THE ART OF STAINED GLASS IN THE ARCHITECTURE OF TEMPLE BUILDINGS OF THE RENAISSANCE PERIOD IN LVIV

The stained glass art of temples and chapels of the Renaissance period occupies a special place in the fine arts of Lviv. Special attention is drawn to the stained glass windows of Lviv's sacred buildings, which impress with their aesthetics, composition, colours, and artistic expressiveness. In the process of studying stained glass windows in the decoration of Renaissance churches and chapels in Lviv, the manufacturing technology, compositional solution, their colour scheme were analyzed and the main features of their artistic and figurative expression were revealed. Renaissance stained glass windows have not survived, all stained glass windows of Lviv temple buildings were made in the XIX-early XX centuries. The stained glass compositions of the Church of the Assumption are marked by a simple and at the same time refined composition and picturesque colours in light tones in contrast to the Gothic patterns. Ornamental stained glass compositions were used in the interiors of the chapels. Ukrainian artists of monumental art used the latest progressive technologies of making stained glass. Professional foreign artists - connoisseurs of stained glass art - were invited to make stained glass window compositions of Lviv Renaissance temple buildings. All stained glass windows of Lviv's sacred buildings are highly artistic decorative works and belong to Ukrainian artistic heritage.

Remembering Oleksandr Pronin: the Stained Glass Art Laboratory of KSADA in 1980–2000s

The material covers the years of creative life of a famous Ukrainian artist-monumentalist, O. Pronin (1934–2002), associated with his leadership of the Department of Monumental Painting of the Kharkiv State Academy of Design and Arts and the development of stained glass as a technique and a form of monumental and decorative art in education. The author focuses on the formation of a school of artistic stained glass in Kharkiv, the founders of which were professors Oleksandr Pronin and his wife Galyna Tishchenko. The article has some features of autobiography and is presented in the form of memoirs about the activities of the stained glass workshop of KSADA – Kharkiv Art and Industry Institute, and life of the author and the main character of the story, O. Pronin, and his students, around this workshop. These are the times of formation of the laboratory, certain stages of gaining experience in the stained glass industry, analysis of works of art and the spread of stained glass art through the work of the head of the department and laboratory and his many followers. Documentary and illustrative materials on the activities of the stained glass workshop, which was created by O. Pronin in 1967 and is still developing thanks to the efforts and activities of the author of the article, who is a direct student and a follower of the master, mention significant for Kharkiv and all Ukraine monumental art projects, behind which O. Pronin stood as the author or leader. The facts and memoirs presented by the author of the article have historical and scientific value, since the author himself took part in the creation of the stained glass laboratory of KSADA as its head. Although the emphasis is made on the 1980–2000s, which was the period of the heyday of the laboratory, the author also cites the modern works of O. Pronin’s and his own students, showing the continuity of the traditions in the Kharkiv school of stained glass.

Коллекция стекла во Всероссийском музее декоративного искусства

The article discusses the main principles and sources of the formation of the glass collection at the All-Russian Museum of Decorative Arts, Moscow. Particular attention is paid to the ‘second half of the twentieth — early twenty-first centuries’ department, in the light of the contemporary universal Glass Studio movement. The author characterizes the leading artists of this period as well as the most unique oeuvres which determined aesthetic vectors at different stages of the Glass Art development. The changing features of the art objects’ existence in the exhibition environment are analyzed, with an accent on the presentation of museum pieces within large-scale exhibition projects and various creative presentations in Russia and abroad. The artistic and cultural importance of the art object, together with the high-quality execution level, remain the pivotal criteria of identifying contemporary objects of “museum status”, during the on-going process of enriching the collection in question. В статье рассматриваются основные принципы и источники формирования коллекции художественного стекла во Всероссийском музее декоративного искусства. Особое внимание уделено части собрания второй половины ХХ – начала XXI века, отражающей актуальные проблемы развития этого вида искусства в контексте современного мирового движения в стекле (Glass Studio Movement). Дается характеристика ведущих мастеров и раритетных произведений, которые определяли эстетические ориентиры в разные периоды развития искусства стекла. Анализируется изменение роли и характера бытования произведений искусства в выставочном пространстве. Подчеркивается активное представление музейных экспонатов в больших выставочных проектах и разного рода творческих акциях в России и за рубежом. Художественно-культурная значимость и качественный исполнительский уровень остаются основными критериями в оценке современного предмета «музейной категории» при формировании музейной коллекции.

Catching a Wave: the Ripple Effect of Transdisciplinarity

<p>Generating social behavioural change in the face of increasing variability in our planet’s climate remains one of the biggest challenges of our time. In a world of constantly shifting biophysical and social realities, we face an ever-evolving need for new and innovative ideas around sustainable development.</p><p>The philosophy and nature of the Catching A Wave project has the liberty and potential to generate, and inspire, shifts in social perceptions in ways that science and data alone currently do not. Catching a Wave acts as a catalyst to shift individual and collective mind-sets towards climate action and consideration for the people who live, work and interact within at-risk coastal spaces. Using a transdisciplinary approach to overcome barriers in language, discipline specific jargon and siloed thinking, the project team are exploring ways of integrating voices of coastal and island peoples and communities who are often marginalized into a multi-media sea level rise installation.</p><p>Extensive 3D digital mapping of actual waves by CaW researchers has enabled the creation of glass wave sculptures at various scales as a mechanism to demonstrate the synergies between art and science. While the glass art acts as a visual interpretation of the oceans’ complexity, the inclusion of soundbites of coastal people as well as sounds of the ocean itself is another way to  communicate and connect with our audiences. In addition to interviews with coastal communities, we are working with a music composer  and singer to ‘re-map’ our digital wave data to the sonic parameters of pitch, volume, spatialisation and audio filtering (Riding the wave). Despite in person activities being curtailed by the COVID-19 pandemic, we are engaging in several on-going digital initiatives. We have launched the virtual Planetary Wave project to demonstrate the connection we all have in different ways with the ocean.</p><p>CaW aims to ensure that the visualisation and realisation of solutions and pathways to sustainability become more reachable for all, from local to global scales and is a partner in the United Nations Decade of Ocean Science for Sustainable Development. Catching a Wave represents a collective of transdisciplinary researchers from five universities based in the USA, UK and Ireland, combining expertise in environmental, social sciences and the arts.</p>

"Art of Fire" of Ukraine in the Context of European Artistic Process (Exemplified by National and International Competitive Exhibitions of Ceramic Art and Glass Art)

The article presents a detailed analysis of achievements of Ukrainian artists working in the field of "art of fire", in particular professional ceramics and glassworks, while attracting close attention in the general artistic process of the 1980s to 2010s. Losses of the art industry in Ukraine in the 1990s did not stop the artists from searching the ways to streamline decorative imagery, as well as non‑standard approaches to materials in the individual work of artists in this field. European and global biennials and triennials of decorative art considerably contributed to finding new ways of the “art of fire” development. During such events masters of various artistic trends and schools exchanged their experience. And that proved to be the most powerful stimulus for both intensification of creativity and strengthening experimental activities in exposition works of Ukrainian artists at the turn of the 20th and 21st centuries. Since then, Ukrainian masters of ceramics and glassworks have begun mastering the heritage of artists from other countries, which contributed to the diversification of formal techniques of Ukrainian artists of decorative art. This, in its turn, has led to the emergence of various conceptual works, installations, and complicated spatial compositions. The author also carefully considers national competitive exhibitions, all‑Ukrainian presentations and symposia, which helped to introduce the latest artistic ideas and technologies of the “art of fire” masters. This study is actualized by globalization processes taking place in civilization. Stating specific challenges posed by the globalization to national culture, the author, at the same time, finds arguments in favor of its positive effects on art. A rapid entry of Ukrainian ceramic and glass artists into the global context at the turn of the 20th – 21st centuries, does not bring about a danger of dissolving in it, given the nature of professional decorative art of Ukraine. The “art of fire” is perceived as a powerful branch in the field of national culture with its inherent features of authentic spiritual genetics, as a dynamic balance of centuries‑old traditions and modern fine arts. It is paradoxical, the author believes, that globalization generates the opposite process as well: it directs Ukrainian artists to search for archetypes of their own culture, returns to their national historical heritage, and stimulates the preservation of national identity, as a result of which the “art of fire” becomes an important factor of national and cultural identification. In the context of professional decorative art problems and from the viewpoint of national and cultural identification in the conditions of globalization processes in Ukraine, such an aspect of studying the “art of fire” within the field of art history science is considered for the first time.

Preventing Glass Alteration in Museum Objects using ALD Deposited Amorphous Alumina Coatings

The chemistry and kinetics of glass alteration have been topics of considerable study and debate over the past several decades. While work is still progressing in understanding the mechanisms by which glass degrades, what has not been as well studied are methods of slowing or preventing the alteration of glass surfaces and objects. This is of significant interest to the heritage science community, where the breakdown of historic glass or glass art objects is proceeding, with few viable options available to museum conservators to mitigate its effects. Experimental measurements using atomic layer deposited (ALD) aluminum oxide coatings on a model silicate glass show a significant reduction of the rate of glass alteration.