scholarly journals Art history dynamics of theater scenography

2021 ◽  
pp. 170-175
Author(s):  
Anna Alisher
Keyword(s):  
Art History ◽  
Comparative Method ◽  
Fine Arts ◽  
Three Dimensional ◽  
Historical Analysis ◽  
Decorative Art ◽  
Architectural Styles ◽  
Theatrical Performance ◽  
Continuous Dynamic ◽  
Main Component

The purpose of the article is to study the peculiarities of the dynamics of the development of theatrical scenography by the solution of plot compositions, art forms, metaphorical images, specific features of mizantsen, national color. The methodology is based on the study of art history literature, conference materials, monographs, thematic literature, which corresponds to the disclosure of this work. The method of cultural and historical analysis helps to explore the tendencies of the development of Ukrainian scenography of the XX-XXI centuries. The comparative method, based on the consideration of the Ukrainian scenography in the context of world scenography. The scientific novelty of work is determined by a holistic analysis of the investigated processes and artistic features. The patterns of development of theatrical and decorative art are analyzed. Generalized preliminary studies in the art of scenography. Conclusions. Analyzing materials of research, a special phenomenon in scenographic art is the use of fundamental laws of science, fine arts, architecture and architectural styles, painting, sculptures, art design, bulky three-dimensional projections, colorful properties, national color. The evolution of the modern theatrical performance reflects the rains and the fall of this type of art, which specifically expresses the contradictions of man and society that are constantly updated. The world and national scenography are built on the global basis of the artistic design of stage space. The development of scenography is undoubtedly a continuous dynamic process, where the main component of the theater and its purpose is to build an artistic space of organization of action and its design, in other words, scenography. Undoubtedly important are personal indicators of the historical development of scenography art, using the experience of predecessors, adapting various architectural styles, artistic, applying harmonization and aesthetics in the stage space of theatrical action.

scholarly journals Ideological and artistic factors of the revival of national culture in the crisis periods of 1917-1930 and the end of the 1950s - the beginning of the 1970s.

2021 ◽  
Author(s):  
Mуroslava Shevchenko
Keyword(s):  
National Culture ◽  
Art History ◽  
Comparative Method ◽  
Fine Arts ◽  
Basic Principles ◽  
Political Processes ◽  
Historical Processes ◽  
The 1950S ◽  
Historical Comparative ◽  
The Impact

The purpose of the article is to study the ideological and artistic factors of the revival of national culture in the crisis periods of 1917-1930 and late 1950's - the early 1970s, analysis of common intentions and creative achievements in creating new dogmas of Ukrainian culture, the impact of political processes on culture and art. The methodology is based on the analytical method, which consists of the study of historical, art, and cultural sources. Cultural-historical - to consider the general state of Ukrainian fine arts of these periods, art history - provides an analysis of the phenomenon in an artistic context. The historical-comparative method, by comparison, makes it possible to identify commonalities and differences between historical processes and phenomena. The scientific novelty is to identify ideological and artistic factors in the revival of national culture in the crisis periods of 1917-1930's and late 1950's - early 1970's. Conclusion. The basic principles of ideological and artistic factors of the creation of national culture in the periods of 1917-1930 and the end of the 1950s - the beginning of the 1970s are revealed. The basic principles and methods of the revival of Ukrainian culture in the specified periods are analyzed.

scholarly journals ІКОНОСТАСИ СПАСО-ПРЕОБРАЖЕНСЬКОГО КАФЕДРАЛЬНОГО СОБОРУ ОДЕСИ: ТЕМАТИКА І СТИЛІСТИКА

2020 ◽  
pp. 114-128
Author(s):  
А. А. Тарасенко ◽  
Г. В. Акрідіна
Keyword(s):  
Comparative Method ◽  
Three Dimensional ◽  
Practical Significance ◽  
Decorative Art ◽  
European Tradition ◽  
Depth Study ◽  
Multi Temporal ◽  
History Of ◽  
Church Art ◽  
Xix Century

The purpose is to study the themes and the stylistics of the upper and lower churches’ iconostases of the Transfiguration Cathedral in Odessa. The comparative method was used in order to study the topic and identify the artistic and stylistic features of Odessa Cathedral iconostases. It allows comparing the objects of study with analogues from the world art. Iconological, iconographic methods and figurative-stylistic analysis were also applied. The iconostases of the Transfiguration Cathedral upper and lower churches in Odessa are organically inscribed in the architectural environment, thanks to which the synthesis of arts is reached. Classical architecture and the original spatial architectonics of the upper temple altar barrier determined the theme and the style of the icon-painting. It was found out that the decoration and the icons in the Transfiguration Cathedral upper and lower churches’ iconostases combine the multi-temporal traditions of Christian art. The upper church central iconostasis reflects the influence of Renaissance architecture and art. The icon painting characteristic feature is a combination of the European art heritage, specifically Italian and Northern Renaissance, classicism, baroque and academicism of the XIX century. A three-dimensional style of painting based on the Western European tradition is observed. The decoration of the lower temple altar barrier contains architectural elements of Byzantium, Ancient Rus and baroque. The icon painting was created in the canonical Byzantine style of the Paleologue Renaissance period. By studying the features of the Transfiguration Cathedral iconostases, the main trends in church art of the second half of the XX–XXI centuries were identified: the application and combination of the renaissance-academic and the Byzantine-Ancient Rus styles. A detailed study of Odessa Cathedral iconostases was conducted for the first time. The features of the icon-painting themes and stylistics in the connection with the architectonics of the iconostases and the temple’s architecture were revealed. Practical significance is due to the possibility of using research materials in monographs on art history of Odessa, in the preparation of textbooks and methodological instructions with an in-depth study of icon-painting, monumental and decorative art, in the working-out of lectures’ and practical classes’ texts.

Recording Epigraphic Sources as Part of Artworks

2020 ◽  
pp. 128-144
Author(s):  
Gabriele Pieke
Keyword(s):  
Original Artwork ◽  
Art History ◽  
Historical Analysis ◽  
Relevant Information ◽  
Ancient Egypt ◽  
Historical Study ◽  
Data Set ◽  
Line Drawings ◽  
Color Data ◽  
Written Word

Art history has its own demands for recording visual representations. Objectivity and authenticity are the twin pillars of recording artistic data. As such, techniques relevant to epigraphic study, such as making line drawings, may not always be the best approach to an art historical study, which addresses, for example, questions about natural context and materiality of the artwork, the semantic, syntactic, and chronological relation between image and text, work procedures, work zones, and workshop traditions, and interactions with formal structures and beholders. Issues critical to collecting data for an art historical analysis include recording all relevant information without overcrowding the data set, creating neutral (i.e., not subjective) photographic images, collecting accurate color data, and, most critically, firsthand empirical study of the original artwork. A call for greater communication in Egyptology between epigraphy/palaeography and art history is reinforced by drawing attention to images as tools of communication and the close connection between the written word and figural art in ancient Egypt.

scholarly journals Se, tale, høre – oplevelsens kunst

1970 ◽  
pp. 31
Author(s):  
Bruno Ingemann
Keyword(s):  
Cultural History ◽  
Art History ◽  
Fine Arts ◽  
Video Camera ◽  
History Museum ◽  
Starting Point ◽  
Functional Context

See, talk, listen – the art of experience This article presents the manner in which two informants experience an exhibition of the works of a well known Danish painter, Ole Sporring. One of the informants, Jakob (27), wears a small video camera on his head which records his walk through the exhibition, looking at the paintings and talking with his companion, Gunnar (55). Ingemann states that he has used this method in video-walks previously in the context of a cultural history museum (Ingemann 1999). A painting can be seen as an object taken from one functional context – the painter’s studio – and contextualised in an exhibition with others of his paintings, drawings, photographs and objects (Braxendale 1991). Csikszentmihalyi & Robinson have found four factors that are important when one encounters an art-work: the perceptual, the emotional, the intellectual and the communication dimensions. In their project 57 informants educated in the field of fine arts themselves chose the artworks they related to as prototypical examples. In my project I focused on informants who had no formal art history training and I myself selected the exhibition they would visit. My theoretical starting point differs from that of Csikszentmihalyi & Robin- son in that they focus on the art whereas I focus on the informants and their experience (Dewey 1934). 

scholarly journals Alexandra Ekster’s Contribution to Ukrainian and World Art Culture

2021 ◽  
pp. 219-228
Author(s):  
Lesia TURCHAK
Keyword(s):  
Art Education ◽  
Research Methodology ◽  
Art History ◽  
Historical Data ◽  
Methodological Approach ◽  
Fine Arts ◽  
Creative Activity ◽  
Teaching Activity ◽  
Avant Garde ◽  
The Subject

The work of Ukrainian artists who have contributed to Ukrainian and international art, is not sufficiently disclosed. Their creative search impresses with versatility, interesting decision, continues to impress and inspire contemporaries. Purpose of the article — to find out the contribution of the Ukrainian avant-garde artist, set designer, teacher Oleksandra Ekster, to the Ukrainian and international fine arts. Oleksandra Ekster’s work has been the subject of research for decades. Scientists are interested in the painter’s art search, her contribution to Ukrainian avant-garde, scenography reforms, and teaching activity. Some sources may state that Ekster is a representative of Russian avant-garde. However, the artist grew up in Kyiv, obtained art education and promoted with her work not only Ukrainian but world avant-garde as well. The research of modern scientists (H. Kovalenko, D. Horbachova, T. Filevska, N. Stoliarchuk, M. Yur and others) makes it possible to review the artist’s life and artistic journey as well as her contribution to art history. The research methodology consists of a range of methods: historical, biographical, theoretical. The abovementioned methodological approach allows studying the question of historical data relating to the events in Ukraine that led to the emigration waves, finding out certain biographical facts and analyzing the artist’s creative activity.

scholarly journals Open Fora

2020 ◽  
Vol 5 ◽  
pp. 139-155
Author(s):  
Vita Susak
Keyword(s):  
Art History ◽  
Three Dimensional ◽  
Visual Language ◽  
Urban Spaces ◽  
Avant Garde ◽  
Political Narratives ◽  
National Competition ◽  
Realistic Images ◽  
Universal Nature ◽  
Late Recognition

Just half a century ago, Malevich’s name was familiar to very few people. On a wave of international interest to the avant-garde, he became a world-famous artist. Kazimir Malevich (1879–1935) was born into a Polish family in Kyiv and created the Black Square (1915) in Moscow. These are the most important facts that todayallow three countries (Poland, Ukraine, and Russia) to consider him as their “own” artist. Art historians and curators actively research Malevich’s work, usually arguing that he belongs to the culture they themselves represent.This paper gives a brief overview of the discovery of Malevich in the West and of his late recognition in the USSR. It also deals with the growth of his popularity since the early 1980s, and provides examples of the current use of his name and work in cultural-political narratives. Malevich’s legacy has gone far beyond art history tobecome iconic in each of the three countries. Today the abstract visual language unseats realistic images due to its universal nature; pure abstract forms become incorporated with their three-dimensional configurations into urban spaces. Million-dollar prices at auctions encourage counterfeits, resulting in some huge scandals. Suprematist language is employed in a very broad range: from the tragic to the entertaining. Malevich becomes a “trump card” in national “decks.” It is precisely the international meaning of Malevich’s ideas that has caused national “competition” for this author.

Application of Bovine Acellular Cancellous Bone Matrix in Alveolar Ridge Preservation Following Tooth Extraction

2021 ◽  
Vol 11 (5) ◽  
pp. 805-812
Author(s):  
Hongguang Zhu ◽  
Jianwen Bai ◽  
Meirong Wei ◽  
Ti Li
Keyword(s):  
Bone Formation ◽  
Cancellous Bone ◽  
Tooth Extraction ◽  
Bone Matrix ◽  
Three Dimensional ◽  
Ridge Preservation ◽  
Alveolar Ridge ◽  
Bone Powder ◽  
Bone Substitute Materials ◽  
Main Component

Objective: In this article, we explored the microscopic structure and composition of the decellular-ized cancellous bone matrix of the calf, and established the animal model of Beagle dog extraction. By applying different bone substitute materials in the extraction of teeth, we observed the new collagen-rich in the preservation of the site after tooth extraction. The protein bone matrix maintained the three-dimensional shape of the alveolar ridge compared to other biological materials. Methods: The microstructure of the new collagen-rich bone matrix was observed by scanning electron microscopy. The porous structure, porosity and distribution of collagen fibers were observed. XRD and infrared spectroscopy were used to further detect the inorganic and organic components in the new collagen-rich bone matrix. The premolar extraction and site preservation model of Beagle dogs were constructed. The changes of collagen-rich bone matrix, Bio-oss bone powder, CGF filling and blank control alveolar ridge volume were compared by CBCT. HE staining was used to observe and compare new bone formation, bone remodeling and bone resorption between groups, and to observe the formation of blood vessels, osteogenic mineralization, trabecular bone formation and inflammatory response in different periods. Results: (1) The acellular bone matrix of bovine cancellous bone completely removes the immunogenicity of the cells and has good histocompat-ibility; the pore diameter and porosity closest to the physiological structure, the main component is hydroxyapatite and collagen. (2) Site preservation can reduce the absorption of alveolar ridge following tooth extraction, preserve sufficient bone mass for alveolar fossa, and retain a good width of attachment, which provides further protection for implant surgery. (3) In the post-extraction site preservation, the CGF group has better bone composition than the BABM group and Bio-oss bone powder. Conclusion: Bovine Acellular Cancellous Bone Matrix is a new type of biological bone matrix. The main components are collagen and hydroxyapatite, which can promote bone formation in the extraction socket.

Dual Master’s degree in art librarianship, Indiana University, USA

1994 ◽  
Vol 19 (2) ◽  
pp. 9-11
Author(s):  
Betty Jo Irvine
Keyword(s):  
Art History ◽  
Information Science ◽  
Master's Degree ◽  
Fine Arts ◽  
The United States ◽  
Library And Information Science ◽  
Indiana University ◽  
Reference Services ◽  
Fieldwork Experience ◽  
Master’S Degree

In 1985 the dual master’s degree program in art librarianship was developed at Indiana University by the head of the Fine Arts Library, working with faculty members in the School of Fine Arts/Art History and the School of Library and Information Science. This program is designed to prepare students in the United States for professional library and information specialist positions in fine arts libraries and information centers. The student is offered a coordinated approach to achieving two masters degrees — one in art history and the other in library and information science — and must be admitted to both schools. For this program the course ‘Seminar in Art Librarianship’ was devised, covering topics such as administration, collection development, reference services, and visual resources management. Further requirements include a research bibliography course in art history and fieldwork experience in the Fine Arts and Slide libraries. This program seeks to meet the need for a marketable combination of subject–specific and library/information science education for art library and visual resources professionals.

The Library of the Barber Institute of Fine Arts at the University of Birmingham

2010 ◽  
Vol 35 (4) ◽  
pp. 24-28 ◽  
Author(s):  
David Pulford
Keyword(s):  
Art History ◽  
Fine Arts ◽  
Art Gallery ◽  
Art Galleries ◽  
University Library ◽  
The University

The Barber Institute of Fine Arts is acknowledged as one of the finest small art galleries in Europe. It has a richly resourced library which functions both as a curatorial library for the Barber’s curators and as part of the University of Birmingham’s network of site libraries. Students of art history thus benefit from the combined resources of a specialist art gallery library and a major university library. The Barber also houses a visual resources library, music library and coin study room.

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