scholarly journals Symbolism in the Russian visual art in the era of Art Nouveau: analytical overview in the light of latest research

2021 ◽  
pp. 10-24
Author(s):  
Olga Sergeevna Davydova
Keyword(s):  
Art History ◽  
Visual Art ◽  
Individual Characteristics ◽  
Art Nouveau ◽  
Scientific Publications ◽  
Russian Art ◽  
Art And Culture ◽  
History Of ◽  
Humanistic Knowledge

The subject of this article is the works of the Russian artists of the late XIX – early XX centuries in the context of problematic of symbolism and Art Nouveau, as well as the scientific foundation that has developed as yet in studying this topic. Research methodology is based on the conceptual synthesis of classical art history approaches towards the analysis of artistic material with the theoretical interdisciplinary methods of humanities, such as iconology and hermeneutics, as well as the contextual-associative method developed by the author. The goal of this article consists in determination of the peculiarities of symbolism in Russia due to the transformation of the attitude towards the spiritual problematic of art of the turn of the XIX – XX centuries, which is relevant for the modern art history. The author is firs in the Russian art history to conduct a comprehensive analytical overview of the development stages of symbolism in the Russian visual art based on the years-long work with the archival materials, scientific publications (that cover over a century), and works of the Art Nouveau authors stored in the museum funds, many of which after 1917  appeared to be on the periphery of attention of art historians due to ideological reasons. The revealed individual characteristics of symbolism as a holistic artistic phenomenon, created on the level of modern humanistic knowledge, determine the novelty of this work and can valuable in further study of symbolism and Art Nouveau. Broadening of representations on the Russian art of the late XIX – early XX centuries, allow returning the heritage of the symbolist artists into the context of art, which is of undeniable importance from the perspective of restoration of natural logic of the development of the history of art in Russia, making this publication valuable in various fields of study of art and culture.

Conditions of Visibility

2019 ◽  
Keyword(s):  
Art History ◽  
Visual Art ◽  
Fundamental Question ◽  
Ancient World ◽  
Work Of Art ◽  
History Of Art ◽  
Shared Objects ◽  
History Of ◽  
Modern Prejudice ◽  
Historical Past

We often assume that works of visual art are meant to be seen. Yet that assumption may be a modern prejudice. The ancient world - from China to Greece, Rome to Mexico - provides many examples of statues, paintings, and other images that were not intended to be visible. Instead of being displayed, they were hidden, buried, or otherwise obscured. In this third volume in the Visual Conversations in Art & Archaeology series, leading scholars working at the intersection of archaeology and the history of art address the fundamental question of art's visibility. What conditions must be met, what has to be in place, for a work of art to be seen at all? The answer is both historical and methodological; it concerns ancient societies and modern disciplines, and encompasses material circumstances, perceptual capacities, technologies of visualization, protocols of classification, and a great deal more. The emerging field of archaeological art history is uniquely suited to address such questions. Intrinsically comparative, this approach cuts across traditional ethnic, religious, and chronological categories to confront the academic present with the historical past. The goal is to produce a new art history that is at once cosmopolitan in method and global in scope, and in doing so establish new ways of seeing - new conditions of visibility - for shared objects of study.

scholarly journals GIOTTO IN RUSSIAN POETRY: NEGATIVITY, DESIGN AND CONSTRUCTION OF SOCIETY

2020 ◽  
Vol 18 (1) ◽  
pp. 170-181
Author(s):  
Alexander V. Markov ◽  
Keyword(s):  
Art History ◽  
Russian Literature ◽  
Careful Analysis ◽  
Russian Philosophy ◽  
Russian Art ◽  
Old Russian ◽  
Real Place ◽  
Russian Poetry ◽  
History Of ◽  
Writing Practice

The perception of Giotto’s heritage in Russian literature and culture has always been directly linked not only with the concept of the Renaissance and the development of Western culture, but with a special interest in writing practice and in the ambition of the narrative presented as innovative style to create communities. The main topic of the poetic thought was the transition from community to society, in other words, from community to church, so Giotto's status as a genius was always supported with statements about other geniuses who directly, but rather indirectly, made this transition. Despite the scarcity of references to the name Giotto, Russian poetry did not so much reflect the current art history conception, but anticipates or correctsconclusions of art historians. My careful analysis of the statements about Giotto in Russian poetry (V.Komarovsky, S.Soloviev, A.Voznesensky) in comparison with the conclusions of Russian philosophy and humanities (P.Florensky, P.Muratov, P.Bitsilli, V.Lazarev)explains plots of the poems related to picturesque impressions. The technique of chiaroscuro in Giotto, who first began to convey plausible depth through the illusory distribution of light, was understood as a technique primarily of hint and reflection, anegative, in comparison with which later Italian painting looks like a colorful positive. Such concept did not correspond to Giotto's real place in the history of art, but it did make it possible to correlate Giotto with Byzantine and Old Russian art using a golden background, emphasizing in the legacy of the Italian artist not credibility, but ability to create own art project relevant other projects.

scholarly journals “Crossed-out psychologism” of female salon portrait of the Art Nouveau: portraits of Elena Olive by the artist Konstantin Somov and Marina Makovskaya by Alexander Golovin

2021 ◽  
pp. 30-42
Author(s):  
Daria Stanislavovna Matyunina ◽  
Mariya Viktorovna Nozdracheva
Keyword(s):  
Three Dimensional ◽  
Personal Characteristics ◽  
Art Nouveau ◽  
Conceptual Similarity ◽  
Russian Art ◽  
The World ◽  
Female Image ◽  
Traditional Sense ◽  
Belle Époque

In view of female portrait of the turn of the XIX – XX centuries, which stylistically belongs to “salon” painting of the Russian Art Nouveau, the authors analyzes the two works by the artists of “The World of Art” association – the portrait of Elena Olive by Konstantin Somov (1914) and the portrait of Marina Makovskaya by Alexander Golovin (1912). Both portraits are attributed to the series of female portraits created by Konstantin Somov and Alexander Golovin in the early 1910s. The general circle of  the artists’ clients, similar formats of works, compositional and stylistic techniques allow drawing parallels between the selected portraits and finding certain conceptual similarity. The determination of stylistic, formal and conceptual patterns of both works against the background of the series of similar portraits created by the artists indicates that the generally accepted criterion of “psychologism” of the images in assessing these works is inapplicable. The female portrait of the Art Nouveau appease to be representative, creating “stylish” images of the contemporaries, meeting the tastes of the clients and the moods of Belle Epoque, but virtually not oriented towards personal characteristics and psychologism of the image in traditional sense. However, in the considered portraits, the researchers reveal generalizations and characteristics that describe the psychology of the depicted models in a different way, as well as form a three-dimensional female image of the turn of centuries: the phenomenon of “hidden psychologism”, the prospects for studying which are outlined in this work.

scholarly journals A LOST NAME IN THE HISTORY OF TURKISH ART: ARİF DİNO

2021 ◽  
Vol 11 (2) ◽  
pp. 454-475
Author(s):  
Ebru Nalan SÜLÜN
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Art Criticism ◽  
Artistic Style ◽  
Republican Period ◽  
Culture History ◽  
Creative Personality ◽  
Art And Culture ◽  
History Of ◽  
Early Republican

Arif Dino is one of the important figures in the contemporary art and culture history in Turkey. His is the brother of Abidin Dino who is one of the important artists of Turkish Contemporary art history. Playing a major role in the development of Abidin Dino's artistic style. Arif Dino is a figure who contributed to culture and arts scene of Turkey with his paintings in addition to his passion for sports, his designs, poetry, and articles of art criticism. This study is carried out in order to create a literature on Arif Dino, who was not involved in exhibitions and in research as much as his brother Abidin Dino, and in order to examine the artistic interaction between him and Abidin Dino. Arif Dino is an artist known for his versatile, unique and creative personality. In addition to his personality as a poet and a sportsman, he also produced works as exhibition stand and book cover designer in the Early Republican Period of Turkey. In this context, Arif Dino's artistry and works as well as his artistic ties with Abidin Dino will be analyzed.

scholarly journals XIX century in the history of European and Russian opera: points of intersection and differences

2021 ◽  
pp. 54-64
Author(s):  
Yawei Liu
Keyword(s):  
Chinese Art ◽  
Spiritual Values ◽  
Russian Art ◽  
Art Historians ◽  
National Opera ◽  
History Of ◽  
The Subject ◽  
Xix Century ◽  
Russian Opera

The development of opera genre in Europe and Russia in the XIX century is of particular interest for the Chinese and Russian art historians. The subject of this article is the history of European and Russian opera in the XIX century. The object of this research is the works of the leading opera composers and the novelties introduced by each of them into the opera genre. The goal consists in examination of the following aspects of the topic: specificity of emergence of opera in Russia in the XVIII century, establishment of the national opera schools – Italian, French, German and their prominent representatives, as well as peculiarities of the Russian opera tradition of the XIX century. The novelty lies in determination of similarities and differences between the European and Russian opera in the XIX century from the perspective of of Chinese art history. The author's special contribution consists in the attempt to discuss the subject matter in the context of Chinese art historians who take interest in the peculiarities of opera of the XIX century. The acquired results demonstrate that the development of opera within the framework of the vocal and musical performance in the XIX century is a unique sociocultural phenomenon, which manifested through the system of spiritual values and spiritual life of the Russian and European nations.

scholarly journals International aspect in the history of Russian contemporary graphics: problems of interpretation and identity

2020 ◽  
pp. 93-102
Author(s):  
Irina Sergeevna Golikova
Keyword(s):  
Cultural Differences ◽  
Contemporary Art ◽  
German Expressionism ◽  
Graphic Art ◽  
Global Trends ◽  
Russian Art ◽  
Saint Petersburg ◽  
History Of ◽  
The Subject

This article analyzes the examples of formal compliance with global trends in Russian print design of the XX – early XXI centuries. The subject of this research is the comparative characteristics of Russian and world practice in the area of contemporary graphic art. In this context, the author highlights the stylistic characteristics of expressionism (1910 – 1920) and neo-expressionism (1960s – 1980s).  Comparative analysis allows determining the points of intersection of Russian examples to Western analogues, as well as their originalities outlying the formal criteria. Emphasis is placed on the sources of determination of the uniqueness of graphics as a form of art within the history of Russian art studies. In the course of this research, the author brings the examples of “expressive” graphics in the works of N. N. Kupreyanov and A. I. Kravchenko in relation to printmaking of German expressionism, and some recent examples of Russian graphics (Saint Petersburg artists P. S. Bely, P. M. Shvetsov) in comparison to the graphic experiments of A. Kiefer. The conclusions lie in determination of the unique tradition of Russian realism (V. A. Vetrogonsky and V. I. Shistko), which in the author’s opinion, should be considered the crucial actor in the identity of Russian graphics against the trends leveling national cultural differences of international contemporary art.

scholarly journals THE DOLL IN THE PAINTINGS OF THE LATE 19TH – EARLY 20TH CENTURIES: HERMENEUTIC ANALYSIS

2020 ◽  
Vol 5 ◽  
pp. 616
Author(s):  
Natalia Bragina ◽  
Jelena Jermolajeva
Keyword(s):  
Comparative Analysis ◽  
Art History ◽  
Analysis Method ◽  
Culture Studies ◽  
University Courses ◽  
History Of Art ◽  
Art And Culture ◽  
History Of ◽  
Xix Century ◽  
Descriptive Method

The semantics of the doll in painting is not sufficiently investigated in art history and culture studies. The doll is never an accidental or unimportant component of a painting; it reveals deep psychological and symbolic undertones, complicates and concretizes the content of the painting. Each art style deals with this topic in its own way. The aim of the article is to analyse the interpretation of the image of the doll in various styles of painting of the second half of the XIX century – beginning of the XX century: in realistic painting, in symbolism, impressionism, and modernism. The research methods are the analysis of literature, the descriptive method, the hermeneutic method, and the comparative analysis method. The article may be useful for researchers in art and cultural studies, and can be used at school and university courses in the History of Art and Culture.

Aby Warburg

2018 ◽  
Author(s):  
Adi Efal-Lautenschläger
Keyword(s):  
Art History ◽  
Visual Art ◽  
Visual Studies ◽  
History Of Art ◽  
Art Historians ◽  
Visual Phenomena ◽  
History Of ◽  
Aby Warburg

One preliminary point which must be stated regarding Agamben’s relation to the art historian Abraham (‘Aby’) Moritz Warburg (1866–1929) is that this line of questioning is not reducible to problems regarding imagery or ‘visual’ art. Agamben says explicitly that ‘only the myopia of a psychologizing history of Art could have defined [Warburg’s art history] as a “science of the image”’ (ME 53). Although most scholarship on Warburg has indeed viewed the latter’s work as laying the foundations for image and visual studies, in Agamben’s account Warburg ushers the humanities towards another kind of inquiry, one having more to do with the concept of time than with any sort of imagery or visual phenomena. In this, Agamben’s reading of Warburg differs substantially from those of major art historians influenced by Warburg, such as Horst Bredekamp (Bildakt)1 or Georges Didi-Huberman (images malgré tout).2 In fact, Agamben’s reading of Warburg’s art historical inquiries can be elaborated as a fruitful critique of the recent ‘imagist’ turn in the history of art, viewing visual artworks as being primary and essentially ‘images’.

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