose, based on the material of the novels “Chernihovka”, “Son”, “Forty Years”. M. Kostomarov’s historioso-philosophical views are taught in the light of the ideological and aesthetic platform of romanticism, dominant in idealizing the historical past. It is determined that the concept of historical memory in Kostomarov’s prose is based on the ability to reproduce the color of the epoch of 16–18 centuries. It is found out that Kostomarov in his tales gives preference to such artistic principles as documentary and concentration on facts. The leading writer’s prose in the artistic world is historicism. The subject of the image in the novels of Kostomarov is the representatives of various layers of society in different historical epochs. It has been found out that in the stories “Son”, «Chernihovka» the historical epoch is represented by the relation of life and artistic truth. In the story “Forty Years” the problem of historical memory is considered in the interweaving of the problems of the sinful and righteous.

Cellini vs Michelangelo: A Comparison of the Use of Furia, Forza, Difficultà, Terriblità, and Fantasia

Cellini vs Michelangelo: A Comparison of the Use of Furia, Forza, Difficultà, Terriblità, and Fantasia Maureen Maggio Abstract Although a contemporary of the great Michelangelo, Benvenuto Cellini is not as well known to the general public today. Cellini, a master sculptor and goldsmith in his own right, made no secret of his admiration for Michelangelo’s work, and wrote treatises on artistic principles. In fact, Cellini’s artistic treatises can be argued to have exemplified the principles that Vasari and his contemporaries have attributed to Michelangelo. This paper provides an overview of the key Renaissance artistic principles of furia, forza, difficultà, terriblità, and fantasia, and uses them to examine and compare Cellini’s famous Perseus and Medusa in the Loggia deiLanzi to the work of Michelangelo, particularly his famous statue of David, displayed in the Galleria dell’ Accademia. Using these principles, this analysis shows that Cellini not only knew of the artistic principles of Michelangelo, but that his work also displays a mastery of these principles equal to Michelangelo’s masterpieces. Full Text: PDF DOI: 10.15640/ijaah.v6n2a4

ХУДОЖНЯ ДИНАМІКА ПРОБЛЕМИ ВИБОРУ В ТРАГЕДІЇ ЄЛИСЕЯ КАРПЕНКА «В ДОЛИНІ СЛІЗ»

The article investigates the genre features of the work of Elysey Karpenko “In the Valley of Tears” in relation to the problem of the play. In particular, artistic methods and means of expressing and understanding the moral and ethical problems of tragedy can be traced; the level of dramatic action intensity and dramatic conflict, which causes the playwright’s appeal to the genre of tragedy. The research is aimed at studying the interaction of the characters, which leads to the definition, formation and deployment of the conflict in literary work, which is implemented in the personal and social plane. The article looks at the worldviews of characters that lead to a tragic conflict resolution. The drama of Yelysei Karpenko represents an important segment of Ukrainian drama. The author pays attention to the artistic study of the problems of personal, social self-determination, focusing on the moral aspect. Modernist thinking of Elysey Karpenko contributes to the visualization of dramatic tension in plays. The maximum intensity of the dramatic action is presented in the tragedy “In the Valley of Tears”, which is devoted to the artistic comprehension of the key problems for the playwright. The purpose of the study is to determine the content structure of the tragedy of Yelisey Karpenko “In the valley of tears”. The research is aimed at determining the genre features of the work of Elysey Karpenko “In the valley of tears”; elucidation of artistic principles that determine the author’s appeal to the genre of tragedy; definition of the artistic originality the process of the characters’ choice, due to personal intentions, moral values and social circumstances. Conflict of the play «In the valley of tears» is based on the opposition of illusions and real life. An important role in the dramatic conflict is played by the social component, which leads to the deformation of the psychology of the characters. The playwriter points out the ambiguity of the problem, since the characters do not use their education for any constructive purposes; they just seek the attributes of the mortal life.

PERSONALITY AND LITERARY WORKS OF M.A. SHOLOKHOV AS PART OF CONTEMPORARY RUSSIAN PROSE: THE BASIC TRENDS OF PERCEPTION

The article analyzes examples of the contemporary authors’ references to the biography and works of M.A. Sholokhov, the renowned Russian writer of the twentieth century. Artistic principles of epic narrative, peculiar to Sholokhov’s prose, are not in demand by modern literature; Sholokhov’s narratives are adapted - the emphasis is on family/household and love themes. However, at the same time Sholokhov’s allusions are instrumental in the creation of the unique historical background, giving credence to the literary descriptions of the 1920s-1930s, and the interest in Sholokhov’s characters and stories correlates with the general cultural interest in the rethinking of the Soviet past.

Transcarpathian school of painting in the context of Ukrainian art of the second half of the twentieth century

The article is focused on the analysis of the features of Transcarpathian school of painting and on its place and role within Ukrainian art of the second half of the 20th century, covering the late Soviet decades and the period of Perestroika. Formed in the 1920s-1930s under the influence of major tendencies of early modernism and through realization of figurative and plastic potential of the folk-art, that has served as a method of national self-affirmation, the Transcarpathian school of painting became after the inclusion of Transcarpathia to SovietUkraine a part of soviet culture as a whole. Nevertheless, the Transcarpathian school of painting has preserved its main artistic principles, among which were concentration on the permanent themes of native nature and of general rural life traditions, while maintaining its attention to the colour and to the decorative aspects of painting. In the mid-1950s — 1960s, the works of the Transcarpathian artists that reflected a unique local landscape and folklore had a strong effect on the Ukrainian art overall. These works brought out a new and distinct subject which was embodied through different forms of art — painting, graphic arts and cinema. Painting of Transcarpathian school was perceived then by the Ukrainian artists as continuation of traditions of European modernism forbidden in the USSR in 1930 — the first half is 1950. However influence of socialistic realism already in 1970-1980th resulted in deceleration of creative development. New tendencies were designated in the art of together Transcarpathia with perestroika.

The Artist and His Oeuvre in G. K. Chesterton’s Biography: G. F. Watts

<p>The article offers a close analysis G. K. Chesterton’s largely overlooked biographical essay <em>G. F. Watts </em>(1904). The authors study the genre specifics of the biography of an artist, as well as the problems of biographical theory. In <em>G. F. Watts</em>, which the authors define as the literary portrait of the artist, Chesterton traces his subject’s personality through his art. He views Watts’ creativity through his Victorianism. Analyzing the artist’s oeuvre Chesterton also reveals his own artistic methods, which he would later use in his novels. Being the critic’s early work, the book allows a closer view of the shaping of his philosophical ideas and artistic principles, which would take form in his later writings. The authors come to the conclusion that, for all its undeniable merits, the biography in a whole is rather subjective, and hence, its value lies in Chesterton’s general insights on fine art. </p>

Barbara Harlow and the Necessity of “Renewed Histories of the Future”

Barbara Harlow and the Necessity of “Renewed Histories of the Future”

О взаимодействии аудио- и видеорядов в сочинении «Три истории» Стива Райха – Берил Корот

The article is devoted to understanding certain artistic principles of the “documentary video opera” (according to Steve Reich’s original definition) as one of the relevant forms of contemporary music. The author of the article indicates at the sources of documentary theater, highlights the artistic ideas of the composer’s documentary works, and analyzes the compositional techniques of the work. Special attention is paid to the issue of interaction of music and the video element, which has practically never been researched in musicology in Russia and other countries, on the example of the video opera “Three Tales” (2002). In this composition, created by the celebrated American minimalist composer Steve Reich and video artist Beryl Korot, a pioneer of American video art, an original conception of the dialogue between the arts is examined. Here the music and video comprise one scenic entity, developing by the laws of musical minimalism and documentary theater. The composition possesses specific compositional and form-generating peculiarities, including principles of non-linear dramaturgy, polyphonic techniques, including the principles of nonlinear dramaturgy, contrapuntal and repetitive techniques. The documentary nature of the musical material is also emphasized by the verbatim technique, derived from documentary theater and holding a dominating position when the composer wrote his previous opera “The Cave.” The author denotes the expansion of the possibilities of interpretation of Reich’s compositions based on documentary material and arrives at the conclusion about the special potentials of synthesis of various arts within the framework of musical video opera. Keywords: Steve Reich’s musical theater, Beryl Korot, documentary theater, video opera, synthesis of the arts.

Effects of an Improvisation Intervention on Elite Figure Skaters’ Performance, Self Esteem, Creativity, and Mindfulness Skills

The study examined the effect of an improvisation intervention on figure skating performance, self-esteem, creativity, and mindfulness skills. Nine elite figure skaters participated in a 10-session program based on Cirque du Soleil artistic principles. A mixed methodology using questionnaires, competition scores, and interviews was used to test the program effects on these variables. Descriptive statistics revealed small but imperative increases in competition performance, perceived artistic performance, self-esteem, creativity, and mindfulness. Significant (p < .05) effect of time was revealed only for creativity and artistic performance variables. Qualitative data supported these results. Skaters described verbally that movements were performed more freely, attention was better focused on performance, and they overcame shyness. Quantitative and qualitative data are discussed interactively in relation to performance enhancement and personal growth.

Magic World in Song of Solomon: A Return to Black Culture

ABSTRACTMagic realism, originated from Latin America, manifests mainly three artistic principles in Song of Solomon: first, confusing the boundary between reality and fantasy to create a magic world, where man and ghost coexist and co-communicate. Second, employ mythological archetypes to endow reality with fabulous meanings. It helps to show how American black women fight against cultural oppression and keep their cultural heritage and traditional values. Lastly, Song of Solomon also uses some techniques such as allegory and symbolism to convey the themes. A “Solomon’s song” reveals the miserable fate of American black women and their role and function in their men’s journey.

Staging Cultural Identities as Political Performance: Hålogaland Teater, North Norwegian stage language and the emancipation of North Norwegian identities

When Hålogaland Teater was established in Tromsø in 1970 as Norway’s first regional theatre, the main goal was to create a professional company that would act as a people’s theatre of North Norway. In order to achieve this, the underlying principle of the theatre was that they should produce plays about the North Norwegian reality using a North Norwegian stage language and that these plays should be devised in close collaboration with the local population. Initially this caused a lot of controversy because the theatre challenged accepted standards of theatre-making both in terms of content and representation. For some it was utterly inconceivable that national and international classics such as Peer Gynt and Hamlet should be performed in a low-status North Norwegian dialect. It was simply perceived to be a sign of the deterioration of the arts! Despite heated debates and major conflicts, the artistic and political principles of Hålogaland Teater remained constant and today, almost fifty years later, both Shakespeare and Ibsen are performed in North Norwegian dialect without any protests and with great success. How was this development possible? And what has it meant for the northern region and its people? These are questions that I am exploring in this article with the aid of Bourdieu's “thinking tools”. The main argument is that Hålogaland Theatre has been central in the revaluation of Northern Norwegian identities and culture by elevating the low-status Northern Norwagian dialect to the status of official stage language.

Legacy of the Silver Age in the Artistic Works of the Painting Section of the Moscow City Committee of Graphic Artists (1970s—1980s)

The article focuses on the creative interpretation of the Silver Age traditions in the paintings of the younger generation of Moscow unoffi cial art — “Semidesyatniki [Seventiers]”. Such an aspect has never been analyzed in a study of unoffi cial art before. Identifying the linkages with the national artistic tradition is an actual perspective for the studies of unoffi cial art, whose emergence is mainly associated with infl uence of the Western European art of the second half of the 20th century. The genesis of the unoffi cial art, in the “post-thaw” period, is closely related to the appeal to the art of the turn of the 19th—20th centuries — the largest epoch of the Russian art, closest to the artists of the second half of the 20th century — and was directly perceived through its representatives. The article outlines the circle of artists of the Painting Section of the City Committee (Gorkom) of Graphic Artists, whose works refl ected the thematic and stylistic principles of the Silver Age. The artistic principles of symbolism, such as the understanding of light and forms in space, were the basis of the teaching methodo logy in alternative pedagogy (V.Ya. Sitnikov’s Studio). The ability of the artists of Semidesyatniki to comprehend the symbolism and semantics of light, space, colour, as well as some of their stylistic and technical (stroke, smear) methods go back to the art of the “Blue Rose”. The infl uence of symbolism can be noticed in the interpretation of mythological and female images and artefacts of the Silver Age. The interest of the unoffi cial artists in the art of symbolism is related to the fi rst manifestations of postmodernism in the Russian painting, which indicates its earlier emergence and profound infl uence on various genres and directions of art.