scholarly journals VISUAL WORLDS OF Y. LYSYK

2021 ◽  
Vol 3 (1) ◽  
pp. 1-7
Author(s):  
Bohdanova Yu ◽  
◽  
Kopyliak I ◽  
Keyword(s):  
Twentieth Century ◽  
Main Idea ◽  
Visual Images ◽  
Wall Paintings ◽  
Stained Glass ◽  
Personal Attitude ◽  
The World ◽  
Deep Meaning ◽  
The City ◽  
Historical Periods

Contemplating the works of monumental art that surround us in everyday life, you always see the numerous sculptural decorations of Lviv houses, carefully look at the wall paintings of temples, catch the glare of coloured stained glass windows. And the city itself, which has not been subjected to crushing destruction, not only has a considerable number of monumental architectural objects but also acts as a large complex representing the philosophy of different historical periods of society's existence. We see all this almost daily. However, visiting the theatre is always an extraordinary event. You will be especially lucky if the performance is accompanied by scenography developed by the artist Yevhen Lysyk. His style reflects the ideas of the fashion trend of the second half of the twentieth century – postmodernism, which rejected the ideas of rationality and progress and professed to blur the boundaries of artistic genres and interpretive thinking. It erased the boundaries between mass and elite cultures, between the author and the viewer, and plunged into the world of sensations, game and irony. The style of monumental paintings and scenography performed by Y. Lysyk never conveys anything literally. These are the worlds of philosophical worldview, which was reflected in the metaphorical, symbolic, deep-meaning and hyperbolized transmission of images. The main idea is always hidden and does not open immediately. By watching the performance and immersing oneself in it, the viewer emotionally experiences the stories of the characters not only through the performance of the actors but also receiving a visual sensory impulse from the artistic design of the stage. So, a conceptual principle of Y. Lysyk is an idea that art does not reproduce reality, but expresses its essence. The design of the scene should evoke emotions, and should not be taken literally, so visual images through transformation (mimesis) always express a deep philosophical thought. The prototype of scenographic works is often nature, illustrating Leonardo da Vinci's statement that art is a mirror of nature. Y. Lysyk's works are characterized by his attitude to the depicted, a deeply emotional, passionate, and personal attitude. The main idea of the play is expressed by revealing the meanings that are hidden in the visual worlds of Yevhen Lysyk, which is complemented by the libretto and the actors' performance.

“A Season in Hell”

2017 ◽  
Vol 86 (4) ◽  
pp. 632-660 ◽  
Author(s):  
Anne Rees
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Daily Life ◽  
Modern Life ◽  
Early Twentieth Century ◽  
The World ◽  
Women Travelers ◽  
The City ◽  
Travel Accounts

Australian women travelers in early twentieth-century New York often recoiled from the frenetic pace of the city, which surpassed anything encountered in either Britain or Australia. This article employs their travel accounts to lend support to the growing recognition that modernity took different forms throughout the world and to contribute to the project of mapping those differences. I argue that “hustle” was a defining feature of the New York modern, comparatively little evident in Australia, and I propose that the southern continent had developed a model of modern life that privileged pleasure-seeking above productivity. At a deeper level, this line of thinking suggests that modernization should not be conflated with the relentless acceleration of daily life; it thus complicates the ingrained assumption that speed and modernity go hand-in-hand.

scholarly journals CONCEPTUAL DESIGN. STAGES OF FORMATION

2021 ◽  
pp. 220-230
Author(s):  
Tetiana Rusevych ◽  
Olha Severina
Keyword(s):  
Twentieth Century ◽  
Urban Environment ◽  
Conceptual Design ◽  
Building Materials ◽  
Main Idea ◽  
Building Codes ◽  
Avant Garde ◽  
Main Form ◽  
The World ◽  
Design Ideas

Conceptual design is the most creative part of architectural activity. In the professional work of architects, conceptual design is given great importance. Various architectural and design forums, exhibitions, competitions are dedicated to him. In Soviet times, an interesting example of the formation of conceptual solutions is the work of Alexander Brodsky and Ilya Utkin (who signed their works as a tandem of "Brutus"). We have other solutions of interesting concepts - the object of the competition "The World of El Lysytsky" - the Globe Theater in Novosibirsk. Here the authors start from the main idea - that the cube is the main form that characterizes the spirit and style of the Russian avant-garde of the twentieth century. Conceptual design ideas are implemented in the construction of unusual hotels, atypical urban environment, non-traditional building materials. All this allows you to think about life according to other rules. Than those prescribed in building codes. The world around us is more interesting and diverse, so we can, in part, paint it in bright colors.

scholarly journals Widmo Chopina krąży po Warszawie

2021 ◽  
Vol 60 ◽  
pp. 82-94
Author(s):  
Łukasz Piaskowski
Keyword(s):  
World View ◽  
Main Idea ◽  
Later Life ◽  
Modern World ◽  
Main Task ◽  
German Culture ◽  
Contemporary World ◽  
The World ◽  
The City ◽  
Intellectual Climate

Pejzaż myśli. Warszawa Chopina i początek polskiej nowoczesności [A landscape of thoughts: Chopin’s Warsaw and the beginning of Polish modernity] by Michał Kuziak is a book combining the values of a scholarly work and a work whose main task is to popularise knowledge both about Frédéric Chopin himself and about the world that surrounded him and that shaped him. The dissertation is not only the context for the composer’s life; it is also part of a broader stream of research on the beginnings of Polish modernity. The book is therefore about Warsaw understood not only as the place where young Frédéric grew up, but also as the area where the foundations of Polish modernity were laid. Chopin functioned in a kind of intellectual melting pot within which there was a conflict between tradition and modernity, between progress and conservatism. The author precisely delineates the chronological framework within which he moves. These are the years 1810–1830, that is, the first 20 years of the composer’s life. However, the book does not only focus on the person of Chopin, so it is not “Chopin-centric.” The work consists of three parts, each of them marked with a significant title: 1. “City and people”; 2. “Institutions and people”; 3. “Thoughts and people.” This arrangement is a good example of the author’s main idea: to show Chopin among people, and also people within the city, municipal institutions and the thoughts that developed there. For the author of the book, Warsaw was a crucible and a cosmos of thoughts: on the one hand, there is a constant offensive of scientifi c and technical thought related to the Enlightenment tradition, and on the other, the birth of the world of spirit and religion. Polish modernity is an eclectic mixture in which there are still remnants of the noble world, but the foundations of the bourgeois world are also being laid. Kuziak, drawing an image of Warsaw at that time, emphasises the importance of key cultural institutions, such as literary salons and cafés. For Chopin, cafés, where he met with representatives of the contemporary world of literature and poetry, were of particular importance. Warsaw’s intellectual climate, inspired by the French Enlightenment, was giving way more and more to the influences of German culture associated with Romanticism. Kuziak writes that the modernity of the Romantic type was shaped by German culture. He regards the considerations of Kazimierz Brodziński and Maurycy Mochnacki as the two largest projects of modern Polish identity. Importantly, both of these authors were closely associated with the Polish musical culture which the young Chopin absorbed. The author of the book makes a reservation that it is difficult to conclusively confi rm what influence the institutional and intellectual shape of Warsaw at that time had on Chopin. He states with certainty that Chopin’s trips outside the city, and thus getting to know Masovian folklore, had a decisive impact on his imagination. The book does not, however, determine how the then Warsaw shaped the composer’s later life. The author brilliantly reconstructed the background on which Chopin’s shadow moved, but he chose not to answer the most important question: did the city, people, institutions and intellectual climate ultimately form the composer’s modern world view? This question remains open.

Introduction

2018 ◽  
Author(s):  
Amy K. DeFalco Lippert
Keyword(s):  
United States ◽  
Twentieth Century ◽  
San Francisco ◽  
Primary Source ◽  
The United States ◽  
Gold Rush ◽  
Cultural Dimensions ◽  
The World ◽  
The Relationship ◽  
The City

Pictures wielded considerable power in nineteenth-century society, shaping the way that Americans portrayed and related to one another, and presented themselves. This is not only a history through pictures, but a history of pictures: it departs from most historians’ approaches to images as self-explanatory illustrations, and instead examines those images as largely overlooked primary source evidence. Consuming Identities charts the growth of a commodified image industry in one of the most diverse and dynamic cities in the United States, from the gold rush to the turn of the twentieth century. The following chapters focus on the circulation of human representations throughout the city of San Francisco and around the world, as well as the cultural dimensions of the relationship between people, portraits, and the marketplace. In so doing, this work traces a critical moment in the shaping of individual modern identities.

scholarly journals The Main Directions of the Humanization of Industrial Objects in Urban Environment

2020 ◽  
Vol 14 (1) ◽  
pp. 60-65
Author(s):  
Maksym Votinov ◽  
Olga Smirnova ◽  
Maria Liubchenko
Keyword(s):  
Twentieth Century ◽  
Urban Environment ◽  
World Economy ◽  
Developed Countries ◽  
Compositional Techniques ◽  
Industrial Facility ◽  
Industrial Facilities ◽  
Foreign Experience ◽  
The World ◽  
The City

The tendency to transform the old industrial areas began in 1950-1960 last century in Europe and America. By the end of the twentieth century with the development of the world economy, the time has come when the transformation of industrial infrastructure is becoming a comprehensive phenomenon. Currently, in the economies of developed countries, forms of transformation such as global mergers, takeovers, re-equipment and re-functioning are being intensively implemented. Based on the analysis of positive foreign experience, the main directions of humanization of the urban environment are considered through the transformation of industrial facilities. The transformation of industrial facilities and their territories with a change in functionality becomes the main direction of humanization of the urban environment in the XXI century. Numerous architectural and compositional techniques are allowed to adapt any industrial facility in the dynamic infrastructure of the city.

scholarly journals Image of a city and British artists of the 1910s

2020 ◽  
pp. 39-50
Author(s):  
Елена Владимировна Игумнова
Keyword(s):  
Twentieth Century ◽  
Great Britain ◽  
Urban Environment ◽  
Urban Landscape ◽  
Industrial Areas ◽  
Large Cities ◽  
British Art ◽  
The World ◽  
Artistic Life ◽  
The City

К началу ХХ века Лондон был одним из самых развитых промышленных городов в мире, но в британском искусстве того времени жанр городского пейзажа и индустриальные мотивы не находили особого отклика. К 1910-м годам ситуация изменилась, художники разных поколений стали изображать улицы крупных городов, находить сюжеты в работе фабрик и облике индустриальных районов, развивать жанр портрета в городской среде. Этот момент возникновения и развития интереса к городским сюжетам, эволюция образа города в работах лондонских художников 1910-х годов показаны в статье через срез художественной жизни Великобритании (от жанровых сцен У. Сикерта до геометрических абстракций У. Льюиса). By the beginning of the twentieth century, London was the most industrially developed city in the world. But the genre of urban landscape and industrial motifs did not find a special response in the British art of that time. By the 1910s, the situation had changed, artists of different generations began to depict the streets of large cities, find stories in the work of factories and the appearance of industrial areas, and develop the genre of portraiture in an urban environment. This moment of the emergence and development of interest in urban subjects, as well as the evolution of the image of the city in the works of London artists of the 1910s, are shown in the article through the review of the artistic life of Great Britain (from genre scenes by W. Sickert to geometric abstractions by W. Lewis).

scholarly journals A 3D REWORKING OF THE URBAN TRANSFORMATIONS OF PALERMO IN RECENT HISTORY FOR A HYPOTHESIS OF A "CITY MUSEUM" BASED ON DIGITAL VISUALIZATIONS

2021 ◽  
Vol VIII-M-1-2021 ◽  
pp. 81-87
Author(s):  
G. M. Girgenti ◽  
A. Alessio
Keyword(s):  
Twentieth Century ◽  
Three Dimensional ◽  
Photographic Images ◽  
The World ◽  
Urban Transformations ◽  
Geometric Techniques ◽  
The 1960S ◽  
The City ◽  
Illustrative Material

Abstract. The objective that drives this research is given by a multitude of information which, in addition to the contribution of technology, allows us to study, analyze, verify and remodel the sites, monuments and evolutions of the city through graphic processes of perspective restitution that start from the analysis of historical photos. The drawing methods, the digital graphic rendering and through the aid of geometric techniques, contribute to the reconstruction of projects and architectures that are now lost, this is possible thanks to the methods of perspective, axonometry and three-dimensional restitution.This remarkable photographic heritage belonging to Palermo, but also to any other city in the world that is sometimes not even considered in the least or that is even forgotten in archives today finds new life thanks to the perspective restitution. Shooting and photographic images following particular studies, allow us to precisely establish the observation points and the dimensions of architectures that have now disappeared, giving them new life through the transposition and reconstruction of the same within a “memory archive three-dimensional”.In order to describe the transformations of the city, both urban and architectural, we have taken as a case study an architecture that has now been lost in the city of Palermo: villa Rutelli. It was a neo-Gothic villa, built in the first twenty years of the twentieth century on the axis of Via Libertà and demolished in the 1960s along with other buildings of the Palermitan Liberty during the years of the infamous "sack of Palermo". Through the iconographic and archival research at the CRICD and the Bronzetti fund (photographer) and with the aid of research and cataloging studies, illustrative material emerged which was useful for reworking the particularities of the model through the perspective restitution.

The Aesthetics of Ascension in Norman Bel Geddes's Futurama

2004 ◽  
Vol 63 (1) ◽  
pp. 74-99 ◽  
Author(s):  
Adnan Morshed
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Spatial Dynamics ◽  
World's Fair ◽  
New York World's Fair ◽  
The World ◽  
The Future ◽  
The Common ◽  
New Vision ◽  
The City

The present article concerns the early-twentieth-century avant-garde's aestheticizing of a new vision occasioned by the advent of human flight. It focuses on the project that best reflects this vision: the Futurama, an exhibit created by the American industrial designer Norman Bel Geddes for the 1939 New York World's Fair. The Futurama's status as the "number one hit show" of the fair derived largely from its theatrical technique of seeing: spectators literally gazed down on an American utopia as if they were aviators in a low-flying airplane. Conceived during the golden age of American aviation, in the 1920s and 1930s, the Futurama exemplified the common utopian belief that the perspective from an airplane would usher in new spatial dynamics that would introduce the city of the future. The enthusiasm for aerial vision evinced a remarkable affiliation between aviation and a modernist logic of looking at the world. The fact that the Futurama spectator's aerial viewing became enmeshed in broader conceptualizations of twentieth-century visuality reveals the crucial presence of what could be called an "aesthetics of ascension" in the avantgarde imagination of the future city.

scholarly journals Hungarian Sculpture of the Late Twentieth Century. At the Intersection of Romanticism and Pop Art

2019 ◽  
Vol 15 (4) ◽  
pp. 108-135
Author(s):  
Igor Svetlov
Keyword(s):  
Twentieth Century ◽  
Human Life ◽  
Pop Art ◽  
Art Exhibition ◽  
Dynamic Activity ◽  
Environmental Objects ◽  
The World ◽  
Late Twentieth ◽  
The City ◽  
Late Twentieth Century

Developing intensively and in its own way throughout the 20th century, Hungarian sculpture has gained recognition as one of the leading European schools. Much in its creative image was determined between the two world wars when romantic tonality, combining dynamic activity and plastic flexibility, became a high priority. Romantic pantheism made itself felt in the artistic works of the Hungarians, successfullyshown at the All-Union Art Exhibition in Moscow in 1957-1958. The appeal to the motives and forms of nature enriched the human modulus of Hungarian sculpture.The period between 1960-1970 is its most fruitful time. The combination of romantic concepts and themes with object textures and aesthetics of simplicity, inherent in pop art, among the masters of the older generation, Imre Varga and Erzsébet Schaár who were recognized in Europe, was the biggest event among the variants of its creative movement. Imre Varga’s evolution in this direction, from grotesque-naturalistic publicism to the use of pop art techniques as a means of the dramatic theatricalization of human life and history, is illustrated in the article. Varga developed a synthesis of the pop art-inspired landscape and romantic portrait in the best monuments of these decades. In Erzsébet Schaár’s art, the objective world more than once turned into an artistic metaphor of independent significance. However, for her, the most important meeting of romanticism and pop art happened, the same as for Varga, in the search for synthesis and the creation of an ensemble. Her Street, which is exhibited in the city of Pecs, is perceived as a combination of symbolic figures and environmental objects, imbued with the idea of infinity of the world.

scholarly journals Educação Patrimonial, Arqueologia e Narrativas Decoloniais

2019 ◽  
Vol 5 (8) ◽  
pp. 151
Author(s):  
Sandro Guimarães de SALLES ◽  
Saulo Ferreira FEITOSA
Keyword(s):  
Archaeological Research ◽  
Second Moment ◽  
The World ◽  
The City ◽  
Historical Periods ◽  
Ways Of Life

O presente artigo é fruto das pesquisas desenvolvidas no projeto Educação Patrimonial e Cartografia Arqueológica do Agreste Central de Pernambuco, tendo como objetivo discutir as possibilidades de aproximação entre a arqueologia e o pensamento pós-colonial, com ênfase na bioarqueologia. Em um primeiro momento, discutimos a noção de arqueologia viva que fundamenta nossa pesquisa, apresentando suas bases epistêmicas, assentadas no pensamento pós-colonial. Em um segundo momento, discutimos os aportes decoloniais da bioarqueologia, bem como sua possibilidade de revelar modos outros de vida nas sociedades originárias. Apresentamos o Bem Viver como um desses modos, podendo ser identificado nas mais variadas culturas, nos mais distintos períodos históricos e em diferentes regiões do globo terrestre. Por fim, discutindo as possibilidades de contribuições da bioarqueologia para as pesquisas arqueológicas no Agreste Pernambucano, abordando o caso do Sítio Furna do Estrago, no Brejo da Madre de Deus/PE.  Bioarqueologia. Educação Patrimonial. Agreste Pernambucano. PATRIMONIAL EDUCATION, ARCHAEOLOGY AND DECOLONIAL NARRATIVES ABSTRACTThis article is the result of researches developed in the project Educação Patrimonial e Cartografia Arqueológica do Agreste Central de Pernambuco (Patrimonial Education and Archaeological Cartography of Central Harsh Region of Pernambuco), aiming to discuss the possibilities of approaching archeology and postcolonial thought, with an emphasis on bioarchaeology. At first, we discuss the notion of living archeology that underlies our research, presenting its epistemic foundations, based on postcolonial thought. In a second moment, we discuss decolonial contributions of bioarchaeology, as well as its possibility of revealing other ways of life in the original societies. We present Well Living (Vivir bien) as one of these ways, identified in the most varied cultures, in the most distinct historical periods and in different regions of the world. Finally, discussing the possibilities of bioarchaeological contributions to archaeological research in the northest harsh region of Pernambucano, addressing the case of the Sítio Furna do Estrago, a countryside site in the city of Brejo da Madre de Deus. Bioarchaeology. Patrimonial Education. Harsh Region of Pernambuco.

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