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Having reached a remarkable level in the second half of the 20th century, artistic tapestry, as a genre of professional decorative art of the Republic of Moldova, is marked by artistic achievements that attracted the attention of the researchers in this domain. The article examines the processes in the art of tapestry of the Republic of Moldova during the first decade of the 21st century that have not been explored so far. As a result of the analysis of the art works, a number of thematic and aesthetic aspects were revealed that reflect the creative goals and stylistic preferences of artists working in the considered period of time. Increased attention is paid to the morphological features of the composition of the motifs, structural and compositional patterns of image syntax, as well as to the technological innovations in the weaving process and their role in enhancing the artistic expressiveness of the art works. An important place is reserved in the study to the principles of creative processing of folk motifs and the analysis of stylistic innovations that played an important role in achieving a meaningful image of the tapestry works of the time.
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The emergence of new transformative processes of creating theatrical decor and design establishes a new stage in the development of the scenographic art in the Republic of Moldova. These changes could not fail to influence the artistry of both experienced visual artists and young scenic painters. The remarkable personality of the visual artist Petru Balan, who fascinates with his creativity and artistic imagination, stands out among them. In the 1990s P. Balan conceived the scenography for over 70 shows staged both in Moldovan theaters and abroad. This is the period that brings him the well-deserved recognition and appreciation in the theatrical and decorative art of Moldova. As a scenographer, he manifests an elevated visual culture through which he fructifies the achievements of the scenic design as a performance component of the show. The artist accomplishes significant changes in the organization of the scenic space by applying pictorial means and subordinating the spatial-volumetric coordinates. Thus, he successfully organizes the scenic frame, establishing the integrity of the visual image. P. Balan manages to achieve a high affective expressiveness due to combining décors and authentic scenic action. He strives, through the art of organizing the décors, for an organic fusion of the show framework with methods of expressive approach. Further, the role of materials and craft increases significantly towards a new qualitative principle of application.
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The representative modern sculptor Valeriu Batca was born in Chisinau in 1962 and began his career at the School-Studio of the Movie Theater Film Actor under the Moldova-Film in the capital city. His mentor, the Moldovan sculptor Dumitru Verdianu, helped him make his first steps in the world of art and supported him in his effort to revive the tradition of sculpting tombstones as a less standard approach in modern sculpture. The Pudostsky stone was the material from which these sculptures were created. It was mined from Valday to Lake Ladoga and used for construction in St. Petersburg. It is the characteristics of the Pudostsky stone, which determine the unique author’s style and his original ideas in the interpretation of the composition. Currently, Valeriu Batca’s relief compositions can be divided into three large cycles: Dialogues with God (1993-2008), Wine of Victory (1995- 2010), Yard Stories (2011). Along with the impressions that these stones produce, the author’s revelations in texts are of particular importance, as they reflect the sculptor’s ideas and feelings in relation to his works. In the vision of the sculptor Valeriu Batca, new interpretations of the techniques for creating medieval Moldavian tombstones are a new page of these achievements, an unpublished and significant one in its conceptual and artistic aspects.
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In this article, we analyze the drawings of the artist Dimitrie Sevastianov, which constitute an intriguing and significant component of his oeuvre. The basis of the research consists of artworks made in various graphic materials, examined in the context of different genres: landscapes, genre scenes, portraits, and historical scenes. Some of the works have not been previously published; they represent true documents of his time and reflect various historical moments the artist was inspired by. Based on the analysis of the available drawings, we can conclude that D. Sevastianov skillfully mastered a variety of graphic techniques, through which he could expressively and convincingly explore the surrounding reality. The features of light and aerial perspective in the landscape are conveyed in the works “Loading of goods onto a steamboat” and “Moorage”. We observe situations of everyday life captured in a series of sketches made throughout the artist’s life. A series of nudes, created in Indian ink with pen and brush, reveals his tendency to poetize the beauty of the female body. The portraits of contemporaries, represented in a series of sketches, show the mastery of the pencil drawing technique and render the complexity of psychological feelings. The graphic self-portraits show us the way in which the artist perceived his personality in different stages of his life.
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This study started from the idea that knowledge of visual elements and aesthetics of textile arts, understanding contemporary textile techniques, is a form of reflective learning in which the practice (for example: physical actions in the fabric of the technique, touching and feeling the materials) can lead to the deepening of the creative process, contributing to the creation of an aesthetic that is not only visual, but also deeply material and even technical. This way of integrating the knowledge and values of art into fashion design in an experimental and reflexive manner can be a creative factor, therefore the analysis focused both on the idea of how fashion can be transformed through different ways of making textiles and on understanding the importance of knowing them.
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This article aims to summarize the Kantian philosophy of visual aesthetics, realize the logical discrimination between plastic aesthetics and the philosophy of aesthetics, the distinction between art object and artwork, and the essentialization of the value significance of the artwork exemplified in a relevant case study: the painting ”Boots” by Vincent Van Gogh.
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The distinction between different forms of research is a subject of interest for a large part of theoreticians, philosophers, professors in universities, but also for contemporary artists. The current text proposes an alternative approach to artistic research, resulting from working with technology, associated with pictorial practice. The image, understood as the main resource of the visual medium, became in the case of the present research, a tool of analysis for the 3A application, a software developed (in the academic research context of the National University of the Arts in Bucharest) to issue, structure and elaborate a series of objective technical parameters in image classification. The present paper describes a way of assimilating the results of the research carried out in an academic context in artistic practice, the works produces being the consequence of the experience of working with the 3A application software and the way in which the technology had an impact on the personal artistic discourse.
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The context in which artistic practices are developed today requires a constant preoccupation with the challenges and commitments of artistic research, an intrinsic condition of these endeavors. Artistic research supports many points of coincidence, interaction, or overlap with the principles of scientific research, although they are characterized by a series of specific parameters. Due to the particularities of artistic research, art that questions topics of global interest (as happens in the case of sustainability, ecology or technology) is the art of our time, and the communication of these positions presupposes the development of ideas through research. The present text establishes a series of parameters related to engagement in artistic research, approached through the prism of representative contemporary artistic practices.
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The new discourses in the contemporary art space and in the art education field regarding artificial intelligence are a consequence of a major mutation in the paradigm of contemporary art. Starting from the visual forms generated by artificial intelligence as a creative-technological instance, the current research aims to discuss the reconsideration of the human contribution in the authorial legitimation of art. The author, the lecturer, the systemic process of communication specific to art, all other instances and relationships submit to the effort to incorporate a tool of knowledge that goes beyond the traditional functionality of a passive resource, migrating to forms of active autonomy. We are witnessing the revolutionizing of the dialogue between creative technologies and the world of art, in which active instances systematically reinvent themselves, eluding the specific quantification of information technologies specific to the artistic field.
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Color and shape, being inseparable, are the essential elements of human optical perception. In painting, color is the main tool of expression and the most significant element. The meaning of colors depends on a complex of physiological, psychological and cultural-social factors. Psychologists see color not as a simple sensation, but as a complex and multilateral perception, inextricably linked to socio-cultural and aesthetic aspects. The phenomenon of color has been studied by many artists, painters, researchers, psychologists, philosophers, physicists, who over time, through various researches regarding the influence of colors on the human psyche, have come to the conclusion that color exists both in the external, objective world of reality, as well as in the inner, subjective world of human,
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A resilient economy is a strong base for large volume of trade as it provides a perfect solution to poverty. Synthesis of Yoruba textiles and modern technology for resilient economy in this turbulent era is the concern of this paper. It highlights how Yoruba indigenous textiles are face lifted by modern technology to eradicate economic downturn. The paper gives insight to improvement on the production of Yoruba textiles therefore giving opportunity of job creation and self-reliance through the fusion. The huge tragedy of the Nigerian experience hinges on the downturn of economy which is at its peak of crashing. Most Nigerian are not believing that indigenous textile contents can increase drastically the income of the nation if facelifted or rebranded. The high rate at which naira is depreciating is very alarming at present ($1USD = N 1440) being because of fluctuation now. The paper projects a way out of economic turbulence with the synthesis of Yoruba textiles and modern technology by building a resilient economy. The paper further discusses the new orientation and training involved; raw materials used, computer knowledge, recommendations, and conclusion.
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Review of: Naraţiune şi simbol în grafica de carte moldovenească, 1945- 2010 de Victoria Rocaciuc – o încercare de sistematizare a evoluţiei ilustraţiei şi designului de carte din Republica Moldova.
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In memoriam: artistul plastic Andrei Mudrea (29 april 1954 – 15 january 2022)
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Glebus Sainciuc is known in the artistic and cultural space of the Republic of Moldova, thanks to his pictorial works, papier-mâché masks and remarkable drawing sheets. Initially, the protagonist debuts in the art of easel painting, so as over decades to also enrich his area of interest through a vast activity in the art of masks, the art of social caricature and friendly cartoons. Caricature, as a genre of plastic creation, was practiced by artist Glebus Sainciuc mainly in the late 50s - early 60s of the 20th century. His debut in satirical graphics coincides with the period of time in which he becomes a member of the editorial board of the satire and humor magazine “Chiparus” in 1958. The artist’s activity involves social caricatures that were part of various thematic branches such as culture, social life, national economy, etc. The creator’s efforts were directed towards the elaboration of expressive images with an accentuated metaphorical substrate that originally reflects everyday life. Made in watercolor and ink, the caricatures developed by Glebus Sainciuc highlight the plastic expressions of color and line, while the subject of the image favors the satirical elucidation of some social and cultural realities.
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Precum menționa și criticul Sofia Bobernaga, opera lui Mihail Petric a găsit ecouri de rezonanță în sufletele spectatorilor de diferite categorii – „de la specialiști în artă – la simpli amatori”. Create în filiera artei realiste cu respectarea celor mai bune tradiții ale artei peisajului, tablourile sale au devenit ontologice, făcând parte din enciclopedii, cataloage de expoziții, albume și monografii despre arta plastică națională.
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Sead Emrić rođen je 1965. godine u Bihaću. Nakon završene srednje škole, diplomirao je na Pedagoškoj akademiji Univerziteta u Banjoj Luci. Usavršavao je unikatnu grafiku na Međunarodnom grafičkom likovnom centru u Ljubljani. Od 1997. godine član je Udruženja likovnih umjetnika Bosne i Hercegovine, a 2022. godine postao je član Udruženja likovnih umjetnika primijenjenih umjetnosti Bosne i Hercegovine. Sead Emrić dosada je izlagao svoja umjetnička djela na preko 100 samostalnih i oko 150 kolektivnih izložbi. Učesnik je brojnih art-simpozija u zemlji i svijetu. Sead Emrić dobitnik je više nagrada za svoju umjetnost od kojih se izdvaja međunarodna nagrada Poriški salon LA, Sao Paulo 2015. Živi i radi u Bihaću. Sead Emrić rođen je 1965. godine u Bihaću. Nakon završene srednje škole, diplomirao je na Pedagoškoj akademiji Univerziteta u Banjoj Luci. Usavršavao je unikatnu grafiku na Međunarodnom grafičkom likovnom centru u Ljubljani. Od 1997. godine član je Udruženja likovnih umjetnika Bosne i Hercegovine, a 2022. godine postao je član Udruženja likovnih umjetnika primijenjenih umjetnosti Bosne i Hercegovine. Sead Emrić dosada je izlagao svoja umjetnička djela na preko 100 samostalnih i oko 150 kolektivnih izložbi. Učesnik je brojnih art-simpozija u zemlji i svijetu. Sead Emrić dobitnik je više nagrada za svoju umjetnost od kojih se izdvaja međunarodna nagrada Poriški salon LA, Sao Paulo 2015. Živi i radi u Bihaću. Halida Emrić rođena je u Bihaću 1965. godine. Po struci je dizajner umjetničke keramike. Članica je Udruženja likovnih umjetnika primijenjenih umjetnosti Bosne i Hercegovine (ULUPUBiH). Svoje radove izlagala je na preko 50 samostalnih izložbi u zemlji i inostranstvu: Sarajevo, Bihać, Tuzla, Ljubuški, Zvornik, Vitez, Cazin, Ključ, Beč, Istanbul, Klagenfurt, Ljubljana, Kastav, Buzet, Bosanska Krupa, Jajce, Travnik, Banja Luka, Tabriz, Piran, Ajdovščina, Kopar i dr. Tri puta dobila je nagradu Collegium artisticum te nagradu publike na međunarodnoj izložbi minijature u Tuzli. Također, dobitnica je nagrade Akademije ženskog poduzetništva u Bihaću. Godine 2006. godine osnovala je umjetnički studio za izradu umjetničke keramike. U mediju keramike kao primijenjene umjetnosti izradila je protokolarne darove za većinu općina i gradova u Bosni i Hercegovini. Isto tako, dizajnirala je i izradila protokolarne darove za brojna privredna društva i društvene organizacije. Saradnik je brojnih galerija i muzeja kao što su: Historijski muzej Bosne i Hercegovine u Sarajevu, Zavičajni muzej Travnik, Galerija Plus Banja Luka, Galerija ULUPUBiH Sarajevo, Galerija Mandžić Tuzla. Živi i radi u Bihaću.
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The article aims at pointing out those areas of design in which a structure of metaphor1can be useful and testing out its sufficiency. The basis for reflection are examples of existingdesign solutions. Decisions made by designers on the future shape, functionality and appearanceof an object are rooted in their knowledge about the material world and human needs, but alsotransfer their ideas regarding the role and purpose of design itself in social life. The presentedexamples relate to a specific way of thinking common for designers working on a project. Thearticle argues that a designer's way of thinking can be broadly described using a conceptual blen-ding model rather than a metaphor structure which does not always apply. In Polish literature,conceptual blending, translated as amalgamaty pojęciowe, refers to linguistics and is mostly usedin linguistic research. The article proposes a different translation, amalgamaty koncepcyjne, asa broader term which can also be used in visual thinking research, as well as design.
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This article applies the concept of heterotopia as developed by Michel Foucault to cozy aesthetics in JRPGs. After introducing the concept of heterotopia and its six key principles, the term JRPG is briefly reflected upon. We then analyze key aspects of the games Ni no Kuni: Wrath of the White Witch and Final Fantasy VII Remake regarding the significance of heterotopias for their sense of coziness. We conclude that Foucault’s concept of heterotopia helps in understanding the way in which coziness, on the one hand, offers a respite from the crises of life while, on the other hand, enabling an engagement with said crises in a safe environment.
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According to their most popular definition, cozy games are characterized by visual softness and relaxing gameplay devoid of combat and time-sensitive gameplay. However, with the recent increase in popularity of these games, game developers started to experiment with genre hybridity, introducing games that combine the elements of coziness with non-cozy elements such as difficult combat or horror themes, showing a need for critical engagement with the working definition of what is cozy. The article proposes a concept of dark cozy games to describe those titles that introduce visual softness and, to some degree, ludic safety to horror or Gothic, using three examples to illustrate different ways in which that can be achieved: Cult of the Lamb, Dredge, and Oxenfree.
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