Avant-garde artists at the Kharkiv Art School: Vasyl Yermilov and Boris Kosarev

2021 ◽  
Vol 2021 (02) ◽  
pp. 71-84
Author(s):  
T. Pavlova ◽  
Keyword(s):  
Vice President ◽  
Creative Work ◽  
World Culture ◽  
Creation Process ◽  
Avant Garde ◽  
The World ◽  
Teaching Team ◽  
Effective Development ◽  
Easel Painting ◽  
Art School

The article deals with the formation of avant-garde as an alternative to the academic artistic paradigm in the Kharkiv Art School. The contribution of Kharkiv artists to the world culture is determined primarily by the avant-garde art. Its agents, who steadily carried the baton of modernization of artistic culture, were V. Yermilov and B. Kosarev. During 1915–1916 a group of artists, The Union of Seven, was formed at the Art School; their work reflected the diverse palette of changes that accompanied the formation of Cubo-Futurism in Kharkiv. Fundamental changes took place in the artistic culture of Ukraine in the 1920s. The initiative to transform Kharkiv Art School into an Art Technical School with the rights of an institution of higher education in 1921, is attributed to Yermilov (it actually became an institute in 1927). In the 1920s–1930s his teaching team was joined by such artists as Mykola Burachek, Ivan Padalka, Oleksander Khvostenko-Khvostov, Anatol Petrytsky, and Borys Kosarev. Studios were established: easel painting (Mykhailo Sharonov), monumental (Lev Kramarenko), and theatrical (Oleksander Khvostenko-Khvostov). From 1922 to 1934 Yermilov led the graphics studio (together with Padalka starting in 1925). The key figures in the creation process of artistic avant-garde culture in Kharkiv after the 1930s were V. Yermilov and B. Kosarev, who influenced the formation of the next generation of artists. Yermilov’s work in Kharkiv (including teaching at Art Institute) had an impact on the creative features of O. Shcheglov, V. Platonov, V. Savenkov, and defined the horizon of effective development of design in the region. Among those who continued Yermilov’s design traditions are M. Molochynsky, І. Krivoruchko, V. Lesnyak, O. Bojchuk, V. Danilenko, O. Veklenko. Launched by the latter International Environmental Forum of Eco Poster “The 4th Block” has found quite a resonance in the world. “Yermilov’s Mansard” appeared on Kharkiv cultural space as an artistic centre and an original example of artistic design in the spirit of Bauhaus. Due to B. Kosarev a constellation of talented artists appeared in Kharkiv artistic culture and defined its uniqueness. Among his students in the theatre and decorative department there were such people as a teacher Konstantinov; a theater artist, a Doctor of Architecture, corresponding member of the AAU V. Kravetz; the Main artist of Kharkiv State Academic Ukrainian Drama Theater named after T. Shevchenko T. Medvid; theatre artists M. Kuzheliev, G. Nesterovska, P. Osnachuk, L. Pisarenko, N. Rudenko-Krayevska and others. Among the artists, whose creative work shaped under the influence of B. Kosarev, were Honoured Artist of Ukraine, member and Vice President of AAU V. Sidorenko, and Honored Artist of Ukraine, famous graphic N. Myronenko.

scholarly journals The theme of the city in the creative work of M.V. Dobuzhinsky (1875 – 1957)

2018 ◽  
Author(s):  
Ольга Николаевна Филиппова
Keyword(s):  
Urban Landscape ◽  
European Countries ◽  
Creative Work ◽  
World Culture ◽  
Russian Culture ◽  
Modern Times ◽  
The Past ◽  
The World ◽  
The City ◽  
Art Schools

Мстислав Валерианович Добужинский (1875–1957) относится к художникам, творчество которых принадлежит как русской, так и мировой культуре. Он родился и жил в России, затем в Литве, Америке, многие годы провел в европейских странах – Англии, Франции, Италии. Испытав влияние различных художественных школ и направлений, творчество М.В. Добужинского тем не менее сохраняет цельность, в основе которой лежит верность русской культуре – ее темам и художественным принципам, сложившимся в начале XX века в «Мире искусства». Своеобразный творческий метод М.В. Добужинского складывается в жанре городского пейзажа. Тот факт, что в ретроспективных картинах мирискусников главным лирическим героем оказывается пейзаж, чаще всего архитектурный по характеру, видимо повлиял и на возникновение в творчестве М.В. Добужинского темы города – памятника культуры. В отличие от своих друзей художник остается равнодушен к изображению архитектуры в ретроспективных картинах, предпочитая показывать жизнь прошлого в современности. Mstislav Valerianovich Dobuzhinsky (1875 – 1957) refers to the artists whose work belongs to both the Russian and world culture. He was born and lived in Russia, then in Lithuania, America, spent many years in European countries – England, France, Italy. Having experienced the influence of various art schools and trends, the work of M. V. Dobuzhinsky nevertheless retains integrity, which is based on loyalty to Russian culture – its themes and artistic principles established in the early XX century in the «World of art». A kind of creative method of M. V. Dobuzhinsky is in the genre of the urban landscape. As in the retrospective paintings of the members of the main lyrical hero is the landscape, often architectural in character, it seems to have affected the appearance in the works of M. V. Dobuzhinsky themes of the city – cultural monument. Unlike his friends, the artist remains indifferent to the image of architecture in retrospect paintings, preferring to show the life of the past in modern times.

scholarly journals The Poetics of “Twilightness” in the Space of an Era

2021 ◽  
pp. 82-95
Author(s):  
Yu.N. Girin ◽  
◽  
Keyword(s):  
20Th Century ◽  
Tuning Fork ◽  
World Culture ◽  
Avant Garde ◽  
The Core ◽  
Cultural Phenomenon ◽  
The World ◽  
German Speaking ◽  
Universal Scale

In the article it is intended to consider the code of “Twilightness” in the context of the world culture of the first two decades of the 20th century. Expressionist anthology Twilight of mankind is published in 1919. This anthology serves as a tuning fork of all “Symphony of the latest poetry”, as it was specified in the subtitle. Not only in the German-speaking area, but also in Russia, the atmosphere of impending twilight was a sign of an entire era and coincided with the currents of the avant-garde movement on a universal scale. The interconnected constants of this perceptions, such as the motives of the victim, doom, death, despair, longing, fear, were quite specific to this age and meant more than mere minor emotion,— it’s an important cultural phenomenon waiting to be understood. In the artistic field of expressionism, the tanatological code that contains a whole spectrum of the main mythologem of the avant-garde, is the core, acting as a sort of counterway, a re-e versal of the utopian-transformative code.

MYTH IN SAM SHEPARD’S “THE GOD OF HELL” AND ITS POLITICAL IMPLICATION

2019 ◽  
pp. 32-38
Keyword(s):  
Literary Criticism ◽  
American Culture ◽  
The Political ◽  
Creative Work ◽  
Political Implication ◽  
Major Work ◽  
Sam Shepard ◽  
Long Period ◽  
Political Myth ◽  
The World

The article introduces the creative work of the famous American playwright Sam Shepard, whose works are almost unknown to our Uzbek reader. His plays are well known throughout the world; they influenced the formation of the worldview of readers of different nations and show the peculiarities of American culture. Despite the worldwide fame of Sam Shepard’s works, they are not studied well by literary critics. In America and Europe his works have been studied in details for a long period, and even several monographs in English have been written. However, neither in the Russian speaking, nor in the domestic literary criticism there is yet no major work on Shepard's works. The article also deals with the artistic features of the political myth of the “American dream” in one of the most scandalous plays, “The God of Hell,” dedicated to the protest against the war in Iraq. Thus, this study, which touches upon some issues of Shepard's creative work in connection with his innovative artistic originality, to a certain extent, seeks to fill this gap.

scholarly journals Obituary notices of fellows deceased

1908 ◽  
Vol 81 (543) ◽  
Keyword(s):  
Physical Science ◽  
Physical Knowledge ◽  
General Impression ◽  
The World ◽  
Two Generations ◽  
Practical Engineering ◽  
Creative Force ◽  
The Many ◽  
Effective Development ◽  
Lord Kelvin

It would be impossible in an obituary of ordinary length to convey any idea of the many-sided activity by which Lord Kelvin was continually transforming physical knowledge, through more than two generations, more especially in the earlier period before practical engineering engrossed much of his attention in importunate problems which only he could solve. It is not until one tries to arrange his scattered work into the different years and periods, that the intensity of his creative force is fully realised, and some otion is acquired of what a happy strenuous career his must have been in early days, with new discoveries and new aspects of knowledge crowding in upon him faster than be could express them to the world. The general impression left on one's mind by a connected survey of his work is overwhelming. The instinct of his own country and of the civilised world, in assigning to him a unique place among the intellectual forces of the ast century, was not mistaken. Other men have been as great in some special department of physical science: no one since Newton—hardly even Faraday, whose limitation was in a sense his strength—has exerted such a masterful influence over its whole domain. He might have been a more learned mathematician or an expert chemist; but he would then probably have been less activity, the immediate grasp of connecting principles and relations; each subject that he tackled was transformed by direct hints and analogies brought to bear from profound contemplation of the related domains of knowledge. In the first half of his life, fundamental results arrived in such volume as often to leave behind all chance of effective development. In the nidst of such accumulations he became a bad expositor; it is only by tracing his activity up and down through its fragmentary published records, and thus obtaining a consecutive view of his occupation, that a just idea of the vistas continually opening upon him may be reached. Nowhere is the supremacy of intellect more impressively illustrated. One is at times almost tempted o wish that the electric cabling of the Atlantic, his popularly best known achievement, as it was one of the most strenuous, had never been undertaken by him; nor even, perhaps, the practical settlement of electric units and instruments and methods to which it led on, thus leaving the ground largely prepared for the modern refined electric transformation of general engineering. In the absence of such pressing and absorbing distractions, what might the world not have received during the years of his prime in new discoveries and explorations among the inner processes of nature.

scholarly journals Vernacular traditions in Norwegian jewelry design - Past, present, future

2015 ◽  
Vol 8 (1) ◽  
Author(s):  
Astrid Skjerven
Keyword(s):  
Consumer Behavior ◽  
Reliable Indicator ◽  
Local Identity ◽  
Avant Garde ◽  
Economic Decisions ◽  
The World ◽  
Future Situation ◽  
Jewelry Design

Living in an era of globalization, the capability of communicating identity has become of greater importance than ever. This has increased our estimation of the vernacular, which represents an expression of a national or local identity. In Norway the vernacular tradition in silver jewelry is particularly strong. It has played an important role not only locally, but also in the constantly changing relation with the outside world, in accordance with the societal situation. It should therefore constitute a reliable indicator of how our country relates to the present process of globalization. The aim of the paper is to throw light on the relation between Norway’s role on the global scene and the use of the vernacular tradition in the development of jewelry design in general. It consists of a historical exploration that leads up to a discussion the present and future situation. Today there is a cleft between consumer behavior and avant-garde practice. In accordance with the global situation and Norway’s geopolitical situation of existing in the outskirts of political and economic decisions, the situation is characterized by a variety of practices, and by a slow acceptance of the vernacular values in the world of avant-garde practitioners.

Stravinsky as a Russian

Tempo ◽  
1967 ◽  
pp. 5-9
Author(s):  
Pierre Souvtchinsky ◽  
John Warrack
Keyword(s):  
World Wide ◽  
Personal Life ◽  
World Culture ◽  
Russian Culture ◽  
The World ◽  
Basic Characteristics

What can one say, with what words should one address Igor Feodorovich Stravinsky on his eighty-fifth birthday, a day for the greatest rejoicing both in his personal life and in his life as an artist? We must express infinite gratitude to him (but can it be expressed in words?), for it is essential that he should know that notwithstanding his world-wide recognition, he is, and always will be, both as a man and as a composer, one of the great mysteries of world culture, and in particular of Russian culture, a mystery that will live forever, that will always be subject to fresh interpretations and that will always be needed. His secret—which cannot really be explained—is first and foremost the secret of his genius, the mysterious unexpectedness and the marvel of his appearance in the music of Russia and the world. As Tolstoy said: “Genius is that which cannot be called anything else but genius!” Its basic characteristics, moreover, are unpredictability and self-evidence.

Mandelstam: The Realm of Unexpectedness

2021 ◽  
Vol 64 (2) ◽  
pp. 62-83
Author(s):  
Svetlana S. Neretina
Keyword(s):  
Middle Ages ◽  
Speech Act ◽  
Classical Antiquity ◽  
Logical Framework ◽  
Creation Process ◽  
The Real ◽  
Logical Construction ◽  
The World ◽  
The Creation ◽  
The Middle Ages

In the essay “Conversation about Dante,” Mandelstam described logic, which he defined as the “realm of unexpectedness,” which is unlike any everyday logical construction. Based on the analysis of Mandelstam’s text, it is assumed that we are talking about a tropology that arose in the Middle Ages, the principles of which can be derived from studies of St. Augustine’s treatise De Dialectica and Petrus Сomestor’s Historia Scholastica. It is this triple commonwealth (Augustine – Comestor – Dante, read by Mandelstam) that creates the multilayered logical framework of the work. Augustine created a completely different dialectic than in classical antiquity. Augustine considers dialectics as an art of discussion and describes the real steps that contribute to the emergence of speech, which corresponds to Mandelstam’s concept of conversation. According to Augustine, at the basis of any speech, is a trope-turn. In the article, attention is drawn to the sound nature of creation process. This logic, used in explaining the creation of the world according to the logos/word (tropology), assumes that, at the basis of the speech act, there is no the word as a unit of speech, but the sound itself – the sound, which was considered initially equivocal (ambiguous). In the process of pronounciation, the sound could turn into its opposite and could change the meaning of speech if the context has been changed. Dante expressed the meaning of tropology in practice. Mandelstam wrote that he had chosen Dante for the conversation (between poet and poet) “because he is the greatest and indisputable master of reversible and reversing poetic substance.” Mandelstam saw Dante as the Descartes of metaphor.

Observations of the Earth’s resources

1969 ◽  
Vol 308 (1493) ◽  
pp. 173-182 ◽  
Keyword(s):  
Mineral Exploration ◽  
Geological Mapping ◽  
The Other ◽  
Ground Control ◽  
Great Contribution ◽  
Know How ◽  
Control Information ◽  
The World ◽  
The One ◽  
Effective Development

In attempting to present some observations on the kind of information on the Earth’s resources which may be obtained from spacecraft and space satellites, I think I should explain that I speak as a geographer with research interests in the field of biogeography/geobotany where I have been concerned with the use of vegetation in mineral exploration work and in the assessment of land potential for agricultural and other uses. In the course of this work I have come to appreciate major problems of regional or even continental dimensions and have become aware of the great potential offered by suitably equipped Earth resources satellites for providing information which would assist their solution. At the same time I have come to recognize the great contribution which Earth resources satellites can make in the fields of agriculture, forestry and conservation, topographical and geological mapping, hydrology, oceanography, land use and urban planning, to mention but a few. As a setting for my subsequent remarks I would like to state what I believe to be the relative positions of the U. S. A. and the U. S. S. R. on the one hand and this country and certain West European countries on the other with regard to the acquisition of information from Earth resources satellites. America and Russia have led the world in space research. They have the resources, the facilities and the technical know-how for placing spacecraft and satellites in orbit. For the effective development of Earth resources satellites, however, ground control information is essential. Here this country, together with member and former member countries of the Commonwealth possesses a body of people scattered through universities, government departments and organizations, commerce and industry whose firsthand knowledge of remote terrain in many parts of the world is unrivalled. This knowledge harnessed into an Earth resources satellites programme could enable this country to make a leading contribution to the development of the less developed parts of the world and at the same time materially assist the economy of this country.

scholarly journals ‘So many sparks of fire’: Dorothy Cottrell, modernism and mobility

2016 ◽  
Vol 23 (2) ◽  
pp. 164-177
Author(s):  
Jessica White
Keyword(s):  
Still Life ◽  
National Library ◽  
World Book ◽  
The World ◽  
Sydney Harbour ◽  
The Caribbean ◽  
Australian Flora ◽  
Art School

AbstractThe broad brush strokes of Dorothy Cottrell's paintings in the National Library of Australia mark her as a modernist artist, although not one who painted the burgeoning Sydney Harbour Bridge or bright still-life paintings of Australian flora. Rather, she captured the dun surrounds of Ularunda Station, the remote Queensland property to which she moved in 1920 after attending art school in Sydney. At Ularunda, Cottrell eloped with the bookkeeper to Dunk Island, where they stayed with nature writer E.J. Banfield, then relocated to Sydney. In 1924 they returned to Ularunda and Cottrell swapped her paintbrush for a pen, writing The Singing Gold. After advice from Mary Gilmore, whom her mother accosted in a pub, Cottrell send it to the Ladies Home Journal in America. It was snapped up immediately, optioned for a film and found a publisher in England, who described it as ‘a great Australian book, and a world book’. Gilmore added, ‘As an advertisement for Australia, it will go far — the Ladies Home Journal is read all over the world’. Cottrell herself also went far, emigrating to America, where she wrote The Silent Reefs, set in the Caribbean. Cottrell's creative, intellectual and physical peregrinations — all undertaken in a wheelchair after she contracted polio at age five — show how the local references the international, and vice versa. Through an analysis of the life and writing of this now little-known Queensland author, this essay reflects the regional and transnational elements of modernism as outlined in Neal Alexander and James Moran's Regional Modernisms, illuminating how a crack-shot with a rifle once took Queensland to the world.

Kazuo Ohno's World from Without and Within. By Kazuo Ohno and Yoshito Ohno. Translated by John Barrett. Middletown, CT: Wesleyan University Press, 2004; pp. 344. $34.95 paper.

2005 ◽  
Vol 46 (2) ◽  
pp. 315-317
Author(s):  
Kurt Wurmli
Keyword(s):  
Academic Research ◽  
Modern Dance ◽  
Deep Understanding ◽  
Research Centers ◽  
The West ◽  
Avant Garde ◽  
Art Form ◽  
The World ◽  
Inside View ◽  
Scholarly Attention

Kazuo Ohno and Tatsumi Hijikata are recognized as the most influential creators of the contemporary Japanese dance form known today as butoh. Since its wild and avant-garde beginnings in the late 1950s, butoh has evolved into an established and appreciated art form throughout the world. Despite its popularity and strong influences on the international modern dance world, butoh only recently became an accepted subject for academic research in Japan as well as in the West. With the new opening of butoh research centers and archives—such as the Ohno Dance Studio Archives at BANK ART 1929 in Yokohama, the Kazuo Ohno Archives at Bologna University in Italy, and the Hijikata Tatsumi Archives at Keio University in Tokyo—serious scholarly attention has been given to the art of butoh's founders. However, the lack of firsthand sources by butoh artists reflecting their own work still poses great limitations for a deep understanding of the art form. Kazuo Ohno's World from Without and Within is not only the first full-length book in English about the master's life and work, but also offers a rare inside view of butoh.

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