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The review examines the edition of Estonian history of art: Eesti kunsti ajalugu. Kd. 6: 1940–1991: I osa (Tallinn: Eesti Kunstiakadeemia, 2013); Eesti kunsti ajalugu. Kd. 6: 1940–1991: II osa (Tallinn: Eesti Kunstiakadeemia, 2016).The ambitious six-volume project of the history of Estonian art was launched in 1999, and the two-part volume examined here is the largest addition to the series.The richly illustrated series is published in Estonian; however, quite substantial English summaries (28 pages in part I, 31 pages in part II) allow also foreign readers to grasp at least a broad outline of the facts, structure and methodology
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In the late 19th – early 20th cc. the Russian imperial authorities were concerned with the fast expansion of the photography. As a result, the public administration undertook efforts to get the new technology under the censorship control. The aim of the article is to reveal the theory and practice of the governmental regulation of photography in the Russian empire. Basing on the wide range of archival sources, the author uses traditional methods of the historical study to describe the photography censorship in Russia and employs the approach of microhistory to find out how the censorship affected the everyday life of professional and amateur photographers. The lack of the studies devoted to the relationship between the public authorities and photography in the Russian empire determines the scientific novelty of the paper. From the early 1860ties, both private persons who owned cameras and commercial photographic studios were placed under surveillance of the inspector of publishing facilities and bookstores. Professional photographers were obliged to put their names on all images they produced and keep an account of all their clients. Any photographic activity outside the studio required a special permission of the local authorities. Only members of the photographic societies were allowed to take pictures everywhere in Russia (with an exception of military objects and borderlands) having no certificate from the local governor’s office. Taking and publishing pictures of the ruling dynasty members and their residences required a special permission as well. The censorship controlled sharing of the photographic reproductions of the fine art works. The paintings, which (from the censor’s perspective) either propagated revolutionary and separatist ideas or threatened the reputation of the monarchy and Orthodox Church, were prevented from exhibiting. The local authorities used to confiscate the photographic reproductions of such paintings. As far as erotic materials were banned completely, the censors paid special attention to any photographic images depicting nudity. The author comes to conclusion, that despite the regulations were strict, the whole system of the state control over the photography was rather ineffective. Having no single law defining benchmarks for evaluating the pictures or even a list of the images banned throughout an empire, the censors used to act selectively. Furthermore, in big cities, such as Kyiv, they were too busy to control dozens of photographic studios and amateur photographers. As a result, both photographers and local civil servants ignored most of the regulations.
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Taking into account the fact that such a complexity as the existence and continuity of „stećci“ is difficult to be analysed in a large spatial and temporal frame, it has been suggested that a multidisciplinary international scientific institution be formed with a single documentary archive. The city of Mostar has been suggested as the center of this scientific centre, which carries regional as well as global benefits. The necessity of the interdisciplinary research of „stećci” has been emphasised in a short review on some of the contemporary scientific research interests. Furthermore, the inevitable process of the protection of the cultural heritage and documents with an accent on the photography has been pointed out too. With quite a number of details, the importance of archaeology has been accentuated on some examples, as well as the importance of the history of art and iconography as disciplines that are the basis for the scientific research of „stećci“. The connection and the modernity of the scientific research of „stećci“ has been clearly outlined in a framework of the European medieval issues, which additionally justifies the suggestion.
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In the article are introduced the conclusions from the research of the series produced and distributed by the television giant “Disney Channel”; web series that are original Bulgarian production created in the period 2013-2018; and the storytelling in the narratives of the video creators – vloggers and youtubers – of content for youth public. The task in analyzing these structures is to follow how the stories are changing from institutional created business constructs into authentic personal narratives. How these narratives exist in the new informational system of Internet? On the other hand, which elements of these stories are kept the same or are changed and what new storytelling forms arise. How through these storytelling structures are build and impose behavioral and mental models that influence on the culture of the children and youths in the time of global connection and destruction of the local relationships. The research opens the space for reflection what are the new myths that will transmit experience and knowledge. Who are the storytellers – the contemporary shamans – that deliver the content showing the meaning and searching for the answer of the question “Who am I”? In the never ending space of Internet, where the hero has thousands faces, isn’t it time for returning to this “radical honesty” that stand the searching man against his biggest trial – himself?
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Basic Geometric Forms and Primary Colors Associations, from Wassily Kandinsky to Ingo Glass. An inventory of theoretical interpretations, from Wassily Kandinsky to Ingo Glass, was sought and explanations were sought for these interpretations and associations. With the arrival of Wassily Kandinsky at Bauhaus, the theory of the relation between the geometric forms and the primary colors emerged, whereby the yellow color is associated with the geometric shape of the triangle, the blue with the circle, and the red with the square. A test applied to students around 1923 supported this association that influenced the artistic theory of the 20th century. In search of a synthesizer concept, Ingo Glass reinterprets the Bauhaus theory in the nineth decade of the 20th century. In the Ingo Glass artist's view, the yellow color is associated with the triangle, blue is a color that receives expressivity in particular by associating itself with the balanced shape of the square, and red is predominantly related to the expansionist dynamics of the disc or circle. Through this reinterpretation, the artist simplifies the shapes of the sculptural constructions at the triangle, square and circle, and from the chromatic point of view he limits himself to the use of primary colors. The comparison between the two theories made by Peter Volkvein, the director of Ingolstadt's Concrete Art Museum, in 1998 stated the need to determine who is right! The history of the arts was thus given a theme by which to articulate the artistic axiom of the relationship between basic forms and colors. The analysis of this issue has not been transformed into a partisan for one or the other of the two theories because we consider the differences between the two interpretations as the consequence of a socio-cultural evolution and the imprint of the environment in which we have formed our artistic sensitivity. The understanding of Kandinsky's theory and then the acquisition of this point of view within the Bauhaus School is outlined in the cultural context of the early 20th century. The test given to students at Bauhaus revealed a perfectly justified viewpoint and consequently was embraced by the members of the school and the artistic world that followed this experiment. A century away, Ingo Glass changed the interpretation as a result of adapting to a more abstract cultural environment. The reasoning of combining blue with rounded shapes that are specific to the depth of the water and thus to the relationship with centripetal space specific to the circle is close to individuals who lived in a more natural environment at the beginning of the 20th century. The reasoning of square association, as a balanced geometric shape with a static color (in a stable sense), is close to individuals living in a more abstract, more common notion at the end of the 20th century.We therefore consider that these differences of perception are due to the dynamics of perception of the contemporary man. Changing the socio-cultural environment also causes changes in how to perceive the relationship of forms and color, between natural and abstract. To test these issues, a test close to that offered at the Bauhaus School was designed and respondents were the students participating in the National Olympiad of Visual Arts, Architecture and Arts History. So the test has national coverage, but it has been limited to students aged 16-19, qualified at the 2018 National Olympiad, organized in Bistrita. The results were compared with those obtained about ten years ago at the Museum of Modern Art in New York, which showed that 48% of the respondents chose the blue color combination with the rigorous form of the square. The test from Bistrita confirmed an association of the yellow-colored triangle in the proportion of 39%, 36% red, and 24% blue. The circle was associated 39% with red, 37% with yellow and 23% with blue. The square met a majority of 52% for blue, 25% for red and only 22% for yellow. The experiment itself reproblematizes the relationship between the intuitive and rational approach of the contemporary plastic phenomenon.
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Sulla giuria, a un progetto d’arti plastiche nell’anno 2018. Non mi sembra un falso problema, dopo cinquant’anni di sorveglianza e ripresa di quello che esce dal Vaso di Pandora, servendo alla rappresentazione di un programma ideologico, dittatoriale, il problema della scelta di un lavoro d’arte, creato liberamente, senza barriere e con la speranza che porta un messaggio valoroso, quale rimarra per il futuro. Il modo in cui lo facciamo oggi, vuole esprimere anch’esso la separazione da questo passato recente, malefico, sottoposto a una propaganda per un sistema che si è dimostrato utopico, e quale vogliamo, o non vogliamo, ha lasciato tracce profonde. Non basta dire che vogliamo essere differenti, e con questo pensiero tutto si risolve. Nell’arte rispettare il gusto della maggioranza diventa spesso dannoso, esprime l’apprezzamento della mediocrità in nome della quale, la storia ce lo dimostra, si sono sacrificati tante idee che sono sparite, o sono stati obbligati di aspettare decenni o secoli. Ci proponiamo alla giuria di nuove creazioni, e vogliamo dare soddisfazione a una maggioranza mediocre, dominante, o desideriamo un’apertura quale porti verso il futuro, che ci offre qualcosa che noi i molti non possiamo vedere oggi ma aspettiamo di darci gioia domani? Il comunismo non ha permesso nemmeno la propagazione nella grande massa di alcuni successi quali l’intero mondo ha riconosciuto allo spirito uscito dallo spazio romeno (vedi il caso di Constantin Brâncuși. La scultura „La saggezza della terra” non ha avuto ecco a un intero popolo quale, oggi, non ha riuscito di raccogliere nemmeno un euro/rumeno per godere noi e i nostri successori di un opera quale nel mondo occidentale vale decine di milioni di euro). Per non allungarci troppo, desideriamo un nuovo approccio verso il rifacimento della vera scala valorica, dopo più di mezzo secolo in cui le giurie erano supervisionati totalmente dal Comitato di Cultura ed Educazione Socialista - il braccio decisionale del Partito Comunista Romeno, sezione locale oppure nazionale.
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Una telefonata del professor Pasquale Fornaro mi ha annunciato la triste notizia della scomparsa del giovane professor Andrea Ragusa, nostro amato collaboratore. L’ho conosciuto nel 2013 come ospite del nostro Istituto, all'Università Babeș-Bolyai di Cluj-Napoca, con una conferenza ed un seminario, entusiasti davanti ai nostri studenti. Il nostro dialogo ha continuato nello stesso anno, a poco tempo, in occasione della mia conferenza all'Università di Siena, ambedue essendo preoccupati del problema del patrimonio (vedi l'Annuario dell'Istituto di Studi Italo-Rumeni, X, Cluj-Napoca Roma 2013-l'articolo, La gestione del patrimonio culturale ed ambientale tra centro e periferia: l'esperienza regionale. - vedi anche le locandine.
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The article deals with the conference “State (Re) construction and Arts in Central and Eastern Europe. 1918–2018” that took place at Royal Castle in Warsaw in 19–21 November 2018. Organised by Nicolaus Copernicus University in Toruń, Institute of Art History and Centre for Europe of the University of Warsaw, the event in embraced a broad spectrum of themes from the impact of the First World War on arts to contemporary methodological challenges in art history.
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Art must reflect something that cannot be called trivial or perceived by rational means, as well as what we cannot experience in reality – the borderline between life and non-existence, death among other things. Certainly, ways of depiction vary – there are works of art where the temporariness of life and the inevitability of death have been modelled as a type of a game and there are also those works of art that bear an indirect reminder of death – through allegories or metaphors. Vanitas belongs to the latter. Vanitas is an allegorically presented still life that emerged as an independent genre in about 1550 and became most widespread in the 16th and 17th centuries in Belgium and Flanders. Traditionally the composition of a still life of this type included a human skull, a burnt-out candle, small cut flowers as well as other objects that all seemed to say – everything and anything is transient. The purpose of the paper is to undertake the comparative analysis of vanitas still lives by artists from the USA, Japan and Germany. The photographs of flowers will be used to read the cultural historical message contained in them as well as the technical means of expression used in photography that are enhanced by a profoundly personal depiction. The perceivable designation created by the photographer and the aesthetic object registered by the collective consciousness will be defined and described taking into consideration, as far as possible, the social context that has led to the creation of the given artefact. Works of art will be summarised according to different principles of depiction and the main trends that are reflected in contemporary art photography and have not been encountered before will be outlined. It will result in a general overview through applying acceptable norms that will make it possible to determine whether the picture is or is not contemporary as well as to establish criteria characterising the concept of the contemporary.
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From 1943 until the end of World War II, Franjo Veselko (1905-1977), professor of history and geography, was a partisan photographer and organiser of the Photojournalist Service. Since April 1944 until May 1945 he managed the photography section of the Propaganda Commission within the Presidency of the Slovenian National Liberation Council and taught at the partisan gymnasium (secondary school) in Črnomelj. In this period he made around 2000 diverse photographs, transcending thè mere documentary level, which places Franjo Veselko at thè very peak of partisan photography. With his theoretical knowledge in the field of propaganda photography, Veselko wrote several guidelines about what the partisan photojournalists should focus on and how to take photographs in the field. Veselko belongs among the key Personalities in the field of organising the partisan Photojournalist Service.
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… Тhat when it comes to history, she – I remind you – is a muse named Clio and that this Clio has the majestic nobility to be Human Knowledge (Фол А. 1997. История на българските земи в древността до края на III в. пр. Хр. София, 1997:296/ Fol, Al. History of Bulgarian territory in Antiquity to the end of III BC. Sofia, 1997: 296). …what History holds back becomes fatefully more important than what has been said or even written by her (Fol, Al. Thracian Culture: The Said, The Held Back. Sofia, 1998: 8). The last monographs Man in the Types of Time, Man in the Types of Space, and Orphica Magica I by Master Fol, are a demonstration of his creation/participation/presence in the drama produced by Clio. This participation/presence is expressed in writing in the director’s notebook of the Drama which is not doomed to fall off the stage due to absence of co-participating viewers, albeit in a chamber ensemble. In it, the notebook, step by step, has been developed in detail the dramaturgical setting of the acting characters and their behaviour in the different scenes of the ritual and the requisites employed to communicate with God in order to attain the essence of immortality. The author Alexander Fol introduces the main characters of the play and the logical accents in the nine languages and the references they use. These languages do not describe. They display the image, the name, the number, the tone, the matter, the shape, the colour, the movement and the function according to the model of Herodotus’ and of the Samothracian tetrad (Fol, Al. Orphica Magica I. Sofia, 2005: 51). After reading these Books/Dramas, the question arises compulsively: What has been said is already a fact, but what have you held back, Master, and why? Have you closed the door for the uninitiated or is there still a narrow crack?
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The review of: Miran Pavlin: Ljubljana 1941: pričevanja fotoreporterja. Modrijan, Ljubljana 2004, 262 strani, ilustr.
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The paper is dedicated to one of the largest megalithic sanctuaries in the Balkans. The Rocky Peak of Mount Zlatovrh near Prilep in the Republic of Northern Macedonia is sacred. Archaeological monuments testify to millennial cult continuity: the megalithic sanctuary dating back to the Bronze and Iron Age is inherited from the architectural temple of Apollo. Later, an early Christian basilica was built here, and in the Middle Ages it was inherited from the Treskavec Monastery. Intangible cultural heritage also testifies to a particularly important cult site with millennial history.
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Nacionalni Institut za zgodovino osvobodilnega gibanja v Italiji je v svoji reviji ; Il movimento di liberazione in Italia«, letnik 1960, štev. 61, objavil oceno, treh knjig in sicer italijanske »Pensaci, uomo!«, ki sta jo pripravila Piero Caleffi in Albe Steiner in je izšla 1960 v Milanu, nadalje v Varšavi izdane knjige pod naslovom »Ni sni o pozabili« in pa »Zbornika fotografij iz narodnoosvobodilnega boja slovenskega naroda«, del II, knjiga i, ki je izšel leta 1959 v Ljubljani. Zadnji oceni je napisal Arrigo Pacchi.
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The study presented in this article is part of the topic The Impact of Image Banks on the Advertising Photography in Bulgaria, which in turn is part of the doctoral thesis Trends in the Development of Bulgarian Advertising Photography in the Period 2000 – 2017. The purpose of the research is to explore the trends in the selection of an advertising image, i.e. when the preferred images are from image banks and when they are custom-made. The survey will present the number of photographs in Bulgarian advertisements taken from an image bank and the amount of custom made ones. Another issue considered is at what stages of the working advertising process stock images appear. What is also discussed is whether the stock image generating industry is detrimental to customized advertising photography and if it provides additional business opportunity for advertising photographic studios. Through analysis and in-depth interviews with art directors, custom commercial photographers and stock image photographers, the research will attempt to present and systemize specific trends in the working process of advertising agencies on the Bulgarian market and how this affects the advertising photography in Bulgaria. The term advertising photography will be used in the sense of custom photography created for a particular advertising project, while the term stock photography will be used to define a photograph created without a specific assignment and of general commercial nature.
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The review examines the collective monograph "Desmit epizodes 20. gadsimta mākslā Latvijā = Ten Episodes in Art of the Second Half of the 20th Century in Latvia" (Riga: Latvian National Museum of Art, 2019) authored by a team of leading Latvian art historians and evalued as an important contribution to the study of recent past.
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