View Of Art Research Articles

Do bufão ao palhaço de hospital: trajetórias do ridículo em uma sociedade de espetáculo

The study presents reflections on the historical relevance of buffoons through an analysis of the artistic and social view from the buffoon to the hospital clown. The subject is discussed in four topics: The mask, the actor, and the audience; The buffoon and the expression of ridicule; The spectacle and the indication of ridicule; and Laughter in the society of the spectacle. The hospital clown promotes a reflection that is similar to that of the buffoon, but the interaction with the audience must present a spectacle of comicality with an ethical stance. It is possible to laugh at oneself in the face of adversity, at the sick body, but respecting the patient, and at postures of professional superiority concerning care, as a way of reversing the logic of power without questioning one’s professionalism, with an equal degree of protagonism.

Jerzy Grotowski – via negativa

In this article, we aim to provide a brief analysis of the concept of via negativa through which the renowned Polish artist and director Jerzy Grotowski articulates both his artistic view and the philosophy underlying his entire training of his acting method. This negatively formulated notion also serves as a practical research direction conducted in his theatrical laboratory. Our analysis begins with the religious implications of the term, extracts some consequences of the Grotowskian artistic vocabulary, and ends with some general observations regarding the essential features of the Polish theatre school and tradition.

Theory and practice of pictorial avant-garde in the creation of the Ukrainian artist David Burlyuk

Modeling the theory of the Ukrainian pictorial avant-garde based on the study of the theoretical views of avant-garde artists is an urgent scientific task of art history. The theory of the avant-garde unites a number of concepts of co-existing artistic currents with its ideals of the human creator and constitutes a certain integral essence of various aesthetic and artistic features. Avant-garde art, as the art of a new and unknown future, needed a theoretical basis for explaining the nature of artistic creation, interpreting it as a synthesis of the conscious and unconscious, the role of the artist and the viewer in their dialectical unity, the importance of the artistic process in social progress. Davyd Burlyuk became a bright follower of the ideas of the avant-garde, which stood out in addition to artistic creativity and its theoretical justification. The Ukrainian avant-garde is built on David Burlyuk’s concept of movement and change. At the center of the artist’s theoretical views is the creative personality with its freedom of choice of individual self-expression. The artist’s views on the essence of avant-garde art became the theoretical basis of the avant-garde in the crowd of traditional ones, which allowed the new art to occupy its own separate place. David Burlyuk’s theoretical canons for the construction of the composition of the work by the method of shifted construction, multiple perspective, texture, color space, free drawing are the basis of the creation of a new pictorial language, new aesthetics and the reconstruction of the artistic space of culture and a contribution to its development. The formation of the worldview basis of the artist’s creativity took place on the basis of the traditions of his own national culture in organic unity with the European trends of renewal of the artistic space, which is a significant contribution to the development of the world avant-garde.

MANNICH REACTION’S MESMERIZING MANIFESTATIONS

After introduction of a new natural or synthetic chemical entity as a drug, the focus of research has always shifted to the modification of this chemical entity with the objective of improving ADMET properties, formulations for its efficient delivery, solubility, stability, organoleptic properties, reduction of toxicity, expansion of pharmacological range, formation of precursors, condensation products, complexation, prevention of formation of trace impurities and more. For example, the analgesic and antipyretic drug antipyrine, one of the earliest synthetic drugs, forms an intermolecular hydrogen bond with salicylic acid to give the stable compound antipyrine salicylate, also known as salipyrin. During the development of an aqueous drug formulation containing salipyrin and hexamine, 112 years ago, the unusual formation of a precipitate after some time did not go unnoticed by the young pharmacist and chemist Carl Mannich at Berlin University. Mannich then went on to explain the possible mechanism of formation of the condensation product, later to be known as the first Mannich compound or Mannich base, in a seminal, 21-page publication along with his student Krösche. The explanation was as much brilliant as it was accurate. He recognised that it was a generally applicable reaction, which would open the doors to the then difficult-to- synthesize 1,3-ketamines and which would allow the formation of open and cyclic compounds containing nitrogen – and to the world of natural product chemistry. An artistic view of the first Mannich base, which also happened to be tris-symmetrical, is reproduced below.

Art for art’s sake? Artists as partners in urban regeneration

ABSTRACT Responding to the polarized view of artists either being displaced or co-opted in urban regeneration, this paper unveils a middle ground in which artists also act as partners or co-producers in these processes. We illustrate this intermediary role in property development processes with reference to a case study of the Seaport Innovation District in Boston by drawing upon a survey of resident artists and interviews with artists, planners, architects and economic development specialists. The paper makes two contributions to the literature. It offers a fresh look at the dialectical relationship between cultural and economic modes of production by more fully integrating consideration of artists’ sensibilities and practice with those of a host of built environment disciplinary practices including architects, planners and real estate developers. As a result, it extends extant analysis of urban regeneration-led gentrification from its urban planning, geography and sociology disciplinary roots into the disciplines of architecture and real estate. Our findings lead onto a research agenda centered on consideration of the intermediary roles played by creative and cultural sector actors and how creativity might be captured to positive effect, in the production of the built environment.

Gendered landscape in Vietnam: women and ancient capital landscape in The Moon at the Bottom of the Well

Landscape criticism enables multi-directional viewpoints about the space, context, and habitual environment of human beings, from which physical elements surrounding people are brought to the critical vision and attached to cultural, historical, political, religious, and social elements. This article, applying jointly landscape criticism and feminist criticism, studies the relationship between landscape and gender being presented in the movie Trăng nơi đáy giếng (The Moon at the Bottom of the Well) by director Nguyễn Vinh Sơn, adapted from the same-titled short story by writer Trần Thùy Mai. How does landscape participate to the construction and presentation of gender issues, especially of women’s fate? In other words, how do people use landscape to re-construct and maintain gender structure and order in the society? From this viewpoint, the landscape becomes a gender agent that conveys people’s notions and concepts of gender. The filmmakers also become agents who use cinematic language to re-construct landscape and present gender issues through their artistic view.

A REVIEW OF MAIL ART WORKS IN TERMS OF ART PHILOSOPHY

Mail art emerged in the mid-20th century under the influence of movements such as Fluxus and Dada. It is generally defined as a type of artistic work sent via mail. Such artworks are often considered part of alternative art practice, disseminated using the postal system as a means of communication and transportation of works. Mail art is a populist art movement that focuses on sending small-scale works through the postal service. Mail art, which the artist uses as a means of expression, is a type of art that improves the artist's creativity, offers the opportunity to express himself in a different type of art, and can exhibit all forms of freedom (freedom of expression, freedom of creation, freedom of thought, freedom of will, etc.) as in other types of art. The artist creates mail art using his aesthetic perception with all his originality, because an aesthetic perspective is needed to create any art object. In order to examine this aesthetic and artistic view, technical and material knowledge is needed. Mail artists often use simple and inexpensive materials. These may include materials such as postcards, envelopes, stamps, newspaper clippings, stickers and handmade prints. Using a variety of techniques, artists can draw, create collages, or use other creative techniques on their posts. In this context, the importance of the aesthetic view of the designs made in mail art from past to present will be emphasized, and the mail art works made in various media and made by artists will be examined and how they are viewed from a design and aesthetic perspective will be examined. At the same time, art as a method in the art healing analysis of these treatments is viewed as an epistemological examination.

Fish Gutters in the Old Kingdom: A Statistical and Artistic View

Fish Gutters in the Old Kingdom: A Statistical and Artistic View

GHAZAL GENRE IN NIMA YUSHIJ’S POETICS

The article introduces the classical ghazals in the poetry of Nimá Yushíj (1897–1960) that were previously unexamined in Russian and Western Iranian Studies, and that provided an impetus for the development of this traditional genre in the contemporary Persian literature. Analysis of the canonic language signs of medieval lyrics by the “father of Iranian new poetry’s” sheds light upon the transformation of the author’s self-awareness in line with the original artistic manner. Conventional images and stable motifs of love lyrics, which have absorbed traditional mystical and allegorical connotations, are uniquely refracted in Nima Yushij’s ghazals. The semiotic and structural aspect of research along with the methods of historical poetics reveals the polysemanticism of classical motifs. The multi-stratified text structure turns out to be a tool for the poet to allegorically present his artistic view. In accordance with his intentions, Nima applies both the normative components of the formal plan (e. g., husn at-taxallus) and the execution methods that are not typical for the classical canon (frame text). To sum up, semantic and formal wholeness of Nima’s ghazals is observed.

Aesthetic principles of expressionism in modern architecture

The purpose of the article is to study the aesthetic principles of expressionism that influenced the development of modern architecture. An analysis of the concepts and means of artistic expression of the direction under study is proposed. The conditions for the emergence and formation of expressionism, its artistic methods of expression from conventionally realistic to abstract, as well as the manifestation of this direction of art in architectural design are considered. A brief analysis of the connection between expressionism and other parallel trends or movements of art of the twentieth century is given. Variations of expressionism from the standpoint of abstract art are identified, where the search for interactivity between the artist and the viewer in the process of visual perception of the painting is indicated. It is concluded that imagination is one of the main ways of artistic thinking in the process of author’s artistic design. The manifestation of the aesthetic principles of expressionism in the architecture of individual countries is considered. It has been revealed that expressionism in architecture is characterized by a departure from traditional forms in order to achieve the maximum emotional impact on the recipient. The study of the stated topic allows us to draw a conclusion about the relevance of expressionism at the beginning of the 21st century, which, with its traditions, continues the achievements of expressionism of the 20th century. and at the same time gives a new impetus to artistic expressions of the personal views of artists and architects on the ongoing processes in society. Parallels of the beginning of the 20th – beginning of the 21st centuries. revealed similarities in the aesthetic principles of the formation of the subject-spatial architectural environment. Expressionist techniques, means and methods of working on a painting or object are most accurately able to express the feelings of artists and architects, their psychological stress, the conviction that the viewer must go through a new experience while looking at an architectural or artistic work.

В. В. Верещагин и «изобретение» Севера в литературе и публицистике конца XIX–начала XX века (часть вторая)

The paper, based on the book “On the Northern Dvina. Through wooden churches”, considers the artist V.V. Vereshchagin’s perception of the North. It is shown that it is based on his professional and artistic interest in the monuments of traditional wooden architecture of the XVI-XVII centuries. The artist views the latter as a kind of classic – the pinnacle of Russian art, the personification of its tradition, destroyed or distorted by later stylistic experiments. Moreover, he even places them in a global cultural context, using very tendentious analogies based on his personal experience of acquaintance with the East. On the other hand, Vereshchagin is fully aware of and carefully records the ethnographic features of the Dvina area. Without dividing the North into regions or territories, perceiving it as a single nationally significant space, the artist resorts to subjective-emotional gradation as a means of differentiation: his assessment of the “quality” of a particular monument, settlement, or area is sometimes speculative, litereally depends on the mood. At the same time, the Vereshchagin text reveals key themes and motifs of the northern discourse of the 1890s-1910s, but otherwise articulated. Thus, the thesis that the North passed the peak of its development in the late Middle Ages is revealed through the interpretation of European and other borrowings in Russian architecture. The “remoteness” and “abandonment” of the region are shown as, on the one hand, the problem of “undermanagement”, inattention to the needs of the region, and on the other hand, a consequence of the weak infrastructure development of the northern provinces.

Still-life paintings of austere style in the work of the Ural artist E.I. Gudina (1921-1991)

The article examines the creativity of E.I.Gudin, People's Artist of Russia, a representative of the "austere style" in the Ural region art of the Soviet period. The still-life paintings of E.I.Gudin display not only originality, plastic expressiveness, and allegorical meanings of the era of the "austere style", but also the artist's personal views and his understanding and comprehension of the surrounding world. The artist's works are to be taken as an integral part of his life, his destiny and travels; all of them are autobiographical and carry deep symbolic content.

The Empire style in the Fashion of France at the Turn of the XVIIIth-XIXth Centuries

The study is devoted to the peculiarities of the Empire style formation in France in the late XVIIIth - early XIXth centuries and the influence of this process on European fashion. As a result of the analysis of some works of art, the authors come to the conclusion about the influence of socio-political views and the artistic and moral views of the Emperor of France Napoleon Bonapart on the genesis of the Empire style. The French Empire in ladies’ fashion manifested itself, on the one hand, in the orientation towards ancient art, on the other hand, in an effort to demonstrate support for the Emperor-Conqueror’s policy, the viability of the owner of a fashionable outfit, her pickiness in expensive fabrics, interest in new styles and chic.

Svetlov, I., Lukicheva, K. and Arias-Vikhil, M., eds. (2023). Paris around the 1900s. Joséphin Péladan’s Society of ‘Rose + Croix.’ St. Petersburg: Aleteya. (In Russ.)

The review discusses a collection of articles produced by a team of scholars under the supervision of professor Igor Svetlov. The book focuses on alternative experiments in late 1800s — early 1900s French art, which, although they failed to grow into independent movements, succeeded in producing several interesting concepts. The study is especially concerned with the Paris-based salon of ‘Rose + Croix’ and its founder Josephin Peladan — a writer, philosopher, occultist, and an able organizer. The book considers his artistic interests and views on the connection between art and religion, the role of symbolism in artistic thought, and the relationship between the modernity of his day and the previous epochs, including the esoteric and magical traditions. The collection covers a broad variety of subjects, such as the fantastic and the demonic in Paris, the mystical components in landscape paintings of the late 1800s, illustrations in the era of decadent art, intellectualism and intuition of the regulars of Peladan’s salons, esotericism and symbolism as a bridge into otherness, the existential and the universal in 1900s’ Parisian architecture, M. Voloshin’s turn-of-the-century spiritual and aesthetic experiments, the Parisian ‘imprint’ in Kandinsky’s early works, and Paris photographed at nighttime.

Empathy and the art of Leonardo da Vinci.

Knowledge about empathy is part of the study of artistic expressions, among which stand out works of personalities such as the Renaissance polymath Leonardo da Vinci, who was concerned with the connection between science and art during his creative research full of imagination and sensitivity to nature and human anatomy. The word empathy emerged among critics of German art as the term einfühlung, which was used within the aesthetic bias by philosophers and art historians. It emphasized the idea that a viewer perceiving an object could establish a link between it and themselves, projecting the object 'into themselves'. That is, the artwork could be experienced by the observer as if the viewer belonged predominantly to the object, in such a way that its characteristics could be actually felt through the expression of emotions, feelings and thoughts. This analysis of art appreciation required a great deal of knowledge and contemplation of nature, as understood by the German Romanticists, who had enormous admiration for da Vinci and his universal and systematic mind-a mind which reacted against formalisms, building his intellectual and sensory systems based on both his observation of nature and his own criteria. In particular, the art of painting for Leonardo was a way to demonstrate a mental discourse, just as the most important aspect of human portraits is to represent-in gestures and facial expressions-the states of mind and emotions. These are facts that German Romanticists tried to explain as the relationship between empathy and a work of art. The present manuscript aims to describe empathy from an artistic view, considering the roots of this word in German Romanticism; to comment about Leonardo da Vinci and the expression of art in the Renaissance; and, finally, to discuss the expression of his art in relation to empathy.

Handling Hazardous Biographical Materials: Dealing with Questionable Character Traits through Poetic Biography

ABSTRACT As a (poetic) biographer who has dedicated considerable time to wading through archives and other research materials, I have often found myself wanting my biographical subjects to reveal themselves not only to be interesting, intelligent, accomplished, but to be ‘good people’ also, perhaps sharing my own artistic and political views of the world. Occasionally, however, I have been confronted with information that has stopped me short. And I have asked myself ‘How do I deal with that?’ Percy Grainger, for example, thought that blue-eyed composers were superior. And George Balanchine’s name is frequently associated with poor treatment of female dancers (though many have jumped to his defence). Of course, life stories are much more complex than a singular focus on such details will allow, and a biographer must consider all angles. As this article will discuss – through reference to my own work and that of other poets – I am interested in how poetry’s many affordances have enabled me to approach difficult material in ways that adequately distance my own moral judgement from the text and instead encourage a more active readerly engagement with facts and/or ambiguous information.

“A Flight from History”? Nadine Gordimer’s Congo Journey

The aim of this article is to shed light on Nadine Gordimer’s political convictions in the context of the decolonization processes in the Belgian Congo (later the Democratic Republic of the Congo) in the years 1960–61. The article begins with a brief overview of Gordimer’s political views. It is argued that while Gordimer’s stance in the early 1950s had been that of liberal humanism (an influence that came to her also from the reading of E. M. Forster), by the end of this decade she began to question its relevance in South Africa. As a result, she decided to redefine both her political and artistic views, trying to forge a vision that would be more attuned to her position as a white writer in postcolonial Africa. This attempt is visible in her essay “The Congo River” (1961), at whose centre lies an ambivalence: while Gordimer welcomes the political transformation in Congo with cautious optimism, she also demonstrates a tendency to de-emphasize the country’s colonial history by focusing on the natural habitat and describing it as an ahistorical space. This notion of nature is, to a large extent, a repetition of the colonial vision of the natural environment, which Gordimer unwittingly perpetuated, creating her own example of the socioecological unconscious.

The role of flora and fauna in expressing the artistic view of the universe

The role of flora and fauna in expressing the artistic view of the universe

Violin Etudes of the 19th Century in the Aspect of the Evolution of Performing Mastery

"The article examines the role and significance of violin etudes of the 19th century in the evolution of European performing art. The contribution of the figure of N. Paganini and his creative work in the process of transition between the eras of classicism and romanticism has been determined. It has been noted that the artistic and aesthetic views of the Genoese virtuoso, which significantly exceeded the capabilities of his contemporaries, reoriented the didactic material. On the example of the etude collections of P. Rode and J. Dont – representatives of schools of various musical arts – it has been found that the opuses of the educational direction usually reflect the real state of performance of a certain historical period, the complex process of coexistence of the established tradition and innovations, reassessment of ideas about the semantic and technical potential of the violin. Keywords: violin etude, violin performance, 19th century, 24 Caprices in the Form of Etudes op. 22 by P. Rode, Etudes and Caprices op. 35 by J. Dont."

The Inheritance and Development of Traditional Chinese Needlework under the "the Belt and Road Initiative"

As an important part of the intangible cultural heritage, traditional Chinese women's needlework is facing the challenge of inheritance and development. The cultural connotations embodied in Chinese women's needlework art are concentrated in three aspects: the natural view of the unity of man and nature, the primitive folk view, and the artistic view of auspiciousness. It still has high social and cultural value in contemporary society. Therefore, in response to the impact of large-scale mechanized production, women's needlework culture urgently needs to innovate and develop through new designs, new techniques, new media, new ideas, and new models. At the same time, under the background of the "Belt and Road" construction, Chinese women's needlework, as a characteristic cultural business card, plays a role in international exchange and cooperation, cultural output, and China's image building. Providing constructive suggestions for its development and inheritance is conducive to promoting Chinese women's needlework to compose a new chapter of the Silk Road in the contemporary international arena.