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The History of Spanish Art in the West European and in Russian Literature on History of Art wasn’t investigated equivalently for all periods. The Art of the 17th Century, the period of Renaissance, painting of Goya were in the center of attention of scientists and were studied more attentively. But beside the most bright events and the biggest names in the History of Spanish Art there are many interesting pages. Understanding of Culture as the complex Structure gives us the right to study the periods without bright famous persons and famous events. One of these periods is the second half of the 18th century, that was investigated in our country only in the aspect of works by Goya. But these period was the time when the Academy of Arts of Saint Fernando was created, what became the example for Russian Academy of Arts. The author of Article analyzes the Work of Academy of Saint Fernando and its influence on the world view of Spanish Artistic elite. The Academy was opened as the State Organization and worked at the base of the State subsidies. The Academy was the public Organization, it was opened for all who wanted to be the painters. All events organized by Academy were public. With the creation of Academy the Artistic Education in Spain was put at Scientific base. The creation of Academy was the act of syncretism and unity of Art and Science. At the beginning this unity worked for the aims of Classicism and increasing of attention to the Art of Antiquity, but the Scientific method was more great than the style, that created this method, and stimulated the Scientific and Artistic Studying of styles of other periods, that helped to the Spanish Art to understand the national Specific of the National Artistic School.
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The article deals with William Morris – one of the most prominent personalities of the 19th century whose work not only influenced his contemporaries but keep on inspiring new generations of writers, artists, researchers, etc. The versatility of talent and range of interests and activities in which this talent manifested itself is a pledge of Morris’ relevance today. Eg., his works and ideas are the source of inspiration for several projects by modern British painters (Adam Hogarth «Language cannot be dead», Bob and Roberta Smith «Art is Your Human Right», David Mabb «Announcer»). William Morris is well known to Russian scientists and designers but almost unknown to general public. However several events took place recently that made Morris «closer» to Russians (exhibitions «Pre-Raphaelites: Victorian Avant-Garde» and «British Design: from William Morris to the digital Revolution» in the Pushkin State Museum of Fine Arts, Moscow and The International festival of landscape design «Imperial Gardens of Russia» with the winner-project «The Garden of William Morris» by Spets Park Design, three prose-romances by William Morris published in Russian translation for the first time).
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The paper deals with the chapel located by the parish church in Frydmanin the Spiš (Scepusium) region, founded by the local parish priest Michał Lorencs in 1764.The interior of the octagonal building, is fitted with a homogeneous set of furnishingsconsisting of a centrally located two-sided retable surmounted by a unique shrine inthe form of a glazed star, and numerous wooden sculptures decorating niches in the walls.The chapel used to be a pilgrimage site and became the founder’s resting place. The paperdiscusses the history of the chapel, the religious and political context of its foundation aswell as problems explored in earlier studies, both popular and scholarly ones, with specialattention devoted to the article by Jan Białostocki and Adam Miłobędzki, from 1957, thathas served as a crucial point of reference in the existing interpretations of the chapel.Further, the article attempts to elucidate the still unresolved problem of the origins of thechapel’s plan and forms of its retable, pointing to the traits they share with the sacred architectureof pilgrimage sites, particularly shrines. The Chapel of the Holy Shroud in Turin hasbeen suggested as the closest counterpart for the Frydman chapel as far as its architecturalplan, the retable type and the way of displaying relics are concerned. The soft, flowing linesof the a-tectonic forms of the retable, in turn, seem to resemble South-German small-scalearchitectural church furnishings from the mid-eighteenth century.As far as the message carried by the decoration of Our Lady of Mount Carmel Chapel isconcerned, selected Old- and New Testament figures, depicted in the retable and wall niches,have been identified, and particular themes represented in the above decoration have beendetermined. The first, sepulchral, theme is manifested in the unmarked burial site of FatherLorencs, located ad sanctos, in the immediate proximity of the relics of catacomb saints.The next, Carmelite, theme is related to the Scapular Confraternity that had been associatedwith the chapel and church. The paper discusses also the Marian symbolism of the chapel,already explored to some extent in earlier literature, and its prominent Christological andEucharistic themes, which have hitherto not been adequately examined. In conclusion, OurLady of Mount Carmel Chapel is considered as a symbolic representation of the HeavenlyJerusalem and a powerful profession of faith in the intercession of saints and the Virgin Marybefore God.
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After the nationalization of art collections in 1918, the structure of Russian museums’ collections underwent significant changes. For 15 years, the largest museums of Moscow and Petrograd-Leningrad were in a situation of constant relocation of funds: the items from the museum storages and the exposures were transferred to smaller museums, for sales abroad, passed from one collection to another in order to optimize the work of the museum. The present article, devoted to the history of the formation of a new collection of the Western art in the State Hermitage, discusses in detail the period of the first revenues in the museum collection of French painting of the late 19th – the early 20th century. Based on archival documents the author reconstructs the course of negotiations between the Hermitage and the State Museum of New Western Art, and examines the role of such artists as N. A. Tyrsa, V. V. Lebedev, Vl. Sukovand, K. S. Malevich in the formation of the Hermitage collection.
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This article is aimed at analysing the phenomenon of creation and functioning of public space as a constructed framework of social dialogue. Conflict is an important element of the dialogue whereas congregations such as rallies, marches or picketing, which are supposed to be collective manifestations of opinion on important social matters, are direct forms of expression of the dialogue. Places which offer possibilities of unrestrained civic expression are immanent parts of the urbanity phenomenon. A brief review of examples that represent existing types of public space in which civic liberties are pursued in practice is supposed to help find an answer to a question whether contemporary semi-public space (e.g. airports) is capable of considering also this type of space in its development plans. The events of the second decade of the 21st century at airports in Germany, Great Britain, the USA and Poland give some hope. However, there are certain reasonable fears that they may not be permanently incorporated into functional and spatial models of airports that have recently aspired to construct buildings typical of urban space. The progressive process of space commercialisation and privatisation, the tendency to extend supervision and control zones and the existing model of airport management based on neo-liberal entrepreneurship are not conducive to this. One should also wonder whether public space open to free expression would not be the socially expected and favourable form of humanisa on and a method for introducing manifestations of genuine life into homogeneous forms of communication nodes.
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The exhibition So Close, So Far is an annual event representing the art of contemporary Bulgarian artists, who live and work abroad. By using examples of their works, which were displayed in the exhibition during a five-year time period, this article aims at highlighting the artistic oeuvre of a specific group of Bulgarian artists, who have chosen to develop their artistic careers beyond the borders of their home country. These are authors that by showing their works back in their homeland draw parallels between global and local and thus provide a platform for intercultural dialogue. In its essence the exhibition presents a panoramic view of the current artistic tendencies in the contemporary art world on a global scale as seen through the prism of the Bulgarian artistic Diaspora. The main themes that reappear in the exhibition – the multilayered notions of detachment and home – will be discussed in relation to the rising movement of the “global nomad“ as a product of the processes of globalization. Through detaching themselves from their local environment and subse¬quently returning to their home with a new and enriched personal and artistic perception of the world, these nomadic artists alter the established status quo, give reasons for the formation of new movements in contemporary Bulgarian art, and disturb the fixed norms of the local cultural identity. They take part in the creation of new artistic communities and spaces, serving as building blocks of our contemporary society.
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This article deals with the significance and potential of the ‘Third Way’ in Polish culture in the first half of the 1980s. Kościelniak characterizes the work of artists associated with the Łódź-based group Kultura Zrzuty [Chip-In Culture], highlighting these artists’ critical position towards the national and Catholic tradition. He presents their works in the context of Polish society in the first half of the 1980s, and shows that national and Catholic themes were inextricably written into the Solidarity movement. Thus he proposes to look at the ‘third place’ occupied by Kultura Zrzuty as a political position and a fulcrum point to criticize Polish culture.
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The field of anthropology continues to be dominated by an approach that focuses on the spoken or written word. The filmmaker and anthropologist Jean Rouch is one of the few who have worked comfortably with both film and the (spoken and written) word. Sikora presents Rouch’s method and working style mostly by looking closely at his key film, Moi, un Noir (1958). Rouch is presented as a pioneer not only of shared anthropology, but also of the method in which the creation of anthropological knowledge (film) becomes a tool supporting the process of constructing a (new) subjectivity and of transgressing the colonial relationship. Oumarou Ganda, the film’s protagonist, would become a groundbreaking African film director.
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The author describes twenty-two architectural projects prepared by Russian architects for the Polish lands which at that time were part of the Russian Empire.According to an inscription accompanying the designs, the set of architectural drawings was approved in Tsarskoye Selo on 14 November 1857. The treatment of these designs in the present article concentrates on the original features of Russian Orthodox architecture visible in them.The author discusses the drawings in relation to the architecture of Orthodox churches in the gubernyia (governorate) of Piotrków, created by the Russian authorities in 1867 asa result of an administrative division. The style of these churches was Byzantine Revival, which, broadly speaking, did not develop any more after Poland had regained independence in 1918. The author has analysed two buildings: St Alexander Nevskys OrthodoxChurch in Łódź (1880-1884; designed by the well-known architect Hilary Majewski) and the Orthodox Church of Vera, Nadezhda and Lyubov (Faith, Hope and Charity) in Sosnowiec(1888-1889, whose construction was overseen by the architect Prokofiev from Piotrków Trybunalski). Both churches are formally related to the architectural projects presented above, as is testified by their octagonal naves and other features (e.g. oniondomes), typical of imitations of the Byzantine style in Russia or Russian vernacular revival architecture. #Niepublikowany
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Käesolev artikkel uurib arhitektuuri ja kujutava kunsti retseptsiooni Eesti kultuuriajakirjanduses. Eesmärgiks on tuvastada püsivamaid representatsioonipoliitikaid nimetatud valdkondade meediakuvandites ning analüüsida, kuidas toimub tänapäeva Eesti kultuuriajakirjanduses tururatsionalismi väärtuste propageerimine ja taastootmine. Kokkuvõttes esitatakse kvalitatiivsete tähelepanekute põhjal üldistus kultuuriajakirjanduse rollist arhitektuuri ja kujutava kunsti kuvandite sobitamisel loometööstuste ideoloogiaga.
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The article presents a comparative study of the receptions of architecture and visual arts in Estonian cultural journalism. The aim of the study is to examine market resilient media representation policies of architecture and visual arts, with the premise that this will also reveal how market rationalist values are implied and reproduced in public cultural parlance as the commonsensical background for everyone’s own value judgements. Based on a qualitative survey, the commensurability of the studied media receptions with the creative industries doctrine is considered in the final discussion of the article.
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The paper offers a few insights into the textual and dramaturgical challenges of Hungarian King Lear playtexts, from the earliest ones till 1922. Since the last decade of the 18th century, when the first full adaptation with the so-called Viennese ending was penned, King Lear has constantly been an ‘object of desire’ in Hungarian theatre, literature and culture. Competing with Hamlet and The Taming of the Shrew in terms of popularity, King Lear quickly became a stock-piece. The task of appropriating King Lear attracted the attention of the best actors, authors and translators. Many Hungarian adaptations of King Lear promoted the professional development of Hungarian acting companies and theatres, of translation itself, and of national dramaturgy. Shakespeare’s darkest tragedy filled a vacuum not only on the stages, but also in Hungarian social life, proving to be the perfectly appropriated, updated, and, to some extent, even politically tolerated representation of crisis. From the first stage adaptations, King Lear’s numerous translations into Hungarian have conveyed a compelling sense of ‘double bound’ between page and stage, text and interpretation, translation and performance. This paper investigates how context and congruity validated certain texts and performances of Hungarian King Lears, and how some texts and performances, having illumined one another, expressed what both actors and audience felt, and thus genuinely filled the void between personal and public spheres.
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The article views American singer-songwriter Suzanne Vega's album Solitude Standing (1987) through the lens of the writings of a French psychoanalyst and feminist scholar Luce Irigaray. Vega's captivating stories of lonesome heroines stranded in monotonous and alienating urban landscapes resonate with Irigaray's concept of femininity as place. The questions of placement and placelessness that permeate the album make for an interesting context in which Irigaray's 'ethics of sexual difference' can be explored in relation to both the feminine experience and artistic practice.
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James Joyce once remarked that the soul of a culture is to be found in its music halls; by the same token, the gospels of Postmodernism preach that popular entertainment is as worthy of academic study as any other cultural phenomenon, a laudably democratic stance that neatly side-steps the thorny question of aesthetic value by subsuming it in sociology or history.
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The primary aim of this article is to consider the emerging representations of ‘cultural’ and ‘artistic’ work in 2000s–2010s Estonia. The paper draws on textual materials, such as Estonian creative industries mapping documents, promotional texts and special sections on the creative industries in daily and weekly newspapers. The paper starts by offering a sociologically informed framework wherein the problem of cultural and artistic labour emerges. Borrowing its theoretical and methodological framework from the discourse theory of Ernesto Laclau, the article then more specifically looks at the ways in which creative and cultural workers are constructed in the Estonian creative industries discourse.
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Loomemajandusalastele materjalidele toetudes vaatleb artikkel kultuuri- ja loovtöö representatsioone 2000.–2010. aastate Eestis. Artikkel joonistab välja laiema ajaloolise ja teoreetilise ruumi, milles osutub oluliseks kultuuritootmise ning kultuurilise ja kunstilise töö probleem. Selle tarvis peatub artikkel põgusalt mõjukatel kultuuri- ja kunstisotsioloogilistel lähenemistel ning viimastel aastatel rohkem kanda kinnitanud „kultuurilise töö” alasel uurimistööl. Seejärel avab artikkel Ernesto Laclau diskursuseteooria põhiseisukohad ning vaatleb nende valguses kaht kultuuritöötaja konstrueerimise viisi – loomeinimest ning kunstitöötajat.
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This paper explores Drago’s Trumbetaš collection of drawings called „Gastarbeiter Series” from an anthropological perspective. Dragutin Trumbetaš (1937–2018) was a croatian self-taught artist who spent major part of his life working various jobs as a guest worker in Germany. His Gastarbeiter drawings that are based on his personal experience as a migrant realistically depict the hardship and everyday practices of the first wave immigrants who came as temporary labor workers to Western Europe in the 60’s. His artworks could serve as an important material for researching the attitudes, values and experiences of migrants, and ultimately shed a light on their process of acculturation to a new cultural and social environment.
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