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The purpose of the article is to examine the creative work of the artist Artur Orlionov in the context of the development of contemporary historical and battle painting, focusing on the themes and series of works, general techniques and methods of artistic representation. The research methodology consists in the application of general scientific and special research methods, in particular, analysis and synthesis, induction and deduction, generalisation and abstraction, rerview and analysis, description and comparison, which helped to analyse the works of A. Orlionov. The scientific novelty of the work lies in the fact that for the first time the work of the contemporary Kyiv artist A. Orlionov became the subject of a scientific study, within which the generalisation and a brief systematisation of the thematic focus of artistic works were carried out, as well as the historical and artistic dominants of the works, stylistic features of the construction were determined. Conclusions. As a result of the conducted research, it was established that A. Orlionov belongs to the generation of contemporary artists of the historical and battle genre, representing the Kyiv school of painting. His creative work reflects a significant chronological range of Ukrainian history, starting with Kyivan Rus, the Ukrainian Middle Ages, the Cossack era, the Liberation Movement and the modern period. According to the plot and number of works, they can be combined into separate series. In terms of the plot, A. Orlionov's works include depictions of battle scenes, thematic paintings of historical significance, portraits of outstanding figures of Ukrainian history. A. Orlionov's work belongs to modern examples of Ukrainian historical and battle painting, which, based on the study of numerous sources and facts, contains the author's understanding and interpretation of important historical events and figures of different periods of Ukrainian history.
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Review of: Monograph by Oleksii Zhadeiko "The Cultural Code of Valery Geghamyan's Artistic Universe"
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The story of the “Last Supper” has been continually interpreted in European painting. Its depictions in various eras contain a specific spatial organization and a unique model of the worldview, characteristic of the period. The depiction of the three-dimensional space on a two-dimensional plane is not just a matter of technique, a science of achieving a realistic space, but a visual model of the perception and comprehension of the world around us and the role of the individual in it. Theatre is an art, for which the three-dimensional space is essential. Scenography creates that three-dimensionality through architecture and painting. The director organizes the movement of the actors across the space, following the conditionalities of the play. The audience sees the image in which the space is composed according to the laws of painting. The subject of this study is the connections between the visual composition, the scenography and the scenic mise-en-scene. The iconography of the Last Supper, viewed as a primary subject matter (factual), according to the paradigm of E. Panofski or as “13 men sitting around a table”, is a cause for a spatial transcription in the context of a hypothetical scenic space.
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The term “visual pollution” generally refers to the problem of oversaturation of the natural and urban environment with eye-catching elements. Some good examples for visual pollution are the billboards, the antennas of mobile operators, the electric poles and wires... The digital revolution in the development of the humanity also brought the possibility of easy capturing and sharing visual content and created the conditions for a “new kind of pollution” – that of the digital communication environment. The huge amount of photographic and video content that is being shared every day into social media (about 12 billion per day) oversaturates viewers’ perceptions and changes their attitude towards works created with the technical representational mediums. At the same time, the problem reflects in another, unexpected direction. “The visual garbage” is the major factor in training AI neural networks. The daily dose of photos in the social networks makes the algorithm for creating false images more and more perfect. This provokes the question – does the era of the post-photography begin? There are already indications of a positive response.
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The paper explores and discusses the cyanotype process on glass. Being the first academic article on the subject, the research goes through 19th-century written sources, analyses processes in the history of photography, compares technical variations, and finds five antique cyanotype transparencies in museum collections. Furthermore, it compares methods of contemporary practitioners and discusses such photographs of relics in the Duomo Museum in Florence. The works open a dialog between ontological theories on photography, symbolism of blue color, and expressive means of art glass.
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This paper deals with the conservation interventions carried out on a volume of traditional wood ornament patterns created and used by Romanian peasants. This is a significant work for the Romanian material cultural heritage, being carried out by Alexandru Tzigara Samurcaș (an illustrious representative of Romanian museology in the 20th century) and published in 1928.
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Some activists and artists who create protest art have taken on questioning roles against global capital and injustices in today's world. Banksy, one of these artists and world-famous street artists, took remarkable actions in response to the negative effects of globalization by conveying socially important messages. It is important that his art is brave and simple, and that he attracts the audience in the first place. However, the depths behind his art leave permanent traces in the spiritual perception. The most important factor in Banksy's art being different and important is that his art is thought-provoking and he tries to raise awareness in the public. The condemnation and frequent removal of his street art deemed as vandalism played an active role in the construction process of Banksy's works. Rapidly produced works aimed to deliver effective messages in a very short time. His famous work, "The Girl with Balloon", which has succeeded in becoming an icon in different geographies, has also been able to show more with its disappearance than the effect it left on society at the time of its emergence with its simple and innocent visuality. This situation took its place in art history by exhibiting a political landscape as a criticism of the commercialization of art in the capitalist world
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In today's world of advanced visual communication, the emergence of motion posters has contributed to the enhancement of motion and impactful visual storytelling. Motion posters stand out as communication tools that rapidly capture the viewer's attention, reshaping aesthetic balance and facilitating more effective message delivery. In this context, the role of graphic design in motion posters holds critical significance in processes such as visual balance, aesthetic values, communicative interaction, and meaning construction. The dynamism inherent in moving elements increases viewer engagement, while the use of graphic design as a means to reinforce semantic expressions enhances communicative effectiveness. This study focusing deep into the dynamics of communication and aesthetic balance stemming from the synthesis of motion posters and graphic design. Furthermore, this examination aims to shed light on future design approaches by considering the characteristics of motion posters within a broader framework.
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This paper is not a study, but just notes. Their purpose is to present a possible historical approach, for which mostly prayer images have been used. The text attempts to provide insight into how an image was perceived by a community or how that community might have perceived it. The author believes that the effort to understand the motives, desires, and values of a historical social environment is equivalent to recognizing its right to exist. The questions which the paper seeks answers to are: 1) Why did religious and secular communities need to stand face to face with images of Jesus at the end of the 14th century, and why did they need the test of his gaze?; 2) What was the nature of the experience in the direct, unmediated interaction between the image and the believer; 3) How did this new way of dealing with the divine affect behaviour?; 4) How was what we may call the ‘inner world’ created, which was not only communal, but also personal?; 5) What did the believer pray to: the image or the presence of the power of the holy person in the image? Religious images create a desired belonging to a certain social environment. Believers recognize what they see as their own, regardless of the fact that they see a real and an imaginary world, a real and an imaginary self simultaneously. The author tries to substantiate the understanding of co-belonging to the two worlds – the sacred and the earthly one in the images. He also seeks to justify why the presence of the assignors in the images most often represents the visions of the assignors themselves.
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This paper presents a critical review of the works created during the ART–NATURE Symposium, which was held in the village of Gabrovtsi near Veliko Tarnovo in July 2022, and organized by the Duppini Art Group. Land art artists from Iran, Turkey, the USA, Greece, Romania, Italy, Korea, Spain, and Bulgaria came together for a ten-day event including artistic work, exchange of ideas, and collaboration. It culminated in a series of outdoor exhibitions where the public could enjoy the completion of their projects. Expressed in works of water and fire, the river of the Symposium sprung from a swirl of agony, rushed through the various cascades and ripples of life, and closed with the transition from physical death to spiritual rebirth through nature and art. We start with death full of blackness and finish with death full of light.
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This article is part of a broader study on performance and performativity in art with a focus on the performative installation, defended as a doctoral dissertation at St. Cyril and St. Methodius University of Veliko Tarnovo in 2022. The study regards the performative installation as a practice of installing 𝑜𝑏𝑗𝑒𝑐𝑡𝑠 and as a practice of installing acts or 𝑠𝑢𝑏𝑗𝑒𝑐𝑡𝑠, giving a view to the progression and diversification of the concept of installation itself. Certain aspects of this thesis are further developed in the paper, focusing on the etymology of the word 𝑖𝑛𝑠𝑡𝑎𝑙𝑙𝑎𝑡𝑖𝑜𝑛 and on its implicit performative potential. The article presents some specific features of the installation’s performativity as practice itself.
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This paper presents an aspect of font design (specifically typeface the perspective of graphic design) in typographical practice and the current technological possibilities and tools, as well as prospects for its development. Visually, although in brief, some practical works are presented – examples of methods and typeface families, – which are the result of a broader study of modern typographical practice, its tools and technology. The emphasis here is on variable fonts – the search for functionality and aesthetics in the design process, as well as in the application of this type of typography.
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The Onlar Group, which gathered to bring it together in the east-west synthesis in the atmosphere of art that started to move in the 1940s, took its place in Turkish Art History. Over time, other artists of the period were included in the group founded by Bedri Rahmi Eyüpoğlu with 10 students. One of these artists is Leyla Gamsız Sarptürk (1921-2010), one of the founder and important female representatives of The Onlar Group. Leyla Gamsız has produced innovative and freedom-oriented studies in her works. For the artist, the composition consists of stain, color and shape. The artist, who includes simplicity in his works, does not include perspective, and he argued that this understanding comes from Traditional Turkish art. The purpose of the study; Leyla Gamsız Sarptürk's works were examined in life and art life consisting of 3 periods, it was carried out using qualitative research method and supported by the information obtained as a result of literature review.
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The article argues that the city is a universal and independent exhibition and creative space that lives its own life. This assumption should be considered a starting point for reasoning based on three main issues – the role of the artist and the viewer; volatility (fluidity); and the integration of art into the environment. They give rise to the following questions: What is the artistic activity in the city? What background and what basis is the urban superorganism for art? Who is the artist, the creator, and what is the role of the recipient of the art work? Does space determine creativity, or do works of art create space itself?
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Academician Affan Ramić is one of the most represented painters in the Museum of Sarajevo Art Collection. Until year of 2021 his works from the collection have not been displayed as an individual exhibition but within joint presentations of art, cultural and anthropological exhibitions. A comprehensive, retrospective exhibition “Affan Ramić in the Museum of Sarajevo Art Collection “, displays twenty-one paintings, which show all the creative phases of one of the most renowned Bosnia and Herzegovina artists in the second half of the 20th century.
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