Sculptural rhymes of Art Nouveau: on the visual poetics of symbolism

This article is first within the Russian and Western art history to examine the concept of visual poetics as a separate subject of research. Based on the analysis of iconographic and theoretical searches of the masters of symbolism, which found reflection within the boundaries of expressive means of visual art, the author comes concludes on the poetic principles of symbolist artists as the fundamental sources of the formation of the style of Art Nouveau – a new sculptural language of the XIX – early XX centuries. Detail characteristic of the philosophical-aesthetic content that underlies optical forms of the visual symbolist image, in its scientific origins leans on the capabilities of the art comparative-formal analysis, as well as iconological method adapted to the period under review. The innovative conceptual approach towards studying the art of symbolism lies in the fact that poetry as the concept is depicted beyond the literary sphere, as a specific type of artistic worldview that influenced the development of the visual language of art in the era of Art Nouveau. At the same time, visual poetics is compared to the complex system of internal images, which shape in with the works of the master throughout the entire path of his self-expression, and are directly related to profoundness of the poetic principle of the soul, lyrical and metaphorical intuition of the artist. This approach allows us broadening the representation on the aesthetic benchmarks of the symbolist artists, as well as designating the new methodological coordinates in the field of studying the art of symbolism in both national and international contexts.

Art Nouveau in the context of realism: Ilya Repin at the turn of two centuries

The main subject of this research is the specificity of I. E. Repin's perception of the dynamics of artistic-aesthetic tasks formed under the influence of changing modernity. In view of this, one of the compositional centers of the research is the history of relationship that developed between I. E. Repin and the artists of the “first wave of symbolism” – members of the association “The World of Art” (primarily, the editor-in-chief of the eponymous journal S. P. Diaghilev, A. N. Benois, K. A. Somov, Y. Y. Lanceray). Special attention is given to the question of perception of I. E. Repin by certain representatives of the avant-garde in 1910s. Developing in the range “attraction – negation”, full of dramatic and comic moments, the dialogue between Repin and younger generation indicates the hastiness of univocal view of realism and Art Nouveau as opposing imagery systems. For the first time, on the current level of scientific comprehension of the aesthetics of symbolism and neo-romanticism, the article analyzes the attitude of I. E. Repin towards the innovative imagery pursuits of the Art Nouveau artists. At the same time, the very concept of Art Nouveau is interpreted in two dimensions: as a certain milestone in the context of the development of the history of art of the late XIX – early XX century; and as an inner dynamic potential embedded by I. E. Repin in his works since the beginning of his creative path. Based on systematization of the artistic and documentary sources and  the method of complex reconstruction of the views of Peredvizhniki and symbolist artists upon the objectives and nature of art, the author concludes that the poetics of art of Ilya Repin, synthesizing the ideas of time, tends to reflect a complicated and distinctive artistic image formed by realistic and idealistic principles.

History of the specific musical movements in Ukraine in the XX century

The purpose of the article is to provide systematization and synthesis of data concerning the history of the separate directions of musical art in Ukraine in the XX century. Methodology. General scientific methods of research, analytical, typological, semantic, and comparative analysis - are applied to the terminological definition of a conceptual framework of the history of musical art and justification of its theoretical art criticism application. The scientific novelty consists in consideration of musical art in Ukraine in the XX century as a certain welfare community. Conclusions. The article considers the history of certain areas of musical art in Ukraine in the twentieth century. It was established that at the stage of the emergence of musical art in Ukraine, the initial music of a syncretic nature developed. This trend consisted in the fact that music, dance, song, and poetry were in constant unity and, accompanied both ceremonies, rites and rituals, and everyday life. During the twentieth century, Ukrainian music in a significant variety of genres and forms is widespread in our country and beyond. Ukrainian artists actively mastered classical European instrumental genres, including the Baroque suite, chamber sonata, trio, quartet, quintet. It was at this time that the aesthetics of the Art Nouveau era dictated an appeal to the style of impressionism, expressionism, and other directions of Art Nouveau (in association with traditional genres, forms, and means of musical expressiveness). This has had an appropriate impact on the field of music education. The development of Ukrainian professional music is associated with the evolution of Ukrainian statehood, which only in the 20th century received the driving forces for formation. This state dynamics influenced the development of Ukrainian culture (and musical art) as an integrated system that is necessary for the active development of the society of Ukraine and the international community as a whole. Speaking about the interaction following the results of the ХХ century of innovations and traditions (archaics) in the musical art of Ukraine, it should be pointed out that any tradition is an innovation in the past, and any innovation is potentially a tradition in the future. In addition, it is important that novelty and archaic in the composer's work should complement each other. It is through this trend that innovations in musical art differ significantly from innovations in technology, where a return to archaic cannot be considered an innovative development. Keywords: art, music, musical works, music schools, the ХХ century, directions, development innovations.

Art Nouveau and Neoclassicism of buildings in Tyumen financed by merchants late in the 19th and early 20th centuries

The problem of preservation of the historical and architectural environment in Russian cities is currently rather relevant. Research and popularization of the different architectural styles play an important role in preservation of the unique historical environment of the city. Architectural styles of buildings in Tyumen are from Siberian Baroque to large-scale buildings of neoclassicism, which is characteristic of the architecture of this period.The paper describes the buildings the construction of which is financed by the merchants. The building architecture belongs to a particular stye typical for the period of Art Nouveau and neoclassicism. The architecture of Tyumen buildings is of regional color scheme represented by the decoration of window trimmers and other architectural details.The research implications include a study of historical and modern photographs of buildings of various types, namely from educational institutions to residential buildings. The paper utilizes historical and archival and bibliographic data and field research.Research findings: the significance of the studied buildings is preserved in the modern urban environment and architecture of Tyumen. At the turn of the 19–20th centuries and today, these objects retain their role in urban planning and function.

LES NABIS AND MAX VOLOSHIN: GAME MODELS

The article draws parallels between the variants of the play-drama and the forms of self-representation of the Les Nabis and the «Parisian» Maximilian Voloshin. All of them tested the concepts of play, performance, and artistic transformation of reality, which are organic in the aesthetics of symbolism, based on the tradition of French culture from T. Gauthier, J. Barbey d’Aurevilly to J. Péladan, F. Khnopff. In the stream of theatrical utopia of the late XIX – early XX centuries Les Nabis and Voloshin used the style of symbolism in everyday life and creativity. They were united by an understanding of art as an emanation of the absolute, a perception of phenomena as a «door to eternity», an invisible reality, a specific «sense of the mystery of things pregnant with an event» (Edouard Vuillard). The thesaurus of forms they possessed included signs of self-manifestation. But, although all of them have an increased attention to the synthesis of religions, mysticism, transchronological excursions, their models of life creation, as well as self-realization, have a number of differences in the ways of objectification of the spiritual. The sublime drama of the Nabis – «Language of Nabis», created by P. Sérusier, paraphernalia, clothes in the form of a felony, weekly ritualsin the Temple of Nabis on Boulevard Montparnasse, 25 – shows their commitment to the spiritualist model of thegame. And the semi-humorous atmosphere of the «Order of the Spins» in the house of Voloshin in Koktebel, jokes andhoaxes of the owner tend to laugh culture. Voloshin claimed: «Everything that is not a game is not art». He relied on the reception of art as a game and life as art – the newly created world en variante locale by the artist, the conjurer of things. Together with the fraternity, which arose spontaneously every summer and spontaneously formed its own laws and rituals, the poet realized an improvisational model of the game, close to children’s games. In contrast to the pathos of the Les Nabis, Voloshin’s game was a frontier against society and the then (1905-1924) Russian reality. If the theater of nabis in the manifestations of Art nouveau realized their goal to aestheticize space, then Voloshin’s game, which became his lifestyle, led to the creation of a new person and new relationships. It contributed not only to the creative development of its members, but also to saving lives during the Bolshevik terror and famine. Late Voloshin, with his analysis of the Сainite civilization and the historiosophical conception of Russia, consistent with modern assessments of geopolitical realities, can be positioned as a seer who predicted the course of events for centuries to come.

The Vitality of Viennese Art Nouveau

The article develops the problem of vitality in art on the basis of the so-called Viennese Art Nouveau, in particular on the basis of the works of Arthur Schnitzler, Gustav Klimt, Koloman Moser and critical works of Hermann Bahr. The concept of vitality is seen as the foundation of that artistic anthropology, which united all types of art within the framework of Viennese Art Nouveau, giving them a single intention. The heightened interest in Man as a psychophysiological phenomenon, in the instinctive nature of man and the chaos of his inner — mental — life, in the borderline states of human existence in the space of the eternal antinomy of Eros and Thanatos — all this led to the unprecedented originality of the art of Vienna at the turn of the 19th-20th centuries.

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

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.

Glory In White: Analogi Arsitektur Hotel Majapahit Dalam Penciptaan Busana Dengan Classic Elegant Style

Majapahit Hotel Surabaya is one of the Dutch colonial legacy and also a historical place forSurabayan people. The pure white nuance and the mixed of Art Nouveau and Art Decoarchitecture style of the hotel makes the hotel has its own uniqueness. Through theanalogy theory, the shapes that can describe the Majapahit Hotel is its architecture andinterior such as crystal lamp, symmetrical, flag terrace as one of the iconic construction ofthe hotel, geometric, arc line and clasic elegant. Those shapes become the style in thisfashion artwork which processed and can realize the Ready to Wear, Ready to WearDeluxe, and Haute Cotour the fashion artworks, which has been considered based on theexisted element and tenet. The creative creation process uses Tjok Instri Ratna CoraSudharsana design method named "FRANGIPANI, The Secret Steps of Art Fashion" whichconsist of ten steps of design fashion planning process.

RESULTS OF PEDAGOGICAL EXPERIMENT ON EMOTIONAL BURNOUT PREVENTION IN STUDENTS OF ENGINEERING SPECIALTIES

В процессе обучения в вузе под воздействием больших умственных, физических, психических нагрузок обучающиеся испытывают эмоциональное истощение, снижение интереса к учебе, а также ухудшение состояния здоровья. Статистические данные показывают, что примерно 50% обучающихся вузов подвержены эмоциональному выгоранию. Обучающиеся инженерных специальностей не являются исключением, большие умственные нагрузки, выполнение проектных работ, требующих интеллектуального и психического напряжения, приводят к эмоциональному выгоранию, снижению интереса к учебе, депрессии, ухудшению общего здоровья. Данная проблема потребовала своего разрешения. Для профилактики эмоционального выгорания у обучающихся инженерных специальностей были использованы средства артпедагогики: музыка, хореография, танец. Наиболее востребованным и интересным для обучающихся стал танец модерн как, по мнению многих исследователей, наиболее эффективное, современное и интересное направление современной хореографии. Для оценки эффективности экспериментальной работы по профилактике эмоционального выгорания у обучающихся инженерных специальностей были определены критерии, представленные физическими, эмоциональными, интеллектуальными и социальными показателями. Полученные в начале педагогического эксперимента результаты показали, что у обучающихся имеются начальные признаки эмоционального выгорания по изучаемым показателям. Обучающиеся были разделены на контрольную и экспериментальную группы. Педагогический эксперимент проходил в течение учебного года, включая и каникулярное время: частота занятий - 3 раза в неделю. В конце педагогического эксперимента было проведено повторное исследование эмоционального состояния испытуемых по выделенным критериям. Показатели обучающихся ЭГ значительно улучшились по всем изучаемым показателям: повысилась физическая работоспособность, социальная активность, появилось желание учиться, повысился интерес к учебной деятельности. Результаты проведенного педагогического эксперимента доказали необходимость целенаправленной работы с обучающимися инженерных специальностей по профилактике эмоционального выгорания. Наиболее эффективным средством для данной профилактики является включение обучающихся в творческую деятельность с ярко выраженной эмоциональной направленностью, к которой и относится танец модерн. In the process of studying at a university, under the influence of large mental, physical, and psychic loads, students experience emotional exhaustion, a decrease in interest in studying, as well as a deterioration in their health. Statistics show that approximately 50% of university students are exposed to emotional burnout. Students of engineering specialties are no exception, large mental loads, design work performance that requires intellectual and mental tension lead to emotional burnout, reduced interest in study, depression, and deterioration of general health. This problem has required resolution. To prevent emotional burnout in students of engineering specialties, the means of artpedagogy were used: music, choreography, and dance. The most popular and interesting for students was the Art Nouveau dance as, according to many researchers, the most effective, modern and interesting direction of modern choreography. To assess the effectiveness of experimental work on the prevention of emotional burnout, the criteria presented by physical, emotional, intellectual and social indicators were determined in students in engineering specialties. The results obtained at the beginning of the pedagogical experiment showed that students had initial signs of emotional burnout according to the indicators studied. The students were subdivided into control and experimental groups. The pedagogical experiment took place during the school year, including vacation time: the frequency of classes - 3 times a week. At the end of the pedagogical experiment, a repeated study of the emotional state of the students according to the selected criteria was carried out. The indicators of students from the experimental group improved significantly in all the indicators studied: physical performance and social activity increased, there was a desire to study, interest in educational activities increased. The results of the pedagogical experiment proved the need for targeted work with students of engineering specialties in the prevention of emotional burnout. The most effective tool for this prevention is the inclusion of students in creative activities with a pronounced emotional orientation, to which Art Nouveau dance belongs.

Female mascarons in the architecture of the Lviv secession

An important role in the formation of the architectural style of Lviv was played by the beginning of the twentieth century. As the capital of Galicia, which at that time belonged politically to the Austrian Empire, Lviv was strongly influenced by the Austrian Secession and the head of the Vienna School of Architecture O. Wagner. Nevertheless, the Lviv architecture, to a certain extent, has preserved its originality and uniqueness. Secession is a phenomenon of the Lviv architecture of the early twentieth century. It determines the definition of sculptural decor as one of the main components of the “newest” artistic image of a building. Among the various types of plastic decoration, an important place is occupied by relief masks – mascarons, which are the most mysterious, attractive and bizarre elements of the architecture of the Lviv Secession. The article notes the influence of various factors on the formation of new typological groups of mascarons not found in the architecture of previous eras. The artistic images of secession arise at the intersection of two key symbols and constant themes of art nouveau – eternal femininity and fabulous nature.