scholarly journals Space in Art and Cinema

2011 ◽  
Vol 3 (2) ◽  
pp. 58-64
Author(s):  
Anatoliy Anatolievich Sedlovskiy
Keyword(s):  
Fine Arts ◽  
Art Form ◽  
Color Treatment ◽  
Screen Space

Cinema is a synthetic art form which has accumulated the experience of theatre, literature, music and fine arts. The article investigates the influence of painting on cinema in terms of filling the screen space and artistic assimilation of the linear, spatial and tonal perspective, light and color treatment.

scholarly journals Reception of Antiquity through Flemish Tapestries of the 15th–16th Centuries (Based on the Collection of the State Hermitage Museum)

2020 ◽  
Vol 162 (6) ◽  
pp. 74-85
Author(s):  
M.A. Manokhina ◽  
Keyword(s):  
Fine Arts ◽  
Research Field ◽  
The State ◽  
The Political ◽  
Special Role ◽  
Political Reality ◽  
Art Form ◽  
Literary Sources ◽  
The One ◽  
High Social Status

The problem of reception of the antiquity through tapestries in the Russian historiography was considered. Using as an example the Flemish tapestries of the 15th–16th centuries from the Collection of the State Hermitage Museum, the transformation and popularity of ancient motifs in this art form were demonstrated, as well as their special role in the propaganda of power, high social status, and wealth. The following main elements of tapestries were analyzed: subjects, characters, costumes, and Latin banderoles. The methodology of tapestry analysis is similar to the one used by structuralists: an additional link (customer) is introduced in the author – text – reader research field. The subjects of the tapestries were compared with the plots of the corresponding ancient literary sources. As a result, it was concluded about different perception of the antiquity in the literature and fine arts. Tapestries reflect the attitude of customers to the political reality of that time. The Northern Renaissance and how it was influenced by the ideas of humanists embodied in the tapestries was discussed.

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.

scholarly journals The Problem of Artistic Form and the Objectives of Fine Arts Pedagogy

2016 ◽  
Vol 8 (3) ◽  
pp. 72-82
Author(s):  
Alexandr V Sveshnikov
Keyword(s):  
Common Ground ◽  
Fundamental Problem ◽  
Fine Arts ◽  
Traditional Education ◽  
Art Form ◽  
Object Based ◽  
Historic Development ◽  
Academic School ◽  
Traditional Approaches ◽  
Holistic Vision

The widespread tendencies in art to focus on the expression of subjective attitude to an event rather than on accurate depiction of an object have led to an increasingly strong opinion that basic academic literacy has lost its former practicality. Art pedagogy theory often treats the classical and modern education methods as the opposites. Traditional education is claimed to be incompatible with the resolution of modern creative questions, and the instruction methods of the past are seen as outdated and unnecessary. Such contrasting of the old and the new fails to consider the existence of a common pillar, of the main illustrative and interpretative objective, which is instrumental in providing the artistic meaningfulness equally to object-based or object-less art forms. The need to establish a necessary common ground, to resolve that universal fundamental problem at the very beginning of any educational journey, becomes therefore overlooked. This authors argument for the importance of treating such a common objective as a pedagogic cornerstone is based on selected conceptual themes from the works of A. Hildebrand and G. Wlfflin, two classics of art criticism. It is hereby attempted to demonstrate the existence of certain fundamental principles, indispensable for any of the pedagogic schools. In particular, A. Hildebrand pointed out the importance of the distance seeing, which reveals the necessary general identifying impression given by an event or an object, leading to seeing them as a whole, uniting all the separate parts of their image. Classical academic and contemporary schools, in relation to this global ability, differ only in their means of expression, and the argument between them appears to have no ground. Such conclusions are in agreement with the stand of G. Wlfflin, a distinguished art historian and critic. In his studies of the historic development of art form from objective clarity to subjective relative clarity of the objective sphere, he showed that we are dealing here with methodological variations rather than with different views on the core pedagogical values. Different schools of art, and both modern and traditional approaches to art education have therefore a common ground: forming of holistic vision in the student. It is important to keep in mind that, depending on their type of artistic thinking, some students would be able to better reach this goal within the framework of the academic school, and others, on the contrary, while mastering modern forms of art.

scholarly journals Problems and solution proposals of cinema education in TurkeyTürkiye’de sinema eğitiminin sorunları ve çözüm önerileri

2018 ◽  
Vol 15 (1) ◽  
pp. 182
Author(s):  
Nuray Hilal Tuğan
Keyword(s):  
Visual Arts ◽  
Fine Arts ◽  
English Summary ◽  
Academic Education ◽  
Late 19Th Century ◽  
Dual Approach ◽  
Binary Structure ◽  
Art Form ◽  
Bilateral Approach ◽  
Education In Turkey

The cinema that emerged in the late 19th century is one of the newest forms of art. Therefore, it is necessary to evaluate the education of cinema which is a visual arts field in art education. Cinema education in our country started in the middle of the 1970s and took its place in academic education as one of the departments of the Faculty of Fine Arts and the Faculty of Communication. However, this binary structure has brought the tendency to treat cinema as a science in the Faculty of Communication and as an art form in Faculty of Fine Arts. In this study, it was tried to show that the lack of the bilateral approach to cinema education was discussed, then cinema was taken as a multidimensional phenomenon and it required an education that was designed to overcome this dual approach. When approaching cinema as a multidimensional phenomenon, it was firstly reached that television and cinema education should be arranged in a way to have a different academic viewpoint, and that the reception of students with cinema education by center examination is counterproductive to the nature of cinema as an art scene.Extended English summary is in the end of Full Text PDF (TURKISH) file. Özet19. Yüzyılın sonlarında ortaya çıkan sinema en yeni sanat formlarından biridir. Dolayısıyla görsel bir sanat dalı olan sinemanın eğitimini de sanat eğitimi içerisinde değerlendirmek gerekmektedir. Ülkemizde sinema eğitimi 1970’lerin ortalarında başlamış, günümüze kadar geçen süreçte Güzel Sanatlar Fakültelerinin ve İletişim Fakültelerinin bölümlerinden biri olarak akademik eğitimde yerini almıştır. Ancak bu ikili yapı İletişim Fakülteleri’nde sinemayı bir bilim olarak, Güzel Sanatlar Fakülteleri’nde ise bir sanat formu olarak ele alma eğilimini de beraberinde getirmiştir. Bu çalışmada sinema eğitimine söz konusu ikili yaklaşımın eksiklikleri tartışılmış, ardından sinema çok boyutlu bir olgu biçiminde ele alınarak bu ikili yaklaşımı aşacak bir bakış açısıyla oluşturulmuş bir eğitimi gerektirdiği ortaya koyulmuştur.  Sinemaya çok boyutlu bir olgu olarak yaklaşıldığında öncelikle televizyon ve sinema eğitimlerinin birbirinden ayrı akademik bakış açısına sahip olacak şekilde düzenlenmesi gerektiği ve sinema eğitimi veren fakültelere merkezi sınavla öğrenci alımının bir sanat dalı olarak sinemanın doğasına ters düştüğü sonucuna ulaşılmıştır. 

Diderot Et Roger De Piles

PMLA ◽  
1970 ◽  
Vol 85 (3) ◽  
pp. 444-455 ◽  
Author(s):  
Par Gîta May
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Fine Arts ◽  
Composition Design ◽  
Art Form ◽  
French Art ◽  
High Esteem ◽  
The Subject ◽  
The Impact ◽  
Technical Terms

While it has recently been established (thanks to the records of the Bibliothèque du Roi, now the Bibliotheque Nationale) that Diderot read a major treatise by Roger de Piles, the influential seventeenth-century art critic and theorist, as early as 1748, the nature and extent of Diderot's indebtedness to his predecessor have not yet been fully explored. Internal evidence, as well as direct and indirect references, reveal the impact of Roger de Piles on Diderot's ideas concerning composition, design, and color. Roger de Piles was the first French art critic to take an uninhibited delight in light and color and to attempt to render, through a bold use of concrete and technical terms, the freshness and vividness of his impressions. In this respect, too, he is an important precursor of Diderot, for the latter frequently borrowed especially apt expressions and images from the writings of Roger de Piles. Articles in the Encyclopedia devoted to the fine arts also confirm the high esteem in which de Piles was held by eighteenth-century artists and connoisseurs. Diderot and his contemporaries recognized above all de Piles's expertise in practical matters concerning the artist's craft. Even though Diderot departs from de Piles in his preoccupation with the moral message of a work of art, he shares with his predecessor a spontaneous appreciation of the exuberant forms, the animated scenes, the down-to-earth realism that characterize the Dutch and Flemish schools of painting. The sketch, as an art form more revelatory of a painter's inner spirit and genius than the more finished product, was the subject of several key remarks by de Piles which Diderot, in turn, amplified and developed in his critical essays. And it was in the writings of de Piles that Diderot found some of his most telling arguments against artificiality and mannerism in art and against an unquestioning adherence to doctrine and dogma. (In French)

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.

Action-Ballet and Ballet-Pantomime

2020 ◽  
pp. 45-68
Author(s):  
Anna Pakes
Keyword(s):  
Nineteenth Century ◽  
Fine Arts ◽  
Historical Narrative ◽  
Medium Specificity ◽  
Art Form

Chapter 2 considers developments in dance practice in the eighteenth and early nineteenth centuries, traditionally considered the period in which dance achieves autonomy as an art form. The plausibility of this standard dance historical narrative is critically discussed and questioned. The chapter examines how dance is theorised in relation to the fine arts, and how dance representation develops with ballet d’action and ballet-pantomime. Changing conceptualisations of choreography are explored, along with their implications for practices of notation and identification via narrative or dramaturgical (rather than movement) content. The chapter argues that, if dance becomes an independent art in this period, this is not equivalent to medium specificity or autonomy as later understood. Despite the contribution of eighteenth- and nineteenth-century dance practice and theory to an emerging notion of the dance work, it is not clear that ballets d’action, and their successor ballets-pantomimes, are appropriately subsumed under that concept.

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.

Classifying photography

2011 ◽  
Vol 36 (4) ◽  
pp. 44-49 ◽  
Author(s):  
Lynda Bunting ◽  
Ani Matosian
Keyword(s):  
Fine Arts ◽  
Library Of Congress ◽  
Art Form ◽  
Alternative Schedules

Photography has long been a part of the Library of Congress classification tables. At the time of its inclusion, photography was not considered an art form and thus was placed in the T – Technology schedule instead of the N – Fine Arts schedule. This article will discuss various aspects of photography classification, including its history, the reasons behind and development of alternative schedules, the challenges of classifying artists’ books with a photographic basis, and the feasibility of maintaining alternative schedules with the proliferation of shelf-ready books.

scholarly journals The Problem of Artistic Form and the Objectives of Fine Arts Pedagogy

2016 ◽  
Vol 8 (4) ◽  
pp. 98-107
Author(s):  
Alexander V Sveshnikov
Keyword(s):  
Common Ground ◽  
Fundamental Problem ◽  
Fine Arts ◽  
Traditional Education ◽  
Art Form ◽  
Object Based ◽  
Historic Development ◽  
Academic School ◽  
Traditional Approaches ◽  
Holistic Vision

The widespread tendencies in art to focus on the expression of subjective attitude to an event rather than on accurate depiction of an object have led to an increasingly strong opinion that basic academic literacy has lost its former practicality. Art pedagogic theory often treats the classical and modern education methods as opposites. Traditional education is claimed to be incompatible with the resolution of modern creative questions, and the instruction methods of the past are considered as outdated and unnecessary. Such contradistinction of the old and the new fails to consider the existence of a common pillar, of the main illustrative and interpretative objective, which is instrumental in providing the artistic meaningfulness equally to object-based or object-less art forms. The need to establish a necessary common ground, to resolve that universal fundamental problem at the very beginning of any educational journey, becomes therefore overlooked. This authors argument in favour of the importance of treating such a common objective as a pedagogic cornerstone is based on selected conceptual themes from the works by A. Hildebrand and G. Wlfflin, two classics of art criticism. It is hereby attempted to demonstrate the existence of certain fundamental principles, indispensable for any of the pedagogic schools. In particular, A. Hildebrand pinpointed the importance of the distance seeing, which reveals the necessary general identifying impression given by an event or an object, leading to considering them as a whole, uniting all the separate parts of their image. In relation to this global ability classical academic and contemporary schools differ only in their means of expression, and the argument between them appears to have no ground. Such conclusions are in agreement with the stand of G. Wlfflin, a distinguished art historian and critic. In his studies of the historic development of art form from objective clarity to subjective relative clarity of the objective sphere, he showed that we are dealing here with methodological variations rather than with different views on the core pedagogical values. Different schools of art, and both contemporary and traditional approaches to art education have therefore a common ground: forming of a holistic vision of the student. It is important to keep in mind that, depending on their type of artistic thinking, some students would be able to better reach this goal within the framework of the academic school, and others, on the contrary, while mastering modern forms of art.

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