Visual Arts Research Articles

The image of Kyiv in a landscape painting by a Ukrainian artist Serhiy Shyshka of the second half of the 20th century

The purpose of the article is to study the representation of the image of the city of Kyiv in the landscape painting of the outstanding Ukrainian artist S. Shyshko, through the prism of the author's artistic vision and stylistic development. Research methodology. Methods such as analytical and comparative art studies were used in the work, which made it possible to holistically consider the given problem and obtain scientifically based research results. Scientific novelty. The article first analyzes the artist's stylistic features, in particular the combination of realistic traditions with elements of impressionism, which are clearly visible in his works. The main topics, motives and techniques that characterize his creative path and the importance of the artist in the context of the development of Ukrainian art are considered. Conclusions. The article examines the work of the outstanding Ukrainian artist S. Shyshko, one of the leading masters of Ukrainian landscape painting of the 20th century, whose work left a significant mark on the artistic life of Ukraine of that period. The main attention is paid to his contribution to the development of landscape painting, in particular to the depiction of landscapes with views of the city of Kyiv. The importance of S. Shyshko as an artist who made a significant contribution to the development of Ukrainian art, in particular realistic landscape painting, and his influence on subsequent generations of Ukrainian artists is emphasized. The work of S. Shyshko is an important component of Ukrainian art of the 20th century, which clearly reflects the cultural and historical significance of Kyiv. His works, focused on the urban landscape, enrich our perception of Kyiv as a symbol of national identity, as a space that combines history, culture and natural beauty. Through masterful command of light, color and composition, Serhii Shishko was able to convey the multifaceted nature of Kyiv, showing it not only as an architectural or natural object, but as a place where the spiritual and the material are closely intertwined. The artistic image of Kyiv on the canvases of S. Shyshka serves as a kind of bridge between the past and the present, because the artist not only captured the appearance of the city at specific moments, but also conveyed its spirit, its eternal essence, which remains relevant decades later.

The Spectre of Re-Fencing Off the Public Domain: Italian Copyright and Cultural Heritage Legal Scenarios

Abstract International and European Union (EU) law jointly promote cultural development as a global and cross-border value, mandating national efforts for the preservation, enjoyment, and enhancement of cultural heritage. Cultural development is also the specific objective underlying Art. 14 of the EU Copyright in Digital Single Market Directive (CDSMD), designed to ensure that works of visual arts in the public domain remain a vital source of cultural enrichment across the Union. Against this backdrop, the Italian legal system is currently showing some resistance against such legal obligations. Its transposition of Art. 14 CDSMD explicitly refers to the applicability of the Italian Cultural Heritage Code, which typically requires permission and, in many cases, a fee payment to use reproductions of works of cultural significance, notwithstanding their public domain status. Concurrently, Italian courts have engineered new forms of exclusivity over cultural heritage belonging to the public domain, ignoring copyright law and other applicable norms. The study examines the Italian legal framework on public domain cultural heritage, unveiling a significant degree of incompatibility with international and EU legal obligations. Through a literal, systematic, and teleological legal analysis, the authors unearth how the Italian legal system fails to balance norms regarding cultural heritage, copyright, and data, thus calling for coordinated EU and national interventions towards a sound application of legal rules safeguarding the public domain.

Visual arts activities relate to interest and cortisol for children in Head Start preschool.

Visual arts activities relate to interest and cortisol for children in Head Start preschool.

The role of modelling during instruction in collaborative creativity

This research examines how modelling, a common instructional technique where a teacher or expert demonstrates a task or skill, impacts students' creative expression in artistic disciplines like music, dance, and visual arts. The study specifically focuses on elementary students engaged in creative collaboration activities, generating movements to music and altering lyrics to a folk song. Through audio and video recordings of student activity, the study observed how students interacted with both the teacher's and their peers' modelled examples. The findings indicate that students often imitated the teacher's examples and adhere closely to the model, creating some confusion for students during idea generation and the rejection of certain ideas.Findings show that in lessons where creative activities are designed to elicit a variety of ideas and make connections, how students interpret modelling can be complex. This highlights the need for clear communication about the intended use of modelling. Despite the small sample size, the study provides initial insights into the challenges and complexities of using modelling in creative educational tasks, emphasising the balance between imitation and creativity.

Developing Creativity in the Higher Education on the Relationship between Community Art and Whole Child Approach

Under the umbrella of the VUCA-world and growing international competition creativity plays a more important role in higher education. In this context, divergent thinking, fluency, flexibility, problem-sensitiveness and originality are key factors for work, life, and literacy. In the first part of the article we will discuss the philosophical phenomena of this process, which comes from John Dewey’s ’learning by doing’ principle. In fact, rethinking higher education comes to the front in the 21st century, changing teaching education in order to develop creativity with various innovative ways. In the second part of the article Visual Arts, especially Community Art, will be in focus. This promotes communication, collaboration, critical thinking and problem-solving, creativity and innovation, especially project-based learning via Totem Project, which was implemented at J. Selye University from November to December 2022. The aim of the project was community building and creativity development. Building a community is based on collaboration amongst students and teachers (the project had 50 members in total and consisted of 100 working hours) in order to develop creativity, team-building, and collaborative professionalism via sharing aims and expectations, building community and trust, respect and listening. The Totem Project started to map prior knowledge on community in order to develop engagement and creativity at three levels: individual, team, and organizational levels. Finally, at the end of the paper, conclusions will underline some open dilemmas and questions.

Activating smell’s political potential through smellwalk route design

This text unravels the collaborative design approach we—Ph.D. researcher Lauryn Mannigel, science and technology studies scholar Christy Spackman, cultural geographer Kevin McHugh, and visual artist and Studio Arts instructor Vicky Sabourin—used to create the route of a guided smellwalk for Montréal’s Quartier Concordia, exploring the political potential of smell. Drawing from the perspectives of practicing artists who value smell’s ephemerality, contextuality, and materiality, this text outlines the development of the smellwalk route, where we tested Mannigel’s conceptual curiosity in designing a path around the Henry F. Hall building—a building with a contentious political past—and Sabourin’s familiarity with the smells of frequently encountered spaces at Quartier Concordia. By exploring the roles of geographical proximity and distance, spatial familiarity and unfamiliarity, and the recollection of smell experiences—creatively balancing preconceived ideas with chance and pragmatics—our creative process develops a practice-led framework for olfactory encounters and public discussions that may activate the political potential of smell.

A Study of the Aesthetic Art of New Patriotism in Red Film and Television Drama

Red cinema and television works have long been pivotal components in the propagation of Chinese culture and the inculcation of patriotic education. These productions chronicle the trajectory of historical evolution, conveying the spirit of patriotism in the new era through intense emotions and strikingly impactful visuals. Against the backdrop of globalization, where cultural exchanges among nations are increasingly prevalent, the question of how China's red cinema and television can inspire the younger generation through the aesthetics of new patriotism has become a focal point of attention. From early revolutionary story films to modern epic masterpieces, red cinema and television employ unique aesthetic expressions, innovative narrative techniques, and visual arts to seamlessly blend patriotism with art, offering audiences of the new era a series of visual and spiritual feasts.

Shadows Amidst: Cultural Identity in the Spectrum of Visibility and Invisibility

Delving into the nuanced exploration of cultural identity amidst visibility and invisibility, this interview, conducted on January 29, 2024, at the residence of Dr. Marcelo Schellini in Malaysia, provides a compelling insight. Marcelo Schellini, a distinguished professional in photography and a professor specializing in visual arts and visual anthropology, offers profound reflections on the presence of African Muslims in Brazil through his project titled “Tarikh al-Brasil”. Through this visual journey, Schellini captures the architectural diversity and societal contributions of this marginalized community, blending documentation with artistic interpretation to reveal narratives often concealed from view. Moreover, the interview illuminates the challenges confronted by the African Muslim community, grappling with social neglect and inadequate representation. Drawing from his extensive teaching and global travels, Schellini enriches the discourse on cultural visibility, providing deep insights into the dynamics of identity in contemporary society. This dialogue prompts viewers to ponder the interplay between visibility and invisibility, thus reshaping perceptions of cultural identity within the shadows of society.

Anger and Art Ambivalent emotion in art

The present study investigates the depiction of anger in Western visual art, highlighting the paradox of this emotion: its inherent unpleasantness and repulsiveness versus its artistic representation. The authors examine historical transformations in the expression of anger and the mechanisms that render its depiction effective in art. Despite being a fundamental human emotion encountered from birth, anger is surprisingly scarce in Western visual art. Historical artworks often depict actions resulting from anger rather than capturing its raw emotional expression. Kelly Grovier's essay "Art of Feeling: Why We Should Celebrate Anger" posits that the rarity of anger’s depiction may stem from its classification as a deadly sin by early Christian teachings, which stigmatized the emotion. However, significant works such as Delacroix's "Medea" and Gentileschi's "Judith" juxtapose violent acts with serene facial expressions, underscoring a disconnect between action and emotional display. The repulsiveness and transformative impact of anger on human appearance make it a challenging subject for art. Yet, works like Cabanel's "Fallen Angel" and Gérôme's "Truth Coming Out of Her Well" explore this transformation, employing beauty to attract and distortion to repulse, thereby creating a Medusa-like effect. This duality engages viewers and evokes mixed emotions, which enhances an artwork's impact. Furthermore, anger can drive creative innovation, as demonstrated in works by Munch, Picasso, and Kahlo, where personal and societal grievances fuel artistic expression. However, prolonged anger may lead to destructive creativity, emphasizing the complex role of anger in art and its potential for both innovation and hostility. This multifaceted exploration underscores anger’s unique, albeit limited, place in visual arts and its dual capacity to repel and inspire.

Enhancing performance through Raga understanding: Insights into L. Subramaniam’s „Fantasy on Vedic Chants”

"Fantasy on Vedic Chants," a seminal work by L. Subramaniam, presents a unique fusion of Carnatic music and Western orchestration. Premiered at Lincoln Center in 1985, this composition integrates Vedic chants into a Western-style violin concerto, exemplifying a significant cultural and musical convergence. The concerto is structured in three movements, each reflecting different emotional aspects of the Carnatic raga system. This article highlights the piece’s use of modal approaches and its impact on the performance. Through its integration of Vedic motifs and its exploration of spiritual and musical wisdom, "Fantasy on Vedic Chants" stands as a testament to Subramaniam's artistic vision and his contribution to global music heritage.

Medzivojnová Banská Bystrica: Obraz kultúrneho a spoločenského života

The interwar period in Banská Bystrica brought significant changes in the political, economic, cultural, and social spheres of the city. The establishment of the First Czechoslovak Republic and subsequent democratic conditions accelerated the formation of a modern civil society and the development of culture. Key roles were played by education, associations, educational activities, periodicals, radio, libraries, as well as the development of arts, which included literature, theater, music, cinema, and visual arts. One of the centers of social and cultural life became the newly built National House, which significantly contributed to the shaping of public life. During this period, the celebration of anniversaries and significant visits represented an important aspect of social life. These events aimed to strengthen national identity and simultaneously serve to present the city in the best possible light.

“She Feels not Half What We Feel”: Oriental Affect Aliens and the Unhappy Queers in Mrs Dalloway and To the Lighthouse

In Mrs. Dalloway and To the Lighthouse, Virginia Woolf’s portrayal of Lily Briscoe’s and Elizabeth Dalloway’s “Chinese eyes” has drawn critical attention, but the lack of affective expressiveness in these characters needs further examination. Borrowing Xine Yao’s term “unfeeling,” this essay explores the relationship between Woolf’s use of Oriental imagery and disaffection. It argues that Woolf’s depiction of Oriental unaffectedness critiques Victorian patriarchal conventions and their constructed notions of happiness. However, in doing so, Woolf simultaneously perpetuates the stereotype of Oriental inscrutability. Drawing on Sara Ahmed’s critique of happiness and her concept of the “unhappy queer,” this essay first examines Elizabeth’s restrained affective expressiveness, suggesting that Woolf’s characterization challenges the white sentimentality linked to the heterosexual definition of happiness in the late Victorian era. Yet, through the lens of Yao’s analysis of Oriental alienness, the essay contends that Woolf’s narrative still subscribes to Orientalism. Likewise, Lily Briscoe’s negotiation of her capacity for sympathy—especially in contrast to Mrs. Ramsay—highlights Woolf’s critique of patriarchal norms. However, Lily’s artistic vision is ultimately realised through her alignment with the Western affective economy, suggesting the author’s acknowledgement of sympathy and affectability as universal concepts—yet ones that are underpinned by a racial hierarchy.

Diderot: ironia e umorismo nel Salon 1765

Enlightenment philosophers often used irony in a philosophical manner. But irony is an ambiguous and complex figure of speech that can take on philosophical or anti-philosophical value, depending on the uses made of it. Diderot extensively resorts to irony throughout his works, even in unsuspected places in the Encyclopédie, but can we detect a philosophical use of this figure of speech in works of aesthetics as well? The Salon 1765 is considered here as an emblematic moment of Diderot’s reflection on the visual arts, in which irony is linked to the effort of objectivity of the art critic and to the one of the writer who intends to convey the emotion of the painting to the reader, even when it is negative. Irony therefore seems to perform two main functions: 1) to point out an inappropriate choice of subject (when this demonstrates the sterility of the artist’s ideas or licentious subjects that contradict the moral purpose of the pictorial or sculptural work); 2) to make those who read and cannot see the painting empirically understand its defect of composition, design, colour, rhythm. The irony, which is incorporated in the description, thus gives it a critical and emotional value at the same time, aimed at exercising and educating the readers’ taste.

Cubism in Sweden – from experimental to moderate

In this article, examples of various forms of cubism practiced by Swedish artists are described and analyzed regarding form, content and reception in the field. A certain emphasis is placed on female artists, since there is a need for differencing the narrative of modernism regarding women’s contributions, often disregarded in their own contexts as well as in the writing of art history. Attention has also been paid to changing notions of cubism in the field of art. In the early years of cubism, from the 1910s, a considerable number of Swedish artists experimented enthusiastically with prismatic and other cubist effects in their paintings. Many of them went to Paris, Berlin and Copenhagen to see the new art, and brought new ideas to Sweden. For most of the artists who experimented with different kinds of cubism, it was a temporary activity, although many of them felt they had acquired new insights concerning artistic form. Some of them further developed their findings into new directions of modernist art, such as post-cubism, purism and concrete art. Women artists were active in all of these movements. The art market in Stockholm thrived in the 1910s and 1920s. Several of the art critics and large parts of the art audience had difficulties understanding cubism, and rejected the non-figurative art exhibited at the Stockholm exhibition in 1930. However, most Swedish cubism proved to be of a moderate sort, such as the works by Georg Pauli. On the other hand, Agnes Cleve, Siri Derkert, Gösta Adrian-Nilsson (GAN), and Otto G. Carlsund never ceased to generate bold forms and compositions. Regardless, it took a long time for Swedish art audiences to accept this form of visual art.

ART HISTORY PERSONOLOGY: THE HISTORY OF THE FIRST STAGES OF THE DEPARTMENT OF DRAWING AND SKETCHING OF THE FACULTY OF ART AND GRAPHICS IN LENINGRAD

The history of higher artistic and pedagogical education begins in Leningrad in the late 1950s. The Faculty of Art and Graphics was founded at the Leningrad Herzen Pedagogical Institute. The faculty combined the previous e orts of teachers in the eld of history, theory, and methods of training of visual arts teachers. The biographies of the people who stood at the origins of the Faculty of Art and Graphics are almost forgotten today. However, they are important for modern art studies. On the basis of archival materials, portraits of the rst heads of the faculty, who determined its development in the early 1960s, have been recreated in this paper.

Drawing in the dark: faith and knowledge in Jacques Derrida’s Memoirs of the Blind

ABSTRACT This essay focuses on Jacques Derrida’s Memoirs of the Blind, the catalog accompanying the exhibit of the same name that Derrida organized and curated at the Louvre Museum in Paris in 1990. The essay begins by considering Derrida’s seemingly surprising choice of themes, that is, darkness, blindness and invisibility, for an exhibit of drawings and paintings that belong to the so-called ‘visual arts’. The essay goes on to explain what Derrida calls in Memoirs of the Blind two intersecting logics in the visual arts, the ‘transcendental’ and the ‘sacrificial’, both of which are related in some way to blindness or invisibility. It then considers how these two logics come to intersect in Derrida’s own exhibit and in the autobiographical narrative – the memoir – of his exhibition, a narrative that, as we see, also proceeds from a certain blindness or lack of knowledge. The essay concludes by asking what Derrida’s analyses might teach us about the blindness at the very origin of the visual arts and, especially, about a certain ‘elementary faith’ – a notion taken from his 1996 essay ‘Faith and Knowledge’ – that is required in order to practice them.

Effect of Creativity on Emotional Intelligence, Self-Esteem and Resilience in Visual Arts and Engineering Students

This research looks into the complex interactions between creativity, emotional intelligence, resilience, and self-esteem, focusing on two distinct student groups: arts and engineering. Understanding the impact of creativity on these vital attributes becomes increasingly important as social needs grow, embracing both technological knowledge and emotional intelligence, resilience, and self-esteem. The study investigates the link between creativity and emotional intelligence, resilience, and self-esteem, offering light on how academic fields influence these vital characteristics. Purposive sampling was used in the research to sample 106 people from different colleges in North India. Self-report questionnaires such as the Emotional Quotient Test, Rosenberg Self-Esteem Scale, Nicholson McBride Resilience Questionnaire, and KDOCS 20 for creativity were used in the data collection process. With Jamovi, statistical studies such as regression, correlation, and t-tests were carried out. According to the findings, self-esteem, emotional intelligence, and resilience significantly correlate with creativity. Notably, students studying engineering and the arts showed different approaches to the scientific aspect of creativity. The scientific dimension was a significant predictor by regression analysis, indicating that it had a distinct impact on both student groups. Prioritizing ethical issues included obtaining participants' informed consent, managing data securely, and respecting participant autonomy.

Marnkutyi Parirna Theatre - An acoustically adaptable theatre design

Most schools will only embark on one significant arts complex in their lifetime. As with any space constructed for educational purposes, there is an appeal for accommodating a wide range of educational experiences and uses in that single space. This however often contrasts with venue needs such as the acoustic design needs to accommodate multiple uses. Quality performance venues are typically acoustically fine-tuned for a single use as differing uses can have competing requirements. This can limit performance outcomes when designing a static space, which can leave schools with theatres which are either great at one thing or mediocre at many... acoustically speaking. However, we aspired to deliver more than this for Trinity College. The role of the acoustician, theatre designer and architect became paramount to the venue's successful delivery. Achieving acoustic excellence and aesthetic beauty for a creative space requires a holistic understanding of engineering, architectural design, and artistic vision. Flexibility and adaptability were key to the venue operation, as was ease of operation. This paper presents a case study that includes the combination of music, art and science in the delivery of the 500-seat adaptable theatre known as the Marnkutyi Parirna Theatre in South Australia.

#QuadrosDiscentes: Research into memes and art in teacher training in Brazil and Spain

In this paper we reflect on and present the results of part of a research project we conducted in academic years 2018-2019 and 2019-2020 with students of the Double Degree in Infant and Primary Education of the University of Girona - UdG (Catalonia, Spain) and students of the Degree in Visual Arts of Santa Catarina State University - UDESC (Brazil), concerning Internet memes and their linguistic strategies. In order to bring the two fields of study together and facilitate collaboration, a closed group within the Facebook social network was used as a space of interaction between the research subjects. The researchers took part in the experience, in accordance with the protocols of the action research method. The results point towards reflections and potential modifications that could be introduced in new research into how to learn and teach about volatile images—typical of cyberculture—in educational processes for teacher training.

W. E. B. Du Bois in Berlin, 1926: Political Mourning, the Rise of the Worker, and a Pan-Africanist's Rethinking of Blackness in Europe

abstract: W. E. B. Du Bois's 1926 travels in Germany have remained an almost blank page in our knowledge of his life until now. On the basis of archival and other materials, this article reconstructs the political and aesthetic turning point that the trip represents in his thought and writing. The Berlin that Du Bois had experienced in the 1890s serves as the backdrop for his observations in 1926, and his engagement with contemporaneous German intellectual and political life, as well as his interest in museums and visual art, inform the way he constructs Berlin as an idealized cosmopolitan space in his 1928 novel The Dark Princess .