Renaissance Art Research Articles

The Study of Image by Aby Warburg

Warburg is one of the most inspiring figures in the German tradition of art historiography. Although one of the well-known aspects of Warburg’s intellectual work is its relation to iconology, this article seeks to go beyond the conventional understanding of Warburg to mapping a picture of his “special” view of the image as a whole. To this end, by re-reading the classic Warburg texts and new interpretations of those texts, an attempt has been made to examine the place of his approach to the “image” in the tradition of German art historiography and the key concepts of his intellectual system in this field. The findings of the article show that in this system of thought, we can see the traces of the ideas of thinkers such as Friedrich Nietzsche, Jakob Burckhardt and Robert Vischer. In this context, Nietzsche’s “Apollonian-Dionysian” dichotomy, Fisher’s concept of “empathy” and Hegelian Burckhardt’s totalitarianism were influential in formulating Warburg’s particular conception of the Renaissance art. In this regard, Warburg devotes himself to the study of a concept called the “afterlife” of antiquity and other concepts such as pathos formula, dialectic, and empathy in Renaissance art and thought. It seems that most of these concepts revolve around the idea of “survival.” According to Warburg, since art has a history, images also had remnants, remnants that reveal themselves in connection with the concept of memory and in connection with a concept called pathos-formula. In this sense, Warburg focuses on gestures and their transmission through art. The result of such an effort is a silent language design free from argument. Expressive gesture analysis offers an unusual way of looking at past shapes and allows the audience to find images of the past in the present. This is the meaning of the afterlife and the survival of the images.

Midwestern Fashion Pioneer: Virgil Abloh, 1980–2021

Midwestern Fashion PioneerVirgil Abloh, 1980–2021 Holly M. Kent Virgil Abloh, a pioneer in the worlds of fashion, design, visual art, and music, whose creativity regularly both crossed and challenged disciplinary boundaries, has died at age forty-one, after a private battle with cancer. An innovator and leader in global fashion, named one of Time magazine's one hundred most influential people in the world in 2018, Abloh maintained a deep connection to his midwestern roots throughout his life. Abloh was born in 1980 in Rockford, Illinois, to Ghanaian immigrant parents (his father managing a paint factory and his mother working as a seamstress). Abloh did not receive any formal training in fashion design and credited his mother with teaching him how to sew. A 1998 graduate of Rockford's Boylan Catholic High School, as a young man, Abloh was deeply immersed in the worlds of skateboarding (a subculture whose aesthetic would profoundly influence his later work as a designer) and DJ-ing (a pursuit he followed throughout his life, often creating the playlists for his fashion shows and performing as DJ Flat White at music festivals including Coachella, Tomorrowland, and Lollapalooza). Abloh attended the University of Wisconsin–Madison, where he received a Bachelor of Science degree in Civil Engineering in 2002. Though he did not pursue engineering professionally, Abloh noted that his degree honed his skills in problem-solving and multitasking. During his final years of university study Abloh took an art history course, where he studied the work of Renaissance artists and the German design school Bauhaus, both of which became significant influences on his future work as a designer. Abloh reconnected with the University of Wisconsin–Madison in 2015, when he created a commemorative T-shirt for his alma mater. Abloh next attended the Illinois Institute of Technology in Chicago, where he received his Master of Architecture degree in 2006. While Abloh was pursuing his degree at Illinois Tech, a building was being constructed [End Page 125] on campus that had been designed by Dutch architect Rem Koolhaas. Abloh later noted that the work of Koolhaas (who had also designed for the fashion house Prada) helped to spark his own interest in the fashion world. Abloh's time in Chicago also profoundly influenced his future career, as it was at a print shop in that city in 2002 that he met musician Ye (then known as Kanye West). Abloh collaborated with Ye numerous times throughout his life, interning with Ye at the fashion house Fendi in 2009, becoming creative director of Ye's company Donda in 2010, and serving as art director on Ye's albums My Beautiful Dark Twisted Fantasy, Yeezus, and Watch the Throne. In 2009, Abloh opened the fashion retail store RSVP Gallery in Chicago. Subsequently, between 2012 and 2013, he founded and ran Pyrex Vision—a business he frequently referred to as an artistic experiment. At Pyrex Vision, Abloh purchased discontinued garments from fashion brand Ralph Lauren, reprinted these garments with his own original designs, and then resold them (a business model which proved to be decidedly successful). In 2013, Abloh founded his Milan-based company Off-White, which offered bold, innovative reinterpretations of streetwear fashion. Off-White rapidly became (and remains) both a popular and critical success—an influential, prominent part of the global fashion scene, with brick-and-mortar stores in the United States, Canada, Europe, the Middle East, Asia, and Australia. In 2018, Abloh became the creative director of Louis Vuitton's menswear collection—one of the very few Black people to have held such a prominent position within a still White-dominated fashion industry. During his career, Abloh was invited to collaborate with well-known brands including Converse, IKEA, Mercedes-Benz, and Nike (among many others) and to design garments for celebrities including model Hailey Bieber (whose wedding dress he created in 2018) and tennis champion Serena Williams (who wore Abloh-designed pieces to compete in the French Open in 2019). Abloh also remained immersed in the world of visual art, collaborating with artists such as Damien Hirst, Jenny Holzer, and Takashi Murakami and having his own exhibit, Figures of Speech, at the Museum of Contemporary Art Chicago...

Who wrote Renaissance art?

Previous articleNext article No AccessWho wrote Renaissance art? Johann Neudörffer and the calligraphic revolutionKirsten J. BurkeKirsten J. Burke Search for more articles by this author PDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Res Volume 77-78Spring-Autumn 2022 Published in association with the Peabody Museum of Archaeology and Ethnology, Harvard University Article DOIhttps://doi.org/10.1086/723448 Views: 11Total views on this site © 2022 President and Fellows of Harvard College. All rights reserved.PDF download Crossref reports no articles citing this article.

Edgar Wind and Modern Art: In Defence of Marginal Anarchy

Edgar Wind and Modern Art: In Defence of Marginal Anarchy

Batı Düşünce Biçiminde Beden ve Bedenin Sanata Yansıması

It is thanks to his body that man is known as a being on earth. The human being experiences and interprets life physically as well as spiritually. The feelings and actions of human beings also give the history of his body. The body is a space that contains soul, emotion, pleasure and physical actions. According to the Christian belief, the creator is Hz. He gave humanity a chance by sending Jesus to earth as a herald. The church did not give due importance to the human body and at the same time gave it a temporary life. The church tried to transform the human body into a form acceptable to itself under the perspective of piety. In all texts in which the word human is included, the word body takes place as an equivalent to the word human. When the Christian world, that is, the western way of thinking about the body, is considered, the human body is positioned in an important place in this way of thinking. The human body, which has been the subject of art in all civilizations of history, was at the center of Renaissance art. The bodies that were the subject of painting during the Renaissance were always depicted as healthy and beautiful bodies. We can say that Platonic philosophy has a great contribution in this. The evolving state of consciousness about the body's place in life has remained the same in modern times. In this article, in which the body is discussed, artists such as Jean Auguste Dominique Ingres, Theodore Géricault, Honoré Daumier, James Gillray, Delacroix and Edgar Degas, who made the body an indispensable element of their paintings, were also discussed. Keywords: Art, body, soul, church, painting

Диалог искусства и философии в «Троице» Мазаччо и Agnus Dei Дж. Палестрины

The article is based on the analysis of two Renaissance works of art: Masaccio’s Holy Trinity and G. Palestrina’s Agnus Dei, which illustrate how works of art reflect the philosophy of the epoch. The author of the article draws a parallel between the nature of secular and religious Renaissance art and reveals their traditional and innovative features. The relevance of the research is due to the increased interest in the interdisciplinary scientific approach and a low number of hermeneutical studies available that reveal the common semantics of works of different art forms. Masaccio’s Holy Trinity accentuates symbolic elements characteristic of medieval art and the realistic features reflecting the trends of the Modern Era. The semantics of the painting is studied through the analysis of its structure, which presents the geometry of a triangle and a circle in their traditional philosophical interpretation. Similar methods of composition are revealed in the motet Agnus Dei by G. Palestrina. Since the motet is part of a mass dedicated to the Virgin Mary, the image of the Trinity is conveyed as if through contemplation of the Mother of God. Although there is no mention of Madonna in the traditional Latin text of Agnus Dei, her presence is indicated in the main motif of the motet. Its three-part form is associated with the symbolism of the Trinity, and each part of the work corresponds to one of Its hypostases. The findings suggest that in the works of painting and music one can trace the artistic representation of the basic philosophical ideas of the Italian Renaissance (e.g. anthropocentrism, the Trinity concept, and general ideas about the structure of the universe). In addition, conclusions are made about the further evolution and transformation of these ideas in the Baroque era.

Театр в творчестве и в жизни Маргариты Наваррской

The article is devoted to the works of the famous writer of the Renaissance epoch – Marguerite of Navarre. Her dramatic works have not yet been translated into Russian and there is extremely little information about them in Russian theatre studies. They have no analogues in the theatre of the first half of the 16th century. Their peculiarity is a combination of the tendencies of late medieval and Renaissance art. On the basis of rare documents and texts of the plays “The Comedy of the Desert”, “The Inquisitor” and “The Comedy of Mont-deMarsan” the problems of their stage interpretation are considered. Marguerite of Navarre composed her plays specifically for staging, not for reading. She was looking for expressive possibilities that had not yet been used by anyone before her. For many reasons, her experiments were not famous beyond her court. The performances were single, staged in different places where she lived, with different performers, so that no more or less stable tradition was created in this circle. Therefore, it is impossible to reconstruct the “theatre of Marguerite of Navarre” as an artistic unit. At the same time, the originality and even the uniqueness of this material makes it possible to study little-known aspects of the history of French theatre in the period of the Middle Ages and the Renaissance.

The depiction of lungs and cardiac silhouette in the Saint Francis of Assisi with Angels by Sandro Botticelli (1445-1510).

The Saint Francis of Assisi with Angels is considered a worldwide masterpiece painted by renaissance artist Sandro Botticelli. The painting reveals Saint Francis of Assisi surrounded by angels in a format that directly corresponds to lung anatomy and the cardiac silhouette. Together with previous evidence in Botticelli's work, these findings add to the virtuosity and brilliance of Botticelli in depicting accurate human anatomy and highlight the role of topographical sciences and studying the human form for the presentation of both anatomical and abstract ideas in renaissance art.

Art and Reform in the Late Renaissance: After Trent. Jesse M. Locker, ed. Visual Culture in Early Modernity. New York: Routledge, 2019. xii + 330 pp. $155.

Art and Reform in the Late Renaissance: After Trent. Jesse M. Locker, ed. Visual Culture in Early Modernity. New York: Routledge, 2019. xii + 330 pp. $155.

Marietta, Tizian und die Ampezzaner. Zur kuriosen (Wirkungs-) Geschichte des ampezzanischen Liebesgedichts. Ara mé noviza

The love poem Ara mé noviza (“To my beloved”) was written in the 19th century in the Ladin municipality of Ampezzo. This composition is mostly attributed to the Ampezzo engineer Firmiliano De Gaspari (1828-1877), but it could also be a piece of ancient Ampezzo song literature. The 13-stanza poem was recorded – and thus made accessible to a larger audience – for the first time in Ampezzo illustrato, a publication about the history of Cortina written by De Gaspari (probably around 1860), which is unfortunately lost or missing today. In the following decades, several stanzas from this work were repeatedly copied and disseminated, among others by the Pustertal tourism pioneer Josef Anton Rohracher (1857–1954). At the beginning of the 1890s, the Tyrolean author Josef Calasanz Platter (1858–1905) copied a few stanzas of the poem from a travel guide published by Rohracher in 1878 and used them for his narrative Castell Majon, set in Cortina d’Ampezzo. In 1892, a tourist from the North of Italy who visited Ampezzo, perhaps the irredentist and literary scholar Albino Zenatti, copied five stanzas of the dialectal poem and subsequently published them in the “Gazzetta di Venezia” as an unknown poem by Titian, linking it to an old local Ampezzo tradition according to which the important Renaissance artist was born in Campo di Sotto. In 1909, some stanzas of the same poem were again spread in the daily press, journals and tourist guides as a work of Titian. And even in more recent times, people did not want to completely rule out the authorship of the artist born in Pieve di Cadore. In reality, a more or less skilful forger was at work in 1892, who probably wanted to make capital and profit from the discovery of an alleged poem by Titian and also to defraud the people of Ampezzo.

ИТОГИ НАУЧНОГО СЕМИНАРА «ТЕОРИИ И ПРАКТИКИ ПРИКЛАДНЫХ КУЛЬТУРНЫХ ИССЛЕДОВАНИЙ», ПОСВЯЩЕННОГО 570-ЛЕТИЮ СО ДНЯ РОЖДЕНИЯ ЛЕОНАРДО ДА ВИНЧИ (СИБИРСКИЙ ФЕДЕРАЛЬНЫЙ УНИВЕРСИТЕТ, КРАСНОЯРСК)

This text presents a summary of the work of the educational, scientific and methodological seminar "Theories and Practices of Applied Cultural Research" (May 13, 2022, Krasnoyarsk, Siberian Federal University). The seminar was devoted to the reflection of a team of scientists on the development of the Krasnoyarsk school of art history from the 1990s to the present, and timed to coincide with the 570th anniversary of the birth of the brilliant Italian Renaissance artist Leonardo da Vinci. The seminar held in three areas - 1) Krasnoyarsk School of Art History, 2) Modern trends in the development of conceptual art, 3) Current research in Russian art.

Editorial Commentary

Editorial Commentary

Religious Otherness in Giulio Clovio’s Miniatures

The subject of this paper discusses some problems in the art of the famous 16th-century miniaturist Giorgio Giulio Clovio, who illuminated numerous single miniatures and manuscripts for the Catholic Church. The iconography of Clovio’s miniatures is primarily Christian, but it also includes many other elements in the spirit of Renaissance art. The Farnese Hours, illuminated for Cardinal Alessandro Farnese between 1537 and 1546, contains illuminations considered Clovio’s first work for the Cardinal. The Others in the miniatures are the antichi romani and old pagan Roman elements that were included in his iconography. Among many different Roman motifs that can be found in the Farnese Hours I focus on two: the Roman carnival (Feast of Testaccio, fols. 40v-41r) and the blue ewer represented eleven times inside the decorative border of the folios 26v-27r (Adoration of the Shepherds and Adam and Eve in the Earthly Paradise).

Hierarchies of Value: The Medallist’s Work in Sixteenth-Century Art

Hierarchies of Value: The Medallist’s Work in Sixteenth-Century Art

Venetian Cinquecento Pictures and France in the 1820s: Painting, Perception, Influence

This article deals with reassessing Venetian Cinquecento painting in France in the 1820s. This research is a series of case studies related to this problem and providing various types of historical analysis. It examines particular artworks, artistic, social, political contexts, and the influence of Venetian art on the formation of a new artistic language in France in the 1820s. Using an analysis of a wide range of both visual and verbal primary sources, I explore theoretical and practical aspects of the reassessment of Venetian Cinquecento painting in early nineteenth-century France. The paper presents a detailed examination of various French publications of that time regarding Venetian art, as well as a comparative analysis of artworks by Venetian and French artists, namely, Jacopo Robusti, Paolo Veronese, Andrea Schiavone, Eugène Delacroix, Xavier Sigalon, and Eugène Devéria. In this article, I address the following questions. What was the knowledge about Italian Renaissance art in France in the early 19th century? What place did the Venetian school take among the Italian schools of painting in the French consciousness at that time? How was Venetian painting perceived, revisited and presented? How did it influence the formation of a new artistic language in the 1820s? This study reveals the causes, specifics, aspects, and far-reaching consequences of the reconsideration of Venetian Cinquecento painting in the 1820s and its significance for the understanding of the patterns of art development in 19th-century France.

“East Asia as a Method of Research,” Illustrated by an Interpretation of Japanese Edo-Period Haiku by a Western Art Historian

The significance of East Asian research is a longstanding issue in the humanities that is yet to be sufficiently addressed. At the same time, it is true that Buddhist thought is now a research subject shared among scholars across and beyond the boundaries of the East and the West. Then, the question may well be posed as to whether Buddhist thought ought to be examined through a specific East Asian research lens. With this question in mind, I will focus on the topic of “East Asia as a Method of Research” by considering the example of haiku interpretations, with reference to the work of John White (1924–2021), a preeminent scholar of Medieval and Renaissance art. In so doing, this short article will demonstrate that the haikus cited here vividly expound the content of such Buddhist principal concepts as impermanence, non-self, emptiness, dependent origination, and the unity of being and not being, without referring to them explicitly. Second, it elucidates the universal nature of this phenomenon, which has been discerned by John White, a specialist in Western humanities. Third, it will enable us to reconsider the conventional methods of Buddhist studies not only from the viewpoint of East Asia but also from that of literariness.

Visual art as a form of individualization of collective experience: Renaissance discourse

The purpose of the article consists of exploring visual arts in the context of Renaissance discourse as a form of individualization of collective experience. The methodology consists of the application of analytical method – to determine the theoretical and methodological foundations of the study of visual art as a form of individualization of collective experience in the works of the Renaissance theorists: Alberti, G. Vasari, Marsilio Ficino, Lorenzo Valla, Pietro Pomponazzi; Renaissance artists – Giotto, Masaccio, Michelangelo, Leonardo da Vinci, Raphael Santi, Titian; formalization method – to clarify visual art within the subject field of art history in the context of the culture of the Renaissance; method of comparative studies – for analyzing approaches to understanding the visual art as a form of individualization of collective experience. The scientific novelty of the work is that for the first time the essence of visual art is a form of individualization of collective experience in the context of the Renaissance discourse. Conclusions. The article explores visual art in the context of the Renaissance discourse as a form of individualization of collective experience. Clarified the meaning of the concept of visual art and painting in the framework of the subject field of art history (concepts of A. Gabrichevsky, M. Kagan, V. Vlasov, A. Hildebrand). In the socio-cultural development of the Renaissance, there is an intensive process of individualization of the artist, and there is also a tendency to intensively turn to samples of ancient art, which testifies to the visual art as the brightest form of individualization of collective experience. In the context of comparative analysis, the concepts of Cennino D'Andrea Cennini, G. Vasari, Alberti, Lorenzo Ghiberti, Filarete, Piero Della Francesco, Leonardo da Vinci, Jean Peleren, Albrecht Dürer, Pietro Aretino, who described all the advantages of painting based on color, are considered; the Venetian artist Paolo Pino, author of Dialogue on Painting; Lodovico Dolci, author of Dialogue on Painting; the Tuscan writer A. Doni, who in his dialogue "About drawing" explained the priority of the Florentine tradition, in which the emphasis was on drawing, and not on coloring. Key words: visual art, renaissance, painting, collective experience, individualization

LETTER FROM THE EDITOR

Dear readers, We are pleased to present to you Issue 5, 2021, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research areas concern topical problems in multiple areas of culture, art, philology, and linguistics. This versatility of the review reveals the main specificity of the journal, which represents the current state of the cultural space. The journal traditionally opens with the Academic Interview rubric. In this issue, we present an interview with Alexander Burganov, Academician of the Russian Academy of Arts, an outstanding Russian sculptor, National Artist of Russia, Doctor of Art History, Professor, Director of the Burganov House Moscow State Museum, interviewed by Irina Sedova, the Head of the 20th Century Sculpture Department of the State Tretyakov Gallery. This dialogue became part of the sculptor’s creative evening at the State Tretyakov Gallery, which included a personal exhibition, donation of the sculptural work Letter, screening of a special film and a dialogue with the audience in the format of an interactive interview. In the article “The Apocalypse Icon from the Kremlin’s Assumption Cathedral. Dating and Historical Context”, T. Samoilova points out the similarities between some motifs of the Apocalypse iconography and the motifs of Botticelli’s illustrations to the Divine Comedy, as well as the role of a line in both artworks which testifies to the influence of the Renaissance art on icon painting of the late 15th — early 16th centuries. Studying palaeography and stylistic features of the icon, the author clarifies the dates and believes that the icon was most likely painted after 1500, in the first decade of the 16th century. P. Tsvetkova researches the features of the development of the Palladian architectural system in Italy, in the homeland of Andrea Palladio. On the examples of specific monuments, drawings and projects created during two and a half centuries, the author analyses the peculiarities of the style transformation in the work of Palladio’s followers, the continuity of tradition, deviations from canonical rules. In the article “Artistic Features of the Northern White Night Motif in the Landscapes of Alexander Borisov and Louis Apol”, I. Yenina conducts art analysis and compares the works of the Russian “artist of eternal ice”, A. Borisov, and the Dutch “winter artist”, L. Apol. They were the first to depict such a phenomenon as a white night in the Far North. V. Slepukhin studies the artworks of the first decades of the Soviet era in the article “Formation of the Image of a New Hero in Russian Art of 1920- 1930”. The author concludes that the New Hero in the plastic arts of the 1920s–1930s was formed as a reflection of social ideals. The avant-garde artists searched for the Hero’s originality in the images of aviators, peasants, women. The artists of socialist realism began to form the images of the “typical” heroes of the time — warriors, athletes, rural workers, scientists, as new “people of the Renaissance”. In the article “Dialogues of the Avant-garde”, A. N. Lavrentyev presents a comparative analysis of spatial constructions created by the Russian Avant-Garde Artist Alexander Rodchenko and the famous kinetic European and American artist Alexander Calder in the first half of the 20th century. Wei Xiao continues his analysis of contemporary art in the article “Chinese Sculpture in the New Era”. The author notes that the art of sculpture is in many ways a reflection of social change, both in terms of cultural content and practice. The author emphasises the need for cultural identity to preserve national traditions and spirituality. Xu Yanping’s article “The Dynamics of the Choral Culture Development in China in the 1930s on the Example of Huang Tzi’s Oratorio Eternal Regret” is a scientific study of a particular phase of the active entry of Chinese choral music into the sphere of the oratorio genre, directly related to the name of the great Chinese composer, Huang Tzi. It also highlights the issues of the country’s political life in the 1930s, which actively influenced the creation of nationwide singing movements and new choral works in the country. The author believes that the oratorio Eternal Regret presented in the article is a unique creation that organically combines ethnic musical material and Western composition techniques. The publication is addressed to professionals specialising in the theory and practice of the fine arts and philology and all those interested in the arts and culture.

ICON OF THE APOCALYPSE FROM THE DORMITION CATHEDRAL OF THE KREMLIN. DATE AND HISTORICAL CONTEXT

The “Apocalypse” icon from the Domition Cathedral of the Moscow Kremlin has long been in the field of view of researchers, but still there is no common opinion about its dating, and therefore there is no context in which this monument would take its place. The icon has many inscriptions, all of which correspond to the text of the Revelation of John the Theologian. In the construction of the composition, the master of the “Apocalypse” could not rely on the Byzantine tradition of illustrating the Revelation, since it actually did not exist. So what could the author of the iconography of the Moscow Apocalypse have been inspired by? The process of penetration of Renaissance influences into Russian culture, which began in the reign of Ivan III, reached its highest point at the beginning of the XVI century. The coincidence of certain motives of the iconographic program of the «Apocalypse» with the motives of Botticelli’s illustrations for the Divine Comedy, as well as the role of the line in both works, indicate the penetration of Renaissance art influences into iconеpainting. The discovered parallels do not allow us to date the icon from the Domition Cathedral earlier than 1491-1500, the icon was most likely written after 1500, in the first decade of the XVI century. The icon became the “banner” of a new period of understanding of eschatological ideas.

Non-fungible tokens (NFT) and intellectual property: The triumph of the proprietary approach?

Technical methods of intellectual property protection are reviewed and combined in the essay in the discourse of historical development — from man-made signatures of Renaissance artists to non-fungible tokens (NFT). The proliferation of NFTs is analyzed from the point of view of the commercial law: NFTs are discussed as objects that simultaneously have the characteristics of independence and a derivative nature in relation to intellectual property being the underlying digital asset. The self-sufficiency of NFTs as legal objects is provided by their commodity properties, which arise not only from the value of the underlying asset, but from the phenomenon of crystallization of the unique fixed version of the asset in a non-interchangeable and irreproducible token. The derivative nature of NFTs, figuratively correlated with the derivative contracts in financial markets, is manifested in the symbolization of intellectual property as an underlying asset and the loss (in full or in part) of its usual significance for a potential acquirer when placed in an NFT-image. Despite the variety and a specific evolution of legal approaches to the understanding of intellectual property, we can state a long-standing conceptual rejection by legal scholars from the simplest proprietary theories of transferring real rights constructions to intellectual property. However, some absolute property features of the NFTs, ensuring both internal and external legal aspects of the property, raise the question of a new legal life of “proprietarism” in the conditions of digitalization and information capitalism.