Važan prilog hrvatskoj likovnoj kritici
The review of: Fra Vendelin Karačić: Umjetnost u zrcalu besjede, Naklada Fram Ziral d.o.o., Mostar, 2018.
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The review of: Fra Vendelin Karačić: Umjetnost u zrcalu besjede, Naklada Fram Ziral d.o.o., Mostar, 2018.
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The Kvėdarna Parish (Šilalė District) Poster of Jesus Christ Heart Fraternity SPASABAS PASYLECAWOIMA SZWĘCZIAUSE SZYRDEY PONA JEZUSA Broctwoy Saldziausios Szyrdies Chrystusa (The Manner of Commitment to the Holiest Heart of Lord Jesus in the Fraternity of the Sweetest Heart of Christ) preserved in the archive of the Kretinga Franciscan monastery was not recorded in the Lithuanian Bibliography. The Poster was published in Vilnius by the printer Abromas Dvorčius (most probably in 1848). Until now, the activity of this fraternity in Kvėdarna has not been recorded either. A similar document of that fraternity in another parish (Rozalimas parish) had been printed four years earlier, in 1844, and has survived till now. A comparison of the two documents (from Rozalimas and Kvėdarna) uncovers significant textual differences. Even if their structures are comparable (they both contain a part of commitment to the fraternity and both list obligations and indulgences), the remaining content and the linguistic features differ substantially. The documents must have been prepared by different persons. The dialectal peculiarities of the Kvėdarna Poster suggest that it must have been prepared by a southern Samogitian (from the southern part of the Lithuanian Lowlands).
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How do you grow the local film industry in a country with just three year-round cinemas?
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Adriatic city of Dubrovnik, which has been central to the craze, is imposing restrictions aimed at limiting the overwhelming number of tourists.
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Arūnas Aleksandras Daugėla was born in 1963 in Kaunas. In tender age he studied at children’s art school. From 1980 to 1986, he studied glass art in Kaunas Applied Arts faculty of Vilnius Art Institute (now Vilnius Academy of Arts). After graduation, he was employed at Kaunas „Aleksotas“ manufactory. Here Daugėla worked as a designer from 1986 to 1994, creating various items of mass production and limited edition glass objects. During that period he also cooperated with “Glass Magic“ studio. For the last 30 years, the main occupation of Daugėla is pedagogical work. In 1990, the artist started lecturing in the Glass Art Department of Kaunas Faculty of Vilnius Academy of Arts. Now he lectures on various glass art subjects in bachelor and master degree courses. The artist also produces some artworks and participates in exhibitions.
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This article analyzes the iconography of St. Benedict in Lithuanian altarpieces of 17–19th century. The most numerous and valuable pictures belong to the 18th century. They depict the Saint’s appearance, his death, apotheoses and heavenly triumph. Since the 17th century, St. Benedict was mostly represented as old bearded patriarch dressed in the black habit with miter on his head and the book of Regula in his hands. Other kind of pictures show his miracles and mystical visions.
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The article is devoted to the conceptual and historical analysis of the eclipse of ocularcentristic aesthetics and to the opening of opportunities for the present visual aesthetic discourse of visual culture. The text highlights two main opportunities for the development of ocularcentristic aesthetics – such as eye apologetics and mistrust, denial and contempt. The analysis of specific examples of art history and analysis of aesthetical perceptions shows that the different parts of the human sensorium, which make up a complete multisensory tissue, become a consequence of the fluctuation of this bipolar phenomenon. From here, the distrust of the pre–eminence and supremacy of the eye, which is most noticeable in French aesthetics and art philosophy, has emerged in modernist consciousness. In the long run, it also spread to the English and German speaking countries, reaching the epoch of the 20th century, when the French philosophical doubts were fruitfully taken over by American art philosophers; in turn, the unpredictability of the eye was already overwrought by modern art and became the self–image of the current post–modern visual culture and aesthetic and artistic consciousness.
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Prof. Albertas Gurskas (b. 1935) is a graphic artist, poster, calligrapher, creator of the Lithuanian calligraphy school. From 1962 till 1968, he studied graphic arts at Vilnius Art Institute. Since 1969, he was a teacher at the same Institute (now Vilnius Academy of Arts), taught students of various specializations font, calligraphy and composition. From 1982 till 1987, Gurskas headed the Department of Pedagogy and from 1993 till 2003, the Department of Graphics. From 2012, he is a teacher of European Humanitarian University and a visiting professor in Israel universities. Also he is a member of Lithuanian Artists’ Union. All Gurskas’s artistic works are characterized by performative precision and completeness, inventive and thoughtful composition, impeccable artistic taste and playful style. The artist formatted approximately 40 publications in science, art, politics and pedagogy. Since 1968, he took part in exhibitions in Lithuania and abroad, published three books on font and calligraphy.
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Although a Professor of Vilnius Academy of Fine Albertas Gurskas produced remarkable works in graphics, exlibris, poster, and coat-of-arms, nevertheless this article focuses on his calligraphy. Gurskas is not only prolific artist but also a talented educator and founder of the Lithuanian School of Calligraphy. The article focuses on Gurskas’s calligraphy works, considers their most remarkable features, discusses the stages of their style development. Special attention is paid to the peculiarities of his pedagogical practice influence on the Lithuanian art of calligraphy.
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Glass artist Sigita Grabliauskaite is known as a longtime lecturer of Arts and education faculty of University of Applied Sciences (Kauno Kolegija), also a participant of numerous exhibitions in Lithuania and abroad. The artist mainly creates exhibition works from which the most notable are series of plaques and sculptures, portraying close people and artists. Another developed themes revolve around womanhood, nature and animals. However, to capture the before mentioned classic themes, the artist uses personal outlook, original aspects, associations and symbols. Especial knowledge of materials and techniques facilitates the shaping of intriguing art work forms, which create highly suggestive and esthetic plasticity in author’s creation.
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The article is devoted to the study of ethnographic collections of museums in Uzbekistan. Ethnographic collections of museums in Uzbekistan were studied on the basis of samples of copper-embossing art. The article deals with ethnography, ethnographic collections, factors of formation of ethnographic collections of museums in Uzbekistan. The process of development of the Uzbek copper-embossing art was analyzed on the example of copper samples from museums in Uzbekistan.
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Introductory editorial from the editor of the special issue.
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Ever since Aristotle’s conjoining of the creative and the melancholic state of mind – in the 33rd section of Problems –, much has been written about the relationship between artistic output and melancholy, depression, isolation or even madness. The artist – but also the philosopher – is caught at the centre of a polarising and ongoing debate, with those who wish to see him in a purity of inward contemplation that is unreconcilable with communal living on one side, and those who believe that his main purpose should be to create for others, that there can be no humanity in the search for solitude, on the other. But the figure that best encompasses Aristotle’s description of melancholic isolation as well as its inwardness and detachment from the physical world is none other that the hermit.This paper explores the question of eremitism, the dilemmas between communal living and inward contemplation, using the figure of the hermit also as an image for the melancholic individual. It traces its particular issues and problematics as portrayed in various sources of criticism of the phenomenon and contextualises the discussion as a matter of spatial analysis, focused on the images and places of eremitism and melancholy: the city and the desert. This perspective also emphasises a number of questions related to eremitism and its “problem”: how far away (isolated) should the hermit be? Should he ever return and, if so, when? And the most important question of all: why must the hermit move toward isolation, toward the desert?Looking into not just Aristotle but also texts by Szymborska, Tennyson, Buzzati (as well as the hermit in the visual arts) this paper traces the discussion around these questions and attempts to provide some answers.
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The melancholic hero in a nostalgic world forms the dominant element of artistry in Jiří Menzel’s films from the beginning of his work in the 1960s to the present time. The theme of this study is the analysis of melancholic elements, focusing on the director’s last two films, in which he utilises similar stylistic and narrative practises as in his earlier work, but also a significant change in style occurs in the construction of the nostalgic world and the protagonist’s character. The melancholy hero abandons the security of the alternative nostalgia and is confronted with the dangerous outside world ultimately to come across self-reflection. These changes profoundly disrupt the functionality of the director’s artistry; the films were panned by both critics and viewers.The conclusion of the study will be based on the analysis of chosen elements that generate melancholic and nostalgic emotion (construction of a melancholic character, structure of an idyllic chronotope, the style of the film) to capture the allegorical function of melancholy in the structure of an artwork which symptomatically portrays social and existential states.
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The language of the fine arts is the one who gives to contents an acceptable form, and for all categories of fine arts is the same. Fine artistry is actually part of any kind of spatial design of quality. For the spatial art design is also considered to be a transfer of the conceptual-content concept into an spatial-art language. Spatial design in the broadest sense is in general also the concern of its overall visual image. Emphasized artistic image is also valid to some of the presentations of architectural or urban space, which usually belongs to the level of conceptual presentation projects, but at the same time, they can also be seen as the finished artwork by itself. Architecture draws upon and at its manners treats and builds on the results of other genres of fine arts. Therefore, in spatial design we can talk about connecting and deleting borders between the different mediums, disciplines. Because we, spatial designers are primarily dealing with composition, study of spatial design, means at the same time a specific fine artistry education. Fine arts design also represents the basics of stage design. In scenography it comes to the integration of the entire field of arts. Also the wholeness of urban spatial design, among others, sets up a bunch of scene elements, procedures. Spatial-planning process, which concerns the design of the cities, in its core is the most comprehensive and at the same time the most complex art project.
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The number of elderly people represents one fifth of the population and the percentage will grow rapidly the next few decades. With the attitude to them that we have today, the information is frightening. As the burden for society, what I am sure they represent to most of the people, it will be hard to live for them. But I am sure that we will, if we begin to treat them differently than today and help them develop the qualities that come with age, be surprised by the wisdom that we no longer expect from them for a long time now. The last three years I am intensively working with the elderly, adding the elements of art therapy in classical painting courses. All this time I am observing how the elderly, who preferably want to leave the class with nice looking craft, respond to playing with color, unusual exercises and deepening to the process and their experience with it and at the end they leave satisfied without having produced a masterpiece. With the introduction of the intuitive way of working in art therapy, the group members connected and relaxed. There is more laughter and ideas that surprise even themselves. Therefore, I started researching the topic and to verify whether a separate sessions of art therapy may contribute to the personal development of elderly and thus to the development of elements that makes elderly people wise.
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Paper deals with gap between prevailing prosaism in design of the contemporary liturgical vessels and their important role in the Christian place of worship. In general, liturgical vessels are important component of ritual. They begin to live only in 'resonance' with place of worship. As the substantial carrier of the transcendental quality liturgical vessels become the architectural core of the sacral complex. Importance of their architectural nature becomes even more obvious through archetypal analysis of the Christian sacral complex.
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In this paper I will investigate phenomenological aesthetics of Michel Henry, and his interpretation of abstract painting. Henry's focus is the work of W. Kandinsky, for which the French phenomenologist believes that it presents us with extraordinary example of abstract painting, which shows that all art essentially is of abstract character. Analysis will compare Kandinsky’s ideas with those of Henry, and will be particularly focused on the relationship between interior and exterior, on the question of the relation of content and means of painting, and on the problem of colour and sensual qualities. Results of the analysis will show the domain of the encounter and the possible outcome of phenomenological interpretation of Kandinsky's painting.
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In this study, in which history of graphic and poster arts are dealt with briefly, information related to graphic and poster arts in Turkey is given. Together with the information about the current shaving influenced poster arts and for which purposes this very type of art is used, cultural posters, which constitute the main heading of playbills being subject of this study, are taken into consideration. This study examined the banners of Dear Doctor and Antigone game posters in the repertoire of State Theaters from 1979 to 2014 in terms of banner evaluation criteria taking into consideration the innovations in the technology and suggested suggestions for future poster designs.
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Although each has a unique starting point when expressing various kinds of sense, emotion, idea, and affection, painting and poetry resembles each other in that these two branches of art have a limited space and thus, they have to use materials efficiently and effectively. Painting employs colors, patterns, and shapes, whereas poetry makes use of letters. Nevertheless, the above mentioned limitations have paved the way for both the branches of art to prefer similar ways of expression, and benefit from each other. It is very common that painting and poetry inspire each other in 'descriptive, symbolic, and imaginative expressions'. Therefore, neither of these branches of art can be analyzed only through focusing on understanding and showing. From the early 20th century onward, especially following the Republican Period, the number of artists who make use of painting in their poetry or of poetry in their paintings has increased. Also, the number of artists who produce works in both the branches of art is not low. This study will make comparisons between the paintings and poems of Komet (Gürkan Coşkun) who has been an important figure in Turkish painting after 1960s and who is also known for his poetry. Apart from discovering his approach to arts as a whole, the role of painting and poetry in his holistic approach is also going to be discussed and the question of in what ways his paintings and poems influenced and complemented each other will be answered. As an ultimate analysis, the dimensions of the relationship between painting and poetry will be studied by referring to an artist who has left his mark in art history with his painter-poet personality.
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