Ukrainian book art: ways of formation and development

The purpose of the article is to study the development of the directions of Ukrainian book art, the formation of new creative features in the European cultural space. The research methodology consists in the application of general scientific methods (analysis and synthesis, induction and deduction) and methods of art history (comparative, typological, descriptive). The scientific novelty lies in the study of book art, which has always been important in Ukrainian art. Conclusions. Today, we have a large amount of fine works in the genre of book illustrations. These works reflected both the history of the Ukrainian literature, history of the national graphic art, as well as the history of cultural progress of Ukraine in general. Thus, book art is an extremely fruitful object of study, an intersection point, where the complicated process of interaction of socio-political, spiritual, cultural and artistic and aesthetic factors is underway. Thus, Ukrainian book graphics in different periods reflected all European trends – modernism, symbolism, neo-primitive art, futurism, cubism, expressionism, constructivism, realism, surrealism, Art Deco, neoclassicism. The originality of the artistic language emerged through the use of traditional motifs and vanguard image creation tools. Keywords: research, culture, illustration, book, art, national traditions.

Restoration of 18th century Chinese album

Цель данного исследования — познакомить специалистов, занимающихся изучением и реставрацией произведений китайской живописи, с опытом, полученным в Государственном Эрмитаже. В процессе изучения текстов «Альбома рисунков. Путешествие императора Цяньлуна на юг Китая» хранителем К.Ф. Самосюк была установлена дата его создания — 1751–1758 годы. Альбом с китайской живописью был исследован всесторонне: проведены физико-химические и биологические исследования, которые позволили определить методику его реставрации. В России мало информации о реставрации альбомов такого рода. Исследование и реставрация китайской живописи осложняется хрупкостью материалов — бумаги и шелка, а также утонченностью техники живописи, поэтому были выбраны неразрушающие методы исследования без взятия проб. Рассматривались также этические проблемы. Были применены физический, химический и биологический анализы для определения подходящего метода реставрации. Биологические исследования подтвердили необходимость замены старых, обветшавших страниц альбома новыми. Для реставрации и сохранения альбома были использованы традиционные китайские методы реставрации и собственный опыт. Об исследовании и реставрации китайской живописи и каллиграфии, помещенных в альбомы, не так много информации. Наряду с другими источниками впервые в отечественной практике было использовано «Иллюстрированное руководство по монтированию китайской каллиграфии и живописи» Янь Гуйжуна, 2013. В статье также рассматривается проблема адаптации альбомов с живописью и каллиграфией к новым требованиям хранения и экспонирования графики. Изменение исторической формы монтирования листов с изображениями было вызвано сильным разрушением конструкции альбома. Новая форма хранения позволила выставлять альбом отдельными листами на различных тематических выставках с возможностью их ротации на экспозиции. В данной статье показан логический ход выбора методики реставрации, основанный на результатах исследований памятника и сочетании традиционных и современных методов реставрации. The aim of the article is to share our experience of restoring the Album of Drawings. The Emperor Qian Long’s Tour of Inspection to Southern China. Curator K.F. Samosyuk has dated the album to 1751–1758. There is little information in Russia on restoring albums of this kind. Restoration of painting on paper and silk is complicated by the fragility of the support material and painting technique; we therefore chose non – destructive research methods without taking samples. Ethical problems were also considered. For the first time we used physical, chemical and biological analysis to determine the appropriate restoration method. Biological research led us to replace old, faded album pages with new ones. We then used traditional Chinese restoration methods and our own experience to restore and preserve the album. Along with other sources, for the first time in Russia, Yan Guirong’s Illustrated Instructions for the Mounting of Chinese Calligraphy and Painting, 2013 was used. The key factor, though, was the experience we gained during research secondments at Shanghai Museum. We also examine the problem of adapting painting and calligraphy albums to new requirements for the preservation and exhibiting of graphic art. Historically, album pages with illustrations were mounted in pairs and glued together. Because of the album’s severe state of deterioration we decided to mount the pages on separate sheets. This new form of preservation has enabled separate pages from the album to be shown at differently – themed exhibitions and for rotation to take place. The article shows the logical process involved in choice of restoration method based on our research findings and a combination of traditional and modern restoration methods. Chinese painting, calligraphy, album, Chinese paper, Chinese silk, conservation, restoration, physical and chemical research, biological research, exhibiting, oriental painting, State Hermitage Museum

Stylistics of Ukrainian Fine Art, Architecture and Design in the Second Half XIX – Early XXI Centuries’ Period

The aim is to explore the key concepts of stylistics of Ukrainian fine arts, architecture and various types of design of the second half of the XIX – early XXI centuries in the relationship of individual fields of knowledge. Research methods – hermeneutic, axiological, historical-genetic, historical-chronological, comparative, culturological, formal-stylistic, art analysis. The selected tools allow you to compare the stylistic features of different types of design (industrial, graphic, clothing, environment), fine arts and architecture. A novelty is an overview of evolutionary processes in terms of styles in painting, graphics, architecture, various types of design activities (in particular, environmental design, industrial, graphic, clothing). The points of intersection of the conceptual and categorical sphere of the indicated branches of creativity are outlined, both common and different tendencies concerning the identification of stylistic features are observed. Conclusions. The differences of separate branches of knowledge of artistic creativity and common features of some types of design-designing, -construction, -modeling, art technologies bordering on graphic art and painting (graphic design, partly industrial design), architecture (environmental design and partly industrial design) are traced. Since the era of modernism, art deco, avant-garde, constructivism, functionalism, Stalin’s empire, which affected all forms of artistic activity, in the late twentieth – early twenty-first century established the classic, minimalism, high-tech, fusion, low-tech, shabby chic, provence, glamour, some oriental stylizations in the interior associated with architecture. Instead, clothing design, in addition to the classics, over the past few decades has creatively adapted the sports-classic style, manga, country, western, boho, military, glamour and etc. over the past few decades. If the shapes of the silhouettes of the cut look at the general tendencies of industrial design, the drawings of fabrics partially appeal to the visions of graphic design, which are related to the tendencies of fine arts – tendencies of modernism, avant-garde, postmodernism. Namely, they tend to functionalism, constructivism, boychukism, art deco, socialist realism, Stalinist empire, Ukrainian soviet empire, neo-functionalism, neo-primitivism, neo-folk style, polystylism, glamour.

EARTH'S CREATION STIMULUS: CREATION OF GRAPHIC ARTS WITH USED PLYWOOD MEDIA

Natural phenomena, especially climate change, are increasingly worrying lately. Graphic art can be used to express concern for the environment in response to climate change. The creation of this graphic art work uses the concept of the earth's creation stimulus. The creative methods used include: experimentation, contemplation, and formation. Abstract Expressionism was chosen as the style of personal expression in the creation of this work. The creative technique used is high printing technique with used plywood media. The results of the creation process show that the visualization of the concept of the earth's creative stimulus produces the forms of circles and lines. These forms are the main motif in the creation of graphic art with the stimulation of this earth's creativity

Memories in memoirs: Mykhailo (Moisey) Fradkin

The artist Moisey Fradkin (1904–1974) was a bright talented person in a brilliant galaxy of Ukrainian artists of the late 1920s – mid 1930s. He was a direct participant in the process of forming a special national “face” of graphic art. His works, which were exhibited at numerous foreign exhibitions in Europe and the United States, were noted as “strong and magical.” However, the further Fradkin’s creative destiny was not triumphant – after a very bright surge of original talent, his art was muted in the Procrustean bed of the Stalinist ideology, from about the end of the 1930s to the 1960s. He did not lose his skills, but only at the end of his life, full of wise experience, Fradkin again acquired bright energy and youthful enthusiasm in his work. Fradkin was a widely educated person, he taught at the Kharkiv Art Institute, was an active illustrator, author of easel compositions and graphic miniatures-exlibrises, worked in the field of industrial graphics for many years, headed the section of decorative and applied arts of the Kharkiv Club of Exlibrisists, collected a huge library. He and his wife, H. Krieger put together a unique collection of paintings, graphics and decorative and applied arts (more than 4000 items), which was later inherited by the Kharkiv Art Museum. The museum’s archives contain scattered sheets with fragments of Fradkin’s memoirs about his years of study at the Kharkiv Art College-Institute, which emotionally describe the time of the rapid reform of art education, which was full of contradictions. The article is based on these, not completely deciphered notes, and on the personal memoirs of the author of the article, who was familiar with the artist in the last four years of his life.

National Graphic Design of the 1960s in the Context of World Achievements in this Field

Peculiarities of national graphic design formation in the 60s of the 20th century in comparison with achievements of the leaders of the world design movement are considered in the article. The aim of the article is to identify peculiarities of Soviet graphic design formation in the 1960s in the context of world achievements in this field. The research methodology combines the methods of comparative, figurative and stylistic analysis, which are based on historical and systematic approaches. The materials of the article proved that in the 1960s professional development of national design took place in conditions of significant economic and technological gap with the leading countries of Europe and the United States. At the same time, due to the tendency to stylistic inertia and imitation of forms and means of graphic art, including aesthetic evaluation criteria, there also was a stylistic gap with progressive trends represented by the Swiss Printing School, the Polish Poster School and American commercial design. The author concludes that the development of Soviet graphic design in the 1960s was in line with opposite trends. On the one hand an impact of world design achievements was obvious, along with significant progress in certain fields of science and technology, the creation of design universities; on the other hand, there were traditions of applied graphics and aesthetic criteria; ideologization of society and state control over all spheres of creative activity. These factors hindered the perception of graphic design as an independent and specific field of art and design activities. Nevertheless, the period of the 1960s was an important stage in the development of design profession in the USSR. The first design educational institutions were established, including the Kharkiv Institute of Arts and Industrial Design; the All-Union Research Scientific Institute of Technical Aesthetics appeared; the publication of the journal “Technical Aesthetics” began. All these changes were of great importance for the development of graphic design, as they marked the beginning of its professional history, formation of the basis, awareness of a fundamentally new type of activity with its own tools and professional tasks.

LINO PRINTING DALAM ILUSTRASI CERITA RAKYAT SABAI NAN ALUIH LINO PRINTING IN THE SABAI NAN ALUH FOLKTALE ILLUSTRATIONS

<p><strong><em>Abstract</em></strong></p><p><em>Lino Printing is one of the manual printing techniques that belongs to the High printing technique which is part of the graphic arts. In the history of the development of graphic arts in Indonesia, it has been able to become a means of publishing news of Indonesian independence, but the nature of this printing technique that can be duplicated makes graphic art not develop because it is considered not exclusive and its originality is doubtful However, the interesting characteristic became the inspiration to use this technique in illustration work based on the narrative in the story of Sabai nan Aluih. This research uses practice lead research method. This method is used so that the work process can be done more freely. The story of sabai nan Aluih was chosen as a form of concern for Indonesian folklore.</em></p><p><em>Keywords: lino-printing, illustration, Indonesian folklore, Sabai nan Aluih.</em></p><p><strong> </strong></p><p><strong> </strong></p><p><strong>Abstrak</strong></p><p>Lino Printing adalah salah satu teknik cetak manual yang termasuk dari teknik cetak Tinggi yang merupakan bagian dari seni grafis. Dalam sejarah perkembangan seni grafis di Indonesia mampu menjadi sarana publikasi berita kemerdekaan indonesia, namun sifat teknik cetak ini yang dapat di duplikasi membuat seni grafis tidak berkembang karena dianggap tidak eksklusif dan diragukan originalitasnya. Tetapi ciri khas yang menarik menjadi inspirasi untuk menggunakan teknik ini dalam karya ilustrasi yang berdasarkan narasi dalam cerita Sabai nan Aluih. Penelitian ini menggunakan metode practice lead research. metode ini digunaka agar proses berkarya dapat di lakukan dengan lebih leluasa. Cerita sabai nan Aluih di pilih sebagai wujud kepedulian terhadap cerita rakyat Indonesia.</p><p><strong>Kata kunci: </strong><em>lino-printing,</em> ilustrasi, cerita rakyat Indonesia, Sabai nan Aluih.</p>