The formation of the art of socialistic realism in Mongolia: the main stages, the role of the Russian art school

Статья посвящена стилю социалистического реализма в изобразительном искусстве Монголии. Выделены основные этапы становления и факторы его формирования: революционные события и утверждение идеологии социализма; поддержка нового направления правительством Монголии, а также влияние российской художественной школы. Показана роль Российской академии художеств, Института им. И.Е. Репина, Института им. В.И. Сурикова в обучении и передаче художественных традиций и навыков монгольским художникам. Отмечено своеобразие монгольского варианта стиля соцреализма, синтезировавшего приемы и методы российской школы живописи с народными формами художественного творчества и буддийским искусством; показана непреходящая значимость и востребованность данного стиля в современном искусстве Монголии. Охарактеризовано творчество ведущих монгольских художников, и проведен искусствоведческий анализ ряда произведений. The article is devoted to the style of socialistic realism in the fine arts of Mongolia. The main stages of formation and factors of its formation are highlighted: revolutionary events and the establishment of the ideology of socialism; support of the new authorities of Mongolia, as well as the influence of the Russian art school. The role of the Russian Academy of Arts, the I.E. Repin St. Petersburg State Academic Institute of Painting, Sculpture and Architecture, the Moscow State Academic Art Institute named after V.I. Surikov in teaching and transferring artistic traditions and skills to Mongolian artists is shown. The peculiarity of the Mongolian version of the style of socialist realism, which synthesized the techniques and methods of the Russian school of painting with folk forms of art and Buddhist art, is noted; the enduring importance and relevance of this style in the contemporary art of Mongolia is shown. The work of leading Mongolian artists is characterized and an art history analysis of a number of works is carried out.

COMPILATION AS A COMPOSITION APPROACH OF CONTEMPORARY ART SCHOOL

It is impossible to create something new in science and art, without first absorbing the experience, knowledge, skills of scientists and artists of the past generation. Even the most original, progressive, and innovative ideas are, in fact, a compilation of previous experience. The compilation technique is one of the main and effective tools of the scientific world. It is also actively used in the creative process of musicians, writers, and filmmakers. The compilation technique is a fairly common phenomenon in the scientific world and art in general, at the same time, its level can be very different, ranging from direct plagiarism to forms of synthesis, the traces of which are very difficult to detect. There are separate genres in art, based on compilation, for instance, a «remake» in cinematography, a «potpourri» in music, a «historical analog» in visual art, and an «artrunion» in literature. Meanwhile, compilation, as one of the forms of the artist's creative method, is a very "delicate" and "vulnerable" matter, sometimes causing a lot of controversy among specialists, since there is no tool that could accurately measure the degree of compilation bordering on plagiarism. If in the scientific world author indicates a list of compilation material, writing an article, then in case of an artist, we will not see it due to specifics of his work. The path of an artist, in terms of the embodiment of an artistic conception, is in many ways spontaneous, and intuitive. On this path, it is very difficult for him to isolate his authorship from the experience of other artists, and as a result, his work is a kind of conglomerate of synthesis. In our study, we consider the compilation technique mainly on the example of the methods of a children's art school work, taking into account the age of a student. At the same time, the compilation technique is a universal method of composition that can be effectively used by teachers in the creative development process. Meanwhile, the compilation technique is a frequent subject of disputes during the competitive selection of creative works and today requires a deeper analysis and public discussion.

Сult and Critique of Raphael in the Late Nazarene Movement

The cult of Raphael is an important part of German romantic culture of the beginning of the 19th century. There were the Nazarenes who developed the cult of the Renaissance genius, and Raphael’s modern reputation is based on these romantic tradition. The article reveals special features of late romantic cult of Raphael, which caused the critique of the Italian master in the second half of the 19th — 20th centuries. The article discusses the art works of the Nazarenes (Franz Pforr, Peter von Cornelius, Franz and Johann Christian Riepenhausen). Special attention was paid to the art works and texts of the founder of Nazarene movement J.F. Overbeck of the 1830–1840s. This material was compared with the German art criticism of the same years, dedicated to the Düsseldorf Academy, an art school considerably influenced by the Nazarenes (A. Fahne, H. Püttmann). Typical for the Nazarene movement is the cult of Raphael as the main Christian painter, whose art is characterized as pure and harmonious. Other features of Raphael’s works, such as dynamic and emotional expressiveness of the form, were ignored or criticized. Such approach was firstly used in the J.F. Overbeck’s comment to the program painting The Triumph of Religion in the Arts (1829–1840) and developed in his later works (The Marriage of the Virgin, 1834–1836; The Lamentation, 1840–1845). This simplified image of Raphael became the subject of criticism for the next authors’ generation who supported the realistic searches of the masters of the mid-19th century. Nevertheless, Raphael’s works continued to be used as a standard for discussing of modern religious paintings.

Egological meets ecological: Drawing aspects in perspective(s)

Aspects of Edmund Husserl’s egological phenomenology and James J. Gibson’s ecological visual perception theory are construed dialectically for the purpose of informing the teaching of drawing, with an emphasis on understanding relationships between viewer positions and objects in the environment as represented through geometric projection systems. Such a grounding is conducive to a drawing practice capable of insights leading to new knowledge of our relationships with our environment, both egological and ecological, in an art school curriculum currently distorted by neo-liberal trends from the core study of visual perception and communication.

Tangible Remains

<p>This design led research advocates for an architecture indicative of the preceding history; that engages in an active dialogue with the site. Developed through shifting scales and media, the thesis investigates how architecture can give expression to the singularities of site. The milieu of erasures and the enduring traces are drawn to the surface and manifested across three design phases: 1 Chinese Garden, present condition; 2 Art School, past reflection; 3 Artist Colony, future projection. Through a process of editing, fragments are extended and retracted between the phases as more intense programs are introduced. The final design outcome is the result of an additive design methodology, developed across the course of the thesis. The design methodology is a model for combining sites in contemporary urban development; a model for co-existence of past and present into the future.</p>

Tangible Remains

<p>This design led research advocates for an architecture indicative of the preceding history; that engages in an active dialogue with the site. Developed through shifting scales and media, the thesis investigates how architecture can give expression to the singularities of site. The milieu of erasures and the enduring traces are drawn to the surface and manifested across three design phases: 1 Chinese Garden, present condition; 2 Art School, past reflection; 3 Artist Colony, future projection. Through a process of editing, fragments are extended and retracted between the phases as more intense programs are introduced. The final design outcome is the result of an additive design methodology, developed across the course of the thesis. The design methodology is a model for combining sites in contemporary urban development; a model for co-existence of past and present into the future.</p>

Art Studies in the Context of Power Relations in Lithuania, 1940–1953: The Case of the Activities and Closure of Kaunas Applied and Decorative Art Institute

Summary The main purpose of this report is to discuss the influence of political power on art studies in Lithuania and the creative work of artists from 1940 to 1953. It will be based on the destruction of the Kaunas Institute of Applied and Decorative Arts, which is little known to art historians. After the Second World War, this institute actually followed the traditions of Kaunas Art School (1922–1940): that was the reason for its closure in 1951. The closure was officially called the reorganisation and continuation of art studies in Vilnius. The post-war ideological content and power of the government acted in the study process. However, in essence, educators were guided by their modernist attitudes and did not accept Soviet directives. The report will try to show how political power has corrected art studies and changed the work of mature artists. This article raises a question about the cost of adaptation and resistance in life and creation. The idea is that the destruction of an art institution is possible, but it is impossible to completely destroy the art school tradition. These and other similar issues will be addressed in the article, based on archival documents and examples of works by several different generations of artists – Vytautas Kairiūkštis (1891–1961), Liudas Truikys (1904–1987), Zenonas Varnauskas (1923–2010).

Structures within structures: Examining alternative cultures of learning in the institution

This article explores the possibilities of using critical pedagogy inside and outside the art school to counter the effects of neoliberalism. Developed from an initial transcript of a conversation between three graduates of the Royal College of Art (United Kingdom) about our education-as-art projects, it takes the form of a constructed dialogue that mirrors our approach to working collectively. We discuss particular issues that arose for us whilst studying, as we experienced how the neo-liberal art school conceptualized a form of education and arts practice that promoted individualized paths and set competitive dynamics between students. We are interested in how art practices characterized as being social, collaborative and democratic can resist the neo-liberal art school. Advocating for process-based methods that facilitate learning between groups of students, we aim to open up space for embodied and situated knowledges. Bringing critical pedagogical approaches to the inside of the university creates a porosity with the alternatives we experienced outside. Through re-practicing historically radical methods and creating supportive structures, we challenge the dominant ways of communicating and managing the student-body. We argue that students and artists can organize their own cultures of learning in opposition to those that the university-as-business wants to promote, whilst creating supportive models that take students’ needs into account.