Vitae as a Subject Source in the West European Pictorial Art of the 14–17th Centuries (On the Example of the Image of Saint Jerome of Stridon)

For many centuries, Western European art drew its subjects from ancient history, mythology and the Bible. The artists paid great attention to the depiction of saints, for each of whom, over time, a pictorial canon with its own attributes and certain subjects was formed. As a result, the viewer not only easily recognized a particular saint, but he could also get acquainted with the facts of his biography and the role he played in the history of the church. Saint Jerome of Stridon was one of the most popular among artists, of all the Fathers of the Church he was portrayed more often than others. The article discusses the formation of this canon on the example of Jerome’s life and work. It is based on a literature review of this topic and it contains the main studies of the biography and literary activity of Jerome, from which the artists drew subjects for their works. The article describes chronologically the vitae of St. Jerome, his hagiography from Jacobus de Voragine’s “The Golden Legend”, biography and posthumous legends, miracles and appearances of the saint from “Hieronymianus” by Giovanni d’Andrea. Erasmus of Rotterdam wrote a historical biography of Saint Jerome. Since the 19th century a large number of scientific studies of Jerome’s life and work has appeared. The article analyzes specific works of Jerome, which were also sources for pictorial images. Special attention is paid to a review of art history literature, as well as medieval bestiaries, since the paintings with St. Jerome are filled with numerous symbolic animals. A review of literature and sources on the stated topic will help stimulate researchers to further study the relationship between the lives of saints and their iconography in art, identify gaps in research on this topic and specify aspects that researchers have not yet paid attention to.

Angelic Dynamism: Humanity in Paul Klee’s Drawing Series of 1939–1940

Since Walter Benjamin in “The Theses on the Philosophy of History” showcased Paul Klee’s angels, they remain mysterious figures that represent time, history or soul. The article focuses on the series of drawings that were created in the artist’s later period (1939−1940). The series can be regarded as the artist’s final will and testament as it expresses Klee’s condensed philosophy and mature views on man’s place in the universe. It also reflects the master’s cherished artistic methods and techniques, consistently honed in on during the course of his life. The author studies the relations within the series and the series relation to other artworks by Klee. It is demonstrated that it is humankind that is the main theme of the series. By contrasting human and angelic forms in his drawings Klee reinvigorates the European tradition of defining humanity through its relation to angelic orders and through its position on the hierarchy of creation. However, Klee strives to re-imagine the universe as a whole, for him it is not the ladder of perfections, which rises to angels and God. Therefore, the relations between human and angelic creatures are intimately familial rather than hierarchical. The author highlights that the artistic style and techniques emphasize visual dynamic and form creation (“formation”). In depicting angels, the artist brings forth his concern with temporal dimension of human nature and its significance in human life. Thus, in this dynamic interrelation, human beings become “angelic grotesque” with their own ontic temporality. This temporality specific to human creatures is defined as the “moment that transcends itself ” — since the latter is essentially “ecstatic” and “self-propelling”.

The Theoretical Codex of the Mid-17th Century as a Phenomenon of Church-Singing Art

The first musical-theoretical manuals of ancient Russia appeared in the 15th century. They were rather small in volume and contained information that was predominantly educational. The changes that were taking place in the singing system over several centuries were reflected in new types of manuals, conveying the peculiarities of the singing art (znamenny chant) of the time. By the middle of the 17th century, the codices began to occupy a significant place in manuscripts, which contained monuments of Russian liturgical singing. They were large-scale consolidated documents, including a selection of relatively independent musical-theoretical manuals, each of which revealed a separate aspect in the theory of znamenny chant, carried out according to special musical signs — kriuki (hooks). The tradition of handwritten copying of documents contributed to the fact that each type of theoretical manual was simultaneously in many copies that never matched the text with absolute accuracy and always contained discrepancies. The codex, analysed in this article, in the mid-17th century manuscript of V. F. Odoevsky’s Collection No. 1, which is kept in the Russian State Library, is a set of numerous copies of different theoretical manuals that were formatted by that time. These are the notable azbuka (ABC) that explain individual neums; kokizniki and fitniki, expounding upon the principles of formula singing; manuals that reveal the sound-naming system, as well as a meaningful layer of author’s comments that interpret and generalizing material for educational purposes.

Portraits of Grand Duke Ludwig of Hesse: Return after Neglect

The article is dedicated to the attribution of two portraits of an unknown German general in the Tsarskoye Selo Museum collection. One of them is a ceremonial knee-high portrait, the other is a small head portrait of the same general. In addition, one portrait was purchased in 1997 at the “Lenfilm” stage properties, the other has always been in the museum. It was believed that the head portrait, by an unknown artist, depicted Grand Duke Ludwig of Hesse-Darmstadt — father of future Russian Empress Alexandra Feodorovna. The weak inscription at the bottom of the knee-high portrait states that it is a copy done by Heinrich R.Kröh in 1896 in Darmstadt, based on Heinrich von Angeli`s original. On the backs of both canvases, monograms from the personal collection of Empress Alexandra Feodorovna were found: the interwoven Russian letters “A” and “F” under a crown and “№ 8” (ceremonial knee-high portrait) and “№ 65” (head portrait). Both images date back to the famous “Family portrait of Grand Duke Ludwig of Hesse”, commissioned by Queen Victoria for the Drawing-room of her Osborne-House in London. In the queen’s letters, it is noted that Angeli had started to work on the head sketches immediately upon his arrival in 1878. Alexandra Feodorovna brought one of them, her father’s head sketch, with her to Russia. Also, in the year of 1878 Angeli painted the knee-high ceremonial portrait with the same regalia for Grand Duke Ludwig’s residence in Darmstadt. The portrait is known in copies executed by Ludwig Hofmann-Zeitz (Royal Collections, London) and Heinrich Kröh (now in Tsarskoye Selo Museum). The fate of Kröh’s replica happened to be tragic. First it was seen in a photograph of the Empress’s study in the Winter Palace of the 1900s made by St. Petersburg photographer Karl Kubesh. The photo shows companion portraits of the Empress’s parents. Both portraits disappeared after the 1917 Revolution. The knee-high portrait of Ludwig was badly damaged and as a result was included into the stage props of the studio as it was deemed unnecessary. After many decades, the portrait was returned to the Tsarskoye Selo Museum collection.

Formation and Development of the Iconography of the Mesmeric Seance in the Second Half of the 18th — Late 19th Centuries

Analyzing the evolution of the iconography of such a phenomenon as mesmerism in the second half of the 18th — mid-19th centuries, the author shows that the scenario of modern hypnotic representation and its gestures were established by mesmerists in the second half of the 18th century, followers of the parascientific theory that caused discussions and intrigued doctors and artists for centuries. Analyzing the development of the iconography of mesmeric seance, the author identifies two waves of popularity of this subject: the first wave in the 70–80s of the 18th century and the second wave during the first decade of the 19th century and beginning of the 20th century. Such a duration is due to the fascination with the supernatural and inexplicable, reflected in various styles and trends. In this article, the author tries to show how the development of the iconography of the mesmeric seance provoked the appearance of the hypnotist or magician trickster, who became integrated into popular culture that later began to mark the majority of hypnotic actions, spiritualistic sessions or miracle shows. The author also illustrates how the image of a “controller” in the face of a man formed and confirmed the paradigm of a powerless, mysterious and controlled woman. As a result, it is concluded that hypnosis and mesmerism became common theatrical spectacles in the 20th century, cultivating the power of men (patriarchal society) over an exhausted woman, which is reflected in the works of Georges Méliès, Alfred Hitchcock, and even in the comic book Wonder woman.

The Image of the Madrasah in Illustrations of Medieval Arabic Manuscripts

The article considers the visual image of the Madrasah in miniatures of Arabic manuscripts of the 13th century as both scientific and theological treatises, and literary works. Illustrated Arabic manuscripts are relatively rare, but they exist, and constitute one of the most fascinating, but little-studied pages in the history of the spiritual and artistic culture of the Arab Middle Ages. Amongst the hard-to-solve riddles there are some colorful pictures in the frontispiece design or in the text of a manuscript, which can raise the question: what is depicted here? The inscriptions on the margins of a page or inside the miniatures, added as explanations by the later owners, do not always provide the correct answer, since from one era to another the concepts and representations change significantly. In the life of Medieval Muslim society, the Arabic word “madrasah” could mean both a general education school and a theological university, where scientists study the works of their predecessors, conduct scientific research, make new discoveries, and defend their theories. In all cases, madrasahs remain religious institutions and buildings, second in importance after the Mosque. However, unlike a Mosque, with a niche of a mihrab or a ladder of a minbar, the image of a Madrasah is difficult to distinguish from buildings such as a dwelling house, a caravanserai, a Sufi abode or a courtroom. In miniatures of medieval Arabic manuscripts, the image of a Madrasah can also arise by association with portrayals of sages and their listeners, scientists and their students, authors who write their works, or scribes who rewrite them. The architectural image of the Madrasah can be created both by a detailed illustration of its interior, and by the conditional “architectural” decoration of a scene of a lesson at school or meeting of scientists.

Time Code in Modern Art: Discoursive Analysis of Temporal Art-Projects

The article explores the influence of the concept of time on modern art practices, as well as the impact of digital media on the ability of art to anticipate the future. The methodology of discourse analysis is used as a tool to reveal temporal characteristics and the communicative potential of relevant art projects. The digital age creates a simultaneous world in which one can perceive the future by being deeply involved in the present moment. Contemporary artists have the ability to grasp changes hidden from the majority, and to formalize them in works of art. The simultaneous perception of time becomes the clue to the development of this ability, while the concept of time becomes the clue to understanding the message contained in the work of art. As a result, the task of the researcher is to discover the temporal dimensions of the relevant art projects and to examine the nature of interaction between the viewer and the work of art. Taking this into consideration, special attention should be given to the method of involving the viewer in the semantic space of the artwork. The subject of analysis is the communicative model of the artwork, which is presented as a flexible, mobile semantic structure that activates the viewer’s imagination and his ability to improvise. The methodological framework for understanding the communicative model was the neo‐pragmatism theory of social action and practice-oriented social semiotics. The interpretation of the work of art as a communicative event actualizes the discourse analysis that allows us to perceive the artwork in its dynamics and to explore its’ temporal dimensions. At the same time, the discourse analysis is represented not only as an effective research tool, but also as a resource that helps the artist, the researcher and the viewer to develop a flexible and conceptual mindset.

The Cantatas by Pierre Boulez in the Context of the Main Trends in the Development of Choral Composition of the 20th Century

The article focuses on Pierre Boulez’s choral style in the cantatas “Le visage nuptial” and “Le soleil des eaux”. The versions of these works, created over the course of almost 40 years (from 1951 to 1989), represent a complex of techniques in regard to texture and timbre, which, on the one hand, are a continuation of experiments by composers of the New Vienna School (A. Schönberg, A. Webern), and on the other hand, they preface a number of innovations in the choral style of Boulez’s contemporaries (L. Nono, L. Berio, K. Stockhausen, I. Xenakis). Evidence is provided in favor of the idea that Boulez’s choral works were the logical link between the vocal and choral opuses of the composers of the first and second Western European avant-garde. The article examines the peculiarities of the interaction between the verbal and musical series, the specifics of the textural organization of Boulez’s works, and systematizes the information about the timbre techniques used. Links are identified between the heterophonic presentation typical of Boulez’s choral works and the use of quarter tone notation, glissando reception, and various variants of speech singing (Sprechgesang). The connections between stereophonic effects in the music of Boulez and Nono are traced. An important place is occupied by the study of vocal sound recovery or “vocal emission” technologies (as defined by Boulez). The significance of Schönberg and Webern’s experience in the formulation of the technical foundations of Boulez’s choral timbres is stressed. Special attention is paid to the problem of “work in progress” as one of the defining features of the composer’s choral heritage. Comparing the works by Nono, Maderna, and Bulez, the author concludes the different reasons for which composers came to the concept of “opera aperta” (U. Eco).

Portrait in Contemporary Russian Painting in the Context of World Art: A Typology of the Genre

In Russian fine art, portrait painting has been traditionally distinguished by extraordinary variety and depth, reflecting the figurative and stylistic searches of artists of different periods. Russian art historians have comprehensively studied the portrait genre in the history of art. At the same time, the well-established classification of genres does not allow to take into account completely the variety of trends and approaches to the depiction of a person in contemporary art. The understanding of the portrait genre’s boundaries in contemporary art is extremely blurred. Sometimes it means either any image of a person, or even the absence of one at all. It appears essential and important to consider the work of Russian artists in the context of international visual art practices to compose a more holistic picture connected with general cultural development. The article proposes to expand the established typology of the portrait genre adopted in Russian art. The already well-known typology of portrait painting can be updated with other types of portrait based on the semantic and semiotic analysis of artistic works of the late 20th — 21st century. It is important to study contemporary Russian portrait painting from the perspective of a variety of typological models, and to use the new language of contemporary art history to understand the processes taking place in Russian painting of the late 20th — 21st century, in order to facilitate the entry of Russian art into the international cultural context. An idea has been matured to create a National Portrait Gallery in Russia which would collect portraits and self-portraits of the greatest personalities of our era in a real and virtual space.

Musical Interpretation of Direct Speech in Chants of the Two-Hundredth Feasts of the Mother of God: Greek-Slavonic Parallels on Manuscripts of the 10th–17th Centuries

Direct speech in liturgical hymns is one of the essential features of Byzantine and Slavic hymnography, which interprets the subjects of the Old and New Testaments. The hymns in honor of the twelve feasts of the Mother of God contain the direct speech of the Archangel Gabriel, King David, the Apostle Peter, and the worshipers in the temple. A standard, but not the only, way of correlation between text and music in these fragments is melismatic formulas, so called fita. The main objective of the article is to identify ways of musical interpretation of direct speech in the Greek-Slavic traditions of Church singing and musical writing by analysing the location of the fitas in the composition. Copies of 9 stichera from Greek, Old Russian and Kiev manuscripts of the 10–17th centuries were compared. Neumatic shape and five-line deciphering were taken into account. As a result of the analysis, techniques of musical decoration of direct speech and Gospel / Psalter quotation are shown. In hymnographical composition, direct speech demonstrates a changing of the point of view. The beginning of direct speech and / or the previous line with the words “to say”, “to cry”, “to sing”, etc., have fita in the tune. Fita is a cantilena tune put into recitative musical line; therefore, it changes the point of view from a narrative to emotional type of music utterance. Fita accompanying direct speech is an adequate musical tool. Fitas are often used with additional techniques such as modal changing or mutation. The use of fitas underscores text structure; it is the oldest technique of Byzantine origin that was adopted by Slavs. In the 15–16th centuries, a new type of composition appeared musical formulas highlight the theological meaning of a hymnographic text. This new technique was combined with the ancient type, and sometimes replaced it.