Children’s art as document of the epoch

2019 ◽  
Vol 27 (1) ◽  
Author(s):  
Mariana Gurmidolova ◽  
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◽  

The children’s art occupies an important place in the cultural space. Each child’s drawing reflects the culture of an epoch and therefore it can be investigated as a special document. Historical events, rituals, traditions, habits, clothing – everything is demonstrated in the children’s artwork. The children’s art language has specific features. It is generalized, spontaneous, expressive and schematic. All these characteristics give us reason to talk about children’s visual meta-language. In order to interpret children’s drawings correctly, we must know the principles of the meta-language. Each child’s drawing is a source of information about the tangible and spiritual culture of an epoch. Very often the children’s drawings possess some of the qualities of the works of art, created by mature artists. However, children’s art has its own principles, specific qualities and methods of creativity and therefore it is given a sovereign place in the world of fine arts.

2021 ◽  
pp. 1476718X2110627
Author(s):  
Caroline Cohrssen ◽  
Nirmala Rao ◽  
Puja Kapai ◽  
Priya Goel La Londe

Hong Kong experienced a period of significant social unrest, marked by protests, from June 2019 to February 2020. Media coverage was pervasive. In July 2020, children aged from 5 to 6 years attending kindergartens in areas both directly and less directly impacted by the protests were asked to draw and talk about what had taken place during the social unrest. Thematic analysis of children’s drawings demonstrates the extent of their awareness and understanding and suggests that children perceived both protestors and police as angry and demonstrating aggression. Many children were critical of police conduct and saw protestors as needing protection from the police. Children around the world have been exposed to protest movements in recent times. The implications for parents, teachers and schools are discussed.


Author(s):  
A. Nikitin

V. Bystriakov – Honored Worker of Arts of Ukraine, member of the National Union of Artists of Ukraine, creative work is well-known to the general public, and teaching activity occupies an important place in the work of the department of drawing of the National Academy of Fine Arts and Architecture. In the work of the artist, he combined his own experience and achievements of artists of past generations, it has always been and is open to creative experiments. His creative pursuits and teaching methods are important for understanding the history of artistic education, in particular the teaching of the drawing, since it reflects the main directions and peculiarities of artistic education of the second half of the 20th and the beginning of the 21st century. In his work V. Bystriakov determined that the minimum means can be achieved maximum expressiveness, to achieve a strong life experience in the work. His paintings are characterized by ease, transparency, artistry of performance, understanding of the proportion of proportion and composition. Professor V. Bystryakov's pedagogical credo is a responsible attitude to his work, professionalism in any field of occupation – whether it is drawing or painting. The main objective of the teacher in the mandatory requirements of the classical school, he believes, is to enable the student to identify his own creative vision of a task. The main thing is not to «kill» the desire to create. Among students V. Bystriakov a teachers of the academy M. Kochubei, V. Kyrychenko, Yu. Maistrenko-Vakulenko, who already convey their creative experience to students. A special place in the work of V. Bystriakov is dedicated to the Chernobyl tragedy. The tragic event for Ukraine and the world has brought to life a cycle of pictures: «Girlfriends», «When the birds do not sing», «Evacuation», «Bright still life in the dark room», «The cry of Jeremiah», «And the third angel sounded», «Sunflowers», «Spas», and also a series of paintings «And fell on the star of the earth». In each work the cycle has its own language, artistic means, its philosophical interpretation, is subject to the disclosure of the main theme – Chornobyl. V. Bystriakova's creativity characterizes him as a talented master with personal beliefs and views. He does not stay away from the problems of modern life, in particular the ecology of the environment, touches in his works important issues that make us think over the routine of life processes, through the extrapolation of the inner sense and understanding of reality. He inspires reflections on the present in his various spiritual and social aspects. Knows good and evil through the prism of confession of the soul. Combining and interweaving the images of fictional illusions and real heroes, generalizes and reproduces the experience gained in his works. The artist's paradigm is based on the principles of symbolism and surrealism. In the principles and approaches of the author to the creation of works can be traced laconic language of poster art. Using various authoring techniques, he reveals to the viewer his tension and a peculiar vision of the world, reflects internal excitement, experiences, painful. The existence in works of the existence, embodied in details and symbols, prompts philosophical reflections on life, the search for truth, comprehension and perception of the viability of nature. V. Bystriakov is an artist and a teacher, who, through a practical component, passes on his experience to students nowadays.


2021 ◽  
Vol 17 (1) ◽  
pp. 101-135
Author(s):  
DENIS G. VIREN ◽  

Documentary animation is a hybrid cinematic form, the history of which goes back over 100 years. Earlier such films were rather a rarity, while lately they appear on screens more and more often. Using numerous examples, the article discusses the goals of artists turning to this unusual and controversial practice. The main thematic blocks are highlighted, the boundaries between the fictional artistic world and the real basis of a film are determined. The author also attempts to distinguish between animated documentary and “full-fledged” documentary animation. After reviewing the genesis (films by W. McCay, J. and F. Hubley) and films that have become modern classics of the direction (Waltz with Bashir, Crulic: The Path to Beyond etc.), the most notable modern samples—primarily those filmed in Poland and in Russia, where animadoc is rapidly gaining momentum—were analyzed in detail. Directors use this form when talking about historical events (reconstruction), ambiguous personalities and unusual places, as well as about their own or others’ internal problems and experiences. Documentary animation is becoming a common means of (auto)psychotherapy and fits into the current trend of pronouncing taboo topics and working out hidden traumas. Animation allows to penetrate deeply into the world of characters without violating their personal boundaries. An important place is held by metafilms, reflecting on the language of the animadoc and cinema in general. Today, documentary with the use of animation is more common than “real” animadoc, although the line between the fictional artistic world and the actual basis of films is rather fluid. The phenomenon is still in the making. Nevertheless, such films must have a real component: interviews (usually off-screen), newsreels, photographs, genuine objects, etc. The factual basis is not a sufficient argument to classify the work as a documentary animation—the decisive factor here is the hybridization of the form.


Author(s):  
Natalia Revenok

Abstract. The article is devoted to the issues of scientific restoration of works of decorative and applied art in the system of art education at the National Academy of Fine Arts and Architecture. The processes of formation and improvement of the experience of the artist-restorer for the preservation of historical and cultural monuments are defined. The importance of solving the cultural and professional development of the future artist-restorer in the field of restoration of works of decorative and applied art is emphasized. The topic studied by the author raises a number of issues of the methodology of studying works of decorative and applied arts in the research work of future artists-restorers. The purpose of the study is to develop and substantiate basic theoretical know­ledge in the field of research, restoration, conservation and storage of works of decorative and applied arts from metal, ceramics and organic materials. Training of restoration specialists is carried out in various educational and scientific institutions of Ukraine. At the present stage of development of scientific restoration, this industry needs innovative approaches and updating of old methods. Thus, at the National Academy of Fine Arts and Architecture you can get a specialty artist-restorer of monumental painting, artist-restorer of sculptures and decorative arts from metal, ceramics, organic materials (fabrics, leather and bone). Restoration occupies the most important place in museum work and combines a set of knowledge and skills that provide storage of works of art made of metal, ceramics and organic materials. Disciplines on the restoration of sculpture and works of decorative and applied art are part of the training of specialists in the specialty «Restoration of works of art» within the acquisition of practical skills in research, restoration, conservation and storage. Training of future artists-restorers in the system of higher professional education taking into account modern requirements of conservation and restoration is based on such principles as scientific, connection of theory with practice should be carried out on authentic monuments — museum exhibits that promotes formation of professional competences, acquisition of professional experience, responsible attitude to historical and cultural monuments. The obtained results deepen the idea of research methods, restoration and conservation of works of decorative and applied arts from metal, ceramics and organic materials. Theoretical provisions are important at the problem-theoretical level, because the training of restorers requires a strong scientific and methodological base.


Author(s):  
Dmytro Akimov

The purpose of the article is to investigate the mechanisms of sponsorship in the marketing of art in the art market in order to expand the opportunities for the population to visit institutions and events in the field of culture and art, where works of fine art are displayed. It is determined that in the field of fine arts sponsorship has certain features, because the sponsor provides assistance, strengthening its image, receiving advertising and PR. In addition, the desire of sponsors to make their own demands on the content and conditions of placement and demonstration of art collections is becoming a trend. The research methodology is to apply empirical and comparative methods. This approach allows us to reveal and analyze the possibility of applying the specifics of sponsorship as a technology to ensure public access to works of art in art marketing. The scientific novelty of the article is to identify marketing mechanisms that make it possible to make sponsorship in the field of fine arts comprehensively justified, regulated, fair and legal. Conclusions. We analyzed the conditions and opportunities for sponsorship, as well as opportunities for broad sections of the population to access works of art in Ukraine and other countries. It should be noted that there is a tendency in the world to "settle" famous works of art in private collections, to which only a limited number of spectators have access. Collections of state museums remain freely available to the general public, most of whom do not now have the opportunity to purchase very expensive works of art at auctions and galleries. Sponsorship in the field of art has its own specifics, because often the sponsor often not only demonstrates his help to museums, strengthening his image, reputation, but also tries to "dictate" museums and galleries their requirements for organizing museum exhibitions, the sequence of acquisition of new works in museum collections. Marketing technologies allow to regulate the work between sponsors and cultural institutions, to make this cooperation reasonable and fair. According to the experience of the countries of the world, the most effective type of "cultural economy" depending on the mechanisms of financing culture and art can be called "Anglo-American" type, where financing is carried out by attracting private capital, including tax benefits.


2019 ◽  
Vol 63 (4(250)) ◽  
pp. 245-262
Author(s):  
Agnieszka Nowak-Łojewska ◽  
Wojciech Siegień

Brought out of silence is a category used by Smolińska-Theiss to present children’s narrations and dialogues about their everyday matters. They take the form of letters to God, to presidents, albums with children’s drawings, photos, children’s films, graffiti, posts and comments. Originally, they date back to Korczak’s studies. Our text is also an act of letting children speak and appreciating their comments and opinions. It is concerned with children’s understanding of the world. Defining the meaning of life by children is the key category here. We called it “a comparative study” due to the fact that we will present utterances by both Polish and Ukrainian children as the category “a meaning of life” may be interpreted differently in various cultural, political or social contexts. The research carried out both in Poland and abroad indicates that a child is a competent unit capable of making logical utterances with the content which shows deep understanding of the world. This text is based on the following theoretical studies: – thinking about a child originating in a postmodernist childhood paradigm as well as psychological constructivism; – the analysis of research material has been based on Judith Butler’s theory – Frames of War.


2020 ◽  
Vol 31 ◽  
pp. 127-145
Author(s):  
Stanisława Sochacka

The author of the article examines the cognitive values of Silesia’s historical microtoponymy. The article is based on the names published in Słownik etymologiczny nazw geographicznych Śląska (Etymological dictionary of geographical names in Silesia). The analysed microtyponyms are a source of information about the life and work of people living in the region, about its natural environment, culture and language. An analysis of field names makes it possible to present some elements of the rural image of the world. It comprises names indicating the natural form of the landscape, forests and woodland areas, names of plants, wild animals, names associated with agriculture, with spiritual culture and customs. Most of the analysed names reflect the features of the Silesian local dialect.


2021 ◽  
Vol 6 (2) ◽  
pp. 165
Author(s):  
I Wayan Nuriarta ◽  
Ida Ayu Dwita Krisna Ari ◽  
I Gde Suryawan

<em>This article aims to read visual signs and verbal signs by utilizing the children's drawings during the pre-schematic stage. The reading of the signs will be used to describe the elements of fine arts in the children's drawing.  Four works of kindergarten children were chosen and observed. The four works are entitled "Mother", "Brother", "Zoo" and "Tree". These have been selected as the subjects of the study. These four works were chosen because these works were created by using different media, such as pencil on paper, watercolors on paper, and digital media. The object of this study is focused on visual analysis of the children's drawings on the elements of art, such as points, lines, shape, spaces, and colors. The pre-schematic stage is characterized by the appearance of circular images with lines that seem to indicate human or animal figures. During this stage, the scheme (the visual idea) is developed. The drawing shows what the child considers most important about the subject. There is a little understanding of space - objects are placed randomly throughout the image. The use of color is more emotional than logical. The elements of fine art are shown in the drawings can be described as the result of the observation 1) The lines have been controlled so has formed the image. 2) The shape of the object described has been identified as representing the object that the child wants to describe. 3) The colors used to fill the shapes are based on the child's imagination and desires except the color used to fill the shape of the tree.  The colors of nature are the same as in real life, such as green leaves, blue sky, and green grass. In general, the image or drawing presented by the child is an illustration</em>


2020 ◽  
Vol 10 (86) ◽  
Author(s):  
Olesya Bartashuk ◽  
◽  
Svitlana Makhovska ◽  

The article analyzes the ethnographic component of the novels of famous modern Ukrainian writers-postmodernists Kapranov brothers «Kobzar 2000. Soft» and «Kobzar 2000. Hard». It is emphasized that «Kobzar 2000» of the Kapranov brothers as one of the three Ukrainian «Kobzars» represents in own way time, modern national and spiritual existence of the people, formulates the original concept of the world, culture and human. The work has absorbed the achievements of Ukrainian culture and, at the same time, introduced something specifically own and modern, because in it the modern Ukrainian world is represented as the authors see it – mystical, full of incomprehensible, and therefore unknowable. In particular, the reader is convinced that life in the cities and villages of Ukraine at the beginning of the XXI century based on traditional Ukrainian mythology and worldview. Is proved the connection of ethnography as one of the features of modern literature with postmodern writing; positive feedback from researchers on the use of ethnographic material in modern works of art. Separated and systematized information contains a rich ethnographic material about domestic, mythological, demonological, customary and ritual culture of modern Ukrainians, their views on the norms of etiquette, the originality of world perception and folk ideas. Highlighted by the authors of the article ethnographic information, which is a kind of modern interpretation by writers Kapran folklore texts and allusions to Shevchenko «Kobzar», based on the classification of O. Yatyshchuk systematized into a generalized table on three approaches: 1) information about the ethnographic properties of heroes; 2) detailed descriptions of subjects, phenomena, customs, rituals of Ukrainians; 3) some mentions of the peculiarities of material and spiritual culture of Ukrainians. It is revealed that the most in the novels of the novel «Kobzar 2000» works, which provide information about the ethnographic properties of heroes (in 15 of the 28 novels). In 7 novels, the authors submitted detailed descriptions of subjects, phenomena, customs, rituals of Ukrainians, and in 6 works there are some mentions of the peculiarities of material and spiritual culture of Ukrainians.


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