Ladislav Trakal’s Art and Crafts Workshop of Decorative Painting in Kharkiv (1899–1921)

2020 ◽  
Vol 2020 (3) ◽  
pp. 62-72
Author(s):  
L. Sokolyuk ◽  
Keyword(s):  
Art Education ◽  
Private School ◽  
Art Nouveau ◽  
Archival Documents ◽  
The Status ◽  
Solid Foundation ◽  
Industrial Art ◽  
Private Studio ◽  
Decorative Painting ◽  
Art School

The article attempts to outline the activities of Kharkiv art and craft workshop of decorative painting, headed by a Czech creator Ladislav Trakal in 1899. The introduction of some new archival documents into scientific circulation showed that there was a close connection between the pedagogical system of Rayevska‑Ivanova’s school, founded in 1869, and Trakal’s decorative‑handicraft workshop. The 4‑year industrial art school in Prague, which Trakal graduated from in 1896, did not have the status of a higher art institution at that period of time. When Trakal arrived in Kharkiv and headed the decorative‑handicraft workshop, which was housed in an edifice that Colonel Borodaevsky devised to Kharkiv Society for the Dissemination of Literacy, Trakal got on a well‑worked ground, which was prepared by Rayevska‑Ivanova. In 1869 this outstanding person, the first woman‑artist with a European level education and a diploma from St. Petersburg Academy of Arts in Russian Empire, founded an industrial art school in Kharkiv. Later, in 1896 she was forced to leave teaching at her school due to a complete loss of vision. However, the need for specialists of this profile did not disappear. Kharkiv was experiencing a real construction boom, and decorators, one of whom Trakal was, were in great demand. Although Trakal’s workshop did not become as multidisciplinary as Raevska‑Ivanova’s school, it used a lot of the pedagogical system developed by the founder of industrial art education in Kharkiv, to its advantage. Trakal’s workshop gave its students an initial industrial art education, prepared them for the activity in decorative painting. Unlike Rayevska-Ivanova who taught free of charge in her private school for more than 27 years, trying to lay solid foundation of industrial art education in Kharkiv, Trakal turned out to be a rather enterprising person. He successfully completed highly paid orders for the decoration of buildings in Kharkiv and also opened his own private studio. Having a good command of Russian, Trakal easily entered Kharkiv’s artistic life. He actively participated in exhibitions, where he showed his paintings, made in the Art Nouveau Style with an enhanced symbolist sound. However, the question remains about how bright and original this artist was in comparison with artists from other Ukrainian cities (M. Zhuk, Yu. Mykhailiv, M. Sapozhnikov). Similarly, the contribution of other art institutions to the development of some of Trakal’s students who eventually became famous masters, also requires further studying.

Orthodox arrangement of the Pochaiv Lavra in the second third of the XIX century.

2021 ◽  
pp. 13-41
Author(s):  
Ella Volodymyrivna Bystrytska
Keyword(s):  
Local Level ◽  
The Political ◽  
Special Role ◽  
Economic Activities ◽  
Government Officials ◽  
Political Motivation ◽  
Archival Documents ◽  
The Status ◽  
The Russian Empire ◽  
Xix Century

Abstract: A series of imperial decrees of the 1820s ordering the establishment of a Greco-Uniate Theological Collegium and appropriate consistories contributed to the spread of the autocratic synodal system of government and the establishment of control over Greek Uniate church institutions in the annexed territories of Right-Bank Ukraine. As a result, the Greco-Uniate Church was put on hold in favor of the government's favorable grounds for the rapid localization of its activities. Basilian accusations of supporting the Polish November Uprising of 1830-1831 made it possible to liquidate the OSBM and most monasteries. The transfer of the Pochaiv Monastery to the ownership of the Orthodox clergy in 1831 was a milestone in the liquidation of the Greco-Uniate Church and the establishment of a Russian-style Orthodox mono-confessionalism. On the basis of archival documents, the political motivation of the emperor's decree to confiscate the Pochayiv Monastery from the Basilians with all its property and capital was confirmed. The transfer to the category of monasteries of the 1st class and the granting of the status of a lavra indicated its special role in strengthening the position of the autocracy in the western region of the Russian Empire. The orders of the Holy Synod outline the key tasks of ensuring the viability of the Lavra as an Orthodox religious center: the introduction of continuous worship, strengthening the personal composition of the population, delimitation of spiritual responsibilities, clarifying the affiliation of the printing house. However, maintaining the rhythm of worship and financial and economic activities established by the Basilians proved to be a difficult task, the solution of which required ten years of hard work. In order to make quick changes in the monastery, decisions were made by the emperor and senior government officials, and government agencies were involved at the local level, which required the coordination of actions of all parties to the process.

scholarly journals CONTEMPORARY ART SCENARIO IN THE STATE OF ANDHRA PRADESH

2021 ◽  
pp. 186-192
Author(s):  
Dr. K. Mrutyunjaya Rao
Keyword(s):  
Key Words ◽  
Art Education ◽  
Contemporary Art ◽  
Andhra Pradesh ◽  
The State ◽  
Art Departments ◽  
Art School

The Art activity in the state of Andhra Pradesh was pioneered by Damerla Ramarao and Varada Venkataratnam with the help some English officers and some of their disciples. Later whole art activity is concentrated at Hyderabad till the state bifurcation in 2014. The Art education and Institutions were discussed in details. The arrival of Baroda school product has helped us to mark our self as distinct school on the cultural map of India with help of Ravinder G Reddy, V.Ramesh, T.Sudhakara Reddy, CRS Patnaik and Dr. K.Mrutyunjaya Rao. These masters has succeeded to paved a bridge between art and Contemporary art of India. Later the product of Andhra art school has spreaded all over the state and country. Two art departments emerged in the region of Rayalaseema under the lead of Dr.K. Mrutyunjaya Rao. Due to state bifurcation, the major art activity and development has gone to Telangana. The Residual Andhra Pradesh has lost so much. Many of Andhra Artists settled at other states for bread and butter. But now recovering slowly. KEY WORDS: Damerla Rama Rao , Baroda, Contemporary, Aesthetic, Scrap Sculpture, Kadapa,

scholarly journals Territorial Delimitation between Altai, Omsk and Semipalatinsk Provinces in 1925

2021 ◽  
pp. 371-383
Author(s):  
K. B. Korzhenevsky
Keyword(s):  
Detailed Analysis ◽  
Border Line ◽  
Archival Documents ◽  
The Status ◽  
History Of

A detailed analysis of the process of demarcation of the Altai province from the Omsk province of the RSFSR and the Semipalatinsk province of the Kirghiz (since June 1925 — Kazak) ASSR, which were first involved in scientific circulation is carried out on the basis of the archival documents. It is shown that it consisted in an attempt by the Altai authorities to withdraw the territory of the Narrow Steppe from under their jurisdiction and transfer it to the adjacent provinces in the first half of 1925. The history of this border issue, which arose as a result of the inclusion of the Korostelevskaya steppe in the Kyrgyz ASSR, is investigated. The course of discussion of changes in the border line between the authorities of the three provinces and Moscow is described. Various arguments proposed by the parties, options for resolving the problem that have arisen are considered; and also, it is explained why, in the end, the disputed border territory remained part of Siberia. It is noted that the attempts of the leadership of the Altai province to transfer part of the territory of the Uglovsky district with the “Narrow Steppe” tract under the control of the Omsk and Semipalatinsk provinces are noted. It is concluded that the issue of the status of the Narrow Steppe during the nationalterritorial demarcation between Siberia and Kazakhstan was one of the most difficult and went beyond the traditional ways of solving similar problems.

A ‘solid foundation’? Art schools and art education

2018 ◽  
pp. 127-165
Author(s):  
James Moore
Keyword(s):  
Middle Class ◽  
Art Education ◽  
State Intervention ◽  
Local Communities ◽  
Textile Workers ◽  
Industrial Worker ◽  
The Arts ◽  
Solid Foundation ◽  
Economic Ideology ◽  
Art Schools

Despite the success of municipal art galleries in some quarters, the prevailing Liberal economic ideology of much of industrial Lancashire remained suspicious of state intervention in the arts. Many feared it would become economically costly and threaten local civic independence. However Royal Commissions that exposed the lack of artistic skills among industrial textile workers meant that attitudes gradually changed. Liberal Manchester became one of the first state-supported art schools. This chapter explores how local communities fought to shape art education and the successes and failure of local art education. Although aimed at the industrial worker, the art school remained a sphere in which bourgeois values and middle class students predominated, much to the chagrin of local critics.

Secessionist Movement

2018 ◽  
Author(s):  
Michael Johnson
Keyword(s):  
Fine Art ◽  
Art Nouveau ◽  
Avant Garde ◽  
The Status ◽  
The Aesthetic ◽  
Secessionist Movement ◽  
Applied Arts ◽  
Modern Movement

The Secessionist Movement is the name applied to a range of artistic splinter groups that began to emerge in the 1890s. Objecting to what they saw as the inherent conservatism of established academies, these groups ‘seceded’ or broke away from their parent institutions and launched their own, avant-garde approach. The first secessionist group appeared in Munich in 1892 under the leadership of Franz von Stuck and Wilhelm Trübner. Among the most influential secessionist groups was that founded in Vienna by a coalition of artists, architects and designers who resigned from the Association of Austrian Artists in 1897. United by the urge to elevate the applied arts to the status of fine art, members of the Vienna Secession produced exquisite work across a spectrum of creative disciplines. The aesthetic initially resembled the curvilinear Art Nouveau style, but it increasingly moved towards abstraction and geometric simplicity. The founding of the Vienna Secession thus marked the beginning of a new artistic era in Austria and heralded the birth of the Modern Movement.

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