Works Of Art Research Articles

“Boggy, Soggy, Squitchy Pictures”: Adaptations of Moby-Dick in the Art of Jean-Michel Basquiat

Throughout the twentieth century, Moby-Dick has inspired countless visual artists. Painters, sculptors, illustrators, all tried their hand at reimagining Melville’s great whaling epic through their works. From Karl Knaths to Jackson Pollock, from Frank Stella to Matt Kish, a diverse plethora of creators engaged with Melville’s magnus opus, tackling its everlasting legacy by means of idiosyncratic and experimental art responses. Building upon the theoretical framework of adaptation studies (Elliott, Hutcheon, Rippl), this article investigates Jean-Michel Basquiat’s visual adaptations of Moby-Dick in Untitled (1986) and Melville (1987). Basquiat’s approach, I argue, transcends conventional adaptive techniques by producing works of art that challenge the (im)possibility of representing the real and respond to Melville’s epistemological and ontological concerns in original ways. This article seeks to explore how visual and verbal representation in Basquiat’s paintings can exist as part of an adaptive process that inevitably involves a dialogic reinterpretation of Moby-Dick. My contention is that Basquiat’s aesthetic endeavor mirrors Ishmael’s intellectual quest, and his fascination with Melville’s text may stem from the writer’s manipulation of narrative conventions and structures. As Ishmael’s narration, Basquiat encompasses Ahab’s, Queequeg’s, and Fleece’s character traits, all the while probing the boundary between reality and visual depictions in an existential manner, superseding the limits between diegesis and mimesis. Simultaneously, Basquiat attempts to deconstruct language, echoing Melville’s “careful disorderliness”.

Analysis of Cultural Narratives in Works of Art for the Study of Ukrainian-Russian Relations

The article is devoted to the consideration of cultural narratives in works of art as a reflection of the nature of Ukrainian-Russian relations. The purpose of the article is to analyse the cultural narratives presented in works of art during the war, from the perspective of studying Ukrainian-Russian relations. The research methodology includes a qualitative analysis of works of art created during the war, using methods of content analysis and semiotic analysis. The research used the method of narrative analysis to reveal subjective ideas about the given problem. The presented factual information is analysed in the explicit content of the narrative. Content-oriented analysis is aimed at clarifying the implicit content: meaning and significance, manifestations of certain motives, features of the formulation of the narrative, its meaningful changes. Formal analysis consists in clarifying the structure of narratives, the sequence of changes, their relationship with the temporal axis, complexity and interconnectedness; feelings and images reflected in works of art. Semiotic analysis is used to study works of art, the meanings embedded in them in view of the change in the socio-political situation (from annexation to full-scale invasion). Scientific novelty. Its use, along with the traditional one, creates a new path for the development of conceptual art, which is now relevant, since it allows not only to restore one’s identity on the basis of ancient cultural traditions, but also to form a new awareness of oneself in the world space. Conclusions. As a result of the study, it was found that the pro-Russian narratives that existed in the cultural space of Ukraine before 2014 have disappeared, and pro-Ukrainian ones are being promoted more actively, which indicates an awareness of their identity and a desire for national independence. A rather dramatic change can be traced in relation to Russian culture, which is recognised as imposed from the outside and implanted over the centuries by force. Subsequent research involves systematisation and analysis of modern symbolism that arose during a full-scale war and evokes lasting associations.

Kitsch as a Mirror of Pop Culture in the Era of Hyper-Reality

The purpose of the study is to define the features of kitsch in the context of its application in contemporary pop culture. To investigate the relationship between kitsch and hyperreality using Baudrillard's philosophical theory of hyperreality. The research methodology includes general scientific principles of systematisation and generalisation of the problem under study, which made it possible to identify and scientifically substantiate existing theories, conceptual approaches to understanding the content of the concepts of “kitsch”, “hyperreality”, “grassroots” and “high” culture. The following methods were used: analytical, historical, and comparative. The historical method helped to find the origins of kitsch and establish the chronology of its development. The comparative method was used to identify and search for properties and characteristics based on the collected information. The use of the analytical research method helped to analyse the data and form hypotheses based on it. The scientific novelty is a comprehensive consideration of kitsch in the context of its application in the modern era of hyperreality. On this basis, the specific features of kitsch were synthesised, namely: hyperbole, idealisation, commercialisation, loss of authenticity, superficiality, vulgarity, template, imitation (parody), mass and emotional manipulation. Conclusions. Contemporary pop culture is heavily influenced by the processes of globalisation and digitalisation, which have radically affected and continue to influence the development of culture in general. The result of these processes is the emergence and rapid development of kitsch. Its characteristic features are hyperbole, idealisation, commercialisation, loss of authenticity, superficiality, vulgarity, template, imitation (parody), mass appeal, and emotional manipulation. These are the main features inherent in kitsch, and they allow us to unmistakably identify the presence of kitsch in a particular work of art. It is important to note that the specificity of contemporary pop culture is also dictated by the general context of its existence in the era of hyperreality. Most often, this is expressed in the hyperbolisation of the images conveyed. These and other features give kitsch a special status of an important part of pop culture, and also influence its formation by creating new standards. Accordingly, kitsch should be seen as a means of analysing contemporary cultural trends. After all, these trends are in a constant stage of formation and development, which require vigilance and frequent attention from contemporary scholars.

Реализация познавательного и воспитательного потенциала рассказов М.М. Зощенко на уроках литературного чтения в начальных классах

The authors consider the possibilities of using M.M.Zoshchenko's stories in the process of forming the life experience of primary school students, reveal the essence of an integrated approach to the organization of ideological and thematic analysis of the text, methodological features of composing a mathematical problem based on the storyline of a work of art.

Implementation of Saving Function as the Main Function in Activities of European Visual Arts Museums during World War Two

The purpose of the article is to research the saving function implemented by the personnels of the visual arts museums during the Second World War on the territory of Ukraine and of the Western European countries, research the actions of the museum workers seen as sociocultural projects from a scientific point of view. The research methodology lies in the application of historical methods due to which the origin and the development of historical processes and events are being explored in their chronological order with the scope of finding out the historical connections and patterns by means of a modern analysis of how the museum workers fulfilled their positions' tasks during the war. Empirical and theoretical methods are being used. Such methodological research allows the explorers to analyse the ways of the task fulfilment aimed at saving as the main function of all the activities carried out by European art museums during the wars in the twentieth century. The scientific novelty is in a new generalising scientific view on the fulfilment of their positions' tasks by museum workers and military men of a specially founded unit whose goal was to save the museum objects of the world's art heritage under the threat of illegal deeds of the aggressor country. Conclusions. The sociocultural planning of the activities of the European museums' workers used the stereotyped marketing methods aimed at the implementation of saving as the main function. It is necessary to point out that, due to full-scale hostilities on the European territory, the priority function the museums workers wanted to implement was saving and evacuation of museum collections from the hostilities area, as well as conservation works. After the evacuation and restoration in a safe area, the museum personnels, when it was possible, focused their attention on the function of the art works' exhibition.

Mission (im)possible – le traducteur en tant qu’ambassadeur de l’art

This article introduces the translator involved in the translation of art titles and art albums as an ambassador for art. Given the role of painting titles in the process of interpreting a work of art, but also in identifying it from other art products, the translator, as the artist’s spokesperson, has to perform a number of actions to enable the correct interpretation and identification of the work in the target culture. This is a very arduous and responsible task, which is particularly difficult in times of new media and the unlimited possibilities of digital reproduction and distribution of cultural goods. Based on the examples of translations of the titles of paintings by selected French painters published in Polish-language albums, the author shows the translator’s responsibility for the promotion and, above all, for the protection of the identity and integrity of works of art, especially those that belong to the public domain and are therefore deprived of proper protection.

Experimental Art and the Body: Parangolé and the Collective Body

The article deals with the changes in Brazilian art from the 1950s to the 1970s, from concrete art to experimentalism, taking into particular account the importance of the artistic production of Lygia Clark and Hélio Oiticica. It can be said that both artists contributed to a radical questioning of the concept of the work of art and its traditional supports, and also provided a new relationship between the work of art and the viewer in contemporary art. In fact, Brazilian experimentalism anticipated at least a decade ahead of similar questioning of contemporary art posed by European artists and institutions.

“Open the world of art to residents and guests of the city” about the artistic work of N. I. Verkhoturov in the Irkutsk province at the turn of the 19th – 20th centuries

“Open the world of art to residents and guests of the city” about the artistic work of N. I. Verkhoturov in the Irkutsk province at the turn of the 19th – 20th centuries

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.

Dance Culture in Screen and Stage Discourse

The purpose of the article is to conduct a comprehensive analysis and determine the specifics of the director's means of adapting choreographic art in the screen plane. Research methodology. In the development of the topic, an interdisciplinary approach was used, based on the application of such general scientific methods as: a system of theoretical methods – induction, deduction, complex art analysis, synthesis. This enabled the author to study the factual material of choreographic numbers on stage and screen. The method of generalisation and systematisation was used in order to argue the originality of screen direction in the presentation of choreographic art. The use of analytical and systematic methods was effective and useful for researching the art history aspect of the given problem. The scientific novelty of the article is the delineation by the researcher of the vectors of mutual influence and mutual enrichment of choreographic and audiovisual arts in the modernisation of visual and expressive means of directorial skill in the screen and stage plane; in revealing the peculiarities of the director's activity in the presentation of choreographic works in screen productions, which became the subject of a special study for the first time; in the identification of creative dominants in the production of screen works in which choreographic experience is adapted. Conclusions. It is substantiated that screen direction not only popularises, but also with the help of audiovisual means opens up new opportunities for showing works of choreographic art (in particular, folk dance), the work of choreographers, choreographers, choreographic groups, and individual performers.

Synthesis of Arts by means of Sculpture Forms

The purpose of the work is to characterise the syncretism of sculptural forms in the development of monumental Ukrainian sculpture; emphasise the national features of the development of national sculpture on the example of the works of modern Ukrainian sculptors. The methodology of the work consists in the principles of holistic and systemic approaches to the study of the synthesis of arts in the sculptural forms of Ukrainian artists. An analytical method was applied to study scientific approaches to the synthesis of arts, as well as an artistic-stylistic method, as well as a system-functional method to the structuring of artistic works as a phenomenon of modern monumental sculpture. The scientific novelty of the study consists in the discourse on the synthesis of arts in the art history environment, characterising some works of art that belong to the category of monumental sculpture. Conclusions. It should be noted that in the Ukrainian art space there is a synthesis between classical forms and intermedia installations, which creates a complex and multi-layered context for modern artists. The perception of time, space and material becomes plastic and changeable, and this, in turn, stimulates the development of new aesthetic forms. Sculptural images have a significant influence on the formation of styles of young artists, where the emphasis is not only on silhouettes, but also on specific elements originating from various forms. Artists build associative visual sequences, embodying unrealistic, yet deeply symbolic images that resonate with viewers on an emotional level. In the examples from the workshops you mentioned, we see how a variety of materials and art forms and execution methods are used to create coherent and complete images that reflect the synthesis of different arts. The theme of the synthesis of arts in different sculptural forms, which sometimes seem completely incompatible, is indeed one of the most relevant for research.

Gender Identity Lexicon as An Object of Translation

Gender lexical units occupy a special place in modern linguistics. There should also be specific approach to enriching the language of the work of art, giving the image of heroes, in the translation of the gender marked lexicon used by the authors. Words and phrases in the original text, which are common in male and female speeches, are also included. This article mainly describes gender identity lexicon as well as the differentiation of gendered expressive lexical units by researchers. In addition, in the translation of works of art, some thoughts are expressed on the issue of gender-component lexicon.

Development of a New Non-Destructive Analysis Method in Cultural Heritage with Artificial Intelligence

Cultural assets are all movable and immovable assets that have been the subject of social life in historical periods, have unique scientific and cultural value, and are located above ground, underground or underwater. Today, the fact that most of the analyses conducted to understand the technologies of these assets require sampling and that non-destructive methods that allow analysis without taking samples are costly is a problem for cultural heritage workers. In this study, which was prepared to find solutions to national and international problems, it is aimed to develop a non-destructive, cost-minimizing and easy-to-use analysis method. Since this article aimed to develop methodology, the materials were prepared for preliminary research purposes. Therefore, it was limited to four primary colors. These four primary colors were red and yellow ochre, green earth, Egyptian blue and ultramarine blue. These pigments were used with different binders. The produced paints were photographed in natural and artificial light at different light intensities and brought to a 256 × 256 pixel size, and then trained on support vector machine, convolutional neural network, densely connected convolutional network, residual network 50 and visual geometry group 19 models. It was asked whether the trained VGG19 model could classify the paints used in archaeological and artistic works analyzed with instrumental methods in the literature with their real identities. As a result of the test, the model was able to classify paints in artworks from photographs non-destructively with a 99% success rate, similar to the result of the McNemar test.

Analisis Semiotika Pesan Moral Dalam Film 200 Pounds Beauty Versi Indonesia

Film is one of the works of art from mass media that is in great demand by many people, making movies have their own place for many people. Movies also function as a place to convey moral messages, usually in the form of good values that can be used as examples or examples for the audience. In this study, moral messages are depicted in the Indonesian version of the 200 Pounds Beauty movie directed by Ody Harahap in 2023. This research aims to find out what moral messages are contained in the Indonesian version of the 200 Pounds Beauty movie. The research method used is descriptive qualitative research using data collection techniques of observation, documentation, and supporting data from books, articles, and journals. Where data analysis uses Charles Sanders Pierce’s semiotics using the triangle theory of meaning, namely the representamen, object and interpretation. The results of this study indicate that there are seven moral message contents in it, namely First, patience and sincerity are shown by accepting all insults and trials of life gracefully. Second, children's affection for parents is shown in the scene of not leaving parents regardless of their condition. Third, the caring attitude shown in the scene is willing to do anything for someone. Fourth, the meaning of friendship is shown by feeling each other and reminding each other in terms of goodness. Fifth Thinking before acting is that all actions must be taken with consideration not to make people harmed. Sixth love yourself by not listening to others who make us hurt and feel insecure. Seventh honesty shown by revealing to everyone who the real identity is without being covered up again. Film is one of the works of art from mass media that is in great demand by many people, making movies have their own place for many people. Movies also function as a place to convey moral messages, usually in the form of good values that can be used as examples or examples for the audience. In this study, moral messages are depicted in the Indonesian version of the 200 Pounds Beauty movie directed by Ody Harahap in 2023. This research aims to find out what moral messages are contained in the Indonesian version of the 200 Pounds Beauty movie. The research method used is descriptive qualitative research using data collection techniques of observation, documentation, and supporting data from books, articles, and journals. Where data analysis uses Charles Sanders Pierce’s semiotics using the triangle theory of meaning, namely the representamen, object and interpretation. The results of this study indicate that there are seven moral message contents in it, namely First, patience and sincerity are shown by accepting all insults and trials of life gracefully. Second, children's affection for parents is shown in the scene of not leaving parents regardless of their condition. Third, the caring attitude shown in the scene is willing to do anything for someone. Fourth, the meaning of friendship is shown by feeling each other and reminding each other in terms of goodness. Fifth Thinking before acting is that all actions must be taken with consideration not to make people harmed. Sixth love yourself by not listening to others who make us hurt and feel insecure. Seventh honesty shown by revealing to everyone who the real identity is without being covered up again.

Molecular Characterization of Adhesives (Glue Lining Pastes) Used in Restoration.

The molecular characterization of samples from works of art can provide valuable insights into the composition of ancient restoration materials and their conservation state. Here, we present a novel analytical protocol for the molecular characterization of a specific adhesive used in historical painting restoration, known as "glue lining pastes." Due to the high molecular complexity of these adhesives, we propose a multistep extraction protocol to recover and fractionate from a single microsample the three main classes of biomolecules contained in glue pastes (lipids, polysaccharides, and proteins). High-performance separation coupled with high-resolution mass spectrometry (MS) techniques were applied to the isolated fractions to identify specific components. The proposed method was optimized using test specimens of various traditional glue pastes applied to canvases and successfully applied to a historical glue paste sample from the 17th-century painting "La fuga in Egitto," part of the Pagliara collection at the University Suor Orsola Benincasa (Naples, Italy). The data collected in this work provide insights into the specific recipe used for adhesive preparation, supporting artistic and historical interpretations and contributing to a broader understanding of old restoration practices. Data are available via ProteomeXchange with the identifier PXD051480.

ANALISIS SEMIOTIKA ROLLAND BARTHES PADA POSTER SERI WEB ΒΙΟΡΙΚ ELLYAS PICAL

ABSTRACT Communication is the process of exchanging and understanding information between two or more parties. Communication can also be conveyed using various media, one of which is using posters. Posters as a communication medium function to convey messages through graphic synthesis. Posters are also works of art in the form of images or letters which are intended to provide information and ensure that the message and information is understood correctly by the audience, including in promoting a biopic web series. How to promote a biopic web series using posters is definitely very helpful in marketing the biopic web series. This research aims to examine and interpret the meaning contained in the poster for the biopic web series "Ellyas Pical". Using descriptive qualitative research methods and semiotics from Roland Barthes to help examine the sign elements and visual elements on posters. The results of this research are regarding the meaning of denotation, connotation and myth related to the biopic web series. Tells a life story based on the true story of a legendary Indonesian boxer, Ellyas Pical. The poster also provides a brief overview of the film and the characters in it. Keywords: Poster, Ellyas Picas, Semiotics, Roland Barthes.

Plant Theory

Abstract Over a hundred years after the publication of the scientist Jagadish Chandra Bose’s 1922 Abyakta, a book of essays in Bangla where he writes about his experiments on plant life, the response of plants to external stimuli, particularly electrical energy, a nervous system in plants, and his work towards revealing what he calls ‘torulipi’, a plant script, so as to be able to prove that plants were indeed living beings, scientists are now proving many of the Indian scientist’s findings. Simultaneous with this has been a public enthusiasm for the work of writers and artists that feature speculation over, and the subsequent creation of, a plant script. This review of works published in 2023 considers two key publications that illuminate the prescience of Bose’s thought for the contemporary investment in the plant humanities: Katie Holten’s edited anthology The Language of Trees and the spring 2023 special issue of Orion on ‘The Language of Nature’. This review therefore focuses on literature about the plant script while also recording and contextualizing the zeitgeist that compels and indulges such an imagining.

Parmenides-Plato: (Musical) Ontology

Aurel Stroe is one of the few Romanian composers after Enescu who was privileged to extract the essence of his sonorous universe from extended cultural areas, which in fact feed the highest quality ethos. Parmenides was considered by some researchers as the first great idealist, being the first to distinguish between the material and the immaterial, specifying the fact that reality cannot be known only through the senses: this leads to the central concept of BEING, seen as immutable, eternal, unique, homogeneous and indivisible reality. Aurel Stroe insisted in his lectures and courses on the ontological identity of the work of art, being one of the few composers who discuss its being.

The transcendent call from aesthetic experiences

In this article, I discuss theological aesthetics in light of various descriptions of experiences of transcendence that art can provide for human beings. The American author Patti Smith describes, e.g. how works of art “call her” so that she must respond with art productions of her own. This looks similar to what German sociologist Hartmut Rosa calls “resonance”. He describes art as one of the places where an experience of vertical resonance can take place. Smith’s experiences also correspond to the description of the basic experience of transcendence of human beings as they are interpreted by the Danish philosopher Dorthe Jørgensen. However, she reduces these experiences to be immanent in nature because they are objectless. I suggest that systematic theology can contribute with a distinct theological interpretation of aesthetic experiences through a three-fold argument. First, to combine beauty and infinity in the being of God. Second, to reinterpret the notion of the incarnation as God’s continuous presence in the world. And third, by combining natural theology’s point that creation speaks of God with a reinterpretation of the artefacts that humans can create. As such, this paper proposes how systematic theology can contribute to the interpretation of aesthetic experiences of transcendence.