TYPOLOGY OF CHARACTER IN THE ARCHITECTURE OF ART NOUVEAU IN SAMARA

2012 ◽  
Vol 2 (2) ◽  
pp. 6-9
Author(s):  
V. N VOSTRIKOV
Keyword(s):  
Fine Arts ◽  
Historical Context ◽  
Art Nouveau ◽  
Cultural Meanings ◽  
Art Form ◽  
History Of ◽  
History Of Architecture

This article discusses issues related to architecture and semantics as its Crandalls part. One of the most important aspects of the work of architectural Art Nouveau decor, who was the conductor of cultural meanings and, more than any other art form. Samara modern architectural decoration not only analyzes the phenomenon of architecture and fine arts, but also as a specific cultural text - in all its ambiguity and the associative capacity, contradictory and multidimensional cultural and historical context of the era. Russian Samara Art Nouveau architecture in this work is understood not only as a part of the history of architecture, but also as a form of art that is open to dialogue with others of its species.

The Basilica Transformed

2019 ◽  
pp. 199-217
Author(s):  
Robert G. Ousterhout
Keyword(s):  
Detailed Analysis ◽  
North Africa ◽  
Historical Context ◽  
Structural Systems ◽  
Design Features ◽  
History Of ◽  
Byzantine Architecture ◽  
History Of Architecture ◽  
East And West

A unique achievement in the history of architecture and the major monument of Byzantine architecture requires detailed analysis to understand its historical context, planning principles, structural systems, aesthetics, and symbolism. The Great Church was designed quickly—as some unresolved design features and structural flaws reveal—but it was intended to be unique in form and scale, meant to symbolize the dominion of the emperor Justinian, as his army reconquered lost territories in the East and West and in North Africa.

scholarly journals GRAPHIC LITERATURE: DEFINITIONS, HISTORY, COMPONENTS

2021 ◽  
pp. 29-37
Author(s):  
Nataliia Belichko ◽  
Nadiia Marchenko
Keyword(s):  
Fine Arts ◽  
Main Idea ◽  
Negative Attitude ◽  
Special Kind ◽  
Basic Structure ◽  
Literary Work ◽  
Point Of View ◽  
Past Century ◽  
Art Form ◽  
History Of

Abstract. The article defines for the first time the concept of graphic literature a special kind of book and magazine graphics, which has become widespread in world art practice over the past century. It emphasizes that graphic literature combines elements of fine arts, literature, and cinema. It reveals the essence of graphic literature in the narrative of history through a sequence of images. It reviews the history of formation and development of this art form in world and Ukrainian art history. It outlines the specific features of graphic literature in certain countries. It gives the names of personalities who influenced its origin and spread around the world. The article is mainly focused on the analysis of the history of graphic literature development in Ukraine. It outlines the contribution of Ukrainian artists of the 20th century to its development. It emphasizes the reasons for the negative attitude to graphic works of literature in Soviet times. It considers in detail the spread of works of graphic literature in Ukraine at the beginning of the 21st century. It names Ukrainian personalities and specialized publishing houses that actively develop modern graphic literature. It outlines the basic structure, some important elements, and technique of graphic works. It emphasizes the similarity of the design of works of graphic and fiction. It reveals the main purpose of graphic literature in the most effective way to convey the main idea of a literary work to the reader and to get him/her interested with the help of visual images. It examines the genre diversity of graphic literature in Ukraine in the last decade. It analyses the dependence of the genres of graphic works on the age restrictions of the readership. It reveals the necessity to further study and analyse such graphic works from the art point of view. Graphic literature combines publications in which the narration is conveyed through hand-drawn and textual images in a certain sequence.

FEATURES OF THE FIGURATIVE LANGUAGE OF ESSAYIST Y. KOSACH

2019 ◽  
pp. 91-99
Author(s):  
Mariia Hnizdytska
Keyword(s):  
Figurative Language ◽  
Historical Context ◽  
Cultural Meanings ◽  
Rhetorical Figures ◽  
Rigid Frame ◽  
History Of ◽  
Marker Code ◽  
Basic Ideas ◽  
History Of Literature

The article investigates rhetorical figures and specific authorial constructions, which are interconnected through a complex sequence of semantic connections, forming the essay. On the example of the essay by Y. Kosach “On the Meeting of the 17th Anniversary of November”, the role of figurative language in the study of cultural meanings is researched. For this purpose, Visnik text constructions with a powerful sense-forming potential are considered, which are not only examples of expanded essayistic imagery, but also a kind of cultural marker, code, according to R. Bart, on which Yu.Kosach always focuses on his essays. Particular attention is paid to “ thoughtful image” texts by D. Dontsov, Y. Lipi, E. Malanyuk, as well as interpretations by these authors of the most important problems of the Ukrainian national character, from which Y. Kosach rests in his reflections. Kosach`s essay is completely transposed with symbolic-figurative signs (codes), whose meaning can be understood, not only knowing in detail the national history and heroes, the history of literature, ethnography and ethnopsychology, philosophy and mythology, but also the political, ideological, cultural-historical context . In the essay actively present the basic ideas and works of D. Dontsov, Y. Lypa, E. Malanyuk, and others. In order to study the interdependence of thought and image in essayist Y. Kosach, the “mysterious” nature of historical events, national heroes, state symbols, geographical names and names of settlements is analyzed in detail. The problem of essayist’s elaboration of individual words, statements and plain citations is considered, attention is focused on multilevel semantic complexes-figures. The Kosach style is characterized by spontaneity, fragmentation, emotionality, openness, associativity of the thinking process. The essay combines different discourses, demonstrating the free movement of thought, not limited by the rigid frame of the canon. For Kosach, the most important thing was to isolate, reinforce, and to emphasize the strong peculiarities of the national psyche; to follow the kinship not only of the bloody but also of the spirit-knight and to draw a continuous line of continuity.

scholarly journals The first formulation of image-based stereotactic principles: the forgotten work of Gaston Contremoulins

2017 ◽  
Vol 127 (6) ◽  
pp. 1426-1435 ◽  
Author(s):  
Cole A. Giller ◽  
Patrick Mornet ◽  
Jean-François Moreau
Keyword(s):  
World War I ◽  
New Technology ◽  
Fine Arts ◽  
Historical Context ◽  
High Morbidity ◽  
Great Success ◽  
X Rays ◽  
World War ◽  
History Of ◽  
The Brain

Although image-based human stereotaxis began with Spiegel and Wycis in 1947, the major principles of radiographic stereotaxis were formulated 50 years earlier by the French scientific photographer Gaston Contremoulins. In 1897, frustrated by the high morbidity of bullet extraction from the brain, the Parisian surgeon Charles Rémy asked Contremoulins to devise a method for bullet localization using the then new technology of x-rays. In doing so, Contremoulins conceived of many of the modern principles of stereotaxis, including the use of a reference frame, radiopaque fiducials for registration, images to locate the target in relation to the frame, phantom devices to locate the target in relation to the fiducial marks, and the use of an adjustable pointer to guide the surgical approach.Contremoulins' ideas did not emerge from science or medicine, but instead were inspired by his training in the fine arts. Had he been a physician instead of an artist, he might have never discovered his extraordinary methods.Contremoulins' “compass” and its variants enjoyed great success during World War I, but were abandoned by 1920 for simpler methods. Although Contremoulins was one of the most eminent radiographers in France, he was not a physician, and his personality was uncompromising. By 1940, both he and his methods were forgotten. It was not until 1988 that he was rediscovered by Moreau while reviewing the history of French radiology, and chronicled by Mornet in his extensive biography.The authors examine Contremoulins' stereotactic methods in historical context, describe the details of his devices, relate his discoveries to his training in the fine arts, and discuss how his prescient formulation of stereotaxis was forgotten for more than half a century.

scholarly journals ARCHITECTURAL MEMORY AND FORMS OF ITS EXISTENCE

2020 ◽  
Vol 44 (2) ◽  
pp. 97-108
Author(s):  
Olena Remizova
Keyword(s):  
Art Nouveau ◽  
Art Deco ◽  
Science Of History ◽  
Language Analysis ◽  
History Of ◽  
History Of Architecture ◽  
Architectural Language ◽  
The Subject ◽  
Knowledge Memory ◽  
Compositional Logic

The article attempts to highlight the traces of memory in the theory, history and practice of architecture. The subject of research is the existing forms of memory in architecture. It is traditionally accepted that the “history of architecture” as a science is the main repository of knowledge about the evolution of architecture. Facts and artifacts, descriptions of monuments and cities are retained in it. The article emphasizes that the traditional “history of architectural objects” is not the only form of memory. Another equally important and complicated aspect of the architectural memory is detected during the decoding of the evolution of project activity and its language. Analysis of the evolution of architecture allowed us to differentiate the epochs in which historical thinking prevails: the Renaissance, Romanticism, Eclecticism, Art Deco, Postmodernism. They are characterized by such ways of thinking as dialogical, historical and typological, historical and associative. They are opposed to design approaches in which abstract thinking dominates (Art Nouveau and Modernism). The article shows that the concept of architectural memory has many shades and manifests itself in a variety of different forms of professional consciousness. As historical knowledge, memory exists in such forms as: a chronological description, science of history, evolutionary studies, catalog of styles, museum, archive. In designing and its language, memory is represented in such forms as canon, dialogue with bygone era, norm, architectural fantasy, remembrance, historical association, reconstruction, restoration and others. It is shown that the most important way of storing and transferring information is the architectural language and compositional logic. Postmodern consciousness raised the problem of loss of memory and the development of architectural language and communication of culture.

scholarly journals Iconology and Methods of Studying Artistic Processes of the Modernism Era. Commentary on Mikhail Sokolov’s Article «Iconology and the Study of Soviet Art. On the Problem of Hidden Symbolism»

2019 ◽  
Vol 15 (3) ◽  
pp. 139-168
Author(s):  
Tatiana Malinina
Keyword(s):  
Social Order ◽  
Fine Arts ◽  
Cultural Meanings ◽  
New Economic Policy ◽  
Soviet Art ◽  
Spiritual World ◽  
History Of ◽  
Post War ◽  
Symbolic Content ◽  
Research Institute

The proposed article develops the summarized report presented by the author at the conference of the Research Institute of Theory and History of Fine Arts of the Russian Academy of Arts “Image and Plot in Visual Arts. Poetics from Antiquity to Modern Times” (X.2018) dedicated to the memory of Mikhail Nikolaevich Sokolov who was a consistent and talented successor of the interpretation strategies of Erwin Panofsky’s iconological method. The author refers to a little-known article by a remarkable scientist published in one of the reprint collections of the Research Institute of the Russian Academy of Arts (1991). Sokolov’s reflections on the problems of methodology, the use of iconological analysis connected to the study of the art of modern and contemporary times, in particular, the art of social modernism, bring into focus the content of his article. Special tools are needed to answer the question on what the spiritual world of a man of the twentieth century was, how the tragic events of the century were reflected in it. The tools the researcher used relatively recently to study the artist’s relations with society, the social order, the political system, the dictate of power and its order cannot contribute to solving new issues arising today. Therefore, the need to find (to develop) a method of extracting the desired knowledge in the spiritual life of the artist of the modernist era is the prerogative. The published article is a reflection and a kind of commentary on the methodological strategies proposed by Sokolov. The correlation of his own experience of many years of work on the study of the artistic creativity of the modernist era serves as an additional argument in favour of the applicability and effectiveness of the iconological method. There is a three-part article structure. The first part deals with the aspects of Sokolov’s article. The second and third parts of the article are devoted to the iconological analysis of the works of two painters (St. Petersburg-Leningrad): the landscapes by Nikolai Protopopov (1876-1960) and the still lifes of his wife Elizabeth Uvodskaya (1875-1943). The iconological analysis of N. Protopopov’s works shows the presence of semantic subtexts, symbolic content, indicating a clear difference between the artist’s values and the stilted rhetoric of the semiofficial narrative in relation to the events. The creative work of his wife, artist Elizabeth Vladimirovna Uvodskaya, appears to be completely unresearched due to particular life circumstances: the works were lost in the flow of events of the First World War and the revolution, absorbed by the spontaneous market of the the New Economic Policy (NEP) period and lost in the post-war years. The documents, letters, diaries were used for the kindling the stove in besieged Leningrad. Elizaveta Vladimirovna died during the blockade in 1943. The artist’s analyzed still lifes are being published for the first time. The iconological method of understanding the cultural meanings and deciphering symbols helps to reveal the affirmation of another reality in the structure of the works of both artists, in their style, semantics and symbolism.

scholarly journals The Sources of Far-Eastern Motifs in Ural Artistic Iron Casting

2020 ◽  
Author(s):  
Sergey Vinokurov
Keyword(s):  
Cast Iron ◽  
Fine Arts ◽  
Historical Context ◽  
Arts And Crafts ◽  
Art Nouveau ◽  
Saint Petersburg ◽  
Artistic Process ◽  
Cross Cultural Communication ◽  
Museum Of Fine Arts ◽  
Far Eastern

Based on the works by the Kasli and Kusa iron factories from the collection of the Yekaterinburg Museum of Fine Arts, this article explores provisional and established sources used as models for the production of cast iron pieces in “Oriental style”, both as standalone images and as decorative details. The article describes historical context and conditions that facilitated the popularity and appeal of the Far-Eastern artistic traditions to the Russian craftsmen, and examines examples of borrowings, feature transformations and perceptions of the “exotic” images by factory workers. Many items found in the museum collection reflect several waves of “oriental” fashion, which reached Russia from Europe. Despite the distance of Yekaterinburg from the metropolitan centres, these influences reached Ural cast iron makers relatively quickly due to the fact that commissions from Moscow and Saint-Petersburg customers constituted the major part of local production. The conclusions presented here are that these works, and their possible sources, provide an evidence of a close connection between the regional Ural arts and crafts and European artistic process. Keywords: chinoiserie, Japonisme, Art Nouveau, Ural artistic cast iron, Kasli cast iron, Kusa cast iron cross-cultural communication, Yekaterinburg Museum of Fine Arts

Tamari, Vera (1945--)

2018 ◽  
Author(s):  
Tina Sherwell
Keyword(s):  
Fine Arts ◽  
Three Dimensional ◽  
Art Music ◽  
Islamic Art ◽  
Women's College ◽  
Music And Literature ◽  
Art Form ◽  
Ceramic Art ◽  
History Of ◽  
Art And Architecture

Vera Tamari was born in 1945 in Jerusalem. Her parents, originally from the coastal city of Jaffa, exposed their children to visual art, music, and literature from an early age. Vera’s older brother, Vladimir, is an artist based in Japan, and her sister Tania is a classical singer. Tamari received her BA in Fine Arts at the Beirut Women’s College between 1962–1966, and then pursued her studies in ceramics in Florence between 1972–1974. In 1982 she received a Master’s of Philosophy in Islamic Art and Architecture from Oxford University. She established the first ceramic art studio in Ramallah and held the post of professor in Islamic Art and Architecture at Birzeit University in the West Bank until her recent retirement. She is active as a curator, artist, and writer. Several major themes remain consistent in Tamari’s work throughout her career. In her early work, Tamari drew inspiration from traditional Palestinian ceramics, which she integrated along with specific references to the long history of the art form. In the late 1970s and early 1980s, her work specifically negotiated her relationship to the Palestinian landscape through three-dimensional and relief works that mapped out its terrains.

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