scholarly journals PARTICULARITY OF ARTWORKS BY VASYL KORCHOVYI VASYL

2021 ◽  
pp. 52-58
Author(s):  
Ludmyla Lysenko ◽  
Olha Shpanko
Keyword(s):  
Art Criticism ◽  
Fine Arts ◽  
Academic School ◽  
The Moment ◽  
Artistic Heritage

Abstract. This article explores Vasyl Korchovyi’s artistic heritage, his unparalleled style, and notable manner of working. Vasyl Korchovyi is a Ukrainian sculptor, graduate from National Academy of Fine Arts and Architecture, representative of the Academic school of sculpture creation. This sculptor has not been neglected today and is an often and widely recognizable guest and/or participant of/in numerous exhibitions, art competitions, and sculpture symposiums including the latest one, the Xth Kaniv International Sculptural Symposium (September–October, 2021). Despite that, his artworks have been discussed in a quite occasional and random way in artistic articles and other kind of publications. This is the reason of why this study focuses on the major subjects and gentres used by Korchovyi for his artworks, as well as on his manner and techniques for working with stone. The studу is one of the first-ever attempts to use the art criticism approach to evaluate three sculpture works by Korchovyi: with two of them being complete and one piece still unfinished: the work from the Kaniv sculptural symposium above. First, Altar of Dionysus, an indoor sculpture, carved of sandstone, is discussed. It depicts a bacchante, a woman who holds a bowl and a grapevine, with her hair ingrown in the branches and the two goat heads that flank the composition on both sides; the attributes associated with fer­tility, sweet delight and also with wild Dionysian origin, while calm or even being asleep at the moment. Second sculptural work is the tombstone of Vasyl Korchovyi’s father, Ivan Sobko. For this reason, its design is marked with Korchovyi’s personal feelings and sentiments. The composition of the sandstone-made sculptural part of the tombstone represents an angel with outstretched wings, inscribed in the area of a trefoil cross. The openwork pattern of weaves of winding shoots with remains of leaves in some places adds depth to the background framed with smoothly polished parts of the surface, where the figure of angel is located, and carefully surround the upper part of the medallion with a photo of the deceased one; the composition that brings the feeling of a deep anguish and imminence, the painful emotions to be eventually accepted.

Institute of Forensic Art Examination of Fine Art Objects: Theoretical and Practical Problems

2021 ◽  
pp. 47-53
Author(s):  
Bondarenko L. K. ◽  
◽  
Skachko A. V.
Keyword(s):  
Art Criticism ◽  
Fine Arts ◽  
Fine Art ◽  
Legal Proceedings ◽  
Art Objects ◽  
Criminal Procedure Law ◽  
The Russian Federation ◽  
Substantive Law ◽  
Practical Level ◽  
Selection Of

The problem of organizing expert activities in the field of forensic art examination of fine arts at a practical level is considered. The conditions of objectivity (reliability) of the results of a forensic art examination of fine art in law enforcement practiceare identified. In this regard, the problem of the reliability of the examination results is considered at the interdisciplinary level: substantive law – criminal and customs; criminal procedure law, as well as forensic science and expert activities. The necessity of creating, within the framework of the anti-corruption policy of the state, an independent institute of forensic art criticism of fine arts is substantiated. It is proposed: 1) to create an information base under the Ministry of Justice of the Russian Federation on the data of art historians known in different fields of fine art who can act as competent persons in legal proceedings; 2) to create a mechanism for the appointment of a commission of forensic-forensic art examination of objects of fine art examination on the basis of automatic random selection of subjects of examination. It is proved that this measure excludes the possibility of giving an unreliable conclusion as part of a forensic art examination of objects of fine art.

Nabaa, Nazir (1938--)

2018 ◽  
Author(s):  
Anneka Lenssen
Keyword(s):  
Communist Party ◽  
Rural Schools ◽  
Art Criticism ◽  
Modern Art ◽  
Fine Arts ◽  
Fine Art ◽  
Political Mobilization ◽  
Puppet Theater ◽  
1960S And 1970S ◽  
The 1960S

Nazir Nabaa, a respected Syrian painter, made his greatest contributions to Arab modern art in the 1960s and 1970s, when he contributed to the graphic identity of progressive political causes and the Palestinian liberation struggle. He joined the Syrian Communist Party in the 1954 and in 1959 was briefly jailed for this affiliation. After his release, he traveled to Cairo on a fellowship to study painting at the Faculty of Fine Arts, there developing a heroic realist style around social and labor themes. After returning to Syria in 1964, Nabaa taught drawing in rural schools and worked with myth and folklife. Moving to Damascus in 1968, he worked as an illustrator and became involved in creative projects in support of political mobilization, including poster design, puppet theater, fine art painting, and art criticism. Between 1971 and 1975, Nabaa studied in Paris at the Academy of Fine Arts. Upon his return, he joined the faculty of the College of Fine Arts in Damascus. His later paintings became more fantastical, combining goddess figures with still lifes of fruits, tapestries, and jewelry. He also developed a parallel corpus of abstract paintings based on the exploration of texture and color.

Cultivating Taste, Creating the Modern Subject: Sawt el-Fannan and Art Criticism in 1950s Egypt

2008 ◽  
Vol 42 (1-2) ◽  
pp. 26-31 ◽  
Author(s):  
Dina A. Ramadan
Keyword(s):  
Art Criticism ◽  
Fine Arts ◽  
Departure Point ◽  
Artistic Production ◽  
Modern Subject ◽  
Art Scene ◽  
History Of ◽  
Great Sense ◽  
And Function ◽  
The Voice

This paper is born of two somewhat separate but interrelated concerns: the oft-repeated assertion that there exists no history of art criticism in Egypt, and the greatly felt “absence” of an archive, an organized system of collecting and cataloguing dedicated to the fine arts in Egypt. It is with these two concerns in mind that I propose we approach the journal Sawt el-Fannan (The Voice of the Artist), for it was in response to these perceived shortcomings that this publication—a self-proclaimed pioneer in the field of Egyptian art criticism–was first produced in 1950. Despite the thriving Egyptian art scene of the time (or what is repeatedly referred to by journal contributors as al-nahda al-fanniyya al-haditha), such a movement was seen to lack a certain credibility and effectiveness, of being in danger of a short life in the absence of the appropriate reflection, recording, and documentation. In other words, the establishment of Sawt el-Fannan took place with a great sense of urgency on the part of contributors that reflects much of what was seen to be at stake in the existence of a modern art scene in Egypt. Therefore a close examination of the editorial vision behind Sawt el-Fannan is an important departure point for understanding the ways in which art criticism was being imagined during this period. By delineating the parameters of what Sawt el-Fannan considered to be this field known as “art criticism” or al-naqd al-fanni, we can begin to identify some of the functions it was expected to fulfill, and by extension, begin to address the place and function of art in Egypt at the time. I want to suggest that through its expansive understanding of its field, Sawt el-Fannan produces a complicated and multi-faceted relationship between artistic production and art criticism, one in which its role is both reflective and productive. As will become apparent, the notion of “taste” or al-hassa al-dhawqiyya is central to the objectives of Sawt el-Fannan; what such a publication is ultimately invested in are the wider discourses involved in cultivating a bourgeois artistic awareness and aesthetic sensibilities, what Bourdieu would call cultural competence, as part of the larger project of constructing the modern subject in Egypt.

scholarly journals Artistic explorations of Lviv artists of decorative and applied arts in small-scale plastics of the second half of the 20th century: image of a human being

2021 ◽  
Vol IX(258) (47) ◽  
pp. 10-14
Author(s):  
V. Honcharuk
Keyword(s):  
20Th Century ◽  
Art Criticism ◽  
Fine Arts ◽  
Decorative Arts ◽  
Small Scale ◽  
Human Being ◽  
Applied Art ◽  
Wide Range ◽  
Characteristic Features

The present article examines the special characteristics of the development of small-scale sculpture as an independent phenomenon in Lviv fine arts of the second half of the 20th century within the framework of the interpretation of a human being image, since the following problem has not been sufficiently studied in Ukrainian art criticism. In particular, the research focuses on the specific features of artistic experiments of the representatives of decorative and applied art in the field of anthropomorphic sculpture; traces characteristic features of conceptual and modelling solutions; identifies artistic and stylistic features and peculiarities of the representation of a human being image. The author stresses upon the role of Lviv Ceramic and Sculpture Factory that largely set trends in the development of small-scale sculpture. In addition, as based on works of famous representatives of Lviv school of decorative arts, the author identifies the variety of interpretations and wide range of modelling means as well as traces the most vivid anthropomorphic designs.

scholarly journals Cinema memories in 3D modelling and virtual reality storytelling

2021 ◽  
pp. 113-130
Author(s):  
Eleonora Roaro
Keyword(s):  
Virtual Reality ◽  
Cultural Heritage ◽  
Digital Media ◽  
3D Modelling ◽  
Historical Reconstruction ◽  
Public And Private ◽  
Oculus Rift ◽  
Final Output ◽  
The Moment ◽  
Artistic Heritage

This paper focuses on the project VR and AR in the valorisation of cultural and artistic heritage within the New Cinema History framework, aims to combine microhistory related to local cinema theatres and Cinema Heritage, and to investigate the possibilities that digital media – in this case Augmented and Virtual Reality – have in the valorisation and preservation of cultural heritage. The final output of the project is the Virtual Reality reconstruction of the Odeon cinema’s architecture and habits of cinemagoing that, thanks to an immersive experience via the Oculus Rift headset, could evoke and simulate historical spectatorship that dealt both with the moment of watching a movie and its peripheral practice. the development of the project, at least four different perspectives on the Odeon cinema converged to form the basis of the VR reconstruction: the literature on the topic, the consultation of public and private archives, the oral sources, and photographs taken on site. This paper focuses mostly on the documents and sources used in the VR project and it aims to investigate how various and heterogeneous documents can be woven together into a philologically reliable historical reconstruction, and how they can be used in 3D modelling and VR storytelling related to Cinema Heritage.

scholarly journals The Image of the Goddess Umay in the Contemporary Fine Art Culture of Kazakhstan

2021 ◽  
Vol 13 (1) ◽  
Author(s):  
Malik F. Mukanov ◽  
◽  
Gulfiya T. Meldesh ◽  
Ayaulym M. Hurbekova
Keyword(s):  
Visual Culture ◽  
Doctoral Students ◽  
Art Criticism ◽  
Fine Arts ◽  
Teaching Staff ◽  
Artistic Practice ◽  
Artistic Images ◽  
Artistic Image ◽  
Cultural Experts ◽  
Contemporary Artists

The article examines the ethnographic and art-history aspects of the reflection of the artistic image of the ancient Turkic goddess Umay in the modern visual culture of Kazakhstan. The image of this goddess is one of the most widespread in the work of modern Kazakhstani artists, who refer to the symbolism of Tengrian culture in their works. Each of the masters, due to their individual worldview and creative style, interprets it in their own way, thereby enriching the modern visual culture of independent Kazakhstan. It is also necessary to mention that the embodiment of symbols and artistic images of the ancient Turkic Tengrian culture by contemporary artists of Kazakhstan in the visual arts reflects the desire to preserve and rethink the national identity in the context of globalisation processes. The study is an attempt at art criticism analysis based on the application of the hermeneutic methodology of numerous author’s interpretations of the artistic image of the goddess in the fine arts of modern Kazakhstan. The study of the problem of finding and embodying artistic images of the Goddess Umay, reflecting the sacred and mythological aspects of the Tengrian worldview, traditional for the nomadic peoples of the Great Steppe, in the visual culture of modern Kazakhstan, has an important theoretical and educational and methodological value. The conclusions of this study can be used and continued not only in the historical and theoretical works of art historians, cultural experts but also in research and educational-methodical works, when creating courses on the history and theory of fine and applied arts, scientific projects of the teaching staff, students, undergraduates and doctoral students, as well as in the artistic practice and creative activity of contemporary artists.

scholarly journals Kritik Seni dengan Kasus Festival Seni Rupa “Nagari Ngayogyakarta Hadiningrat”

Humaniora ◽  
2013 ◽  
Vol 4 (2) ◽  
pp. 755
Author(s):  
Hagung Kuntjara
Keyword(s):  
Art Criticism ◽  
Fine Arts ◽  
National Level ◽  
Natural Event ◽  
The Arts ◽  
Arts Festival ◽  
The Republic ◽  
The Government ◽  
Agrarian Societies ◽  
Heating Up

"War againt the forgot" – Some time ago the government through a bill drafted by the Ministry of Home Affairs rolled leadership succession issues covered in the bill of Privileges Yogyakarta which hands polemical dichotomy of choice 'Sultan is not automatically Governor' (by election) or 'Sultan is automatically Governor' (direct designation). Social and political conditions that nation endlessly polemical dichotomy is heating up at the public grassroot level to the national level lead to opposite parties and keep fire as unresolved. A Fine Arts Festival event titled "Nagari Ngayogyakarta Hadiningrat" one century to coincide with HB IX, was presented in Jogja National Museum (JNM) 13 April 2012 and 2 weeks later, became a kind of 'witness marker' of the existence and the constellation 'Nagari Yogyakarta Sultanate - HB IX' with the Republic of Indonesia. Form of attitudes, arts events as a marker – ‘Titi pranoto mongso’ - in ancient agrarian societies of Java was used as a natural event signs to be observed, the Arts Festival events can be read as a reminder to not forget, will conduct historical Yogyakarta. Practice of art criticism writing is about the Arts Festival event "Nagari Ngayogyakarta Hadiningrat" in the perspective of art criticism, which is not only a cultural festival article coverage of events, but also the existence of a strong side shoot 'Nagari Yogyakarta Sultanate - HB IX 'is presented in the form of representation of the works of art are very diverse and are free to respond to a given topic.  

scholarly journals El grupo El Paso y la crítica del arte

1998 ◽  
Author(s):  
José Ignacio Gómez Álvarez
Keyword(s):  
Art Criticism ◽  
El Paso ◽  
Set Up ◽  
The Moment

El papel jugado por el grupo El Paso en los últimos años cincuenta y siguientes sigue siendo objeto de polémica. A través de la crítica de arte más representativa del momento y de la posterior y de las respectivas publicaciones dedicadas al grupo se estudia su alcance, las líneas que marcan la producción de sus integrantes y sus vías de ruptura con el panorama reinante.The part played by the group El Paso in the last fifties and following is still a matter of controversy. Through the most representative art criticism of the moment and subsequent and through the studies dedicated to the group its reach is studied, and also the outline that set up the production of their members and their ways of rupture with the prevailing scene.

The art of deceit: Pseudolus and the nature of reading

1996 ◽  
Vol 46 (1) ◽  
pp. 152-174 ◽  
Author(s):  
A. R. Sharrock
Keyword(s):  
Visual Art ◽  
Art Criticism ◽  
Work Of Art ◽  
Works Of Art ◽  
Multiple Levels ◽  
The Moment ◽  
Art Critics

Reading is delusion. In order to read, we have to suspend certain standards of reality and accept others; we have to offer ourselves to deceit, even if it is an act of deception of which we are acutely aware. One way of considering this paradoxical duality in the act of reading (being deceived while being aware of the deception) is more or less consciously to posit multiple levels of reading, whereby the deceived reader is watched by an aware reader, who is in turn watched by a super-reader; and so it continues. The ancient art critics, obsessed as they were with deceptive realism, provide in anecdotal form a good example of such multiplicity of perception when they tell stories of birds trying to peck at painted grapes, horses trying to mate with painted horses, even humans deceived by the lifelikeness of works of art. Such stories act as easy but potent signifiers of ‘realism’ in ancient art criticism, by showing the reactions of a ‘naive reader’ (the animals) whose deception the aware reader can enter into but also see exposed. In verbal or visual art parading itself as realistic, the artistic pretence of a pose of reality is, at some level, intended to be seen as deceptive; when it is non-realistic, or anti-realistic, or even stubbornly abstract (which it rarely is), art still demands that the reader suspend ordinary perception. But deception alone is not enough: ‘deceit’ only becomes artistic when a viewer sees through it, for a work of art which is so lifelike that no-one realizes it is not real has not entered the realm of art. The appreciation of deception happens at the moment when the deception is undone, or by the imaginative creation of a less sophisticated reader who has not seen through the deceit. That is what happens in comedy, more overtly than in other artforms, but in the same way.

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