Resimde Duygu ve Gerilimin Çekiciliği Francis Bacon (1909-1992)

Francis Bacon was born in Dublin in 1909 to an English family. The artist rejected the literary field and perceived his painting directly as an act of expressionism. The period he lived in and the effect he had on it was reflected in his paintings as horrifying images emerged in them. The figures in his paintings were distorted, trapped in a strong motion, caught in a vortex or storm. The audience subjected to the emotional tension of the figures were subjected to intense emotions. The aim of this study, which was conducted by qualitative research method, is on Francis Bacon who, even though did not receive academic art education, managed to have a strong emotional effect on the audience with his expressionist art. Keywords: Francis Bacon, Figurative Painting, Expression in Painting, Motion and Art.

The Apocalypse of John: the architectural symbolism of visual exegesis

A hermeneutic literary criticism of the last text of the New Testament canon can be complemented by an architectural criticism of metaphorical and rhetorical structures and plots, presented as an ultimate resolution to fundamental problems, posed both by the kerigma and by the Hellinised religious experience of the Old Testament (apocalyptic and epistolary genres). The text of the Revelation has staging structures that imply its performative reading, and suggested radical eschatological ways of resolving conflicts allow for equally radical exegetic methods, with a feminist orientation, for example. Analytical metaphors that we have employed, taken from the arsenal of art history, such as ‘polyptich’ or ‘non-figurative painting’, prompt us to use an experimental paradigm of diagrammatics: a visualization of compositional schemata as the equivalents of a cognitive apparatus. The hearer/reader has the opportunity to set off on an eschatological journey with the author of the Revelation but also to have an epistemological walk with its exegetes and commentators.

Oldest cave art found in Sulawesi

Indonesia harbors some of the oldest known surviving cave art. Previously, the earliest dated rock art from this region was a figurative painting of a Sulawesi warty pig (Sus celebensis). This image from Leang Bulu’ Sipong 4 in the limestone karsts of Maros-Pangkep, South Sulawesi, was created at least 43,900 years ago (43.9 ka) based on Uranium-series dating. Here, we report the Uranium-series dating of two figurative cave paintings of Sulawesi warty pigs recently discovered in the same karst area. The oldest, with a minimum age of 45.5 ka, is from Leang Tedongnge. The second image, from Leang Balangajia 1, dates to at least 32 ka. To our knowledge, the animal painting from Leang Tedongnge is the earliest known representational work of art in the world. There is no reason to suppose, however, that this early rock art is a unique example in Island Southeast Asia or the wider region.

The image of wine in the Iranian cinema and contemporary art

The proclamation of the Islamic Republic made its own adjustments to the cultural life of Iran, but despite the imposed restrictions and prohibitions, modern directors and artists continue to saturate their works with references to poetic images of wine. In cinema, the authors act quite straightforwardly, although sometimes in their films there are more inventive methods of mentioning an illegal drink (verbal ac-companiment of the visual series through reading poetic lines about wine). Representatives of the modern art scene can resort to the wine motive in a more diverse form than their colleagues in the field of cine-ma, since it is easier for them to encrypt this topic in their works. Artists turn to the leitmotif of wine, classic for Iranian miniatures, both in abstract drawings, experimenting with calligraphic patterns, and in figurative painting, creating various compositions from mystical and phantasmagoric plots to everyday realistic sketches. When examining the image of wine in historical retrospect, the connection between poetry and Iranian art is clearly visible. The poetic tradition is deeply rooted in Persian culture, an environment so deeply formed by metaphor and permeated with allegory, depicting not the literal, but the symbolic. In addition to the fact that great masters of literature are revered in Iran, poetry is an everyday language in which people communicate today. Therefore, quotes from the poems of poets of the past and present saturate the narrative in Iranian cinema and penetrate into modern fine art, thereby uniting the eras into a single cultural field.

Bezprzedmiotowa figuracja i realna abstrakcja. Wątki abstrakcyjne w malarstwie przedstawiającym

The paper refers to the mutual relations between abstract and figurative painting, from the Renaissance to the present. By referring to the rationalism and conceptualism of iconology related to realism and the phenomenological purity of Dutch realism, it emphasizes the idealistic foundations or effects of trends in painting considered realistic. In turn, demonstrating the presence of sensual aspects in abstract art, it examines the possibility of considering reality as an abstract phenomenon and asks about the relevance of the conflicting understandings of both categories, especially with regard to the tendency to mix these two orders in current painting trends.

Portrait and landscape in Boris Zaitsev’s publicistic writings: style and ethos

The article represents genre-style etymology of Boris Konstantinovich Zaitsev (1881-1972) publicistic legacy (that includes essays, profiles and critical notes). Style-forming expressions of this outstanding representative of 20th century Russian literary abroad are analyzed within the context of his ethical and philosophical principles. Zaitsev’s portrait and landscape sketches are considered for the first time as figurative-poetic and genre-compositional components of the artist's “visual palette”. One of the effective methods of comprehending the style and ethos of the writer is the disclosure of multi-genre subtexts that reflects the creative worldview of B. Zaitsev, in which aesthetics is closely intertwined with metaphysics, and this, in turn, determines the adjacent disciplinary tools for the study of “literary painting”, actualizes parallels with non-verbal art forms (painting, music). The intertextual phenomenology of B. Zaitsev's publicistic texts is not limited to the artful, masterly and technical depiction. The nature of refined subject-figurative “painting”, as follows from the analysis, is based on the spiritual contemplation of the writer and reflects a rare for the art of the 20th century harmony of the artistic and transcendent.

Mikhail Larionov’s Rayonism and the Scientific Mythologies of the Late Nineteenth and Early Twentieth Century

The article investigates the theory of non-figurative painting developed by Mikhail Larionov (Rayonism) and its connection to parascientific theories of the early twentieth century. One of the central scientific and parascientific mythologies of the time regarded the shift in the understanding of the idea of matter. The notion of ‘radiant matter’ had a prominent place in these mythologies. The article analyses a range of frameworks, within which the idea of ‘radiant matter’ was interpreted (from a scientific research of different phenomena provoked by invisible waves to spiritualist and occultist experiments). The iconography of these waves and the theories of the dissociation of matter represent an essential input to understand how abstract art emerged in early-twentieth-century Russian painting.

Research on the Integration and Application of Abstract Elements in Freehand Oil Painting

Abstraction is an indispensable element in the figurative painting. However, in the freehand oil painting which belongs to the figurative painting, the abstract elements are often covered up by the abstract language in the painting. Therefore, when many people appreciate the freehand oil painting, they can only see the artistic conception described in the painting, but they are completely unable to detect the existence of abstract elements in the painting. However, although people often ignore the appreciation of abstract elements, its existence has an important effect on freehand oil painting. It can not only enrich the content of the painting, but also enhance the connotative value of the work. Therefore, painters must pay full attention to the use of abstract elements in the freehand oil painting, so as to enrich the form and connotation of the painting and promote the effective enhancement of its artistic value.

سيميولوجيا الفن الإسلامي

لم يقتصر دور الفن الإسلامي -بتنوع تقنياته وأساليبه وأشكاله- على التعبير عن جمالية الصنعة، وإنَّما تعدّى ذلك إلى التعبير عن قيم فكرية واجتماعية من خلال لغة الشكل والبناء الفني بوصفه نوعاً من أنواع التجريد النقي، تأسَّس عبر رؤى وفلسفة بصرية إسلامية نابعة من فهم الإسلام نفسه، مُخالِفاً بذلك التجريد الفني الغربي. وبالرغم من أنَّ هذا الفن قد استعاض عن التصوير المجسم بأشكاله وفراغاته ودرجات الظل والنُّور فيه، فإنَّه تمكَّن من تقديم حلول بصرية نقية مجرَّدة زاخرة بالدلالات الاجتماعية والإنسانية عن طريق دوال بصرية نقية، وظَّفها الفنان المسلم في بناء نصوصه البصرية؛ سواء أكانت عمارة، أم زخارف هندسية ونباتية وغيرها. تهدف هذه الدراسة السيميولوجية إلى رصد الدوال الفنية والدلالات الجمالية ذات الصلة المباشرة بحياة المسلم وحاجاته، بناءً على الفهم العميق للإسلام وفلسفته الوسطية التي تجمع القدسي والدنيوي، وتربط النظرية والتطبيق وتجلِّي حضور تلك الدلالات في النص البصري الإسلامي. The role of Islamic art - with its various techniques, methods and forms - was not limited to expressing the aesthetics of workmanship. It goes beyond the expression of intellectual and social values through the visual language of form and artistic construction as a kind of pure abstraction. It was founded through Islamic visual visions and philosophy stemming from the understanding of the Islam, contrary to Western artistic abstraction. Although this art has replaced the pictorial figurative painting with its forms, voids, shades and light, it has been able to provide pure visual solutions that are pure and rich in social and human connotations expressed through pure visual elements, which the Muslim artist has employed in the construction of his visual texts, whether it is architecture, geometric decorations, or floral, etc. This semiological study monitors the artistic and aesthetic signifiers directly related to the life and needs of Muslim, based on a deep understanding of Islam and its moderate philosophy that combines the sacred and the worldly, links theory and practice and uncovers the presence of these connotations in the Islamic visual text.